Miscellaneous

Stitch lace curtains with the machine around the selvage or scalloped edge, and they will launder and wear better, and hang straighter.
Mrs. H. C.

Wishing to do a cross-stitch border and having no canvas, I basted a strip of new curtain-scrim over the linen and worked my design very nicely, crossing over two threads each way.  I then pulled out the scrim-threads and found they and answered as well as canvas.
M. B.
 
Pretty little scarfs are made of two long or short lengths of tulle, knotted at the ends or ornamented with tassels.  They supply a little warmth; and a touch of color may be given to the costume by them, as the two lengths used together may combine a color with either white or black. 

 

One Woman’s Way

When suddenly faced with a business-venture as a means of livelihood, women are apt to be too timid in the matter of spending what little money they have.  They fear too much for the return.  There is a saying that should appeal to housewives:  “You can’t make an omelet without breaking eggs.”  One brave little woman who believed this, was left with two children to support.  She took what little money she had and spent it in this way.  She left her small home town and spent some time in the nearest large city.  Here she cultivated her tastes for embroidery, crochet, and similar work.  She took lessons, studied materials, designs and stitches, for she believed that she might form classes in her own town for this sort of work if she learned all the newest stitches.  While in the big city she worked hard all day in the art-sops and art-departments of large stores, and was busy until past midnight each night putting what she had learned during the day into shape to use in her classes.  She had staked her financial all on this trip, and she felt the strain of the risk she ran.  But she has scored a great success, and each year her income grows, for she keeps abreast of her work, going often to the cities to study the newest stitches and designs.

 

The lace neck-ruffle, standing upright at the back and falling softly away from the neck at the front, is a favored fashion in neckwear.

 

I ordered some rose-beads from the lady to whom you referred me, but although they are very fragrant they are dark-brown, almost black, in color.  I thought they would be of the tint of the flowers.  Certainly I have seen them so.  Please let me know about this through our paper, because other may like to understand it.  –Mrs. H. R. L.

Let me quote from a letter received from a friend in California, who is an expert in this particular line of work:  “California can boast of the so-called violet-, carnation-, and rose-beads, of light pink, cream and other delicate colors, but one who has made the real rose-beads knows that such are formed of paste, scented and tinted.  I recently saw heliotrope-beads offered: just imagine gathering enough of those tiny flowers, only the petals of which can be sued, to make even one string of beads!  As soon as the rose-leaves – or any other petals – are ground they proceed to turn brown, and after the grinding is completed you have a black mass to work up.  There can be no other way.”  Hence I am positive the beads ordered were exactly as they should be – certainly the little manufacturer is perfectly reliable.

Cream of Wheat Ad August, 1913

Big Punched-Work Outfit

As a rule, I am not posting ads, but this one was too pretty not to post. 

Concerning the Footstool

1913 08, page 23

 

These present-day footstools are not the small, doll-like articles which gave pleasure to your grandmothers.  They are sizable pieces of furniture, most of them twelve by eighteen inches square, perhaps, and they stand from eight to twelve inches from the floor.  Some, to be sure, are smaller, perhaps eight inches wide, a foot long and four or five inches above the floor.  These generally have little arms or handles at the ends and can be easily carried from place to place.

One of the most serviceable footstools is shown with a mahogany frame in straight, simple lines, with red, brown or green leather cushion.  Tapestry in various dull hues and upholstery of other sorts in colors that would blend with the color-scheme of almost any living-room are also used to cover the cushions of these useful footstools.

A very comfortable design is the inclined footstool.  The dull mahogany frame, covered with a cushion two or three inches thick, is only an inch or so from the floor in front.  The back is perhaps eight inches from the floor, so that the top of the footstool is fixed at a slant that would assuredly bring rest to the weary foot.

Little stools which suggest old-fashioned hassocks are also made of upholstery-stuffs mounted on wooden frames or bases.  Some of these are tufted with a button in the middle, some are almost cushionlike in their softness and some have the octagonal form.  These octagonal footstools are especially attractive.

Cushions – flat, square, hard cushions – covered with bits of oriental carpet are also used for foot-rests.

Mission footstools are made for the living-room furnished in this style, with straight oak frames in the various dull finishes applied to mission furniture, upholstered in leather or with caned tops, and caned tops, too, are shown with mahogany frames.

Perhaps the latest device for physical comfort is the leg-rest, which is nothing more than a footstool grown up.  These leg-rests are about the height of the seat of an ordinary chair, sixteen or eighteen inches, and are covered with leather or tapestry.  They are perhaps two feet wide and three feet long, sufficiently big at all events to suggest untold relief from fatigue.  The leg-rests, of course, belong to the dens or bedrooms of the men of the family.

 

Answered by the Editor

August, 1913, page 7

 

May we not have directions for the pretty ribbon ornaments so much used?  I am sure many will be glad to see them. – Mrs. F. L. W.

No less glad than Needlecraft is to present them.  You will enjoy and profit by Miss Roberts’ article, and will like to know that this contributor – from whom we all hope to hear very often – will provide samples as well as finished ornaments of flowers to order, at very reasonable price, and give any further information in her power.  Sprays, clusters and tiny wreaths of those ribbon flowers are used with charming effect on the hats of the season, often affording the sole ornamentation.

I am very anxious to learn how to do netting, so that I can make some of the lovely things in that work recently illustrated.  Would you kindly give me directions?  --Emma E. Cook

Space cannot possibly be afforded in this column; but next month, or at longest the month after, the lessons in netting which won so much commendation when they originally appeared, shall be reprinted – this by special request of many subscribers.  Please bear in mind, however, that this concession cannot be again made and be very sure to have your subscription in, so that you may secure the lessons.  I trust every one will note this suggestion; however large the edition.  It will be quickly exhausted, and the only way to be sure of obtaining the issue in question is to subscribe now.

