diff options
Diffstat (limited to 'old/51204-0.txt')
| -rw-r--r-- | old/51204-0.txt | 5022 |
1 files changed, 0 insertions, 5022 deletions
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. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -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 - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |