The New Stipple-Embroidery

By Adelaide Nickerson
1913 08, page 16

 

Here is the definition of stipple: “To spot; to shade or decorate by means of small dots applied with the point of a brush, or in any similar way.”  And that is exactly what is done at the point of the needle in stipple-embroidery.

There is nothing new about it save in name and application; indeed, it is greatly doubted whether there can be anything absolutely new in the realm of needlework.  The beautiful punched-embroidery, which sprang into feminine favor almost in a day, is nothing more nor less than Bermuda fagoting – the old “big-needle work” of our great-grandmothers’ time; but its application was novel and charmed everybody, and it has taken its place among the standard stitcheries which are included in every good needleworker’s list of accomplishments. The same may be said of Wallachian embroidery, fashioned by means of the buttonhole-stitch.  Many other instances might be cited, with which, however, all are familiar. 

And now comes stipple-embroidery, in which our old friend, the French knot, is used exclusively in producing the most charming effects imaginable.  Simple, effective and fascinating are some of the adjectives applied to this work by enthusiastic admirers; and it is quickly done, which is a great consideration with many of us at the present day.  We do like to make our home attractive by the use and display of pretty things of our own handiwork, but other demands on our time are so many and varied that we hesitate to begin an article which requires a great deal of work and may not, therefore, be finished for many weeks or months.  Appreciating this state of affairs, those who cater to the demand for “something new” in the realm of needlework are constantly on the alert to produce designs, adaptations and applications, which shall combine rapidity of execution with effectiveness.

And so we have stipple-embroidery, in knot-stitch.  There is no preliminary running of the design, no padding-stitches to be taken.  You simply thread your needle and get right to work.  The size of the working-material depends, naturally, on the quality of the foundation-fabric – a heavy gray crash would take a much coarser thread than a fine white linen centerpiece, and of course one gets on faster with the larger thread.  With the French-knot probably all are familiar.  The needle is brought up in the exact spot where the knot is to be.  Twist the thread around the needle, draw it through the fabric at almost the exact place where it came up, keeping the knot in place with the thumb of the left hand, while you draw the needle down with the right.  Not more than one or two twists are made, as a rule, although for a very heavy, raised knot there may be a third or fourth.  Practise a little on the stitch, if you have never made it, before beginning on the “real work.”

It is a very wise plan to first outline the form, placing the knots close together along the stamped line, which should be followed accurately; then fill in with the knots, closely, covering the fabric.

Three examples of this work are given, entirely different as to design, but equally attractive.  The oval center piece, sixteen by twenty-two inches (the stamped piece measure about two inches larger, always), has a conventionalized lily design in mahogany, green and yellow, and this combination on the gray crash, which furnishes a charming neutral background, is very pleasing.  The leaves and stems are of green, as are the stamens of the flower, tipped with “pollen” in yellow; the flower-centers are also of yellow, and the petals of mahogany.  But three colors are used, and no attempt at shading is made, yet the effect is striking and artistic.  The stems may be of the knots, laid side by side along the stamped line, or of the German or Russian knotted outline, made as follows: Bring the needle up through the line, or just a thread at the left of it, insert needle a thread to the right (the working-thread covering the line) and take a very short stitch under the line, thus forming a loop or stitch on the surface about one eight inch long or according to the quality of your working-material; carry your needle back over this loop, and under it from right to left, leaving this last stitch a trifle loose; again put the needle under the loop as before, below or to the right of the last stitch, keeping the working-thread under the needle, so that you really form a loose buttonhole-stitch.  Again take the short stitch under the line, a little ahead of the completed stitch, and repeat.  A few minutes’ practise, after once mastering the details of the stitch, which is easily done, will enable one to do it rapidly and well, and it will be found very useful in many pieces of embroidery.  As a braiding-stitch it cannot be surpassed.  The knots may be made close together, or slightly separated, as desired.

A centerpiece, in two tones of yellow suggests in a charming way the popular empire design.  The flowers and stems are of the darker shade, and the bow-knots and festoons of the lighter.  Two tones of any preferred color may be chosen, and the size of the centerpiece – twenty-two inches when completed, makes it a very desirable between-meal piece.  The lace border may be wider, if desired, and would be especially attractive if handmade.

The second centerpiece is of the same size, and the design is developed in three tones of apple-green – the large circles in the darkest shade, the small ones in the medium, and the bars in the lightest shade.

One can form no true conception of the attractiveness of this simple stitchery until after having seen a prettily worked piece.

No. 335D, and No. 336D.  Both in 24-inch sizes.  Perforated stamping-pattern of either design, 25 cents.  Transfer-pattern, either design, 15 cents.  Either design stamped on white linen, 50 cents.

No. 337 D.  Perforated stamping-pattern, 25 cents.  Transfer-pattern, 10 cents.  Stamped on homespun, 30 cents.

Tinted Embroideries with Darned Background

1913 08, page 10

Because darning on huckabuck is so quickly and easily done, and so simple that it may be undertaken by wee maids just commencing to use the needle in a decorative way, it has always been popular.  The great drawback has been that one must use huck, or goods of similar weave having the overshot threads under which to pass the needle in darning, thus limiting the field to fabrics of certain width and color – linen huck being practically the only available material.  As in every phase of human activity, however, so it is with needlecraft; the demand is a certain forerunner of supply.  And so our embroidery-designers are mow giving us pillows, centerpieces, scarfs and other household fittings, on the favorite gray linen or crash which is so eminently suited to living-room or library use, and with the background stamped for wide-space darning.  This is the simplest thing in the world to do.  Bring the needle up at the beginning of one of the little straight lines on the surface – usually from one fourth to three-eighths inch in length, put it down at the end of the line, so that the stamping is perfectly covered, pass it beneath to the beginning of the next line, again bring it up, and repeat.  It is simply a long running-stitch, very rapidly executed and most effective as a background.

The only stitch used in addition to this is the outline- or etching-stitch, with which every needleworker is familiar, since it is one of the first taught a beginner.  All of the lines which serve to define the design are followed with this stitch – the outlining of leaves, petals and stems, and the veining of leaves.  From description given it will be readily understood that a large and really handsome piece of work may be completed in a few hours.

The three designs illustrated serve admirably for the living-room, since the finished articles are no less attractive than serviceable.  The material is ramie linen, soft-gray in tone, which brings out the coloring beautifully.  The stamped pieces may be had tinted or plain – that is, without the tinting – and many prefer them so, the work being the same in either case.  Or one may easily do her own tinting.  Stretch the fabric smoothly on a flat surface, placing a sheet of blotting-paper or several layers of newspaper between it and the table or drawing-board; thin the tube paint with turpentine, adding a little gasoline, and with a small, rather stiff brush, apply just enough of the mixed paint to stain or color the design, shading darker or lighter in some places.  Take, for example, the attractive rose centerpiece: tint the roses red, darkening the center and back of petals slightly, the leaves green, shading lighter toward the edges, and the stems brown.  Take care to not let the paint extend or spread over the stamped line, which may be easily prevented by taking up a very little paint at a time and working first along the outlines, bringing the brush from the line toward the center.  It is an excellent plan to first try the paint on a bit of the material; remember, too, that if gasoline naptha is used there must be neither fire nor artificial light in the room where you are working.

Having finished the tinting, there remains only the outlining of the design and the darning in of the background, which is first done in order that the outlining may cover the ends of darning-stitches.

It will be noted that in the centerpiece – which is twenty-four inches in diameter when completed, exclusive of the border – the roses and leaves are merely outlined, and the background alone darned.  In the scarf and pillow the darning-stitch is used also in leaves, flowers, grapes and stems, employing the color of floss with which each part is outlined.  Golden brown is used for the background, and a slightly darker shade for the stems and – in the pillow – for the scroll surrounding the flora motif, red for roses and poppies – with just a touch of black at the center – green for leaves and purple for the grapes; and the result is not at all crude or sketchy in effect, as might be reasonably imagined because of so little time and work being expended, but artistic and pleasing.  There is opportunity for the exercise of individual talent, too, in the tinting or shading of the different motifs.

The scarf is eighteen by fifty inches – just the right size for the reading-table – and the oblong pillow of usual dimensions, sixteen by twenty-two inches.  It is needless to suggest that the embroidery-material is a heavy, soft-twisted floss, which aids greatly in the rapid accomplishment of the work; every stitch shows.

No. 332D.  Perforated stamping-pattern, 25 cents.  Tranfer-pattern, 10 cents.  Stamped with design tinted, on linene, with plain back to match, 65 cents.

 

 

 

 

 

 

 

No. 333D.  Perforated stamping-pattern, 25 cents. Tranfer-pattern, 10 cents.  Stamped with design tinted, on 27-inch linene, 75 cents.

 

 

 

 

 

 

No.  334D. Perforated stamping-pattern, 25 cents.  Transfer-patterns for two ends, 15 cents.  Stamped with design tinted on linene 18x50inches, 90 cents.

In White Embroidery

1912, November, page 15

By Frances Howland

With the lengthening evenings, and the coming of crisp, cool days, every needlewoman feels ambitious to increase her store of household linens, and seeks for something that will be “quite different” from pieces already in her possession.  Indeed, there is no subject of greater interest to the average housekeeper, who loves her home and delights in adding to its attractions, than that of table-napery; and if it can be decorated with her own handiwork, so much the more precious.

A handsome teacloth is really an essential, and that presented is distinctive as to design, and well balanced in its combination of eyelet-an and solid work,  Elaborate in effect, there is yet not so much time and labor involved as in many another much smaller piece, as close inspection of the worked design will show.  The treatment is bold, and all the more pleasing because so unusual.  A large, five-petaled flower occupies the center of the corner, outlined with satin-stitch, well padded with a circle of eyelets for the center, and a line of eyelets, three in number, across the top of each petal.  The large leaves are outlined in the same manner, the lines of veining being terminated with a single large eyelet, while the outlining of smaller leaves, sprays, and other sections with eyelets gives a lightness and grace to a design that, worked solidly throughout, might be rather heavy.  The work is connected at each side by a single eyelet, which makes it continuous, but one corner shows the design perfectly.  The edge is buttonholed in s hallow scallops, each consisting of several tiny ones.  In size, the cloth is rather more than forty inches.

A beautiful centerpiece for the Thanksgiving dining-table shows a horn of plenty, formed of alternating rows of eyelets and solid embroidery, from which graceful sprays extend, encircling the remainder of the piece.  The stems are well corded, the daisy-petals in satin-stitch, padded, as are also the leaflets, while the centers of daisies and the little circles which end the curving stems are of French knots, set closely together.  Plain scallops, buttonholed rather deeply and well padded, finish the edge.  But little work is involved, and the effect is beautiful.  Completed, this attractive centerpiece is twenty-two inches in diameter, a most useful size.

Another very lovely piece, twenty inches across, combines eyelet- and solid embroidery in an especially pleasing way.  The grape motif always finds plenty of admirers, whatever its character; and in the model presented it seems exceptionally artistic as to arrangement or combination with daisy- and leaf-sprays.  Just enough of eyelet-work is introduced to give lightness, taking not at all from the rich effect which all grape-designs possess in marked degree.  The edge is buttonholed in large scallops, rather deeply indented, each formed of seven smaller ones.

A dainty sixteen-inch centerpiece is entirely in eyelet-embroidery, save for the outlining of the flower-petals, the outer scallops of which form a portion of the buttonholed edge.  The motif is a charming one, and the centerpiece most unusual; there is nothing of the “set” look, so common to repeated designs, and it will prove a desirable addition to the sideboard, the serving-table or the little “occasional” table which is to be found in nearly every room in the house.

Directions for eyelet- and solid embroidery have been so explicitly given that there seems little to add.  The suggestion that, in order to have eyelet-embroidery truly effective, each and every eyelet must be perfectly worked, cannot be too often repeated.  Often a beginner does better work than after she has become more experienced, for the simple reason that she takes more pains at first.  Additional practise should not encourage the needlewoman to slight her work for the sake of getting over it more rapidly, because a simple piece well executed is far more satisfactory in every way than a much more elaborate one carelessly done.  If one will accustom one’s self to a certain method of work there will be no difficulty in shaping eyelets neatly.  In the first place surround the eyelet with short running-stitches, then make a second run of the same stitches, placing each between tow stitches of the first run.  If the lines are of sufficient length they may be stitched on the sewing-machine as a preliminary.  This double row of stitches gives a firm outline or edge which deeps the eyelet in perfect shape even after repeated laundering.  The center of oval eyelets, such as flower-petals, leaflets, and so on, is slashed in several directions to the line, forming little tabs of linen which are folded back beneath, and the tiny over-and-over stitches are taken over the doubled edge.  These stitches should be uniform in size, and as close together as it is possible to take them without overlapping.  When the eyelet is surrounded, fasten off with two or three tiny stitches on the wrong side – never carry the thread from one eyelet to another; and do not, for working eyelets, make the very common mistake of using too coarse thread.  The edge of an eyelet should be slightly raised, like fine, white wire, and perfectly true to the line.  Large circular eyelets, and even small ones, may be treated in the manner described; many prefer this to punching them; if a stiletto is used, do not press it so as to stretch the outline.  Many wood workers punch a circle from the wrong side; when this is done a little more skill is required to work it nicely, but the effect is excellent.

