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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..43e06eb --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #51204 (https://www.gutenberg.org/ebooks/51204) diff --git a/old/51204-0.txt b/old/51204-0.txt deleted file mode 100644 index 0848ad6..0000000 --- a/old/51204-0.txt +++ /dev/null @@ -1,5022 +0,0 @@ -The Project Gutenberg EBook of Corticelli Home Needlework 1898, by Various - -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/license - - -Title: Corticelli Home Needlework 1898 - A Manual of Art, Embroidery and Knitting - -Author: Various - -Editor: Mrs L Barton Wilson - Mrs Emma Haywood - Miss Alice C Morse - Miss Elizabeth Moore Hallowell - Mrs Amalia Smith - -Release Date: February 14, 2016 [EBook #51204] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK CORTICELLI HOME NEEDLEWORK 1898 *** - - - - -Produced by Jane Robins and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - - - - -PRICE, TEN CENTS. - -[Illustration: - -CORTICELLI - -HOME NEEDLEWORK - -1898 - -NONOTUCK SILK Co. - - FLORENCE, - MASS. -] - - PRESS OF SPRINGFIELD PRINTING AND BINDING COMPANY, SPRINGFIELD, MASS. - - - - - CORTICELLI - ... SPOOL SILK - and BUTTONHOLE TWIST. - -[Illustration] - - MADE EXPRESSLY FOR DRESSMAKING AND FAMILY SEWING. - - It works EQUALLY WELL for hand or machine use. - -[Illustration] - - Corticelli is the Smoothest, - Strongest, and Best - Sewing Silk made. - -Both Spool Silk and Buttonhole Twist are made in colors to match all -seasonable dress goods found in the market. - -[Illustration] - -For Sixty Years - -CORTICELLI SILK - -has been the favorite with the leading dressmakers of this country. - - THEY RECOMMEND AND USE IT. - - NONOTUCK SILK COMPANY, - Bridge Street, Florence, Mass. - -[Illustration: CORTICELLI PANSY DESIGN NO. 605 B. - -COLORED PLATE I.] - - - - CORTICELLI - - HOME NEEDLEWORK - - ----1898---- - - - A Manual of Art Needlework, Embroidery and Knitting. - - - _EDITED BY_ - - _=Mrs. L. Barton Wilson=, - Of the Art Amateur and Art Interchange._ - - _=Mrs. Emma Haywood=, - Of the Ladies' Home Journal and The Delineator._ - - _=Miss Alice C. Morse=, - Formerly Designer for the New York Society of Decorative Art._ - - _=Miss Elizabeth Moore Hallowell=, - Of the Art Interchange and the Ladies' Home Journal._ - - _=Mrs. Amalia Smith=, - Head of the Needlework Department Nonotuck Silk Company._ - (Formerly with the New York Society of Decorative Art.) - - AND OTHER NEEDLEWORK AUTHORITIES. - - * * * * * - - PRICE 10 CENTS. - - * * * * * - - COPYRIGHTED AND PUBLISHED BY - - _=The Nonotuck Silk Company=_, - - FLORENCE, MASS., 1898. - - All Rights Reserved. - -[Illustration: CORTICELLI SILK MILLS, SITUATED AT FLORENCE, LEEDS, -AND HAYDENVILLE, MASS., HARTFORD, CONN., AND ST. JOHNS, P. Q.] - - - - -_Introduction._ - - -In the endeavor to make this book larger and better than any previous -edition we have called to our aid some of the best needleworkers and -designers in this country, and the result is that we have the choicest -collection of embroidery designs for home decoration it has ever been -our privilege to present. - -We have been fortunate in securing the services of Mrs. Wilson, Mrs. -Haywood, Miss Morse, Miss Hallowell, and Mrs. Smith. Their designs are -always greatly admired, and undoubtedly many of our readers will prefer -to embroider their patterns, taking advantage of this opportunity to -study the treatment these well known authorities furnish for their -special designs. - -Special attention is called to the Corticelli Colored Plates, which are -the only accurate reproductions of embroidery in natural colors ever -published. Aside from their beauty they will be found of great value to -every needleworker, as they show not only the correct shading of each -flower, but also the length and direction of the stitches. - -We show several very attractive designs for knitted fancy tops for golf -and bicycle stockings, and the rules given are from practical patterns -knit from wool and silk. - -To many needleworkers this may be the first Corticelli instruction book -they have seen. From such we invite the closest examination of our -goods, feeling confident that intelligent women can in this way readily -appreciate the superior quality of Corticelli Silk. - - THE NONOTUCK SILK COMPANY. - - - - -_Fancy Work Books._ - - -From 1887 to 1896 we published an illustrated instruction book in the -use of silk called "Florence Home Needlework." The subjects treated in -the different editions embrace every variety of useful and decorative -needlework. There are ten different editions, each containing 96 pages, -as follows: - - _=1887 "Florence Home Needlework."=_ - - SUBJECTS.--Crochet silk bead-work, crocheted and knitted - silk purses, ladies' silk mittens and stockings, baby's socks, - men's silk half hose, lamp shades, lace edgings and insertions. 96 - Illustrations. - - _=1888 "Florence Home Needlework."=_ - - SUBJECTS.--Drawn-work; damask stitches; Italian, - tapestry, outline, and cross-stitch embroidery; and crochet. 239 - Illustrations. - - _=1889 "Florence Home Needlework."=_ - - SUBJECTS.--Tatting, netting, and embroidery. Also rules - for knitting ladies' fancy silk mittens. 135 Illustrations. - - _=1890 "Florence Home Needlework."=_ - - SUBJECTS.--Crochet and embroidery. Rules for four-in-hand - scarfs (six engravings). 90 Illustrations. - - _=1891 "Florence Home Needlework."=_ - - SUBJECTS.--Crochet, embroidery, bead-work, and macramé - lace. Rules for ladies' silk slippers, men's ties (three new - styles), belts, crocheted silk bags, and umbrella cases. 141 - Illustrations. - - _=1892 "Florence Home Needlework."=_ - - SUBJECTS.--Crochet and embroidery. Rules for Roman picture - throw, easel scarf, Irish lace, plain sewing, crocheted wheels, - cornucopias, belts, and garters. 160 Illustrations. - - _=1893 "Florence Home Needlework."=_ - - SUBJECTS.--Corticelli darning or mosaic embroidery, - drawn-work, crocheted lamp shades, pillow lace and its manufacture, - and embroidery. 85 Illustrations. - - _=1894 "Florence Home Needlework."=_ - - SUBJECTS.--Corticelli darning, knitting, and crochet. - Designs for men's four-in-hand scarfs and ladies' linen set in - mosaic embroidery. Also rules for baby's crocheted silk sack. 90 - Illustrations. - - _=1895 "Florence Home Needlework."=_ - - SUBJECTS.--Honiton work, lace embroidery, mosaic - embroidery, men's ties and suspenders, college pillows. Rules - for crocheted wheel, and three patterns in crocheted edgings. 66 - Illustrations. - - _=1896 "Florence Home Needlework."=_ - - SUBJECTS.--Tea cloths, centerpieces and doilies in popular - designs, including Rose, Jewel, Delft, Empire, Festoon, Wild Flower - and Fruit patterns. Also rules for knitting baby's shirt and cap - and crocheting baby's bonnet. Over 60 Illustrations. - -One Florence Home Needlework book will be mailed to any address on -receipt of 6 cents; any 5 books for 25 cents, or the entire series will -be sent for 50 cents. In ordering mention editions wanted by year. -[Illustration] _There is no book for 1897._ - - NONOTUCK SILK COMPANY, - BRIDGE STREET, FLORENCE, MASS. - -The price of this book--"Corticelli Home Needlework for 1898"--is 10 -cents. - - - - -_Hints Upon the Selection of Material._ - - -Often the most difficult task for many women is choosing the proper -shades of silk to embroider a certain stamped linen. Usually the dealer -from whom you purchase your Corticelli Silk will advise you in regard -to this, but when one lives in one of the smaller towns no store will -be found which carries a good stock of embroidery materials from which -to make a selection. In this case the best thing to do is to send -six 2 cent stamps to the Nonotuck Silk Co., Bridge Street, Florence, -Mass., for a Corticelli Color Card, showing over 325 different shades -in which Corticelli Wash Silk is made. The card also shows samples -of the various silks, as Filo Silk, Roman Floss, Persian Floss etc. -The owner of a Color Card can order by number Corticelli Silk from -her storekeeper, either by mail or in person. Few realize what a -convenience this is. - -[Illustration: CORTICELLI COLOR CARD. - -Mailed to any address for six 2 cent stamps.] - -Many do not understand the great difference in embroidery silks, and -often inferior kinds are sold them by unscrupulous clerks. Corticelli -Silk is smooth working, of high luster, and is free from imperfections -in stock or finish, while the dyes used are remarkable for brilliancy -and absolute fastness of color. Magnificent mills, modern machinery, -and sixty years experience in manufacturing silk enable the Nonotuck -Silk Company to produce as perfect embroidery silk and floss as can be -made. - -Many realize only too late that they should have been more careful -in buying the right brand of Wash Silk. The old saying, "The best -is always the cheapest," comes back to those who have had some -disappointing experience with a patiently worked centerpiece or doily -which failed to stand the final test--the test of washing. Corticelli -Silk took the highest award at the Cotton States and International -Exposition held at Atlanta, Ga., 1895, as well as first prize at the -Chicago World's Fair, 1893, and at the California Midwinter Exposition, -1894. Besides this we call your attention to the large number of well -known needlework authorities that recommend its use. These facts alone -should induce you to give Corticelli a trial in case you have never -done so. - -For fine and delicate shading on any smooth closely woven material, -especially linen, use Corticelli Filo Silk (sometimes called Filo -Floss). Owing to its fine size and loose twist a skillful worker can -blend the shades with the utmost nicety, so that flowers, leaves, -fruits, or other objects are most faithfully reproduced. - -Corticelli Persian Floss is a silk of two strands, loosely twisted and -of high luster, for work where two threads of Filo would ordinarily -be required. Persian Floss is used extensively for the buttonhole -edges of doilies and centerpieces, first padding the scallops with a -few stitches as shown in Fig. VI _a_, page 17; or the buttonhole edge -may be worked without padding as desired. Corticelli Filo Silk and -Corticelli EE Embroidery Silk are also sometimes used for this work. - -Corticelli Roman Floss is somewhat coarser than Corticelli Persian -Floss and is intended for embroidering large designs on heavier -material. Curtains, counterpanes, and cushions are worked with this -thread, although for very bold designs Corticelli Rope Silk is -preferable. - -Corticelli Etching Silk, as its name implies, is for outline embroidery -and etching. Corticelli Lace Embroidery Silk should be used for Honiton -and lace work of similar nature. Corticelli EE Embroidery Silk is best -suited for general fancy work and crazy patchwork. This silk is quite -hard twisted and is therefore very durable. - - -_To Wash Embroidered Linens._[1] - -By L. BARTON WILSON. - -Avoid all risk of rust or stain by using an earthen wash bowl in -preference to a tin or wooden tub. Wash by dipping in suds as hot as -the hand can comfortably bear, made with "Ivory" or any other pure soap. - -If there are any spots on the article wash them out first, before -wetting the entire piece. Beyond this do not rub or fold, but plunge -the linen up and down in the suds. If it is very much soiled or yellow, -a half teaspoonful of borax may be added without the least danger to -the silk. Carefully avoid washing powders and cheap soaps. When clean -rinse by plunging up and down in several tepid waters or until the -water remains perfectly clear. If the soap is not entirely removed by -rinsing, the linen will yellow quickly. - -Dry partially by laying between two soft cloths or towels for a few -minutes. A new and very successful method for drying and pressing, -especially small sized linens, is as follows: Lay them close and smooth -on a marble slab or board. The woof and warp should be drawn perfectly -straight and the stitches of the embroidery should be brought into -position--that is, so they will lie as placed when worked. To dry a -large article, place a sheet on the carpet and pin the piece through -it to the carpet straight by the edges, stretching a little. The drying -may be hastened by fanning or by holding a hot iron within half an inch -of the surface. Doilies pinned to a board or frame may be dried in a -minute by holding them in front of a register, and thus treated they -should need no pressing with an iron. - -Larger linens may be placed on a fine sheet, face downward, and -"touched up" with a moderately hot iron; the marks of the pins may -be removed by dampening and pressing. Imperfections in the linen's -smoothness may be dampened but the silk should not be wet. The hem will -likely need firm pressing; fringe should be brushed and lightly combed -out; it will then likely need a little trimming. - -All Corticelli Silk will remain fast in color if these directions for -washing are followed, and the laundered embroidery will appear no -different from that just finished. The peculiar luster, or bloom, of -this beautiful silk will be retained if the new method of quick drying, -under tension, is carried out. - -To set embroidery for the first time, dampen the linen and silk on -the wrong side and dry quickly before removing from the hoop. In all -cases of fabrics that are not washable set embroidery by pasting on the -reverse side. - - -_The Size of Needle to Use._ - -BY MLLE. G. CORSINI. - -Many ladies who embroider frequently complain that wash silk does not -work smoothly, that the silk snarls or ravels, making a bad-looking -piece of work, without saying anything about trying one's patience. - -"Now, what makes my silk snarl?" is heard only too often. They -frequently assign the cause of the trouble to the silk, when, in -reality it is the fault of the needle they are using. - -Some teachers recommend the use of an ordinary sewing needle with a -round eye, but I prefer the long eye or "Crewel" needle. If you want -to do fine work, shading closely, and are using double (two threads -of) Corticelli Filo Silk, use a No. 8 "Crewel" needle. For single -(one thread of) Corticelli Filo Silk use a No. 9 or a No. 10 needle, -depending on the material upon which you are working. Generally -speaking, use a No. 10 needle, especially for bolting cloth, Chinese -linen, or grass linen. Corticelli Persian Floss requires a No. 8 -needle. In working Corticelli Etching Silk choose a No. 7 needle. For -Corticelli Roman Floss use a No. 6 needle. Use a No. 3 or a No. 6 -needle for Corticelli Rope Silk. - -Harper's Queen Crewel Needles are the best, and I advise all -needleworkers to insist upon having them. - -By following the above instructions there will be no excuse for -unsatisfactory working of Corticelli Silk. - - NOTE.--If you cannot buy the needles you want in your - city, send six cents to the Nonotuck Silk Company, Bridge Street, - Florence, Mass., and they will send you four Queen Crewel needles - each, of sizes 7, 9, and 10. - - -_Silk Required to Work a Piece of Given Size._ - -As a matter of fact no two needleworkers will use the same quantity of -silk to work the same centerpiece or doily. One will require nearly -or quite twice as much as another, perhaps, owing to the method of -treatment or the way the shading is done. It is therefore almost -impossible to advise customers just how much silk they will need. - -In nearly all the instructions we have given the maximum quantity of -silk required to embroider a 22 inch centerpiece. You may not need as -much as the directions call for. Of course smaller sizes of linen will -take less silk to work them, and the necessary quantity can readily be -estimated. - -If you are in doubt as to how much material you will want, you can -order from your dealer one skein of some shades, and two of others, -even if the instructions called for three or four skeins of a shade, -and then order again when you find you will require more. However, -it is always safer to buy at one time all the silk necessary for one -piece, and we cannot too strongly recommend this plan. - - -_Points for Beginners._ - -Embroidery is very fascinating work, but to attain perfection one -must study the subject. We have been fortunate in securing so well -known an authority on Art Needlework as Mrs. L. Barton Wilson to -furnish a chapter on Embroidery Stitches. This article, which even the -experienced worker will be glad to read, is especially valuable to -beginners, who will find no difficulty in making the different stitches -by following the directions and examining the illustrations. - -Beginners should read "Hints upon the Selection of Material," and "The -Size of Needle to Use," as well as "To Wash Embroidered Linens." In -shading flowers in which many colors are required, have a separate -needle threaded with each shade; in fact, this is a good plan even if -you are using only a few shades. - -Choose a simple design to begin with, such as a Violet, a Buttercup, -or a Daisy, and get a small size stamped linen, not over nine inches -square. At the end of the instructions for each design we have -printed the words (Easy), (Not Difficult), (Somewhat Difficult), or -(Difficult), which show the degree of skill necessary to embroider each -piece successfully. - -No printed instructions can help a beginner as much as a lesson, or -better still a course of lessons, under a good teacher. However, we -have tried to make the instructions explicit, and we think further -details will be unnecessary; still, should you find trouble in working -any of the designs, or want to know where materials can be obtained, we -will gladly answer questions and give you any desired information. A -stamp should be enclosed for reply. - -[Illustration: CORTICELLI BORDER NO. 606. COLORED -PLATE II.] - -[Illustration: CORTICELLI BORDER NO. 607. COLORED -PLATE III.] - -[Illustration: CORTICELLI BORDER NO. 609. COLORED -PLATE IV.] - -[Illustration: CORTICELLI BORDER NO. 610. COLORED -PLATE V.] - -[Illustration: CORTICELLI BORDER NO. 615. COLORED -PLATE VI.] - -FOOTNOTES: - -[Footnote 1: Copyright, 1897, by Mrs. L. Barton Wilson. All rights -reserved.] - - - - -_Embroidery Stitches.--Described and Illustrated._[2] - -By L. BARTON WILSON. - - -The stitches used in modern embroidery are not productions of this age. -They belong to the art of to-day through adaptation. They have a value -because of their antiquity far above any value which new inventions -in this line could possess. Their application has been tried without -limit and the extent of expression and delineation through them is -well known. The science of embroidery is established; its methods are -perfected. The art is rich in its heritage. - -With the revival of needlework has naturally come a demand for silks of -such quality and durability as that possessed by the wonderful threads -of centuries ago, which are found in a perfect state of preservation -in many examples of old embroidery, and which seem even to grow more -mellow and beautiful in color with age. What modern science has done to -meet this demand is shown by the brilliancy and beauty of shading, and -fastness of color, which such silks as the "Corticelli" are known to -possess. This ought to be among the chief inspirations to best efforts -in this line of decorative art. - -The form of embroidery which is most truly artistic, and at the same -time scientific, is that known as "Opus Plumarium"[3] or "Feather -Stitch." (The so-called "seamstress feather stitch" should not be -confounded with this.) The exceedingly beautiful 16th century examples -of the embroidery still in existence prove what is its durability and -how adequate the method. The "long and short" stitch, which is the -constituent of the work, is widely used on linens. When this stitch -is correctly laid the effect is very beautiful, and, like all primary -things, its beauty lies in its simplicity and perfect adaptability. It -is proposed to describe and illustrate the long and short stitch first, -in order that in the light of a clear understanding of this first -principle, the opus plumarium (which is considered the most difficult -embroidery, but which is really an advanced use of this simple element) -may become less formidable to amateurs. - -Feather stitch should never be attempted on an unframed fabric. A -certain degree of excellence may be attained in embroidery by working -such fabrics as linen in the hand, but perfect stitch direction and -proper tension cannot be secured unless the fabric is stretched. - -Embroidery stitches hold a certain definite relation to each other and -may therefore be classified into groups. A glance at the classification -will give one a clear idea of the fundamental principles of the Art. A -little study of it will furnish the key to the forms and styles of the -embroideries of the different centuries and countries and so enable one -fully to appreciate collections of antiques which are invaluable to the -learner. - - -CLASSIFICATION OF EMBROIDERY STITCHES. - - { _a._ Simple Long and Short Stitch. - I. Long and Short Stitches. { _b._ Feather Stitch. - { _c._ Overlap Stitch. - { _d._ Tapestry Stitch. - - II. Satin Stitches. { _a._ Simple Satin Stitch. - { _b._ French Laid Work. - - { _a._ Simple Couching Stitch. - { _b._ Twisted Stitch. - III. Couching Stitches. { _c._ Brick Couching Stitch. - { _d._ Diaper Couching (Over Satin Stitch). - { _e._ Other Elaborate Couching Stitches. - - { _a._ Kensington Outline Stitch. - { _b._ Bulgarian Stitch. - IV. Outline Stitches. { _c._ Split Stitch. - { _d._ Stem Stitch. - { _e._ Twisted Outline Stitch. - - { _a._ Simple French Knot. - V. Wound Stitches. { _b._ French Knot, combined with Stem. - { _c._ Bullion Stitch. - - { _a._ Simple Buttonhole Stitch. - { _b._ Blanket Stitch. - VI. Buttonhole Stitches. { _c._ Honeycomb Stitch. - { _d._ Double Buttonhole Stitch. - { _e._ Ladder Stitch. - { _f._ Cat, Brier, or Seamstress - Feather Stitch. - - { _a._ Common Chain Stitch. - { _b._ Rope Stitch. - { _c._ Single Reverse Chain Stitch. - VII. Chain Stitches. { _d._ Double Reverse Chain Stitch. - { _e._ Double Chain Stitch. - { _f._ Cable Stitch. - { _g._ Beading Stitch. - { _h._ Bird's Eye Stitch. - - { _a._ Simple Darning Stitch. - VIII. Darning Stitches. { _b._ Brick Darning Stitch. - { _c._ Seed Stitch. - { _d._ Queen Anne Stitch. - - { _a._ Herringbone Stitch. - IX. Fancy Stitches. { _b._ Ismit Stitch. - { _c._ Janina Stitch. - { _d._ Border Stitch. - -The above table will be found of great value to beginners, enabling -them easily to master the scientific or theoretical as well as the -practical part of this article. - -"Long and short" stitch as commonly used on linens is a border work. -That is, the forms of the design are not filled in entirely; the -stitches are carried round the outline and such space as they do not -cover within the form is allowed to remain in a low relief. This is -known as "half work," sometimes as "half solid Kensington," while -the solid "opus plumarium" is often called "Kensington." While it is -true that the Kensington school revived this ancient embroidery it is -doubtful if this is sufficient reason why it should give to it the -name. The history of art will be better preserved if we adhere to the -old terms. The effect of the contrasted surfaces, through the half -work, of the ground material and the embroidery, is very pleasing, -and such a method is more suitable on linen than solid embroidery. -It is less conventional and therefore is in harmony with the fabric. -On the other hand solid embroidery is rich in itself and should be -used to decorate rich fabrics. This is not an _invariable_ rule but -its restrictions are reasonable. Such exceptions as these may be -noted,--tiny forms such as the fronds of maiden hair fern may be made -solid to advantage, and the Bulgarian embroidery, fully described -elsewhere in this book, is heavy and complete. Conversely, good effects -are sometimes obtained with _heavy_ silks in half work on rich fabrics. -The artistic principle involved in the "half work" is suggestiveness. -If the design is good to start with, a great deal of spirit may be put -into it by the simple border embroidery. - - -I. "LONG AND SHORT" STITCHES. - -[Illustration: FIG. I _a._ SIMPLE LONG AND SHORT -STITCH.] - -_A._ =_Simple Long and Short Stitch._=--This stitch may be done in -the hand, but as already intimated it can be _perfectly_ done only in -a frame or hoop, which should be rested on the table edge and held by -a weight. The material should be stretched straight with the woof and -warp. The stitches are then laid by using both hands, one below and the -other above the frame, to send the needle up and down perpendicularly. -To make the stitch, bring the needle _up_ on the outline of the design -and send it _down_ within the form. When the fabric is held in the -hand the needle takes the stitch over and down on the outline and _up_ -within the form. Let the first stitch be a long one, one-quarter of an -inch to an inch in length in proportion to the size of the form. The -next stitch should be but two-thirds as long and should lie parallel -with the first or closer to it within the form, if it is a narrowing -one, than on the outline; or vice versa, if it is a form increasing -in width. The contour of the design must decide the stitch direction. -The third stitch should be long, followed by a short one, and so on -alternating long and short. We are sometimes told that these stitches -should be "irregular." This is both true and it is not. The long -stitches should certainly not be all of one length and the short all -of another. In this they should vary, but they should be absolutely -regular in that they should be even on the surface without piling or -yet having spaces between them, and they should form a perfect unbroken -surface and the edge should exactly coincide with the outline. This, -then, is the "long and short" stitch, and it may be considered complete -in itself as far as it goes. It is the first stage of solid embroidery -or "opus plumarium." See Fig. I _a._ - -[Illustration: FIG. I _b._ FEATHER STITCH.] - -_B._ =_Feather Stitch._=--The next step is to lay another row of -stitches over these, differing from them in that they shall be long and -short on both edges. The long stitch should commence just below the -outline and should end further within the form than any of the first -row. It should be taken in exactly the same direction as the first -row and over them. The next stitch should be started below the first, -something less than a third of its length, just beside it, and should -reach the same distance below the end of the first. The third should -be similar to the first, and so on. It is obvious that every other -stitch of this second row is the long one at its start and the short -one at its finish. The second row is the same as the first, except -that it is long and short on both edges. This is not "irregularity," -but _absolute regularity_. The more regular and the more accurate the -alternating is, the smoother the surface will be. This second row -should lap well over the first. It should indeed cover two-thirds of -it if the colors are to blend instead of appear as rows. This is the -secret, or rather, the real principle of shading. It will not do to -economize material and expect a rich result. This is likely to be the -fault of American embroidery. The preceding rows of stitches must be -solid under the succeeding ones. There may be as many rows as are -necessary to cover the form, and these should all lap deep over each -other so that the under rows show only because of the difference in -length of the stitches of the upper edge of the over rows. In this way -one shade passes into the next as tones in painting, perfectly clear -in themselves yet, because they are distinct, making a luminous and -unbroken whole. If the stitches are not placed according to such a -method the effect will be--again as in painting when the colors are -muddled--broken and harsh and expressionless. By this means shades that -differ greatly can be blended and the whole is brought into relief by -the raising of one row over the other. The lower ends of the stitches -of the last row may adapt themselves in terminating to the form. See -Fig. I _b_. - -[Illustration: FIG. I _c._ - -OVERLAP STITCH.] - -_C._ =_Overlap Stitch._=--This is the "long and short" on a -curved _line_, not form. The first stitch is taken from the end of -the line along its length, the next stitch is taken just below the -start of the first on the line, over to the other side of the first -and to a point just above the finish of the first, thus lapping. -Continue these stitches long and short. This is the way to work round -the circumference of a circle. Curved tendrils are very effective -embroidered in the overlap stitch. See Fig. I _c._ - -[Illustration: FIG. I _d._ TAPESTRY STITCH.] - -_D._ =_Tapestry Stitch._=--A stitch similar to feather stitch -except that its lines are all in one direction. The stitches do not -slant to accommodate themselves to a form but are all straight and -in all cases parallel and terminate abruptly as they come against -the outline of the form whether they are within it or are used to -fill the background. This is essentially a filling stitch and is the -most beautiful way to embroider backgrounds. In composition with opus -plumarium it is wonderfully rich. There are many superb examples of -this work in the old opus anglicanam, where it was largely used to -represent drapery, and, in its most perfect application, faces. In a -word it is _parallel_ "opus plumarium." Its rows should be well lapped. -See Fig. I _d._ The light shade in the engraving is intended simply to -show the system of stitches; there are three rows, each worked in the -same color, completely covering the linen and presenting an absolutely -smooth surface. - -[Illustration: FIG. II _a._ SIMPLE SATIN STITCH.] - -The above four stitches are based upon the "long and short" element. - - -II. SATIN STITCHES. - -_A._ =_Simple Satin Stitch._=--The next stitch in importance is -the "Satin Stitch," and it has various applications. This stitch forms -an unbroken surface not only in effect but in reality. The stitches -are taken parallel and from side to side of the outline or over the -space they are to cover. On coarse material and with one of the heavier -silks, such as Corticelli Roman Floss or Rope Silk, it is possible -to make them quite long, but when fine material is used they must be -short to lie well. Embroidery in this stitch is more or less mechanical -and does not allow of shading. It is used principally in narrow bars, -which are often first raised by stitches laid at right angles to the -direction the satin stitch is to take. We show two very good examples -of satin stitch. - -[Illustration: FIG. II _a._ - -SIMPLE SATIN STITCH.] - -_B._ =_French Laid Work._= The French white or laid embroidery -is an especial application of the satin stitch. It is the method of -initialing and is done in the Corticelli EE Twisted Embroidery Silk and -Corticelli Etching Silk with best effect. It is also the form of work -for covering cartoons in church embroidery. The stitches may be taken -from side to side at any angle so that they are kept parallel to each -other. - - -III. COUCHING STITCHES. - -[Illustration: FIG. III _a._ - -SIMPLE COUCHING STITCH.] - -_A._ =_Simple Couching Stitch._=--As methods of work, appliqué and -couching are of great importance and possibility and through them a -large variety of stitches are employed. Designs cut out of fabrics are -applied to ground fabrics by couching. The simple stitch taken at right -angles over cords is the one most commonly used, as shown in Fig. III -_a_. This and other couching may be used independently or on the edges -of applied forms. - -[Illustration: FIG. III _b._ - -TWISTED STITCH.] - -_B._ =_Twisted Stitch._=--In this stitch one cord is twisted -around another and the over stitch is taken through the ground at right -angles to the direction of the outline. See Fig. III _b_. Two silk -cords may be carried over outlines, one each side of a gold thread. - -[Illustration: FIG. III _c._ BRICK COUCHING STITCH.] - -_C._ =_Brick Couching Stitch._= Lay rows of cords close to each -other and couch them down with perpendicular stitches, alternating in -each row with the spaces between them. This is very effective work. See -Fig. III _c_. - -_D._ =_Diaper Couching Stitch._= This work is done over satin -stitch. Many examples of it are to be found in the rich antique -diapered work. This embroidery has many uses in modern work. (See -article on Bulgarian Embroidery.) Circular forms within conventional -flowers may be covered with satin stitches as long as the forms -require, then cross-barred with stitches placed at a decided angle from -the satin work. This set of cross-bar stitches should be recrossed with -another at the opposite angle, thus forming little squares over the -first work, which should be couched down at their intersections. This -diapering over satin embroidery may be done in a variety of designs -and color combinations. Original ways will suggest themselves to the -worker. See Fig. III _d_. - -[Illustration: FIG. III _d._ - -DIAPER COUCHING STITCH.] - -_E._ =_Elaborate Couching Stitches._=--There are a large number of -elaborate couching stitches usually executed in gold and purse twist. - -The old work is rich in examples of couching over a system of -foundation cords which raise the covering layer of cords or silk -threads. The "Basket" and the "Frill Basket" are the most beautiful -of these stitches. Corticelli Filo Silk should generally be used for -the over stitch and the heavier silks, such as Corticelli Roman Floss -and Rope Silk, should be the threads laid on the surface. When it is -desired to have the over stitches invisible yet strong the Filo Silk -may be split and waxed. - - -IV. OUTLINE STITCHES. - -[Illustration: FIG. IV _a._ - -KENSINGTON OUTLINE STITCH.] - -_A._ =_Kensington Outline Stitch._=--Outline stitches, especially -the one known as "Kensington outline," form a very prominent part -in the work on linens. When the lines of designs are close very -satisfactory results are obtained by outlining alone. This embroidery -is very serviceable, and a housekeeper needs an ample supply of the -simple linens to insure freshness in the dining room and about the -toilet tables. Linens outlined in all white are very dainty, and all -blue or delft green monochromes are pretty for summer. The outline is a -hand embroidery stitch, so that the work is very convenient. The point -of care-taking lies in the fact that the outline must be accurately -followed. The stitch itself is a reverse backstitch. The work should -proceed from left to right. The needle should be brought up in the -outline, drawn out the full length of the thread, then sent down in -advance and carried out on the outline again a short distance in -front of the point at which it was put in. Again the needle should be -sent through in advance on the line, thus forming an unbroken, partly -double line on the face and a series of short backstitches on the wrong -side of the fabric. The thread must be kept always on one side of the -needle. It is more convenient to some workers to throw it back. See -Fig. IV _a_. - -[Illustration: FIG. IV _b._ - -BULGARIAN STITCH.] - -_B._ _=Bulgarian Stitch.=_--Two or more lines of outline stitch -laid parallel and close together is known as "Bulgarian Stitch." See -Fig. IV _b_. - -[Illustration: FIG. IV _c._ SPLIT STITCH.] - -_C._ _=Split Stitch.=_--An outline backstitch with the needle -brought up _through_ the previous stitch instead of beside it. See Fig. -IV _c._ - -[Illustration: FIG. IV _d._ STEM STITCH.] - -_D._ _=Stem Stitch.=_--This is also but a modification of the -outline. The backstitches are taken so as to slant slightly _in_ -towards the interior of the form, thus giving a little width to the -outline. It is necessary to take the stitches a little closer than the -cut would indicate in order to avoid spaces between them. This is a -very satisfactory way of working stems when it is desired that they -should have more width than the simple outline would give. See Fig. IV -_d._ - -[Illustration: FIG. IV _e._ TWISTED OUTLINE STITCH.] - -_E._ _=Twisted Outline Stitch.=_--This stitch should be worked in -a frame or hoop, and it will be found a most effective way of working -ribbed stems. A double thread of Filo is best adapted to the work. The -thread should be brought up on the outline its full length above the -framed fabric and the needle turned in the fingers until the thread is -well twisted, then holding the twisted thread over the fore-finger of -the left hand send the needle down a quarter of an inch in advance on -the line; bring it up again close beside the stitch thus laid, about a -third back on its length, then send it down again in advance. The width -of the stem should be covered with parallel lines of these stitches. -One line is not satisfactory, but two or more lie well together. The -stitches must be taken uniformly all on one side of the lines. They may -be much longer than those of the simple outline. See Fig. IV _e_. - - -V. WOUND STITCHES. - -_A._ _=Simple French Knot.=_--A very useful little stitch, -especially for flower centers, where it may be used to cover small -spaces or may represent the anthers. The thread is brought out its full -length and twisted round the needle near the point where it leaves the -fabric, the needle point is then inserted perpendicular to the ground, -the twist drawn against it and the needle pushed through to the eye. -Before drawing it through, the middle finger of the right hand should -be placed on the twist to insure the knot's lying firm on the surface. -Turn the thread around the needle but once for a fine knot or several -times for a coarse one. The simple French Knot is shown in Fig. V _b_. -by the single knot at the left of the illustration. - -[Illustration: FIG. V _b._ FRENCH KNOT, COMBINED WITH -STEM.] - -_B._ _=French Knot, Combined with Stem.=_--The French Knot with -tiny stern is made as one stitch. Instead of placing the knot at the -point where the thread leaves the ground material, it is placed at a -desired distance with the thread laid in a simple stitch on the ground -surface. This is a very satisfactory way to work flower centers. The -stamen, both filament and anther, is thus one stitch. See Fig. V _b_. - -[Illustration: FIG. V _c._ BULLION STITCH.] - -_C._ _=Bullion Stitch.=_--Made by twisting the thread on the -needle. When a coil is so formed the needle and thread are drawn -through it; it is then placed on the surface and the needle sent down -through the ground material to fasten it. This is a Turkish stitch and -in that embroidery is usually done in gold passing. See Fig. V _c_. - - -VI. BUTTONHOLE STITCHES. - -[Illustration: FIG. VI _a._ - -SIMPLE BUTTONHOLE STITCH.] - -_A._ _=Simple Buttonhole Stitch.=_--The Buttonhole Stitch is -capable of more elaborate work on its own account than is generally -supposed. Aside from the buttonhole scallop shown by Fig. VI _a_. which -is now so popular as a finish on linens and for which the Corticelli -Persian Floss and Corticelli EE Twisted Embroidery Silk are so -suitable, it has many possibilities in large work. It is also a hand -stitch and surfaces can be covered rapidly by its use, two points most -acceptable to amateurs. Short stitches laid close carry better color -effects than long ones far apart, although the color of the background, -which shows through the long stitches, has a large influence upon -the effect. Deep stitches in the buttonhole work must have a certain -proportionate space between them, for stitches more than a quarter of -an inch deep do not lie well close together. The line on which the loop -is to fall should be held toward one. The needle should be put in on -the opposite line of the width of the space to be covered and brought -out directly below on the lower line. The thread should lie in front of -the needle and under it, so that as it is drawn through and the stitch -laid the knot will lie formed. The work is done from left to right and -the stitches should be kept perpendicular. See Fig. VI _a_. - -[Illustration: FIG. VI _b._ BLANKET STITCH.] - -_B._ _=Blanket Stitch.=_--A wide-apart loose buttonhole stitch -used principally on flannels. Corticelli Etching Silk or Corticelli EE -Twisted Embroidery Silk is best suited for this work. See Fig. VI _b_. - -[Illustration: FIG. VI _c._ HONEYCOMB STITCH.] - -_C._ _=Honeycomb Stitch.=_--An adaptation of buttonhole stitch, -and is very nice for large work such as portieres. The first row of -stitches is laid like the blanket buttonhole, quite loose. The next -is fastened to the fabric only at the beginning and end of the row; -between these points the loop stitches are caught into the loops of the -first row, and so on with the succeeding rows, fastening through only -where the rows terminate against the outline. It is necessary to keep -the stitches very loose, as each row has a tendency to narrow. When -the form is covered draw the last row in place and fasten it by a row -of buttonhole stitches taken through the fabric like the first. It is -possible to work back and forth. It is well to reverse the needle and -send it through the loops eye end first, to avoid splitting the silk. -The same form of stitch may also be taken through the material. See -Fig. VI _c_. - -[Illustration: FIG. VI _d._ - -DOUBLE BUTTONHOLE STITCH.] - -_D._ _=Double Buttonhole Stitch.=_--A very pretty way of treating -narrow bars from one-half to three-quarters of an inch wide is to use -the double buttonhole stitch. Bring the needle up in the center of the -width of the bar the full length of the thread and take the regular -buttonhole stitch from this point over the upper line to a point a -little above the start; draw this stitch through. The point of the -needle in this case was directed _down_. Now put in the needle on the -lower line of the bar and send it _up_ to a point a little below the -start and a trifle to the right; keeping the thread to the right. Draw -the stitch through and proceed to make another from above like the -first, always keeping the thread to the right to form the loop. The -effect of this is that of a satin stitch on the top and bottom of the -bar with a braided line through the center. It is very effective and -pretty. The braid may be made wider by making the stitches shorter. See -Fig. VI _d_. - -[Illustration: FIG. VI _e._ - -LADDER STITCH.] - -_E._ _=Ladder Stitch.=_--Many of the lace stitches are buttonhole. -The "Ladder" for instance is two rows of buttonhole stitch a short -distance apart and parallel, connected by regular overcast stitches. -The ground material is cut away between the rounds or overcast lines. -The honiton lace is applied by buttonhole stitch, using Corticelli Lace -Embroidery Silk. Fig. VI _e._ shows the so-called ladder. - -[Illustration: FIG. VI _f._ CAT OR BRIER STITCH.] - -_F._ _=Cat, Brier, Coral, or Seamstress Feather Stitch.=_--An -alternate buttonhole loop first to the right and then to the left. The -loops may be alternated singly or in pairs, or in threes or fours. It -is almost too well known to need explanation. See Fig. VI _f_. (Also -see Sofa Pillow Design No. 508.) - - -VII. CHAIN STITCHES. - -The chain stitches are closely related to the buttonhole stitches. - -[Illustration: FIG. VII _a._ - -COMMON CHAIN STITCH.] - -_A._ _=Common Chain Stitch.=_--The common chain stitch may be said -to be the buttonhole stitch carried down a line by its length instead -of from left to right proceeding by its width. The consecutive stitches -are started from within the lower end of each preceding loop; a line of -link-like loop stitches will thus be formed. See Fig. VII _a_. - -[Illustration: FIG. VII _b._ ROPE STITCH.] - -_B._ _=Rope Stitch.=_--This is a modification of the common chain -stitch. It is commenced the same as the chain but the successive -stitches are taken by sending the needle down back of the last-loop -instead of through it. The loop is formed as in the chain. This makes -a very pretty ridged line when done in heavy silks such as Corticelli -Roman Floss or Rope Silk. See Fig. VII _b_. - -[Illustration: FIG. VII _c._ SINGLE REVERSE CHAIN -STITCH.] - -_C._ _=Single Reverse Chain Stitch.=_--To outline with the Reverse -Chain Stitch it is necessary first to lay a simple stitch on the -surface; bring the needle up below the end of this, at a distance of -the length of a stitch from it; now pass the needle, eye first, behind -the first stitch, not through the fabric; then draw through the length -of the thread, insert the point of the needle close beside the point -where it came up, and bring it out below again, the distance of the -length of the preceding stitch; again pass the needle back of the chain -loop, just laid, as it was in the first place passed back of the simple -stitch; continue these laid loops along the line to be covered. See -Fig. VII _c_. - -[Illustration: FIG. VII _d._ DOUBLE REVERSE CHAIN -STITCH.] - -_D._ _=Double Reverse Chain Stitch.=_--To form the double reverse -chain proceed in the same way to the point of the first "single reverse -chain stitch," but instead of sending the needle down the distance -of a stitch below, insert it the same but bring it out just to the -right or at about the point where the thread leaves the fabric. Draw -this tiny stitch through and pass the needle again back of the simple -stitch, thus forming a double loop. Send it down again on the point -to the left of the start and out the length of a stitch below on the -outline. The next stitches are taken in the same way, passing the -needle back of the loops as in the first case back of the simple -stitch. See Fig. VII _d_. - -[Illustration: FIG. VII _e._ DOUBLE CHAIN STITCH.] - -_E._ _=Double Chain Stitch.=_--Formed by laying two rows of simple -chain parallel to each other and catching them together by a regular -over stitch passed through the inner edges of each of the two rows -alternately. See Fig. VII _e_. - -[Illustration: FIG. VII _f._ CABLE STITCH.] - -_F._ _=Cable Stitch.=_--Similar to the rope stitch. The difference -lies in sending the needle down a little below the point where the -thread leaves the ground material at the base of the loop instead of -back or within the loop. This forms a chain of open links. See Fig. VII -_f._ - -[Illustration: FIG. VII _g._ BEADING STITCH.] - -_G._ _=Beading Stitch.=_--A chain stitch taken horizontally over -the thread as it is carried along an outline, thus forming a knot at -regular spaces on a seemingly placed line of the silk. See Fig. VII _g_. - -[Illustration: FIG. VII _h._ BIRD'S EYE STITCH.] - -_H._ _=Bird's Eye Stitch.=_--Formed like the chain loops -but grouped about a center. Small radiating devices can be very -successfully embroidered in this way; the effect of small petals as in -daisies is very good. The loop is fastened by a tiny stitch at its base -and the needle again brought out at the center. See Fig. VII _h_. - -The "Tambour Stitch" is the chain executed with a small hook, which is -pushed up and down through the fabric. It is a Turkish embroidery and -very like machine work. There are various other modifications of these -chain stitches. - - -VIII. DARNING STITCHES. - -Darning is a very satisfactory sort of embroidery. In this work the -greater part of the silk is laid on the right side of the material so -that it carries large masses of color. Darning is generally considered -a filling embroidery and is often used in background work. Backgrounds -darned around a design may be made very artistic. - -[Illustration: FIG. VIII _a._ SIMPLE DARNING STITCH.] - -_A._ _=Simple Darning Stitch.=_--The simple darning stitch is -a short stitch on the back and a long one on the face "running" on -a straight line, the second row alternating with the first in the -positions of the long and short stitches, and lying parallel to it. -Care and practice are necessary to make these rows of equal tension. -They should keep their straight direction and terminate where they meet -the outline. There are ways of accommodating them to the outline when -they are used within the design. See Fig. VIII _a_. - -[Illustration: FIG. VIII _b._ BRICK DARNING STITCH.] - -_B._ _=Brick Darning Stitch.=_--If it is desirable to increase the -color effect the first series of rows may be crossed at right angles -by a similar series. This is known as the "Brick Darning Stitch." The -straight bars should be laid by darning one way and back, alternately. -By a little planning very pretty coloring may be gained through -relating the background shade to the imposed work. See Fig. VIII _b_. - -_C._ _=Seed Stitch.=_--This may be considered a darning stitch, -having however the short stitches on the surface and the long ones on -the back. This is largely used in combination with satin stitch for -lettering. (See Designs Nos. 612 A, B, D, E, and F.) - -[Illustration: FIG. VIII _d._ - -QUEEN ANNE STITCH.] - -_D. =Queen Anne Stitch.=_--Another form of darning is the "Queen -Anne Stitch." In this the silk is not sewed through the fabric but -first laid in long parallel lines from side to side of the outline, -then crossed at right angles by weaving in threads alternately. This is -rather mechanical and not so artistic as the first method, though we -may see very curious examples of it in the old English embroideries. -See Fig. VIII _d_. - - -IX. FANCY STITCHES. - -There are many other so-called "fancy stitches." Among them the pretty -"Herringbone" and its modifications are worthy of note. - -[Illustration: FIG. IX _a._ HERRINGBONE STITCH.] - -_A._ _=Herringbone Stitch.=_--A short stitch taken from right to -left, and as it proceeds the thread is drawn to the right and the work -is carried in this direction. It is essentially a cross stitch. See -Fig. IX _a_. - -[Illustration: FIG. IX _b._ ISMIT STITCH.] - -_B._ _=Ismit Stitch.=_--A slight difference in the plan of taking -a stitch changes the entire effect. This is obvious in the "Ismit -Stitch." It is taken exactly as the herringbone and the radical -difference in the result is due simply to making the lines meet at -a point. See Fig. IX _b_. When the lines are very long they may be -fastened by couching stitches at the intersections. - -[Illustration: FIG. IX _c._ JANINA STITCH.] - -_C._ _=Janina Stitch.=_--A very satisfactory way of filling in -the petals of conventional flowers or flower forms. It may be used -with really beautiful effect on the canvas materials with Corticelli -Roman Floss or Rope Silk. It is also a good method for filling bars -on borders. While it is not heavy unless worked close, it carries a -decided color effect. It is one of the prettiest of the conventional -stitches. See Fig. IX _c_. - -[Illustration: FIG. IX _d._ BORDER STITCH.] - -_D._ _=Border Stitch.=_--This stitch is not unlike herringbone. -It is however carried perpendicularly, while herringbone proceeds -horizontally. The side or fastening stitches of the border work are -very short. See Fig. IX _d_. - - -_"Doily" or "Doiley."_ - -The Inland Printer, a journal devoted to the printing and publishing -trades, and a magazine generally considered authority on questions -of orthography gives the proper spelling as "doily." The following -explains itself. - -Question.--Kindly give us the correct spelling of the word variously -printed as "doily" and "doiley," and also the plural of the same. There -has been considerable discussion in regard to the proper way to spell -this word, and we will leave you to render the final verdict. - -Answer.--Our final verdict in this case is simply that of all the -dictionaries. Every one of them enters the word as "doily," and -they are right in doing so, because, though the name from which it -is derived was variously spelled as "Doily" and "Doyley," and maybe -otherwise also, it is well to select one spelling--presumably the -prevalent one--for the common name. At any rate, this is what the -lexicographers have done, and no good reason to dissent from their -choice is apparent. The plural of the form chosen is "doilies." - -FOOTNOTES: - -[Footnote 2: Copyright, 1897, by Mrs. L. Barton Wilson. All rights -reserved.] - -[Footnote 3: The ancient Phrygian workers who introduced this -embroidery into Rome were accustomed to represent by it figures, -chiefly of birds, and likely this is the source of its name. The name -might also have been suggested by the effect of the stitch itself, -which is that of close, evenly laid plumage.] - - - - -_Centerpieces and Doilies._ - - * * * * * - -_Bulgarian Centerpiece Design No. 55_, - -AND SET OF 3 DOILIES, NOS. 55A, 55B, AND 55C. - -COLORED PLATE VII. - -BY L. BARTON WILSON. - - _Materials_: Corticelli Filo Silk, 6 skeins each 526, 626; 4 skeins - 123; 3 skeins 645; 2 skeins each 125, 128, 130, 527; 1 skein each - 126, 528, 542, 544. Corticelli Etching Silk, 12 skeins each 626, - 645; 4 skeins 612. Dealers can furnish stamped linen of this design - in 22 inch size. They can also furnish stamped linen 7 and 9 inches - square of the set of three doily designs (Nos. 55A, 55B, 55C), to - match this centerpiece. See page 92. - - -[Illustration: BULGARIAN CENTERPIECE DESIGN NO. 55.] - -The Bulgarian embroidery as we know it on the brown linen squares -is valuable chiefly for its durability and pleasing coloring. These -squares embroidered in the bright cottons make beautiful cushions -and their use with Turkish rugs and hangings is very appropriate. -The stitching is effective rather than accurate. The figures of the -characteristic designs are crude, but they are full of suggestions and -it is possible in carrying out these to obtain most graceful and dainty -drawings. When they are adapted to fine white linens and embroidered in -silks the result is at once orientally rich and sufficiently dainty for -table use. - -Heavy colorings are more and more to be urged for centerpieces and -doilies which are to be placed under gas light. The color combinations -for this set may seem at first startling, but when the shades are -properly distributed the result is rich and harmonious. - -[Illustration: BULGARIAN DOILY NO. 55 A.] - -Border.--Buttonhole the scalloped edge in blue and gold brown -Corticelli Etching Silk, using shades 626 and 645 alternately for each -scallop. One connecting scallop should be blue and the next one yellow. -The inner edge of scallops should be outlined in Black Etching Silk, -612, also the straight lines enclosing the scroll and the bars of the -doilies. The same Blue, 626, in Corticelli Filo Silk with Brown, 526, -may be used for the scroll. Keep the blue on one edge and the brown on -the other. Embroider in the "overlap" long and short stitch. Work the -little trefoils within the scallop in satin stitch with Pink, 128, 130, -and cross-bar them alternately with the scallop colors. See Colored -Plate VII. - -[Illustration: BULGARIAN DOILY NO. 55 B.] - -[Illustration: BULGARIAN DOILY NO. 55 C.] - -Flower and Leaf Forms.--These should carry the colors of the edge with -a few in addition. Use in the leaf forms, in combination with Brown, -526, 527, and 528, the Greens 123, 125, and 126. In the flower forms -use beside the blue and yellow, Pink, 128 and 130, and Red, 542 and -544. The leaf forms should be embroidered in long and short stitch. -The flower forms may be made altogether or nearly solid or filled with -feather stitch or satin stitch diapered. The satin stitch may be done -in Filo Silk cross-barred with the Etching Silk. Distribute the colors -in masses, that is, confine certain colors to certain forms, _combine_ -the colors rather than mix them. The effect of cross-bar diapering in -the flower forms of these figures is very pretty and the work is firm -as well. - -Corticelli Filo Silk alone should be used in the figures of the doilies -even for the cross-barring, though the scallops and black lines should -be of the Etching Silk. It is possible to introduce the red into the -doily scallops in the little connecting points and to so combine the -colors as to make all the edges different. Four of each of the doily -designs form the dozen, and these may be still further varied by a -little planning as to color schemes. The centerpiece and doilies may -be embroidered with good effect in simple outline or rows of outline, -known as the "Bulgarian stitch." If desired the entire work on the -centerpiece may be done with Corticelli Etching Silk, and the effect -will be really very beautiful, and novel as well, but the figures of -the doilies are too small for such treatment. (Not Difficult.) - -[Illustration: CORTICELLI BULGARIAN DESIGN NO. 55. COLORED -PLATE VII.] - -[Illustration: CORTICELLI JAPANESE DESIGN NO. 51. COLORED -PLATE VIII.] - - -_Japanese Design No. 51._ - -COLORED PLATE VIII. - -BY EMMA HAYWOOD. - - _Materials_--22 inch Size: Corticelli Filo Silk, 4 skeins, 779.5; 2 - skeins each 655.7, 525.7, 525.8, 525.9, 655.8, 655.9, 656, 780; 1 - skein 115. Corticelli Persian Floss, 8 skeins 780. - - _Materials_--9 inch Size: Corticelli Filo Silk, 1 skein each of - above shades. Corticelli Persian Floss, 2 skeins 780. Dealers can - furnish stamped linen of this design in 9, 12, 18, and 22 inch - sizes. See page 92. - -It has been aptly said of Japanese designers that they know how to -occupy a space without filling it, thus producing very beautiful -effects with little labor. This remark applies well to this design, -since it can be quickly worked, and it will prove very charming and -effective for either a centerpiece or doily. - -[Illustration: JAPANESE DESIGN NO. 51.] - -Border.--Work in indented (long and short on the inside) buttonhole -stitch in two shades of pale soft green. For the outside edge use -Corticelli Persian Floss, 780; into this blend Filo Silk, 779.5, still -keeping the indented effect in the shading. - -Almond Blossoms.--Work solid, beginning the edges of petals with -Corticelli Filo Silk, 656, shading lighter to the center, using 655.9, -655.8, 655.7. In the center of the flower make French knots in Golden -Brown, 115. - -Stems.--Work solid in shades of Golden Brown, 525.7, 525.8, 525.9. The -shading should be darker near the flowers and at the bottom of the stem -than elsewhere. Use the lighter shades for working the small stems -branching out from the main stalk. - -Calyx and Small Buds.--Use Green, 780, for the upper part and Brown, -525.7, near the stems. - -The work should be pressed before the edge is cut. If desired a double -strand of Corticelli Filo Silk may be used for working the blossoms -and stems. Great care must be taken, however, not to allow the strands -to twist around each other. They should lie side by side, giving their -full value. Even when working with a single strand great attention -should be paid to keeping it from twisting. Keep it in its normal -condition by occasionally untwisting; otherwise it will become like a -wisp and all the beautiful gloss of this lovely silk will soon be lost. -(Easy.) - - -_Pansy Design No. 603 A._ - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each 507, - 644.8, 645, 649.9, 650, 651, 652, 653, 654, 729.5, 754, 778, 781, - 782, 783, 784. Corticelli Persian Floss, 6 skeins 615. Dealers can - furnish stamped linen of this design in 22 inch size. See page 92. - -[Illustration: PANSY DESIGN NO. 603 A.] - -Border.--Work the scallop in buttonhole stitch with Persian Floss, 615. -Work the cross-bar in the four corners in border in outline stitch with -one thread of Filo in Brown, 644.8. Where the lines meet make a cross -stitch in Brown, 645. In the center space between the bars make an X -in Brown, 778. See Colored Plate IX for method of working border and -cross-bar. - -Flowers.--Work solid in Purple, 649.9, 650, 651, 652, 653, 654, 729.5. -Begin edge of upper petals with 649.9, shading gradually darker to the -center with 650, 651, 652. Work the edge of the three lower petals with -651, and shade gradually darker to center, using 652, 653, 654, 729.5. -Put a few stitches of Yellow, 507, in the center. - -Leaves.--Work solid in Green, 781, for points. Shade darker toward -the center, using 782, 783, and for veins, 754. Some leaves should be -worked with 781 on edge, 754 for center, and work veins with 784. - -Scroll Lines and Cross-bar.--Outline the cross-bar lines with 645 and -the scroll with 646. - -A study of Pansy Design 605 B, Colored Plate I (Frontispiece), will -give some hints as to how the pansies should be shaded, although the -coloring is different. (Somewhat Difficult.) - - -_Violet Design No. 603 C._ - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 725, - 727, 728, 781, 782; 1 skein each 506, 644.8, 645, 729, 778, 783. - Corticelli Persian Floss, 6 skeins 615. Dealers can furnish stamped - linen of this design in 22 inch size. - -[Illustration: VIOLET DESIGN NO. 603 C.] - -Border.--Work the scallop in buttonhole stitch with Persian Floss, 615. -Work the cross-bar in the four corners in the border in outline stitch -with one thread of Filo, Brown, 644.8. Where the lines meet make a -cross stitch in Brown, 645. In the center space between the bars make -an X with Brown, 778. See Colored Plate IX for method of working border -and cross-bar. - -Flowers.--Work solid in the shades of violet, making some flowers -lighter than others. Work some of the petals darker on the edge and -lighter toward the center, and reverse, some lighter on the edge and -darker toward the center. Make a few solid stitches of yellow in the -center of the open flowers. Work the buds solid in 728, 729, and the -calyx solid with Green, 782. - -Leaves.--Work the edge and points with 781 and shade darker to the -center with 782. Use 783 for veins and stem. (Easy.) - - -_Wild Rose Design No. 603 E._ - -COLORED PLATE IX. - -By AMALIA SMITH. - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 636, - 655.7, 781, 782; 1 skein each 504, 637, 638, 639, 640, 644.8, 645, - 755, 778, 780, 783. Corticelli Persian Floss, 6 skeins 615. Dealers - can furnish stamped linen of this design in 22 inch size. - -Border.—--Work the scallop in buttonhole stitch with Persian Floss, 615. -Work the cross-bar in the four corners in border in outline stitch with -one thread of Filo in Brown, 644.8. Where the lines meet make a cross -stitch in Brown, 645. In the center space between the bars make an X -in Brown, 778. See Colored Plate IX. - -[Illustration: WILD ROSE DESIGN NO. 603 E.] - -Flowers.--Work solid. Begin the edge of petals of open flowers with -Pink, 639. Shade lighter to the center, using 636, 637, 638, 655.7. -Make some lighter and some darker. Put three stitches of Green, 780, in -the center, and surrounding center but 1/4 inch away make a few French -knots in Yellow, 504. Work the back petals in the half flowers with -Pink, 639, 640, and the front petals or those in the foreground with -637, 638, 639. - -Buds and Calyx.--Work the buds with Pink, 639, 640, and the calyx -points with Green, 780, 781. For the bulb and stem use 782. - -Leaves.--Work solid. For the edge and points use 781, shading toward -the center with 782, 783. The veins and stem work with 783, 755. - -The Wild Rose is always a popular subject for embroidery, and even a -beginner should have no difficulty in working the design as the Colored -Plate IX gives the exact shading and stitch direction, (Easy.) - - -_Sweet Pea Design No. 603 F._ - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each - 644.8, 645, 678, 679, 680, 673, 674, 726.5, 727, 778, 780, 781, - 782, 783. Corticelli Persian Floss, 6 skeins 615. Dealers can - furnish stamped linen of this design in 22 inch size. See page 92. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615. Work the cross-bar in the four corners in the border -in outline stitch with one thread of Corticelli Filo Silk, Brown, -644.8. Where the lines meet make a cross stitch in Brown, 645. In the -center space between the bars make an X with Brown, 778. See Colored -Plate IX for method of working border and cross-bar. - -[Illustration: CORTICELLI WILD ROSE DESIGN NO. 603 E. - -COLORED PLATE IX.] - -Flowers.--Work solid in shades of purple and pink Corticelli Filo Silk. -Begin some flowers with Pink, 680, shading gradually lighter toward the -center with 679 and 678. In others combine purple and pink. Begin with -674 and shade gradually to light pink; then darker toward the center, -or reverse, using different shades in each flower. Reference to the -Colored Plate of Sweet Pea Design 407G will be found quite a help in -getting the proper shading, although the colors used are not identical -with those suggested for this design. - -[Illustration: SWEET PEA DESIGN NO. 603F.] - -Leaves.--—Work the points with Green, 781, shading darker toward the -center with 782, 783. Work the veins and stems in 783. For the tendrils -use 780. (Difficult.) - - -_Pansy Design No. 605 B._ - -COLORED PLATE I. - -(Frontispiece.) - -BY AMALIA SMITH. - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 725, - 727; 1 skein each 645, 726, 728, 729, 729.5, 740, 741, 742, 743, - 743.5 743.7, 754, 766, 780, 781, 782. Corticelli EE Embroidery - Silk, 6 skeins 615. Smaller pieces take less silk. Dealers can - furnish stamped linen of this design in 18 and 22 inch sizes. See - page 92. - -[Illustration: PANSY DESIGN NO. 605 B.] - -Pansies always have a peculiar charm of their own, and as subjects for -embroidery afford opportunity for very skillful, as well as artistic, -treatment. The range of color is so varied and the possibility of -pleasing combinations is so great that the following instructions are -given simply as a suggestion. However, the directions will be found -ample for the less experienced needleworker who does not care for a -color scheme of her own. - -Border.--Work the scallop in buttonhole stitch with Corticelli EE -Embroidery Silk, White, 615; or Persian Floss, 615, can be used. - -Flowers.--Work solid in combination of Purple, 725, 726, 727, 728, -729, 729.5, and Yellow, 740, 741, 742, 743, 743.5, 743.7. It would be -effective to work some flowers all in purple, others in yellow with -purple rays. Commence with the two upper back petals of the open flower -nearest to the border. Work the edge of the petal with Yellow, 743; -shade into that 743.5, 743.7, and use 645 near the center for shadow. -Begin the edge of the three lower petals with 743, shading lighter to -the center with 742, 741, 740. See Colored Plate I (Frontispiece). To -lend variety the three lower petals in some yellow flowers can be made -lighter on the edge and darker toward the center. - -From the center of the flower, extending into the three lower petals -make rays of Purple, 729. Work a few solid stitches of Scarlet, 766, in -the center of the flower. Now begin with the two upper back petals of -the purple flowers using 728 for edge of the petal, shading gradually -darker to the center with 728, 729, and make a few stitches of 729.5 in -rays, and as shadows. Begin the edge of the lower petals with 725 and -gradually shade darker to the center, making rays in the three lower -petals with 729.5. Work a few solid stitches of Scarlet, 766, in the -center of the flowers. See Colored Plate I (Frontispiece) for shading -and proper direction of the stitches. - -Buds and Calyx.--Work the buds solid, using 727, 728, 729. Work the -edge with 727 and shade gradually darker to the stem, using a little -of 729.5 near the stem. Work the points of the calyx in Green, 781, -shading toward the stem with 782 and 754. - -Leaves.--Work the points of the leaves solid, in 780, shading gradually -darker toward the midvein and base of the leaf, using 781, 782. -(Difficult.) - - -_Garland Wild Rose and Forget-me-not Design No. 54._ - -BY ALICE C. MORSE. - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 623, - 624, 637, 638, 639, 640, 741, 742, 805, 806; 1 skein each 504, - 625, 626, 780, 807, 808. Corticelli Persian Floss, 8 skeins 616.5. - Smaller pieces take less silk. Dealers can furnish stamped linen of - this design in 18 and 22 inch sizes only. See page 92. - -This garland design when embroidered will be a surprise to any one -who has never tried a similar pattern. The coloring has a very rich, -subdued tone which is quite different from that found in any other -style of design. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, 616.5. - -Wild Roses.--Work solid, using all the shades of Pink Corticelli Filo -Silk, 637, 638, 639, 640, working the edge of the petals dark, shading -gradually lighter toward the center of the flowers. Use three shades in -each flower. Vary the flowers, making some darker than others. In the -center work four or five stamens with one thread of Filo, 780, and at -the end of each stamen make a French knot with Yellow, 504. (See Photo -Frame No. 60.) - -[Illustration: GARLAND WILD ROSE AND FORGET-ME-NOT DESIGN NO. -54.] - -Forget-me-nots.--Work in satin stitch with Blue, 623, 624, 625, 626. -Don't try to shade each petal, but get light and shade effect by making -some petals in 623, some in 624, etc. Use 626 for an occasional petal -only, as the color is rather strong. Work in the centers one French -knot with 742. - -Leaves.--Work solid with Green, 805, 806, 807, 808. Make the larger -leaves in the darker shades; the points of the leaves in 805. Veins and -stems work with 808. - -Ribbons.--Work in satin stitch, slanting across the ribbon, using -Yellow, 741, 742. To give the effect of the twisted ribbon, work one -turn of the ribbon with 741, the next fold with 742, and so on. If you -prefer, Green, 125, 126, 127, can be used for the ribbon, carrying out -the same idea as directed above. (Somewhat Difficult.) - - -_Easter Lily Design No. 605 D._ - -COLORED PLATE X. - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 615, - 692.8, 781, 782; 1 skein each 506, 661, 662, 663, 780, 783, 784. - Corticelli Persian Floss, 6 skeins 615. Smaller sizes take less - silk. Dealers can furnish stamped linen of this design in 18 and 22 - inch sizes. See page 92. - -[Illustration: EASTER LILY DESIGN NO. 605 D.] - -Border.--Work in buttonhole stitch with Corticelli Persian Floss, 615. - -Flowers.--Work solid, beginning the edge of the petals with Corticelli -Filo Silk, White, 615, shading into it Green, 692.8, 661, 662, using -663 for the center. Work six or seven stamens in 781, putting three -small stitches of Yellow, 506, at the end of each to form the top or -head. Work the point of the buds with Green, 692.8, shading darker with -661, 662, 663, to the stem. See Colored Plate X. - -Leaves.--Work solid, with Green, 781, for points, and shading gradually -darker with 782, 783, and 784 to the stem. The leaf is worked straight -from the point without veins. Use Green, 782, for the stems. When well -done the shading in this design is very delicate. (Not Difficult.) - - -_Orchid Design No. 605 F._ - -COLORED PLATE XI. - -BY AMALIA SMITH. - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 725, - 726, 781, 782; 1 skein each 650, 651, 652, 676, 780, 783, 784. - Corticelli Persian Floss, 6 skeins 615. Smaller sizes take less - silk. Dealers can furnish stamped linen of this design in 18 and 22 - inch sizes. See page 92. - -[Illustration: ORCHID DESIGN NO. 605 F.] - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615. - -Flowers.--Make a few stitches at the middle of the point of each petal -with Corticelli Filo Silk, Purple, 676, shading toward the bottom of -the petal with 652, 651, 650, 726, 725. Begin back edge, or lip, of cup -with 651, shading darker toward the center with 652, 676. Do the front -lip in similar manner, but use 650 for the edge and 651 to shade toward -the center. Under the lip make the shadow with 676. From the center of -the cup make a pistil in Green, 781. Careful study of Colored Plate XI -will show the proper shading and correct direction of the stitches. - -Leaves.--Work solid, using 780 for the point and shading gradually -darker with 781, 782, 783, 784. Work the stems near the flower, with -783, shading darker with 784 toward the base of stem. (Somewhat -Difficult.) - -[Illustration: CORTICELLI ORCHID DESIGN NO. 605 F. - -COLORED PLATE XI.] - -[Illustration: CORTICELLI EASTER LILY DESIGN NO. 605 D. - -COLORED PLATE X.] - - -_Buttercup Design No. 610 B._ - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each 502, - 504, 505, 506, 507, 582, 753, 754, 755, 781. Corticelli Persian - Floss, 5 skeins 615. Smaller sizes take less silk. Dealers can - furnish stamped linen of this design in 9 and 22 inch sizes. See - page 92. - -[Illustration: BUTTERCUP DESIGN NO. 610 B.] - -Turning over one of the corners adds to the novelty of this design and -the 9 inch size makes an especially dainty doily. The 22 inch size is -for a centerpiece. - -Border.--Work the scallop in buttonhole stitch with Corticelli -Persian Floss, 615. One corner is turned under on the wrong side and -buttonholed on the right side through both thicknesses of linen. -Work the straight line, or slit, in the turned over corner in fine -buttonhole stitch with Corticelli Persian Floss, 615. The stems, which -apparently come through the slit, should be worked in outline stitch -with Filo Silk, Green, 755. Colored Plate V. - -Flowers.--Make the edge with Corticelli Filo Silk, Yellow, 507, shading -lighter to the center with 506, 505, 504, 502. Some flowers should be -darker than others. In the center of the flower work a few stitches of -Green, 781, and around these stitches make a few French knots in 781 -also. For the back petals of the buds use 507, shading lighter to the -stem with 506, 505. Use Green, 582, for the points of calyx, and shade -573 into the stem, using this shade also for a part of each stem. - -Leaves.--Make the points in Green, 781, shading gradually to midvein -with 582, 753, 754. Omit 781 in some of the leaves, thus making them -darker, and adding 755 at the bottom of the leaf. Use 755 for the -stems. (Easy.) - - -_Carnation Design No. 610 C._ - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each - 635.5, 636, 637, 638, 640, 780, 781, 782, 783. Corticelli Persian - Floss, 5 skeins 615. Smaller sizes take less silk. Dealers can - furnish stamped linen of this design in 9 and 22 inch sizes. See - page 92. - -These turned corner patterns are very simple, taking but a small -quantity of silk and little time to work them. - -[Illustration: CARNATION DESIGN NO. 610 C.] - -Border--Work the scallop in buttonhole stitch with Corticelli -Persian Floss, 615. One corner is turned under on the wrong side and -buttonholed on the right side through both thicknesses of linen. -Work the straight line, or slit, in the turned over corner, in fine -buttonhole stitch with Corticelli Persian Floss, 615. The stems, which -apparently come through the slit, should be worked in outline stitch -with Green, 783. Colored Plate V. - -Flowers.--Begin the edge of the petals with 640, shading gradually -lighter toward the calyx with 638, 637, 636, 635.5. Make some petals -lighter than others by omitting 638, using only 637, 636, 635.5. For -the calyx use Green, 780 and 781, shading darker to the stem with 783. - -Leaves.--Work solid, using 780 for the points and shading gradually -darker with 781 and 782. Work the stems with 783. (Easy.) - - -_Bohemian Glass Design No. 606 B._ - -COLORED PLATE XII. - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins 615; 1 - skein each 542, 644.6, 644.7, 644.8, 646, 649.9, 650, 651, 780, - 781, 782, 783. Corticelli EE Embroidery Silk, 6 skeins 615. Smaller - sizes take less silk. Dealers can furnish stamped linen of this - design in 12, 18, and 22 inch sizes. See page 92. - -Border.--Work the scallop in buttonhole stitch with Corticelli EE -Embroidery Silk, White, 615. Work the scrolls near the border in -outline stitch with Filo Silk, Brown, 644.8. See Colored Plate II. -Between the lines work innumerable small stitches with 946 to represent -seeds. (See article on Stitches--"Seed Stitch.") - -Pointed Figure.--Cross-bar the center of the pointed figure running -inward from the border with 644.7, catching down the lines where they -intersect with 646, and outline the figure with the same shade. See -Colored Plate XII. - -[Illustration: CORTICELLI BOHEMIAN GLASS DESIGN NO. 606 B. - -COLORED PLATE XII.] - -[Illustration: CORTICELLI NASTURTIUM DESIGN NO. 607 A. - -COLORED PLATE XIII.] - -Flowers.--Work solid in Violet, 649.9, 650, 651, making each flower in -one shade, choosing the lighter shades for the flowers having five -petals and making the flowers in the rear of the bunch in the darker -shades. Put one French knot in the center of the open flower, using -Green, 780. See Colored Plate XII. - -[Illustration: BOHEMIAN GLASS DESIGN NO. 606 B.] - -Leaves and Vine.--Begin point of leaf with Green, 780, shading to -center with 781, 782. Make some of the leaves darker by omitting 780. -Work the veins and stems with 783. Along the vine work in seed stitch -several groups of three or four little dots each, using Red, 542. - -Inside Scrolls.--Work solid, making ends or points in Brown, 644.6, -shading darker in the middle with 644.7, 644.8. For the shadow on each -side of the fold use 646. For the half circle scroll use 644.6. Make -the points of the Fleur-de-lis in White Filo, 615, shading darker to -base with Brown, 644.6, 644.7, 644.8. Work the round dot solid in 646. -(Not Difficult.) - - -_Nasturtium Design No. 607 A._ - -COLORED PLATE XIII. - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 782, - 783, 809, 812; 1 skein each 743.6, 743.7, 779, 781, 784, 813, 814. - Corticelli Persian Floss, 6 skeins 615. Smaller sizes take less - silk. Dealers can furnish stamped linen of this design in 9, 12, - 18, and 22 inch sizes. See page 92. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615, working the shell shaped scallop long and short on -the inside. Into this shade work 809, using one thread of Filo Silk, -still leaving the indented effect (alternate long and short stitches) -on the inside. See Colored Plate III. Work the scroll near the border -in seamstress feather stitch or outline stitch with Green, 781. - -[Illustration: NASTURTIUM DESIGN NO. 607 A.] - -Flowers.--Work solid. Begin the edge with 814, using 813, 743.7, 743.6, -812, 809, toward the center. Make some flowers lighter than others. All -the shades mentioned are not required for each flower. In each petal of -the open flower make three rays in Brown, 779. The part of the calyx -shown between the petals work in Green, 782. See Colored Plate XIII. -Use 814 for the edge of the buds, shading lighter to the calyx with -813, 743.7. Put a touch of 743.7 at the end of calyx, work remaining -part in 781, 782, using the lighter shade nearest the petals. - -Leaves.--Work each leaf in one shade of Green, making all the stitches -come to the center. Use 781 for the small leaves, and 782, 783, for the -larger ones. For stems and veins use 784, and for the small buds 781. -(Not Difficult.) - - -_Bachelor's Button Design No. 607 B._ - -COLORED PLATE XIV. - -[Illustration: BACHELOR'S BUTTON DESIGN NO. 607 B.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 661, - 744; 1 skein each 662, 663, 664, 675, 745, 746, 781. Corticelli - Persian Floss, 6 skeins 615. Smaller pieces take less silk. Dealers - can furnish stamped linen of this design in 9, 12, 18, and 22 inch - sizes. See page 92. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615. The edge of the shell scallop in the border should -be worked with 615. Into this white shade Corticelli Filo Silk, Blue, -744, leaving a long and short effect on inside. See Colored Plate III. -The scroll near the border should be worked with Green, 661. - -[Illustration: CORTICELLI BATCHELOR'S BUTTON DESIGN NO. 607 B. - -COLORED PLATE XIV.] - -Flowers.--Work solid. Begin the edge of the petals with Corticelli Filo -Silk, Blue, 746, shading lighter to the center with 745 and 744. Fill -the center with stamens in Red Purple, 675, placing a French knot at -head of each stamen in Green, 781. See Colored Plate XIV. Work the part -of calyx nearest the petals with Green, 662, and that nearest the stem -with 663. Over this green make a few stitches like an inverted V "Λ," -in 675. Work the seed pod in the same shades as the calyx, putting a -few stitches in 675 on the edges as shown by Colored Plate XIV. - -Leaves.--Work solid, making the points in 661, shading gradually darker -to the center with 662, 663. For the stem use 664, making two lines of -stem stitch, or use outline stitch, but slant the stitches more than -usual. (Not Difficult.) - - -_Red Clover Design No. 607 C._ - -COLORED PLATE XV. - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each - 655.7, 678, 679, 782, 783; 1 skein each 680, 682, 781. Corticelli - Persian Floss, 6 skeins 615. Smaller pieces take less silk. Dealers - can furnish stamped linen of this design in 9, 12, 18, and 22 inch - sizes. See page 92. - -[Illustration: RED CLOVER DESIGN NO. 607 D.] - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615. The shell shaped scallop buttonhole irregularly long -and short on the inside. Over this work Corticelli Filo Silk, Pink, -655.7, into which shade Pink, 678, leaving a long and short effect on -the inside. See Colored Plate III. The scroll near the border can be -done in either outline or seamstress feather stitch in Green, 781. - -Flowers.--Work solid in shades of Pink, 655.7, 678, 679, 680, 682. -Use only one shade for a petal. Make the back petals in 679, 680; the -middle or center petals with 655.7, 678; and those nearest the stem in -680, 682. Be careful to keep the petals separate. See Colored Plate XV. - -Leaves.--Work the leaves under the flower solid with green, using 782 -for the edge, and 781 for the crescent or horseshoe. At the base of the -leaves near the stem work a few stitches of 783, using the same shade -for the stems. (Easy.) - - -_Chrysanthemum Design No. 607 D._ - -[Illustration: CHRYSANTHEMUM DESIGN NO. 607 D.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 506, - 507, 508, 781, 782, 783; 1 skein each 504, 505, 616.5, 784, 813, - 814. Corticelli Persian Floss, 6 skeins 616.5. Smaller pieces take - less silk. Dealers can furnish stamped linen of this design in 9, - 12, 18, and 22 inch sizes. See page 92. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 616.5. Buttonhole the shell scallop long and short on the -inside, and over this work one thread of Corticelli Filo Silk 616.5, -leaving a long and short effect on the inside. See Colored Plate No. -III. The scroll near the center work in outline stitch with 813. - -Flowers.--Begin the edge of the petals in Yellow, 504, shading darker -to the base of petal with 505, 506, 507, 508, 813, 814. It is not -necessary to use all these shades in every petal; make some lighter and -some darker. Work the center of the full flower in 504. For the petals -that curl inward and over the center use 508, shading darker to base -with 813, 814. Work the edge of petals of buds in 507, shading darker -toward the calyx with 508, 813, 814. Use Green, 781, for the points of -calyx, shading darker towards the stem with 782, 783. - -Leaves.--Work the edges with 781, shading darker toward the center with -782, 783. Vein with 784. Work the stems in two rows of stem stitch with -784. (Not Difficult.) - - -_Buttercup Design No. 607 E._ - -COLORED PLATE XVI. - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each - 504, 505, 506, 507, 754, 781; 1 skein 503, 782. Corticelli Persian - Floss, 6 skeins 615. Smaller pieces take less silk. Dealers can - furnish stamped linen of this design in 9, 12, 18, and 22 inch - sizes. See page 92. - -[Illustration: CORTICELLI CLOVER DESIGN NO. 607 C. - -COLORED PLATE XV.] - -[Illustration: CORTICELLI BUTTERCUP DESIGN NO. 607 E. - -COLORED PLATE XVI.] - -[Illustration: BUTTERCUP DESIGN NO. 607 E.] - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615. Work the shell scallop in buttonhole stitch, long -and short on the inside; work over the white with one thread of -Corticelli Filo Silk, Yellow, 503, leaving on the inside a long and -short effect. See Colored Plate III. - -Flowers.--Work solid. Begin the edge of the petals with Yellow, 507, -shading lighter to the center with 506, 505, 504, 503. Some flowers -should be darker than others. In the center of the flower work a few -stitches of Green, 781, and around these stitches make a few French -knots in 781 also. See Colored Plate XVI. - -Leaves.--Work solid. Begin the points with 781, and shade into 754 -toward the center. Work the stems in outline stitch with Green, 754. -(Easy.) - - -_Holly Design No. 607 F._ - -[Illustration: HOLLY DESIGN NO. 607 F.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 582, - 583, 754, 781, 785; 1 skein each 586, 615, 767, 768. Corticelli - Persian Floss, 6 skeins, White, 615. Smaller pieces take less silk. - Dealers can furnish stamped linen of this design in 9, 12, 18, and - 22 inch sizes. See page 92. - -For a Christmas or New Year's present nothing is more appropriate than -a centerpiece or doily embroidered with the handsome holly. This design -is quite simple and is easily worked. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615. Work the shell-shaped scallop long and short on the -inside. Over this indented buttonhole work, shade in one thread of -Filo Silk, White, 615, leaving a long and short effect on the inside. -See Colored Plate IV, Borders. Work the scroll near the border in -seamstress feather stitch or in outline stitch with Filo Silk, White, -615, or in Green, 781. - -Berries.--Work in satin stitch with Corticelli Filo Silk, Red, 767, -768, using only one shade in each berry. - -Leaves.--Work solid, using Green, 781, for the edge. Shade darker -toward the center with 754, 582, 583, 785, 586. Make some leaves darker -than others. Use 781 for the turned over parts of the leaves. Work the -stems and veins in 584 and 785. (Easy.) - - -_Violet Design No. 402 A._ - -FRINGED DOILY. - -[Illustration: VIOLET DOILY DESIGN NO. 402 A.] - -[Illustration: VIOLET TRAY CLOTH DESIGN NO. 402 A.] - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each 506, - 726, 727, 728, 729, 781, 782, 783. Smaller sizes take less silk. - Dealers can furnish stamped linen of this design, ready fringed, - in 7, 9, 12, and 18 inch sizes. See page 92. They can also furnish - stamped and fringed linen for tray cloth, 10 x 14 inches, to match - this doily. The above quantity of silk will be more than enough for - the tray cloth. - -These fringed doilies are imported goods of fine quality. They are neat -and dainty, require little silk to work, and together make as pretty a -set of six patterns as we have seen. - -Flowers.--Work solid. Use 726 for the edge of some of the petals, -working darker to the center with 727, 728, 729. Use three shades to -a flower. Commence other flowers with 727 on the edge and use 728, -729 toward the center. In the center of the open flowers work three -stitches of Yellow, 506. Work the buds in 727, 728, and 729, and use -782 for the calyx. - -Leaves.--Use Green, 781, for edge of leaf, shading toward the midvein -with 782. Use 783 for the veins and stems. (Easy.) - - -_Clover Design No. 402 B._ - -FRINGED DOILY. - -[Illustration: CLOVER DESIGN NO. 402 B.] - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each - 655.7, 678, 679, 680, 681, 781, 782, 783. Smaller sizes take less - silk. Dealers can furnish stamped linen of this design, ready - fringed, in 7, 9, 12, and 18 inch sizes. See page 92. They can also - furnish stamped and fringed linen for tray cloth, 10 x 14 inches, - to match this doily. The above quantity of silk will be more than - enough to work the tray cloth. - -These fringed doilies are imported goods of fine quality. They are neat -and dainty, require little silk to work, and together make as pretty a -set of six patterns as we have seen. - -Instructions for working this design are the same as given for Red -Clover Design No. 607 C, page 37, and illustrated by Colored Plate XV, -although of course the rules for working the border do not apply to -this design. (Easy.) - - -_Buttercup Design No. 402 C._ - -FRINGED DOILY. - -[Illustration: BUTTERCUP DESIGN NO. 402 C.] - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each 503, - 504, 505, 506, 754, 781, 782. Smaller sizes take less silk. Dealers - can furnish stamped linen of this design, ready fringed, in 7, 9, - 12, and 18 inch sizes. See page 92. They can also furnish stamped - and fringed linen for tray cloth, 10 x 14 inches, to match this - doily. The above quantity of silk will be more than enough to work - the tray cloth. - -These fringed doilies are imported goods of fine quality. They are neat -and dainty, require little silk to work, and together make as pretty a -set of six patterns as we have seen. - -Instructions for working this design are the same as given for -Buttercup Design No. 607 E, page 39, and illustrated by Colored Plate -XVI, although of course the rules for working the border do not apply -to this design, (Easy.) - - -_Daisy Design No. 402 D._ - -FRINGED DOILY. - -[Illustration: DAISY DESIGN NO. 402 D.] - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each 503, - 505, 582, 615, 661, 662, 692.8, 753, 754. Smaller sizes take less - silk. Dealers can furnish stamped linen of this design, ready - fringed, in 7, 9, 12, and 18 inch sizes. See page 92. They can also - furnish stamped and fringed linen for tray cloth, 10 x 14 inches, - to match this doily. The above quantity of silk will be more than - enough to work the tray cloth. - -These fringed doilies are imported goods of fine quality. They are neat -and dainty, require little silk to work, and together make as pretty a -set of six patterns as we have seen. - -Instructions for working this design are the same as given for Daisy -Design No. 612 D, page 49, and illustrated by Colored Plate XX, -although of course the rules for working the border do not apply to -this design. (Easy.) - - -_Maiden-hair Fern Design No. 402 E._ - -FRINGED DOILY. - -[Illustration: MAIDEN-HAIR FERN DESIGN 402 E.] - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each 527, - 780, 781, 782, 783, 783.5. Smaller sizes take less silk. Dealers - can furnish stamped linen of this design, ready fringed, in 7, 9, - 12, and 18 inch sizes. See page 92. They can also furnish stamped - and fringed linen for tray cloth, 10 x 14 inches, to match this - doily. The above quantity of silk will be more than enough to work - the tray cloth. - -These fringed doilies are imported goods of fine quality. They are neat -and dainty, require little silk to work, and together make as pretty a -set of six patterns as we have seen. - -Ferns.--Work solid. Slant the stitches toward the bottom, and thus -bring them to a point at the stem. Make each leaf of one shade. Begin -the leaves at the top of the spray with Corticelli Filo Silk, 780, and -work down gradually darker, using 783.5 for those at the bottom of the -spray. Work the stems with a split thread of Filo Silk, Brown, 527, -making the stitches very fine. (Easy.) - - -_Forget-me-not Design No. 402 F._ - -FRINGED DOILY. - -[Illustration: FORGET-ME-NOT DESIGN NO. 402 F.] - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each 504, - 519, 520, 521, 678, 781, 782, 783. Smaller sizes take less silk. - Dealers can furnish stamped linen of this design, ready fringed, - in 7, 9, 12, and 18 inch sizes. See page 92. They can also furnish - stamped and fringed linen for tray cloth, 10 × 14 inches, to match - this doily. The above quantity of silk will be more than enough to - work the tray cloth. - -These fringed doilies are imported goods of fine quality. They are neat -and dainty, require little silk to work, and together make as pretty a -set of six patterns as we have seen. - -Forget-me-not.--Work solid in satin stitch, working all stitches toward -the center. Make each flower of one shade, using 519, 520, 521, for the -different flowers. Make a French knot of Yellow, 504, in the center. -Work most of the buds with Pink, 678, and work the calyx with 782. - -Leaves.--Work solid, using 781 on the edge, and shade toward the -midvein with 782. Veins and stems make with 783. (Easy.) - - -_Conventional Wild Rose Design No. 52._ - -By EMMA HAYWOOD. - - _Materials_--22 inch Size: Corticelli Filo Silk, 4 skeins each 106, - 107, 108, 109; 3 skeins each 101, 102, 103, 105; 2 skeins each - 525.7, 525.8, 525.9; 1 skein each 113, 647. Corticelli Persian - Floss, 8 skeins, 616.5. - - _Materials_--9 inch Size: Corticelli Filo Silk, 1 skein each of - above shades. Corticelli Persian Floss, 2 skeins, 616.5. Dealers - can furnish stamped linen of this design in 9, 12, 18, and 22 inch - sizes. See page 92. - -This dainty design of semi-conventional roses and leaves is quite -unique in style. For the handsomer kinds of embroidery there is a -decided leaning toward conventionalized forms, but many of the designs -offered are so intricate and stilted as to be hardly practical. This, -however, is both rich and graceful, with the added attraction that it -is not difficult to work. The treatment, as well as the design, is -somewhat conventional. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, Cream White, 616.5. - -[Illustration: CONVENTIONAL WILD ROSE DESIGN NO. 52.] - -Roses.--For the roses we suggest a most delicious new shade of pink -Corticelli Filo Silk, 101, 102, 103, 105. Take the darkest for the -curled over edge, working in a slanting direction. The outer edge, -however, should not be put in until the middle part is worked, so that -the edge can be worked over it. The inner part should be graduated, -putting the lightest next to the center so that one begins with 103 -next the outer edge; 104 is left out so as to make a more decided break -from the curled over edge. The round center is very effective worked in -pale Gold Color, 113. This is covered with a network of crossed bars in -a dark, rich shade of Brown, 647, and outlined with the same. - -Leaves.--The leaves are worked mainly with a soft shade of green, but -to avoid monotony golden brown is blended into the green at frequent -intervals, sometimes half a leaf is brown, sometimes it is tipped with -brown on one or both sides, or a little brown is worked in at the base -of the leaf. For the green shades take 106, 107, 108, 109, and for the -golden brown use 525.7, 525.8, 525.9. The stems and thorns are likewise -put in with the three shades of brown. In working the leaves let the -stitches take the direction of the veins; by this means the veining -will be expressed much better than by putting it in. (Not Difficult.) - - -_Japanese Chrysanthemum Design No. 609 B._ - -COLORED PLATE XVII. - -By AMALIA SMITH. - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 672, - 673, 678; 1 skein each 616.5, 655.7, 674, 755, 780, 781, 782, 783. - Corticelli Persian Floss, 5 skeins 615. Dealers can furnish stamped - linen of this design in 22 inch size. See page 92. - -This is a very effective design, pleasing in coloring, and capable of -very artistic treatment. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615, with a long and short (indented) effect on the -inside line. Work the under scallop with Corticelli Filo Silk, 678, -using two threads in the needle. See Colored Plate IV for coloring and -method of working border. - -[Illustration: CORTICELLI JAPANESE CHRYSANTHEMUM DESIGN NO. 609 -B. - -COLORED PLATE XVII.] - -Flowers.--Work the back petals in 672, 673, 674, making the points -dark and the shading lighter toward the center. The petals in the -foreground should be made as follows: points in 672, shading lighter -toward the base with 678, 655.7, 616.5. See Colored Plate XVII. Work -the buds solid. Use 674 for the back petals of buds and for those in -the foreground; use 672 for points, and shade lighter to the calyx, -using 678, 655.7. Work the calyx solid in Green, 781 and 782. - -[Illustration: JAPANESE CHRYSANTHEMUM DESIGN NO. 609 B.] - -Leaves.--Begin the edges with 781, shading gradually darker to the -center with 782 and 783. Make some lighter by using 780 on the edge and -782 for the darkest shade. Vein with 783. For the stems use Green, 782, -783, and 755, working solid and making the end of the stem darker than -the part nearest the flower. (Difficult.) - - -_Thistle Design No. 609 E._ - -[Illustration: THISTLE DESIGN NO. 609 E.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 684, - 685, 686, 754, 781, 782, 783, 784; 1 skein each 672, 675, 726, 727, - 729. Corticelli Persian Floss, 4 skeins 615; 3 skeins 672. Dealers - can furnish stamped linen of this design in 22 inch size. See page - 92. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, 672 and 615. Work the outside scallop with Persian Floss, White, -615, and the small twining scallop with 672. See Colored Plate IV for -method of working border. - -Thistles.--Work the thistle with Corticelli Filo Silk, Purple, 672, -726, 727, 675, 729. Make each strand very fine and make each with -as much of a feathery effect as possible. At the top of the thistle -use 672, 726, and a little of 727. Make the upper part light; near -the center use the darker shades, 675, 727, 729, but use 675 and 729 -sparingly. Work the bulb of the thistle solid in Green, 781, 782, 783, -784. Near the top of the bulb work one or more rows, according to the -size of the bulb, with Green, 782; the next two rows near the middle of -the bulb, with 781, then gradually darker to the bottom near the stem. -Another way to work the bulb is to work it solid with Green, 781, and -cross-bar with Bronze Green, 852. - -Leaves.--Work solid. Make one spray of leaves with Green, 781, 782, -783, 784. Use 781 for the points of the leaves and shade darker toward -the center. Vein with 782, 783, 784. For another spray of leaves use -754, 684, 685, 686, working in the same manner as described above. -Work the stems in stem stitch with 784, giving quite a slant to the -stitches. (Not Difficult.) - - -_Buttercup Design No. 611 A._ - -ROCOCO BORDER. - -[Illustration: BUTTERCUP DESIGN NO. 611 A. ROCOCO BORDER.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each - 615, 692.8; 1 skein each 503, 504, 505, 506, 507, 692.9, 753, 754, - 780, 781, 782. Corticelli Persian Floss, 5 skeins 615. Dealers can - furnish stamped linen of this design in 22 inch size. See page 92. - -Border.--Work the scallop with Corticelli Persian Floss, White, 615, -in buttonhole stitch long and short to the inside line. Shade into the -white with one thread of Corticelli Filo Silk, 692.8., making an even -line or finish on the narrow part of the scallop but leaving an uneven -edge at the points. Shade these points with a few stitches of 692.9, -thus giving them a darker effect. - -Four Corners in Border.--Work the cross-bar in outline stitch with one -thread of Corticelli Filo Silk, 692.8. Make a cross stitch with 692.9 -where the lines intersect. Stuff the two jewels with cotton, or, better -still, Corticelli Persian Floss, to raise the work, and then work over -in satin stitch with Filo, 692.8, and outline with the same shade. - -[Illustration: CORTICELLI VIOLET DESIGN NO. 611 B. - -ROCOCO BORDER. - -COLORED PLATE XVIII.] - -[Illustration: CORTICELLI CARNATION DESIGN NO. 612 B. - -COLORED PLATE XIX.] - -Scroll.--Work the even side of the scroll around the cross-bar lines -with Filo Silk, White, 615. Shade 692.8 and 692.9 into the white, -giving the same effect as the border. The shading is shown on Colored -Plate XVIII, but the colors are different. - -Flowers and Leaves.--Instructions given for working the flowers and -leaves in Buttercup Design No. 607 E, page 39, and illustrated by -Colored Plate XVI, apply equally well to this pattern. (Not Difficult.) - - -_Violet Design No. 611 B._ - -ROCOCO BORDER. - -COLORED PLATE XVIII. - -[Illustration: VIOLET DESIGN NO. 611 B. ROCOCO BORDER.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 615, - 644.6, 644.7, 644.8; 1 skein each 505, 645, 725, 727, 728, 729, - 781, 782, 783. Corticelli Persian Floss, 5 skeins, 615. Dealers can - furnish stamped linen of this design in 22 inch size. See page 92. - -Border.--Work the scallop with Corticelli Persian Floss, White, 615, -in buttonhole stitch long and short to the inside line. Shade into -the white one thread of Corticelli Filo Silk, 644.6, making an even -line or finish on the narrow part of the scallop. Shade the points in -the border with a few stitches of 644.7 and 644.8, thus giving them a -darker effect. See Colored Plate XVIII. - -Four Corners in Border.--Work the cross-bar in outline stitch with one -thread of Corticelli Filo Silk, 644.8. Make a cross stitch with 645 -where the lines intersect. Stuff the two jewels with cotton, or, better -still, Corticelli Persian Floss, to raise the work, and then work over -in satin stitch with Filo, 644.7, and outline with the same shade. (See -Jewel Design No. 50, for directions for working jewels.) - -Scroll.--Work the even side of the scroll around the cross-bar lines -with Filo Silk, White, 615. Shade 644.7 and 644.8 into the white, -giving the same effect as the border. See Colored Plate XVIII. - -Flowers.--Begin the edge of the petals with 725, shading darker to the -center with 727, 728, 729. Make some petals darker by omitting 725 and -727. In the center of the open flowers work a stitch in Yellow, 505. -Work the calyx solid with Green, 782. - -Leaves.--Begin the edge in Green, 781, shading to the center with 782. -Vein and stem with 783. (Not Difficult.) - - -_=Violet Design No. 612 A.=_ - -[Illustration: VIOLET DESIGN NO. 612 A.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 4 skeins 615; 3 - skeins 645; 2 skeins each 644.6, 727, 728, 729; 1 skein 505, 725, - 781, 782, 783. Smaller sizes take less silk. Dealers can furnish - stamped linen of this design in 9, 18, and 22 inch sizes. See page - 92. - -This design is square, the edges are doubled under and securely sewed -with silk. For this reason only a small quantity of silk is required -for working, as none is used for the edge. - -Border.--Outline the scroll in each corner with Corticelli Filo Silk, -645. Work the scallop inside the scroll with Filo Silk, White, 615, to -the depth of half an inch. Shade into the white, Lemon, 644.6, leaving -a long and short effect on the inside of the scallop. Fill the space -between the outside scroll and the scallop with fine seed stitches -with 645. Work the scroll inside of stitching solid with 645 in satin -stitch. See Colored Plate XX. - -Flowers.--Begin the edge of the petals in 725, shading darker to the -center with 727, 728, 729. Make some petals darker by omitting 725 and -727. In the center of open flowers work a stitch of Yellow, 505. Work -the calyx solid in Green, 782. - -Leaves.--Begin the edge in 781; shade to center with 782. Vein and stem -with 783. (Easy.) - - -_=Carnation Design No. 612 B.=_ - -COLORED PLATE XIX. - -[Illustration: CORTICELLI DAISY DESIGN NO. 612 D. - -COLORED PLATE XX.] - -[Illustration: CORTICELLI APPLE BLOSSUM DESIGN NO. 612 F. - -COLORED PLATE XXI.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 4 skeins 615; 3 - skeins 645; 2 skeins each 636, 637, 638, 639, 644.6, 780; 1 skein - each 655.7, 781, 782, 783. Smaller sizes take less silk. Dealers - can furnish stamped linen of this design in 9, 18, and 22 inch - sizes. See page 92. - -[Illustration: CARNATION DESIGN NO. 612 B.] - -This design is square, the edges are doubled under and securely sewed -with silk. - -Border--Use same instructions as given for working border of Daisy -Design 612 D. See below. - -Flowers.--Begin the edge of the petals with 639, shading lighter to -the calyx with 638, 637, 636, 655.7. Make some petals light and others -dark. In the full flower it is better to make the back petals lighter -and those in the foreground darker. See Colored Plate XIX. Work that -part of the calyx near the petals with Green, 780, 781, and the bottom -with 782. - -Leaves.--Work solid, using 780 for the points and shading gradually -darker with 781, 782. Use 783 for the stems. (Not Difficult.) - - -_Daisy Design No. 612 D._ - -COLORED PLATE XX. - -[Illustration: DAISY DESIGN NO. 612 D.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 7 skeins 615; 3 - skeins 645; 2 skeins 644.6, 1 skein each 503, 505, 582, 661, 662, - 692.8, 753, 754. Smaller sizes take less silk. Dealers can furnish - stamped linen of this design in 9, 18, and 22 inch sizes. See page - 92. - -This design is square, the edges are doubled under and securely sewed -with silk. - -Border.--Outline the scroll in each corner with Corticelli Filo Silk, -645. Work the scallop inside the scroll with White, 615, to the depth -of half an inch. Into the white shade 644.6, leaving a long and short -effect on the inside of the scallop. Fill the space between the outside -scroll and the scallop with fine seed stitches made with 645. Work the -scroll inside of stitching solid in satin stitch with 645. See Colored -Plate XX. - -Flowers.--Begin the points of the petals with White, 615, shading to -the center with Green, 692.8, 661, and 662. Fill the centers with -French knots in Yellow, 503 and 505. See Colored Plate XX. Work the -buds in 692.8 and 661. (These small buds are darker than open flowers.) -In the large buds use some white also. Work the calyx with Green, 754. - -Leaves.--Begin the points with Green, 753, shading gradually darker -with 754 to the center. Use 582 for the stems and veins. (Easy.) - - -_Wild Rose Design No. 612 E._ - -[Illustration: WILD ROSE DESIGN NO. 612 E.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 3 skeins each 638, - 639, 645; 2 skeins each 644.6, 655.8, 655.9, 781, 782; 1 skein each - 504, 615, 780, 783, 784. Smaller sizes take less silk. Dealers can - furnish stamped linen of this design in 9, 18, and 22 inch sizes. - See page 92. - -This design is square, the edges are doubled under and securely sewed. -No silk is therefore required for buttonholing the edge. - -Border.--Use same instructions as given for working Border of Daisy -Design 612 D, page 49. - -Flowers.--Begin the edge with 639 and shade lighter to center with -638, 655.9, 655.8. Make some petals lighter and some flowers lighter -than others. Vary the shading. In the center of the open flower work a -few stitches of Green, 780, and irregularly around these stitches make -French knots in Yellow, 504. A study of Colored Plate IX will assist -one in shading this design. - -Leaves.--Work solid. Begin the edge with Green, 780, shading gradually -darker to the center with 781, 782, 783. Vary the shading. Make the -leaves under the flowers much darker. Use but a little of 780 and only -on tips. Work the veins and stems with Green, 784. (Easy.) - - -_Apple Blossom Design No. 612 F._ - -COLORED PLATE XXI. - -[Illustration: APPLE BLOSSOM DESIGN NO. 612 F.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 4 skeins 615; 3 - skeins 645; 2 skeins each 636, 637, 644.6, 655.7, 655.8, 781, 782; - 1 skein each 527, 616, 755, 783, 852. Smaller sizes take less silk. - Dealers can furnish stamped linen of this design in 9, 18, and 22 - inch sizes. See page 92. - -This design is square, the edges are doubled under and securely sewed -with silk. For this reason only a small quantity of silk is required -for working, as none is used for buttonholing the edge. - -Border.--Use same instructions as given for working border of Daisy -Design 612 D, page 49. - -Flowers.--Begin the edge of the petals with 636, shading lighter to the -center with 655.8, 655.7, 616. Make some petals lighter by omitting -636 and use 615 in place of 616 toward the center. Vary the shading -by making some flowers almost white. In each petal make two or three -stamens with Green, 781, and place a small French knot of 645 at the -end of each stamen. See Colored Plate XXI. - -Buds and Calyx.--Begin the edge of the petals with 637, shading lighter -to the base with 636. Work all the buds darker than the flowers. Work -the calyx in Green, 782. - -Leaves.--Work solid. Use Green, 781, for the points, shading gradually -darker to the center with 782, 783, 755, with a touch of 852 near the -base and midvein. Vary the shading as usual. Work the stems solid with -755, 852, 527, using most of 527. (Not Difficult.) - - -_Violet Design No. 613 A._ - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each - 506, 725, 727, 728, 729, 781, 782, 783. Corticelli Persian Floss, - 1 skein 615. Smaller sizes take less silk. Dealers can furnish - stamped linen of this design in 9 and 22 inch sizes. See page 92. - -[Illustration: VIOLET DESIGN NO. 613 A.] - -These octagon shaped patterns require no buttonhole work on the edges, -as the linen is folded under and securely sewed as shown by the -illustration. The effect is quite novel, and as the designs are simple -only a small quantity of silk is needed to work the pattern. - -Flowers.--Work solid. Use Corticelli Filo Silk, Violet, 725, for the -edge of the petals, shading darker toward the center with 727, 728, -729. Make the three lower petals lighter than the upper two. In the -center of the open flowers work a few stitches of Yellow, 506, and a -stitch of Green, 781, on each side of the yellow. Work the buds with -729, 728, and 727. Work the calyx solid with 781 and 782, the darker -shade nearest the stem. - -Leaves.--Work solid, using 781 for the edge and shading darker to the -center with 782. Work the veins and stems in 783. The slit in corner, -or the line across the ends of the stems, work in fine buttonhole -stitch with Persian Floss, White, 615. (Easy.) - - -_Buttercup Design No. 613 B._ - -[Illustration: BUTTERCUP DESIGN NO. 613 B.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each - 503, 504, 505, 506, 507, 754, 781, 782. Corticelli Persian Floss, - 1 skein 615. Smaller sizes take less silk. Dealers can furnish - stamped linen of this design in 9 and 22 inch sizes. See page 92. - -These octagon shaped patterns require no buttonhole work on the edges, -as the linen is folded under and securely sewed as shown by the -illustration. The effect is quite novel, and as the designs are simple -only a small quantity of silk is needed to work the pattern. - -Flowers and Leaves.--Instructions for working this design are the same -as given for Buttercup Design No. 607 E, page 39, and illustrated by -Colored Plate XVI. (Easy.) - - -_Daisy Design No. 613 D._ - -[Illustration: DAISY DESIGN NO. 613 D.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins 615; 1 - skein each 503, 505, 582, 661, 662, 692.8, 753, 754. Smaller sizes - take less silk. Dealers can furnish stamped linen of this design in - 9 and 22 inch sizes. See page 92. - -These octagon shaped patterns require no buttonhole work on the edges, -as the linen is folded under and securely sewed as shown by the -illustration. The effect is quite novel, and as the designs are simple -only a small quantity of silk is needed to work the pattern. - -Flowers and Leaves.--Instructions for working this design are the same -as given for Daisy Design, 612 D, page 49, and illustrated by Colored -Plate XXI, although of course the rules for working the border do not -apply to this design. (Easy.) - - -_Forget-me-not Design No. 613 E._ - -[Illustration: FORGET-ME-NOT DESIGN NO. 613 E.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each - 504, 518, 519, 520, 678, 781, 782, 783. Corticelli Persian Floss, - 1 skein 615. Smaller sizes take less silk. Dealers can furnish - stamped linen of this design in 9 and 22 inch sizes. See page 92. - -These octagon shaped patterns require no buttonhole work on the edges, -as the linen is folded under and securely sewed as shown by the -illustration. - -Flowers.--Work solid. Make the petals in Corticelli Filo Silk, Blue, -518, 519, 520. Vary the shading by making one or more petals in some of -the flowers of a lighter shade. Tip some of the petals with a touch of -Pink, 678. Put a French knot in Yellow, 504, in the center of the open -flowers. Make some of the buds in Pink, 678, and others in Blue, 519. - -Leaves.--Work solid, using Green, 781, for the points, shading -gradually darker to the stem with 782, 783. Make some leaves lighter -than others. Work the stems in 783. The slit in corner, or the line -across the ends of the stems, work in fine buttonhole stitch with -Persian Floss, White, 615. (Easy.) - - -_Chrysanthemum Design No. 613 F._ - -[Illustration: CHRYSANTHEMUM DESIGN NO. 613 F. OCTAGON HEM.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each - 502, 503, 504, 505, 507, 716, 717, 718, 719, 781, 782, 783, 784. - Corticelli Persian Floss, 1 skein 615. Smaller sizes take less - silk. Dealers can furnish stamped linen of this design in 9 and 22 - inch sizes. See page 92. - -Red Flowers.--Work the points of the petals in the background in -Corticelli Filo Silk, 719, shading lighter to the base with 718, 717. -Work the points of the petals in the foreground with 719, shading -lighter with 718, 717, 716. The petals that droop in the foreground -make lighter by omitting 719. - -Yellow Flowers.--Work the points in the petals with Yellow, 507, -shading lighter with 505, 504, 503, 502. Change the shading in -different petals by using either lighter or darker shades of silk. The -petals that are on top make light, using the lightest shades toward the -center of the upper petals. Use your taste in arranging the colors. -You can work red and yellow flowers in one spray, or make each spray -different, either way will be pretty. Use Green, 782, 783, for the -calyx. - -Leaves.--Work the points with Green, 781, shading to the stem with 782, -783. Use 784 for the stems. (Not Difficult.) - - -_Purple Clematis Centerpiece Design No. 56._ - -AND SET OF 4 DOILIES, NO. 56A, 56B, 56C, AND 56D. - -COLORED PLATE XXII. - -BY ELIZABETH MOORE HALLOWELL. - -[Illustration: PURPLE CLEMATIS CENTERPIECE DESIGN NO. 56.] - - _Materials_--22 inch Centerpiece: Corticelli Filo Silk, 4 skeins - 785; 3 skeins 784; 2 skeins each 725, 726, 727, 728, 729, 783; - 1 skein each 621, 622, 779.5, 780, 781, 782. Corticelli Persian - Floss, 8 skeins 615. Smaller pieces take less silk. Dealers can - furnish stamped linen of this design in 22 and 27 inch sizes. They - can also furnish stamped linen, 9 inch square, of the set of four - doily designs (Nos. 56A, B, C, D), to match this centerpiece. See - page 92. - -One can always do better embroidery, as is the case in all branches of -art, if thoroughly familiar with one's subject; then the mind, which -is really the source of intelligent work, can act through the pencil, -the pen, or the needle, and give to the result the added touch of -knowledge at first hand. Therefore, if possible, before working this -design secure a spray of the real clematis, choosing the variety known -as _Clematis Jackmanni_, which is probably one of the best known. - -The Purple Clematis blossoms in June, July, or August, according to -the climate, but it can be secured from florists during other months. -Notice that the flowers often have four petals, and nearly as often -_five_. This is a marked peculiarity of the plant. Observe also the -buds and sprays of leaves, starting from the axils of the branches; the -curling tendency of the stems, by which tendril-like quality the plant -climbs. Sometimes the leaves will drop off from these stems, leaving -occasionally what looks like a real tendril, but what is in reality the -leaf-stem. - -This centerpiece may be worked in heavy outline, which produces a very -decorative effect with less labor, but this is not recommended, the -design being of a large and handsome flower, which calls for stronger -and more lasting treatment, and the instructions given therefore -are for solid embroidery, in long and short stitch. (See article on -Stitches--"Feather Stitch.") While purple is the usual color of the -flower, it is sometimes very pale lavender, but for a decorative -design merely, the flowers might be worked in white with greenish -shadings. - -[Illustration: CLEMATIS DOILY NO. 56 A.] - -Flowers.--Begin the edge of petals with Purple, 729, shading gradually -lighter toward the base of the petal, using 728, 727, 726, 725. The -lightest shades should come into a vein in the center of the petal. For -the under side, or turned over parts, of the petals use 725 and 726. -The contrast between the color of upper and under sides is very marked. -Work the pistil solid, using 781 for the upper and 782 for the lower -half. See Colored Plate XXII. - -[Illustration: CLEMATIS DOILY NO. 56 B.] - -Centers.--Outline the stamens with Green, 780, 781. Make the outer -stamens, which are heavier than those inside and somewhat irregular, -with a double thread of Corticelli Filo Silk, and the inner stamens -with a single thread. At the point of each stamen make a French knot -with Purple, 729. Use 780 and 781 also for the center from which the -petals have dropped. Work the buds solid, in 725, 726. At the base of -each shade into the stem a few stitches of 780. - -[Illustration: CLEMATIS DOILY NO. 56 C.] - -Leaves.--Work solid in long and short stitch, with 779.5, 780, 781, -782, 783, 784, 785, being careful to slant the stitches in the same -direction as the veins, that is, from the edge in toward the central -vein, but sloping toward the base of the leaf. Shade from light on the -edge to dark near the midvein, See Colored Plate XXII. The leaves are -large and many shades can be used with advantage. Work some of the -smaller leaves in lighter shades than the large leaves at the bottom -of the spray. The veins in the leaves should not be indicated too -distinctly. They are shown with clearness in the illustration so that -the correct direction may be easily followed. One shade lighter than -the darkest shade used in the leaf will be correct for the veins. For -the turned over parts of leaves use 780 or 781. - -Stems.--Work solid in 783, 784, 785, and where the stems are largest -use a little Reddish Brown, 621, 622. The stems from buds, also the -tendrils, should be made in 782, 783, 784. - -[Illustration: CORTICELLI PURPLE CLEMATIS DESIGN NO. 56. - -COLORED PLATE XXII.] - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615, or if desired use Light Green Persian Floss, 780. If -fringe is wanted buy the 27 inch square of stamped linen, buttonhole -the edge very fine and even all around with Corticelli Etching Silk. -Then fringe the linen to the buttonhole edge, comb out the threads -evenly and trim to any length wanted. (Not Difficult.) - - -_Purple Clematis Doily Designs Nos. 56A, 56B, 56C, and 56D._ - -[Illustration: CLEMATIS DOILY NO. 56 D.] - -Three of these doilies are designed so that the decoration will show -even should a tumbler or a finger bowl be placed upon them, and if six -or a larger number of doilies are desired for a set, repeat these three -patterns. In the fourth design, No. 56 A, the decoration is confined -to the center of the doily, this being intended for a bread or cake -covering, or for any purpose where a central decoration is most useful. -The instructions given for the clematis centerpiece will be ample for -working these doilies. (Not Difficult.) - - -_Violet Design No. 615 A._ - -[Illustration: VIOLET DESIGN NO. 615 A.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each 505, - 661, 725, 727, 728, 729, 781, 782, 783, 784. Corticelli Persian - Floss, 6 skeins 615. Smaller sizes take less silk. Dealers can - furnish stamped linen of this design in 6, 9, 12, 18, and 22 inch - sizes. See page 92. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615. In the three shell shaped scallops the stitches -should be irregular on the inside. Now shade Corticelli Filo Silk, -Green, 661, into the white (in these three shell shaped scallops), -giving a long and short effect on the inside. See Colored Plate VI for -method of working border. - -Flowers.--Work solid in Violet, 729, 728, 727, 725. Make the three -lower petals lighter, the two upper petals darker, working the edge -of the petal lighter and darker toward the center. Make a few solid -stitches of Yellow, 505, in the center of the flower. - -Leaves.--Work solid with Green, 781, 782, 783. For the stems and veins -use 784. (Easy.) - - -_Daisy Design No. 615 B._ - -[Illustration: DAISY DESIGN NO. 615 B.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each 505, - 615, 661, 781, 782, 783. Corticelli Persian Floss, 6 skeins 615. - Smaller sizes take less silk. Dealers can furnish stamped linen of - this design in 6, 9, 12, 18, and 22 inch sizes. See page 92. - -Border.--Use same instructions as given for Violet Design No. 615 A, -page 57. - -Flowers.--Work solid; the edge of the petals with White, 615, using 661 -toward the center. Make French knots in the center of the open flower -with Yellow, 505. - -Leaves.--Work solid. For the points use Green, 781, shading darker -toward the center with 782. Work the veins and stems with 783. (Easy.) - - -_Rosebud Design No. 615 C._ - -[Illustration: ROSEBUD DESIGN NO. 615 C.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each 642, - 657, 659, 661, 781, 782, 783. Corticelli Persian Floss, 6 skeins, - 615. Smaller sizes take less silk. Dealers can furnish stamped - linen of this design in 6, 9, 12, 18, and 22 inch sizes. See page - 92. - -Border.--Use same instructions as given for Violet Design No. 615 A, -page 57. - -Rosebuds.--Work the edge of some of the back petals with Red, 659, -shading in with 657. The center should be lighter. Make some of the -petals darker by using 642 on the edge and shading in with 659. The -petals in the foreground should be lighter, using 659 and 657. Make the -points of the calyx in Green, 781, and shade gradually darker toward -the bulb, using 782, 783. - -Leaves.--Work solid. For the edge use Green, 781, shading darker toward -the center with 782. Work the veins and stems with 783. (Not Difficult.) - - -_Buttercup Design No. 615 D._ - -[Illustration: BUTTERCUP DESIGN NO. 615 D.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each 503, - 504, 505, 506, 781, 782. Corticelli Persian Floss, 6 skeins 615. - Smaller sizes take less silk. Dealers can furnish stamped linen of - this design in 6, 9, 12, 18, and 22 inch sizes. See page 92. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615. In the three shell shaped scallops the stitches -should be irregular on the inside. Now shade Corticelli Filo Silk, -Yellow, 503, into the white (in these three shell shaped scallops), -giving a long and short effect on the inside. See Colored Plate VI for -method of working border; the coloring however will be found different -from that intended for this design. - -Flowers.--Work solid. Use 505 for the edge, and gradually shade lighter -to the bottom of the petal with 504, 503. Three shades to a flower are -sufficient. Make some petals darker by using 506 on the edge instead of -505. In the center of the open flowers work a few stitches of Green, -781, and around these make a few French knots in 781, also. See Colored -Plate XVI. - -Leaves.--Work the leaves with 781 in satin stitch, slanting the -stitches across the leaf. For the stems take 782. (Easy.) - - -_Maiden-hair Fern Design No. 615 E._ - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each 527, - 780, 781, 782, 783. Corticelli Persian Floss, 6 skeins 615. Smaller - sizes take less silk. Dealers can furnish stamped linen of this - design in 6, 9, 12, 18, and 22 inch sizes. See page 92. - -[Illustration: MAIDEN-HAIR FERN DESIGN NO. 615 E.] - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615. In the three shell shaped scallops the stitches -should be irregular on the inside. Now shade Corticelli Filo Silk, -Green, 780, into the white (in these three shell shaped scallops), -giving a long and short effect on the inside. See Colored Plate VI for -method of working border. - -Leaves.--Work solid, making each leaf of one shade. Make the leaves -at the top of each spray with 781, the next two leaves with 782, and -those next below with 783. Continue to make the leaves darker toward -the bottom of the spray. Work the stems in very fine stem stitch with a -thread of Filo Silk, 527, split in two parts. (Easy.) - - -_Forget-me-not Design No. 615 F._ - -[Illustration: FORGET-ME-NOT DESIGN NO. 615 F.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each 504, - 517, 519, 520, 679, 781, 782. Corticelli Persian Floss, 6 skeins - 615. Smaller sizes take less silk. Dealers can furnish stamped - linen of this design in 6, 9, 12, 18, and 22 inch sizes. See page - 92. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615. In the three shell shaped scallops the stitches -should be irregular on the inside. Now shade Corticelli Filo Silk, -Blue, 517, into the white (in these three shell shaped scallops), -giving a long and short effect on the inside. See Colored Plate VI for -method of working border; the coloring however, will be found different -from that intended for this design. - -Flowers.--Work solid. Use Blue, 517, 519, 520, for the petals, varying -the shading. Give a touch of Pink, 679, to some of the petals. Make a -French knot of Yellow, 504, in the center of the open flowers. Work -some of the buds with Blue, 519, and some with Pink, 679. Use Green, -782, for the calyx. - -Leaves.--Work solid. For the points use Green, 781, shading toward the -stem with 782. Work the stems with 782. (Easy.) - - -_Jewel Design No. 50._ - -COLORED PLATE XXIII. - -BY EMMA HAYWOOD. - -[Illustration: JEWEL DESIGN NO. 50.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 4 skeins each 113, - 114, 809, 810, 811; 3 skeins each 752.9, 753; 2 skeins each 700, - 701, 786, 787, 788; 1 skein each 646, 650, 656, 812. Corticelli - Persian Floss, 4 skeins 786. Corticelli EE Twisted Embroidery Silk, - 8 skeins 809. - - _Materials_--9 inch Size: Corticelli Filo Silk, 1 skein each of - above shades. Corticelli Persian Floss, 1 skein 786; Corticelli EE - Twisted Embroidery Silk, 2 skeins 809. Dealers can furnish stamped - linen of this design in 9, 12, 18, and 22 inch sizes. See page 92. - -Jewel embroidery is more than ever popular, and deservedly so, not only -on account of the scope it gives for daintiness of design, but more -especially because of the splendid possibilities in the arrangement -of color. Of course one is not slavishly tied to copying the exact -color of any particular gem; the decorator's license is available here -just the same as in reproducing flowers, an artistic and harmonious -scheme of color must be the first consideration. Unless the jewels be -of unusual size it is better to work each individual gem in one shade, -varying the tone if repeated in the same group. It must be remembered -that embroidery, like any textile fabric, to a great extent shades -itself, especially when the surface is glossy. In this style of design -it is well to introduce as great a variety of coloring as possible, -avoiding however very violent contrasts. - -[Illustration: JEWEL EMBROIDERY. FILLING AND COVERING.] - -We suggest a scheme that will be found to work beautifully, but many -others might be thought out with equally good results. It should be -observed, however, that in formulating a scheme all the colors employed -should be chosen in about the same tone to avoid the spottiness so -often found in amateur work; the very best designs can easily be -spoiled through inattention to this rule. The task of following exactly -the directions given is rendered easy by means of the numbers on the -labels attached to each skein of Corticelli Silk and by reference to -Colored Plate XXIII. - -The work is solid throughout except where the scallops are filled in -beneath the scrolls with crossed bars; these are laid in place from -side to side, and caught down at each intersection. The jewels are put -in with satin stitch. (See article on Stitches.) They should be raised -a little by filling. This can be done in two ways, either by filling -one way in satin stitch and crossing the filling in the opposite -direction in finishing (see engraving), or by working a circle in stem -stitch and following the circle inside until quite filled in, then -covering with satin stitch. When covering the filling, always start -in the center and work out each way. It will then be found easy to -preserve the form. It is hardly worth while to use a different kind -of silk for the filling; it is poor economy and saves very little -after all, while the additional fastenings off are liable to make the -work lumpy. The jewels are more pronounced if outlined, but this is -optional. If outlined, a rich Burnt Sienna shade, such as No. 646, will -be very effective and not at all heavy. The jewels should be worked -with Corticelli Filo Silk. - -For the four sections composed of scrolls, and for the scallop exactly -beneath them, choose three delicate shades of Apricot, 809, 810, 811. -Use the lightest in Corticelli EE Embroidery Silk for the scallop, and -shade the scrolls with the three tones in Filo Silk. Put in the crossed -bars with Green Filo Silk, 752.9, and catch them down with 753. The -outside scrolls are also worked with 752.9. The small scrolls at the -apex and on either side, also the upper bars in stem stitch, are of a -golden hue, for which take 113, 114. The large central jewel and those -heading the golden bars, are green. Use 700 for the large one and 701 -for the small ones; those on either side on the bars are Violet, 650; -the three below and one above the large center jewel are also worked -with 650; the remaining single gems on either side of the center are -Red, 656. See Colored Plate XXIII. - -[Illustration: CORTICELLI JEWEL DESIGN NO. 50. - -COLORED PLATE XXIII.] - -We now come to the intervening forms embracing three scallops. Work the -lily forms with Filo Silk in three shades of Blue, 786, 787, 788. Work -the three scallops in Persian Floss, with Blue, 786. The jewels are -golden, being worked with Filo Silk, 113, 114. The diamond shaped jewel -is put in with 812, representing a pink topaz. (Somewhat Difficult.) - - -_Apple Blossom Design No. 406 A._ - -HEMSTITCHED EDGE. - -[Illustration: APPLE BLOSSOM DESIGN NO. 406 A.] - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each - 636, 637, 645, 655.7, 781, 782, 783. Dealers can furnish stamped - and hemstitched linen of this design in 6, 7, 9, 12, 15, 18, and - 21 inch sizes. See page 92. They can also furnish stamped and - hemstitched linen for tray cloths and bureau scarfs to match this - design, 18×27, 18×36, 17×54, and 17×72 inches. See page 92. - -These designs are especially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths and bureau scarfs. - -Flowers.--Work solid. Begin edge of petals with Corticelli Filo Silk, -637, shading lighter toward center with 636, 655.7. In the center of -the open flowers make a few stitches in 781 to represent stamens, and -make three or four French knots around these stitches with 645. Work -the buds solid, using 637 for edge and 636 near calyx. Use 782 for -calyx. A study of Colored Plate XXI will assist one in getting the -right shading and stitch direction. - -Leaves.--Work solid, beginning points with 781, shading darker to -midvein with 782. Stems should be worked solid or with two or three -rows of outline stitch, using 783. Use 783 also for veins. (Easy.) - - -_Buttercup Design No. 406 B._ - -HEMSTITCHED EDGE. - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each 503, - 505, 506, 781, 782. Dealers can furnish stamped and hemstitched - linen of this design in 6, 7, 9, 12, 15, 18, and 21 inch sizes. See - page 92. They can also furnish stamped and hemstitched linen for - tray cloths and bureau scarfs, to match this design, 18×27, 1×36, - 17×54, and 17×72 inches. See page 92. - -[Illustration: BUTTERCUP DESIGN NO. 406 B.] - -These designs are especially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths, and bureau scarfs. Only a small -quantity of silk is required for these patterns. - -Flowers.--Work solid. Begin the edge of petals with Corticelli Filo -Silk, Yellow, 506, shading gradually lighter to center with 505, 503. -Vary the shading in petals, making some light and some dark. Work -the calyx with Green, 781. The buds should be worked darker than the -open flowers. A study of Colored Plate XVI will be found helpful to -beginners. - -Leaves.--Work solid, beginning points with 781 and shading to midvein -with 782. Work the stems in outline stitch with 782. (Easy.) - - -_Chrysanthemum Design No. 406 C._ - -HEMSTITCHED EDGE. - -[Illustration: CHRYSANTHEMUM DESIGN NO. 406 C.] - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each 673, - 674, 678, 781, 782. Dealers can furnish stamped and hemstitched - linen of this design in 6, 7, 9, 12, 15, 18, and 21 inch sizes. See - page 92. They can also furnish stamped and hemstitched linen for - tray cloths and bureau scarfs to match this design, 18×27, 18×36, - 17×54, and 17×72 inches. See page 92. - -These designs are specially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths, and bureau scarfs. - -Flowers.--Work solid. Begin the edge of petals with Corticelli Filo -Silk, 674, shading lighter to the calyx with 673 and 678. Make some -petals lighter by omitting 674. The petals in the background should be -darker than those in the foreground. Use 781 for the calyx. A study of -Colored Plate XXII will be found helpful to beginners. - -Leaves.--Work solid, beginning the points with 781, shading darker -to midvein with 782. Work the stems in outline stitch with 782. (Not -Difficult.) - - -_Daisy Design No. 406 D._ - -HEMSTITCHED EDGE. - -[Illustration: DAISY DESIGN NO. 406 D.] - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each - 503, 505, 615, 660.5, 661, 662, 754. Dealers can furnish stamped - and hemstitched linen of this design in 6, 7, 9, 12, 15, 18, and - 21 inch sizes. See page 92. They can also furnish stamped and - hemstitched linen for tray cloths and bureau scarfs to match this - design, 18 x 27, 18 x 36, 17 x 54, and 17 x 72 inches. See page 92. - -These designs are especially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths, and bureau scarfs. - -Flowers.--Begin the edge of the petals with Corticelli Filo Silk, -White, 615, shading toward the center with 660.5. Work the centers -in fine French knots in Yellow, 503, 505, placing those in 505 above -those in 503. Work the calyx in 661. See Colored Plate XX for method of -shading. - -Leaves.--Begin the points with 661. Shade darker to the center with 662 -and 754. Vein with 754 and work the stems in outline stitch with same -shade. (Easy.) - - -_Sweet Pea Design No. 406 E._ - -HEMSTITCHED EDGE. - -[Illustration: SWEET PEA DESIGN NO. 406 E.] - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each 123, - 124, 126, 128, 129, 501, 680, 725, 726.5, 727. Dealers can furnish - stamped and hemstitched linen of this design in 6, 7, 9, 12, 15, - 18, and 21 inch sizes. See page 92. They can also furnish stamped - and hemstitched linen for tray cloths and bureau scarfs to match - this design, 18 x 27, 18 x 36, 17 x 54, and 17 x 72 inches. See - page 92. - -These designs are especially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths, and bureau scarfs. - -Flowers.--Sweet Peas are always difficult owing to the great variety -of shades found in the flower. Begin the edge of the two upper petals -with Corticelli Filo Silk, Pink, 128, shading darker to center with 129 -and 680. For the lower petals use the same shades; at the base work a -few solid stitches of Green, 123 and 124, for calyx. For a purple and -yellow flower begin the edge with Yellow, 501, into which shade Purple, -725, and near the base, or where the petals meet, use 726.5 and 727. -For the turn over part use 725. The buds should be darker than the open -flowers. Carefully examine Colored Plate XXVII, before beginning to -embroider this design. - -Leaves.--Work the leaves in 123, 124, 126, shading from light on points -to dark near the center and base of leaf. Work the stems and tendrils -in 123, 126, using the former for the ends of tendrils only. (Somewhat -Difficult.) - - -_Forget-me-not Design No. 406 F._ - -HEMSTITCHED EDGE. - -[Illustration: FORGET-ME-NOT DESIGN NO. 406 F.] - - _Materials_--12 inch Size: Corticelli Filo Silk, 1 skein each - 504, 518, 519, 521, 678, 781, 783. Dealers can furnish stamped - and hemstitched linen of this design in 6, 7, 9, 12, 15, 18, and - 21 inch sizes. See page 92. They can also furnish stamped and - hemstitched linen for tray cloths and bureau scarfs to match this - design, 18 x 27, 18 x 36, 17 x 54, and 17 x 72 inches. See page 92. - -These designs are especially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths, and bureau scarfs. - -Flowers.--Work solid, making each petal of one shade. Corticelli -Filo Silk, Blue, 518, 519, 521, are the forget-me-not shades. Make -an occasional petal in Pink, 678. Put one or two French knots in the -center of every open flower with Yellow, 504. Work the buds darker than -the open flowers. Use Green, 781, for the calyx. - -Leaves.--Work solid, beginning the points with 781, shading darker to -midvein with 783. Work the stems in outline stitch with 783. (Easy.) - - -_The "Queen" Embroidery Hoop._ - -Most professional needleworkers use a large frame, and work with -both hands. For amateurs a hoop is the next best thing. Mrs. Haywood -recommends the "Queen" hoop. It is, in fact, quite superior to the -ordinary wooden or rubber ones. It is a smooth wooden hoop, true in -circle, with rounded edges; the outer hoop is a stiff spring wire band, -interlaced with braid. This hoop requires no wrapping for either light -or heavy material as the spring band will keep the goods stretched to -a uniform tension. It is made in 4, 5, 6, and 7 inch sizes, and can be -had at nearly all dry goods stores. - -[Illustration: Corticelli MARÉCHAL NEIL ROSE DESIGN NO. 602 B. - -COLORED PLATE XXIV.] - - -_Maréchal Niel Rose Design No. 602 B._ - -COLORED PLATE XXIV. - -[Illustration: MARÉCHAL NIEL ROSE DESIGN NO. 602 B.] - -BY AMALIA SMITH. - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each - 615, 616, 616.5, 740, 741, 742, 780, 781; 1 skein each 692.8, 743, - 743.5, 782, 783, 784. Corticelli Persian Floss, 6 skeins 615. - Smaller pieces take less silk. Dealers can furnish stamped linen of - this design in 18 and 22 inch sizes. See page 92. - -For the more experienced worker this design has many attractions, -and aided by the Colored Plate many who otherwise would be unable -to embroider this rose will find no difficulty in following the -directions. It is as handsome a design as the most ambitious could -desire, affording opportunity for very artistic treatment. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, 615. For the flowers in the border choose Corticelli Filo Silk, -615, shading to center with Green, 692.8. Put a few French knots of -Yellow, 742, in the center. Or work the centers of these border flowers -in Yellow, 740, instead of Green, 692.8, shading outward with 616.5 and -616. - -Large Rose.--Begin the edge of some of the petals with Corticelli -Filo Silk, Yellow, 743.5, shading gradually lighter to 616 at base. -The edge of the other petals can be done with Yellow, 740, shading -darker toward base with 741, 742, 743, 743.5. The turn over petals must -be raised high by filling in with long stitches of Corticelli Roman -Floss, although darning or embroidery cotton can be used; over this -filling work Filo Silk, Cream White, 616, care being taken to slant the -stitches in almost the opposite direction from those in the rest of the -petal. See Colored Plate XXIV. In working the roses remember to use the -darker shades for the back petals, as well as for the hollows or deep -places and choose the lighter shades for the high-lights or the raised -parts, such as turn over petals and those on the outside. - -Buds.--Work solid, using 743.5 for the point of the buds, shading -lighter toward calyx with Yellow, 743, 742. Work the points of calyx -with Green, 780, shading darker toward the bulb with 781, 782, 783, -784. - -Leaves.--Work solid. For edge of some of the leaves use Green, 781, -shading toward the center with 782, 783. Vein with 784. For the -smallest leaves 780 can be used for the points, shading toward the -center with 781, 782, and veining with 783. A study of Colored Plate -XXIV will repay one, as it gives the shading of the leaves as well as -of the roses. (Difficult.) - - -_Rabbit Chafing Dish Design No. 53._ - -COLORED PLATE XXVI. - -[Illustration: RABBIT CHAFING DISH DESIGN NO. 53.] - - _Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 134, - 136, 137; 1 skein each 105, 140, 534, 561, 645, 646, 647, 656, - 779.5, 781, 782, 783, 784. Corticelli Persian Floss, 8 skeins 781. - Smaller sizes take less silk. Dealers can furnish stamped linen of - this design in 9 and 22 inch sizes. See page 92. - -Border.--Work the scallop in buttonhole stitch with Corticelli Persian -Floss, Green, 781. See Colored Plate XXVI. - -Rabbits.--The rabbits can be worked in outline, or a better way would -be to work them partly solid. These instructions are for the partly -solid work. Begin working all around the rabbits' ears in long and -short stitch with Gray, 134; shade 105 into the gray, and inside the -ear use very light pink, 534. Around the eyes and nose make irregular -stitches with 136, working the eyes solid with Pink, 656. A few -stitches will give expression. Choose 137 for the back of the rabbit, -and, using long and short stitch, slant the stitches a little toward -the tail downward. Now shade lighter to the side, using 136, 134. Begin -the under side of the rabbit with 137, and with 136 and 134 shade -lighter upward and toward the center in the direction the fur would -seem to take. Shade under the head and bend of the legs with 137. Care -must be taken in working the rabbits to give the right direction to the -stitches, otherwise the effect will not be good. See Colored Plate XXVI. - -Grasses.--Work solid in long and short stitch with Green, 779.5, 781, -782, 783, 784, and Bronze, 561, 140, making each spear of grass of one -shade. - -Scrolls.--Work in outline stitch with Brown, 645, 646, 647, shading -from light at end to dark at base. (Somewhat Difficult.) - - - - -_Photograph Frames._ - -_Directions for Mounting and Framing._ - - -Embroidered frames are now always mounted under glass. This preserves -both the needlework and the picture, besides greatly enhancing the -beauty of both. After carefully examining all ready made frames in the -market we recommend the "Imperial Passepartout Frame" as the best. -It is strongly and yet neatly made, having a white leather binding, -holding the glass firmly in place. It has a sliding back, with -strong gilt wire easel, and suitable cardboard mounts with die cut -openings for pictures. It is self-contained and absolutely dust proof. -The embroidered linen can be removed at any time and a new design -substituted. These frames are made in two sizes, viz.: 8 x 10 inches -and 10 x 13 inches; the former has an opening for one photograph; the -latter, openings for two pictures. Square or oval openings are used -according to the design of the stamped linen. See page 92. - -After the embroidery is finished, proceed to complete the frame as -follows: cover the face of the frame with cotton wadding, and lay the -embroidered linen on top, being careful to see that the design is in -proper position, the plain part being over the opening in the frame. -Draw the linen tightly and tack with pins on each corner. Now place -the frame on its face, stretch the linen over its edges and fasten it -on the back with good, strong glue or mucilage,--glue is preferable. -Be careful to draw tightly and avoid creases. Allow plenty of time to -dry; then with a sharp penknife, cut the opening, if it be a square -one, making four cuts from the center to each of the four sides of the -opening, thus: X. Draw the four pieces cut through the opening and -paste them on the back. If the opening is an oval, begin at the center -and cut the linen in slits toward edge; draw tightly and evenly and -glue down. Place the photograph in position over the opening; over this -put the cardboard, which will hold the picture in place. Clean the -glass and slip the linen, cardboard and all, into the frame. Now slide -the back into place and the frame is complete. - -If you do not want to purchase a ready made frame, any good stationer -will mount your embroidered linen, or you can do it yourself and -then have it framed by a stationer. A small gilt beading made to -order will increase the beauty of the frame. In mounting follow these -instructions: cut a frame from heavy cardboard, the stiffer the -better, about 7 x 9 inches, noting the size of the linen and allowing -an inch margin on sides, top, and bottom. Cut a hole in the cardboard -for opening for picture, and proceed to mount as per directions for -"Imperial" frames. If the embroidery is not to be put under glass, cut -out another piece of thin cardboard, size of first, cover with silk, -sateen, or linen, and then sew front and back together on sides and -bottom, leaving enough space at top to slip in the picture. Use white -silk and make stitches as fine as possible. If you cannot obtain a -ready made easel to put on the back, make one from stiff cardboard, -covered with linen. - - -_Holly Photograph Frame Design No. 1._ - -BY AMALIA SMITH. - -[Illustration: Holly Photograph Frame Design No. 1.] - - _Materials_--8 x 10 inch Frame: Corticelli Filo Silk, 1 skein each - 582, 583, 584, 586, 754, 767, 768, 781, 785. Dealers can furnish - stamped linen of this design 10 x 12 inches. See page 92. - -It would be impossible to find a more appropriate Christmas present -than this pretty Holly design, embroidered and neatly framed ready for -inserting the picture. - -Berries.--Work in satin stitch similar to working jewels (see page 62), -with Corticelli Filo Silk, Red, 767, 768, using only one shade in each -berry. - -Leaves.--Work solid, using Green, 781, for the edge. Shade darker -toward the midvein with 754, 582, 583, 785, 586. Make some leaves -darker than others. Work the stems and veins in 584 and 785. For -directions for mounting and framing see page 69. - - -_Pansy Photograph Frame Design No. 5._ - -INSTRUCTIONS BY ELIZABETH MOORE HALLOWELL. - - _Materials_--8 x 10 inch Frame: Corticelli Filo Silk, 1 skein each - 504, 672, 674, 676, 726, 727, 729.5, 743, 783, 785. Dealers can - furnish stamped linen of this design 10 x 12 inches. See page 92. - -"Pansies for thoughts" are always pleasant to associate with tokens of -friendship; and the needlewoman who selects this subject for her skill -may be sure that her choice will prove a welcome gift to a friend. - -Pansies.--Use Corticelli Filo Silk, Purple, 726, 727, 729.5. For -another shade of purple, which will give variety, yet will combine well -with the above, take 672, 674, and 676. - -Flowers.--In working the flowers use the ordinary long and short -stitch, keeping each petal with the stitches tending towards the center -of the flower; let the darkest shading be at the edge of the petal, -shading gradually to light at the base; and in several of the flowers -let the two upper petals be quite dark. More than this will give too -heavy an effect; therefore work the other blossoms in the lighter -shades, letting the veinings only, be dark. One large French knot of -Yellow, 504, will be needed in the center of each pansy. - -[Illustration: PANSY PHOTOGRAPH FRAME DESIGN NO. 5.] - -Leaves.--The leaves may be worked in long and short stitch, with 783 -and 785, keeping the direction of the stitches toward the central -vein, but inclining downward to the base of the leaf. A careful study -of Colored Plate I (Frontispiece) will give one suggestions as to -the proper shading, and will be found as helpful as more elaborate -directions would be, although the colors are not identical with those -for this design. - -Before mounting the embroidery be sure that it is well pressed; if it -has become in any way soiled, it should be carefully washed according -to the directions given on page 6. Rules for mounting and framing will -be found on page 69. - - -_Violet Photograph Frame Design No. 3._ - -DOUBLE FRAME FOR TWO PICTURES. - - _Materials_--10 × 13 inch Frame: Corticelli Filo Silk, 1 skein each - 506, 726, 727, 728, 729, 781, 782, 783. Dealers can furnish stamped - linen of this design 12 × 15 inches. See page 92. - -[Illustration: VIOLET PHOTOGRAPH FRAME DESIGN NO. 3.--(Double -Frame.)] - -Violets.--Use same instructions as given for working Violet Design No. -402 A, page 40. Directions for mounting and framing will be found on -page 69. - - -_Forget-me-not Frame Design No. 60._ - -BY EMMA HAYWOOD. - - _Materials_--8 × 10 inch Frame: Corticelli Filo Silk, 1 skein each - 115, 623, 624, 678, 780, 781, 782. Dealers can furnish stamped - linen of this design, 10 × 12 inches, which allows ample margin for - mounting. See page 92. - -[Illustration: FORGET-ME-NOT FRAME DESIGN NO. 60.] - -The simple Forget-me-not design for a photograph frame for a cabinet -sized photograph should be very popular. To present one's picture thus -framed to a valued friend carries with it a pretty sentiment, the -favorite little flower of heavenly blue pleading for us that we may -be remembered. The treatment is of the simplest kind. Both blossoms, -buds, and leaves are worked in satin stitch, with French knots for -the centers. The stems are in outline or stem stitch. For such small -flowers Corticelli Filo Silk should be used in preference to any other -kind of silk. Work the blossoms with 623, 624; the leaves and stems -with 780, 781, 782. A very artistic effect can also be gained by -working the blossoms with 699, 700, putting in the leaves and stems -with 107, 108, 109. Make the French knots for the centers with 115. The -buds may be of a delicate Pink, 678. Rules for mounting and framing -will be found on page 69. (Easy.) - - -_Jewel Photograph Frame Design No. 61._ - -BY EMMA HAYWOOD. - - _Materials_--8 × 10 inch Frame: Corticelli Filo Silk, 1 skein each - 105, 138, 139, 141, 142, 501, 624, 646, 647, 656, 657, 701, 702. - Dealers can furnish stamped linen of this design, 10 × 12 inches. - See page 92. - -There has always been a great demand for embroidered photograph frames, -and recently those in simulated jewels have been among the most popular -patterns. When worked the color effect will be found very rich and -pleasing. - -Leaves and Stems.--Work the leaves and stems in Olive Green Corticelli -Filo Silk. For the leaves take 138, 139, 141, and 142, shading the -spray from light to dark, working in satin stitch. Make one leaf in one -shade and the next one in another. - -[Illustration: CORTICELLI GARLAND PHOTOGRAPH FRAME - -DESIGN NO. 62. - -COLORED PLATE XXV.] - -[Illustration: CORTICELLI RABBIT DESIGN NO. 53. - -COLORED PLATE XXVI.] - -Jewels.--Work the three jewels at each corner to represent rubies, -using 656, 657, the darker shade for the one in the middle. Working -horizontally toward the center at top and bottom, the next group of -three jewels should represent the topaz, and for this choose Yellow, -501. Still following the scroll toward the center, work the next three -to represent the turquoise, using 701, 702; the darker shade for the -jewel in the middle of the group, the lighter shade for the one on each -side. We now come to the center of the frame. Work this group of three -jewels in Salmon Pink, 105. - -[Illustration: JEWEL FRAME DESIGN NO. 61.] - -For the side scrolls, begin at the center, using 701, 702. The three -jewels on each side of these work in 105, and the remaining group -between those in 105 and the corner, should be made in 624. All jewels -must be outlined with 646 or 647. Full directions for working jewels -are given in the instructions for the Jewel Centerpiece Design No. -50, page 61. Rules for mounting and framing will be found on page 69. -(Somewhat Difficult.) - - -_Garland Photograph Frame Design No. 62._ - -COLORED PLATE XXV. - -BY ALICE C. MORSE. - - _Materials_--8 x 10 inch Frame: Corticelli Filo Silk, 1 skein each - 124, 125, 126, 127, 503, 504, 505, 623, 624, 625, 636, 637, 638, - 639. This quantity is more than enough. Dealers can furnish stamped - linen of this design, 10 x 12 inches. See page 92. - -[Illustration: GARLAND PHOTOGRAPH FRAME DESIGN NO. 62.] - -Wild Roses.--Work the petals solid with Corticelli Filo Silk, beginning -at the edge with 639, shading towards the center with 638, 637, 636. -Work the petals that seem to be in the background darker than those -that overlap them. Vary the shading in some of the flowers. In the -center work a few French knots with 505. See Colored Plate XXV. - -Forget-me-nots.--Work in satin stitch each petal or all petals in one -flower in one shade of Blue, 623, 624, 625. Place one French knot in -the center of the open flowers, using Yellow, 503. - -Ribbon.--Work in satin stitch, in Yellow, 503, 504, slanting the -stitches across the ribbon. Be careful to preserve the correct effect -of the twisted part by working one side of the fold in 503, the next -fold in 504, and so on. See Colored Plate XXV. - -Leaves.--Work in satin stitch, using Green, 124, 125, 126, 127, making -half of each leaf in one shade. Outline the stems with 127. Rules for -mounting and framing will be found on page 69. (Somewhat Difficult.) - - -_Jonquil Photograph Frame Design No. 63._ - -BY ELIZABETH MOORE HALLOWELL. - - _Materials_--8 x 10 inch Frame: Corticelli Filo Silk, 1 skein each - 502, 503, 504, 506, 507, 750, 751, 752, 781, 782, 783, 783.5, 784. - Dealers can furnish stamped linen of this design, 10 x 12 inches. - See page 92. - -[Illustration: JONQUIL PHOTOGRAPH FRAME DESIGN NO. 63.] - -For an Easter greeting, or a birthday present in early spring, a frame -worked in this design will prove a welcome offering. This design may -also be used for a magazine or book cover. - -Flowers.--These may be worked in long and short stitch, or half solid -Kensington, in which case somewhat less than the quantity of silk -named above will be sufficient. However, we strongly advise working -the whole design in solid embroidery, as the effect is very handsome -and will repay one for the extra labor. Begin working the edge of the -cup with Yellow, 504, gradually shading darker to the base with 506, -507, keeping the stitches perfectly straight. Work the edge of petals -in Yellow, 502, and shade darker with 503, 504, to the cup. That part -of the flower between cup and stem should be worked in 506 and 507. -The curious paper-like shell which surrounds the flower at the point -of attachment to the stem, work with 750, 751, 752, using 750 for the -point, and shading darker to the stem. - -Leaves.--Work solid, beginning at the point with 781, shading gradually -darker to the base, using 782, 783, 783.5, 784. Work the stems solid in -Olive Green, 782, 783, 783.5, 784, shading from dark near the bottom to -light nearest the flowers. A little of 782 should be worked at one side -of some of the stems. - -Opening.--Outline the opening for the picture and the other straight -lines in the design with Yellow, 507. Rules for mounting and framing -will be found on page 69. (Not Difficult.) - - - - -_Corticelli Doily Book._ - - - _Materials_--Corticelli Filo Silk: 3 skeins each of two shades. - (See below.) 1 piece linen, either Blue, Green, Tan, or Terra - Cotta, 12 x 20 inches, stamped with this design; 1 Doily Book. - Dealers can furnish all the above material. See page 92. - - For Blue Linen use Corticelli Filo Silk, Yellow, 741, 743.5, or - Pink, 678, 680. - - For Green Linen use Corticelli Filo Silk, Green, 693, 695, or - Purple, 650, 651.5. - - For Tan Linen use Corticelli Filo Silk, Scarlet, 537, 539, or Pink, - 572, 573.5. - - For Terra Cotta Linen use Corticelli Filo Silk, Pink, 635.5, 638, - or Green, 124, 127. - - When working either Blue, Green, or Terra Cotta Colored Linen the - proper color numbers can easily be substituted in the following - instructions. - -[Illustration: CORTICELLI DOILY BOOK.] - -Every needleworker usually has several choice doilies that when not in -use should be kept in some clean place where they will remain smooth -and flat. This book holds twelve doilies. It contains thirteen leaves -of tinted cardboard, each measuring 8-1/2 by 8-1/2 inches. The covers -are stiff and the binding is strong. - -Tan Linen and Scarlet Silk.--For the word "Doilies" use the darkest -shade (539) Corticelli Filo Silk. First stuff the letters with -embroidery cotton (or better still with Corticelli Roman Floss of same -shade as silk) similar to the manner of working jewels. (See page 62.) -Then cover the filling in satin stitch. The letters should appear as -if raised. Work the four corner figures with long and short stitch in -two shades of silk, using the lightest (537) for the outside and the -darkest (539) for the inside, which includes the dot in the center. -Work the stem or scroll in outline stitch in the lightest shade (537), -and make the leaves running from it solid, in long and short stitch, -with alternating shades of silk. The jewels in the scroll and the four -just inside it should be first stuffed and then covered similar to the -letters in the word "Doilies." - -When completed, stretch the linen firmly over the stiff pasteboard -covers and glue down on the inside. Sew two short ribbons, the color of -the silk, to the linen on the inside, for tying the covers together. -(Not Difficult.) - - -_Initials and Monograms._ - -BY DELLA V. WHIPPLE. - -[Illustration] - -The newest way for marking handkerchiefs is one's own writing -transferred with carbon, then worked in a very narrow satin stitch, -with a decided slant to the stitches. The accompanying monogram is a -pretty and practical one. Embroider the single lines same as described -above, fill in the broad portions with perpendicular stitches, piling -high, and cover with satin stitch same slant as the lines. Make the -dots in French knots. If one is partial to French knots a good way is -to outline all of the lines of letters, using Kensington outline stitch -and fill in the broad parts with the knots. - -The initial letters shown on the opposite page were drawn for 1898 -Corticelli Home Needlework by a St. Louis artist. They are specially -adapted to the purpose for which they are intended and are very pretty -when worked according to the following instructions. - -All letters look best if given a raised effect. To do this stuff the -space between the lines with Corticelli Roman Floss, after the manner -of working jewels (see page 62), taking care to have the stitches of -the filling laid in the opposite direction to that which the covering -stitches will take. With two threads of Corticelli Filo Silk cover the -stuffing in satin stitch. Color 615, White, is usually used, although -some prefer Cream White, 616, or Cream, 616.5. The Roman Floss used for -stuffing should be of the same shade as the Filo Silk. A pretty way -for making very small letters is to just follow the outline with small -cross stitches. - - -_Marking Clothing._ - -While the neatest way to mark clothing is by one's initials embroidered -in Corticelli Filo Silk, as above suggested, this is not practical -for many articles. Tablecloths, napkins, sheets, pillow cases, white -spreads, towels, shirts, collars, and cuffs, also, must be plainly -marked for convenience in sorting and identifying personal articles -in the family wash and to avoid being lost when entrusted to public -laundries. For this nothing is better than Payson's Indelible Ink. With -a bottle of this ink and a common pen one can easily mark all necessary -articles. A good idea is to keep on hand a few yards of linen tape, on -which your name is written many times with this ink. Cut the tape as -wanted and sew on to stockings, or other articles having too rough a -surface for pen work. - -[Illustration: _Corticelli Initial Letters._ - -See opposite page for directions for embroidering. - -The original letters from which the above engravings were made measure -1-1/4 inches high. If the size shown above is large enough for your -work transfer the letters direct from the book to the linen with carbon -paper. If, however, the larger sized letters are desired get your -dealer to order the perforated pattern for you, or, if he refuses to do -this send direct to the Nonotuck Silk Co., Florence, Mass. Perforated -pattern of the entire set of twenty-six letters, 1-1/4 inches high, -costs 20 cents, postpaid. Perforated patterns of single letters cost 10 -cents each, postpaid.] - -_Tea Cloths, Tray Cloths, and Bureau Scarfs._ - -[Illustration: PURPLE CLEMATIS TEA CLOTH DESIGN NO. 437 A.] - - -_Purple Clematis Tea Cloth Design No. 437 A._ - -DRAWN WORK AND HEMSTITCHED EDGE. - -BY ELIZABETH MOORE HALLOWELL. - - _Materials_--Tea Cloth 45 x 45 inches: Corticelli Filo Silk, 6 - skeins 729; 5 skeins 728; 4 skeins 727; 3 skeins each 725, 726, - 781, 782, 783, 784, 785; 1 skein each 621, 622, 779.5, 780. The - smaller size takes less silk. Dealers can furnish hemstitched - stamped linen of this design, with drawn work edge, in two sizes, - as follows: 436 A, 36 × 36 inches, 437 A, 45 × 45 inches. See page - 92. - -Use same instructions for embroidering this tea cloth as given for -Purple Clematis Design No. 56, page 55, and illustrated by Colored -Plate XXII. (Not Difficult.) - - -[Illustration: COSMOS TEA CLOTH DESIGN NO. 437 B.] - -_Cosmos Tea Cloth Design No. 437 B._ - -DRAWN WORK AND HEMSTITCHED EDGE. - - _Materials_--Tea Cloth 45 × 45 inches: Corticelli Filo Silk, 6 - skeins each 655.7, 655.8; 5 skeins 655.9; 4 skeins 616.5; 2 skeins - each 109, 110, 123, 504, 506, 781, and 782. The smaller size takes - less silk. Dealers can furnish hemstitched stamped linen of this - design, with drawn work edge, in two sizes as follows: 436 B, 36×36 - inches; 437 B, 45×45 inches. See page 92. - -Flowers.--Work solid. For the edge of petals use 655.7, 655.8, shading -lighter gradually to the center with 616.5, 123. Give a touch of Pink, -655.9, to some of the petals to give an effect of shadow where the -petals lap; but not too much, as the flowers should be quite pale. In -the center work a number of short stamens with Green, 781, and make -French knots at the points of stamens in Yellow, 504 and 506. Work the -buds and half flowers in the same manner, although choose the darker -shades for the very small buds. Work the upper part of calyx with -Green, 781, and the part near the stem with 782. - -Leaves.--Slant the stitches downward as you would to work stems. Tip -the points of the leaves with Green, 781, shading gradually darker -toward the stems with 782, 109, 110. Work the stems with 109, 110. (Not -Difficult.) - - -_Sweet Pea Tea Cloth Design No. 407 G._ - -HEMSTITCHED AND SILK CORDED EDGE. - -COLORED PLATE XXVII. - -(See Illustration on Page 81.) - -BY AMALIA SMITH. - - _Materials_--Corticelli Filo Silk: 2 skeins each 501, 502, 503, - 616, 616.5, 678, 679, 680, 681, 725, 726, 727, 729, 757, 780, 781, - 782, 783, 784. Dealers can furnish hemstitched stamped linen of - this design, 36 × 36 inches. See page 92. - -Sweet peas grow in such a variety of exquisite colorings that the -utmost license is available in selecting the colors for each flower. -However, be careful to avoid startling combinations. The following -suggestions for a color scheme will be found to give a very pretty -effect. - -Flowers.--Work solid, being careful to start the stitches in the -right direction. Begin the edge of the petal with a dark shade, shade -gradually lighter to the stem. The stitches should be taken in a -downward curve to the stem. Make some flowers pink on the edge and -yellow near the stem; make others shade from pink to violet; still -another flower violet and yellow, and again working some all of one -color, shading from dark on edge to light near the stem. Work the calyx -in Green, 781, 782, the darker shade near the stem. - -Leaves.--Work solid, using Green, 781, 782, 783, 784, making the points -of the leaves light and shading darker near the center, using two -shades in a leaf. Make the larger leaves near the base of the spray in -the darker shades of green. Use 757 for the stems. For tendrils choose -780 and 781. - -Carefully examine Colored Plate XXVII. This shows the proper stitch -direction and the shading of the flowers and leaves. Unless you -thoroughly understand "long and short" stitch and "feather stitch," -make a study of the article on "Embroidery Stitches--Described and -Illustrated," especially of pages 11 and 12. (Difficult.) - -[Illustration: CORTICELLI SWEET PEA DESIGN NO. 407 G. - -COLORED PLATE XXVII.] - -[Illustration: SWEET PEA TEA CLOTH DESIGN NO. 407 G.] - - -_Wild Rose Bureau Scarf Design No. 434 B._ - -HEMSTITCHED AND DRAWN WORK EDGE. - - _Materials_--Corticelli Filo Silk, 2 skeins each 639, 782; 1 skein - each 504, 636, 637, 638, 640, 655.7, 755, 780, 781, 783. Dealers - can furnish stamped linen of this design with hemstitched and drawn - work edge, 18 × 36 inches. See page 92. - -Roses and Leaves.--Use same instructions as given for Wild Rose Design -No. 603 E, page 28, and illustrated by Colored Plate IX. If desired -the petals of the roses may be worked "half solid," using the long and -short stitch. The leaves also can be worked in the same manner. The -more effective way, however, is to work both roses and leaves solid, -as described in the instructions to which reference is given. - -[Illustration: WILD ROSE BUREAU SCARF DESIGN NO. 434 B.] - - -_Rabbit Chafing Dish Tray Cloth Design No. 53 A._ - -COLORED PLATE XXVI. - - _Materials_--Corticelli Filo Silk: 2 skeins each 134, 136, 137, - 779.5, 781, 782; 1 skein each 105, 140, 534, 561, 645, 646, 647, - 656, 783, 784. Corticelli Persian Floss, 10 skeins 781. Dealers can - furnish stamped linen of this design, 18×27 inches. See page 92. - -[Illustration: RABBIT CHAFING DISH TRAY CLOTH DESIGN NO. 53 A.] - -A Chafing Dish is to be found in nearly every home, and many are the -choice concoctions that owe their existence to the little alcohol lamp -and the simmering pan of water. The design shown here is especially -appropriate for a chafing dish tray cloth. - -Use the same instructions as given for working Design No. 53, page 68, -and illustrated by Colored Plate XXVI. - - -_Daisy Tray Cloth Design, No. 406 D._ - -HEMSTITCHED EDGE. - - _Materials_--For Silk necessary to embroider this tray cloth, and - instructions for same, see Daisy Design, page 65. Made in sizes, 18 - x 27 and 18 x 36 inches. Also for bureau scarfs, 17×54 and 17×72. - Dealers can furnish stamped linen, with hemstitched edge, of this - design, in all of the above sizes. See page 92. - -[Illustration: DAISY TRAY CLOTH DESIGN NO. 406 D.] - -Hemstitched linen, similar to Daisy Tray Cloth Design No. 406 D, -can also be furnished by dealers in the above sizes, stamped with -the following designs: 406 A, Apple Blossom; 406 B, Buttercup; 406 -C, Chrysanthemum; 406 E, Sweet Pea; 406 F, Forget-me-not. For -instructions for working and silk required, see pages 63, 64, 65, and -66. - - -_Sofa Pillow Design No. 508._ - - _Materials_--1 piece plaid cambric, 24 x 48 inches, stamped with a - wide colored check, with 5 yards double ruffling of same material; - Corticelli Roman Floss, 9 skeins (6 of the light shade, and 3 of - the dark shade). For colors see below. Dealers can furnish all of - above material. See page 92. - - For Green Pillow use Corticelli Roman Floss, 549, 551. - - For Yellow Pillow use Corticelli Roman Floss, 743, 743.6. - - For Blue Pillow use Corticelli Roman Floss, 793, 796. - -[Illustration: SOFA PILLOW DESIGN NO. 508.] - -This pillow is a pretty one for summer use. The material is plaid -cambric, a white ground with a colored check. The check comes in three -different colors: green, yellow, and blue. - -[Illustration: SHOWING METHOD OF WORKING SOFA PILLOW.] - -The engraving shows exactly how the work is done, using the lighter -shade of silk and the seamstress' feather stitch for the four corners -around each square. The center figure is worked in the darker shade of -silk, with the X in the lighter shade. When the decoration is complete, -finish the pillow as follows: Gather the ruffle double on the raw edge, -and, putting it between the front and back pieces of the cushion, sew -together on the wrong side on three sides of the pillow. Blind-stitch -the fourth side after the down cushion has been placed inside. Other -figures and methods of working will suggest themselves to every -needleworker. This pillow is a very inexpensive one. (Easy.) - - - - -_Bicycle and Golf Stockings._ - - -[Illustration: PATTERN A, WITH STRAP. - -(The Stocking Leg shows the light brown mixed yarn.)] - -The increasing popularity of the wheel and the game of golf has revived -the interest in knitting, especially since desirable and exclusive -patterns in bicycle and golf stockings are not easily obtained in the -ready made goods. - -The designs given here are knit from wool and silk. The silk is made -especially for this work and in combination with wool the effect is -very handsome. The best results can only be secured by the use of the -exact material called for in the instructions. Corticelli Bicycle and -Golf Silk is made of specially selected stock dyed in fast colors, -and will be found easy to knit. Fleisher's German Knitting Worsted, -Golf and Cycle Mixtures, is just the right size to use in connection -with the silk. To identify this yarn look for the name "Fleisher's" -on the ticket attached to each hank. The colors of silk to go with -the different colors of yarns harmonize perfectly. Ordinary yarn, _no -matter of what kind or color_, will not do to work these patterns. - -Those who do not care to knit the complete stocking can make the tops -alone. These are frequently made separate, but the stocking (purchased -at any store) on which they are put should not be cut, but the top -sewn on just in place to turn over in the right position. The extra -thickness is no disadvantage, in fact, rather the contrary. This -suggestion is entirely practical, especially since stockings with fancy -tops and plain legs are now the vogue. - -Care must be taken to knit the top of stockings quite loosely, allowing -plenty of slack in the thread especially when changing from silk to -yarn and vice versa. Without this slack the tops of Patterns B and C -will not give or stretch, making it difficult to draw them on and off. -To knit these patterns four No. 13 steel needles are required. The -quantity of silk and yarn necessary for each pair of stockings is given -on the following pages. Among the twelve patterns will be found one -which cannot fail to suit every individual taste as to the proper color -combinations of yarn and silk. - - -EXPLANATION OF TERMS AND ABBREVIATIONS. - -K--Knit plain. - -P--Purl (or seam). Knit with thread before the needle. - -N--Narrow, and means to knit two stitches together. - -PN--Purl (or seam) two stitches together. - -SL--Slip a stitch from the left needle to the right without knitting it. - -SL and B--Slip and bind, that is slip one stitch, knit the next, and -pass slipped stitch over. - -*--Stars or Asterisks indicate repetition. - -Complete illustrated directions for these stitches will be found in -"Florence Home Needlework" for 1894. A copy will be mailed to any -address for 6 cents in stamps. - - -_Stocking No. 1, Pattern A. Dark Green Yarn and Red Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted, Golf -and Cycle Mixture, 2 skeins No. 211; Corticelli Bicycle and Golf Silk, -2 skeins No. 543. - - -_Stocking No. 2, Pattern A. Dark Green Yarn and Dark Brown Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted, Golf -and Cycle Mixture, 2 skeins No. 211; Corticelli Bicycle and Golf Silk, -2 skeins No. 529. - - -_Stocking No. 3, Pattern A. Light Brown Mixed Yarn and Dark Green Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted, Golf -and Cycle Mixture, 2 skeins No. 207; Corticelli Bicycle and Golf Silk, -2 skeins No. 586. - - -_Stocking No. 4, Pattern A. Green and Brown Mixed Yarn and Old Purple -Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted, Golf -and Cycle Mixture, 2 skeins No. 200; Corticelli Bicycle and Golf Silk, -2 skeins No. 678. - - -_Stocking No. 5, Pattern A. Tan and Brown Mixed Yarn with Dark Red -Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted, Golf -and Cycle Mixture, 2 skeins No. 214; Corticelli Bicycle and Golf Silk, -2 skeins No. 543. - - -_Stocking No. 6, Pattern A. Brown and Blue Mixed Yarn with Blue Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted, Golf -and Cycle Mixture, 2 skeins No. 218; Corticelli Bicycle and Golf Silk, -2 skeins No. 794. - -Dealers can furnish all the above material. See pages 92 and 94. - - -_Pattern A._ - -FOR STOCKINGS NOS. 1, 2, 3, 4, 5, AND 6. - -Cast 100 stitches Yarn on to 4 No. 13 Steel Needles and knit as -follows: Knit =4= rounds, 2 plain, 2 purl Yarn;--=5th= and =6th= -rounds, k plain Yarn;--=7th= round, k 1 Silk, 9 Yarn;--=8th= round, k 2 -Silk, 7 Yarn, 1 Silk;--=9th= round, k 3 Silk, 5 Yarn, 2 Silk;--=10th= -round, k 4 Silk, 3 Yarn, 3 Silk;--=11th= round, k 5 Silk, 1 Yarn, 4 -Silk;--=12th= round, k 4 Silk, 3 Yarn, 3 Silk;--=13th= round, k 3 -Silk, 5 Yarn, 2 Silk;--=14th= round, k 2 Silk, 7 Yarn, 1 Silk;--=15th= -round, k 1 Silk, 9 Yarn;--=16th= round, k Yarn;--=17th= and =18th= -rounds, purl Yarn and reduce 16 stitches;--=19th= round, k plain -Yarn;--=20th= round, * k 1, n; turn, sl 1; p 1; turn, k 3; turn, -p 3; turn, k 3, n; turn, p 4; turn, k 5; repeat from * all the way -around in Yarn.