 

I have a centerpiece with wheat on it, and I cannot find out how to work it.  Will you please describe it for me?  ---Minnie Ligget.

The real “wheat-ear” stitch or bullion-stitch very much resembles the roll-stitch in crocheting.  There are two ways of working it; the first, as follows, is more easily made evenly by a beginner:  Bring the needle up through the work at the base of the “kernel” indicated, take a forward or upward stitch the length of the space to be covered, push the needle down through and bring it up again at the first point, leaving the thread in a loose loop on the surface, since this is to be used to wind the needle for the roll.  Wind to the left, over and under, until you have as many “overs” as needed to cover the space indicated, draw the needle carefully through this coil, working slowly and carefully, and pushing the threads close together, yet not letting one overlap or crowd another; insert the needle at the end of the stitch and draw the roll down neatly to the foundation.  By the other method the needle is inserted at the tip of the wheat-kernel and brought out at the other end, but not drawn through; wind the thread ten or twelve times, or according to length of stitch required, around the point of the needle, hold this coil in place with the left thumb and draw the needle carefully through.  Insert the needle again in the same place as at first.  For the spills or beard of the wheat use a fine, close outline- or stem-stitch.

 

I am greatly interested in rose beads, and desire to make a great many of them the present season; but I do want to know how to prevent them turning black, and to give them the different colors.  I should also like some suggestions on how to arrange them with other kinds of beads for necklaces and long chains.  -- Lena Mabie

I have never seen a real rose-bead that was anything but black, or very dark; many people think the blacker they are the better, and add a little copperas to the las “grinding” to produce the desired effect.  There are so-called rose-beads in colors sold at the shops, but I very much doubt whether rose-petals enter into their composition; instead, they are probably of papier-mache or something of that order, rose-scented and colored to suit the fancy.  When we remember the various stages through which the real rose beads pass in process of manufacture—the grindings, and the rusty sheet-iron pan – we must agree that black is their natural tint.  Here are some suggestions for arrangement, gleaned from a charming collection of chains recently inspected:  One chain had a large rose-bead, three small god beads, one larger, of rose-pink, three small gold ones, again the large rose-bead, and so on.  Another had small rose-beads, alternating with smaller pearl beads; another had *one medium-size rose-bead, three small gold beads, one cut-glass yellow bead, three small gold, repeat.  Others had purple and garnet beads instead of the yellow ones.  Another, using the medium-size rose-beads, had one rose-bead, three small gold beads, one rose, three small gold, one cut-glass green bead, three small gold – repeating the arrangement to length required.  Again, an especially pretty chain had one rose-bead, of medium size, a smaller rose-pink-bead, one rose-bead, three small gold beads, one rose-bead, three small gold beads’ repeat.  In anther a large rose-bead alternated with two smaller gold-lined beads.  Variations are almost without limit, and the study is a most pleasing one.

Would voile be a suitable material upon which to embroider the free transfer-pattern given in July?  If so, with what should the work be done?  -- Mrs. H. M. B.

Your question is not sufficiently definite for a satisfactory answer, since you do not state for what purpose you intend using the design or motif in question.  However, it could be prettily carried out on voile, with embroidery-cotton or –silk.  In solid embroidery – eyelets are difficult to work nicely on material of that character.  If you wish to use the voile for a baby’s pillow, it may be embroidered with the delicate color, pink or blue, used for the lining.

Two Simple Summer Frocks

Two Simple Summer Frocks

1913 08, page 21

 

Misses’ Dress

The simplest of one-piece dresses is shown in this illustration, No. 6293.  The blouse opens in front, the neck being a little low, and made without finish of any kind whatsoever.  If desired, of course, a batiste collar of fancy shape may be worn with this blouse.  The closing has two scallops where the buttons are placed, and is in front.  The plain sleeves may be elbow- or full-length.

A three-gore skirt is joined to this blouse with either high or regulation waistline.  The scallop-effect of the waist is carried out in the skirt also.

Gingham is much used for these dresses, and also lawn, cotton crepe, ratin, and the like.  This style is especially good for linen, as its simplicity will display the fabric to advantage.

The dress-pattern, No. 6293, is cut in sizes for 14, 16 and 18 years.  To make the dress in the medium size will require 4 1/8 yards of 36-inch material, ¾ of a yard of 24-inch satin for the girdle.  Price of pattern, 10 cents.

 

Misses’ Dress

Yoke-models are always becoming, and especially so to the slender figure of girlhood.  This design, No. 6316, shows the plain square yoke, with the lower portion of the blouse attached to it, slightly gathered at the upper edge.  The closing is a little to the left of the center of the front of the blouse.  The neck is finished with a pretty turndown collar.

A four-gore skirt completes this costume,  it is made with panel front and back, and with gathered side gores.

No better style than this can be found for ordinary use.  It is suited to a wide variety of the more simple materials and will be pretty iin lawn, cotton voile, cotton crepe, ratine and gingham.

The dress-pattern, No. 6316, is cut in sizes for 14, 16 and 18 years.  To make the dress in the medium size will require 4 1/8 yards of 44-inch material.  Price of pattern, 10 cents.

 

The Art of Dressing

By Dora Douglas
1913 08, page 20

The New Tailored Skirt

Each season fashion seems to select some one feature of dress into which she introduces her most striking touch of novelty.  On year it is the sleeve, another it is the neck, again it is the waist.  This year it is the skirt, and one of the old-time skirts will spoil a costume, no matter how handsome the material nor how good the rest of the dress.

In choosing a model for any skirt much depends upon the material to be used in making it.  No one would dream of using the same style for voile as for linen, nor for crepe as for serge, and so on through the entire list.  There are some designs that are suitable for many materials, even for some of very different texture, and it is one of these that we have selected for our consideration in these columns at present.