Extra pains must be taken with the solid embroidery – satin-stitch –also, if the effect is to justify the effort.  The padding-stitches must be carefully laid, lengthwise the form, unless in case of a circle, and the covering stitches taken across them, side by side, close together, but never overlapping.  The contour of a leaf or petal should be as true as the stamped line before working.  If one stitch is taken a thread or two beyond another, it gives the edge of the form a rough, uneven look that is far from pleasing.  And there is no necessity for this.  The habit of being accurate, of doing things as they should be done, can be formed in the matter of needlework as in other things; and then it will be found just as easy to take the stitches properly, and get a good effect, as to do the contrary and have the result so unsatisfactory that you will decide “embroidery isn’t really worth while, after all!”  It is the worker’s own fault, truly, if it isn’t.

For Grown-up Girls and Little Ones

November, 1912,page 9

By Mrs. S. J. Baldwine

Every little maid’s outfit should include at least two of the washable hats of white pique, with button-on crown which can be quickly and easily removed when laundering is needed.  If nicely made, even with simplest embroidery, these hats are quite pretty enough to be worn on special occasions, and are certainly just the thing for every day, because the small wearer does not need the caution, so often repeated” “Be careful of your hat, dear!”  She knows and mamma knows that however mussed or soiled it may become, a tubbing will make everything right again, and every bit as good as new.

The hat may be entirely of white, with white lining, or it may have a lining of light pink, blue, or any delicate color – which must be, of course of washable material – with embroidery of the same tint.  The lining is put in after the embroidery is done, and may be omitted, if preferred, since its real use is to conceal the under side of the brim.  By taking a little care the embroidery may be made to look almost as well on the wrong side as on the right, and while there is a decided difference in the two sides of the fabric, the smooth or plain side is not objectionable.

Solid embroidery is preferred to eyelet, especially if the hat is not to be lined; the designs illustrated are adapted to either style of work, however.  If carried out in satin-stitch, as is the model, the padding should be heavy; and if eyelet-embroidery is used care should be taken to keep the lines perfectly true and even, and the eyelets, which are intended to be of the same size, quite uniform.  Any deviation from this rule will be unpleasantly apparent.

Work the buttonholes as indicated, after completing the embroidery and buttonholing of edges on both brim and crown, and sew twelve pearl buttons of suitable size at corresponding intervals on the brim.  The hat may be readily adapted to a larger or smaller head-size when cutting the opening of the brim, which should be neatly hemmed or bound with bias tape.

These dainty bits of headgear are always fashionable, the style changing little or not at all from season to season; and the wise mother of small children who contemplates spending a few weeks or months of the winter in Florida, or other “summer-the-year-around” resort, is sure to have a supply of “button-on” hats ready for the little folks to wear.

While exquisite neatness of work is always a prime essential in needlecraft, it seems particularly so in the fashioning of garments for little folks.  Because the embroidery is simple, it should be all the more nicely executed, the lace edgings should be fine and dainty, and the material light and sheer.  French nainsook is frequently chosen, as is lawn of fine quality, while mercerized batiste finds especial favor for “baby’s best dress,” or even for the little gowns intended for more common wear, being very soft and lustrous.

A pretty panel in eyelet-embroidery forms the decoration of the wee dress pictured; if desired, the work may be continued to the hem, but is very dainty and sufficiently elaborate as it is.  The little sleeves are edged at the wrist with Valenciennes, as is the neck, and every bit of the sewing is done by hand, with fine thread and finest of stitches.  Take care always that there are no seams which will chafe a baby’s tender skin; very often the sleeves are buttonholed in place, thus avoiding any seam whatever around the little arms, save the very narrow and soft one produced by the buttonholing.

The kimono or “slip-on” nightdress, cut in one piece and with side seams only, is still the popular style.  If a higher neck is wanted it may be filled in with fine insertion and lace, and drawn up with narrow ribbons, the sleeves being edged to correspond.

A very attractive though simple design for embroidering such a garment is shown.  The lines are worked in stem-stitch; first padded by running with short stitches, which are then whipped with padding-cotton; then with the embroidery-cotton work over and over the padded line, taking up very little of the material beneath so that when the work is completed the effect is that of a small, smooth cord laid upon the goods and following the outline.  The remainder of the work is also in padded satin-stitch, save two of the little, four-petaled figures in each cluster; these are outlined with the stem-stitch described and filled in with seed-stitch, so much used in the real French embroidery.  This stitch is taken after the manner of the common back-stitch – a short stitch backward on the surface and a longer stitch forward underneath; if a heavier “seed” is desired, take two stitches side by side, the needle emerging and entering almost at the same place in both stitches.  All the four-petal forms may be worked in this way, if liked, the result being much more delicate in appearance.

The same design may be sued for a blouse – omitting the initial – or a corset-cover; hence the transfer- or perforated pattern will be found of advantage.

The girl or woman who feels the need of “just one more” new and attractive waist to tide over the days of late summer and early fall, its addition freshening an outfit which has begun to show a little wear and tear, will appreciated the simple but very pleasing design in solid, eyelet- and punched embroidery.  Explicit instructions for doing the latter have appeared; it consists merely in separating or drawing apart the threads of the material, using a very large needle, and binding them securely; in other words, a tiny square of the material, say four or six threads, is surrounded by stitches, two in a place, forming an opening on each side.  The work is easily done, even though not stamped expressly for the purpose; if, however, the dots are stamped, it is a great help.

The embroidered band at the top of each sleeve matches that of the waist, and may be applied to a collar, if desired.  On the model a Cluny insertion, matching the lace which edges the sleeves, is used for collarband, with pretty effect.

From present indications the present style of blouses, so becoming and comfortable, will see no radical change, and on this fact womankind is to be congratulated.  There are ultra styles which do not appeal to the woman of good sense, and she does not adopt them; but when a garment has proven itself to be just what she wants and needs, she is in no haste to let it go by.

No. 159 C.  Perforated stamping-pattern, 25 cents.  Transfer-pattern, 10 cents.  Stamped on pique, 25 cents.

No. 160 D.  Perforated stamping-pattern, 25 cents.  Transfer-pattern, 10 cents.  Stamped on nainsook, 60 cents.

No. 161 D.  Perforated stamping-pattern, 25 cents.  Transfer-pattern, 10 cents.  Stamped on English longcloth, $1.00.

No. 162 D.  Perforated stamping-pattern, 25 cents.  Transfer-pattern, 10 cents.  Stamped on punch-linen, $1.00.

 

 

 

Needlecraft’s Gift-Box

1912, November, page 5

“At the Point of the Needle”

By Doris Miner

Into the fashioning of our Christmas-gifts enters the embroidery-needle as a wonderful factor.  Everywhere hand-worked articles are at a premium, and appreciation of them steadily increases as the work done by machinery becomes more and more cleverly executed.  A touch of the donor’s own handiwork greatly enhances the value of a gift to the recipient, and that touch may be easily given by one having comparatively little knowledge of embroidery or other needlecraft.

A pleasing little remembrance which may be enclosed in a letter or a pretty box to a friend at a distance, is a sachet – something that every girl or woman likes to tuck in among her laces or lingerie.  Take two bits of fine linen or lawn, cut them heart-shaped, and trace tiny scallops around the edge   On one piece work a spray of delicate blossoms – forger-me-nits are especially suitable and dainty – in solid embroidery, place a later of cotton, thickly sprinkled with sachet-powder of some favorite scent, between the pieces, and buttonhole them together with floss matching the embroidery in color.  At one side tack a knot of baby-ribbon, also of the same color.  The sachet is four by five inches across the center, each way.  Other shapes may be made at pleasure, following the same general idea.

A case or holder for hairpins is useful to and will be appreciated by the woman who travels, and scarcely less so by the woman who stays at home and has a desire to keep these small belongings in order and where she can find them when wanted.  One may, of course, put more or less work on such a case; the design of that pictured is particularly pretty and novel, a combination of eyelet- and relief or guipure embroidery.  To make it a piece of linen seven inches wide and thirteen inches long is required.  Work in padded buttonholing across one edge, fold up four inches for the pocket, and baste at the sides, then featherstitch across the folded portion, dividing it into five equal spaces or pockets.  Scallop the other end, or flap, and finish with buttonholing, well padded, carrying this also across the sides of the pocket.  At the point of the flap work a loop of the silk, and sew a tiny pearl button at the lower edge of the pocket to fasten toe loop over.  Work the eyelets – or, if one is not expert in this class of embroidery, satin-stitch may be substituted for the little circles.  Directions for the flowers in relief-embroidery have been given, but are repeated for the benefit of any who may not have seen them – since Needlecraft is continually adding hosts of new friends to its list.  Make four stitches of even length around the center of the flower, one stitch across the base of each petal.  In making a five-petaled flower you would, of course, need to take five of these stitches, which should not be drawn tightly enough to pucker the fabric, nor yet allowed to lie loosely on the surface.  The first row of close buttonhole-stitches, of which the petal is formed, are taken under this stitch, or loop, each petal being worked separately  The number of buttonhole-stitches in the first row depends, of course, upon the width of the petal or size of the flower; the loop should be closely filled, but not crowded.  Commencing your petal, for example, with four buttonhole-stitches, these should extend easily across the base of petal, from beginning to end of the loop.  Working back across the first row, widen by making two stitches in the first one in each of the following two, and two in the last stitch, or six in all; returning widen in the same way, which will give you eight stitches for the width of the petal.  Widen again, if necessary, following the outline of the stamped petal closely.  If the eight stitches cover nicely, work back and forth without widening for three to five rows, as are needed for the length of petal, then decrease by missing first stitch of preceding row until but one stitch remains – or, if the petal is short and blunt, as in the present instance, decrease a stitch at each end of each row, and finish off with two stitches.  Attach the last stitch to the tip of the stamped petal, and fasten off neatly on the wrong side.  The worked petal should be a trifle longer than the stamped outline, so that when it is caught down, as directed, the center will not lie perfectly flat, but be slightly raised or “cupped.”  Fill the center of each flower with French knots, taken close together.  These flowers may be worked in double crochet and fastened in place, giving practically the same effect.