--*=21st= round, in Silk, pick up 5 stitches behind; -turn, k 5; turn, p 4; p 1 Silk and 1 Yarn together; turn, k 5; turn, -p 4; p 1 Silk and 1 Yarn together; turn, k 5; turn, p 4; p 1 Silk and -1 Yarn together; turn, k 5; turn, p 4; p 1 Silk and 1 Yarn together; -turn, k 5; turn, p 4; p 1 Silk and 1 Yarn together; repeat from * all -around;--*=22d= round, pick up 5 stitches in Yarn the other way around; -turn, p 5; turn, k 4; k 1 Yarn and 1 Silk together; turn, p 4; turn, -k 3; k 1 Yarn and 1 Silk together; turn p 3; turn, k 2; k 1 Yarn and -1 Silk together; turn, p 2; turn, k 1; k 1 Yarn and 1 Silk together; -turn, p 1; turn, k 2 and repeat from * all around. (Note, when you -change color, always work reverse way.) Pick up stitches till you have -100 on your needles.--=23d= round, k Yarn;--=24th= and =25th= rounds, -p Yarn;--=26th= to =35th= rounds, same as rounds 7th to 16th;--=36th= -to =40th= rounds, k plain Yarn;--=41st= and =42d= rounds, p Yarn. This -completes the top. - -=_To Knit the Leg._=--Knit 3 rounds plain, then purl 1, k 1 for 2 -inches. Now turn the stocking inside out and proceed to knit the leg -by the instructions given below. (The part just knitted forms the turn -over top of stocking. It will be wrong side out while the leg is being -knitted, but turns over right side out when the work is completed as -shown by the engraving.) - -[Illustration: STOCKING TOP OF PATTERN A.] - -Purl 3 rounds, knit 15 rounds plain; then p 1, k 4 all around; knit -this way for 3 inches. The narrowing begins at the center rib of the -back of the stocking and ends at the center rib in the front of the -stocking. Make the first or center back narrowing as follows: on one -of the needles which begins, p 1, k 4, purl the purled stitch, k 1, sl -1, k 1, pass slipped stitches over and k 1. This completes the first -narrowing and the rib now consists of 1 purled stitch and 3 plain ones -only. All the narrowings are made the same way. * Knit 3 rounds. In -the fourth round knit to the rib preceding the narrowed center rib and -narrow that rib as before; then knit to the rib, following the narrowed -center rib, and narrow it; also repeat from *, always narrowing in -every fourth round at each side of the previous narrowing until all the -ribs, including the front center one, are narrowed. After knitting 4 -inches more the leg is complete, and you are ready to begin the strap -or the foot. - -The strap is commonly used on bicycle and golf stockings although some -prefer the complete foot. Below we give directions for knitting both. - -=_To Knit the Strap._=--Divide the stitches into two parts for the -strap, making the division at the center back, and center front ribs. -Beginning at the center back rib, * k 1, n, knit across the needle -till but 3 stitches are left, sl and b, k 1; turn, purl back across -the needle, repeat three times from *. After this do not to sl and b -at the end of the needle but continue to narrow at the beginning of -the needle each time in knitting across, till the number of stitches -is decreased to 16. Then knit the other half of the strap to match, as -follows: beginning at the center front rib *k 1, n, knit across the -needle till but 3 stitches are left, sl and b, k 1, turn, purl back -across the needle, repeat three times from *. After this do not narrow -at the beginning of the needle, but continue to sl and b at the end of -the needle till the stitches are decreased to 16. - -Now fold the right sides of the two parts just knitted together; k 1, -then k 2 stitches (one from each needle) together and bind the stitch -previously knitted over them; continue till all the stitches are bound -off. Work in single crochet once around the edges of the strap to give -extra strength. - -=_To Knit the Foot._=--Divide the stitches so that there will -be 34 stitches on one needle for the heel. Decrease 3 stitches, and -keeping the center back stitch in the center of the heel, knit plain on -the right side and purl back on the wrong side until there are 15 loops -at each side. Then knit across 19 stitches, n, k 1, turn, sl 1, purl -back 9 stitches, n, p 1, turn, * sl 1, k across, knitting the stitch -following the last narrowing together with the next of the stitches -left on the needle; k 1, turn, sl 1, purl back and purl the stitch -following the last narrowing together with the next stitch, purl 1; -repeat from * until all the stitches on each side of the needle are -used. - -Pick up the 15 loops on each side of the heel for stitches. Place the -stitches of the instep on one needle and the stitches of the sole on -two more needles; work to the beginning of the first sole needle, k 1, -n; knit across to within 3 stitches of the end of the 2d sole needle, -n, k 1; repeat the narrowing in every other round till the number -of stitches is decreased by 18. Then k 24 rounds without narrowing, -continuing the ribs along the instep. Now knit one round narrowing 7 -times across instep. Then knit 2-1/2 inches plain and narrow at the -toe, as follows: place half the stitches on the instep needle and the -other half on the two sole needles; at the beginning of the instep -needle k 1, n, k across to within 3 stitches of the end of the needle, -n, k 1; first sole needle k 1, n, knit to within 3 stitches of the end -of second sole needle, n, k 1; narrow in this way in every other round -until 12 stitches are left on the instep needle and 6 on each of the -sole needles. - -Bind off in this way, k 1, then knit 2 stitches together (one from the -sole and one from the instep needle) and bind the stitch previously -knitted over them; continue till all the stitches are bound off. - - -_Stocking No. 7, Pattern B. Light Brown Mixed Yarn with Olive Green and -Dark Brown Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted, Golf -and Cycle Mixture, 2 skeins No. 207; Corticelli Bicycle and Golf Silk, -1 skein each Nos. 110 and 528. - - -_Stocking No. 8, Pattern B. Green and Brown Mixed Yarn with Dark Green -and Old Purple Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted. Golf -and Cycle Mixture, 2 skeins No. 200; Corticelli Bicycle and Golf Silk, -1 skein each Nos. 586 and 676. - - -_Stocking No. 9, Pattern B. Tan and Brown Mixed Yarn with Dark Green -and Dark Red Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted, Golf -and Cycle Mixture, 2 skeins No. 214; Corticelli Bicycle and Golf Silk, -1 skein each Nos. 586 and 543. - -Dealers can furnish all of the above material. See pages 92 and 94. - - -_Pattern B._ - -FOR STOCKINGS NOS. 7, 8, AND 9. - -NOTICE--_Y_ = Yarn; _Olive_ = Olive Silk, No. 110; _Brown_ = -Brown Silk, No. 528. - -For knitting Stocking No. 7 follow directions given below. - -For knitting Stocking No. 8 use Green Silk where "Brown" is mentioned, -and Old Purple Silk where "Olive" is mentioned. - -For knitting Stocking No. 9 use Green Silk where "Brown" is mentioned, -and Red Silk where "Olive" is mentioned. - -The choice of three combinations in different colors of yarn and silk -are offered for this pattern. See page 88. - -[Illustration: STOCKING TOP OF PATTERN B.] - -=_To make the Top._=--Cast 160 stitches Y on 4 No. 13 steel needles. P -2, k 2, for =6= rounds;--=7th= and =8th= rounds, k plain;--=9th= and -=10th= rounds, k 1 stitch with Brown, 7 with Y, 3 with Olive, 7 with -Y, 2 with Brown;--=11th= and =12th= rounds, k 2 Brown, 5 Y, 5 Olive, -5 Y, 3 Brown;--=13th= and =14th= rounds, k 3 Brown, 2 Y, 2 Olive, 1 -Y, 3 Olive, 1 Y, 2 Olive, 2 Y, 4 Brown;--=15th= and =16th= rounds, k -3 Brown, 1 Y, 11 Olive, 1 Y, 4 Brown;--=17th= and =18th= rounds, k -3 Brown, 2 Y, 2 Olive, 1 Y, 3 Olive, 1 Y, 2 Olive, 2 Y, 3 Brown, 1 -Y;--=19th= and =20th= rounds, k 3 Brown, 5 Y, 3 Olive, 5 Y, 3 Brown, -1 Y;--=21st= and =22d= rounds, k 1 Y, 3 Brown, 3 Y, 5 Olive, 3 Y, 3 -Brown, 2 Y;--=23d=, =24th=, and =25th= rounds, k 2 Y, 3 Brown, 1 Y, 2 -Olive, 3 Y, 2 Olive, 1 Y, 3 Brown, 3 Y;--=26th= and =27th= rounds, k -3 Y, 3 Brown, 1 Olive, 5 Y, 1 Olive, 3 Brown, 4 Y;--=28th= and =29th= -rounds, k 4 Y, 2 Olive, 1 Brown, 5 Y, 1 Brown, 2 Olive, 5 Y;--=30th= -and =31st= rounds, k 2 Y, 3 Olive, 1 Y, 2 Brown, 3 Y, 2 Brown, 1 Y, 3 -Olive, 3 Y;—-=32d= and =33d= rounds, k 1 Y, 3 Olive, 3 Y, 2 Brown, 1 Y, -2 Brown, 3 Y, 3 Olive, 2 Y;--=34th= and =35th= rounds, k 3 Olive, 5 Y, -3 Brown, 5 Y, 3 Olive, 1 Y;--=36th= round, k 2 Olive, 7 Y, 1 Brown, 7 -Y, 3 Olive;--=37th= and =38th= rounds, k 1 Olive, 8 Y, 1 Brown, 8 Y, 2 -Olive. This ends the decoration. - -With yarn knit 10 rounds plain, but in the 10th round narrow 60 -stitches, so that there will be 100 stitches on the four needles. Now -proceed by directions given for knitting the leg of Pattern A, page 87. - - -_Stocking No. 10, Pattern C. Brown and Blue Mixed Yarn, with Old Blue -and Golden Brown Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted, Golf -and Cycle Mixture, 2 skeins No. 218; Corticelli Bicycle and Golf Silk, -1 skein each Nos. 794 and 528. - - -_Stocking No. 11, Pattern C. Green and Brown Mixed Yarn with Dark Green -and Old Purple Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted, Golf -and Cycle Mixture, 2 skeins No. 200; Corticelli Bicycle and Golf Silk, -1 skein each Nos. 676 and 586. - - -_Stocking No. 12, Pattern C. Light Brown Mixed Yarn with Olive Green -and Dark Brown Silk._ - -_Materials_--1 pair Stockings: Fleisher's German Knitting Worsted, Golf -and Cycle Mixture, 2 skeins No. 207; Corticelli Bicycle and Golf Silk, -1 skein each Nos. 110 and 528. - -Dealers can furnish all the above material. See pages 92 and 94. - - -_Pattern C._ - -FOR STOCKINGS NOS. 10, 11, AND 12. - -NOTICE--_Y_ = Yarn; _Brown_ = Brown Silk; _Blue_ = Blue Silk. - -For knitting Stocking No. 10 follow directions given below. - -For knitting Stocking No. 11 use Green Silk where "Brown" is mentioned, -and Purple Silk where "Blue" is mentioned. - -For knitting Stocking No. 12 use Dark Brown Silk where "Brown" is -mentioned, and Green Silk where "Blue" is mentioned. - -The choice of three combinations in different colors of yarn and silk -are offered for this pattern. See above and page 89. - -[Illustration: STOCKING TOP OF PATTERN C.] - -Cast on 136 stitches Y and knit as follows: Rounds =1= to =4=, k 2, p 2 -Y;--=5th= round, p Y;--=6th= round, k 4 Y, 4 Brown;--=7th= round, k 2 -together Y, k 3 Y, 4 Brown, 4 Y, 4 Brown, and repeat 4 Y, 4 Brown all -the way around;--=8th= round, k 1 Brown, 4 Y, 3 Brown;--=9th= round, k -2 Brown, 4 Y, 2 Brown;--=10th= round, k Y;--=11th= round, p Y;--=12th= -round, k Y and increase 1 stitch;--=13th= round, k 9 Y, 6 Blue, 2 -Y;--=14th= round, k 8 Y, 2 Brown, 6 Blue, 1 Y;--=15th= round, k 7 Y, 4 -Brown, 6 Blue;--=16th= round, k 1 Blue, 5 Y, 6 Brown, 5 Blue;--=17th= -round, k 2 Blue, 3 Y, 6 Brown, 2 Y, 4 Blue;--=18th= round, k 3 Blue, -1 Y, 6 Brown, 4 Y, 3 Blue;--=19th= round, k 3 Blue, 6 Brown, 6 Y, 2 -Blue;--=20th= round, k 2 Blue, 6 Brown, 8 Y, 1 Blue;--=21st= round, 1 -Blue, 6 Brown, 10 Y;--=22d= round, 1 Brown, 6 Blue, 10 Y;--=23d= round, -2 Brown, 6 Blue, 8 Y, 1 Brown;--=24th= round, 3 Brown, 6 Blue, 6 Y, -2 Brown;--=25th= round, 3 Brown, 1 Y, 6 Blue, 4 Y, 3 Brown;--=26th= -round, 2 Brown, 3 Y, 6 Blue, 2 Y, 4 Brown;--=27th= round, 1 Brown, 5 -Y, 6 Blue, 5 Brown;--=28th= round, 7 Y, 4 Blue, 6 Brown;--=29th= round, -8 Y, 2 Blue, 6 Brown, 1 Y;--=30th= round, k 9 Y, 6 Brown, 2 Y;--=31st= -round, k Y;----=32d= round, k Y;--=33d= round, purl Y;--=34th= round, -k 4 Y, 4 Brown;--=35th= round, increase 1 Y, k 3 Y, 4 Brown, * 4 Y, 4 -Brown and repeat from *;--=36th= round, k 3 Y, 4 Brown, 1 Y;--=37th= -round, k 2 Y, 4 Brown, 2 Y;--=38th= round, k Y;--=39th= round, purl Y. -This ends the decoration. - -With yarn knit 10 rounds plain, but in the 10th round narrow 37 -stitches, so that there will be 100 stitches on the four needles. Turn -the work _inside out_, and proceed by directions given for knitting leg -and strap or foot of Pattern A, page 87. - - -_For Beginners in Needlework._ - - -_Corticelli Color Card._ - -To obtain the greatest benefit from using this book one should have -a Corticelli Color Card, showing the 325 different colors in which -Corticelli Filo Silk is made. With this card you can see at a glance -the exact colors of silk called for in the instructions. We will send a -Corticelli Color Card to any address for 12 cents in stamps. - - -_Teachers' List._ - -We have prepared a list, which includes many of the best teachers -throughout the United States, and to any of our readers desiring -instruction in Art Needlework we shall be glad to recommend a competent -teacher in your city or vicinity, qualified to give lessons to private -pupils and to classes. Often-times where there is no teacher in a town -one will be glad to come from a neighboring city if a small class can -be formed so as to make it an object for the teacher. In this way the -expense to each member of the class would be comparatively small. - - -_To Teachers of Art Needlework._ - -Teachers of Art Needlework who are pleased with this book and wish -information regarding our goods are invited to write for prices or -samples. Our line of stamped linens is large, and varied enough to suit -all tastes, and we are constantly issuing new designs. We have the -helps such as every teacher wants for her pupils, instruction books, -Color Cards, Colored Flower Plates, etc., and we think our co-operation -cannot fail to increase your business. Feel at liberty to write us at -any time. Questions gladly answered. - -Any teacher may have her name added to our Teachers' List (see above) -upon filling out a blank giving name and address, experience, usual -prices charged for lessons, and other necessary information. Copies of -this blank will be sent free on application. Address - -NONOTUCK SILK COMPANY, BRIDGE ST., FLORENCE, MASS. - - -To Obtain the Ready Stamped Linens and Corticelli Silk. - -All designs shown in this book, as well as Corticelli Wash Silk for -embroidering them, can be obtained from dry goods stores or fancy goods -stores ready stamped on good quality round thread bleached linen. If -merchants do not have these stamped linens in stock they will order -them for you if you specially request them to do so. If one should -refuse, try another dealer, or write direct to us, giving the dealer's -name, and we will give you the name of a dealer in your vicinity from -whom you can purchase what you want. - -The above remarks apply to all doilies, centerpieces, tea cloths, tray -cloths, and stamped linens for photograph frames, as well as to the -yarn and silk required for knitting bicycle and golf stockings. - -Be particular to see that you get the exact patterns illustrated in -this book. Most dealers keep them. In any case it will pay you to -insist upon having these original patterns and Corticelli Silk in order -to take advantage of the treatment of the designs given herein. We will -not hold ourselves responsible for failure if other material, either -linen or silk, than that called for in the instructions is used for any -design. - -We shall be glad to estimate the cost of stamped linen and silk for any -design shown in the book. Please inclose a 2 cent stamp for reply. - -=The Imperial Passepartout Frame=, described on page 69, is sold -by nearly all dealers in fancy goods and embroidery materials. If your -local dealers do not keep these frames, and decline to order one for -you, we will give you the name of a dealer who will supply you. - -=The Corticelli Doily Book=, described on page 75, can be obtained -in the same manner as the Imperial Passepartout Frame. - - -_Caution in Washing Art Embroideries._ - -While we guarantee the dyes used for Corticelli Wash Silk are fast in -color when ordinary care is taken in the laundrying, we cannot be held -responsible for the result when even so small a quantity as a single -skein of some other kind of silk has been used in connection with -Corticelli Wash Silk to embroider any design. Needleworkers should use -the greatest caution in this particular and avoid taking any chances. - -In the washing be careful to use a good soap, like the Ivory, for -instance, which is always satisfactory. "Washing powders," liquids, or -chemicals of any nature should be let severely alone. Before beginning -read the article by Mrs. Wilson on "To Wash Embroidered Linens," page -6. Mrs. Wilson gives some valuable suggestions which all our readers -will be glad to profit by. - - -SPRINGFIELD PRINTING AN BINDING COMPANY. - - - - -_For a Christmas Gift_ - - -[Illustration] - - Nothing is more appropriate - than a pair of genuine - - _Florence Silk Mittens_, - - Or a pair of - - _Florence Silk Baby's Socks_. - - If your dealer will not supply you, - write direct to the NONOTUCK SILK - COMPANY, Bridge St., Florence, Mass. - - * * * * * - - [Illustration] Send for our "Mitten Circular," - free. It tells all about the different - patterns and sizes. Write for it to-day. - - [Illustration] - - _Florence Silk Underwear - ... For Men and Women._ - - Silk is a non-conductor of heat. - Silk Underwear is healthful and hygienic. - No irritation, but perfect protection and comfort. - Soft and agreeable to the skin. - Especially desirable for ladies and invalids. - - [Illustration] Send for samples and price list. - - _NONOTUCK SILK COMPANY, Bridge St., Florence, Mass._ - - - - -_Corticelli Bicycle and Golf Silk._ - - -[Illustration: CORTICELLI - -SPECIAL KNITTING - -Bicycle and Golf Silk.] - -Made expressly for knitting the fancy tops of Bicycle and Golf -Stockings. In combination with yarn the effect is very handsome. It is -dyed in the following colors, which are guaranteed fast: - - No. 110, Olive Green. - No. 528, Brown. - No. 529, Dark Brown. - No. 543, Dark Red. - No. 586, Dark Green. - No. 678, Old Purple. - No. 794, Old Blue. - - Put up in one-half ounce skeins. Sold by dry goods merchants generally. - - _Nonotuck Silk Company, Bridge St., Florence, Mass._ - - - - -_Corticelli_ - -_Domestic Cord Edge Braid._ - - -This braid makes a perfect edge, giving the dress a handsome and -substantial finish. It is a =_SKIRT PROTECTOR_=, and one adapted -to all kinds of weather. - -[Illustration] - -It is made in two sizes, wide and narrow, and is furnished in colors to -match the latest dress goods. - - ASK YOUR DEALER FOR IT. - - - - -_FREE!_ - - - _The Best, - Most Authentic - Knitting Manual_ - -For using Worsted and Woolen Yarns of all kinds. Fully illustrated, 210 -pages. - -... Send 3 inside tickets taken from Fleisher's German Knitting Worsted -and 7c in stamps to cover postage on book. - - _Address, - Fleisher's Worsted Works, - Philadelphia, Pa._ - -[Illustration: FLEISHER'S THE BEST KNITTING WORSTED] - - _Fleisher's German Knitting Worsted, - Spanish, Saxony, Flosses, - Germantown, Etc._ - -Fleisher's yarns contain half again as many yards to the pound as any -other brand. They last longer and wear better. The black and all colors -are guaranteed absolutely fast. - - -_See that the name "FLEISHER'S" is on every hank._ - - - - -_Embroidery Hoops_ - - - _(Sizes 4, 5, 6, 7 inch.)_ - -[Illustration: - - "THE QUEEN." - (Pat'd) - Sample, any size, 15c, - postpaid. -] - -THE "QUEEN" REQUIRES NO WINDING, - -the cushioned elastic spring band gives a uniform pressure all the way -round and holds a light or heavy fabric tightly and with equal firmness. - - MRS. EMMA HAYWOOD, =of the "Ladies' Home Journal," - writes=:--"I consider your 'QUEEN' Embroidery Hoop a great - advance on the old-fashioned Hoops. It holds the material firmly - without injury." - - -[Illustration: - - TRADE - Special S/S Select - MARK -] - - * * * * * - -_The "Special-Select" Hoops_ - -are made of selected wood, lathe turned with rounded edges and smoothly -finished. Perfectly true in circle and will never warp out of shape. -This style of hoop requires slight winding. - - -Sample, any size, by mail, 10 cents. - -Address, GIBBS MFG. CO., (Dept. B) CANTON, OHIO. - - - - -PAYSON'S INDELIBLE INK. - - -[Illustration] - - _"Payson's" has been A HOUSEHOLD WORD for over 60 years._ - - It is still "the Oldest and the Best." - - Received Highest Award, Medal and Diploma, Centennial, - Philadelphia, 1876, and World's Fair, Chicago, 1893. - - SOLD BY ALL BOOK, DRUG, AND FANCY GOODS STORES. - - - - -Corticelli Crochet and Knitting Silk. - - -[Illustration] - -Famous for its high lustre, even size, great strength, and absolutely -fast dye. Its good qualities are already known to our readers. It is -the best silk made for crocheting. Made in two sizes: - -No. 300 (coarse) is the more popular size for all kinds of crochet -work. Dyed in a great variety of colors which are guaranteed fast. - -No. 500 (fine) furnished in Black and shades of White only. Each ball -contains 1/2 oz. of pure silk. - - -Sold by Dry Goods Dealers and Merchants Generally. - - - - -Florence Knitting and Crochet Silk. - - -[Illustration] - -Strictly pure. Suitable for knitting mittens, stockings, and other -articles of wearing apparel which require washing. The soft finish of -this silk makes the work of knitting easy. It is equally desirable for -crochet work. Made in two sizes: - -No. 300, coarse, and No. 500, fine. Made in a great variety of colors. -Each ball contains 1/2 oz. of silk. - - -Sold by Dry Goods Dealers and Merchants Generally. - - - - -CORTICELLI - - - Filo Silk, - Persian Floss, - Roman Floss, - Rope Floss, - Etching Silk, - EE Embroidery Silk, - Lace Embroidery Silk, - - All - Fast - Color. - -[Illustration] - -For Decorative Needlework Use ... - - _"CORTICELLI" - WASH SILK._ - - SMOOTH IN WORKING, - BRILLIANT IN LUSTRE, - PERFECT IN SHADING, - FAST IN COLOR. - -[Illustration] _Made in Over 325 Colors._ - -Send us six 2-cent stamps for Cortical Color Card, showing all the -shades. - - - "CORTICELLI" on the label of each skein is a guarantee that the - Silk will wash. - - - - -Three Things to Remember. - - -=1st.= To get the most benefit from using this book you should -have a "_Corticelli Color Card_," showing the 325 different shades -in which Corticelli Filo Silk is made. With one of these Color Cards -you can see at a glance the _exact colors_ of silk called for in the -instructions given in this book. We will send a _Corticelli Color Card_ -to any address for 12 cents in stamps. - -=2nd.= If you are pleased with this book, the designs and Colored -Plates, you can do us a great favor by showing it to your friends. They -may want to send for one like it. We will be glad to send a copy to any -address on receipt of 10 cents. - -=3rd.= We published no book for 1897. Please don't ask us for one. -From 1887 to 1896 we published FLORENCE HOME NEEDLEWORK. These -back numbers can still be obtained. Price 6 cents each. See page 4. - - NONOTUCK SILK COMPANY, - - BRIDGE ST., FLORENCE, MASS. - - * * * * * - - +-------------------------------------------------------------+ - | Transcriber notes: | - | | - | P.26. '653, 654, 729 5.', changed '729 5' to '729.5.' | - | P.45. 'with 678, 655.7, 616 5.' changed '616 5' to '616.5.' | - | P.49. 'and other dark', changed 'other' to 'others'. | - | P.63. 'with 636, 655 7.', changed '655 7' to '655.7.' | - | Fixed various punctuation. | - | Tags that surround text: _Made in Over 325 Colors._ | - | indicate italics, and: | - | Tags that surround text: =Mrs. L. Barton Wilson= | - | indicate bold text. | - +-------------------------------------------------------------+ - - - - - -End of Project Gutenberg's Corticelli Home Needlework 1898, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK CORTICELLI HOME NEEDLEWORK 1898 *** - -***** This file should be named 51204-0.txt or 51204-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/2/0/51204/ - -Produced by Jane Robins and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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-} - -.container { - text-align: center; -} - -.text, width35 { - display: inline-block; - text-align: left; - max-width: 35em; -} - -@media handheld { - .text { - display: block; - margin-left: 1.5em; - } -} - -/* Transcriber's notes */ -/* Transcriber's notes */ -.transnote {background-color: #E6E6FA; - color: black; - font-size:smaller; - padding: 1.5em; - margin-right: 5%; - margin-left: 5%; - font-family:sans-serif, serif; -} - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of Corticelli Home Needlework 1898, by Various - -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/license - - -Title: Corticelli Home Needlework 1898 - A Manual of Art, Embroidery and Knitting - -Author: Various - -Editor: Mrs L Barton Wilson - Mrs Emma Haywood - Miss Alice C Morse - Miss Elizabeth Moore Hallowell - Mrs Amalia Smith - -Release Date: February 14, 2016 [EBook #51204] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK CORTICELLI HOME NEEDLEWORK 1898 *** - - - - -Produced by Jane Robins and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - -<hr class="chap" /> - - -<p><span class="pagenum"><a name="Page_1" id="Page_1"></a></span></p> - - -<div class="figcenter"><a href="images/i_000_frontis_a.jpg"> -<img src="images/i_000_frontis.jpg" width="369" height="560" alt="" title="PRESS OF SPRINGFIELD PRINTING AND BINDING COMPANY" /></a> -<div class="caption"> -<p>PRESS OF SPRINGFIELD PRINTING AND BINDING COMPANY, SPRINGFIELD, MASS.</p> - </div> -</div> - -<hr class="tb" /> - -<p> - -<!-- Autogenerated TOC. Modify or delete as required. --> - -<a href="#Introduction"><em>Introduction.</em></a><br /> -<a href="#Fancy_Work_Books"><em>Fancy Work Books.</em></a><br /> -<a href="#Hints_Upon_the_Selection_of_Material"><em>Hints Upon the Selection of Material.</em></a><br /> -<a href="#Embroidery_Stitches_Described"><em>Embroidery Stitches.—Described and Illustrated.</em></a><br /> -<a href="#Centerpieces_and_Doilies"><em>Centerpieces and Doilies.</em></a><br /> -<a href="#Photograph_Frames"><em>Photograph Frames.</em></a><br /> -<a href="#Corticelli_Doily_Book"><em>Corticelli Doily Book.</em></a><br /> -<a href="#Tea_Cloths_Tray_Cloths_and_Bureau_Scarfs"><em>Tea Cloths, Tray Cloths, and Bureau Scarfs.</em></a><br /> -<a href="#Bicycle_and_Golf_Stockings"><em>Bicycle and Golf Stockings.</em></a> - -<!-- End Autogenerated TOC. --> -</p> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_2" id="Page_2"></a></span></p> - - - -<div class="add"> - -<div class="figleft" style="width: 250px;"> -<img src="images/i_000a.jpg" width="250" height="173" alt="" /> -</div> - -<p class="p7b">CORTICELLI<br /> -<span class="mleft8">... SPOOL SILK</span></p> - -<p class="p1b">and BUTTONHOLE TWIST.</p> - -<hr class="r5" /> - - -<p class="p7b"><span class="smcap">made expressly for<br /> -dressmaking and family sewing.</span></p> - -<hr class="r5" /> - -<p class="center">It works <span class="smcap">EQUALLY WELL</span> for hand<br /> -or machine use.</p> - -<div class="figright" style="width: 250px;"> -<img src="images/i_000aa.jpg" width="250" height="190" alt="" /> -</div> - -<p><strong>Corticelli is the Smoothest,<br /> -Strongest, and Best<br /> -Sewing Silk made.</strong></p> - -<blockquote><p>Both Spool Silk and Buttonhole<br /> -Twist are made in<br /> -colors to match all seasonable<br /> -dress goods found in<br /> -the market.</p></blockquote> - -<div class="figleft" style="width: 250px;"> -<img src="images/i_000ab.jpg" width="250" height="208" alt="" /> -</div> - -<p class="p1b">For Sixty Years</p> - -<p class="p5a">CORTICELLI SILK</p> - -<p><span class="stagright">has been the favorite with<br /> -the leading dressmakers<br /> -of this country.<br /> -<br /> -<span class="p1b"><span class="smcap">they</span> RECOMMEND <span class="smcap">and</span><br /> -USE IT</span>.</span><br /></p> - -<hr class="r15" /> - -<p class="p4a">NONOTUCK SILK COMPANY,</p> -<p class="p5b">Bridge Street, Florence, Mass.</p> -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_3" id="Page_3"></a></span></p> - -<div class="figcenter" style="width: 369px;"> -<img src="images/i_000b.jpg" width="369" height="560" alt="" title="Corticelli Pansy Design No 605 B, Colored Plate I" /> -<div class="caption"><p><span class="smcap">Corticelli Pansy Design No. 605 B.</span></p> - -<p class="smaller"><span class="smcap">Colored Plate I.</span></p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_000big.jpg">See larger version</a>] -</div> - -<hr class="chap" /> - -<h1>CORTICELLI<br /> -HOME NEEDLEWORK<br /></h1> - -<p class="p7b">——1898——</p> - -<p class="p3b">A Manual of Art Needlework, Embroidery and Knitting.</p> - -<p class="p3b u">EDITED BY</p> - -<div class="container"> - <div class="text width35"> -<p><span class="mleft2"><em class="bold">Mrs. L. Barton Wilson</em>,</span><br /> -<em>Of the Art Amateur and Art Interchange.</em></p> - -<p><span class="mleft2"><em class="bold">Mrs. Emma Haywood</em>,</span><br /> -<em>Of the Ladies' Home Journal and The Delineator.</em></p> - -<p><span class="mleft2"><em class="bold">Miss Alice C. Morse</em>,</span><br /> -<em>Formerly Designer for the New York Society of Decorative Art.</em></p> - -<p><span class="mleft2"><em class="bold">Miss Elizabeth Moore Hallowell</em>,</span><br /> -<em>Of the Art Interchange and the Ladies' Home Journal.</em></p> - -<p><span class="mleft2"><em class="bold">Mrs. Amalia Smith</em>,</span><br /> -<em>Head of the Needlework Department Nonotuck Silk Company.</em></p> -<p class="center">(Formerly with the New York Society of Decorative Art.)</p> - </div> -</div> - -<p class="p1b">AND OTHER NEEDLEWORK AUTHORITIES.</p> - -<hr class="r15" /> - -<p class="p4a">PRICE 10 CENTS.</p> - -<hr class="r15" /> - -<p class="p1"><span class="smcap">Copyrighted and Published by</span></p> - -<p class="p4a"><em class="bold">The Nonotuck Silk Company</em>,</p> - -<p class="p1">FLORENCE, MASS., 1898.<br /> - -<span class="smallera">All Rights Reserved.</span></p> - -<hr class="tb" /> - -<div class="figcenter"> -<img src="images/i_002.jpg" width="560" height="361" alt="" title="Corticelli Silk Mills, situated at Florence, Leeds, and Haydenville" /> -<div class="caption"><p><span class="smcap">Corticelli Silk Mills, situated at Florence, Leeds, and Haydenville, Mass., Hartford, Conn., and St. Johns, P. Q.</span></p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_002a.jpg">See larger version</a>] -</div> - -<hr class="chap" /> - - -<h2><a name="Introduction" id="Introduction"></a><em>Introduction.</em></h2> - -<hr class="r5" /> - -<p><span class="bfl">I</span>N the endeavor to make this book larger and better than any previous -edition we have called to our aid some of the best needleworkers and -designers in this country, and the result is that we have the choicest -collection of embroidery designs for home decoration it has ever been our -privilege to present.</p> - -<p>We have been fortunate in securing the services of Mrs. Wilson, Mrs. -Haywood, Miss Morse, Miss Hallowell, and Mrs. Smith. Their designs are -always greatly admired, and undoubtedly many of our readers will prefer to -embroider their patterns, taking advantage of this opportunity to study the -treatment these well known authorities furnish for their special designs.</p> - -<p>Special attention is called to the Corticelli Colored Plates, which are -the only accurate reproductions of embroidery in natural colors ever -published. Aside from their beauty they will be found of great value to -every needleworker, as they show not only the correct shading of each -flower, but also the length and direction of the stitches.</p> - -<p>We show several very attractive designs for knitted fancy tops for golf -and bicycle stockings, and the rules given are from practical patterns knit -from wool and silk.</p> - -<p>To many needleworkers this may be the first Corticelli instruction book -they have seen. From such we invite the closest examination of our goods, -feeling confident that intelligent women can in this way readily appreciate -the superior quality of Corticelli Silk.</p> - -<p class="center"><span class="smcap">The Nonotuck Silk Company.</span></p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span></p> - - - - -<h2><a name="Fancy_Work_Books" id="Fancy_Work_Books"></a><em>Fancy Work Books.</em></h2> - - -<p>From 1887 to 1896 we published an illustrated instruction book in the use -of silk called "Florence Home Needlework." The subjects treated in the -different editions embrace every variety of useful and decorative needlework. -There are ten different editions, each containing 96 pages, as follows:</p> - -<p><em class="bold">1887 "Florence Home Needlework."</em></p> - -<blockquote><p><span class="smcap">Subjects.</span>—Crochet silk bead-work, crocheted and knitted silk purses, ladies' silk mittens and stockings, -baby's socks, men's silk half hose, lamp shades, lace edgings and insertions. 96 Illustrations.</p></blockquote> - -<p><em class="bold">1888 "Florence Home Needlework."</em></p> - -<blockquote><p><span class="smcap">Subjects.</span>—Drawn-work; damask stitches; Italian, tapestry, outline, and cross-stitch embroidery; -and crochet. 239 Illustrations.</p></blockquote> - -<p><em class="bold">1889 "Florence Home Needlework."</em></p> - -<blockquote><p><span class="smcap">Subjects.</span>—Tatting, netting, and embroidery. Also rules for knitting ladies' fancy silk mittens. 135 -Illustrations.</p></blockquote> - -<p><em class="bold">1890 "Florence Home Needlework."</em></p> - -<blockquote><p><span class="smcap">Subjects.</span>—Crochet and embroidery. Rules for four-in-hand scarfs (six engravings). 90 Illustrations.</p></blockquote> - -<p><em class="bold">1891 "Florence Home Needlework."</em></p> - -<blockquote><p><span class="smcap">Subjects.</span>—Crochet, embroidery, bead-work, and macramé lace. Rules for ladies' silk slippers, -men's ties (three new styles), belts, crocheted silk bags, and umbrella cases. 141 Illustrations.</p></blockquote> - -<p><em class="bold">1892 "Florence Home Needlework."</em></p> - -<blockquote><p><span class="smcap">Subjects.</span>—Crochet and embroidery. Rules for Roman picture throw, easel scarf, Irish lace, plain -sewing, crocheted wheels, cornucopias, belts, and garters. 160 Illustrations.</p></blockquote> - -<p><em class="bold">1893 "Florence Home Needlework."</em></p> - -<blockquote><p><span class="smcap">Subjects.</span>—Corticelli darning or mosaic embroidery, drawn-work, crocheted lamp shades, pillow lace -and its manufacture, and embroidery. 85 Illustrations.</p></blockquote> - -<p><em class="bold">1894 "Florence Home Needlework."</em></p> - -<blockquote><p><span class="smcap">Subjects.</span>—Corticelli darning, knitting, and crochet. Designs for men's four-in-hand scarfs and ladies' -linen set in mosaic embroidery. Also rules for baby's crocheted silk sack. 90 Illustrations.</p></blockquote> - -<p><em class="bold">1895 "Florence Home Needlework."</em></p> - -<blockquote><p><span class="smcap">Subjects.</span>—Honiton work, lace embroidery, mosaic embroidery, men's ties and suspenders, college -pillows. Rules for crocheted wheel, and three patterns in crocheted edgings. 66 Illustrations.</p></blockquote> - -<p><em class="bold">1896 "Florence Home Needlework."</em></p> - -<blockquote><p><span class="smcap">Subjects.</span>—Tea cloths, centerpieces and doilies in popular designs, including Rose, Jewel, Delft, -Empire, Festoon, Wild Flower and Fruit patterns. Also rules for knitting baby's shirt and cap and -crocheting baby's bonnet. Over 60 Illustrations.</p></blockquote> - -<p>One Florence Home Needlework book will be mailed to any address on receipt -of 6 cents; any 5 books for 25 cents, or the entire series will be sent for -50 cents. In ordering mention editions wanted by year. <img src="images/point007.png" width="50" height="21" alt="" /> <em>There is no book -for 1897.</em></p> - -<p class="p5a"><span class="smcap">Nonotuck Silk Company</span>,<br /> -<span class="smcap smallera mleft14">Bridge Street, Florence, Mass.</span></p> - -<p>The price of this book—"Corticelli Home Needlework for 1898"—is 10 cents.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> - - - - -<h2><a name="Hints_Upon_the_Selection_of_Material" id="Hints_Upon_the_Selection_of_Material"></a><em>Hints Upon the Selection of Material.</em></h2> - -<hr class="r5" /> - -<p>Often the most difficult task for many women is choosing the proper -shades of silk to embroider a certain stamped linen. Usually the dealer -from whom you purchase your Corticelli Silk will advise you in regard -to this, but when one lives in one of the smaller towns no store will -be found which carries a good stock of embroidery materials from which -to make a selection. In this case the best thing to do is to send -six 2 cent stamps to the Nonotuck Silk Co., Bridge Street, Florence, -Mass., for a Corticelli Color Card, showing over 325 different shades -in which Corticelli Wash Silk is made. The card also shows samples -of the various silks, as Filo Silk, Roman Floss, Persian Floss etc. -The owner of a Color Card can order by number Corticelli Silk from -her storekeeper, either by mail or in person. Few realize what a -convenience this is.</p> - -<div class="figcenter"> -<img src="images/i_005.jpg" width="250" height="330" alt="" title="Corticelli Color Card" /> -<div class="caption"><p><span class="smcap">Corticelli Color Card.</span></p> - -<p class="smaller">Mailed to any address for six 2 cent stamps.</p></div> -</div> - -<p>Many do not understand the great difference in embroidery silks, and -often inferior kinds are sold them by unscrupulous clerks. Corticelli -Silk is smooth working, of high luster, and is free from imperfections -in stock or finish, while the dyes used are remarkable for brilliancy -and absolute fastness of color. Magnificent mills, modern machinery, -and sixty years experience in manufacturing silk enable the Nonotuck -Silk Company to produce as perfect embroidery silk and floss as can be -made.</p> - -<p>Many realize only too late that they should have been more careful in -buying the right brand of Wash Silk. The old saying, "The best is always -the cheapest," comes back to those who have had some disappointing -experience with a patiently worked centerpiece or doily which failed to stand -the final test—the test of washing. Corticelli Silk took the highest award at -the Cotton States and International Exposition held at Atlanta, Ga., 1895, as -well as first prize at the Chicago World's Fair, 1893, and at the California -Midwinter Exposition, 1894. Besides this we call your attention to the large -number of well known needlework authorities that recommend its use. These<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> -facts alone should induce you to give Corticelli a trial in case you have never -done so.</p> - -<p>For fine and delicate shading on any smooth closely woven material, -especially linen, use Corticelli Filo Silk (sometimes called Filo Floss). Owing -to its fine size and loose twist a skillful worker can blend the shades with the -utmost nicety, so that flowers, leaves, fruits, or other objects are most faithfully -reproduced.</p> - -<p>Corticelli Persian Floss is a silk of two strands, loosely twisted and of high -luster, for work where two threads of Filo would ordinarily be required. -Persian Floss is used extensively for the buttonhole edges of doilies and centerpieces, -first padding the scallops with a few stitches as shown in Fig. VI <em>a</em>, -page 17; or the buttonhole edge may be worked without padding as desired. -Corticelli Filo Silk and Corticelli EE Embroidery Silk are also sometimes used -for this work.</p> - -<p>Corticelli Roman Floss is somewhat coarser than Corticelli Persian Floss -and is intended for embroidering large designs on heavier material. Curtains, -counterpanes, and cushions are worked with this thread, although for very -bold designs Corticelli Rope Silk is preferable.</p> - -<p>Corticelli Etching Silk, as its name implies, is for outline embroidery and -etching. Corticelli Lace Embroidery Silk should be used for Honiton and -lace work of similar nature. Corticelli EE Embroidery Silk is best suited for -general fancy work and crazy patchwork. This silk is quite hard twisted -and is therefore very durable.</p> - - -<hr class="r5" /> - -<p class="p5a"><em>To Wash Embroidered Linens.</em><a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p> - -<p class="center">By L. <span class="smcap">Barton Wilson</span>.</p> - -<p>Avoid all risk of rust or stain by using an earthen wash bowl in preference -to a tin or wooden tub. Wash by dipping in suds as hot as the hand can -comfortably bear, made with "Ivory" or any other pure soap.</p> - -<p>If there are any spots on the article wash them out first, before wetting -the entire piece. Beyond this do not rub or fold, but plunge the linen up and -down in the suds. If it is very much soiled or yellow, a half teaspoonful of -borax may be added without the least danger to the silk. Carefully avoid -washing powders and cheap soaps. When clean rinse by plunging up and -down in several tepid waters or until the water remains perfectly clear. If -the soap is not entirely removed by rinsing, the linen will yellow quickly.</p> - -<p>Dry partially by laying between two soft cloths or towels for a few minutes. -A new and very successful method for drying and pressing, especially small -sized linens, is as follows: Lay them close and smooth on a marble slab or -board. The woof and warp should be drawn perfectly straight and the -stitches of the embroidery should be brought into position—that is, so they -will lie as placed when worked. To dry a large article, place a sheet on the<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> -carpet and pin the piece through it to the carpet straight by the edges, -stretching a little. The drying may be hastened by fanning or by holding a -hot iron within half an inch of the surface. Doilies pinned to a board or -frame may be dried in a minute by holding them in front of a register, and -thus treated they should need no pressing with an iron.</p> - -<p>Larger linens may be placed on a fine sheet, face downward, and "touched -up" with a moderately hot iron; the marks of the pins may be removed by -dampening and pressing. Imperfections in the linen's smoothness may be -dampened but the silk should not be wet. The hem will likely need firm -pressing; fringe should be brushed and lightly combed out; it will then -likely need a little trimming.</p> - -<p>All Corticelli Silk will remain fast in color if these directions for washing -are followed, and the laundered embroidery will appear no different from that -just finished. The peculiar luster, or bloom, of this beautiful silk will be -retained if the new method of quick drying, under tension, is carried out.</p> - -<p>To set embroidery for the first time, dampen the linen and silk on the -wrong side and dry quickly before removing from the hoop. In all cases -of fabrics that are not washable set embroidery by pasting on the reverse side.</p> - - -<hr class="r5" /> - -<p class="p5a"><em>The Size of Needle to Use.</em></p> - -<p class="center"><span class="smcap">By Mlle. G. Corsini.</span></p> - -<p>Many ladies who embroider frequently complain that wash silk does not -work smoothly, that the silk snarls or ravels, making a bad-looking piece of -work, without saying anything about trying one's patience.</p> - -<p>"Now, what makes my silk snarl?" is heard only too often. They frequently -assign the cause of the trouble to the silk, when, in reality it is the -fault of the needle they are using.</p> - -<p>Some teachers recommend the use of an ordinary sewing needle with a -round eye, but I prefer the long eye or "Crewel" needle. If you want to do -fine work, shading closely, and are using double (two threads of) Corticelli -Filo Silk, use a No. 8 "Crewel" needle. For single (one thread of) Corticelli -Filo Silk use a No. 9 or a No. 10 needle, depending on the material upon -which you are working. Generally speaking, use a No. 10 needle, especially -for bolting cloth, Chinese linen, or grass linen. Corticelli Persian Floss -requires a No. 8 needle. In working Corticelli Etching Silk choose a No. 7 -needle. For Corticelli Roman Floss use a No. 6 needle. Use a No. 3 or a -No. 6 needle for Corticelli Rope Silk.</p> - -<p>Harper's Queen Crewel Needles are the best, and I advise all needleworkers -to insist upon having them.</p> - -<p>By following the above instructions there will be no excuse for unsatisfactory -working of Corticelli Silk.</p> - -<blockquote> - -<p><span class="smcap">Note.</span>—If you cannot buy the needles you want in your city, send six cents to the Nonotuck Silk Company, -Bridge Street, Florence, Mass., and they will send you four Queen Crewel needles each, of sizes 7, 9, and 10.</p></blockquote> - -<p><span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> - - -<hr class="r5" /> - -<p class="p5a"><em>Silk Required to Work a Piece of Given Size.</em></p> - -<p>As a matter of fact no two needleworkers will use the same quantity of -silk to work the same centerpiece or doily. One will require nearly or quite -twice as much as another, perhaps, owing to the method of treatment or the -way the shading is done. It is therefore almost impossible to advise customers -just how much silk they will need.</p> - -<p>In nearly all the instructions we have given the maximum quantity of silk -required to embroider a 22 inch centerpiece. You may not need as much as -the directions call for. Of course smaller sizes of linen will take less silk to -work them, and the necessary quantity can readily be estimated.</p> - -<p>If you are in doubt as to how much material you will want, you can order -from your dealer one skein of some shades, and two of others, even if the -instructions called for three or four skeins of a shade, and then order again -when you find you will require more. However, it is always safer to buy -at one time all the silk necessary for one piece, and we cannot too strongly -recommend this plan.</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Points for Beginners.</em></p> - -<p>Embroidery is very fascinating work, but to attain perfection one must -study the subject. We have been fortunate in securing so well known an authority -on Art Needlework as Mrs. L. Barton Wilson to furnish a chapter on -Embroidery Stitches. This article, which even the experienced worker will -be glad to read, is especially valuable to beginners, who will find no difficulty -in making the different stitches by following the directions and examining the -illustrations.</p> - -<p>Beginners should read "Hints upon the Selection of Material," and -"The Size of Needle to Use," as well as "To Wash Embroidered Linens." -In shading flowers in which many colors are required, have a separate -needle threaded with each shade; in fact, this is a good plan even if you are -using only a few shades.</p> - -<p>Choose a simple design to begin with, such as a Violet, a Buttercup, or a -Daisy, and get a small size stamped linen, not over nine inches square. At the -end of the instructions for each design we have printed the words (Easy), (Not -Difficult), (Somewhat Difficult), or (Difficult), which show the degree of skill -necessary to embroider each piece successfully.</p> - -<p>No printed instructions can help a beginner as much as a lesson, or better -still a course of lessons, under a good teacher. However, we have tried to -make the instructions explicit, and we think further details will be unnecessary; -still, should you find trouble in working any of the designs, or want to -know where materials can be obtained, we will gladly answer questions and -give you any desired information. A stamp should be enclosed for reply.</p> - -<div class="figcenter"> -<img src="images/i_009.jpg" width="370" height="560" alt="" /> -</div> - -<div class="larger-file"> - [<a href="images/i_009big.jpg">See larger version</a>] -</div> - - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> - -<h2><a name="Embroidery_Stitches_Described" id="Embroidery_Stitches_Described"></a><em>Embroidery Stitches.—Described and -Illustrated.</em><a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></h2> - -<p class="p1b">By L. <span class="smcap">Barton Wilson</span>.</p> - - -<p>The stitches used in modern embroidery are not productions of this age. -They belong to the art of to-day through adaptation. They have a value -because of their antiquity far above any value which new inventions in this -line could possess. Their application has been tried without limit and the -extent of expression and delineation through them is well known. The -science of embroidery is established; its methods are perfected. The art is -rich in its heritage.</p> - -<p>With the revival of needlework has naturally come a demand for silks of -such quality and durability as that possessed by the wonderful threads of -centuries ago, which are found in a perfect state of preservation in many -examples of old embroidery, and which seem even to grow more mellow and -beautiful in color with age. What modern science has done to meet this -demand is shown by the brilliancy and beauty of shading, and fastness of color, -which such silks as the "Corticelli" are known to possess. This ought to be -among the chief inspirations to best efforts in this line of decorative art.</p> - -<p>The form of embroidery which is most truly artistic, and at the same time -scientific, is that known as "Opus Plumarium"<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> or "Feather Stitch." (The -so-called "seamstress feather stitch" should not be confounded with this.) -The exceedingly beautiful 16th century examples of the embroidery still in -existence prove what is its durability and how adequate the method. The -"long and short" stitch, which is the constituent of the work, is widely used -on linens. When this stitch is correctly laid the effect is very beautiful, and, -like all primary things, its beauty lies in its simplicity and perfect adaptability. -It is proposed to describe and illustrate the long and short stitch first, in -order that in the light of a clear understanding of this first principle, the -opus plumarium (which is considered the most difficult embroidery, but which -is really an advanced use of this simple element) may become less formidable -to amateurs.</p> - -<p>Feather stitch should never be attempted on an unframed fabric. A certain -degree of excellence may be attained in embroidery by working such -fabrics as linen in the hand, but perfect stitch direction and proper tension -cannot be secured unless the fabric is stretched.</p> - -<p>Embroidery stitches hold a certain definite relation to each other and may -therefore be classified into groups. A glance at the classification will give one<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> -a clear idea of the fundamental principles of the Art. A little study of it will -furnish the key to the forms and styles of the embroideries of the different -centuries and countries and so enable one fully to appreciate collections -of antiques which are invaluable to the learner.</p> - - -<p class="p6b"><span class="smcap">Classification of Embroidery Stitches.</span></p> - -<div class="center"> -<table style="width:80%" border="0" cellpadding="3" cellspacing="0" summary="Classification of Embroidery Stitches"> -<tbody> -<tr> - <td class="tdl" rowspan="4">I. Long and Short Stitches.</td> - <td rowspan="4"><img src="images/i_014.png" width="23" height="90" alt="" /></td> - <td class="tdl"><em>a.</em> Simple Long and Short Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>b.</em> Feather Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>c.</em> Overlap Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>d.</em> Tapestry Stitch.</td> -</tr> -<tr> - <td class="tdl" rowspan="2">II. Satin Stitches.</td> - <td rowspan="2"><img src="images/i_014a.png" width="13" height="50" alt="" /></td> - <td class="tdl"><em>a.</em> Simple Satin Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>b.</em> French Laid Work.</td> -</tr> -<tr> - <td class="tdl" rowspan="5">III. Couching Stitches.</td> - <td rowspan="5"><img src="images/i_014b.png" width="32" height="125" alt="" /></td> - <td class="tdl"><em>a.</em> Simple Couching Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>b.</em> Twisted Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>c.</em> Brick Couching Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>d.</em> Diaper Couching (Over Satin Stitch).</td> -</tr> -<tr> - <td class="tdl"><em>e.</em> Other Elaborate Couching Stitches.</td> -</tr> -<tr> - <td class="tdl" rowspan="5">IV. Outline Stitches.</td> - <td rowspan="5"><img src="images/i_014c.png" width="32" height="125" alt="" /></td> - <td class="tdl"><em>a.</em> Kensington Outline Stitch.</td></tr> -<tr> - <td class="tdl"><em>b.</em> Bulgarian Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>c.</em> Split Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>d.</em> Stem Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>e.</em> Twisted Outline Stitch.</td> -</tr> -<tr> - <td class="tdl" rowspan="3">V. Wound Stitches.</td> - <td rowspan="3"><img src="images/i_014d.png" width="19" height="75" alt="" /></td> - <td class="tdl"><em>a.</em> Simple French Knot.</td> -</tr> -<tr> - <td class="tdl"><em>b.</em> French Knot, combined with Stem.</td> -</tr> -<tr> - <td class="tdl"><em>c.</em> Bullion Stitch.</td> -</tr> -<tr> - <td class="tdl" rowspan="6">VI. Buttonhole Stitches.</td> - <td rowspan="6"><img src="images/i_014e.png" width="38" height="150" alt="" /></td> - <td class="tdl"><em>a.</em> Simple Buttonhole Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>b.</em> Blanket Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>c.</em> Honeycomb Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>d.</em> Double Buttonhole Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>e.</em> Ladder Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>f.</em> Cat, Brier, or Seamstress Feather Stitch.</td> -</tr> -<tr> - <td class="tdl" rowspan="8">VII. Chain Stitches.