First of all, it is well to remind ourselves that nowadays even wash-materials are made of good width, and also the many silks and satins and crepes all come much wider than they did years ago.  So we will consider that in making this skirt we are using a ratine, 44 inches wide.  As the skirt is a two-piece model, it will cut economically from this width.

Before beginning to cut the material, make sure that it has neither wrinkles nor creases anywhere.  If it has been folded, press out the fold unless this is so placed that it will be cut away or stitched in out of sight.  This done, lay it on a table that is wide enough for the width of the gore and long enough for its length.  This is not always as easy to find as it sounds, but most people have an extension dining-table, and this can be used.

Examine your pattern and select the gore marked L.  This is the left side gore.  Lay this carefully on the material with the lines of triple perforations on a lengthwise thread of the goods.  It will be noticed that the front edge of this gore is not entirely straight, but this is as it should be.  Pin the gore firmly to the material.  Do not be afraid to use plenty of pins as this will make the cutting much easier.  In placing this gore on the material leave enough space at the end for the belt, which is cut crosswise of the goods.  This, too, should be carefully pinned before cutting.  When the left gore is firmly pinned in place, cut it carefully around all the edges.  The designers have left 1 1/2 inches as the allowance for the hem, and it is therefore essential that you be very sure of the required length of the skirt before cutting it.  If the pattern is too long, do not take off at the lower edge, but fold it across the middle, taking out as much as necessary and in the same manner if it is too short cut it across at the middle and pin the two halves separately.  This will keep the proportions correct and insure a proper line at the seams.

After the gore is cut, take your scissors and snip out the notch near the top of the gore.  If you intend to fit the skirt by means of the darts these darts must be marked either with thread or chalk or pencil.  By the way, blue pencil is much easier to rub out than black; but thread is the best marker of all.  Then mark also the line of perforations for the seam; or, if the material be at all stiff, crease it along this line.

Now take the gore marked R.  This is the right side gore and the one which has the draped section.  Lay this on the material very carefully, for unless you cut it straight as it should be the plaits will not hang as they should.  Use plenty of pins as before, after adjusting the length of the skirt to suit your individual needs.  Mark the dart, if you are going to use it, and the small perforations at the top of each plait; also snip out the notch at the seam side.

When this is done, comes the time to handle your plaits.  Turn to our illustrations and in diagram 2 you will see how the plaits look after you have laid them in according to the directions on the envelope of the pattern.  Baste them firmly, overcast the top edge, then stitch them to the loose edge of the top, as shown in Diagram 3.  This diagram also shows the edge of the upper part turned in 1 ½ inches for the hem of the overlap.  The large diagram, No. 1, shows how the skirt should look on the wrong side when the plaits are in position, the front edge hemmed and the two gores joined together.  In this diagram it will be noticed that the back of the skirt is shown gathered at the waistline.  The skirt may be arranged in this manner rather than fitted by darts, if preferred.  It is a little newer than the fitted style and much more becoming to most figures.  This, however, is a matter of taste and must depend somewhat upon the material.

The arrangement of the gores brings the closing and its drapery a little to the left of the center of the front, and in the back the edge of the material at the seam is somewhat to the right of the center of the back.  This manner of placing the seams is more artistic than having them all on the straight line of front and back.

There is so little drapery in this skirt that it will answer very nicely for serge, if a traveling suit be considered.  Of course it will be more graceful in thinner fabrics, and the many qualities of voile are a great temptation.  Cotton voile is uncommonly pretty, and it is also one of the most popular materials of the season.  Then there is a loose ratine, which drapes as gracefully as crepe, and there is crepe itself, not only the beautiful silk crepe de Chine, but a cotton kind that is ever so lovely, and that comes both plain and striped. It is found in many costumes for the skirt, while the blouse or coat is of plain ratine, or of figured eponge or some other differing fabric.

Batiste is so soft that it suggests itself the moment that there is any question of drapery, and one might make the skirt and purchase the blouse all made, wearing a wide girdle at the belt, or a narrow twist of some bright-colored velvet or satin.

If care is sued in finishing this garment it will be found very simple to make, but plenty of basting and plenty of pressing are the two things that the amateur is often tempted to shirk in her eagerness to see the finished garment.  The result is sure to be a homemade appearance, no matter how good the material nor how careful the workmanship in other ways.

A row of crystal buttons above the drapery on the closing edge, and perhaps a piping of bright color will brighten up the skirt.

The pattern, No. 6273, is cut in sizes from 22 to 30 inches waist measure.  To make the skirt in the medium size will require 2 7/8 yards of 44-inch material.  Price of pattern, 10 cents.

 

A Charming Girlish Frock, Set of Clothes for Baby

1913 08, page 19

 

Misses’ Dress

A stylish and novel costume for young girls is shown in this illustration, No. 6298.  The blouse has several possibilities.  It is composed of a yoke-section, and of a biblike lower part.  The yoke and the sleeves are cut in one, when the long sleeve is used, or a drop-shoulder-effect is used with a three-quarter sleeve.  The neck is slightly open in V-shape, and a handsome collar makes the finish.  The bib-sections are joined to the yoke with an overlapping seam.  This edge may be scalloped or finished in some other manner as desired.  The blouse closes in the back,

The skirt has three flounces, and these are mounted over a one-piece lining.  They may either be attached to this lining or joined together by stitching the lower edge of one flounce to the upper edge of the one below it.

Any soft material can be used for this style dress, and there is nothing prettier than the printed cotton voiles which can be combined with the plain, and which are also used in combination with ratine.  Any two colors, or two materials of about the same weight can be used in making this dress.

The dress-pattern, No. 6298, is cut in sizes for 14, 16 and 18 years.  To make the dress in the medium size will require 3 3/8 yards of 36-inch plain goods, 5 yards of 18-inch flouncing, 6 1/2 yards of narrow edging.  In one material 5 3/4 yards of 36-inch will be required.  Price of pattern, 10 cents.

 

Set of Clothes for Baby

 

Infants’ Set

This set of infants’ garments, No. 6320, gives every article necessary for the wardrobe of the little one.  The various dresses and slips can be made of soft cambric or batiste, and trimmed with Val. Lace, or left plain.  Care should be taken that any ruffle near the neck of the baby is soft, and that there is no danger of its scratching the skin.

For petticoats and sacque, and wrapper, fine flannel should be selected.  All waists should be of strong muslin, and cotton tape is better for ties than linen tape.

The gathering-string on No. 4, one of the nightgowns, is a great advantage for warm-weather babies, as it keeps the feet warm without the use of the pinned-up petticoat, or of bootees.

This set consists of dress, slip, kimono, sacque, petticoat, pinning-blanket, nightgown, cold-feet gown, coat, cap and bib.

The pattern, No. 6320, is cut in one size only.  To make requires: for dress No. 1, 2 1/2 yards of 36-inch material, 6 yards of insertion, 8 5/8 yards of edging.  For Nos. 2, 3 and 4: 2 1/8 yards of 36-inch material, 3/4 of a yard of edging.  For petticoat, No. 5: 1 7/8 yards of 27-inch material.  For pinning-blanket, No. 6: 1 3/4 yards of 27-inch flannel or 1 yard of 36-inch.  For kimono, No. 7: 2 1/8 yards of 36-inch goods.  For sacque, No. 8: 3/4 of a yard of 36-inch material and 3/4 of a yard of ribbon.  For coat, No. 9: 4 3/8 yards of 27-inch material, or 2 7/8 yards of 36-inch.  For cap, No. 10: 3/8 of a yard of 27-inch material and 1 yard of ribbon.  For bib, No. 11: 3/8 of a yard of 27-inch material.  Price of pattern, 10 cents.

 

For the Guest-Chamber

1913 08, page 18

 

The woman who is interested in her home, and likes to have it make the best possible impression upon all who enter it, particularly enjoys fitting up her guest-room with everything that may serve the twofold purpose of utility and beauty.

The bureau and dressing-table should be well equipped with everything which the visitor may need.  Do not provide covers for pincushion, glove-box or scarfs which cannot be freshly laundered after the departure of each guest.  Silk or chiffon covers are lovely, but extremely impracticable.

An attractive glove-case can be made from a piece of white linen fourteen inches square.

Divide the side in three equal sections and fold the end down over to resemble the flap of an envelope.  On this stamp a neat design and round the corners, scalloping the edge.

Whipstitch the two side-sections together and hem the top side, using feather-stitching to hold it in place.  Embroider the scallops and design with white mercerized cotton or silk of a color to match the predominating tone used in the room.

Print the word “gloves” on the top flap and pad the letters with white darning-cotton, with stitches running the length of the letters.  Cover this with stitches at right angles with the padding.

Beneath the scallops whipstitch a frill of narrow Valenciennes lace, and this completes the envelope of white linen to hold gloves.

The small circular pincushions are dainty and practical for the dressing-table.

To fashion one of these, take two circular pieces of white linen, one four and a half inches in diameter and the other six.  Scallop the edges and finish with buttonhole-stitches.

On the smaller circle stamp a simple design combining punched-work, with Venetian roses embroidered at intervals about the edge.  A row of small eyelets is then embroidered a half inch from the scallops of the smaller circle and an inch and a half from the larger.  The circular pincushion is placed between the circles, which are then laced together with baby ribbon.  A large rosette of the narrow ribbon is then placed on the top of the cushion.

The bureau- and dresser-scarfs should be made of the same quality of linen, scalloped and buttonhole-stitched at the edges and adorned with an embroidered monogram, or a border corresponding in design with the glove-case and pincushion.

 

Pretty Garments for Small Girls

1913 08. Page 18

 

Child’s Dress

A dress which can be made in a morning, and which will be comfortable and cool for the young wearer is shown in this illustration, No. 6304.  A blouse and skirt compose the dress.  The blouse has a deep tuck at each shoulder in both front and back, and this extends to the waistline, stitched in all the way.  Such an arrangement gives a wide, flat panel in the front and back, and this is most becoming to the child figure.  The neck of the blouse is cut square and outlined by a flat band trimming.  This is continued down the side-front closing of both waist and skirt.  The sleeves are of bishop design, except that they have no fulness at the shoulder.  At the wrist, if made long, they are gathered into a band cuff, but the shorter length is more popular, and if they are shortened to the elbow they are finished with a pretty turn-back cuff.

A three-piece skirt completes the dress.  This is arranged with an underturned plait at the center of the back and at each of the side seams, so that there is a little fulness for the comfort of the child, while the appearance of extreme slenderness is still maintained.  A small bag hanging from the belt takes the place of a pocket, and adds a touch of novelty.

These dresses are usually made of linen or of heavy gingham.  They are also pretty in ratine, percale, cotton voile, and in many other wash-fabrics.

The dress-pattern, No. 6304, is cut in sizes for 2, 4, 6 and 8 years.  To make the dress in the medium size will require 2 yards of 36-inch material, with 3/4 of a yard of 27-inch contrasting goods to trim.  Price of pattern, 10 cents.

Girls’ Box-Plaited Dress

Box plaits are always stylish, and when they are made the full length of the dress they are especially becoming to the long-bodied, short-legged figure of childhood.

In this model, No. 6287, three plaits are used in front and back, and they extend unbroken to the hem of the dress.  The central plait in the back extends over the curved band which trims the neck, and under it the closing is concealed.  The neck is round, and the sleeves, may be either short or long.

As the garment is illustrated it is made of white linen, with bands of embroidery between the plaits.  This mode of making is very pretty and may be used for other materials, such as batiste, gingham, pique, and the like.  If ratine is used for the dress, heavy macrame lace will make a pretty substitute for the embroidery.

The dress-pattern. No. 6287, is cut in sizes for 6, 8, 10 and 12 years.  To make the dress in the medium size will require 3 1/8 yards of 36-inch material.  Price of pattern, 10 cents.

Girls’ Coat

A natty coat for summer wear may be made by this design, No. 6294.  Made in linen, pique, moire or serge, it will be serviceable and stylish.

The coat is made with blouse and skirt in separate parts.  The blouse is very open, and the edges are trimmed with a shawl-collar.  The three-gore skirt is very scant, and is attached to the blouse beneath a belt.  Long sleeves end in a simple coat-cuff.

The coat-pattern, No. 6294, is cut in sizes for 4, 6, 8, 10 and 12 years.  To make the coat in the medium size will require 3 5/8 yards of 36-inch material.  Price of pattern, 10 cents.

 

Garments Easy To Make

Girls’ Dress

In this design, No. 6305, we have one of the late models of this season.  The little frock is made of pale-blue linen, trimmed with heavy net collar and cuffs.

The characteristic feature of this dress is the long shoulder, which extends far down on the arm and in reality forms part of the small sleeve.  This ends at the elbow where there is the usual cuff.  The dress closes, in front, a little to the left of the center, and a pretty collar buttons to the edge of the neck.

In addition to linen, which is always cool and serviceable, there is plain colored gingham, and also ratine, cotton voile, and many other wash-fabrics.

The dress-pattern, No. 6305, is cut in sizes for 6, 8, 10 and 12 years.  To make the dress in the medium size will require 2 5/8 yards of 36-inch material.  Price of pattern, 10 cents.

 

Boys’ Suit

In this suit, No. 6314, we have the middy idea applied to the coat-blouse.  This coat is straight, and may be worn on the outside, over the trousers, or gathered and slipped inside them.  The neck is trimmed with a wide collar, the sleeves are plain, and there is a small, slash pocket on one breast.  The trousers have the straight lower edge.

Lightweight serge or other woolen material, khaki, linen, gingham, etc., are suitable materials for a suit of this kind,

The suit-pattern, No. 6314, is cut in sizes for 2, 4 and 6 years.  To make the suit in the medium size will require 2 yards of 36-inch material.  Price of pattern, 10 cents.

Boys’ Blouse-Suit

All boys like the blouse, suit, and it is one of the most simple to make and to launder.  This model, No. 6306, has a plain shirt, with sleeve in regulation style, ending in a cuff, and with a rounded collar at the neck.  The feature of the suit is found in the straight-edge trousers, which are open at the knee, contrary to the custom of former seasons.

This suit may be made of linen, gingham, khaki, lightweight woolen goods, and the like.  If preferred, the trousers may be of woolen material, and the blouse of something that will wash.

This pattern, No. 6306, is cut in sizes for 6, 8, 10 and 12 years.  To make the suit in the medium size will require 2 3/4 yards of 36-inch material.  Price of pattern, 10 cents.

 

 

 

 

 

A Bit of Macrame Weaving

1913, August, page 16

New ideas are constantly coming to the fore in the realm of needlecraft; and the simpler and more rapidly executed one is the greater the favor accorded it.

A little account of macramé weaving will be sure to interest the needleworker who delights in “trying new things.”

The work is done on linen with twine-colored linen thread.  Mark out with a pencil a square which runs with the weave of the goods.  Cut the lines and buttonhole the edges in a border about one eighth of an inch wide.  From the opposite corners run thread to simulate the diagonals of a square.  Make four of them so as to have a firm foundation for your work.

Now use four threads to indicate each diameter of the square and catch all the cross lines together at the center.

From this begin to weave a central star, a point on each ray of the framework.  Go over and under the four threads, which you have divided in two; under two, over two, turning around and weaving back and forth until you have mad the section the length desired.  Tighten the threads at the end, and pass on the wrong side back to the center of the square.  Continue this way on each of the radiating lines.  When you have finished you will have eight points for the star.

Run cross threads that connect the ends of the diameters and parallel lines which are halfway between these and the corners of the square.  You have now made a fairly good framework on which you can weave a very attractive design.

At each corner make a four-pointed star, that on account of its short petals will look like a small flower.

Use a latticework idea to fill in the spaces between these woven motifs.  Add lines of thread, and whip back along them, securing at the buttonholes edges of the square.  Little knots and loops will break up the work, giving a lacy effect.

When you have a sufficient number of crossed lines, weave as you would in darning a stocking.  Let the threads be fairly open when finished.  Little squares of this darned work will make a beautiful pattern.  On them you can apply stars of woven design made just like the central star.

Finish the whole motif by circular threads, which are run around the spokes and caught at every one by knotting.  Pillows, scarfs, and centerpieces enriched by this kind of needlecraft are things of beauty.

The work is particularly effective over contrasting satin.  It can be done in colors on gray or tan linen, the shade of embroidery being matched by the slip under the pillow or an inset panel under a runner.

One attempt will show how decorative this macramé work is.  It will be an easy matter to ring the changes on the pattern given.

 

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.

“Dame Crump” in Filet Crochet

By Margaret M. Windon
1913 08 page 15

 

The size of this square when completed depends on the material used in making it.  Unbleached or gray linen thread No. 40 or No. 50, makes a handsome cover for a sofa-pillow, or crochet-cord may be used if preferred.  The great charm of filet-crochet lies in the evenness with which the stitches are placed, and their uniformity.  An excellent way to decide on the size which a certain thread will produce is to crochet a chain one inch long, counting the stitches; to determine the entire length of chain is then a mere question of multiplication.

Commence with a chain of 206 stitches, allowing for 67 spaces and 5 stitches to turn, for 1^st space.

1.      Miss 7 stitches, a treble in next, (chain 2, miss 2, 1 treble in next, forming a space) 66 times, turn.

2.     Chain 5, treble in next treble (this always for 1^st space), 195 trebles, 1 space, turn.

3.     Chain 5, 4 trebles in 4 trebles, (19 spaces, 10 trebles, counting all) twice, 19 spaces, 4 trebles, 1 space, turn.

4.     Chain 4, 4 trebles, 11 spaces, 25 trebles, 3 spaces, 58 trebles, 3 spaces, 25 trebles, 11 spaces, 4 trebles, 1 space, turn.

5.     Chain 5, 4 trebles, 1 space, 4 trebles, 4 spaces, 22 trebles, 2 spaces, 7 trebles, 2 spaces, 76 trebles, 2 spaces, 7 trebles, 2 spaces, 22 trebles, 4 spaces, (4 trebles, 1 space) twice, turn.

6.     Chain 5, 4 trebles, 3 spaces, 10 trebles, 3 spaces, 7 trebles, 2 spaces, 7 trebles, 1 space, 16 trebles, 20 spaces, 16 trebles, 2 spaces, 7 trebles, 3 spaces, 4 trebles, 3 spaces, 10 trebles, 2 spaces, 7 trebles, 1 space, turn.

7.     Chain 5, 4 trebles, 1 space, 7 trebles, 5 spaces, 4 trebles,3 spaces, 4 trebles, 2 spaces, 13 trebles, *12 spaces, 22 trebles, 6 spaces, 13 trebles; work back from *, ending with 1 space.

8.     Chain 5, 7 trebles, 3 spaces, 7 trebles, 1 space, 4 trebles, 3 spaces, 4 trebles, 1 space, 13 trebles, *15 spaces, 25 trebles, 6 spaces; work back from *.

9.     Chain 5, 4 trebles, 3 spaces, 13 trebles, 3 spaces, 4 trebles, 1 space, 10 trebles, *5 spaces, 10 trebles, 1 space, 4 trebles, 22 spaces; work back from *.

10.  Chain 5, 4 trebles, 3 spaces, 13 trebles, 2 spaces, 4 trebles, 1 space, *10 trebles, 5 spaces, 25 trebles, 2 spaces, 10 trebles, 5 spaces, 4 trebles, 2 spaces, 4 trebles, 1 space, 7 trebles, 6 spaces, 7 trebles; work back from *.

11.  Chain 5, 13 trebles, 1 space, 7 trebles, 2 spaces, 4 trebles, 1 space, *7 trebles, 6 spaces, (4 trebles, 1 space) twice, 7 trebles, 6 spaces, 16 trebles, 15 spaces, 10 trebles; work back from *.

12.  Chain 5, 16 trebles, 3 spaces, 4 trebles, 1 space, *10 trebles, 5 spaces, 22 trebles, 2 spaces, 16 trebles, 1 space, 4 trebles, 7 spaces, 4 trebles, 11 spaces, 7 trebles; work back from *.

13.  Chain 5, 16 trebles, 2 spaces, 4 trebles, 1 space, *7 trebles, 22 spaces, 16 trebles, 1 space, 31 trebles, 4 spaces, 10 trebles; work back from *.

14.  Chain 5, 16 trebles, 1 space, 4 trebles, 1 space. *10 trebles, 16 spaces, 4 trebles, (1 space, 7 trebles) twice, 1 space, 13 trebles, 16 spaces, 7 trebles; work back from *.

15.  Chain 5, 13 trebles, 2 spaces, 4 trebles, 1 space, 7 trebles, *1 space, 10 trebles, 11 spaces, 25 trebles, 2 spaces, 10 trebles, 8 spaces, 4 trebles, 1 space, 7 trebles, 1 space, 4 trebles, 3 spaces; work back from *.

16.  Chain 5, 4 trebles, 4 spaces, 4 trebles, (1 space, 7 trebles) twice, (1 space, 4 trebles) twice, 2 spaces, 4 trebles, 8 spaces, 10 trebles, 2 spaces, 7 trebles, 1 space, 7 trebles, 2 spaces, 4 trebles, 8 spaces, 22 trebles, 1 space, 7 trebles, 1 space, 4 trebles, 4 spaces, 4 trebles, 1 space, turn.

17.  Chain 5, 7 trebles, 3 spaces, 4 trebles, (1 space, 7 trebles) twice, 2 spaces, 4 trebles, 1 space, 13 trebles, 11 spaces, 7 trebles, 2 spaces, 10 trebles, 7 spaces, 4 trebles, 3 spaces, (4 trebles, 1 space, 7 trebles, 1 space)

18.  Chain 5, 7 trebles, 2 spaces, 4 trebles, 1 space, 7 trebles, 2 spaces, 4 trebles, 1 space, 4 trebles, 3 spaces, 4 trebles, 10 spaces, 10 trebles, 2 spaces, 7 trebles, 7 spaces, 19 trebles, 1 space, 13 trebles, 1 space, 10 trebles, 1 space, 7 trebles, 1 space, 4 trebles, 2 spaces, 7 trebles, 1 space, turn.

19.  Chain 5, 7 trebles, 2 spaces, 4 trebles, (1 space, 7 trebles) twice, 3 spaces, 10 trebles, 1 space, 7 trebles, (4 spaces, 7 trebles) twice, 6 spaces, 16 trebles, 9 spaces, 4 trebles, 2 spaces, 4 trebles, 1 space, 7 trebles, 1 space 4 trebles, 2 spaces, 7 trebles, 1 space, turn.

20.  Chain 5, 7 trebles, 1 space, 4 trebles, 1 space, 7 trebles, 5 spaces, 4 trebles, 8 spaces, 37 trebles, 11 spaces, 28 trebles, 1 space, 7 trebles, 2 spaces, 7 trebles, 1 space, 4 trebles, 1 space, 7 trebles, 1 space, turn.

21.  Chain 5, 4 trebles, 2 spaces, 4 trebles, (1 space, 7 trebles, 1 space, 13 trebles) twice, 6 spaces, 64 trebles, 5 spaces, 4 trebles, 5 spaces, 7 trebles, 1 space, 4 trebles, 2 spaces, 4 trebles, 1 space, turn.

22.  Chain 5, (4 trebles, 1 space) twice, 7 trebles, 12 spaces, 19 trebles, 1 space, 4 trebles, 1 space, 40 trebles, 6 spaces, 7 trebles, 3 spaces, (4 trebles, 1 space) twice, 4 trebles, 3 spaces, 7 trebles, (1 space, 4 trebles) twice, 1 space, turn.

23.  Chain 5, (4 trebles, 1 space) twice, 7 trebles, 3 spaces, 4 trebles, 6 spaces, 13 trebles, 5 spaces, 22 trebles, (1 space, 4 trebles) 5 times, 1 space, 13 trebles, 12 spaces, 7 trebles, (1 space, 4 trebles) twice, 1 space, turn.

24.  Chain 5, (4 trebles, 1 space) twice, 7 trebles, 12 spaces, 7 trebles, (1 space, 4 trebles) 8 times, 1 space, 10 trebles, 6 spaces, 4 trebles, 1 space, 10 trebles, 8 spaces, 7 trebles, (1 space, 4 trebles) twice, 1 space, turn.

25.  Chain 5, 7 trebles, 1 space, 7 trebles, 2 spaces, 7 trebles, 5 spaces, 4 trebles, 1 space, 4 trebles, 8 spaces, 10 trebles, (1 space, 4 trebles) 8 times, 1 space, 7 trebles, 9 spaces, 7 trebles, 2 spaces, (7 trebles, 1 space) twice, turn.

26.  Chain 5, (7 trebles, 1 space) twice, 13 trebles, 8 spaces, 7 trebles, (1 space, 4 trebles) twice, 7 spaces, (4 trebles, 1 space) 3 times, 7 trebles, 8 spaces, 10 trebles, 5 spaces, 13 trebles, (1 space, 7 trebles) twice, 1 space, turn.

27.  Chain 5, (7 trebles, 1 space) twice, 4 trebles, 1 space, 10 trebles, *4 spaces, 4 trebles, 1 space, 4 trebles, 8 spaces, 7 trebles, 6 spaces, 19 trebles, (a space, 4 trebles) twice, 1 space, 7 trebles, 7 spaces; work back from *.

28.  Chain 5, 7 trebles, 1 space, 7 trebles, 4 spaces, 7 trebles, *7 spaces, 7 trebles, (1 space, 4 trebles) twice, 1 space, 37 trebles, 1 space, 4 trebles, 8 spaces, 4 trebles, 6 spaces; work back from *, ending with 1 space.

29.  Chain 5, 4 trebles, 1 space, 7 trebles, 5 spaces, 7 trebles, *6 spaces, 4 trebles, 8 spaces, 43 trebles, (1 space, 4 trebles) twice, 1 space, 7 trebles, 7 spaces; work back from *.

30.  Like 29^th row to *; 7 spaces, 7 trebles, (1 space, 4 trebles) twice, 1 space, 43 trebles, 8 spaces, 4 trebles, 6 spaces; like 29^th back from *.

31.  Chain 5, 4 trebles, 1 space, 7 trebles, 4 spaces, 10 trebles, *15 spaces, 43 trebles, (1 space, 4 trebles) twice, 1 space, 7 trebles, 7 spaces; work back from *.

32.  Chain 5, 4 trebles, 1 space, 7 trebles, 3 spaces, 13 trebles, *7 spaces, 7 trebles, (1 space, 4 trebles) twice, 1 space, 48 trebles, 15 spaces; work back from *.

33.  Chain 5, 7 trebles, 3 spaces, 16 trebles, *17 spaces, 43 trebles, (a space, 4 trebles) twice, 1 space, 7 trebles, 8 spaces; work back from *.

34.  Chain 5, 28 trebles, 9 spaces, 7 trebles, (a space, 4 trebles) twice, 1 space, 43 trebles, 17 spaces, 28 trebles, 1 space, turn.

35.  Chain 5, 22 trebles, 19 spaces, 43 trebles, (1 space, 4 trebles) twice, 1 space, 7 trebles, 11 spaces, 22 trebles, 1 space, turn.

36.  Chain 5, 10 trebles, 1 space, 13 trebles, *10 spaces, 7 trebles, (1 space, 4 trebles) twice, 1 space, 19 trebles, 1 space, 25 trebles, 18 spaces; work back from *.

37.  Chain 5, 13 trebles, 22 spaces, 25 trebles, 1 space, 19 trebles, (1 space, 4 trebles) twice, 1 space, 7 trebles, 14 spaces, 13 trebles, 1 space, turn.

38.  Chain 5, 4 trebles, 17 spaces, 7 trebles, (1 space, 4 trebles) twice, 1 space, 19 trebles, 1 space, 25 trebles, 25 spaces, 4 trebles, 1 space, turn.

39.  Chain 5, 7 trebles, 17 spaces, 4 trebles, 6 spaces, 16 trebles, 1 space, 4 trebles, 2 spaces, 19 trebles, (1 space, 4 trebles) twice, 1 space, 7 trebles, 16 spaces, 7 trebles, 1 space, turn.

40.  Chain 5, 7 trebles, 5 spaces, 4 trebles, 10 spaces, *7 trebles, (1 space, 4 trebles) twice, 1 space, 16 trebles, 1 space, 7 trebles, 2 spaces, 16 trebles, 4 spaces, 4 trebles, 1 space, 4 trebles; work back from *.