The woman who has a love of order or neatness will be delighted, also, with a corset-bag.  Completed, the bag is usually six inches wide and nineteen or twenty inches in length, with a hem an inch or more wide at the top, and a casing for cord or ribbon  The design illustrated is unique and pretty, and remnants of two kinds of materials may be utilized in making it up.  For the model green linen was sued, with bands of white linen – the lower one two and one-half inches and the upper one and one-half inches in width – worked in eyelet- and-solid embroidery, using floss matching the green linen in tint so nearly as possible, and buttonholed in place with the same floss.  A few hours will suffice for making the bag, and a more acceptable gift would be hard to find.

And there is the nightdress-case – another very useful article which may be made as ornamental as desired, and is sure to be appreciated by one who enjoys dainty possessions.  To make it requires a piece of material – white linen was used for the model – sixteen by thirty-two inches.  One end is finished with a narrow hem, and elven and one-half inches are turned up for a pocket, seamed neatly at each side.  The flap is finished with an applique of pink linen – although any preferred color may be substituted.   Baste the applique in place, work the edge with white floss in well padded buttonhole-stitch, and trim away the pink linen carefully, taking greatest care not to cut any of the stitches.  Pad and work the coin-spots or “jewels,” attaché a loop and pearl button for fastening, and the case is completed.  One may slip a little sachet inside, if desired, but the gift is very nice without this addiction.

For a very attractive and serviceable workbag take a twenty-two-inch square of gray linen.  Finish the edge with a narrow hem and with lace of coarse, gray linen, which may be woven, as torchon lace, knitted or crocheted.  In each corner of the square embroider a pretty design – that of the model is in guipure-and-solid embroidery, using ref floss – and lightly trace a circle sixteen to seventeen inches in diameter in the center of the square.  Around this circle sew ivory rings, about one and one-fourth inches apart, through which to run the ribbon drawstrings.  If preferred, eyelets may be worked for the ribbons, but they slip more readily through the rings, and the bag may quickly be laid flat to allow the selection of any thread or implement needed.   The same suggestion may be carried out with different materials; cretonne makes a pretty and useful bag to hold articles which require mending, and the size may be regulated as desired.

One who travels much or occasionally, or even goes from home for a day or a night, will assuredly be delighted with a satchel-towel and the case which holds it.  The towel is of guest-towel width, and long enough for three folds, five inches deep; then the towel is doubled and slipped into the satchel, which is made in envelope-form,  and of just the right size to receive the folded towel.  It is just the thing to slip into one’s traveling-bag – a real comfort and convenience.  The towel-decoration may be as pleasing as possible; that shown, a combination of solid-and-guipure embroidery, is simple and very pretty.

A Trio of Dainty Bows

By Elise M. Richards

The wise woman saves every scrap of linen, lawn, lace, velvet, embroidery-silk, and other material of which pretty trifles are fashioned, well knowing that she will find use for everything of that sort when it comes to filling her Christmas-box with gifts.  The merest remnant of linen, with a few needlefuls of embroidery-floss and a nine-inch strip of ribbon or velvet, suffices for one of the dainty Susette or slide bows, which are as popular as when they first came out, and will make most pleasing holiday remembrances.

Although of practically the same length, these little bows vary in design and shape, and afford almost unlimited opportunity for displaying the ingenuity of the worker.  The color of the velvet or ribbon is a matter of individual fancy.  Indeed, one may have several “slides” for the same bow, if the latter is entirely of white, and these may match any gown with which the pretty little accessory is worn.  Black is, of course, always in good taste and suited to any waist or costume; but some of the most attractive among these bits of neckwear are embroidered with a color matching the slide.  For example, the dainty bow in solid embroidery – one of the group presented – is worked with violet, and the slide is of violet velvet.  A tiny eyelet forms the center of each flower, and the petals are in satin-stitch, well padded with stitches which run lengthwise the form, while the covering-stitches are taken across.  For the latter use a single thread or strand, and take the stitches very evenly and smoothly.  On a small article of this kind defects which might pass unnoticed in larger pieces, especially those intended for household use, are very evident and pains should be taken to make the work as perfect as possible.  The buttonholed edge, too, is well padded, and it is better to buttonhole the oval eyelets or openings through which the velvet passes, as this stitch is more durable than the real eyelet- or over-and-over-stitch for such purpose.

Another very pretty bow shows a combination of punched-and-solid embroidery, all in white, with a slide of old-rose velvet, the ends of which may be notched, pointed, cut slantwise, or treated as one fancies.  Whether ribbon or velvet be used, it should be made to puff prettily over the center bar, between the openings, so that the latter are practically hidden.

A different, but very pleasing arrangement shows the ends of the bow plain, save for the buttonholed edge, while the center is done in punched-embroidery and scalloped.  The bow is of maline, matching the working-material in color, passing under the center and over the ends, of which just a hint is given back of the filmy slide.  The effect is charming.

A dozen of these dainty creations will not be one too many – probably when the time for Christmas distribution really arrives you will wish you had as many more.

Three Handsome Centerpieces

By Harriet Clement Wheeler
January, 1912
page 9

      Entirely distinct as to the character of design and work, it is yet very difficult to decide which of the centerpieces shown is the most attractive.  Every housekeeper will be likely to want them all; and they come just in the nick of time for the holiday dinner-table – on which we always want to use something that is entirely new, and as beautiful as we can manage to have it.  Simple, yet striking and most effective is the pine-cone motif.  While this design is particularly suited to living-room or library use, it may well be given a place wherever a centerpiece is needed.  The model is on gray linen, and the embroidery is done entirely in reddish-brown floss, the sections of the cones in satin-stitch, the needles and other outline work in stem-stitch.  The edge is buttonholed with the same floss, and one at all accustomed to the use of the needle in a decorative way should be able to complete this pleasing twenty-four-inch centerpiece in a day of comparatively steady work.
      An extra finish which would add much to the attractiveness of this piece would be a border of heavy Cluny lace matching the linen in color, and with portions of the work threaded in with the floss used for the embroidery.  The lace may be handmade, crocheted or knitted, if one prefers, using a thread of gray or natural-color linen as coarse as No. 25 or No. 30.  Many very charming designs of lace for this purpose have been presented in Needlecraft.
      The lace border may be worked directly on the linen; but, since it will probably outwear the embroidery, it is wiser to work on a chain, baste smoothly to the edge of the centerpiece, and buttonhole around.  However, the decision regarding this may well be left to the discretion of the worker herself.  If desired, a regular scalloped edge may be applied, traced from some other centerpiece, the buttonholing being deep and well padded.
      While the original is in color, as stated, this design may be very effectively carried out in white work, using rather heavy material, as befits the motif.  As a rule, however, the brown floss on gray or cream-color linen will be particularly admired.  Instead of one color, several shades of brown may be used with charming effect.  The piece is sure to give satisfaction, in any case, since it requires very little expenditure of time and labor, and is most pleasing.

      Another simple design, yet artistic and graceful in the extreme, is that of the thistle; and never was it more attractively applied than in the present instance.  Of solid work, save for the tiny cut=out spaces separating the sections of scallop, the piece gives the effect of Mountmellick embroidery, rich and heavy; yet the stitches are of the simplest order and with little variation.  The slender, sharply serrate leaves are in long-and-short-stitch, with the central veining in outline-stitch.  The cup of the thistle consists of tiny points in satin-stitch, while the flower is in outline – the close lines radiating from the top of the cup.  No other stitches are used save those indicated, and the buttonholing of the edges and spaces.  The latter are filled with twisted bars, crossing from end to end and side to side, with a tiny wheel woven around the knot which holds them at the center.
      The buttonholing of the border is padded, and the stitches deeply set, this adding to the heavy appearance of the work as a whole.  The piece is one that may be undertaken by the merest novice in stitchery with every assurance of success.  It may also be done in colors or color on gray linen, choosing green for leaves and thistle-cups, and pink for the blooms, with green, differing in shade, for the border.  Every housekeeper likes to have several centerpieces in color for use as required, especially in the living-room; and the manufacturers have brought out, and are still adding to, the assortment of silk-finished cottons, in colors as soft and lovely that it is a delight to use them.  While silk floss, because of its rich lustre and the fineness and variety of its shading, will always hold its own established place in the realm of needlecraft, it is no longer the only material for colored embroidery.  Cotton and linen threads – the latter possessing a permanent lustre, scarcely surpassed by silk – are eminently suited to the majority of bold, conventional designs, and the rather coarse, heavy fabrics which are favored at the present time, and bid fair to not only retain their popularity but extend it for months to come.