</td> - <td rowspan="8"><img src="images/i_014f.png" width="24" height="200" alt="" /></td> - <td class="tdl"><em>a.</em> Common Chain Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>b.</em> Rope Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>c.</em> Single Reverse Chain Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>d.</em> Double Reverse Chain Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>e.</em> Double Chain Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>f.</em> Cable Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>g.</em> Beading Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>h.</em> Bird's Eye Stitch.</td> -</tr> -<tr> - <td class="tdl" rowspan="4">VIII. Darning Stitches.</td> - <td rowspan="4"><img src="images/i_014g.png" width="23" height="90" alt="" /></td> - <td class="tdl"><em>a.</em> Simple Darning Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>b.</em> Brick Darning Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>c.</em> Seed Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>d.</em> Queen Anne Stitch.</td> -</tr> -<tr> - <td class="tdl" rowspan="4">IX. Fancy Stitches.</td> - <td rowspan="4"><img src="images/i_014h.png" width="23" height="90" alt="" /></td> - <td class="tdl"><em>a.</em> Herringbone Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>b.</em> Ismit Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>c.</em> Janina Stitch.</td> -</tr> -<tr> - <td class="tdl"><em>d.</em> Border Stitch.</td> -</tr> -</tbody> -</table></div> - -<p>The above table will be found of great value to beginners, enabling them -easily to master the scientific or theoretical as well as the practical part of -this article.</p> - -<p>"Long and short" stitch as commonly used on linens is a border work. -That is, the forms of the design are not filled in entirely; the stitches are -carried round the outline and such space as they do not cover within the form -is allowed to remain in a low relief. This is known as "half work," sometimes -as "half solid Kensington," while the solid "opus plumarium" is often called -"Kensington." While it is true that the Kensington school revived this -ancient embroidery it is doubtful if this is sufficient reason why it should give<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> -to it the name. The history of art will be better preserved if we adhere to the -old terms. The effect of the contrasted surfaces, through the half work, of -the ground material and the embroidery, is very pleasing, and such a method -is more suitable on linen than solid embroidery. It is less conventional and -therefore is in harmony with the fabric. On the other hand solid embroidery -is rich in itself and should be used to decorate rich fabrics. This is not an -<em>invariable</em> rule but its restrictions are reasonable. Such exceptions as these -may be noted,—tiny forms such as the fronds of maiden hair fern may be -made solid to advantage, and the Bulgarian embroidery, fully described elsewhere -in this book, is heavy and complete. Conversely, good effects are -sometimes obtained with <em>heavy</em> silks in half work on rich fabrics. The artistic -principle involved in the "half work" is suggestiveness. If the design is good -to start with, a great deal of spirit may be put into it by the simple border -embroidery.</p> - - -<p class="p5a">I. <span class="smcap">"Long and Short" Stitches.</span></p> - -<div class="figcenter" style="width: 250px;"> -<img src="images/i_011.jpg" width="250" height="305" alt="" title="Fig I. Simple Long and Short Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> I <em>a.</em> <span class="smcap">Simple Long and Short Stitch.</span></p></div> -</div> - -<p><em>A.</em> <em class="bold">Simple Long and Short -Stitch.</em>—This stitch may be done in the hand, but as already -intimated it can be <em>perfectly</em> done only in a frame or hoop, which -should be rested on the table edge and held by a weight. The material -should be stretched straight with the woof and warp. The stitches are -then laid by using both hands, one below and the other above the frame, -to send the needle up and down perpendicularly. To make the stitch, -bring the needle <em>up</em> on the outline of the design and send it <em>down</em> -within the form. When the fabric is held in the hand the needle takes -the stitch over and down on the outline and <em>up</em> within the form. Let -the first stitch be a long one, one-quarter of an inch to an inch in -length in proportion to the size of the form. The next stitch should be -but two-thirds as long and should lie parallel with the first or closer -to it within the form, if it is a narrowing one, than on the outline; -or vice versa, if it is a form increasing in width. The contour of the -design must decide the stitch direction. The third stitch should be -long, followed by a short one, and so on alternating long and short. We -are sometimes told that these stitches should be "irregular." This is -both true and it is not. The long stitches should certainly not be all -of one length and the short all of another. In this they should vary, -but they should be absolutely regular in that they should be even on -the surface without piling or yet having spaces between them, and they -should form a perfect unbroken surface and the edge<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> -should exactly coincide with the outline. This, then, is the "long and short" -stitch, and it may be considered complete in itself as far as it goes. It is the -first stage of solid embroidery or "opus plumarium." See Fig. I <em>a</em>.</p> - -<div class="figcenter" style="width: 250px;"> -<img src="images/i_012a.jpg" width="250" height="305" alt="" title="Fig I. Feather Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> I <em>b.</em> <span class="smcap">Feather Stitch.</span></p></div> -</div> - -<p><em>B.</em> <em class="bold">Feather Stitch.</em>—The next -step is to lay another row of stitches over these, differing from them -in that they shall be long and short on both edges. The long stitch -should commence just below the outline and should end further within -the form than any of the first row. It should be taken in exactly the -same direction as the first row and over them. The next stitch should -be started below the first, something less than a third of its length, -just beside it, and should reach the same distance below the end of -the first. The third should be similar to the first, and so on. It is -obvious that every other stitch of this second row is the long one at -its start and the short one at its finish. The second row is the same -as the first, except that it is long and short on both edges. This is -not "irregularity," but <em>absolute regularity</em>. The more regular and the -more accurate the alternating is, the smoother the surface will be. -This second row should lap well over the first. It should indeed cover -two-thirds of it if the colors are to blend instead of appear as rows. -This is the secret, or rather, the real principle of shading. It will -not do to economize material and expect a rich result. This is likely -to be the fault of American embroidery. The preceding rows of stitches -must be solid under the succeeding ones. There may be as many rows as -are necessary to cover the form, and these should all lap deep over -each other so that the under rows show only because of the difference -in length of the stitches of the upper edge of the over rows. In this -way one shade passes into the next as tones in painting, perfectly -clear in themselves yet, because they are distinct, making a luminous -and unbroken whole. If the stitches are not placed according to such a -method the effect will be—again as in painting when the colors -are muddled—broken and harsh and expressionless. By this means -shades that differ greatly can be blended and the whole is brought into -relief by the raising of one row over the other. The lower ends of the -stitches of the last row may adapt themselves in terminating to the -form. See Fig. I <em>b</em>.</p> - -<div class="figleft" style="width: 168px;"> -<img src="images/i_012b.jpg" width="168" height="300" alt="" title="Fig I. Overlap Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> I <em>c.</em></p> - -<p><span class="smcap">Overlap Stitch.</span></p></div> -</div> - -<p><em>C.</em> <em class="bold">Overlap Stitch.</em>—This is the "long and short" on a curved <em>line</em>, not<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> -form. The first stitch is taken from the end of the line along its -length, the next stitch is taken just below the start of the first on -the line, over to the other side of the first and to a point just above -the finish of the first, thus lapping. Continue these stitches long and -short. This is the way to work round the circumference of a circle. -Curved tendrils are very effective embroidered in the overlap stitch. -See Fig. I <em>c</em>.</p> - -<div class="figcenter" style="width: 300px;"> -<img src="images/i_013a.jpg" width="300" height="252" alt="" title="Fig I. Tapestry Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> I <em>d.</em> <span class="smcap">Tapestry Stitch.</span></p></div> -</div> - -<p><em>D.</em> <em class="bold">Tapestry Stitch.</em>—A stitch similar to feather -stitch except that its lines are all in one direction. The stitches -do not slant to accommodate themselves to a form but are all straight -and in all cases parallel and terminate abruptly as they come against -the outline of the form whether they are within it or are used to -fill the background. This is essentially a filling stitch and is the -most beautiful way to embroider backgrounds. In composition with opus -plumarium it is wonderfully rich. There are many superb examples of -this work in the old opus anglicanam, where it was largely used to -represent drapery, and, in its most perfect application, faces. In a -word it is <em>parallel</em> "opus plumarium." Its rows should be well lapped. -See Fig. I <em>d</em>. The light shade in the engraving is intended simply to -show the system of stitches; there are three rows, each worked in the -same color, completely covering the linen and presenting an absolutely -smooth surface.</p> - -<div class="figcenter" style="width: 264px;"> -<img src="images/i_013b.jpg" width="264" height="300" alt="" title="Fig II. Simple Satin Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> II <em>a.</em> <span class="smcap">Simple Satin Stitch.</span></p></div> -</div> - -<p>The above four stitches are based upon -the "long and short" element.</p> - - -<p class="p5a">II. <span class="smcap">Satin Stitches.</span></p> - -<p><em>A.</em> <em class="bold">Simple Satin Stitch.</em>—The next -stitch in importance is the "Satin Stitch," -and it has various applications. This stitch forms an unbroken surface not -only in effect but in reality. The stitches are taken parallel and from side to -side of the outline or over the space they are to cover. On coarse material -and with one of the heavier silks, such as Corticelli Roman Floss or Rope<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> -Silk, it is possible to make them quite long, but when fine material is used -they must be short to lie well. Embroidery in this stitch -is more or less mechanical and does not allow of -shading. It is used principally in narrow bars, which are -often first raised by stitches laid at right angles to the -direction the satin stitch is to take. We show two -very good examples of satin stitch.</p> - -<div class="figcenter" style="width: 250px;"> -<img src="images/i_014a.jpg" width="250" height="309" alt="" title="Fig IIa. Simple Satin Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> II <em>a.</em></p> - -<p><span class="smcap">Simple Satin Stitch.</span></p></div> -</div> - -<p><em>B.</em> <em class="bold">French Laid Work.</em> The French white -or laid embroidery is an especial application of the satin stitch. It -is the method of initialing and is done in the Corticelli EE Twisted -Embroidery Silk and Corticelli Etching Silk with best effect. It is -also the form of work for covering cartoons in church embroidery. The -stitches may be taken from side to side at any angle so that they are -kept parallel to each other.</p> - - -<p class="p5a">III. <span class="smcap">Couching Stitches</span>.</p> - -<div class="figcenter" style="width: 200px;"> -<img src="images/i_014b.jpg" width="200" height="302" alt="" title="Fig IIIa. Simple Couching Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> III <em>a.</em></p> - -<p><span class="smcap">Simple Couching Stitch.</span></p></div> -</div> - -<p><em>A.</em> <em class="bold">Simple Couching Stitch.</em>—As methods of work, -appliqué and couching are of great importance and possibility and -through them a large variety of stitches are employed. Designs cut -out of fabrics are applied to ground fabrics by couching. The simple -stitch taken at right angles over cords is the one most commonly -used, as shown in Fig. III <em>a</em>. This and other couching may be used -independently or on the edges of applied forms.</p> - -<div class="figright" style="width: 203px;"> -<img src="images/i_014c.jpg" width="203" height="300" alt="" title="Fig IIIb. Twisted Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> III <em>b.</em></p> - -<p><span class="smcap">Twisted Stitch.</span></p></div> -</div> - -<p><em>B.</em> <em class="bold">Twisted Stitch.</em>—In this -stitch one cord is twisted around another and the over stitch is taken -through the ground at right angles to the direction of the outline. See -Fig. III <em>b</em>. Two silk cords may be carried over outlines, one -each side of a gold thread.</p> - -<div class="figcenter"> -<img src="images/i_014d.jpg" width="320" height="72" alt="" title="Fig IIIc. Brick Couching Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> III <em>c.</em> <span class="smcap">Brick Couching Stitch.</span></p></div> -</div> - -<p><em>C.</em> <em class="bold">Brick Couching Stitch.</em> Lay rows of cords close to each -other and couch them down with perpendicular stitches, alternating in -each row with the spaces between them. This is very effective work. See -Fig. III <em>c</em>.</p> - -<p><em>D.</em> <em class="bold">Diaper Couching Stitch.</em> This work is done over satin stitch. -Many examples of it are to be found in the rich antique diapered work. This<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> -embroidery has many uses in modern work. (See article on Bulgarian -Embroidery.) Circular forms within conventional flowers may be covered -with satin stitches as long as the forms require, then cross-barred -with stitches placed at a decided angle from the satin work. This set -of cross-bar stitches should be recrossed with another at the opposite -angle, thus forming little squares over the first work, which should -be couched down at their intersections. This diapering over satin -embroidery may be done in a variety of designs and color combinations. -Original ways will suggest themselves to the worker. See Fig. III -<em>d</em>.</p> - -<div class="figright" style="width: 250px;"> -<img src="images/i_015a.jpg" width="250" height="223" alt="" title="Fig IIId. Diaper Couching Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> III <em>d.</em></p> - -<p><span class="smcap">Diaper Couching Stitch.</span></p></div> -</div> - -<p><em>E.</em> <em class="bold">Elaborate Couching Stitches.</em>—There are a -large number of elaborate couching stitches usually executed in gold and -purse twist.</p> - -<p>The old work is rich in examples of couching over a system of foundation -cords which raise the covering layer of cords or silk threads. The "Basket" -and the "Frill Basket" are the most beautiful of these stitches. Corticelli -Filo Silk should generally be used for the over stitch and the heavier silks, -such as Corticelli Roman Floss and Rope Silk, should be the threads laid -on the surface. When it is desired to have the over stitches invisible yet -strong the Filo Silk may be split and waxed.</p> - - -<p class="p5a">IV. <span class="smcap">Outline Stitches.</span></p> - -<div class="figleft" style="width: 130px;"> -<img src="images/i_015b.jpg" width="130" height="300" alt="" title="Fig IVa. Kensington Outline Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> IV <em>a.</em></p> - -<p><span class="smcap">Kensington Outline Stitch.</span></p></div> -</div> - -<p><em>A.</em> <em class="bold">Kensington Outline Stitch.</em>—Outline stitches, especially the one -known as "Kensington outline," form a very prominent part in the work on -linens. When the lines of designs are close very satisfactory -results are obtained by outlining alone. This embroidery is -very serviceable, and a housekeeper needs an ample supply of -the simple linens to insure freshness in the dining room and -about the toilet tables. Linens outlined in all white are very -dainty, and all blue or delft green monochromes are pretty for -summer. The outline is a hand embroidery stitch, so that the -work is very convenient. The point of care-taking lies in -the fact that the outline must be accurately followed. The -stitch itself is a reverse backstitch. The work should proceed -from left to right. The needle should be brought up in -the outline, drawn out the full length of the thread, then sent -down in advance and carried out on the outline again a short -distance in front of the point at which it was put in. Again -the needle should be sent through in advance on the line, -thus forming an unbroken, partly double line on the face and -a series of short backstitches on the wrong side of the fabric. -The thread must be kept always on one side of the needle. It is more convenient -to some workers to throw it back. See Fig. IV <em>a</em>.</p> - -<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p> - -<div class="figleft" style="width: 108px;"> -<img src="images/i_016a.jpg" width="108" height="250" alt="" title="Fig IVb. Bulgarian Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> IV <em>b.</em></p> - -<p><span class="smcap">Bulgarian Stitch.</span></p></div> -</div> - -<p><em>B.</em> <em class="bold">Bulgarian Stitch.</em>—Two -or more lines of outline stitch laid -parallel and close together is known -as "Bulgarian Stitch." See Fig. -IV <em>b</em>.</p> - -<div class="figcenter" style="width: 305px;"> -<img src="images/i_016c.jpg" width="305" height="150" alt="" title="Fig IVc. Split Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> IV <em>c.</em> <span class="smcap">Split Stitch.</span></p></div> -</div> - -<p><em>C.</em> <em class="bold">Split Stitch.</em>—An outline -backstitch with the needle brought up <em>through</em> the previous -stitch instead of beside it. See Fig. IV <em>c</em>.</p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/i_016d.jpg" width="350" height="297" alt="" title="Fig IVd. Stem Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> IV <em>d.</em> <span class="smcap">Stem Stitch.</span></p></div> -</div> - -<p><em>D.</em> <em class="bold">Stem Stitch.</em>—This is also -but a modification of the outline. The backstitches are taken so as -to slant slightly <em>in</em> towards the interior of the form, thus -giving a little width to the outline. It is necessary to take the -stitches a little closer than the cut would indicate in order to avoid -spaces between them. This is a very satisfactory way of working stems -when it is desired that they should have more width than the simple -outline would give. See Fig. IV <em>d.</em></p> - -<div class="figleft" style="width: 125px;"> -<img src="images/i_016b.jpg" width="125" height="250" alt="" title="Fig IVe. Twisted Outline Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> IV <em>e.</em> <span class="smcap">Twisted -Outline Stitch.</span></p></div> -</div> - -<p><em>E.</em> <em class="bold">Twisted Outline Stitch.</em>—This stitch should be -worked in a frame or hoop, and it will be found a most -effective way of working ribbed stems. A double thread of -Filo is best adapted to the work. The thread should be -brought up on the outline its full length above the framed -fabric and the needle turned in the fingers until the thread is -well twisted, then holding the twisted thread over the fore-finger -of the left hand send the needle down a quarter of an -inch in advance on the line; bring it up again close beside -the stitch thus laid, about a third back on its length, then -send it down again in advance. The width of the stem -should be covered with parallel lines of these stitches. One -line is not satisfactory, but two or more lie well together. The stitches -must be taken uniformly all on one side of the lines. They may be much -longer than those of the simple outline. See Fig. IV <em>e</em>.</p> - - -<p class="p5a">V. <span class="smcap">Wound Stitches.</span></p> - -<p><em>A.</em> <em class="bold">Simple French Knot.</em>—A very useful little stitch, especially for -flower centers, where it may be used to cover small spaces or may represent the -anthers. The thread is brought out its full length and twisted round the -needle near the point where it leaves the fabric, the needle point is then -inserted perpendicular to the ground, the twist drawn against it and the -needle pushed through to the eye. Before drawing it through, the middle<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> -finger of the right hand should be placed on the twist to insure the -knot's lying firm on the surface. Turn the thread around the needle -but once for a fine knot or several times for a coarse one. The simple -French Knot is shown in Fig. V <em>b.</em> by the single knot at the left of -the illustration.</p> - -<div class="figcenter" style="width: 200px;"> -<img src="images/i_017a.jpg" width="200" height="262" alt="" title="Fig V.b French Knot, Combined with Stem" /> -<div class="caption"><p><span class="smcap">Fig.</span> V <em>b.</em> <span class="smcap">French -Knot, Combined -with Stem.</span></p></div> -</div> - -<p><em>B.</em> <em class="bold">French Knot, Combined with Stem.</em>—The French Knot -with tiny stern is made as one stitch. Instead of placing the knot at -the point where the thread leaves the ground material, it is placed -at a desired distance with the thread laid in a simple stitch on the -ground surface. This is a very satisfactory way to work flower centers. -The stamen, both filament and anther, is thus one stitch. See Fig. V -<em>b</em>.</p> - -<div class="figcenter" style="width: 200px;"> -<img src="images/i_017b.jpg" width="200" height="281" alt="" title="Fig Vc. Bullion Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> V <em>c.</em> <span class="smcap">Bullion Stitch.</span></p></div> -</div> - -<p><em>C.</em> <em class="bold">Bullion Stitch.</em>—Made by twisting the thread on the needle. When -a coil is so formed the needle and thread are drawn through it; it is then placed -on the surface and the needle sent down through the ground material to -fasten it. This is a Turkish stitch and in that embroidery is usually done in gold -passing. See Fig. V <em>c</em>.</p> - - -<p class="p5a">VI. <span class="smcap">Buttonhole Stitches.</span></p> - -<div class="figcenter" style="width: 250px;"> -<img src="images/i_017c.jpg" width="250" height="252" alt="" title="Fig VIa. Simple Buttonhole Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VI <em>a.</em></p> - -<p><span class="smcap">Simple Buttonhole Stitch.</span></p></div> -</div> - -<p><em>A.</em> <em class="bold">Simple Buttonhole Stitch.</em>—The Buttonhole Stitch is capable of -more elaborate work on its own account than is generally supposed. -Aside from the buttonhole scallop shown by Fig. VI <em>a.</em> which is now -so popular as a finish on linens and for which the Corticelli Persian -Floss and Corticelli EE Twisted Embroidery Silk are so suitable, it -has many possibilities in large work. It is also a hand stitch and -surfaces can be covered rapidly by its use, two points most acceptable -to amateurs. Short stitches laid close carry better color effects than -long ones far apart, although the color of the background, which shows -through the long stitches, has a large influence upon the effect. Deep -stitches in the buttonhole work must have a certain proportionate space -between them, for stitches more than a quarter of an inch deep do not -lie well close together. The line on which the loop is to fall should -be held toward one. The needle should be put in on the opposite line of -the width of the space to be covered and brought out directly below on -the lower line. The thread should lie in front of the needle and under -it, so that as it is drawn through and the stitch laid the knot will -lie formed. The work is done from left to right and the stitches should -be kept perpendicular. See Fig. VI <em>a</em>.</p> - -<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p> - -<div class="figcenter" style="width: 300px;"> -<img src="images/i_018a.jpg" width="300" height="213" alt="" title="Fig VIb. Blanket Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VI <em>b.</em> <span class="smcap">Blanket Stitch.</span></p></div> -</div> - -<p><em>B.</em> <em class="bold">Blanket Stitch.</em>—A wide-apart loose buttonhole stitch used principally -on flannels. Corticelli Etching Silk or Corticelli EE Twisted -Embroidery Silk is best suited for this work. -See Fig. VI <em>b</em>.</p> - -<div class="figcenter" style="width: 300px;"> -<img src="images/i_018b.jpg" width="300" height="241" alt="" title="Fig VIc. Honeycomb Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VI <em>c.</em> <span class="smcap">Honeycomb Stitch.</span></p></div> -</div> - -<p><em>C.</em> <em class="bold">Honeycomb Stitch.</em>—An adaptation of -buttonhole stitch, and is very nice for large work such as portieres. -The first row of stitches is laid like the blanket buttonhole, quite -loose. The next is fastened to the fabric only at the beginning and -end of the row; between these points the loop stitches are caught -into the loops of the first row, and so on with the succeeding rows, -fastening through only where the rows terminate against the outline. -It is necessary to keep the stitches very loose, as each row has a -tendency to narrow. When the form is covered draw the last row in place -and fasten it by a row of buttonhole stitches taken through the fabric -like the first. It is possible to work back and forth. It is well to -reverse the needle and send it through the loops eye end first, to -avoid splitting the silk. The same form of stitch may also be taken -through the material. See Fig. VI <em>c</em>.</p> - -<div class="figcenter" style="width: 300px;"> -<img src="images/i_018c.jpg" width="300" height="202" alt="" title="Fig VId. Double Buttonhole Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VI <em>d.</em></p> - -<p><span class="smcap">Double Buttonhole Stitch.</span></p></div> -</div> - -<p><em>D.</em> <em class="bold">Double Buttonhole Stitch.</em>—A very pretty way of treating narrow -bars from one-half to three-quarters of an inch wide is to use the -double buttonhole stitch. Bring the needle up in the center of the -width of the bar the full length of the thread and take the regular -buttonhole stitch from this point over the upper line to a point a -little above the start; draw this stitch through. The point of the -needle in this case was directed <em>down</em>. Now put in the needle on the -lower line of the bar and send it <em>up</em> to a point a little below the -start and a trifle to the right; keeping the thread to the right. Draw -the stitch through and proceed to make another from above like the -first, always keeping the thread to the right to form the loop. The -effect of this is that of a satin stitch on the top and bottom of the -bar with a braided line through the center. It is very effective and -pretty. The braid may be made wider by making the stitches shorter. See -Fig. VI <em>d</em>.</p> - -<div class="figright" style="width: 103px;"> -<img src="images/i_018d.jpg" width="103" height="250" alt="" title="Fig VIe. Ladder Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VI <em>e.</em></p> - -<p><span class="smcap">Ladder Stitch.</span></p></div> -</div> - -<p><em>E.</em> <em class="bold">Ladder Stitch.</em>—Many of the lace stitches are buttonhole. The -"Ladder" for instance is two rows of buttonhole stitch a short distance apart<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> -and parallel, connected by regular overcast stitches. The ground -material is cut away between the rounds or overcast lines. The honiton -lace is applied by buttonhole stitch, using Corticelli Lace Embroidery -Silk. Fig. VI <em>e.</em> shows the so-called ladder.</p> - -<div class="figcenter" style="width: 200px;"> -<img src="images/i_019a.jpg" width="200" height="281" alt="" title="Fig VIf. Cat or Brier Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VI <em>f.</em> <span class="smcap">Cat or Brier -Stitch.</span></p></div> -</div> - -<p><em>F.</em> <em class="bold">Cat, Brier, Coral, or Seamstress -Feather Stitch.</em>—An alternate buttonhole loop first to the -right and then to the left. The loops may be alternated singly or in -pairs, or in threes or fours. It is almost too well known to need -explanation. See Fig. VI <em>f</em>. (Also see Sofa Pillow Design No. 508.)</p> - - -<p class="p5a">VII. <span class="smcap">Chain Stitches.</span></p> - -<p>The chain stitches are closely related to the buttonhole stitches.</p> - -<div class="figleft" style="width: 107px;"> -<img src="images/i_019c.jpg" width="107" height="300" alt="" title="Fig VIIa. Common Chain Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VII <em>a.</em></p> - -<p><span class="smcap">Common Chain Stitch.</span></p></div> -</div> - -<p><em>A.</em> <em class="bold">Common Chain Stitch.</em>—The common chain stitch may -be said to be the buttonhole stitch carried down a line by its length -instead of from left to right proceeding by its width. The consecutive -stitches are started from within the lower end of each preceding loop; -a line of link-like loop stitches will thus be formed. See Fig. VII -<em>a</em>.</p> - -<div class="figcenter" style="width: 250px;"> -<img src="images/i_019b.jpg" width="250" height="254" alt="" title="Fig VIIb. Rope Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VII <em>b.</em> <span class="smcap">Rope Stitch.</span></p></div> -</div> - -<p><em>B.</em> <em class="bold">Rope Stitch.</em>—This is a -modification of the common chain stitch. It is commenced the same as -the chain but the successive stitches are taken by sending the needle -down back of the last-loop instead of through it. The loop is formed as -in the chain. This makes a very pretty ridged line when done in heavy -silks such as Corticelli Roman Floss or Rope Silk. See Fig. VII <em>b</em>.</p> - -<div class="figcenter" style="width: 251px;"> -<img src="images/i_019d.jpg" width="251" height="300" alt="" title="Fig VIIc. Single Reverse Chain Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VII <em>c.</em> <span class="smcap">Single -Reverse Chain Stitch.</span></p></div> -</div> - -<p><em>C.</em> <em class="bold">Single Reverse Chain Stitch.</em>—To outline with the Reverse -Chain Stitch it is necessary first to lay a simple stitch on the -surface; bring the needle up below the end of this, at a distance of -the length of a stitch from it; now pass the needle, eye first, behind -the first stitch, not through the fabric; then draw through the length -of the thread, insert the point of the needle close beside the point -where it came up, and bring it out below again, the distance of the -length of the preceding stitch; again pass the needle back of the chain -loop, just laid, as it was in the first place passed back of the simple -stitch; continue these laid loops along the line to be covered. See -Fig. VII <em>c</em>.</p> - -<div class="figcenter" style="width: 94px;"> -<img src="images/i_020a.jpg" width="94" height="300" alt="" title="Fig VIId. Double Reverse Chain Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VII <em>d.</em> <span class="smcap">Double -Reverse Chain Stitch.</span></p></div> -</div> - -<hr class="tb" /> - -<p><em>D.</em> <em class="bold">Double Reverse Chain Stitch.</em>—To form the -double reverse chain proceed in the same way to the point of the first "single -reverse chain stitch," but instead of sending the needle down the distance<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> -of a stitch below, insert it the same but bring it out just to the -right or at about the point where the thread leaves the fabric. Draw -this tiny stitch through and pass the needle again back of the simple -stitch, thus forming a double loop. Send it down again on the point -to the left of the start and out the length of a stitch below on the -outline. The next stitches are taken in the same way, passing the -needle back of the loops as in the first case back of the simple -stitch. See Fig. VII <em>d</em>.</p> - -<div class="figcenter" style="width: 224px;"> -<img src="images/i_020c.jpg" width="224" height="300" alt="" title="Fig VIIe. Double Chain Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VII <em>e.</em> -<span class="smcap">Double Chain Stitch.</span></p></div> -</div> - -<p><em>E.</em> <em class="bold">Double Chain Stitch.</em>—Formed by -laying two rows of simple chain parallel to each other and catching -them together by a regular over stitch passed through the inner edges -of each of the two rows alternately. See Fig. VII <em>e</em>.</p> - -<div class="figleft" style="width: 90px;"> -<img src="images/i_020b.jpg" width="90" height="300" alt="" title="Fig VIIf. Cable Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VII <em>f.</em> -<span class="smcap">Cable Stitch.</span></p></div> -</div> - -<p><em>F.</em> <em class="bold">Cable Stitch.</em>—Similar to the rope stitch. The difference -lies in sending the needle down a little below the point where the -thread leaves the ground material at the base of the loop instead of -back or within the loop. This forms a chain of open links. See Fig. VII -<em>f</em>.</p> - -<div class="figcenter" style="width: 196px;"> -<img src="images/i_020e.jpg" width="196" height="300" alt="" title="Fig VIIg. Beading Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VII <em>g.</em> -<span class="smcap">Beading Stitch.</span></p></div> -</div> - -<p><em>G.</em> <em class="bold">Beading Stitch.</em>—A chain stitch taken horizontally over -the thread as it is carried along an outline, thus forming a knot at -regular spaces on a seemingly placed line of the silk. See Fig. VII <em>g</em>.</p> - -<div class="figcenter" style="width: 236px;"> -<img src="images/i_020d.jpg" width="236" height="250" alt="" title="Fig VIIh. Birds Eye Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VII <em>h.</em> -<span class="smcap">Bird's Eye Stitch.</span></p></div> -</div> - -<p><em>H.</em> <em class="bold">Bird's Eye Stitch.</em>—Formed like the chain loops but -grouped about a center. Small radiating devices can be very -successfully embroidered in this way; the effect of small petals as in -daisies is very good. The loop is fastened by a tiny stitch at its base -and the needle again brought out at the center. See Fig. VII <em>h</em>.</p> - -<p>The "Tambour Stitch" is the chain executed with a small hook, which -is pushed up and down through the fabric. It is a Turkish embroidery -and very like machine work. There are various other modifications of -these chain stitches.</p> - - -<p class="p5a">VIII. <span class="smcap">Darning Stitches.</span></p> - -<p>Darning is a very satisfactory sort of embroidery. In this work the greater -part of the silk is laid on the right side of the material so that it carries large<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> -masses of color. Darning is generally considered a filling embroidery and is -often used in background work. Backgrounds darned around a design may -be made very artistic.</p> - -<div class="figcenter" style="width: 300px;"> -<img src="images/i_021a.jpg" width="300" height="265" alt="" title="Fig VIIIa. Simple Darning Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VIII <em>a.</em> <span class="smcap">Simple -Darning Stitch.</span></p></div> -</div> - -<p><em>A.</em> <em class="bold">Simple Darning Stitch.</em>—The simple darning -stitch is a short stitch on the back and a long one on the face -"running" on a straight line, the second row alternating with the first -in the positions of the long and short stitches, and lying parallel -to it. Care and practice are necessary to make these rows of equal -tension. They should keep their straight direction and terminate where -they meet the outline. There are ways of accommodating them to the -outline when they are used within the design. See Fig. VIII <em>a</em>.</p> - -<div class="figcenter" style="width: 300px;"> -<img src="images/i_021b.jpg" width="300" height="215" alt="" title="Fig VIIIb. Brick Darning Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VIII <em>b.</em> <span class="smcap">Brick Darning Stitch.</span></p></div> -</div> - -<p><em>B.</em> <em class="bold">Brick Darning Stitch.</em>—If it is desirable to increase -the color effect the first series of rows may be crossed at right -angles by a similar series. This is known as the "Brick Darning -Stitch." The straight bars should be laid by darning one way and back, -alternately. By a little planning very pretty coloring may be gained -through relating the background shade to the imposed work. See Fig. -VIII <em>b</em>.</p> - -<p><em>C.</em> <em class="bold">Seed Stitch.</em>—This may be considered a darning -stitch, having however the short stitches on the surface and the long -ones on the back. This is largely used in combination with satin stitch -for lettering. (See Designs Nos. 612 A, B, D, E, and F.)</p> - -<div class="figcenter" style="width: 241px;"> -<img src="images/i_021c.jpg" width="241" height="300" alt="" title="Fig VIIId. Queen Anne Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> VIII <em>d.</em></p> - -<p><span class="smcap">Queen Anne Stitch.</span></p></div> -</div> - -<p><em>D.</em> <em class="bold">Queen Anne Stitch.</em>—Another form of darning -is the "Queen Anne Stitch." In this the silk is not sewed through -the fabric but first laid in long parallel lines from side to side -of the outline, then crossed at right angles by weaving in threads -alternately. This is rather mechanical and not so artistic as the -first method, though we may see very curious examples of it in the old -English embroideries. See Fig. VIII <em>d</em>.</p> - - -<p class="p5a">IX. <span class="smcap">Fancy Stitches.</span></p> - -<p>There are many other so-called "fancy stitches." Among them the -pretty "Herringbone" and its modifications are worthy of note.</p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/i_021d.jpg" width="350" height="119" alt="" title="Fig IXa. Herringbone Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> IX <em>a.</em> <span class="smcap">Herringbone Stitch.</span></p></div> -</div> - -<p><em>A.</em> <em class="bold">Herringbone Stitch.</em>—A short<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> -stitch taken from right to left, and as it proceeds the thread is drawn to the -right and the work is carried in this direction. It is essentially a cross stitch. -See Fig. IX <em>a</em>.</p> - -<div class="figleft" style="width: 272px;"> -<img src="images/i_022a.jpg" width="272" height="150" alt="" title="Fig IXb. Ismit Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> IX <em>b.</em> <span class="smcap">Ismit Stitch.</span></p></div> -</div> - -<p><em>B.</em> <em class="bold">Ismit Stitch.</em>—A slight difference in the plan of taking a stitch -changes the entire effect. This is obvious in the "Ismit Stitch." It -is taken exactly as the herringbone and the radical difference in the -result is due simply to making the lines meet at a point. See Fig. IX -<em>b.</em> When the lines are very long they may be fastened by couching -stitches at the intersections.</p> - -<div class="figright" style="width: 250px;"> -<img src="images/i_022c.jpg" width="250" height="197" alt="" title="Fig IXc. Janina Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> IX <em>c.</em> <span class="smcap">Janina Stitch.</span></p></div> -</div> - -<p><em>C.</em> <em class="bold">Janina Stitch.</em>—A very satisfactory way of -filling in the petals of conventional flowers or flower forms. It may -be used with really beautiful effect on the canvas materials with -Corticelli Roman Floss or Rope Silk. It is also a good method for -filling bars on borders. While it is not heavy unless worked close, -it carries a decided color effect. It is one of the prettiest of the -conventional stitches. See Fig. IX <em>c</em>.</p> - -<div class="figleft" style="width: 245px;"> -<img src="images/i_022b.jpg" width="245" height="300" alt="" title="Fig IXd. Border Stitch" /> -<div class="caption"><p><span class="smcap">Fig.</span> IX <em>d.</em> <span class="smcap">Border Stitch.</span></p></div> -</div> - -<p><em>D.</em> <em class="bold">Border Stitch.</em>—This stitch is not unlike -herringbone. It is however carried perpendicularly, while herringbone -proceeds horizontally. The side or fastening stitches of the border -work are very short. See Fig. IX <em>d.</em></p> - - -<p class="p5a"><em>"Doily" or "Doiley."</em></p> - -<p>The Inland Printer, a journal devoted to the printing and publishing -trades, and a magazine generally considered authority on questions of orthography -gives the proper spelling as "doily." The following explains itself.</p> - -<p>Question.—Kindly give us the correct spelling of the word variously -printed as "doily" and "doiley," and also the plural of the same. There has -been considerable discussion in regard to the proper way to spell this word, -and we will leave you to render the final verdict.</p> - -<p>Answer.—Our final verdict in this case is simply that of all the dictionaries. -Every one of them enters the word as "doily," and they are right in -doing so, because, though the name from which it is derived was variously -spelled as "Doily" and "Doyley," and maybe otherwise also, it is well to -select one spelling—presumably the prevalent one—for the common name. -At any rate, this is what the lexicographers have done, and no good reason to -dissent from their choice is apparent. The plural of the form chosen is -"doilies."</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> - - -<h2><a name="Centerpieces_and_Doilies" id="Centerpieces_and_Doilies"></a><em>Centerpieces and Doilies.</em></h2> - -<hr class="r15" /> - -<p class="p1b"><em>Bulgarian Centerpiece Design No. 55</em>,</p> - -<p class="center"><span class="smcap">And Set of 3 Doilies, Nos. 55A, 55B, and 55C.</span></p> - -<p class="p3b"><span class="smcap">Colored Plate</span> VII.</p> - -<p class="center"><span class="smcap">By L. Barton Wilson.</span></p> - -<blockquote> - -<p><em>Materials</em>: Corticelli Filo Silk, 6 skeins each 526, 626; 4 skeins 123; 3 skeins 645; 2 -skeins each 125, 128, 130, 527; 1 skein each 126, 528, 542, 544. Corticelli Etching -Silk, 12 skeins each 626, 645; 4 skeins 612. Dealers can furnish stamped linen of this -design in 22 inch size. They can also furnish stamped linen 7 and 9 inches square of -the set of three doily designs (Nos. 55A, 55B, 55C), to match this centerpiece. See -page 92.</p></blockquote> - -<div class="figcenter" style="width: 500px;"> -<img src="images/i_023.jpg" width="500" height="499" alt="" title="Bulgarian Centerpiece Design No. 55" /> -<div class="caption"><p><span class="smcap">Bulgarian Centerpiece Design No.</span> 55.</p></div> -</div> - -<p>The Bulgarian embroidery as we know it on the brown linen squares -is valuable chiefly for its durability and pleasing coloring. These -squares embroidered in the bright cottons make beautiful cushions -and their use with Turkish rugs and hangings is very appropriate. -The stitching is effective rather than accurate. The figures of the -characteristic designs are crude, but they are full of suggestions and -it is possible in carrying out these to obtain most graceful and dainty -drawings. When they are adapted to fine white linens and embroidered in -silks the result is at once orientally rich and sufficiently dainty for -table use.</p> - -<p>Heavy colorings are more and more to be urged for centerpieces and -doilies which are to be placed under gas light. The color combinations -for this set may seem at first startling, but when the shades are -properly distributed the result is rich and harmonious.</p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/i_024a.jpg" width="350" height="355" alt="" title="Bulgarian Doily No. 55 A" /> -<div class="caption"><p><span class="smcap">Bulgarian Doily No.</span> 55 A.</p></div> -</div> - -<p>Border.—Buttonhole the scalloped edge in blue and gold brown Corticelli -Etching Silk, using shades 626 and 645 alternately for each scallop. One -connecting scallop should be blue and the next one yellow. The inner edge<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> -of scallops should be outlined in Black Etching Silk, 612, also the straight -lines enclosing the scroll and the bars of the doilies. The same Blue, 626, in -Corticelli Filo Silk with Brown, 526, may be used for the scroll. -Keep the blue on one edge and the brown on the other. Embroider in -the "overlap" long and short stitch. Work the little trefoils within -the scallop in satin stitch with Pink, 128, 130, and cross-bar them -alternately with the scallop colors. See Colored Plate VII.</p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/i_024b.jpg" width="350" height="353" alt="" title="Bulgarian Doily No. 55 B" /> -<div class="caption"><p><span class="smcap">Bulgarian Doily No.</span> 55 B.</p></div> -</div> - -<p>Flower and Leaf Forms.—These should carry the colors of the -edge with a few in addition. Use in the leaf forms, in combination with -Brown, 526, 527, and 528, the Greens 123, 125, and 126. In the flower -forms use beside the blue and yellow, Pink, 128 and 130, and Red, 542 -and 544. The leaf forms should be embroidered in long and short stitch. -The flower forms may be made altogether or nearly solid or filled with -feather stitch or satin stitch diapered. The satin stitch may be done -in Filo Silk cross-barred with the Etching Silk. Distribute the colors -in masses, that is, confine certain colors to certain forms, <em>combine</em> -the colors rather than mix them. The effect of cross-bar diapering in -the flower forms of these figures is very pretty and the work is firm -as well.</p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/i_024c.jpg" width="350" height="350" alt="" title="Bulgarian Doily No. 55 C" /> -<div class="caption"><p><span class="smcap">Bulgarian Doily No.</span> 55 C.</p></div> -</div> - -<p>Corticelli Filo Silk alone should be used in the figures of the -doilies even for the cross-barring, though the scallops and black lines -should be of the Etching Silk. It is possible to introduce the red into -the doily scallops in the little connecting points and to so combine -the colors as to make all the edges different. Four of each of the -doily designs form the dozen, and these may be still further varied by -a little planning as to color schemes. The centerpiece and doilies may -be embroidered with good effect in simple outline or rows of outline, -known as the "Bulgarian stitch." If desired the entire work on the -centerpiece may be done with Corticelli Etching Silk, and the effect -will be really very beautiful, and novel as well, but the figures of -the doilies are too small for such treatment. (Not Difficult.)</p> - -<hr class="tb" /> - -<div class="figcenter"> -<img src="images/i_025a.jpg" width="500" height="399" alt="" title="Corticelli Bulgarian Design No. 55. Colored Plate VII" /> -<div class="caption"><p><span class="smcap">Corticelli Bulgarian Design No.</span> 55. -<span class="smcap">Colored Plate</span> VII.</p></div> -</div> - -<hr class="tb" /> - -<div class="figcenter"> -<img src="images/i_025b.jpg" width="500" height="322" alt="" title="Corticelli Japanese Design No. 51. Colored Plate VIII" /> -<div class="caption"><p><span class="smcap">Corticelli Japanese Design No.</span> 51. -<span class="smcap">Colored Plate</span> VIII.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_025big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> - - -<h3><em>Japanese Design No. 51.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> VIII.</p> - -<p class="center"><span class="smcap">By Emma Haywood.</span></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 4 skeins, 779.5; 2 skeins each 655.7, -525.7, 525.8, 525.9, 655.8, 655.9, 656, 780; 1 skein 115. Corticelli Persian Floss, 8 -skeins 780.</p> - -<p><em>Materials</em>—9 inch Size: Corticelli Filo Silk, 1 skein each of above shades. Corticelli -Persian Floss, 2 skeins 780. Dealers can furnish stamped linen of this design -in 9, 12, 18, and 22 inch sizes. See page 92.</p></blockquote> - -<p>It has been aptly said of Japanese designers that they know how -to occupy a space without filling it, thus producing very beautiful -effects with little labor. This remark applies well to this design, -since it can be quickly worked, and it will prove very charming and -effective for either a centerpiece or doily.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_025c.jpg" width="450" height="450" alt="" title="Japanese Design No. 51" /> -<div class="caption"><p><span class="smcap">Japanese Design No.</span> 51.</p></div> -</div> - -<p>Border.—Work in indented (long and short on the inside) -buttonhole stitch in two shades of pale soft green. For the outside -edge use Corticelli Persian Floss, 780; into this blend Filo Silk, -779.5, still keeping the indented effect in the shading.</p> - -<p>Almond Blossoms.—Work solid, beginning the edges of petals -with Corticelli Filo Silk, 656, shading lighter to the center, using -655.9, 655.8, 655.7. In the center of the flower make French knots in -Golden Brown, 115.</p> - -<p>Stems.—Work solid in shades of Golden Brown, 525.7, 525.8, -525.9. The shading should be darker near the flowers and at the bottom -of the stem than elsewhere. Use the lighter shades for working the -small stems branching out from the main stalk.</p> - -<p>Calyx and Small Buds.—Use Green, 780, for the upper part and -Brown, 525.7, near the stems.</p> - -<p>The work should be pressed before the edge is cut. If desired a double -strand of Corticelli Filo Silk may be used for working the blossoms and stems. -Great care must be taken, however, not to allow the strands to twist around -each other. They should lie side by side, giving their full value. Even when<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> -working with a single strand great attention should be paid to keeping it from -twisting. Keep it in its normal condition by occasionally untwisting; otherwise -it will become like a wisp and all the beautiful gloss of this lovely silk -will soon be lost. (Easy.)</p> - -<hr class="r5" /> - -<p class="p5a"><em>Pansy Design No. 603 A.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein each 507, 644.8, 645, 649.9, 650, -651, 652, 653, 654, 729.5, 754, 778, 781, 782, 783, 784. Corticelli Persian Floss, 6 -skeins 615. Dealers can furnish stamped linen of this design in 22 inch size. See -page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_026.jpg" width="450" height="446" alt="" title="Pansy Design No. 603 A" /> -<div class="caption"><p><span class="smcap">Pansy Design No.</span> 603 A.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Persian -Floss, 615. Work the cross-bar in the four corners in border in outline -stitch with one thread of Filo in Brown, 644.8. Where the lines meet -make a cross stitch in Brown, 645. In the center space between the bars -make an X in Brown, 778. See Colored Plate IX for method of working -border and cross-bar.</p> - -<p>Flowers.—Work solid in Purple, 649.9, 650, 651, 652, 653, 654, -729.5. Begin edge of upper petals with 649.9, shading gradually darker -to the center with 650, 651, 652. Work the edge of the three lower -petals with 651, and shade gradually darker to center, using 652, 653, -654, 729.5. Put a few stitches of Yellow, 507, in the center.</p> - -<p>Leaves.—Work solid in Green, 781, for points. Shade darker -toward the center, using 782, 783, and for veins, 754. Some leaves -should be worked with 781 on edge, 754 for center, and work veins with -784.</p> - -<p>Scroll Lines and Cross-bar.—Outline the cross-bar lines with -645 and the scroll with 646.</p> - -<p>A study of Pansy Design 605 B, Colored Plate I (Frontispiece), will -give some hints as to how the pansies should be shaded, although the -coloring is different. (Somewhat Difficult.)</p> - -<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> - -<hr class="r5" /> - -<p class="p5a"><em>Violet Design No. 603 C.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 725, 727, 728, 781, 782; -1 skein each 506, 644.8, 645, 729, 778, 783. Corticelli Persian Floss, 6 skeins 615. -Dealers can furnish stamped linen of this design in 22 inch size.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_027.jpg" width="450" height="456" alt="" title="Violet Design No. 603 C" /> -<div class="caption"><p><span class="smcap">Violet Design No.</span> 603 C.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Persian -Floss, 615. Work the cross-bar in the four corners in the border in -outline stitch with one thread of Filo, Brown, 644.8. Where the lines -meet make a cross stitch in Brown, 645. In the center space between -the bars make an X with Brown, 778. See Colored Plate IX for method of -working border and cross-bar.</p> - -<p>Flowers.—Work solid in the shades of violet, making some -flowers lighter than others. Work some of the petals darker on the edge -and lighter toward the center, and reverse, some lighter on the edge -and darker toward the center. Make a few solid stitches of yellow in -the center of the open flowers. Work the buds solid in 728, 729, and -the calyx solid with Green, 782.</p> - -<p>Leaves.—Work the edge and points with 781 and shade darker to -the center with 782. Use 783 for veins and stem. (Easy.)</p> - - -<hr class="tb" /> - -<h3><em>Wild Rose Design No. 603 E.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> IX.</p> - -<p class="center">By <span class="smcap">Amalia Smith</span>.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 636, 655.7, 781, 782; -1 skein each 504, 637, 638, 639, 640, 644.8, 645, 755, 778, 780, 783. Corticelli Persian -Floss, 6 skeins 615. Dealers can furnish stamped linen of this design in 22 inch size.</p></blockquote> - -<p>Border.—Work the scallop in buttonhole stitch with Persian Floss, 615. -Work the cross-bar in the four corners in border in outline stitch with one -thread of Filo in Brown, 644.8. Where the lines meet make a cross stitch in<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> -Brown, 645. In the center space between the bars make an X in Brown, 778. -See Colored Plate IX.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_028.jpg" width="450" height="443" alt="" title="Wild Rose Design No. 603 E" /> -<div class="caption"><p><span class="smcap">Wild Rose Design No.</span> 603 E.</p></div> -</div> - -<p>Flowers.—Work solid. Begin the edge of petals of open flowers -with Pink, 639. Shade lighter to the center, using 636, 637, 638, -655.7. Make some lighter and some darker. Put three stitches of Green, -780, in the center, and surrounding center but <sup>1</sup>⁄<sub>4</sub> inch away make a few -French knots in Yellow, 504. Work the back petals in the half flowers -with Pink, 639, 640, and the front petals or those in the foreground -with 637, 638, 639.</p> - -<p>Buds and Calyx.—Work the buds with Pink, 639, 640, and the -calyx points with Green, 780, 781. For the bulb and stem use 782.</p> - -<p>Leaves.—Work solid. For the edge and points use 781, shading -toward the center with 782, 783. The veins and stem work with 783, -755.</p> - -<p>The Wild Rose is always a popular subject for embroidery, and even a -beginner should have no difficulty in working the design as the Colored -Plate IX gives the exact shading and stitch direction, (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Sweet Pea Design No. 603 F.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein each 644.8, 645, 678, 679, 680, -673, 674, 726.5, 727, 778, 780, 781, 782, 783. Corticelli Persian Floss, 6 skeins 615. -Dealers can furnish stamped linen of this design in 22 inch size. See page 92.</p></blockquote> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615. Work the cross-bar in the four corners in the border in -outline stitch with one thread of Corticelli Filo Silk, Brown, 644.8. Where -the lines meet make a cross stitch in Brown, 645. In the center space -between the bars make an X with Brown, 778. See Colored Plate IX for -method of working border and cross-bar.</p> - -<div class="figcenter" style="width: 360px;"> -<img src="images/i_029.jpg" width="360" height="560" alt="" title="Corticelli Wild Rose Design No. 603 E. Colored Plate IX" /> -<div class="caption"><p><span class="smcap">Corticelli Wild Rose Design No.</span> 603 E.</p> - -<p><span class="smcap">Colored Plate</span> IX.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_029big.jpg">See larger version</a>] -</div> - -<p>Flowers.—Work solid in shades of purple and pink Corticelli Filo Silk. -Begin some flowers with Pink, 680, shading gradually lighter toward the -center with 679 and 678. In others combine purple and pink. Begin with 674 -and shade gradually to light pink; then darker toward the center, or reverse,<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> -using different shades in each flower. Reference to the Colored Plate of Sweet -Pea Design 407G will be found quite a help in getting the proper -shading, although the colors used are not identical with those -suggested for this design.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_029a.jpg" width="450" height="461" alt="" title="Sweet Pea Design No. 603F" /> -<div class="caption"><p><span class="smcap">Sweet Pea Design No.</span> 603F.</p></div> -</div> - -<p>Leaves.—Work the points with Green, 781, shading darker toward -the center with 782, 783. Work the veins and stems in 783. For the -tendrils use 780. (Difficult.)</p> - -<hr class="tb" /> - -<h3><em>Pansy Design No. 605 B.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> I.</p> - -<p class="p1b">(Frontispiece.)</p> - -<p class="center"><span class="smcap">By Amalia Smith.</span></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 -skeins each 725, 727; 1 skein each 645, 726, 728, 729, 729.5, 740, -741, 742, 743, 743.5 743.7, 754, 766, 780, 781, 782. Corticelli EE -Embroidery Silk, 6 skeins 615. Smaller pieces take less silk. Dealers -can furnish stamped linen of this design in 18 and 22 inch sizes. See -page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_029c.jpg" width="450" height="460" alt="" title="Pansy Design No. 605 B" /> -<div class="caption"><p><span class="smcap">Pansy Design No.</span> 605 B.</p></div> -</div> - -<p>Pansies always have a peculiar charm of their own, and as -subjects for embroidery afford opportunity for very skillful, as -well as artistic, treatment. The range of color is so varied and the -possibility of pleasing combinations is so great that the following -instructions are given simply as a suggestion. However, the directions -will be found ample for the less experienced needleworker who does not -care for a color scheme of her own.</p> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -EE Embroidery Silk, White, 615; or Persian Floss, 615, can be used.</p> - -<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p> - -<p>Flowers.—Work solid in combination of Purple, 725, 726, 727, 728, 729, -729.5, and Yellow, 740, 741, 742, 743, 743.5, 743.7. It would be effective to work -some flowers all in purple, others in yellow with purple rays. Commence -with the two upper back petals of the open flower nearest to the border. -Work the edge of the petal with Yellow, 743; shade into that 743.5, 743.7, and -use 645 near the center for shadow. Begin the edge of the three lower -petals with 743, shading lighter to the center with 742, 741, 740. See Colored -Plate I (Frontispiece). To lend variety the three lower petals in some yellow -flowers can be made lighter on the edge and darker toward the center.</p> - -<p>From the center of the flower, extending into the three lower petals -make rays of Purple, 729. Work a few solid stitches of Scarlet, 766, in the -center of the flower. Now begin with the two upper back petals of the -purple flowers using 728 for edge of the petal, shading gradually darker to the -center with 728, 729, and make a few stitches of 729.5 in rays, and as shadows. -Begin the edge of the lower petals with 725 and gradually shade darker to -the center, making rays in the three lower petals with 729.5. Work a few -solid stitches of Scarlet, 766, in the center of the flowers. See Colored -Plate I (Frontispiece) for shading and proper direction of the stitches.</p> - -<p>Buds and Calyx.—Work the buds solid, using 727, 728, 729. Work the -edge with 727 and shade gradually darker to the stem, using a little of 729.5 -near the stem. Work the points of the calyx in Green, 781, shading toward -the stem with 782 and 754.</p> - -<p>Leaves.—Work the points of the leaves solid, in 780, shading gradually -darker toward the midvein and base of the leaf, using 781, 782. (Difficult.)</p> - -<hr class="r5" /> - -<p class="p5a"><em>Garland Wild Rose and Forget-me-not Design No. 54.</em></p> - -<p class="center"><span class="smcap">By Alice C. Morse.</span></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 623, 624, 637, 638, 639, -640, 741, 742, 805, 806; 1 skein each 504, 625, 626, 780, 807, 808. Corticelli Persian -Floss, 8 skeins 616.5. Smaller pieces take less silk. Dealers can furnish stamped -linen of this design in 18 and 22 inch sizes only. See page 92.</p></blockquote> - -<p>This garland design when embroidered will be a surprise to any one who -has never tried a similar pattern. The coloring has a very rich, subdued -tone which is quite different from that found in any other style of design.</p> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli Persian -Floss, 616.5.</p> - -<p>Wild Roses.—Work solid, using all the shades of Pink Corticelli Filo Silk, -637, 638, 639, 640, working the edge of the petals dark, shading gradually -lighter toward the center of the flowers. Use three shades in each flower. -Vary the flowers, making some darker than others. In the center work -four or five stamens with one thread of Filo, 780, and at the end of each -stamen make a French knot with Yellow, 504. (See Photo Frame No. 60.)</p> - -<p><span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> - -<div class="figcenter" style="width: 480px;"> -<img src="images/i_031a.jpg" width="480" height="471" alt="" title="Garland Wild Rose and Forget me not Design No. 54" /> -<div class="caption"><p><span class="smcap">Garland Wild Rose and Forget-me-not Design No.</span> 54.</p></div> -</div> - -<p>Forget-me-nots.—Work in satin stitch with Blue, 623, 624, 625, 626. Don't -try to shade each petal, but get light and shade effect by making some petals -in 623, some in 624, etc. Use 626 for an occasional petal only, as -the color is rather strong. Work in the centers one French knot with -742.</p> - -<p>Leaves.—Work solid with Green, 805, 806, 807, 808. Make the -larger leaves in the darker shades; the points of the leaves in 805. -Veins and stems work with 808.</p> - -<p>Ribbons.—Work in satin stitch, slanting across the ribbon, -using Yellow, 741, 742. To give the effect of the twisted ribbon, work -one turn of the ribbon with 741, the next fold with 742, and so on. If -you prefer, Green, 125, 126, 127, can be used for the ribbon, carrying -out the same idea as directed above. (Somewhat Difficult.)</p> - - -<hr class="tb" /> - -<h3><em>Easter Lily Design No. 605 D.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> X.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each -615, 692.8, 781, 782; 1 skein each 506, 661, 662, 663, 780, 783, 784. -Corticelli Persian Floss, 6 skeins 615. Smaller sizes take less silk. -Dealers can furnish stamped linen of this design in 18 and 22 inch -sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_031b.jpg" width="450" height="452" alt="" title="Easter Lily Design No. 605 D" /> -<div class="caption"><p><span class="smcap">Easter Lily Design No.</span> 605 D.</p></div> -</div> - -<p>Border.—Work in buttonhole stitch with Corticelli Persian -Floss, 615.</p> - -<p>Flowers.—Work solid, beginning the edge of the petals -with Corticelli Filo Silk, White, 615, shading into it Green, 692.8, 661, 662, -using 663 for the center. Work six or seven stamens in 781, putting three<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> -small stitches of Yellow, 506, at the end of each to form the top or head. -Work the point of the buds with Green, 692.8, shading darker with 661, 662, -663, to the stem. See Colored Plate X.</p> - -<p>Leaves.—Work solid, with Green, 781, for points, and shading gradually -darker with 782, 783, and 784 to the stem. The leaf is worked straight from -the point without veins. Use Green, 782, for the stems. When well done -the shading in this design is very delicate. (Not Difficult.)</p> - - -<hr class="tb" /> - -<h3><em>Orchid Design No. 605 F.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XI.</p> - -<p class="center"><span class="smcap">By Amalia Smith.</span></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 725, 726, 781, 782; -1 skein each 650, 651, 652, 676, 780, 783, 784. Corticelli Persian Floss, 6 skeins 615. -Smaller sizes take less silk. Dealers can furnish stamped linen of this design in 18 -and 22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_032.jpg" width="450" height="458" alt="" title="Orchid Design No. 605 F" /> -<div class="caption"><p><span class="smcap">Orchid Design No.</span> 605 F.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, White, 615.</p> - -<p>Flowers.—Make a few stitches at the middle of the point of -each petal with Corticelli Filo Silk, Purple, 676, shading toward the -bottom of the petal with 652, 651, 650, 726, 725. Begin back edge, or -lip, of cup with 651, shading darker toward the center with 652, 676. -Do the front lip in similar manner, but use 650 for the edge and 651 to -shade toward the center. Under the lip make the shadow with 676. From -the center of the cup make a pistil in Green, 781. Careful study of -Colored Plate XI will show the proper shading and correct direction of -the stitches.</p> - -<p>Leaves.—Work solid, using 780 for the point and shading gradually darker -with 781, 782, 783, 784. Work the stems near the flower, with 783, shading -darker with 784 toward the base of stem. (Somewhat Difficult.)</p> - -<hr class="tb" /> - -<div class="figcenter" style="width: 395px;"> -<img src="images/i_033a.jpg" width="395" height="500" alt="" title="Corticelli Orchid Design No. 605 F. Colored Plate XI" /> -<div class="caption"><p><span class="smcap">Corticelli Orchid Design No.</span> 605 F.</p> - -<p><span class="smcap">Colored Plate</span> XI.</p></div> -</div> - -<hr class="tb" /> - -<div class="figcenter" style="width: 399px;"> -<img src="images/i_033b.jpg" width="399" height="500" alt="" title="Corticelli Easter Lily Design No. 605 D. Colored Plate X" /> -<div class="caption"><p><span class="smcap">Corticelli Easter Lily Design No.</span> 605 D.</p> - -<p><span class="smcap">Colored Plate</span> X.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_033big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p> - -<hr class="r5" /> - -<p class="p5a"><em>Buttercup Design No. 610 B.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein each 502, 504, 505, 506, 507, -582, 753, 754, 755, 781. Corticelli Persian Floss, 5 skeins 615. Smaller sizes take -less silk. Dealers can furnish stamped linen of this design in 9 and 22 inch sizes. -See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_033c.jpg" width="450" height="443" alt="" title="Buttercup Design No. 610 B" /> -<div class="caption"><p><span class="smcap">Buttercup Design No.</span> 610 B.</p></div> -</div> - -<p>Turning over one of the corners adds to the novelty of this design -and the 9 inch size makes an especially dainty doily. The 22 inch size -is for a centerpiece.</p> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, 615. One corner is turned under on the wrong side and -buttonholed on the right side through both thicknesses of linen. -Work the straight line, or slit, in the turned over corner in fine -buttonhole stitch with Corticelli Persian Floss, 615. The stems, which -apparently come through the slit, should be worked in outline stitch -with Filo Silk, Green, 755. Colored Plate V.</p> - -<p>Flowers.—Make the edge with Corticelli Filo Silk, Yellow, 507, shading -lighter to the center with 506, 505, 504, 502. Some flowers should be darker -than others. In the center of the flower work a few stitches of Green, 781, -and around these stitches make a few French knots in 781 also. For the -back petals of the buds use 507, shading lighter to the stem with 506, 505. -Use Green, 582, for the points of calyx, and shade 573 into the stem, using -this shade also for a part of each stem.</p> - -<p>Leaves.—Make the points in Green, 781, shading gradually to midvein -with 582, 753, 754. Omit 781 in some of the leaves, thus making them darker, -and adding 755 at the bottom of the leaf. Use 755 for the stems. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Carnation Design No. 610 C.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein each 635.5, 636, 637, 638, -640, 780, 781, 782, 783. Corticelli Persian Floss, 5 skeins 615. Smaller sizes take -less silk. Dealers can furnish stamped linen of this design in 9 and 22 inch sizes. -See page 92.</p></blockquote> - -<p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span></p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_034.jpg" width="450" height="455" alt="" title="Carnation Design No. 610 C" /> -<div class="caption"><p><span class="smcap">Carnation Design No.</span> 610 C.</p></div> -</div> - -<p>These turned corner patterns are very simple, taking but a small quantity -of silk and little time to work them.</p> - -<p>Border—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, 615. One corner is turned under on the wrong side and -buttonholed on the right side through both thicknesses of linen. -Work the straight line, or slit, in the turned over corner, in fine -buttonhole stitch with Corticelli Persian Floss, 615. The stems, which -apparently come through the slit, should be worked in outline stitch -with Green, 783. Colored Plate V.</p> - -<p>Flowers.—Begin the edge of the petals with 640, shading -gradually lighter toward the calyx with 638, 637, 636, 635.5. Make some -petals lighter than others by omitting 638, using only 637, 636, 635.5. -For the calyx use Green, 780 and 781, shading darker to the stem with -783.</p> - -<p>Leaves.—Work solid, using 780 for the points and shading -gradually darker with 781 and 782. Work the stems with 783. (Easy.)</p> - - -<hr class="tb" /> - -<h3><em>Bohemian Glass Design No. 606 B.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XII.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins 615; 1 skein each 542, 644.6, -644.7, 644.8, 646, 649.9, 650, 651, 780, 781, 782, 783. Corticelli EE Embroidery Silk, -6 skeins 615. Smaller sizes take less silk. Dealers can furnish stamped linen of this -design in 12, 18, and 22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter"> -<img src="images/i_034a.jpg" width="560" height="296" alt="" title="CORTICELLI BOHEMIAN GLASS DESIGN No. 606 B" /> -<div class="caption"><p><span class="smcap">CORTICELLI BOHEMIAN GLASS DESIGN No.</span> 606 B.</p> - -<p><span class="smcap">COLORED PLATE</span> XII.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli EE -Embroidery Silk, White, 615. Work the scrolls near the border in outline -stitch with Filo Silk, Brown, 644.8. See Colored Plate II. Between the -lines work innumerable small stitches with 946 to represent seeds. (See -article on Stitches—"Seed Stitch.")</p> - -<p>Pointed Figure.—Cross-bar the center of the pointed figure running inward -from the border with 644.7, catching down the lines where they intersect -with 646, and outline the figure with the same shade. See Colored Plate XII.</p> - -<hr class="tb" /> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_034b.jpg" width="560" height="491" alt="" title="CORTICELLI NASTURTIUM DESIGN No. 607 A. COLORED PLATE XIII" /> -<div class="caption"><p><span class="smcap">CORTICELLI NASTURTIUM DESIGN No.</span> 607 A.</p> - -<p><span class="smcap">COLORED PLATE</span> XIII.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_034abig.jpg">See larger version</a>] -</div> - -<p>Flowers.—Work solid in Violet, 649.9, 650, 651, making each flower in<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> -one shade, choosing the lighter shades for the flowers having five petals and -making the flowers in the rear of the bunch in the darker shades. Put one -French knot in the center of the open flower, using Green, 780. See Colored -Plate XII.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_035.jpg" width="450" height="449" alt="" title="BOHEMIAN GLASS DESIGN No. 606 B" /> -<div class="caption"><p><span class="smcap">BOHEMIAN GLASS DESIGN No.</span> 606 B.</p></div> -</div> - -<p>Leaves and Vine.—Begin point of leaf with Green, 780, shading -to center with 781, 782. Make some of the leaves darker by omitting -780. Work the veins and stems with 783. Along the vine work in seed -stitch several groups of three or four little dots each, using Red, -542.</p> - -<p>Inside Scrolls.—Work solid, making ends or points in Brown, -644.6, shading darker in the middle with 644.7, 644.8. For the shadow -on each side of the fold use 646. For the half circle scroll use 644.6. -Make the points of the Fleur-de-lis in White Filo, 615, shading darker -to base with Brown, 644.6, 644.7, 644.8. Work the round dot solid in -646. (Not Difficult.)</p> - - -<hr class="r5" /> - -<p><em>Nasturtium Design No. 607 A.</em></p> - -<p class="p5a"><span class="smcap">COLORED PLATE</span> XIII.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 782, 783, 809, 812; 1 -skein each 743.6, 743.7, 779, 781, 784, 813, 814. Corticelli Persian Floss, 6 skeins 615. -Smaller sizes take less silk. Dealers can furnish stamped linen of this design in 9, 12, -18, and 22 inch sizes. See page 92.</p></blockquote> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615, working the shell shaped scallop long and short on the -inside. Into this shade work 809, using one thread of Filo Silk, still leaving -the indented effect (alternate long and short stitches) on the inside. See -Colored Plate III. Work the scroll near the border in seamstress feather -stitch or outline stitch with Green, 781.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_036a.jpg" width="450" height="453" alt="" title="Nasturtium Design No. 607 A" /> -<div class="caption"><p><span class="smcap">Nasturtium Design No.</span> 607 A.</p></div> -</div> - -<p>Flowers.—Work solid. Begin the edge with 814, using 813, 743.7, 743.6, -812, 809, toward the center. Make some flowers lighter than others. All the -shades mentioned are not required for each flower. In each petal of the -open flower make three rays in Brown, 779. The part of the calyx shown<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> -between the petals work in Green, 782. See Colored Plate XIII. Use 814 -for the edge of the buds, shading lighter to the calyx with 813, 743.7. -Put a touch of 743.7 at the end of calyx, work remaining part in 781, -782, using the lighter shade nearest the petals.</p> - -<p>Leaves.—Work each leaf in one shade of Green, making all the -stitches come to the center. Use 781 for the small leaves, and 782, -783, for the larger ones. For stems and veins use 784, and for the -small buds 781. (Not Difficult.)</p> - - -<h3><em>Bachelor's Button Design No. 607 B.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XIV.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_036b.jpg" width="450" height="456" alt="" title="Bachelor's Button Design No. 607 B" /> -<div class="caption"><p><span class="smcap">Bachelor's Button Design No.</span> 607 B.</p></div> -</div> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 661, 744; 1 skein each -662, 663, 664, 675, 745, 746, 781. Corticelli Persian Floss, 6 skeins -615. Smaller pieces take less silk. Dealers can furnish stamped -linen of this design in 9, 12, 18, and 22 inch sizes. See page -92.</p></blockquote> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, White, 615. The edge of the shell scallop in the border -should be worked with 615. Into this white shade Corticelli Filo Silk, -Blue, 744, leaving a long and short effect on inside. See Colored Plate -III. The scroll near the border should be worked with Green, 661.</p> - -<div class="figcenter" style="width: 376px;"> -<img src="images/i_037.jpg" width="376" height="560" alt="" title="Corticelli Batchelor's Button Design No. 607 B. Colored Plate XIV" /> -<div class="caption"><p><span class="smcap">Corticelli Batchelor's Button Design No.</span> 607 B.</p> - -<p><span class="smcap">Colored Plate</span> XIV.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_037big.jpg">See larger version</a>] -</div> - -<p>Flowers.—Work solid. Begin the edge of the petals with -Corticelli Filo Silk, Blue, 746, shading lighter to the center with 745 and 744. -Fill the center with<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> -stamens in Red Purple, 675, placing a French knot at head of each stamen -in Green, 781. See Colored Plate XIV. Work the part of calyx nearest -the petals with Green, 662, and that nearest the stem with 663. Over this -green make a few stitches like an inverted V "Λ," in 675. Work the seed pod -in the same shades as the calyx, putting a few stitches in 675 on the edges as -shown by Colored Plate XIV.</p> - -<p>Leaves.—Work solid, making the points in 661, shading gradually darker -to the center with 662, 663. For the stem use 664, making two lines of stem -stitch, or use outline stitch, but slant the stitches more than usual. (Not -Difficult.)</p> - - -<hr class="tb" /> - -<h3><em>Red Clover Design No. 607 C.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XV.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 655.7, 678, 679, 782, -783; 1 skein each 680, 682, 781. Corticelli Persian Floss, 6 skeins 615. Smaller -pieces take less silk. Dealers can furnish stamped linen of this design in 9, 12, 18, and -22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_037a.jpg" width="450" height="451" alt="" title="Red Clover Design No. 607 D" /> -<div class="caption"><p><span class="smcap">Red Clover Design No.</span> 607 D.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, White, 615. The shell shaped scallop buttonhole -irregularly long and short on the inside. Over this work Corticelli -Filo Silk, Pink, 655.7, into which shade Pink, 678, leaving a long and -short effect on the inside. See Colored Plate III. The scroll near the -border can be done in either outline or seamstress feather stitch in -Green, 781.</p> - -<p>Flowers.—Work solid in shades of Pink, 655.7, 678, 679, 680, -682. Use only one shade for a petal. Make the back petals in 679, 680; -the middle or center petals with 655.7, 678; and those nearest the stem -in 680, 682. Be careful to keep the petals separate. See Colored Plate -XV.</p> - -<p>Leaves.—Work the leaves under the flower solid with green, -using 782 for the edge, and 781 for the crescent or horseshoe. At the -base of the leaves near the stem work a few stitches of 783, using the -same shade for the stems. (Easy.)</p> - -<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p> - - -<hr class="r5" /> - -<p class="p5a"><em>Chrysanthemum Design No. 607 D.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 506, 507, 508, 781, 782, -783; 1 skein each 504, 505, 616.5, 784, 813, 814. Corticelli Persian Floss, 6 skeins -616.5. Smaller pieces take less silk. Dealers can furnish stamped linen of this design -in 9, 12, 18, and 22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_038.jpg" width="450" height="463" alt="" title="Chrysanthemum Design No. 607 D" /> -<div class="caption"><p><span class="smcap">Chrysanthemum Design No.</span> 607 D.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, White, 616.5. Buttonhole the shell scallop long and -short on the inside, and over this work one thread of Corticelli Filo -Silk 616.5, leaving a long and short effect on the inside. See Colored -Plate No. III. The scroll near the center work in outline stitch with -813.</p> - -<p>Flowers.—Begin the edge of the petals in Yellow, 504, shading -darker to the base of petal with 505, 506, 507, 508, 813, 814. It is -not necessary to use all these shades in every petal; make some lighter -and some darker. Work the center of the full flower in 504. For the -petals that curl inward and over the center use 508, shading darker to -base with 813, 814. Work the edge of petals of buds in 507, shading -darker toward the calyx with 508, 813, 814. Use Green, 781, for the -points of calyx, shading darker towards the stem with 782, 783.</p> - -<p>Leaves.—Work the edges with 781, shading darker toward the -center with 782, 783. Vein with 784. Work the stems in two rows of stem -stitch with 784. (Not Difficult.)</p> - - -<hr class="tb" /> - -<h3><em>Buttercup Design No. 607 E.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XVI.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 504, 505, 506, 507, 754, -781; 1 skein 503, 782. Corticelli Persian Floss, 6 skeins 615. Smaller pieces take less -silk. Dealers can furnish stamped linen of this design in 9, 12, 18, and 22 inch sizes. -See page <a href="#Page_92">92</a>.</p></blockquote> - -<div class="figcenter" style="width: 447px;"> -<img src="images/i_039a.jpg" width="447" height="560" alt="" title="Corticelli Clover Design No. 607 C. Colored Plate XV" /> -<div class="caption"><p><span class="smcap">Corticelli Clover Design No.</span> 607 C.</p> - -<p><span class="smcap">Colored Plate</span> XV.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_039abig.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<div class="figcenter" style="width: 331px;"> -<img src="images/i_039b.jpg" width="331" height="560" alt="" title="Corticelli Buttercup Design No. 607 E" /> -<div class="caption"><p><span class="smcap">Corticelli Buttercup Design No.</span> 607 E.</p> - -<p><span class="smcap">Colored Plate</span> XVI.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_039bbig.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_039c.jpg" width="450" height="454" alt="" title="Buttercup Design No. 607 E" /> -<div class="caption"><p><span class="smcap">Buttercup Design No.</span> 607 E.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, White, 615. Work the shell scallop in buttonhole stitch, -long and short on the inside; work over the white with one thread of -Corticelli Filo Silk, Yellow, 503, leaving on the inside a long and -short effect. See Colored Plate III.</p> - -<p>Flowers.—Work solid. Begin the edge of the petals with Yellow, -507, shading lighter to the center with 506, 505, 504, 503. Some -flowers should be darker than others. In the center of the flower work -a few stitches of Green, 781, and around these stitches make a few -French knots in 781 also. See Colored Plate XVI.</p> - -<p>Leaves.—Work solid. Begin the points with 781, and shade into 754 -toward the center. Work the stems in outline stitch with Green, 754. (Easy.)</p> - -<hr class="r5" /> - -<p class="p5a"><em>Holly Design No. 607 F.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 -skeins each 582, 583, 754, 781, 785; 1 skein each 586, 615, 767, 768. -Corticelli Persian Floss, 6 skeins, White, 615. Smaller pieces take -less silk. Dealers can furnish stamped linen of this design in 9, 12, -18, and 22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_039d.jpg" width="450" height="455" alt="" title="Holly Design No. 607 F" /> -<div class="caption"><p><span class="smcap">Holly Design No.</span> 607 F.</p></div> -</div> - -<p>For a Christmas or New Year's present nothing is more appropriate -than a centerpiece or doily embroidered with the handsome holly. This -design is quite simple and is easily worked.</p> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli Persian<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> -Floss, White, 615. Work the shell-shaped scallop long and short on the -inside. Over this indented buttonhole work, shade in one thread of Filo Silk, -White, 615, leaving a long and short effect on the inside. See Colored Plate -IV, Borders. Work the scroll near the border in seamstress feather stitch -or in outline stitch with Filo Silk, White, 615, or in Green, 781.</p> - -<p>Berries.—Work in satin stitch with Corticelli Filo Silk, Red, 767, 768, using -only one shade in each berry.</p> - -<p>Leaves.—Work solid, using Green, 781, for the edge. Shade darker -toward the center with 754, 582, 583, 785, 586. Make some leaves darker than -others. Use 781 for the turned over parts of the leaves. Work the stems -and veins in 584 and 785. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Violet Design No. 402 A.</em></p> - -<p class="center"><span class="smcap">Fringed Doily.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein each -506, 726, 727, 728, 729, 781, 782, 783. Smaller sizes take less silk. -Dealers can furnish stamped linen of this design, ready fringed, in 7, -9, 12, and 18 inch sizes. See page 92. They can also furnish stamped -and fringed linen for tray cloth, 10 x 14 inches, to match this doily. -The above quantity of silk will be more than enough for the tray -cloth.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_040a.jpg" width="450" height="452" alt="" title="Violet Doily Design No. 402 A" /> -<div class="caption"><p><span class="smcap">Violet Doily Design No.</span> 402 A.</p></div> -</div> - -<p>These fringed doilies are imported goods of fine quality. They are -neat and dainty, require little silk to work, and together make as -pretty a set of six patterns as we have seen.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_040b.jpg" width="450" height="351" alt="" title="Violet Tray Cloth Design No. 402 A" /> -<div class="caption"><p><span class="smcap">Violet Tray Cloth Design No.</span> 402 A.</p></div> -</div> - -<p>Flowers.—Work solid. Use 726 for the edge of some of the -petals, working darker to the center with 727, 728, 729. Use three -shades to a flower. Commence other flowers with 727 on the edge and -use 728, 729 toward the center. In the center of the open flowers work -three stitches of Yellow, 506. Work the buds in 727, 728, and 729, and -use 782 for the calyx.</p> - -<p>Leaves.—Use Green, 781, for edge of leaf, shading toward the -midvein with 782. Use 783 for the veins and stems. (Easy.)</p> - -<p><span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p> - - -<hr class="r5" /> - -<p class="p5a"><em>Clover Design No. 402 B.</em></p> - -<p class="center"><span class="smcap">Fringed Doily.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein each 655.7, 678, 679, 680, 681, -781, 782, 783. Smaller sizes take less silk. Dealers can furnish -stamped linen of this design, ready fringed, in 7, 9, 12, and 18 inch -sizes. See page 92. They can also furnish stamped and fringed linen for -tray cloth, 10 x 14 inches, to match this doily. The above quantity of -silk will be more than enough to work the tray cloth.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_041a.jpg" width="450" height="459" alt="" title="Clover Design No. 402 B" /> -<div class="caption"><p><span class="smcap">Clover Design No.</span> 402 B.</p></div> -</div> - -<p>These fringed doilies are imported goods of fine quality. They are -neat and dainty, require little silk to work, and together make as -pretty a set of six patterns as we have seen.</p> - -<p>Instructions for working this design are the same as given for Red -Clover Design No. 607 C, page 37, and illustrated by Colored Plate XV, -although of course the rules for working the border do not apply to -this design. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Buttercup Design No. 402 C.</em></p> - -<p class="center"><span class="smcap">Fringed Doily.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein each 503, 504, 505, 506, -754, 781, 782. Smaller sizes take less silk. Dealers can furnish -stamped linen of this design, ready fringed, in 7, 9, 12, and 18 inch -sizes. See page 92. They can also furnish stamped and fringed linen for -tray cloth, 10 x 14 inches, to match this doily. The above quantity of -silk will be more than enough to work the tray cloth.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_041b.jpg" width="450" height="455" alt="" title="Buttercup Design No. 402 C" /> -<div class="caption"><p><span class="smcap">Buttercup Design No.</span> 402 C.</p></div> -</div> - -<p>These fringed doilies are imported goods of fine quality. They are -neat and dainty, require little silk to work, and together make as -pretty a set of six patterns as we have seen.</p> - -<p>Instructions for working this design are the same as given for -Buttercup Design No. 607 E, page 39, and illustrated by Colored Plate -XVI, although of course the rules for working the border do not apply -to this design, (Easy.)</p> - -<p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p> - -<hr class="r5" /> - -<p class="p5a"><em>Daisy Design No. 402 D.</em></p> - -<p class="center"><span class="smcap">Fringed Doily.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein each 503, 505, 582, 615, 661, -662, 692.8, 753, 754. Smaller sizes take less silk. Dealers can furnish -stamped linen of this design, ready fringed, in 7, 9, 12, and 18 inch -sizes. See page 92. They can also furnish stamped and fringed linen for -tray cloth, 10 x 14 inches, to match this doily. The above quantity of -silk will be more than enough to work the tray cloth.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_042a.jpg" width="450" height="458" alt="" title="Daisy Design No. 402 D" /> -<div class="caption"><p><span class="smcap">Daisy Design No.</span> 402 D.</p></div> -</div> - -<p>These fringed doilies are imported goods of fine quality. They are -neat and dainty, require little silk to work, and together make as -pretty a set of six patterns as we have seen.</p> - -<p>Instructions for working this design are the same as given for -Daisy Design No. 612 D, page 49, and illustrated by Colored Plate XX, -although of course the rules for working the border do not apply to -this design. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Maiden-hair Fern Design No. 402 E.</em></p> - -<p class="center"><span class="smcap">Fringed Doily.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein each 527, 780, 781, 782, 783, -783.5. Smaller sizes take less silk. Dealers can furnish stamped linen -of this design, ready fringed, in 7, 9, 12, and 18 inch sizes. See page -92. They can also furnish stamped and fringed linen for tray cloth, 10 -x 14 inches, to match this doily. The above quantity of silk will be -more than enough to work the tray cloth.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_042b.jpg" width="450" height="454" alt="" title="Maiden-hair Fern Design 402 E" /> -<div class="caption"><p><span class="smcap">Maiden-hair Fern Design</span> 402 E.</p></div> -</div> - -<p>These fringed doilies are imported goods of fine quality. They are -neat and dainty, require little silk to work, and together make as -pretty a set of six patterns as we have seen.</p> - -<p>Ferns.—Work solid. Slant the stitches toward the bottom, and -thus bring them to a point at the stem. Make each leaf of one shade. -Begin the leaves at the top of the spray with Corticelli Filo Silk, -780, and work down gradually darker, using 783.5 for those at the -bottom of the spray. Work the stems with a split thread of Filo Silk, -Brown, 527, making the stitches very fine. (Easy.)</p> - -<p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p> - - -<hr class="r5" /> - -<p class="p5a"><em>Forget-me-not Design No. 402 F.</em></p> - -<p class="center"><span class="smcap">Fringed Doily.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein each 504, 519, 520, 521, 678, -781, 782, 783. Smaller sizes take less silk. Dealers can furnish -stamped linen of this design, ready fringed, in 7, 9, 12, and 18 inch -sizes. See page 92. They can also furnish stamped and fringed linen for -tray cloth, 10 × 14 inches, to match this doily. The above quantity of -silk will be more than enough to work the tray cloth.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_043.jpg" width="450" height="452" alt="" title="Forget-me-not Design No. 402 F" /> -<div class="caption"><p><span class="smcap">Forget-me-not Design No.</span> 402 F.</p></div> -</div> - -<p>These fringed doilies are imported goods of fine quality. They are -neat and dainty, require little silk to work, and together make as -pretty a set of six patterns as we have seen.</p> - -<p>Forget-me-not.—Work solid in satin stitch, working all -stitches toward the center. Make each flower of one shade, using 519, -520, 521, for the different flowers. Make a French knot of Yellow, 504, -in the center. Work most of the buds with Pink, 678, and work the calyx -with 782.</p> - -<p>Leaves.—Work solid, using 781 on the edge, and shade toward -the midvein with 782. Veins and stems make with 783. (Easy.)</p> - -<hr class="r5" /> - -<p class="p5a"><em>Conventional Wild Rose Design No. 52.</em></p> - -<p class="center">By <span class="smcap">Emma Haywood</span>.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 4 skeins each 106, 107, 108, 109; 3 -skeins each 101, 102, 103, 105; 2 skeins each 525.7, 525.8, 525.9; 1 skein each 113, 647. -Corticelli Persian Floss, 8 skeins, 616.5.</p> - -<p><em>Materials</em>—9 inch Size: Corticelli Filo Silk, 1 skein each of above shades. Corticelli -Persian Floss, 2 skeins, 616.5. Dealers can furnish stamped linen of this -design in 9, 12, 18, and 22 inch sizes. See page 92.</p></blockquote> - -<p>This dainty design of semi-conventional roses and leaves is quite unique -in style. For the handsomer kinds of embroidery there is a decided leaning -toward conventionalized forms, but many of the designs offered are so -intricate and stilted as to be hardly practical. This, however, is both rich -and graceful, with the added attraction that it is not difficult to work. The -treatment, as well as the design, is somewhat conventional.</p> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli Persian -Floss, Cream White, 616.5.</p> - -<p>Roses.—For the roses we suggest a most delicious new shade of pink -Corticelli Filo Silk, 101, 102, 103, 105. Take the darkest for the curled over -edge, working in a slanting direction. The outer edge, however, should not<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> -be put in until the middle part is worked, so that the edge can be -worked over it. The inner part should be graduated, putting the -lightest next to the center so that one begins with 103 next the outer -edge; 104 is left out so as to make a more decided break from the -curled over edge. The round center is very effective worked in pale -Gold Color, 113. This is covered with a network of crossed bars in a -dark, rich shade of Brown, 647, and outlined with the same.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_044.jpg" width="450" height="444" alt="" title="Conventional Wild Rose Design No. 52" /> -<div class="caption"><p><span class="smcap">Conventional Wild Rose Design No.</span> 52.</p></div> -</div> - -<p>Leaves.—The leaves are worked mainly with a soft shade of -green, but to avoid monotony golden brown is blended into the green at -frequent intervals, sometimes half a leaf is brown, sometimes it is -tipped with brown on one or both sides, or a little brown is worked in -at the base of the leaf. For the green shades take 106, 107, 108, 109, -and for the golden brown use 525.7, 525.8, 525.9. The stems and thorns -are likewise put in with the three shades of brown. In working the -leaves let the stitches take the direction of the veins; by this means -the veining will be expressed much better than by putting it in. (Not -Difficult.)</p> - - -<hr class="tb" /> - -<h3><em>Japanese Chrysanthemum Design No. 609 B.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XVII.</p> - -<p class="center">By <span class="smcap">Amalia Smith</span>.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 672, 673, 678; 1 skein -each 616.5, 655.7, 674, 755, 780, 781, 782, 783. Corticelli Persian Floss, 5 skeins -615. Dealers can furnish stamped linen of this design in 22 inch size. See page 92.</p></blockquote> - -<p>This is a very effective design, pleasing in coloring, and capable of very -artistic treatment.</p> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615, with a long and short (indented) effect on the inside line. -Work the under scallop with Corticelli Filo Silk, 678, using two threads in -the needle. See Colored Plate IV for coloring and method of working border.</p> - -<div class="figcenter"> -<img src="images/i_044a.jpg" width="560" height="371" alt="" title="Corticelli Japanese Chrysanthemum Design No. 609 B" /> -<div class="caption"><p><span class="smcap">Corticelli Japanese Chrysanthemum Design No.</span> 609 B.</p> - -<p><span class="smcap">Colored Plate</span> XVII.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_044abig.jpg">See larger version</a>] -</div> - -<p>Flowers.—Work the back petals in 672, 673, 674, making the points dark<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> -and the shading lighter toward the center. The petals in the foreground -should be made as follows: points in 672, shading lighter toward -the base with 678, 655.7, 616.5. See Colored Plate XVII. Work the -buds solid. Use 674 for the back petals of buds and for those in the -foreground; use 672 for points, and shade lighter to the calyx, using -678, 655.7. Work the calyx solid in Green, 781 and 782.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_045a.jpg" width="450" height="458" alt="" title="Japanese Chrysanthemum Design No. 609 B" /> -<div class="caption"><p><span class="smcap">Japanese Chrysanthemum Design No.</span> 609 B.</p></div> -</div> - -<p>Leaves.—Begin the edges with 781, shading gradually darker to -the center with 782 and 783. Make some lighter by using 780 on the edge -and 782 for the darkest shade. Vein with 783. For the stems use Green, -782, 783, and 755, working solid and making the end of the stem darker -than the part nearest the flower. (Difficult.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Thistle Design No. 609 E.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 -skeins each 684, 685, 686, 754, 781, 782, 783, 784; 1 skein each 672, -675, 726, 727, 729. Corticelli Persian Floss, 4 skeins 615; 3 skeins -672. Dealers can furnish stamped linen of this design in 22 inch size. -See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_045b.jpg" width="450" height="464" alt="" title="Thistle Design No. 609 E" /> -<div class="caption"><p><span class="smcap">Thistle Design No.</span> 609 E.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, 672 and 615. Work the outside scallop with Persian -Floss, White, 615, and the small twining scallop with 672. See Colored -Plate IV for method of working border.</p> - -<p>Thistles.—Work the thistle with Corticelli Filo Silk, Purple, 672, 726,<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> -727, 675, 729. Make each strand very fine and make each with as much of -a feathery effect as possible. At the top of the thistle use 672, 726, and a -little of 727. Make the upper part light; near the center use the darker -shades, 675, 727, 729, but use 675 and 729 sparingly. Work the bulb of the -thistle solid in Green, 781, 782, 783, 784. Near the top of the bulb work one -or more rows, according to the size of the bulb, with Green, 782; the next two -rows near the middle of the bulb, with 781, then gradually darker to the -bottom near the stem. Another way to work the bulb is to work it solid -with Green, 781, and cross-bar with Bronze Green, 852.</p> - -<p>Leaves.—Work solid. Make one spray of leaves with Green, 781, 782, 783, -784. Use 781 for the points of the leaves and shade darker toward the center. -Vein with 782, 783, 784. For another spray of leaves use 754, 684, 685, 686, -working in the same manner as described above. Work the stems in stem -stitch with 784, giving quite a slant to the stitches. (Not Difficult.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Buttercup Design No. 611 A.</em></p> - -<p class="center"><span class="smcap">Rococo Border.</span></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 615, 692.8; 1 skein each -503, 504, 505, 506, 507, 692.9, 753, 754, 780, 781, 782. Corticelli Persian Floss, -5 skeins 615. Dealers can furnish stamped linen of this design in 22 inch size. See -page 92.</p></blockquote> - -<div class="figcenter"> -<img src="images/i_046.jpg" width="450" height="456" alt="" title="Buttercup Design No. 611 A. Rococo Border" /> -<div class="caption"><p><span class="smcap">Buttercup Design No.</span> 611 A. <span class="smcap">Rococo Border.</span></p></div> -</div> - -<p>Border.—Work the scallop with Corticelli Persian Floss, White, -615, in buttonhole stitch long and short to the inside line. Shade into -the white with one thread of Corticelli Filo Silk, 692.8., making an -even line or finish on the narrow part of the scallop but leaving an -uneven edge at the points. Shade these points with a few stitches of -692.9, thus giving them a darker effect.</p> - -<p>Four Corners in Border.—Work the cross-bar in outline stitch -with one thread of Corticelli Filo Silk, 692.8. Make a cross stitch -with 692.9 where the lines intersect. Stuff the two jewels with cotton, -or, better still, Corticelli Persian Floss, to raise the work, and then -work over in satin stitch with Filo, 692.8, and outline with the same -shade.</p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_047.jpg" width="560" height="461" alt="" title="Corticelli Violet Design No. 611 B. Rococo Border. Colored Plate XVIII" /> -<div class="caption"><p><span class="smcap">Corticelli Violet Design No. 611 B.</span></p> - -<p><span class="smcap">Rococo Border.</span></p> - -<p><span class="smcap">Colored Plate</span> XVIII.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_047big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_047a.jpg" width="560" height="374" alt="" title="Corticelli Carnation Design No. 612 B. Colored Plate XIX" /> -<div class="caption"><p><span class="smcap">Corticelli Carnation Design No.</span> 612 B.</p> - -<p><span class="smcap">Colored Plate</span> XIX.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_047abig.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p> - -<p>Scroll.—Work the even side of the scroll around the cross-bar lines with -Filo Silk, White, 615. Shade 692.8 and 692.9 into the white, giving the same -effect as the border. The shading is shown on Colored Plate XVIII, but -the colors are different.</p> - -<p>Flowers and Leaves.—Instructions given for working the flowers and -leaves in Buttercup Design No. 607 E, page 39, and illustrated by Colored -Plate XVI, apply equally well to this pattern. (Not Difficult.)</p> - - -<hr class="tb" /> - -<h3><em>Violet Design No. 611 B.</em></h3> - -<p class="p5b"><span class="smcap">Rococo Border.</span></p> - -<p class="center"><span class="smcap">Colored Plate</span> XVIII.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 615, 644.6, 644.7, 644.8; -1 skein each 505, 645, 725, 727, 728, 729, 781, 782, 783. Corticelli Persian Floss, 5 -skeins, 615. Dealers can furnish stamped linen of this design in 22 inch size. See -page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_047b.jpg" width="450" height="461" alt="" title="Violet Design No. 611 B. Rococo Border" /> -<div class="caption"><p><span class="smcap">Violet Design No.</span> 611 B. <span class="smcap">Rococo Border.</span></p></div> -</div> - -<p>Border.—Work the scallop with Corticelli Persian Floss, White, -615, in buttonhole stitch long and short to the inside line. Shade into -the white one thread of Corticelli Filo Silk, 644.6, making an even -line or finish on the narrow part of the scallop. Shade the points in -the border with a few stitches of 644.7 and 644.8, thus giving them a -darker effect. See Colored Plate XVIII.</p> - -<p>Four Corners in Border.—Work the cross-bar in outline stitch -with one thread of Corticelli Filo Silk, 644.8. Make a cross stitch -with 645 where the lines intersect. Stuff the two jewels with cotton, -or, better still, Corticelli Persian Floss, to raise the work, and then -work over in satin stitch with Filo, 644.7, and outline with the same -shade. (See Jewel Design No. 50, for directions for working jewels.)</p> - -<p>Scroll.—Work the even side of the scroll around the cross-bar lines with -Filo Silk, White, 615. Shade 644.7 and 644.8 into the white, giving the same -effect as the border. See Colored Plate XVIII.</p> - -<p>Flowers.—Begin the edge of the petals with 725, shading darker to the<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> -center with 727, 728, 729. Make some petals darker by omitting 725 and 727. -In the center of the open flowers work a stitch in Yellow, 505. Work the -calyx solid with Green, 782.</p> - -<p>Leaves.—Begin the edge in Green, 781, shading to the center with 782. -Vein and stem with 783. (Not Difficult.)</p> - -<hr class="r5" /> - -<p class="p5a"><em>Violet Design No. 612 A.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 4 skeins 615; 3 skeins 645; 2 skeins -each 644.6, 727, 728, 729; 1 skein 505, 725, 781, 782, 783. Smaller sizes take less silk. -Dealers can furnish stamped linen of this design in 9, 18, and 22 inch sizes. See -page 92.</p></blockquote> - -<div class="figcenter" style="width: 480px;"> -<img src="images/i_048.jpg" width="480" height="483" alt="" title="Violet Design No. 612 A" /> -<div class="caption"><p><span class="smcap">Violet Design No.</span> 612 A.</p></div> -</div> - -<p>This design is square, the edges are doubled under and securely -sewed with silk. For this reason only a small quantity of silk is -required for working, as none is used for the edge.</p> - -<p>Border.—Outline the scroll in each corner with Corticelli Filo -Silk, 645. Work the scallop inside the scroll with Filo Silk, White, -615, to the depth of half an inch. Shade into the white, Lemon, 644.6, -leaving a long and short effect on the inside of the scallop. Fill -the space between the outside scroll and the scallop with fine seed -stitches with 645. Work the scroll inside of stitching solid with 645 -in satin stitch. See Colored Plate XX.</p> - -<p>Flowers.—Begin the edge of the petals in 725, shading darker to the -center with 727, 728, 729. Make some petals darker by omitting 725 and 727. -In the center of open flowers work a stitch of Yellow, 505. Work the calyx -solid in Green, 782.</p> - -<p>Leaves.—Begin the edge in 781; shade to center with 782. Vein and stem -with 783. (Easy.)</p> - - -<hr class="tb" /> - -<h3><em>Carnation Design No. 612 B.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XIX.</p> - -<div class="figcenter" style="width: 370px;"> -<img src="images/i_049.jpg" width="370" height="560" alt="" title="Corticelli Daisy Design No. 612 D. Colored Plate XX. Corticelli Apple Blossum Design No. 612 F. Colored Plate XXI" /> -<div class="caption"><p class="right"><span class="smcap">Corticelli Daisy Design No.</span> 612 D.</p> - -<p class="right"><span class="smcap">Colored Plate</span> XX.</p> - -<p class="left"><span class="smcap">Corticelli Apple Blossum Design No.</span> 612 F.</p> - -<p class="left"><span class="smcap">Colored Plate</span> XXI.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_049big.jpg">See larger version</a>] -</div> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 4 skeins 615; 3 skeins 645; 2 skeins -each 636, 637, 638, 639, 644.6, 780; 1 skein each 655.7, 781, 782, 783. Smaller<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> -sizes take less silk. Dealers can furnish stamped linen of this design in 9, 18, and 22 -inch sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_049a.jpg" width="450" height="448" alt="" title="Carnation Design No. 612 B" /> -<div class="caption"><p><span class="smcap">Carnation Design No.</span> 612 B.</p></div> -</div> - -<p>This design is square, the edges are doubled under and securely -sewed with silk.</p> - -<p>Border—Use same instructions as given for working border of -Daisy Design 612 D. See below.</p> - -<p>Flowers.—Begin the edge of the petals with 639, shading -lighter to the calyx with 638, 637, 636, 655.7. Make some petals light -and others dark. In the full flower it is better to make the back -petals lighter and those in the foreground darker. See Colored Plate -XIX. Work that part of the calyx near the petals with Green, 780, 781, -and the bottom with 782.</p> - -<p>Leaves.—Work solid, using 780 for the points and shading -gradually darker with 781, 782. Use 783 for the stems. (Not -Difficult.)</p> - -<hr class="tb" /> - -<h3><em>Daisy Design No. 612 D.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XX.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 7 -skeins 615; 3 skeins 645; 2 skeins 644.6, 1 skein each 503, 505, 582, -661, 662, 692.8, 753, 754. Smaller sizes take less silk. Dealers can -furnish stamped linen of this design in 9, 18, and 22 inch sizes. See -page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_049b.jpg" width="450" height="464" alt="" title="Daisy Design No. 612 D" /> -<div class="caption"><p><span class="smcap">Daisy Design No.</span> 612 D.</p></div> -</div> - -<p>This design is square, the edges are doubled under and securely -sewed with silk.</p> - -<p>Border.—Outline the scroll in each corner with Corticelli Filo -Silk, 645. Work the scallop inside the scroll with White, 615, to the<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> -depth of half an inch. Into the white shade 644.6, leaving a long and short -effect on the inside of the scallop. Fill the space between the outside scroll -and the scallop with fine seed stitches made with 645. Work the scroll inside -of stitching solid in satin stitch with 645. See Colored Plate XX.</p> - -<p>Flowers.—Begin the points of the petals with White, 615, shading to the -center with Green, 692.8, 661, and 662. Fill the centers with French knots in -Yellow, 503 and 505. See Colored Plate XX. Work the buds in 692.8 and 661. -(These small buds are darker than open flowers.) In the large buds use some -white also. Work the calyx with Green, 754.</p> - -<p>Leaves.—Begin the points with Green, 753, shading gradually darker with -754 to the center. Use 582 for the stems and veins. (Easy.)</p> - -<hr class="r5" /> - -<p class="p5a"><em>Wild Rose Design No. 612 E.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 3 skeins each 638, 639, 645; 2 skeins -each 644.6, 655.8, 655.9, 781, 782; 1 skein each 504, 615, 780, 783, 784. Smaller sizes -take less silk. Dealers can furnish stamped linen of this design in 9, 18, and 22 inch -sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 480px;"> -<img src="images/i_050.jpg" width="480" height="479" alt="" title="Wild Rose Design No. 612 E" /> -<div class="caption"><p><span class="smcap">Wild Rose Design No.</span> 612 E.</p></div> -</div> - -<p>This design is square, the edges are doubled under and securely -sewed. No silk is therefore required for buttonholing the edge.</p> - -<p>Border.—Use same instructions as given for working Border of -Daisy Design 612 D, page 49.</p> - -<p>Flowers.—Begin the edge with 639 and shade lighter to center -with 638, 655.9, 655.8. Make some petals lighter and some flowers -lighter than others. Vary the shading. In the center of the open -flower work a few stitches of Green, 780, and irregularly around these -stitches make French knots in Yellow, 504. A study of Colored Plate IX -will assist one in shading this design.</p> - -<p>Leaves.—Work solid. Begin the edge with Green, 780, shading -gradually darker to the center with 781, 782, 783. Vary the shading. -Make the leaves under the flowers much darker. Use but a little of 780 -and only on tips. Work the veins and stems with Green, 784. (Easy.)</p> - -<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> - -<hr class="tb" /> - -<h3><em>Apple Blossom Design No. 612 F.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XXI.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 4 skeins 615; 3 skeins 645; 2 skeins -each 636, 637, 644.6, 655.7, 655.8, 781, 782; 1 skein each 527, 616, 755, 783, 852. -Smaller sizes take less silk. Dealers can furnish stamped linen of this design in 9, 18, -and 22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter"> -<img src="images/i_051.jpg" width="450" height="461" alt="" title="Apple Blossom Design No. 612 F" /> -<div class="caption"><p><span class="smcap">Apple Blossom Design No.</span> 612 F.</p></div> -</div> - -<p>This design is square, the edges are doubled under and securely -sewed with silk. For this reason only a small quantity of silk is -required for working, as none is used for buttonholing the edge.</p> - -<p>Border.