      Madeira embroidery needs no word of commendation.  To say that “solid-and eyelet” work is “holding its own” in the heart of the fancy-work devotee is to put the case very conservatively indeed; rather, it is steadily strengthening its claim on feminine favor.  New stitcheries come and go, while this simple, durable, beautiful work is with us always.  Fresh designs are constantly being brought out, and the centerpiece illustrated is a charming example of the crafts-woman’s art.  True, it embodies the ubiquitous daisy, always a favorite motif in this class of needlework with the  graceful sprays in satin-stitch; but the arrangement is very attractive, while the irregular scallops, with the row of eyelets just within, do away with any suggestion of monotony.
      Many needleworkers seem to think it a waste of time to first outline a design with running-stitch, but this inference is a mistaken one, particularly as regards the eyelets.  Not only does this help to keep the line true and even, but serves as a padding or cord over which to work the eyelet- or over-and-over-stitch.  And while the round eyelets may be padded sufficiently by the single row of running-stitches, the long or pear-shaped ones require a heavier cord.  For this, after having run the outline as directed, whip this with a second row of cotton, passing the needle under each running-stitch, and catching it also into a thread or two of the cloth that lies beneath.  In these long eyelets, cut a crosswise incision, from end to end and side to side, not quite to the outline.  Turn under the little tabs or segments of linen thus formed, making other similar slashes if necessary to enable you to fold them back smoothly, and then work over and over the cording or outline, neither leaving a space between the stitches nor allowing them to overlap. A little practice will be necessary in order to make a perfectly symmetrical eyelet, but one should be satisfied with no other.  The circular eyelets may be punched with a stiletto, unless extremely large, when they should be treated in the manner indicated.  When finished, clip away any bits of linen that extend beyond the cording on the wrong side.
      Outline the stems in the way directed for the pear-shaped eyelets, and work over and over with a slightly slanting stitch, taking into a minute portion of the cloth beneath, so as to form a smooth cord.  This is the true stem-stitch.
      To pad the scalloped edge, use either outline- or back-stitch, or chain-stitch, keeping in line with the edge so that the buttonhole-stitches will cross the padding at right angles.  Do not trim nor cut out a buttonholed edge until the work is entirely completed and has been laundered; having followed this advice once, you will readily perceive the wisdom of it.
 
No. 25 D.  Perforated stamping-pattern, 25 cents.  Transfer-pattern, 10 cents.  Stamped on gray linen, 50 cents.
No. 26 D.  Perforated stamping-pattern, 25 cents.  Transfer-pattern, 10 cents.  Stamped on either gray or white linen, 50 cents.
No. 27 D. Perforated stamping-pattern, 25 cents.  Transfer-pattern, 10 cents.  Stamped on linen, 30 cents.

Hints for the Woman Who Embroiders

(January, 1912, page 5)

When heavy padding is desired under embroidery, try using little wads of raw cotton instead of filling in the padded space with many, many stitches of darning-thread.

To pad a scallop, catch up a bit of raw cotton in your fingers and roll it between thumb and forefinger until it is of the length of the scallop, thick in the center but tapering to a mere thread at each end.  Lay this on the scallop and with a few stitches catch to the material.  Embroider over it in the usual way.

Flowers have their petals padded by making little cushionlike wads of cotton and catching them down to the material, well inside of the working line, with ordinary sewing-cotton.  Coin-dots and ribbon designs are treated accordingly.

Another method for padding a plain scallop will be appreciated by those who deprecate the time and labor usually taken for the work.  It is a genuine “short cut,” accomplishing the same result very quickly.  Purchase fine white cotton soutache braid, which is inexpensive.  You can easily shrink this by putting it in hot and cold water alternately.

Iron it straight and stitch it evenly by machine with long stitches to the scallop on the goods.

The braid should be laid just inside the markings.  With this help, the actual padding will take but a few moments, and the buttonholing will be even and firm.

Here is a wrinkle which is not generally known, and will be useful to the woman who hates to embroider on hoops:  Baste your material very firmly on stiff brown paper in such a manner that there is no danger of slipping.  You may bend and crush your work to your heart’s desire without danger of disturbing the design.

If the paper catches in the stitch, it need not cause you any uneasiness, as it can easily be torn away after the work is completed.