—Use same instructions as given for working border of -Daisy Design 612 D, page 49.</p> - -<p>Flowers.—Begin the edge of the petals with 636, shading -lighter to the center with 655.8, 655.7, 616. Make some petals lighter -by omitting 636 and use 615 in place of 616 toward the center. Vary the -shading by making some flowers almost white. In each petal make two or -three stamens with Green, 781, and place a small French knot of 645 at -the end of each stamen. See Colored Plate XXI.</p> - -<p>Buds and Calyx.—Begin the edge of the petals with 637, shading lighter -to the base with 636. Work all the buds darker than the flowers. Work the -calyx in Green, 782.</p> - -<p>Leaves.—Work solid. Use Green, 781, for the points, shading gradually -darker to the center with 782, 783, 755, with a touch of 852 near the base and -midvein. Vary the shading as usual. Work the stems solid with 755, 852, -527, using most of 527. (Not Difficult.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Violet Design No. 613 A.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein each 506, 725, 727, 728, 729, -781, 782, 783. Corticelli Persian Floss, 1 skein 615. Smaller sizes take less silk. -Dealers can furnish stamped linen of this design in 9 and 22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter"> -<img src="images/i_052a.jpg" width="450" height="464" alt="" title="Violet Design No. 613 A" /> -<div class="caption"><p><span class="smcap">Violet Design No.</span> 613 A.</p></div> -</div> - -<p>These octagon shaped patterns require no buttonhole work on the edges,<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> -as the linen is folded under and securely sewed as shown by the illustration. -The effect is quite novel, and as the designs are simple only a small -quantity of silk is needed to work the pattern.</p> - -<p>Flowers.—Work solid. Use Corticelli Filo Silk, Violet, 725, -for the edge of the petals, shading darker toward the center with 727, -728, 729. Make the three lower petals lighter than the upper two. In -the center of the open flowers work a few stitches of Yellow, 506, and -a stitch of Green, 781, on each side of the yellow. Work the buds with -729, 728, and 727. Work the calyx solid with 781 and 782, the darker -shade nearest the stem.</p> - -<p>Leaves.—Work solid, using 781 for the edge and shading darker -to the center with 782. Work the veins and stems in 783. The slit -in corner, or the line across the ends of the stems, work in fine -buttonhole stitch with Persian Floss, White, 615. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Buttercup Design No. 613 B.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein -each 503, 504, 505, 506, 507, 754, 781, 782. Corticelli Persian -Floss, 1 skein 615. Smaller sizes take less silk. Dealers can furnish -stamped linen of this design in 9 and 22 inch sizes. See page -92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_052b.jpg" width="450" height="457" alt="" title="Buttercup Design No. 613 B" /> -<div class="caption"><p><span class="smcap">Buttercup Design No.</span> 613 B.</p></div> -</div> - -<p>These octagon shaped patterns require no buttonhole work on the -edges, as the linen is folded under and securely sewed as shown by the -illustration. The effect is quite novel, and<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> -as the designs are simple only a small quantity of silk is needed to work the -pattern.</p> - -<p>Flowers and Leaves.—Instructions for working this design -are the same as given for Buttercup Design No. 607 E, page 39, and -illustrated by Colored Plate XVI. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Daisy Design No. 613 D.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 -skeins 615; 1 skein each 503, 505, 582, 661, 662, 692.8, 753, 754. -Smaller sizes take less silk. Dealers can furnish stamped linen of this -design in 9 and 22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_053a.jpg" width="450" height="453" alt="" title="Daisy Design No. 613 D" /> -<div class="caption"><p><span class="smcap">Daisy Design No.</span> 613 D.</p></div> -</div> - -<p>These octagon shaped patterns require no buttonhole work on the -edges, as the linen is folded under and securely sewed as shown by the -illustration. The effect is quite novel, and as the designs are simple -only a small quantity of silk is needed to work the pattern.</p> - -<p>Flowers and Leaves.—Instructions for working this design are -the same as given for Daisy Design, 612 D, page 49, and illustrated by -Colored Plate XXI, although of course the rules for working the border -do not apply to this design. (Easy.)</p> - -<hr class="r5" /> - -<p class="p5a"><em>Forget-me-not Design No. 613 E.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, -1 skein each 504, 518, 519, 520, 678, 781, 782, 783. Corticelli -Persian Floss, 1 skein 615. Smaller sizes take less silk. Dealers can -furnish stamped linen of this design in 9 and 22 inch sizes. See page -92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_053b.jpg" width="450" height="466" alt="" title="Forget me not Design No. 613 E" /> -<div class="caption"><p><span class="smcap">Forget-me-not Design No.</span> 613 E.</p></div> -</div> - -<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span></p> - -<p>These octagon shaped patterns require no buttonhole work on the edges, -as the linen is folded under and securely sewed as shown by the illustration.</p> - -<p>Flowers.—Work solid. Make the petals in Corticelli Filo Silk, Blue, 518, -519, 520. Vary the shading by making one or more petals in some of the -flowers of a lighter shade. Tip some of the petals with a touch of Pink, 678. -Put a French knot in Yellow, 504, in the center of the open flowers. Make -some of the buds in Pink, 678, and others in Blue, 519.</p> - -<p>Leaves.—Work solid, using Green, 781, for the points, shading gradually -darker to the stem with 782, 783. Make some leaves lighter than others. -Work the stems in 783. The slit in corner, or the line across the ends of the -stems, work in fine buttonhole stitch with Persian Floss, White, 615. (Easy.)</p> - -<hr class="r5" /> - -<p class="p5a"><em>Chrysanthemum Design No. 613 F.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein each -502, 503, 504, 505, 507, 716, 717, 718, 719, 781, 782, 783, 784. -Corticelli Persian Floss, 1 skein 615. Smaller sizes take less silk. -Dealers can furnish stamped linen of this design in 9 and 22 inch -sizes. See page 92.</p></blockquote> - -<div class="figcenter"> -<img src="images/i_054.jpg" width="450" height="458" alt="" title="Chrysanthemum Design No. 613 F. Octagon Hem" /> -<div class="caption"><p><span class="smcap">Chrysanthemum Design No.</span> 613 F. <span class="smcap">Octagon Hem.</span></p></div> -</div> - -<p>Red Flowers.—Work the points of the petals in the background -in Corticelli Filo Silk, 719, shading lighter to the base with 718, -717. Work the points of the petals in the foreground with 719, shading -lighter with 718, 717, 716. The petals that droop in the foreground -make lighter by omitting 719.</p> - -<p>Yellow Flowers.—Work the points in the petals with Yellow, -507, shading lighter with 505, 504, 503, 502. Change the shading in -different petals by using either lighter or darker shades of silk. The -petals that are on top make light, using the lightest shades toward the -center of the upper petals. Use your taste in arranging the colors. -You can work red and yellow flowers in one spray, or make each spray -different, either way will be pretty. Use Green, 782, 783, for the -calyx.</p> - -<p>Leaves.—Work the points with Green, 781, shading to the stem -with 782, 783. Use 784 for the stems. (Not Difficult.)</p> - -<p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p> - - -<hr class="tb" /> - -<h3><em>Purple Clematis Centerpiece Design No. 56.</em></h3> - -<p class="p1b"><span class="smcap">And Set of 4 Doilies, No. 56A, 56B, 56C, and 56D.</span></p> - -<p class="p5b"><span class="smcap">Colored Plate</span> XXII.</p> - -<p class="center"><span class="smcap">By Elizabeth Moore Hallowell.</span></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Centerpiece: Corticelli Filo Silk, 4 skeins 785; 3 skeins 784; -2 skeins each 725, 726, 727, 728, 729, 783; 1 skein each 621, 622, 779.5, 780, 781, 782. -Corticelli Persian Floss, 8 skeins 615. Smaller pieces take less silk. Dealers can -furnish stamped linen of this design in 22 and 27 inch sizes. They can also furnish -stamped linen, 9 inch square, of the set of four doily designs (Nos. 56A, B, C, D), to -match this centerpiece. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_055.jpg" width="450" height="461" alt="" title="Purple Clematis Centerpiece Design No. 56" /> -<div class="caption"><p><span class="smcap">Purple Clematis Centerpiece Design No.</span> 56.</p></div> -</div> - -<p>One can always do better embroidery, as is the case in all branches -of art, if thoroughly familiar with one's subject; then the mind, -which is really the source of intelligent work, can act through the -pencil, the pen, or the needle, and give to the result the added touch -of knowledge at first hand. Therefore, if possible, before working -this design secure a spray of the real clematis, choosing the variety -known as <em>Clematis Jackmanni</em>, which is probably one of the best -known.</p> - -<p>The Purple Clematis blossoms in June, July, or August, according to -the climate, but it can be secured from florists during other months. -Notice that the flowers often have four petals, and nearly as often -<em>five</em>. This is a marked peculiarity of the plant. Observe also the -buds and sprays of leaves, starting from the axils of the branches; the -curling tendency of the stems, by which tendril-like quality the plant -climbs. Sometimes the leaves will drop off from these stems, leaving -occasionally what looks like a real tendril, but what is in reality the -leaf-stem.</p> - -<p>This centerpiece may be worked in heavy outline, which produces a very -decorative effect with less labor, but this is not recommended, the design -being of a large and handsome flower, which calls for stronger and more -lasting treatment, and the instructions given therefore are for solid embroidery, -in long and short stitch. (See article on Stitches—"Feather Stitch.") -While purple is the usual color of the flower, it is sometimes very pale laven<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>der, -but for a decorative design merely, the flowers might be worked in white -with greenish shadings.</p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/i_056a.jpg" width="350" height="350" alt="" title="Clematis Doily No. 56 A" /> -<div class="caption"><p><span class="smcap">Clematis Doily No.</span> 56 A.</p></div> -</div> - -<p>Flowers.—Begin the edge of petals with Purple, 729, shading -gradually lighter toward the base of the petal, using 728, 727, 726, -725. The lightest shades should come into a vein in the center of the -petal. For the under side, or turned over parts, of the petals use 725 -and 726. The contrast between the color of upper and under sides is -very marked. Work the pistil solid, using 781 for the upper and 782 for -the lower half. See Colored Plate XXII.</p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/i_056b.jpg" width="350" height="357" alt="" title="Clematis Doily No. 56 B" /> -<div class="caption"><p><span class="smcap">Clematis Doily No.</span> 56 B.</p></div> -</div> - -<p>Centers.—Outline the stamens with Green, 780, 781. Make -the outer stamens, which are heavier than those inside and somewhat -irregular, with a double thread of Corticelli Filo Silk, and the inner -stamens with a single thread. At the point of each stamen make a French -knot with Purple, 729. Use 780 and 781 also for the center from which -the petals have dropped. Work the buds solid, in 725, 726. At the base -of each shade into the stem a few stitches of 780.</p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/i_056c.jpg" width="350" height="354" alt="" title="Clematis Doily No. 56 C" /> -<div class="caption"><p><span class="smcap">Clematis Doily No.</span> 56 C.</p></div> -</div> - -<p>Leaves.—Work solid in long and short stitch, with 779.5, -780, 781, 782, 783, 784, 785, being careful to slant the stitches in -the same direction as the veins, that is, from the edge in toward the -central vein, but sloping toward the base of the leaf. Shade from light -on the edge to dark near the midvein, See Colored Plate XXII. The -leaves are large and many shades can be used with advantage. Work some -of the smaller leaves in lighter shades than the large leaves at the -bottom of the spray. The veins in the leaves should not be indicated -too distinctly. They are shown with clearness in the illustration so -that the correct direction may be easily followed. One shade lighter -than the darkest shade used in the leaf will be correct for the veins. -For the turned over parts of leaves use 780 or 781.</p> - -<p>Stems.—Work solid in 783, 784, 785, and where the stems are -largest use a little Reddish Brown, 621, 622. The stems from buds, also -the tendrils, should be made in 782, 783, 784.</p> - -<hr class="tb" /> - -<div class="figcenter" style="width: 377px;"> -<img src="images/i_057.jpg" width="377" height="560" alt="" title="Corticelli Purple Clematis Design No. 56. Colored Plate XXII" /> -<div class="caption"><p><span class="smcap">Corticelli Purple Clematis Design No.</span> 56.</p> - -<p><span class="smcap">Colored Plate</span> XXII.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_057big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/i_057a.jpg" width="350" height="360" alt="" title="Clematis Doily No. 56 D" /> -<div class="caption"><p><span class="smcap">Clematis Doily No.</span> 56 D.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli Persian -Floss, White, 615, or if desired use Light Green Persian Floss, 780. If fringe -is wanted buy the 27 inch square of stamped linen, buttonhole the edge very -fine and even all around with Corticelli Etching Silk. Then fringe the linen -to the buttonhole edge, comb out the threads -evenly and trim to any length wanted. (Not -Difficult.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Purple Clematis Doily Designs Nos. 56A, 56B, 56C, and 56D.</em></p> - -<p>Three of these doilies are designed so that the decoration will show -even should a tumbler or a finger bowl be placed upon them, and if six -or a larger number of doilies are desired for a set, repeat these three -patterns. In the fourth design, No. 56 A, the decoration is confined -to the center of the doily, this being intended for a bread or cake -covering, or for any purpose where a central decoration is most useful. -The instructions given for the clematis centerpiece will be ample for -working these doilies. (Not Difficult.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Violet Design No. 615 A.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein each 505, 661, 725, 727, 728, -729, 781, 782, 783, 784. Corticelli Persian Floss, 6 skeins 615. -Smaller sizes take less silk. Dealers can furnish stamped linen of this -design in 6, 9, 12, 18, and 22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_057b.jpg" width="450" height="442" alt="" title="Violet Design No. 615 A" /> -<div class="caption"><p><span class="smcap">Violet Design No.</span> 615 A.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, White, 615. In the three shell shaped scallops the -stitches should be irregular on the inside. Now shade Corticelli -Filo Silk, Green, 661, into the white (in these three shell shaped -scallops), giving a long and short effect on the inside. See Colored -Plate VI for method of working border.</p> - -<p>Flowers.—Work solid in Violet, 729, 728, 727, 725. Make the -three lower petals lighter, the two upper<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> -petals darker, working the edge of the petal lighter and darker toward the -center. Make a few solid stitches of Yellow, 505, in the center of the -flower.</p> - -<p>Leaves.—Work solid with Green, 781, 782, 783. For the stems -and veins use 784. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Daisy Design No. 615 B.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli -Filo Silk, 1 skein each 505, 615, 661, 781, 782, 783. Corticelli -Persian Floss, 6 skeins 615. Smaller sizes take less silk. Dealers -can furnish stamped linen of this design in 6, 9, 12, 18, and 22 inch -sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_058a.jpg" width="450" height="458" alt="" title="Daisy Design No. 615 B" /> -<div class="caption"><p><span class="smcap">Daisy Design No.</span> 615 B.</p></div> -</div> - -<p>Border.—Use same instructions as given for Violet Design No. -615 A, page 57.</p> - -<p>Flowers.—Work solid; the edge of the petals with White, 615, -using 661 toward the center. Make French knots in the center of the -open flower with Yellow, 505.</p> - -<p>Leaves.—Work solid. For the points use Green, 781, shading -darker toward the center with 782. Work the veins and stems with 783. -(Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Rosebud Design No. 615 C.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein -each 642, 657, 659, 661, 781, 782, 783. Corticelli Persian Floss, 6 -skeins, 615. Smaller sizes take less silk. Dealers can furnish stamped -linen of this design in 6, 9, 12, 18, and 22 inch sizes. See page -92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_058b.jpg" width="450" height="448" alt="" title="Rosebud Design No. 615 C" /> -<div class="caption"><p><span class="smcap">Rosebud Design No.</span> 615 C.</p></div> -</div> - -<p>Border.—Use same instructions as given for Violet Design No. 615 A, -page 57.</p> - -<p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p> - -<p>Rosebuds.—Work the edge of some of the back petals with Red, 659, -shading in with 657. The center should be lighter. Make some of the petals -darker by using 642 on the edge and shading in with 659. The petals in the -foreground should be lighter, using 659 and 657. Make the points of the -calyx in Green, 781, and shade gradually darker toward the bulb, using 782, 783.</p> - -<p>Leaves.—Work solid. For the edge use Green, 781, shading darker toward -the center with 782. Work the veins and stems with 783. (Not Difficult.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Buttercup Design No. 615 D.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein each 503, 504, 505, 506, 781, -782. Corticelli Persian Floss, 6 skeins 615. Smaller sizes take less silk. Dealers can -furnish stamped linen of this design in 6, 9, 12, 18, and 22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_059.jpg" width="450" height="454" alt="" title="Buttercup Design No. 615 D" /> -<div class="caption"><p><span class="smcap">Buttercup Design No.</span> 615 D.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, White, 615. In the three shell shaped scallops the -stitches should be irregular on the inside. Now shade Corticelli -Filo Silk, Yellow, 503, into the white (in these three shell shaped -scallops), giving a long and short effect on the inside. See Colored -Plate VI for method of working border; the coloring however will be -found different from that intended for this design.</p> - -<p>Flowers.—Work solid. Use 505 for the edge, and gradually shade -lighter to the bottom of the petal with 504, 503. Three shades to a -flower are sufficient. Make some petals darker by using 506 on the edge -instead of 505. In the center of the open flowers work a few stitches -of Green, 781, and around these make a few French knots in 781, also. -See Colored Plate XVI.</p> - -<p>Leaves.—Work the leaves with 781 in satin stitch, slanting the -stitches across the leaf. For the stems take 782. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Maiden-hair Fern Design No. 615 E.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein each 527, 780, 781, 782, 783. -Corticelli Persian Floss, 6 skeins 615. Smaller sizes take less silk. Dealers can -furnish stamped linen of this design in 6, 9, 12, 18, and 22 inch sizes. See page 92.</p></blockquote> - -<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span></p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_060a.jpg" width="450" height="445" alt="" title="Maiden hair Fern Design No. 615 E" /> -<div class="caption"><p><span class="smcap">Maiden-hair Fern Design No.</span> 615 E.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, White, 615. In the three shell shaped scallops the -stitches should be irregular on the inside. Now shade Corticelli -Filo Silk, Green, 780, into the white (in these three shell shaped -scallops), giving a long and short effect on the inside. See Colored -Plate VI for method of working border.</p> - -<p>Leaves.—Work solid, making each leaf of one shade. Make the -leaves at the top of each spray with 781, the next two leaves with -782, and those next below with 783. Continue to make the leaves darker -toward the bottom of the spray. Work the stems in very fine stem stitch -with a thread of Filo Silk, 527, split in two parts. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Forget-me-not Design No. 615 F.</em></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 1 skein -each 504, 517, 519, 520, 679, 781, 782. Corticelli Persian Floss, 6 -skeins 615. Smaller sizes take less silk. Dealers can furnish stamped -linen of this design in 6, 9, 12, 18, and 22 inch sizes. See page -92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_060b.jpg" width="450" height="462" alt="" title="Forget me not Design No. 615 F" /> -<div class="caption"><p><span class="smcap">Forget-me-not Design No.</span> 615 F.</p></div> -</div> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, White, 615. In the three shell shaped scallops the -stitches should be irregular on the inside. Now shade Corticelli Filo -Silk, Blue, 517, into the white (in these three shell shaped scallops), -giving a long and short effect on the inside. See Colored Plate VI for -method of working border; the coloring however, will be found different -from that intended for this design.</p> - -<p><span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span></p> - -<p>Flowers.—Work solid. Use Blue, 517, 519, 520, for the petals, varying the -shading. Give a touch of Pink, 679, to some of the petals. Make a French -knot of Yellow, 504, in the center of the open flowers. Work some of the -buds with Blue, 519, and some with Pink, 679. Use Green, 782, for the calyx.</p> - -<p>Leaves.—Work solid. For the points use Green, 781, shading toward the -stem with 782. Work the stems with 782. (Easy.)</p> - - -<hr class="tb" /> - -<h3><em>Jewel Design No. 50.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XXIII.</p> - -<p class="center"><span class="smcap">By Emma Haywood.</span></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 4 skeins each 113, 114, 809, 810, 811; -3 skeins each 752.9, 753; 2 skeins each 700, 701, 786, 787, 788; 1 skein each 646, 650, -656, 812. Corticelli Persian Floss, 4 skeins 786. Corticelli EE Twisted Embroidery -Silk, 8 skeins 809.</p> - -<p><em>Materials</em>—9 inch Size: Corticelli Filo Silk, 1 skein each -of above shades. Corticelli Persian Floss, 1 skein 786; Corticelli EE -Twisted Embroidery Silk, 2 skeins 809. Dealers can furnish stamped -linen of this design in 9, 12, 18, and 22 inch sizes. See page -92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_061.jpg" width="450" height="448" alt="" title="Jewel Design No. 50" /> -<div class="caption"><p><span class="smcap">Jewel Design No.</span> 50.</p></div> -</div> - -<p>Jewel embroidery is more than ever popular, and deservedly so, -not only on account of the scope it gives for daintiness of design, -but more especially because of the splendid possibilities in the -arrangement of color. Of course one is not slavishly tied to copying -the exact color of any particular gem; the decorator's license is -available here just the same as in reproducing flowers, an artistic and -harmonious scheme of color must be the first consideration. Unless the -jewels be of unusual size it is better to work each individual gem in -one shade, varying the tone if repeated in the same group. It must be -remembered that embroidery, like any textile fabric, to a great extent -shades itself, especially when the surface is glossy. In this style -of design it is well to introduce as great a variety of coloring as -possible, avoiding however very violent contrasts.</p> - -<p><span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></p> - -<p>We suggest a scheme that will be found to work beautifully, but many -others might be thought out with equally good results. It should be -observed, however, that in formulating a scheme all the colors employed -should be chosen in about the same tone to avoid the spottiness so -often found in amateur work; the very best designs can easily be -spoiled through inattention to this rule. The task of following exactly -the directions given is rendered easy by means of the numbers on the -labels attached to each skein of Corticelli Silk and by reference to -Colored Plate XXIII.</p> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_062.jpg" width="400" height="403" alt="" title="Jewel Embroidery. Filling and Covering" /> -<div class="caption"><p><span class="smcap">Jewel Embroidery. Filling and Covering.</span></p></div> -</div> - -<p>The work is solid throughout except where the scallops are filled -in beneath the scrolls with crossed bars; these are laid in place -from side to side, and caught down at each intersection. The jewels -are put in with satin stitch. (See article on Stitches.) They should -be raised a little by filling. This can be done in two ways, either -by filling one way in satin stitch and crossing the filling in the -opposite direction in finishing (see engraving), or by working a circle -in stem stitch and following the circle inside until quite filled in, -then covering with satin stitch. When covering the filling, always -start in the center and work out each way. It will then be found easy -to preserve the form. It is hardly worth while to use a different kind -of silk for the filling; it is poor economy and saves very little -after all, while the additional fastenings off are liable to make the -work lumpy. The jewels are more pronounced if outlined, but this is -optional. If outlined, a rich Burnt Sienna shade, such as No. 646, will -be very effective and not at all heavy. The jewels should be worked -with Corticelli Filo Silk.</p> - -<p>For the four sections composed of scrolls, and for the scallop exactly -beneath them, choose three delicate shades of Apricot, 809, 810, 811. Use the -lightest in Corticelli EE Embroidery Silk for the scallop, and shade the -scrolls with the three tones in Filo Silk. Put in the crossed bars with Green -Filo Silk, 752.9, and catch them down with 753. The outside scrolls are -also worked with 752.9. The small scrolls at the apex and on either side, also -the upper bars in stem stitch, are of a golden hue, for which take 113, 114. -The large central jewel and those heading the golden bars, are green. Use -700 for the large one and 701 for the small ones; those on either side on the<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> -bars are Violet, 650; the three below and one above the large center jewel -are also worked with 650; the remaining single gems on either side of the -center are Red, 656. See Colored Plate XXIII.</p> - -<div class="figcenter" style="width: 371px;"> -<img src="images/i_063.jpg" width="371" height="560" alt="" title="Corticelli Jewel Design No. 50. Colored Plate XXIII" /> -<div class="caption"><p><span class="smcap">Corticelli Jewel Design No.</span> 50.</p> - -<p><span class="smcap">Colored Plate</span> XXIII.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_063big.jpg">See larger version</a>] -</div> - -<p>We now come to the intervening forms embracing three scallops. Work -the lily forms with Filo Silk in three shades of Blue, 786, 787, 788. Work the -three scallops in Persian Floss, with Blue, 786. The jewels are golden, being -worked with Filo Silk, 113, 114. The diamond shaped jewel is put in with -812, representing a pink topaz. (Somewhat Difficult.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Apple Blossom Design No. 406 A.</em></p> - -<p class="center"><span class="smcap">Hemstitched Edge.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein each 636, 637, 645, 655.7, 781, -782, 783. Dealers can furnish stamped and hemstitched linen of this design in 6, 7, 9, -12, 15, 18, and 21 inch sizes. See page 92. They can also furnish stamped and hemstitched -linen for tray cloths and bureau scarfs to match this design, 18×27, 18×36, -17×54, and 17×72 inches. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_063a.jpg" width="400" height="398" alt="" title="Apple Blossom Design No. 406 A" /> -<div class="caption"><p><span class="smcap">Apple Blossom Design No.</span> 406 A.</p></div> -</div> - -<p>These designs are especially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths and bureau scarfs.</p> - -<p>Flowers.—Work solid. Begin edge of petals with Corticelli Filo -Silk, 637, shading lighter toward center with 636, 655.7. In the center -of the open flowers make a few stitches in 781 to represent stamens, -and make three or four French knots around these stitches with 645. -Work the buds solid, using 637 for edge and 636 near calyx. Use 782 -for calyx. A study of Colored Plate XXI will assist one in getting the -right shading and stitch direction.</p> - -<p>Leaves.—Work solid, beginning points with 781, shading darker -to midvein with 782. Stems should be worked - -solid or with two or three -rows of outline stitch, using 783. Use 783 also for veins. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Buttercup Design No. 406 B.</em></p> - -<p class="center"><span class="smcap">Hemstitched Edge.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein each 503, 505, 506, 781, 782. -Dealers can furnish stamped and hemstitched linen of this design in 6, 7, 9, 12, 15, 18, -and 21 inch sizes. See page 92. They can also furnish stamped and hemstitched linen -for tray cloths and bureau scarfs, to match this design, 18×27, 1×36, 17×54, and -17×72 inches. See page 92.</p></blockquote> - -<p><span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_064a.jpg" width="400" height="399" alt="" title="Buttercup Design No. 406 B" /> -<div class="caption"><p><span class="smcap">Buttercup Design No.</span> 406 B.</p></div> -</div> - -<p>These designs are especially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths, and bureau scarfs. Only a small -quantity of silk is required for these patterns.</p> - -<p>Flowers.—Work solid. Begin the edge of petals with Corticelli -Filo Silk, Yellow, 506, shading gradually lighter to center with 505, -503. Vary the shading in petals, making some light and some dark. Work -the calyx with Green, 781. The buds should be worked darker than the -open flowers. A study of Colored Plate XVI will be found helpful to -beginners.</p> - -<p>Leaves.—Work solid, beginning points with 781 and shading to -midvein with 782. Work the stems in outline stitch with 782. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Chrysanthemum Design No. 406 C.</em></p> - -<p class="center"><span class="smcap">Hemstitched Edge.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein each 673, 674, 678, 781, 782. -Dealers can furnish stamped and hemstitched linen of this design in 6, 7, 9, 12, 15, 18, -and 21 inch sizes. See page 92. They can also furnish stamped and hemstitched linen -for tray cloths and bureau scarfs to match this design, 18×27, 18×36, 17×54, and -17×72 inches. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_064b.jpg" width="400" height="405" alt="" title="Chrysanthemum Design No. 406 C" /> -<div class="caption"><p><span class="smcap">Chrysanthemum Design No.</span> 406 C.</p></div> -</div> - -<p>These designs are specially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths, and bureau scarfs.</p> - -<p>Flowers.—Work solid. Begin the edge of petals with Corticelli -Filo Silk, 674, shading lighter to the calyx with 673 and 678. Make -some petals lighter by omitting 674. The petals in the background -should be darker than those in the foreground. Use 781 for the calyx. -A study of Colored Plate XXII will be found helpful to beginners.</p> - -<p>Leaves.—Work solid, beginning the points with 781, shading -darker to midvein with 782. Work the stems in outline stitch with 782. -(Not Difficult.)</p> - -<p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p> - - -<hr class="r5" /> - -<p class="p5a"><em>Daisy Design No. 406 D.</em></p> - -<p class="center"><span class="smcap">Hemstitched Edge.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein each 503, 505, 615, 660.5, -661, 662, 754. Dealers can furnish stamped and hemstitched linen of this design in 6, -7, 9, 12, 15, 18, and 21 inch sizes. See page 92. They can also furnish stamped and -hemstitched linen for tray cloths and bureau scarfs to match this design, 18 x 27, -18 x 36, 17 x 54, and 17 x 72 inches. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_065a.jpg" width="400" height="403" alt="" title="Daisy Design No. 406 D" /> -<div class="caption"><p><span class="smcap">Daisy Design No.</span> 406 D.</p></div> -</div> - -<p>These designs are especially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths, and bureau scarfs.</p> - -<p>Flowers.—Begin the edge of the petals with Corticelli Filo -Silk, White, 615, shading toward the center with 660.5. Work the -centers in fine French knots in Yellow, 503, 505, placing those in 505 -above those in 503. Work the calyx in 661. See Colored Plate XX for -method of shading.</p> - -<p>Leaves.—Begin the points with 661. Shade darker to the center -with 662 and 754. Vein with 754 and work the stems in outline stitch -with same shade. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Sweet Pea Design No. 406 E.</em></p> - -<p class="center"><span class="smcap">Hemstitched Edge.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein -each 123, 124, 126, 128, 129, 501, 680, 725, 726.5, 727. Dealers can -furnish stamped and hemstitched linen of this design in 6, 7, 9, 12, -15, 18, and 21 inch sizes. See page 92. They can also furnish stamped -and hemstitched linen for tray cloths and bureau scarfs to match -this design, 18 x 27, 18 x 36, 17 x 54, and 17 x 72 inches. See page -92.</p></blockquote> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_065b.jpg" width="400" height="424" alt="" title="Sweet Pea Design No. 406 E" /> -<div class="caption"><p><span class="smcap">Sweet Pea Design No.</span> 406 E.</p></div> -</div> - -<p>These designs are especially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths, and bureau scarfs.</p> - -<p>Flowers.—Sweet Peas are always difficult owing to the great -variety of shades found in the flower. Begin the edge of the two upper -petals with Corticelli Filo Silk, Pink, 128, shading darker to center -with 129 and 680. For the lower petals use the same shades; at the base work a<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> -few solid stitches of Green, 123 and 124, for calyx. For a purple and yellow -flower begin the edge with Yellow, 501, into which shade Purple, 725, and -near the base, or where the petals meet, use 726.5 and 727. For the turn over -part use 725. The buds should be darker than the open flowers. Carefully -examine Colored Plate XXVII, before beginning to embroider this design.</p> - -<p>Leaves.—Work the leaves in 123, 124, 126, shading from light on points to -dark near the center and base of leaf. Work the stems and tendrils in 123, -126, using the former for the ends of tendrils only. (Somewhat Difficult.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Forget-me-not Design No. 406 F.</em></p> - -<p class="center"><span class="smcap">Hemstitched Edge.</span></p> - -<blockquote> - -<p><em>Materials</em>—12 inch Size: Corticelli Filo Silk, 1 skein each 504, 518, 519, 521, 678, -781, 783. Dealers can furnish stamped and hemstitched linen of this design in 6, 7, 9, -12, 15, 18, and 21 inch sizes. See page 92. They can also furnish -stamped and hemstitched linen for tray cloths and bureau scarfs to -match this design, 18 x 27, 18 x 36, 17 x 54, and 17 x 72 inches. See -page 92.</p></blockquote> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_066.jpg" width="400" height="408" alt="" title="Forget me not Design No. 406 F" /> -<div class="caption"><p><span class="smcap">Forget-me-not Design No.</span> 406 F.</p></div> -</div> - -<p>These designs are especially adapted for beginners. The 7 and 9 inch -sizes make pretty doilies, and the larger linens work up into very -attractive centerpieces, tray cloths, and bureau scarfs.</p> - -<p>Flowers.—Work solid, making each petal of one shade. -Corticelli Filo Silk, Blue, 518, 519, 521, are the forget-me-not -shades. Make an occasional petal in Pink, 678. Put one or two French -knots in the center of every open flower with Yellow, 504. Work the -buds darker than the open flowers. Use Green, 781, for the calyx.</p> - -<p>Leaves.—Work solid, beginning the points with 781, shading -darker to midvein with 783. Work the stems in outline stitch with 783. -(Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>The "Queen" Embroidery Hoop.</em></p> - -<p>Most professional needleworkers use a large frame, and work with both -hands. For amateurs a hoop is the next best thing. Mrs. Haywood recommends -the "Queen" hoop. It is, in fact, quite superior to the ordinary -wooden or rubber ones. It is a smooth wooden hoop, true in circle, with -rounded edges; the outer hoop is a stiff spring wire band, interlaced with -braid. This hoop requires no wrapping for either light or heavy material as -the spring band will keep the goods stretched to a uniform tension. It is -made in 4, 5, 6, and 7 inch sizes, and can be had at nearly all dry goods stores.</p> - -<div class="figcenter" style="width: 373px;"> -<img src="images/i_067.jpg" width="373" height="560" alt="" title="Maréchal Neil Rose Design No. 602 B. Colored Plate XXIV" /> -<div class="caption"><p>Corticelli <span class="smcap">Maréchal Neil Rose Design No.</span> 602 B.</p> - -<p><span class="smcap">Colored Plate</span> XXIV.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_067big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> - - -<h3><em>Maréchal Niel Rose Design No. 602 B.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XXIV.</p> - -<p class="center"><span class="smcap">By Amalia Smith.</span></p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 615, 616, 616.5, 740, -741, 742, 780, 781; 1 skein each 692.8, 743, 743.5, 782, 783, 784. Corticelli Persian -Floss, 6 skeins 615. Smaller pieces take less silk. Dealers can furnish stamped linen -of this design in 18 and 22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_067a.jpg" width="450" height="445" alt="" title="Maréchal Niel Rose Design No. 602 B" /> -<div class="caption"><p><span class="smcap">Maréchal Niel Rose Design No.</span> 602 B.</p></div> -</div> - -<p>For the more experienced worker this design has many attractions, -and aided by the Colored Plate many who otherwise would be unable -to embroider this rose will find no difficulty in following the -directions. It is as handsome a design as the most ambitious could -desire, affording opportunity for very artistic treatment.</p> - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli -Persian Floss, 615. For the flowers in the border choose Corticelli -Filo Silk, 615, shading to center with Green, 692.8. Put a few French -knots of Yellow, 742, in the center. Or work the centers of these -border flowers in Yellow, 740, instead of Green, 692.8, shading outward -with 616.5 and 616.</p> - -<p>Large Rose.—Begin the edge of some of the petals with Corticelli Filo -Silk, Yellow, 743.5, shading gradually lighter to 616 at base. The edge of the -other petals can be done with Yellow, 740, shading darker toward base with -741, 742, 743, 743.5. The turn over petals must be raised high by filling in -with long stitches of Corticelli Roman Floss, although darning or embroidery -cotton can be used; over this filling work Filo Silk, Cream White, 616, care -being taken to slant the stitches in almost the opposite direction from those -in the rest of the petal. See Colored Plate XXIV. In working the roses -remember to use the darker shades for the back petals, as well as for the -hollows or deep places and choose the lighter shades for the high-lights or the -raised parts, such as turn over petals and those on the outside.</p> - -<p>Buds.—Work solid, using 743.5 for the point of the buds, shading lighter -toward calyx with Yellow, 743, 742. Work the points of calyx with Green, -780, shading darker toward the bulb with 781, 782, 783, 784.</p> - -<p><span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p> - -<p>Leaves.—Work solid. For edge of some of the leaves use Green, 781, -shading toward the center with 782, 783. Vein with 784. For the smallest -leaves 780 can be used for the points, shading toward the center with 781, -782, and veining with 783. A study of Colored Plate XXIV will repay one, as -it gives the shading of the leaves as well as of the roses. (Difficult.)</p> - -<hr class="tb" /> - -<h3><em>Rabbit Chafing Dish Design No. 53.</em></h3> - -<p><span class="smcap">Colored Plate</span> XXVI.</p> - -<blockquote> - -<p><em>Materials</em>—22 inch Size: Corticelli Filo Silk, 2 skeins each 134, 136, 137; 1 skein -each 105, 140, 534, 561, 645, 646, 647, 656, 779.5, 781, 782, 783, 784. Corticelli -Persian Floss, 8 skeins 781. Smaller sizes take less silk. Dealers can furnish stamped -linen of this design in 9 and 22 inch sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_068.jpg" width="450" height="463" alt="" title="Rabbit Chafing Dish Design No. 53" /> -<div class="caption"><p><span class="smcap">Rabbit Chafing Dish Design No.</span> 53.</p></div> -</div> - - -<p>Border.—Work the scallop in buttonhole stitch with Corticelli Persian -Floss, Green, 781. See Colored Plate XXVI.</p> - -<p>Rabbits.—The rabbits can be worked in outline, or a better -way would be to work them partly solid. These instructions are for -the partly solid work. Begin working all around the rabbits' ears in -long and short stitch with Gray, 134; shade 105 into the gray, and -inside the ear use very light pink, 534. Around the eyes and nose make -irregular stitches with 136, working the eyes solid with Pink, 656. -A few stitches will give expression. Choose 137 for the back of the -rabbit, and, using long and short stitch, slant the stitches a little -toward the tail downward. Now shade lighter to the side, using 136, -134. Begin the under side of the rabbit with 137, and with 136 and 134 -shade lighter upward and toward the center in the direction the fur -would seem to take. Shade under the head and bend of the legs with 137. -Care must be taken in working the rabbits to give the right direction -to the stitches, otherwise the effect will not be good. See Colored -Plate XXVI.</p> - -<p>Grasses.—Work solid in long and short stitch with Green, 779.5, 781, 782, -783, 784, and Bronze, 561, 140, making each spear of grass of one shade.</p> - -<p>Scrolls.—Work in outline stitch with Brown, 645, 646, 647, shading from -light at end to dark at base. (Somewhat Difficult.)</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p> - - - - -<h2><a name="Photograph_Frames" id="Photograph_Frames"></a><em>Photograph Frames.</em></h2> - -<hr class="r5" /> - -<p class="p1b"><em>Directions for Mounting and Framing.</em></p> - -<hr class="r5" /> - -<p>Embroidered frames are now always mounted under glass. This preserves -both the needlework and the picture, besides greatly enhancing the beauty of -both. After carefully examining all ready made frames in the market we -recommend the "Imperial Passepartout Frame" as the best. It is strongly -and yet neatly made, having a white leather binding, holding the glass firmly -in place. It has a sliding back, with strong gilt wire easel, and suitable cardboard -mounts with die cut openings for pictures. It is self-contained and -absolutely dust proof. The embroidered linen can be removed at any time -and a new design substituted. These frames are made in two sizes, viz.: -8 x 10 inches and 10 x 13 inches; the former has an opening for one photograph; -the latter, openings for two pictures. Square or oval openings are -used according to the design of the stamped linen. See page 92.</p> - -<p>After the embroidery is finished, proceed to complete the frame as follows: -cover the face of the frame with cotton wadding, and lay the embroidered -linen on top, being careful to see that the design is in proper position, the -plain part being over the opening in the frame. Draw the linen tightly and -tack with pins on each corner. Now place the frame on its face, stretch -the linen over its edges and fasten it on the back with good, strong glue or -mucilage,—glue is preferable. Be careful to draw tightly and avoid creases. -Allow plenty of time to dry; then with a sharp penknife, cut the opening, if -it be a square one, making four cuts from the center to each of the four sides -of the opening, thus: X. Draw the four pieces cut through the opening and -paste them on the back. If the opening is an oval, begin at the center and -cut the linen in slits toward edge; draw tightly and evenly and glue down. -Place the photograph in position over the opening; over this put the cardboard, -which will hold the picture in place. Clean the glass and slip the linen, -cardboard and all, into the frame. Now slide the back into place and the -frame is complete.</p> - -<p>If you do not want to purchase a ready made frame, any good stationer -will mount your embroidered linen, or you can do it yourself and then have it -framed by a stationer. A small gilt beading made to order will increase the -beauty of the frame. In mounting follow these instructions: cut a frame -from heavy cardboard, the stiffer the better, about 7 x 9 inches, noting the size -of the linen and allowing an inch margin on sides, top, and bottom. Cut a -hole in the cardboard for opening for picture, and proceed to mount as per -directions for "Imperial" frames. If the embroidery is not to be put under -glass, cut out another piece of thin cardboard, size of first, cover with silk,<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> -sateen, or linen, and then sew front and back together on sides and bottom, -leaving enough space at top to slip in the picture. Use white silk and make -stitches as fine as possible. If you cannot obtain a ready made easel to put -on the back, make one from stiff cardboard, covered with linen.</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Holly Photograph Frame Design No. 1.</em></p> - -<p class="center"><span class="smcap">By Amalia Smith.</span></p> - -<blockquote> - -<p><em>Materials</em>—8 x 10 inch Frame: Corticelli Filo Silk, 1 skein each 582, 583, 584, -586, 754, 767, 768, 781, 785. Dealers can furnish stamped linen of this design -10 x 12 inches. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 285px;"> -<img src="images/i_070.jpg" width="285" height="350" alt="" title="Holly Photograph Frame Design No. 1" /> -<div class="caption"><p><span class="smcap">Holly Photograph Frame Design No.</span> 1.</p></div> -</div> - -<p>It would be impossible to find a more appropriate Christmas present -than this pretty Holly design, embroidered and neatly framed ready for -inserting the picture.</p> - -<p>Berries.—Work in satin stitch similar to working jewels (see -page 62), with Corticelli Filo Silk, Red, 767, 768, using only one -shade in each berry.</p> - -<p>Leaves.—Work solid, using Green, 781, for the edge. Shade -darker toward the midvein with 754, 582, 583, 785, 586. Make some -leaves darker than others. Work the stems and veins in 584 and 785. For -directions for mounting and framing see page 69.</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Pansy Photograph Frame Design No. 5.</em></p> - -<p class="center"><span class="smcap">Instructions by Elizabeth Moore Hallowell.</span></p> - -<blockquote> - -<p><em>Materials</em>—8 x 10 inch Frame: Corticelli Filo Silk, 1 skein each 504, 672, 674, 676, -726, 727, 729.5, 743, 783, 785. Dealers can furnish stamped linen of this design 10 x -12 inches. See page 92.</p></blockquote> - -<p>"Pansies for thoughts" are always pleasant to associate with tokens of -friendship; and the needlewoman who selects this subject for her skill may -be sure that her choice will prove a welcome gift to a friend.</p> - -<p>Pansies.—Use Corticelli Filo Silk, Purple, 726, 727, 729.5. For another -shade of purple, which will give variety, yet will combine well with the above, -take 672, 674, and 676.</p> - -<p>Flowers.—In working the flowers use the ordinary long and short stitch, -keeping each petal with the stitches tending towards the center of the flower; -let the darkest shading be at the edge of the petal, shading gradually to light at<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> -the base; and in several of the flowers let the two upper petals be quite dark. -More than this will give too heavy an effect; therefore work the other blossoms -in the lighter shades, letting the veinings -only, be dark. One large French knot of -Yellow, 504, will be needed in the center -of each pansy.</p> - -<div class="figcenter" style="width: 276px;"> -<img src="images/i_071a.jpg" width="276" height="350" alt="" title="Pansy Photograph Frame Design No. 5" /> -<div class="caption"><p><span class="smcap">Pansy Photograph Frame Design No.</span> 5.</p></div> -</div> - -<p>Leaves.—The leaves may be worked in long and short stitch, -with 783 and 785, keeping the direction of the stitches toward the -central vein, but inclining downward to the base of the leaf. A careful -study of Colored Plate I (Frontispiece) will give one suggestions as -to the proper shading, and will be found as helpful as more elaborate -directions would be, although the colors are not identical with those -for this design.</p> - -<p>Before mounting the embroidery be sure that it is well pressed; -if it has become in any way soiled, it should be carefully washed -according to the directions given on page 6. Rules for mounting and -framing will be found on page 69.</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Violet Photograph Frame Design No. 3.</em></p> - -<p class="center"><span class="smcap">Double Frame for Two Pictures.</span></p> - -<blockquote> - -<p><em>Materials</em>—10 × 13 inch Frame: Corticelli Filo Silk, 1 -skein each 506, 726, 727, 728, 729, 781, 782, 783. Dealers can -furnish stamped linen of this design 12 × 15 inches. See page -92.</p></blockquote> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_071b.jpg" width="450" height="349" alt="" title="Violet Photograph Frame Design No. 3. Double Frame" /> -<div class="caption"><p><span class="smcap">Violet Photograph Frame Design No.</span> 3.—(Double Frame.)</p></div> -</div> - -<p>Violets.—Use same instructions as given for working Violet Design No. -402 A, page 40. Directions for mounting and framing will be found on page 69.</p> - -<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p> - - -<hr class="r5" /> - -<p class="p5a"><em>Forget-me-not Frame Design No. 60.</em></p> - -<p class="center"><span class="smcap">By Emma Haywood.</span></p> - -<blockquote> - -<p><em>Materials</em>—8 × 10 inch Frame: Corticelli Filo Silk, 1 skein each 115, 623, 624, 678, -780, 781, 782. Dealers can furnish stamped linen of this design, 10 × 12 inches, which -allows ample margin for mounting. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 286px;"> -<img src="images/i_072.jpg" width="286" height="350" alt="" title="Forget me not Frame Design No. 60" /> -<div class="caption"><p><span class="smcap">Forget-me-not Frame Design No.</span> 60.</p></div> -</div> - -<p>The simple Forget-me-not design for a photograph frame for a cabinet -sized photograph should be very popular. To present one's picture thus -framed to a valued friend carries with it a pretty sentiment, the -favorite little flower of heavenly blue pleading for us that we may -be remembered. The treatment is of the simplest kind. Both blossoms, -buds, and leaves are worked in satin stitch, with French knots for -the centers. The stems are in outline or stem stitch. For such small -flowers Corticelli Filo Silk should be used in preference to any other -kind of silk. Work the blossoms with 623, 624; the leaves and stems -with 780, 781, 782. A very artistic effect can also be gained by -working the blossoms with 699, 700, putting in the leaves and stems -with 107, 108, 109. Make the French knots for the centers with 115. The -buds may be of a delicate Pink, 678. Rules for mounting and framing -will be found on page 69. (Easy.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Jewel Photograph Frame Design No. 61.</em></p> - -<p class="center"><span class="smcap">By Emma Haywood.</span></p> - -<blockquote> - -<p><em>Materials</em>—8 × 10 inch Frame: Corticelli Filo Silk, 1 skein each 105, 138, 139, 141, -142, 501, 624, 646, 647, 656, 657, 701, 702. Dealers can furnish stamped linen of this -design, 10 × 12 inches. See page 92.</p></blockquote> - -<p>There has always been a great demand for embroidered photograph frames, -and recently those in simulated jewels have been among the most popular -patterns. When worked the color effect will be found very rich and pleasing.</p> - -<p>Leaves and Stems.—Work the leaves and stems in Olive Green Corticelli -Filo Silk. For the leaves take 138, 139, 141, and 142, shading the spray -from light to dark, working in satin stitch. Make one leaf in one shade and -the next one in another.</p> - -<div class="figcenter" style="width: 381px;"> -<img src="images/i_073.jpg" width="381" height="560" alt="" title="Corticelli Garland Photograph Frame. Design No. 62. Colored Plate XXV. Corticelli Rabbit Design No. 53. Colored Plate XXVI" /> -<div class="caption"><p class="left"><span class="smcap">Corticelli Garland Photograph Frame</span></p> - -<p class="left"><span class="smcap">Design No.</span> 62.</p> - -<p class="left"><span class="smcap">Colored Plate</span> XXV.</p> - -<p class="right"><span class="smcap">Corticelli Rabbit Design No.</span> 53.</p> - -<p class="right"><span class="smcap">Colored Plate</span> XXVI.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_073big.jpg">See larger version</a>] -</div> - -<p>Jewels.—Work the three jewels at each corner to represent rubies, using -656, 657, the darker shade for the one in the middle. Working horizontally -toward the center at top and bottom, the next group of three jewels should<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> -represent the topaz, and for this choose Yellow, 501. Still following the scroll -toward the center, work the next three to represent the turquoise, -using 701, 702; the darker shade for the jewel in the middle of the -group, the lighter shade for the one on each side. We now come to the -center of the frame. Work this group of three jewels in Salmon Pink, -105.</p> - -<div class="figcenter" style="width: 283px;"> -<img src="images/i_073a.jpg" width="283" height="350" alt="" title="Jewel Frame Design No. 61" /> -<div class="caption"><p><span class="smcap">Jewel Frame Design No.</span> 61.</p></div> -</div> - -<p>For the side scrolls, begin at the center, using 701, 702. The three -jewels on each side of these work in 105, and the remaining group -between those in 105 and the corner, should be made in 624. All jewels -must be outlined with 646 or 647. Full directions for working jewels -are given in the instructions for the Jewel Centerpiece Design No. -50, page 61. Rules for mounting and framing will be found on page 69. -(Somewhat Difficult.)</p> - - -<hr class="tb" /> - -<h3><em>Garland Photograph Frame Design No. 62.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XXV.</p> - -<p class="center"><span class="smcap">By Alice C. Morse.</span></p> - -<blockquote> - -<p><em>Materials</em>—8 x 10 inch Frame: Corticelli Filo -Silk, 1 skein each 124, 125, 126, 127, 503, 504, 505, 623, 624, -625, 636, 637, 638, 639. This quantity is more than enough. Dealers -can furnish stamped linen of this design, 10 x 12 inches. See page -92.</p></blockquote> - -<div class="figcenter" style="width: 277px;"> -<img src="images/i_073b.jpg" width="277" height="350" alt="" title="Garland Photograph Frame Design No. 62" /> -<div class="caption"><p><span class="smcap">Garland Photograph Frame Design -No.</span> 62.</p></div> -</div> - -<p>Wild Roses.—Work the petals solid with Corticelli Filo Silk, -beginning at the edge with 639, shading towards the center with 638, -637, 636. Work the petals that seem to be in the background darker than -those that overlap them. Vary the shading in some of the flowers. In -the center work a few French knots with 505. See Colored Plate XXV.</p> - -<p>Forget-me-nots.—Work in satin stitch each petal or all petals -in one flower in one shade of Blue, 623, 624, 625. Place one French -knot in the center of the open flowers, using Yellow, 503.</p> - -<p>Ribbon.—Work in satin stitch, in Yellow, 503, 504, slanting the stitches<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> -across the ribbon. Be careful to preserve the correct effect of the twisted -part by working one side of the fold in 503, the next fold in 504, and so on. -See Colored Plate XXV.</p> - -<p>Leaves.—Work in satin stitch, using Green, 124, 125, 126, 127, making half -of each leaf in one shade. Outline the stems with 127. Rules for mounting -and framing will be found on page 69. (Somewhat Difficult.)</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Jonquil Photograph Frame Design No. 63.</em></p> - -<p><span class="smcap">By Elizabeth Moore Hallowell.</span></p> - -<blockquote> - -<p><em>Materials</em>—8 x 10 inch Frame: Corticelli Filo Silk, 1 skein each 502, 503, 504, 506, -507, 750, 751, 752, 781, 782, 783, 783.5, 784. Dealers can furnish stamped linen of -this design, 10 x 12 inches. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 272px;"> -<img src="images/i_074.jpg" width="272" height="350" alt="" title="Jonquil Photograph Frame Design No. 63" /> -<div class="caption"><p><span class="smcap">Jonquil Photograph Frame -Design No.</span> 63.</p></div> -</div> - -<p>For an Easter greeting, or a birthday present in early spring, a frame -worked in this design will prove a welcome offering. This design may also -be used for a magazine or book cover.</p> - -<p>Flowers.—These may be worked in long and short stitch, or half -solid Kensington, in which case somewhat less than the quantity of silk -named above will be sufficient. However, we strongly advise working -the whole design in solid embroidery, as the effect is very handsome -and will repay one for the extra labor. Begin working the edge of the -cup with Yellow, 504, gradually shading darker to the base with 506, -507, keeping the stitches perfectly straight. Work the edge of petals -in Yellow, 502, and shade darker with 503, 504, to the cup. That part -of the flower between cup and stem should be worked in 506 and 507. -The curious paper-like shell which surrounds the flower at the point -of attachment to the stem, work with 750, 751, 752, using 750 for the -point, and shading darker to the stem.</p> - -<p>Leaves.—Work solid, beginning at the point with 781, shading gradually -darker to the base, using 782, 783, 783.5, 784. Work the stems solid in Olive -Green, 782, 783, 783.5, 784, shading from dark near the bottom to light nearest -the flowers. A little of 782 should be worked at one side of some of the stems.</p> - -<p>Opening.—Outline the opening for the picture and the other straight lines -in the design with Yellow, 507. Rules for mounting and framing will be -found on page 69. (Not Difficult.)</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span></p> - - -<h2><a name="Corticelli_Doily_Book" id="Corticelli_Doily_Book"></a><em>Corticelli Doily Book.</em></h2> - -<hr class="r5" /> - -<blockquote> - -<p><em>Materials</em>—Corticelli Filo Silk: 3 skeins each of two shades. (See below.) 1 piece -linen, either Blue, Green, Tan, or Terra Cotta, 12 x 20 inches, stamped with this design; -1 Doily Book. Dealers can furnish all the above material. See page 92.</p> - -<p>For Blue Linen use Corticelli Filo Silk, Yellow, 741, 743.5, or Pink, 678, 680.</p> - -<p>For Green Linen use Corticelli Filo Silk, Green, 693, 695, or Purple, 650, 651.5.</p> - -<p>For Tan Linen use Corticelli Filo Silk, Scarlet, 537, 539, or Pink, 572, 573.5.</p> - -<p>For Terra Cotta Linen use Corticelli Filo Silk, Pink, 635.5, 638, or Green, 124, 127.</p> - -<p>When working either Blue, Green, or Terra Cotta Colored Linen the proper color numbers can easily be -substituted in the following instructions.</p></blockquote> - -<div class="figcenter" style="width: 332px;"> -<img src="images/i_075.jpg" width="332" height="400" alt="" title="Corticelli Doily Book" /> -<div class="caption"><p><span class="smcap">Corticelli Doily Book.</span></p></div> -</div> - -<p>Every needleworker usually has several choice doilies that when not -in use should be kept in some clean place where they will remain smooth -and flat. This book holds twelve doilies. It contains thirteen leaves -of tinted cardboard, each measuring 8-1/2 by 8-1/2 inches. The covers -are stiff and the binding is strong.</p> - -<p>Tan Linen and Scarlet Silk.—For the word "Doilies" use the -darkest shade (539) Corticelli Filo Silk. First stuff the letters with -embroidery cotton (or better still with Corticelli Roman Floss of same -shade as silk) similar to the manner of working jewels. (See page 62.) -Then cover the filling in satin stitch. The letters should appear as -if raised. Work the four corner figures with long and short stitch in -two shades of silk, using the lightest (537) for the outside and the -darkest (539) for the inside, which includes the dot in the center. -Work the stem or scroll in outline stitch in the lightest shade (537), -and make the leaves running from it solid, in long and short stitch, -with alternating shades of silk. The jewels in the scroll and the four -just inside it should be first stuffed and then covered similar to the -letters in the word "Doilies."</p> - -<p>When completed, stretch the linen firmly over the stiff pasteboard covers -and glue down on the inside. Sew two short ribbons, the color of the silk, -to the linen on the inside, for tying the covers together. (Not Difficult.)</p> - -<p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p> - - -<p><em>Initials and Monograms.</em></p> - -<p><span class="smcap">By Della V. Whipple.</span></p> - -<div class="figleft" style="width: 209px;"> -<img src="images/i_076.jpg" width="209" height="250" alt="" /> -</div> - -<p>The newest way for marking handkerchiefs is one's own writing transferred -with carbon, then worked in a very narrow satin stitch, with a decided -slant to the stitches. The accompanying monogram is a pretty and practical -one. Embroider the single lines same as described above, fill in the broad -portions with perpendicular stitches, piling high, and cover with satin -stitch same slant as the lines. Make the dots in French knots. If one -is partial to French knots a good way is to outline all of the lines of -letters, using Kensington outline stitch and fill in the broad parts -with the knots.</p> - -<p>The initial letters shown on the opposite page were drawn for 1898 -Corticelli Home Needlework by a St. Louis artist. They are specially -adapted to the purpose for which they are intended and are very pretty -when worked according to the following instructions.</p> - -<p>All letters look best if given a raised effect. To -do this stuff the space between the lines with Corticelli Roman Floss, after -the manner of working jewels (see page 62), taking care to have the stitches of -the filling laid in the opposite direction to that which the covering stitches -will take. With two threads of Corticelli Filo Silk cover the stuffing in satin -stitch. Color 615, White, is usually used, although some prefer Cream White, -616, or Cream, 616.5. The Roman Floss used for stuffing should be of the -same shade as the Filo Silk. A pretty way for making very small letters is to -just follow the outline with small cross stitches.</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Marking Clothing.</em></p> - -<p>While the neatest way to mark clothing is by one's initials embroidered in -Corticelli Filo Silk, as above suggested, this is not practical for many -articles. Tablecloths, napkins, sheets, pillow cases, white spreads, towels, -shirts, collars, and cuffs, also, must be plainly marked for convenience in sorting -and identifying personal articles in the family wash and to avoid being -lost when entrusted to public laundries. For this nothing is better than Payson's -Indelible Ink. With a bottle of this ink and a common pen one can -easily mark all necessary articles. A good idea is to keep on hand a few -yards of linen tape, on which your name is written many times with this ink. -Cut the tape as wanted and sew on to stockings, or other articles having too -rough a surface for pen work.</p> - -<p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span></p> - -<div class="figcenter"> -<img src="images/i_077.jpg" width="370" height="500" alt="" title="Corticelli Initial Letters" /> -<div class="caption"><p><em>Corticelli Initial Letters.</em></p> - -<p>See opposite page for directions for embroidering.</p> - -<blockquote><p class="left">The original letters from which the above engravings were made measure 1<sup>1</sup>⁄<sub>4</sub> inches -high. If the size shown above is large enough for your work transfer the letters direct -from the book to the linen with carbon paper. If, however, the larger sized letters are -desired get your dealer to order the perforated pattern for you, or, if he refuses to do this -send direct to the Nonotuck Silk Co., Florence, Mass. Perforated pattern of the entire -set of twenty-six letters, 1<sup>1</sup>⁄<sub>4</sub> inches high, costs 20 cents, postpaid. Perforated patterns -of single letters cost 10 cents each, postpaid.</p></blockquote></div> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> - - - - -<h2><a name="Tea_Cloths_Tray_Cloths_and_Bureau_Scarfs" id="Tea_Cloths_Tray_Cloths_and_Bureau_Scarfs"></a><em>Tea Cloths, Tray Cloths, and Bureau Scarfs.</em></h2> - -<div class="figcenter" style="width: 500px;"> -<img src="images/i_078.jpg" width="500" height="504" alt="" title="Purple Clematis Tea Cloth Design No. 437 A" /> -<div class="caption"><p><span class="smcap">Purple Clematis Tea Cloth Design No.</span> 437 A.</p></div> -</div> - - -<h3><em>Purple Clematis Tea Cloth Design No. 437 A.</em></h3> - -<p class="p5b"><span class="smcap">Drawn Work and Hemstitched Edge.</span></p> - -<p class="center"><span class="smcap">By Elizabeth Moore Hallowell.</span></p> - -<blockquote> - -<p><em>Materials</em>—Tea Cloth 45 x 45 inches: Corticelli Filo Silk, 6 skeins 729; 5 skeins -728; 4 skeins 727; 3 skeins each 725, 726, 781, 782, 783, 784, 785; 1 skein each 621,<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> -622, 779.5, 780. The smaller size takes less silk. Dealers can furnish hemstitched -stamped linen of this design, with drawn work edge, in two sizes, as follows: 436 A, -36 × 36 inches, 437 A, 45 × 45 inches. See page 92.</p></blockquote> - -<p>Use same instructions for embroidering this tea cloth as given for Purple -Clematis Design No. 56, page 55, and illustrated by Colored Plate XXII. -(Not Difficult.)</p> - - -<div class="figcenter" style="width: 495px;"> -<img src="images/i_079.jpg" width="495" height="500" alt="" title="Cosmos Tea Cloth Design No. 437 B" /> -<div class="caption"><p><span class="smcap">Cosmos Tea Cloth Design No.</span> 437 B.</p></div> -</div> - -<hr class="r5" /> - -<p class="p5a"><em>Cosmos Tea Cloth Design No. 437 B.</em></p> - -<p class="center"><span class="smcap">Drawn Work and Hemstitched Edge.</span></p> - -<blockquote> - -<p><em>Materials</em>—Tea Cloth 45 × 45 inches: Corticelli Filo Silk, 6 skeins each 655.7, -655.8; 5 skeins 655.9; 4 skeins 616.5; 2 skeins each 109, 110, 123, 504, 506, 781, and<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> -782. The smaller size takes less silk. Dealers can furnish hemstitched stamped linen -of this design, with drawn work edge, in two sizes as follows: 436 B, 36×36 inches; -437 B, 45×45 inches. See page 92.</p></blockquote> - -<p>Flowers.—Work solid. For the edge of petals use 655.7, 655.8, shading -lighter gradually to the center with 616.5, 123. Give a touch of Pink, 655.9, -to some of the petals to give an effect of shadow where the petals lap; but -not too much, as the flowers should be quite pale. In the center work a -number of short stamens with Green, 781, and make French knots at the points -of stamens in Yellow, 504 and 506. Work the buds and half flowers in the same -manner, although choose the darker shades for the very small buds. Work -the upper part of calyx with Green, 781, and the part near the stem with 782.</p> - -<p>Leaves.—Slant the stitches downward as you would to work stems. Tip -the points of the leaves with Green, 781, shading gradually darker toward the -stems with 782, 109, 110. Work the stems with 109, 110. (Not Difficult.)</p> - - -<hr class="tb" /> - -<h3><em>Sweet Pea Tea Cloth Design No. 407 G.</em></h3> - -<p class="center"><span class="smcap">Hemstitched and Silk Corded Edge.</span></p> - -<p class="p5b"><span class="smcap">Colored Plate</span> XXVII.</p> - -<p class="center">(See Illustration on Page 81.)</p> - -<p class="center"><span class="smcap">By Amalia Smith.</span></p> - -<blockquote> - -<p><em>Materials</em>—Corticelli Filo Silk: 2 skeins each 501, 502, 503, 616, 616.5, 678, 679, 680, -681, 725, 726, 727, 729, 757, 780, 781, 782, 783, 784. Dealers can furnish hemstitched -stamped linen of this design, 36 × 36 inches. See page 92.</p></blockquote> - -<p>Sweet peas grow in such a variety of exquisite colorings that the utmost -license is available in selecting the colors for each flower. However, be careful -to avoid startling combinations. The following suggestions for a color -scheme will be found to give a very pretty effect.</p> - -<p>Flowers.—Work solid, being careful to start the stitches in the right direction. -Begin the edge of the petal with a dark shade, shade gradually lighter -to the stem. The stitches should be taken in a downward curve to the stem. -Make some flowers pink on the edge and yellow near the stem; make others -shade from pink to violet; still another flower violet and yellow, and again -working some all of one color, shading from dark on edge to light near the -stem. Work the calyx in Green, 781, 782, the darker shade near the stem.</p> - -<p>Leaves.—Work solid, using Green, 781, 782, 783, 784, making the points of -the leaves light and shading darker near the center, using two shades in a -leaf. Make the larger leaves near the base of the spray in the darker shades -of green. Use 757 for the stems. For tendrils choose 780 and 781.</p> - -<p>Carefully examine Colored Plate XXVII. This shows the proper stitch -direction and the shading of the flowers and leaves. Unless you thoroughly -understand "long and short" stitch and "feather stitch," make a study of<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> -the article on "Embroidery Stitches—Described and Illustrated," especially -of pages 11 and 12. (Difficult.)</p> - -<div class="figcenter" style="width: 375px;"> -<img src="images/i_081.jpg" width="375" height="560" alt="" title="Corticelli Sweet Pea Design No. 407 G. Colored Plate XXVII" /> -<div class="caption"><p><span class="smcap">Corticelli Sweet Pea Design No.</span> 407 G.</p> - -<p><span class="smcap">Colored Plate</span> XXVII.</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_081big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span></p> - -<div class="figcenter" style="width: 501px;"> -<img src="images/i_081a.jpg" width="501" height="500" alt="" title="Sweet Pea Tea Cloth Design No. 407 G" /> -<div class="caption"><p><span class="smcap">Sweet Pea Tea Cloth Design No.</span> 407 G.</p></div> -</div> - - -<hr class="r5" /> - -<p class="p5a"><em>Wild Rose Bureau Scarf Design No. 434 B.</em></p> - -<p class="center"><span class="smcap">Hemstitched and Drawn Work Edge.</span></p> - -<blockquote> - -<p><em>Materials</em>—Corticelli Filo Silk, 2 skeins each 639, 782; 1 skein each 504, 636, 637, -638, 640, 655.7, 755, 780, 781, 783. Dealers can furnish stamped linen of this design -with hemstitched and drawn work edge, 18 × 36 inches. See page 92.</p></blockquote> - -<p>Roses and Leaves.—Use same instructions as given for Wild Rose Design -No. 603 E, page 28, and illustrated by Colored Plate IX. If desired the petals -of the roses may be worked "half solid," using the long and short stitch. -The leaves also can be worked in the same manner. The more effective way, -however, is to work both roses and leaves solid, as described in the instructions -to which reference is given.</p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_082a.jpg" width="560" height="287" alt="" title="Wild Rose Bureau Scarf Design No. 434 B" /> -<div class="caption"><p><span class="smcap">Wild Rose Bureau Scarf Design No.</span> 434 B.</p></div> -</div> - - -<hr class="tb" /> - -<h3><em>Rabbit Chafing Dish Tray Cloth Design No. 53 A.</em></h3> - -<p class="p5b"><span class="smcap">Colored Plate</span> XXVI.</p> -<blockquote> - -<p><em>Materials</em>—Corticelli Filo Silk: 2 skeins each 134, 136, 137, 779.5, 781, 782; 1 skein<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> -each 105, 140, 534, 561, 645, 646, 647, 656, 783, 784. Corticelli Persian Floss, 10 -skeins 781. Dealers can furnish stamped linen of this design, 18×27 inches. See -page 92.</p></blockquote> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_082b.jpg" width="560" height="389" alt="" title="Rabbit Chafing Dish Tray Cloth Design No. 53 A" /> -<div class="caption"><p><span class="smcap">Rabbit Chafing Dish Tray Cloth Design No.</span> 53 A.</p></div> -</div> - -<p>A Chafing Dish is to be found in nearly every home, and many are the -choice concoctions that owe their existence to the little alcohol lamp and -the simmering pan of water. The design shown here is especially appropriate -for a chafing dish tray cloth.</p> - -<p>Use the same instructions as given for working Design No. 53, page 68, -and illustrated by Colored Plate XXVI.</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Daisy Tray Cloth Design, No. 406 D.</em></p> - -<p class="center"><span class="smcap">Hemstitched Edge.</span></p> - -<blockquote> - -<p><em>Materials</em>—For Silk necessary to embroider this tray cloth, and instructions for -same, see Daisy Design, page 65. Made in sizes, 18 x 27 and 18 x 36 inches. Also -for bureau scarfs, 17×54 and 17×72. Dealers can furnish stamped linen, with hemstitched -edge, of this design, in all of the above sizes. See page 92.</p></blockquote> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_083.jpg" width="560" height="381" alt="" title="Daisy Tray Cloth Design No. 406 D" /> -<div class="caption"><p><span class="smcap">Daisy Tray Cloth Design No.</span> 406 D.</p></div> -</div> - -<p>Hemstitched linen, similar to Daisy Tray Cloth Design No. 406 D, can also -be furnished by dealers in the above sizes, stamped with the following designs: -406 A, Apple Blossom; 406 B, Buttercup; 406 C, Chrysanthemum; 406 E,<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> -Sweet Pea; 406 F, Forget-me-not. For instructions for working and silk -required, see pages 63, 64, 65, and 66.</p> - - -<hr class="r5" /> - -<p class="p5a"><em>Sofa Pillow Design No. 508.</em></p> - -<blockquote> - -<p><em>Materials</em>—1 piece plaid cambric, 24 x 48 inches, -stamped with a wide colored check, with 5 yards double ruffling of same -material; Corticelli Roman Floss, 9 skeins (6 of the light shade, and -3 of the dark shade). For colors see below. Dealers can furnish all of -above material. See page 92.</p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/i_084a.jpg" width="350" height="361" alt="" title="Sofa Pillow Design No. 508" /> -<div class="caption"><p><span class="smcap">Sofa Pillow Design No.</span> 508.</p></div> -</div> - -<p>For Green Pillow use Corticelli Roman Floss, 549, 551.</p> - -<p>For Yellow Pillow use Corticelli Roman Floss, 743, 743.6.</p> - -<p>For Blue Pillow use Corticelli Roman Floss, 793, -796.</p></blockquote> - -<p>This pillow is a pretty one for summer use. The material is plaid -cambric, a white ground with a colored check. The check comes in three -different colors: green, yellow, and blue.</p> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_084b.jpg" width="400" height="398" alt="" title="Showing Method of Working Sofa Pillow" /> -<div class="caption"><p><span class="smcap">Showing Method of Working Sofa Pillow.</span></p></div> -</div> - -<p>The engraving shows exactly how the work is done, using the lighter -shade of silk and the seamstress' feather stitch for the four corners -around each square. The center figure is worked in the darker shade of -silk, with the X in the lighter shade. When the decoration is complete, -finish the pillow as follows: Gather the ruffle double on the raw edge, -and, putting it between the front and back pieces of the cushion, sew -together on the wrong side on three sides of the pillow. Blind-stitch -the fourth side after the down cushion has been placed inside. Other -figures and methods of working will suggest themselves to every -needleworker. This pillow is a very inexpensive one. (Easy.)</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span></p> - - - -<h2><a name="Bicycle_and_Golf_Stockings" id="Bicycle_and_Golf_Stockings"></a><em>Bicycle and Golf Stockings.</em></h2> - -<div class="figright" style="width: 169px;"> -<img src="images/i_085.jpg" width="169" height="480" alt="" title="Pattern A, with Strap" /> -<div class="caption"><p><span class="smcap">Pattern A, with Strap.</span></p> - -<p>(The Stocking Leg shows the light -brown mixed yarn.)</p></div> -</div> - -<p>The increasing popularity of the wheel and the game of golf has -revived the interest in knitting, especially since desirable and -exclusive patterns in bicycle and golf stockings are not easily -obtained in the ready made goods.</p> - -<p>The designs given here are knit from wool and silk. The silk is -made especially for this work and in combination with wool the effect -is very handsome. The best results can only be secured by the use of -the exact material called for in the instructions. Corticelli Bicycle -and Golf Silk is made of specially selected stock dyed in fast colors, -and will be found easy to knit. Fleisher's German Knitting Worsted, -Golf and Cycle Mixtures, is just the right size to use in connection -with the silk. To identify this yarn look for the name "Fleisher's" -on the ticket attached to each hank. The colors of silk to go with -the different colors of yarns harmonize perfectly. Ordinary yarn, -<em>no matter of what kind or color</em>, will not do to work these -patterns.</p> - -<p>Those who do not care to knit the complete stocking can make the -tops alone. These are frequently made separate, but the stocking -(purchased at any store) on which they are put should not be cut, but -the top sewn on just in place to turn over in the right position. The -extra thickness is no disadvantage, in fact, rather the contrary. This -suggestion is entirely practical, especially since stockings with fancy -tops and plain legs are now the vogue.</p> - -<p>Care must be taken to knit the top of stockings quite loosely, -allowing plenty of slack in the thread especially when changing from -silk to yarn and vice versa. Without this slack the tops of Patterns -B and C will not give or stretch, making it difficult to draw them on -and off. To knit these patterns four No. 13 steel needles are required. -The quantity of silk and yarn necessary for each pair of stockings is -given on the following pages. Among the twelve patterns will be found -one which cannot fail to suit every individual taste as to the proper -color combinations of yarn and silk.</p> - -<p><span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span></p> - - -<p class="p5b"><span class="smcap">Explanation of Terms and Abbreviations.</span></p> - -<p>K—Knit plain.</p> - -<p>P—Purl (or seam). Knit with thread before the needle.</p> - -<p>N—Narrow, and means to knit two stitches together.</p> - -<p>PN—Purl (or seam) two stitches together.</p> - -<p>SL—Slip a stitch from the left needle to the right without knitting it.</p> - -<p>SL and B—Slip and bind, that is slip one stitch, knit the next, and pass slipped -stitch over.</p> - -<p>*—Stars or Asterisks indicate repetition.</p> - -<p>Complete illustrated directions for these stitches will be found in "Florence Home -Needlework" for 1894. A copy will be mailed to any address for 6 cents in stamps.</p> - - -<p><em>Stocking No. 1, Pattern A. Dark Green Yarn and Red Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted, Golf and Cycle -Mixture, 2 skeins No. 211; Corticelli Bicycle and Golf Silk, 2 skeins No. 543.</p> - - -<p class="p5b"><em>Stocking No. 2, Pattern A. Dark Green Yarn and Dark Brown Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted, Golf and Cycle -Mixture, 2 skeins No. 211; Corticelli Bicycle and Golf Silk, 2 skeins No. 529.</p> - - -<p><em>Stocking No. 3, Pattern A. Light Brown Mixed Yarn and Dark Green Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted, Golf and Cycle -Mixture, 2 skeins No. 207; Corticelli Bicycle and Golf Silk, 2 skeins No. 586.</p> - - -<p><em>Stocking No. 4, Pattern A. Green and Brown Mixed Yarn and Old Purple Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted, Golf and Cycle -Mixture, 2 skeins No. 200; Corticelli Bicycle and Golf Silk, 2 skeins No. 678.</p> - - -<p><em>Stocking No. 5, Pattern A. Tan and Brown Mixed Yarn with Dark Red Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted, Golf and Cycle -Mixture, 2 skeins No. 214; Corticelli Bicycle and Golf Silk, 2 skeins No. 543.</p> - - -<p><em>Stocking No. 6, Pattern A. Brown and Blue Mixed Yarn with Blue Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted, Golf and Cycle -Mixture, 2 skeins No. 218; Corticelli Bicycle and Golf Silk, 2 skeins No. 794.</p> - -<p>Dealers can furnish all the above material. See pages 92 and 94.</p> - - -<p class="p5b"><em>Pattern A.</em></p> - -<p class="center"><span class="smcap">For Stockings Nos. 1, 2, 3, 4, 5, and 6.</span></p> - -<p>Cast 100 stitches Yarn on to 4 No. 13 Steel Needles and knit as follows: Knit <b>4</b> -rounds, 2 plain, 2 purl Yarn;—<b>5th</b> and <b>6th</b> rounds, k plain Yarn;—<b>7th</b> round, -k 1 Silk, 9 Yarn;—<b>8th</b> round, k 2 Silk, 7 Yarn, 1 Silk;—<b>9th</b> round, k 3 Silk, 5 -Yarn, 2 Silk;—<b>10th</b> round, k 4 Silk, 3 Yarn, 3 Silk;—<b>11th</b> round, k 5 Silk, 1 -Yarn, 4 Silk;—<b>12th</b> round, k 4 Silk, 3 Yarn, 3 Silk;—<b>13th</b> round, k 3 Silk, 5 -Yarn, 2 Silk;—<b>14th</b> round, k 2 Silk, 7 Yarn, 1 Silk;—<b>15th</b> round, k 1 Silk, 9 -Yarn;—<b>16th</b> round, k Yarn;—<b>17th</b> and <b>18th</b> rounds, purl Yarn and reduce 16 -stitches;—<b>19th</b> round, k plain Yarn;—<b>20th</b> round, * k 1, n; turn, sl 1; p 1; turn,<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> -k 3; turn, p 3; turn, k 3, n; turn, p 4; turn, k 5; repeat from * all the way around in -Yarn.—*<b>21st</b> round, in Silk, pick up 5 stitches behind; turn, k 5; turn, p 4; p 1 Silk -and 1 Yarn together; turn, k 5; turn, p 4; p 1 Silk and 1 Yarn together; turn, k 5; turn, -p 4; p 1 Silk and 1 Yarn together; turn, k 5; turn, p 4; p 1 Silk and 1 Yarn together; -turn, k 5; turn, p 4; p 1 Silk and 1 Yarn together; repeat from * all around;—*<b>22d</b> -round, pick up 5 stitches in Yarn the other way around; turn, p 5; turn, k 4; k 1 Yarn -and 1 Silk together; turn, p 4; turn, k 3; k 1 Yarn and 1 Silk together; turn p 3; turn, -k 2; k 1 Yarn and 1 Silk together; turn, p 2; turn, k 1; k 1 Yarn and 1 Silk together; -turn, p 1; turn, k 2 and repeat from * all around. (Note, when you change color, -always work reverse way.) Pick up stitches till you have 100 on your needles.—<b>23d</b> -round, k Yarn;—<b>24th</b> and <b>25th</b> rounds, p Yarn;—<b>26th</b> to <b>35th</b> rounds, same -as rounds 7th to 16th;—<b>36th</b> to <b>40th</b> rounds, k plain Yarn;—<b>41st</b> and <b>42d</b> -rounds, p Yarn. This completes the top.</p> - -<p><b><em>To Knit the Leg.</em></b>—Knit 3 rounds plain, then purl 1, k 1 for 2 inches. -Now turn the stocking inside out and proceed to knit the leg by the instructions given -below. (The part just knitted forms the turn over top of stocking. It will be wrong -side out while the leg is being knitted, but turns over right side out when the work is -completed as shown by the engraving.)</p> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_087.jpg" width="400" height="273" alt="" title="Stocking Top of Pattern A" /> -<div class="caption"><p><span class="smcap">Stocking Top of Pattern A.</span></p></div> -</div> - -<p>Purl 3 rounds, knit 15 rounds plain; then p 1, k 4 all around; knit -this way for 3 inches. The narrowing begins at the center rib of the -back of the stocking and ends at the center rib in the front of the -stocking. Make the first or center back narrowing as follows: on one -of the needles which begins, p 1, k 4, purl the purled stitch, k 1, sl -1, k 1, pass slipped stitches over and k 1. This completes the first -narrowing and the rib now consists of 1 purled stitch and 3 plain ones -only. All the narrowings are made the same way. * Knit 3 rounds. In -the fourth round knit to the rib preceding the narrowed center rib and -narrow that rib as before; then knit to the rib, following the narrowed -center rib, and narrow it; also repeat from *, always narrowing in -every fourth round at each side of the previous narrowing until all the -ribs, including the front center one, are narrowed. After knitting 4 -inches more the leg is complete, and you are ready to begin the strap -or the foot.</p> - -<p>The strap is commonly used on bicycle and golf stockings although some prefer the -complete foot. Below we give directions for knitting both.</p> - -<p><b><em>To Knit the Strap.</em></b>—Divide the stitches into two parts for the strap, making -the division at the center back, and center front ribs. Beginning at the center back rib, * -k 1, n, knit across the needle till but 3 stitches are left, sl and b, k 1; turn, purl back across -the needle, repeat three times from *. After this do not to sl and b at the end of the -needle but continue to narrow at the beginning of the needle each time in knitting<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> -across, till the number of stitches is decreased to 16. Then knit the other half of the -strap to match, as follows: beginning at the center front rib *k 1, n, knit across the -needle till but 3 stitches are left, sl and b, k 1, turn, purl back across the needle, repeat -three times from *. After this do not narrow at the beginning of the needle, but -continue to sl and b at the end of the needle till the stitches are decreased to 16.</p> - -<p>Now fold the right sides of the two parts just knitted together; k 1, then k 2 -stitches (one from each needle) together and bind the stitch previously knitted over -them; continue till all the stitches are bound off. Work in single crochet once around -the edges of the strap to give extra strength.</p> - -<p><b><em>To Knit the Foot.</em></b>—Divide the stitches so that there will be 34 stitches on one -needle for the heel. Decrease 3 stitches, and keeping the center back stitch in the -center of the heel, knit plain on the right side and purl back on the wrong side until -there are 15 loops at each side. Then knit across 19 stitches, n, k 1, turn, sl 1, purl -back 9 stitches, n, p 1, turn, * sl 1, k across, knitting the stitch following the last narrowing -together with the next of the stitches left on the needle; k 1, turn, sl 1, purl -back and purl the stitch following the last narrowing together with the next stitch, purl -1; repeat from * until all the stitches on each side of the needle are used.</p> - -<p>Pick up the 15 loops on each side of the heel for stitches. Place the stitches of the -instep on one needle and the stitches of the sole on two more needles; work to -the beginning of the first sole needle, k 1, n; knit across to within 3 stitches of the end -of the 2d sole needle, n, k 1; repeat the narrowing in every other round till the number -of stitches is decreased by 18. Then k 24 rounds without narrowing, continuing the -ribs along the instep. Now knit one round narrowing 7 times across instep. Then -knit 2-1/2 inches plain and narrow at the toe, as follows: place half the stitches on the -instep needle and the other half on the two sole needles; at the beginning of the instep -needle k 1, n, k across to within 3 stitches of the end of the needle, n, k 1; first sole -needle k 1, n, knit to within 3 stitches of the end of second sole needle, n, k 1; narrow -in this way in every other round until 12 stitches are left on the instep needle and 6 on -each of the sole needles.</p> - -<p>Bind off in this way, k 1, then knit 2 stitches together (one from the sole and one -from the instep needle) and bind the stitch previously knitted over them; continue till -all the stitches are bound off.</p> - - -<p class="p1b"><em>Stocking No. 7, Pattern B. Light Brown Mixed Yarn with Olive Green -and Dark Brown Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted, Golf and Cycle -Mixture, 2 skeins No. 207; Corticelli Bicycle and Golf Silk, 1 skein each Nos. 110 and 528.</p> - - -<p class="p1b"><em>Stocking No. 8, Pattern B. Green and Brown Mixed Yarn with Dark Green -and Old Purple Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted. Golf and Cycle -Mixture, 2 skeins No. 200; Corticelli Bicycle and Golf Silk, 1 skein each Nos. 586 and 676.</p> - - -<p class="p1b"><em>Stocking No. 9, Pattern B. Tan and Brown Mixed Yarn with Dark Green -and Dark Red Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted, Golf and Cycle -Mixture, 2 skeins No. 214; Corticelli Bicycle and Golf Silk, 1 skein each Nos. 586 and 543.</p> - -<p>Dealers can furnish all of the above material. See pages 92 and 94.</p> - -<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p> - - -<p class="p5a"><em>Pattern B.</em></p> - -<p class="center"><span class="smcap">For Stockings Nos. 7, 8, and 9.</span></p> - -<p><span class="smcap">Notice</span>—<em>Y</em> = Yarn; <em>Olive</em> = Olive Silk, No. 110; <em>Brown</em> = Brown Silk, No. 528.</p> - -<p>For knitting Stocking No. 7 follow directions given below.</p> - -<p>For knitting Stocking No. 8 use Green Silk where "Brown" is mentioned, and -Old Purple Silk where "Olive" is mentioned.</p> - -<p>For knitting Stocking No. 9 use Green Silk where "Brown" is mentioned, and -Red Silk where "Olive" is mentioned.</p> - -<p>The choice of three combinations in different colors of yarn and silk are offered for -this pattern. See page 88.</p> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_089.jpg" width="400" height="299" alt="" title="Stocking Top of Pattern B" /> -<div class="caption"><p><span class="smcap">Stocking Top of Pattern B.</span></p></div> -</div> - -<p><b><em>To make the Top.</em></b>—Cast 160 stitches Y on 4 -No. 13 steel needles. P 2, k 2, for <b>6</b> rounds;—<b>7th</b> -and <b>8th</b> rounds, k plain;—<b>9th</b> and <b>10th</b> -rounds, k 1 stitch with Brown, 7 with Y, 3 with Olive, 7 with Y, 2 -with Brown;—<b>11th</b> and <b>12th</b> rounds, k 2 Brown, -5 Y, 5 Olive, 5 Y, 3 Brown;—<b>13th</b> and <b>14th</b> -rounds, k 3 Brown, 2 Y, 2 Olive, 1 Y, 3 Olive, 1 Y, 2 Olive, 2 Y, -4 Brown;—<b>15th</b> and <b>16th</b> rounds, k 3 Brown, 1 Y, -11 Olive, 1 Y, 4 Brown;—<b>17th</b> and <b>18th</b> rounds, k -3 Brown, 2 Y, 2 Olive, 1 Y, 3 Olive, 1 Y, 2 Olive, 2 Y, 3 Brown, 1 -Y;—<b>19th</b> and <b>20th</b> rounds, k 3 Brown, 5 Y, 3 Olive, -5 Y, 3 Brown, 1 Y;—<b>21st</b> and <b>22d</b> rounds, k 1 Y, 3 -Brown, 3 Y, 5 Olive, 3 Y, 3 Brown, 2 Y;—<b>23d</b>, <b>24th</b>, -and <b>25th</b> rounds, k 2 Y, 3 Brown, 1 Y, 2 Olive, 3 Y, 2 Olive, -1 Y, 3 Brown, 3 Y;—<b>26th</b> and <b>27th</b> rounds, k 3 Y, -3 Brown, 1 Olive, 5 Y, 1 Olive, 3 Brown, 4 Y;—<b>28th</b> and -<b>29th</b> rounds, k 4 Y, 2 Olive, 1 Brown, 5 Y, 1 Brown, 2 Olive, -5 Y;—<b>30th</b> and <b>31st</b> rounds, k 2 Y, 3 Olive, 1 -Y, 2 Brown, 3 Y, 2 Brown, 1 Y, 3 Olive, 3 Y;—-<b>32d</b> and -<b>33d</b> rounds, k 1 Y, 3 Olive, 3 Y, 2 Brown, 1 Y, 2 Brown, 3 Y, 3 -Olive, 2 Y;—<b>34th</b> and <b>35th</b> rounds, k 3 Olive, 5 Y, -3 Brown, 5 Y, 3 Olive, 1 Y;—<b>36th</b> round, k 2 Olive, 7 Y, -1 Brown, 7 Y, 3 Olive;—<b>37th</b> and <b>38th</b> rounds, k 1 -Olive, 8 Y, 1 Brown, 8 Y, 2 Olive. This ends the decoration.</p> - -<p>With yarn knit 10 rounds plain, but in the 10th round narrow 60 stitches, so that -there will be 100 stitches on the four needles. Now proceed by directions given for -knitting the leg of Pattern A, page 87.</p> - - -<p class="p1b"><em>Stocking No. 10, Pattern C. Brown and Blue Mixed Yarn, with Old Blue -and Golden Brown Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted, Golf and Cycle -Mixture, 2 skeins No. 218; Corticelli Bicycle and Golf Silk, 1 skein each Nos. 794 -and 528.</p> - -<p><span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></p> - - -<p class="p1b"><em>Stocking No. 11, Pattern C. Green and Brown Mixed Yarn with Dark -Green and Old Purple Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted, Golf and Cycle -Mixture, 2 skeins No. 200; Corticelli Bicycle and Golf Silk, 1 skein each Nos. 676 -and 586.</p> - - -<p class="p1b"><em>Stocking No. 12, Pattern C. Light Brown Mixed Yarn with Olive Green -and Dark Brown Silk.</em></p> - -<p><em>Materials</em>—1 pair Stockings: Fleisher's German Knitting Worsted, Golf and Cycle -Mixture, 2 skeins No. 207; Corticelli Bicycle and Golf Silk, 1 skein each Nos. 110 -and 528.</p> - -<p>Dealers can furnish all the above material. See pages 92 and 94.</p> - - -<p class="p5a"><em>Pattern C.</em></p> - -<p class="center"><span class="smcap">For Stockings Nos. 10, 11, and 12.</span></p> - -<p><span class="smcap">Notice</span>—<em>Y</em> = Yarn; <em>Brown</em> = Brown Silk; <em>Blue</em> = Blue Silk.</p> - -<p>For knitting Stocking No. 10 follow directions given below.</p> - -<p>For knitting Stocking No. 11 use Green Silk where "Brown" is mentioned, and -Purple Silk where "Blue" is mentioned.</p> - -<p>For knitting Stocking No. 12 use Dark Brown Silk where "Brown" is mentioned, -and Green Silk where "Blue" is mentioned.</p> - -<p>The choice of three combinations in different colors of yarn and silk are offered for -this pattern. See above and page 89.</p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/i_090.jpg" width="350" height="318" alt="" title="Stocking Top of Pattern C" /> -<div class="caption"><p><span class="smcap">Stocking Top of Pattern C.</span></p></div> -</div> - -<p>Cast on 136 stitches Y and knit as follows: Rounds -<b>1</b> to <b>4</b>, k 2, p 2 Y;—<b>5th</b> round, p -Y;—<b>6th</b> round, k 4 Y, 4 Brown;—<b>7th</b> -round, k 2 together Y, k 3 Y, 4 Brown, 4 Y, 4 Brown, and repeat -4 Y, 4 Brown all the way around;—<b>8th</b> round, k -1 Brown, 4 Y, 3 Brown;—<b>9th</b> round, k 2 Brown, 4 -Y, 2 Brown;—<b>10th</b> round, k Y;—<b>11th</b> -round, p Y;—<b>12th</b> round, k Y and increase 1 -stitch;—<b>13th</b> round, k 9 Y, 6 Blue, 2 Y;—<b>14th</b> -round, k 8 Y, 2 Brown, 6 Blue, 1 Y;—<b>15th</b> round, k -7 Y, 4 Brown, 6 Blue;—<b>16th</b> round, k 1 Blue, 5 Y, 6 -Brown, 5 Blue;—<b>17th</b> round, k 2 Blue, 3 Y, 6 Brown, -2 Y, 4 Blue;—<b>18th</b> round, k 3 Blue, 1 Y, 6 Brown, 4 -Y, 3 Blue;—<b>19th</b> round, k 3 Blue, 6 Brown, 6 Y, 2 -Blue;—<b>20th</b> round, k 2 Blue, 6 Brown, -8 Y, 1 Blue;—<b>21st</b> round, 1 Blue, 6 Brown, 10 Y;—<b>22d</b> round, 1 Brown, 6 Blue, -10 Y;—<b>23d</b> round, 2 Brown, 6 Blue, 8 Y, 1 Brown;—<b>24th</b> round, 3 Brown, 6 Blue, -6 Y, 2 Brown;—<b>25th</b> round, 3 Brown, 1 Y, 6 Blue, 4 Y, 3 Brown;—<b>26th</b> round,<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> -2 Brown, 3 Y, 6 Blue, 2 Y, 4 Brown;—<b>27th</b> round, 1 Brown, 5 Y, 6 Blue, 5 Brown;—<b>28th</b> -round, 7 Y, 4 Blue, 6 Brown;—<b>29th</b> round, 8 Y, 2 Blue, 6 Brown, 1 Y;—<b>30th</b> -round, k 9 Y, 6 Brown, 2 Y;—<b>31st</b> round, k Y;——<b>32d</b> round, k Y;—<b>33d</b> -round, purl Y;—<b>34th</b> round, k 4 Y, 4 Brown;—<b>35th</b> round, increase 1 -Y, k 3 Y, 4 Brown, * 4 Y, 4 Brown and repeat from *;—<b>36th</b> round, k 3 Y, 4 Brown, -1 Y;—<b>37th</b> round, k 2 Y, 4 Brown, 2 Y;—<b>38th</b> round, k Y;—<b>39th</b> round, -purl Y. This ends the decoration.</p> - -<p>With yarn knit 10 rounds plain, but in the 10th round narrow 37 stitches, so that -there will be 100 stitches on the four needles. Turn the work <em>inside out</em>, and proceed by -directions given for knitting leg and strap or foot of Pattern A, page 87.</p> - -<hr class="tb" /> - - -<h3><em>For Beginners in Needlework.</em></h3> - - -<p class="p1b"><em>Corticelli Color Card.</em></p> - -<p>To obtain the greatest benefit from using this book one should have a -Corticelli Color Card, showing the 325 different colors in which Corticelli Filo -Silk is made. With this card you can see at a glance the exact colors of silk -called for in the instructions. We will send a Corticelli Color Card to any -address for 12 cents in stamps.</p> - - -<p class="p1b"><em>Teachers' List.</em></p> - -<p>We have prepared a list, which includes many of the best teachers throughout -the United States, and to any of our readers desiring instruction in Art -Needlework we shall be glad to recommend a competent teacher in your city -or vicinity, qualified to give lessons to private pupils and to classes. Often-times -where there is no teacher in a town one will be glad to come from a -neighboring city if a small class can be formed so as to make it an object -for the teacher. In this way the expense to each member of the class would -be comparatively small.</p> - - -<hr class="tb" /> - -<h3><em>To Teachers of Art Needlework.</em></h3> - -<p>Teachers of Art Needlework who are pleased with this book and wish information -regarding our goods are invited to write for prices or samples. Our -line of stamped linens is large, and varied enough to suit all tastes, and we are -constantly issuing new designs. We have the helps such as every teacher -wants for her pupils, instruction books, Color Cards, Colored Flower Plates, -etc., and we think our co-operation cannot fail to increase your business. -Feel at liberty to write us at any time. Questions gladly answered.</p> - -<p>Any teacher may have her name added to our Teachers' List (see above) -upon filling out a blank giving name and address, experience, usual prices -charged for lessons, and other necessary information. Copies of this blank -will be sent free on application. Address</p> - -<p class="p6a">NONOTUCK SILK COMPANY, <span class="smcap">Bridge St., Florence, Mass.</span></p> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span></p> - - -<h3>To Obtain the Ready Stamped Linens and -Corticelli Silk.</h3> - -<p>All designs shown in this book, as well as Corticelli Wash Silk for embroidering -them, can be obtained from dry goods stores or fancy goods stores -ready stamped on good quality round thread bleached linen. If merchants do -not have these stamped linens in stock they will order them for you if you -specially request them to do so. If one should refuse, try another dealer, or -write direct to us, giving the dealer's name, and we will give you the name of -a dealer in your vicinity from whom you can purchase what you want.</p> - -<p>The above remarks apply to all doilies, centerpieces, tea cloths, tray cloths, -and stamped linens for photograph frames, as well as to the yarn and silk -required for knitting bicycle and golf stockings.</p> - -<p>Be particular to see that you get the exact patterns illustrated in this book. -Most dealers keep them. In any case it will pay you to insist upon having -these original patterns and Corticelli Silk in order to take advantage of the -treatment of the designs given herein. We will not hold ourselves responsible -for failure if other material, either linen or silk, than that called for in the -instructions is used for any design.</p> - -<p>We shall be glad to estimate the cost of stamped linen and silk for any -design shown in the book. Please inclose a 2 cent stamp for reply.</p> - -<p><b>The Imperial Passepartout Frame</b>, described on page 69, is sold by -nearly all dealers in fancy goods and embroidery materials. If your local -dealers do not keep these frames, and decline to order one for you, we will -give you the name of a dealer who will supply you.</p> - -<p><b>The Corticelli Doily Book</b>, described on page 75, can be obtained in -the same manner as the Imperial Passepartout Frame.</p> - - -<hr class="tb" /> - -<h3><em>Caution in Washing Art Embroideries.</em></h3> - -<p>While we guarantee the dyes used for Corticelli Wash Silk are fast in -color when ordinary care is taken in the laundrying, we cannot be held responsible -for the result when even so small a quantity as a single skein of some other -kind of silk has been used in connection with Corticelli Wash Silk to -embroider any design. Needleworkers should use the greatest caution in -this particular and avoid taking any chances.</p> - -<p>In the washing be careful to use a good soap, like the Ivory, for instance, -which is always satisfactory. "Washing powders," liquids, or chemicals of -any nature should be let severely alone. Before beginning read the article -by Mrs. Wilson on "To Wash Embroidered Linens," page 6. Mrs. Wilson -gives some valuable suggestions which all our readers will be glad to profit by.</p> - - -<p class="p1b"><span class="smallera">SPRINGFIELD PRINTING AN BINDING COMPANY.</span></p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span></p> - - - -<div class="add"> -<p class="p4b"><em>For a Christmas Gift</em></p> - - -<div class="figleft" style="width: 158px;"> -<img src="images/i_093a.jpg" width="158" height="400" alt="" /> -</div> - -<p class="p5d">Nothing is more appropriate<br /> -than a pair of genuine</p> - -<p class="p5c"><em>Florence Silk Mittens</em>,<br /></p> - -<p><br /><span class="mleft3">Or a pair of</span></p> - -<p class="p5c"><em>Florence Silk Baby's Socks</em>.</p> - -<p><span class="mleft6">————</span></p> - -<p class="big1">If your dealer will not supply you,<br /> -write direct to the <span class="smcap">Nonotuck Silk<br /> -Company</span>, Bridge St., Florence, Mass.</p> - -<p><span class="mleft6">————</span></p> - -<p class="big1"><img src="images/point007.png" width="50" height="21" alt="" /> Send for our "Mitten Circular,"<br /> -free. It tells all about the different<br /> -patterns and sizes. Write for it to-day.</p> - -<div class="figright" style="width: 274px;"> -<img src="images/i_093b.jpg" width="274" height="250" alt="" /> -</div> - -<p class="p5c"><em>Florence Silk Underwear</em></p> -<p class="p5d mleft4">. . . <em>For Men and Women.</em></p> - -<p>Silk is a non-conductor of heat.<br /> -Silk Underwear is healthful and hygienic.<br /> -No irritation, but perfect protection and comfort.<br /> -Soft and agreeable to the skin.<br /> -Especially desirable for ladies and invalids.</p> - -<p class="mleft2"><img src="images/point008.png" width="30" height="13" alt="" /> Send for samples and price list.</p> - -<p class="p5a"><em>NONOTUCK SILK COMPANY, Bridge St., Florence, Mass.</em></p> -</div> - -<p><span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span></p> - -<hr class="tb" /> - -<div class="add"> -<p class="p4c"><em>Corticelli Bicycle and Golf Silk.</em></p> - - -<div class="figcenter"> -<img src="images/i_094a.jpg" width="500" height="105" alt="" /> -</div> - -<blockquote><p><span class="bfla">M</span>ADE expressly for knitting the fancy tops of Bicycle and Golf -Stockings. In combination with yarn the effect is very handsome. -It is dyed in the following colors, which are guaranteed fast:</p></blockquote> - -<div class="container"> - <div class="text width35"> -<ul class="index"> -<li class="ifrst">No. 110, Olive Green.</li> -<li>No. 528, Brown.</li> -<li>No. 529, Dark Brown.</li> -<li>No. 543, Dark Red.</li> -<li>No. 586, Dark Green.</li> -<li>No. 678, Old Purple.</li> -<li>No. 794, Old Blue.</li> -</ul> - </div> -</div> - -<p class="center"><span class="smallera">Put up in one-half ounce skeins. Sold by dry goods merchants generally.</span></p> - -<p class="p6b"><em>Nonotuck Silk Company, Bridge St., Florence, Mass.</em></p> - - -<hr class="tb" /> - -<p class="p4c"><em>Corticelli</em><br /> - -<em>Domestic Cord Edge Braid.</em></p> - - -<blockquote><p><span class="bfla">T</span>HIS braid makes a perfect edge, giving the dress a handsome and -substantial finish. It is a <b><em>SKIRT PROTECTOR</em></b>, and one adapted to -all kinds of weather.</p></blockquote> - -<div class="figcenter"> -<img src="images/i_094b.jpg" width="450" height="88" alt="" /> -</div> - -<blockquote><p>It is made in two sizes, wide and narrow, and is furnished in colors -to match the latest dress goods.</p></blockquote> - -<p class="p6b">ASK YOUR DEALER FOR IT.</p> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p> - -<div class="add"> -<p class="p5e"><em class="under">FREE!</em> <span class="smallish mleft3"><em>The Best,<br /> -<span class="mleft11">Most Authentic</span><br /> -<span class="mleft15">Knitting Manual</span></em></span></p> - -<div class="container"> - <div class="text width35"> -<p>For using Worsted and Woolen Yarns of all -kinds. Fully illustrated, 210 pages.</p> - -<p>... Send 3 inside tickets taken from Fleisher's -German Knitting Worsted and 7c in stamps -to cover postage on book.</p> - </div> -</div> - -<p class="p3c"><em>Address,</em><br /> -<span class="mleft5"><em>Fleisher's Worsted Works,</em></span><br /> -<span class="mleft12"><img src="images/i_094a.png" width="60" height="12" alt="" /><em>Philadelphia, Pa.</em></span></p> - -<hr class="tb" /> - -<div class="figcenter"> -<img src="images/i_095.jpg" width="400" height="222" alt="" /> -</div> - -<p class="p3c"><em>Fleisher's German Knitting Worsted,<br /> -Spanish, Saxony, Flosses,<br /> -Germantown, Etc.</em><br /> -</p> - -<blockquote><p>Fleisher's yarns contain half again as many yards -to the pound as any other brand. They last longer -and wear better. The black and all colors are -guaranteed absolutely fast.</p></blockquote> - -<hr class="r15" /> - -<p class="p5b"><em>See that the name "FLEISHER'S" is on every hank.</em></p> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span></p> - -<div class="add"> -<p class="p5f"><span class="u"><em>Embroidery Hoops</em></span> <span class="mleft3 smallera"><em>(Sizes 4, 5, 6, 7 inch.)</em></span></p> - -<div class="figleft" style="width: 250px;"> -<img src="images/i_096a.jpg" width="250" height="175" alt="" title="The Queen" /> -</div> - -<p class="p8a">THE "QUEEN"<br /> -REQUIRES NO WINDING,</p> - -<blockquote><p>the cushioned elastic spring band gives a -uniform pressure all the way round and -holds a light or heavy fabric tightly and -with equal firmness.</p></blockquote> - -<blockquote><p><span class="p8a">MRS. EMMA HAYWOOD,</span><br /> -<strong>of the "Ladies' Home Journal," writes</strong>:—"I consider -your 'QUEEN' Embroidery Hoop a great -advance on the old-fashioned Hoops. It holds the -material firmly without injury."</p></blockquote> - -<hr class="tb" /> - -<div class="figright" style="width: 250px;"> -<img src="images/i_096b.jpg" width="250" height="158" alt="" title="Special S S Select" /> -</div> - -<p class="p8b"><em>The "Special-Select" Hoops</em></p> - -<p>are made of selected wood, lathe turned -with rounded edges and smoothly finished. -Perfectly true in circle and will never -warp out of shape. <span class="smallera mleft1">This style of hoop requires -slight winding</span>.</p> - - -<p class="p8c">Sample, any size, by mail, 10 cents.</p> - -<p class="p7e"><span class="smaller">Address,</span> GIBBS MFG. CO., <span class="smallish">(Dept. B)</span> <span class="smcap">Canton, Ohio</span>.</p> - -<hr class="chap" /> - -<p class="p7f">PAYSON'S INDELIBLE INK.</p> - - -<div class="figcenter"> -<img src="images/i_096c.jpg" width="500" height="301" alt="" /> -</div> - -<p class="p6b"><em>"Payson's" has been A HOUSEHOLD WORD for over 60 years.</em></p> - -<p class="center">It is still "the Oldest and the Best."</p> - -<p class="center smallera">Received Highest Award, Medal and Diploma, Centennial, Philadelphia, 1876, and World's Fair, Chicago, 1893.</p> - -<p class="p8c">SOLD BY ALL BOOK, DRUG, AND FANCY GOODS STORES.</p> -</div> - -<p><span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p> - -<hr class="chap" /> - -<div class="add"> -<p class="p7f">Corticelli Crochet and Knitting Silk.</p> - -<div class="figright"> -<img src="images/i_097a.jpg" width="300" height="299" alt="" /> -</div> - -<blockquote><p><span class="bflb">F</span><span class="p5b">amous</span> for its high lustre, even -size, great strength, and absolutely -fast dye. Its good qualities are -already known to our readers. It is the -best silk made for crocheting. Made -in two sizes:</p> - -<p class="p2a">No. 300 (coarse) is the more popular -size for all kinds of crochet work. -Dyed in a great variety of colors which -are guaranteed fast.</p> - -<p class="p2a">No. 500 (fine) furnished in Black -and shades of White only. Each ball -contains 1/2 oz. of pure silk.</p></blockquote> - - -<p class="p7e">Sold by Dry Goods Dealers and Merchants Generally.</p> -</div> - - -<hr class="chap" /> - -<div class="add"> -<p class="p7f">Florence Knitting and Crochet Silk.</p> - - -<div class="figleft"> -<img src="images/i_097b.jpg" width="300" height="300" alt="" /> -</div> - -<p><span class="bflb">S</span><span class="p5b">trictly</span> pure. Suitable for knitting -mittens, stockings, and other -articles of wearing apparel which require -washing. The soft finish of this -silk makes the work of knitting easy. -It is equally desirable for crochet work. -Made in two sizes:</p> - -<p class="p2a">No. 300, coarse, and No. 500, fine. -Made in a great variety of colors. Each -ball contains 1/2 oz. of silk.</p> - - -<p class="p7e">Sold by Dry Goods Dealers and Merchants Generally.</p> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span></p> - - -<div class="figcenter"> -<img src="images/i_098.jpg" width="360" height="550" alt="" /> -</div> - -<div class="larger-file"> - [<a href="images/i_098big.jpg">See larger version</a>] -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span></p> - -<div class="add"> -<h3>Three Things to Remember.</h3> - -<div class="figcenter"> -<img src="images/i_099.jpg" width="141" height="22" alt="" /> -</div> - -<p><span class="p8b">1st.</span> To get the most benefit from using -this book you should have a "<em>Corticelli -Color Card</em>," showing the 325 different -shades in which Corticelli Filo Silk is made. -With one of these Color Cards you can see -at a glance the <em>exact colors</em> of silk called -for in the instructions given in this book. -We will send a <em>Corticelli Color Card</em> to any -address for 12 cents in stamps.</p> - -<p><span class="p8b">2nd.</span> If you are pleased with this book, -the designs and Colored Plates, you can do -us a great favor by showing it to your -friends. They may want to send for one -like it. We will be glad to send a copy to -any address on receipt of 10 cents.</p> - -<p><span class="p8b">3rd.</span> We published no book for 1897. -Please don't ask us for one. From 1887 -to 1896 we published <span class="smcap">Florence Home -Needlework</span>. These back numbers can -still be obtained. Price 6 cents each. See -page 4.</p> - -<p class="p8a">NONOTUCK SILK COMPANY,<br /> -<span class="smcap smallera mleft4">Bridge St., Florence, Mass.</span></p> -</div> - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Copyright, 1897, by Mrs. L. Barton Wilson. All rights reserved.</p></div> - - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Copyright, 1897, by Mrs. L. Barton Wilson. All rights reserved.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> The ancient Phrygian workers who introduced this embroidery into Rome were accustomed to represent -by it figures, chiefly of birds, and likely this is the source of its name. The name might also have been suggested -by the effect of the stitch itself, which is that of close, evenly laid plumage.</p></div> -</div> - - -<hr class="tb" /> - -<div class="transnote"> - -<p class="p5a">Transcriber notes:</p> - -<p>P. <a href="#Page_26">26</a>. '653, 654, 729 5.', changed '729 5' to '729.5.'</p> -<p>P. <a href="#Page_45">45</a>. 'with 678, 655.7, 616 5.' changed '616 5' to '616.5.'</p> -<p>P. <a href="#Page_49">49</a>. 'and other dark', changed 'other' to 'others'.</p> -<p>P. <a href="#Page_63">63</a>. 'with 636, 655 7.', changed '655 7' to '655.7.'</p> -<p>Fixed various punctuation.</p> -</div> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Corticelli Home Needlework 1898, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK CORTICELLI HOME NEEDLEWORK 1898 *** - -***** This file should be named 51204-h.htm or 51204-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/2/0/51204/ - -Produced by Jane Robins and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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