41.  Chain 5, 7 trebles, 5 spaces, 7 trebles, 1 space, 4 trebles, *7 spaces, 4 trebles, 2 spaces, 4 trebles, 3 spaces, 4 trebles, 1 space, 10 trebles, (1 space, 13 trebles) twice, (1 space, 4 trebles) 3 times, 8 spaces; work back from *.

42.  Chain 5, 7 trebles, 8 spaces, 4 trebles, 2 spaces, 10 trebles, *8 spaces, (4 trebles, 1 space) 3 times, (13 trebles, 1 space) twice, 10 trebles, 1 space, 7 trebles, (2 spaces, 4 trebles) twice, 7 spaces; work back from *.

43.  Chain 5, 7 trebles, 3 spaces, 7 trebles, 1 space, 7 trebles, *8spaces, 4 trebles, 3 spaces, 4 trebles, 2 spaces, 4 trebles, 1 space, 7 trebles, 1 space, 16 trebles, 1 space, 13 trebles, (1 space, 4 trebles) 3 times, 9 spaces; work back from *.

44.  Chain 5, 10 trebles, 3 spaces, 16 trebles, *8 spaces, (4 trebles, 1 space) twice, 4 trebles, 2 spaces, 10 trebles, 1 space, 7 trebles. 2 spaces, 4 trebles, 1 space, 10 trebles, 1 space, 7 trebles, 3 spaces, 4 trebles, 6 spaces; work back (always from *).

45.  Chain 5, 7 trebles, 1 space, 4 trebles, 2 spaces, 10 trebles, *10 spaces, 4 trebles, 7 spaces, 10 trebles, 1 space, 7 trebles, 1 space, 4 trebles, 1 space, 10 trebles, 2 spaces, (4 trebles, 1 space) twice, 4 trebles, 10 spaces; work back, ending always with 1 space.

46.  Chain 5, 7 trebles, 2 spaces, 7 trebles, 1 space, 10 trebles, 9 spaces, *(4 trebles, 1 space) twice, 7 trebles, 1 space, 10 trebles, 1 space, 4 trebles, 1 space, 19 trebles, 7 spaces, 4 trebles; work back.

47.  Chain 5, 7 trebles, (2 spaces, 4 trebles) twice, 11 spaces, *4 trebles, 2 spaces, 7 trebles, 3 spaces, 22 trebles, 1 space, 13 trebles, (1 space, 4 trebles) twice, 7 trebles; work back.

48.  Chain 5, 7 trebles, 3 spaces, 4 trebles, *14 spaces, (4 trebles, 1 space) 3 times, 34 trebles, 3 spaces, 10 trebles, 2 spaces, 4 trebles, 13 spaces; work back.

49.  Like 48^th to *; 14 spaces, 4 trebles, 2 spaces, 10 trebles, 2 spaces, 22 trebles, 1 space, 10 trebles, (1 space, 4 trebles) 3 times, 14 spaces; work back.

50.  Chain 5, 7 trebles, 4 spaces, 4 trebles, 13 spaces, *(4 trebles, 1 space) twice, 4 trebles, 2 spaces, 7 trebles, 1 space, 22 trebles, 2 spaces, 10 trebles, 2 spaces, 4 trebles; work back.

51.   Chain 5, 7 trebles, 5 spaces, 7 trebles, 12 spaces, *4 trebles, 2 spaces, 7 trebles, 3 spaces, 13 trebles, 1 space, 7 trebles, (1 space, 4 trebles) 3 times; work back.

52.  Chain 5, 7 trebles, 5 spaces, (4 trebles, 1 space) twice, 7 trebles, 8 spaces, *(4 trebles, 1 space) twice, 4 trebles, 6 spaces, 4 trebles, 1 space, 7 trebles, 2 spaces, 10 trebles, 2 spaces, 4 trebles; work back.

53.  Chain 5, 7 trebles, 5 spaces, 7 trebles, 1 space, 7 trebles, *7 spaces, 4 trebles, 2 spaces, 4 trebles, 1 space, 13 trebles, 1 space, 7 trebles, 3 spaces, 13 trebles, (1 space, 4 trebles) 3 times, 9 spaces; work back.

54.  Chain 5, (10 trebles, 1 space) twice, 19 trebles, *8 spaces, (4 trebles, 1 space) twice, 22 trebles, 1 space, 7 trebles, 1 space, 13 trebles, (1 space, 4 trebles) twice, 8 spaces; work back.

55.  Chain 5, 10 trebles, 2 spaces, 22 trebles, *9 spaces, 4 trebles, 2 spaces, 13 trebles, 1 space, 28 trebles, 2 spaces, 4 trebles, 10 spaces; work back.

56.  Chain 5, 10 trebles, 3 spaces, 7 trebles, 1 space, 4 trebles, 1 space, 7 trebles, *10 spaces, 4 trebles, 1 space, 31 trebles, 2 spaces, 13 trebles, 1 space, 4 trebles, 9 spaces; work back.

57.  Chain 5, 10 trebles, 2 spaces, 7 trebles, 1 space, 4 trebles, *14 spaces, 4 trebles, (1 space, 7 trebles) twice, 1 space, 19 trebles, 1 space, 10 trebles, 15 spaces; work back.

58.  Chain 5, 4 trebles, 1 space, 7 trebles, 4 spaces, 4 trebles, *15 spaces, 13 trebles, 1 space, 16 trebles, 1 space, 10 trebles, 2 spaces, 10 trebles, 13 spaces; work back.

59.  Chain 5, 4 trebles, 1 space, 7 trebles, 3 spaces, 4 trebles, *12 spaces, 10 trebles, 1 space, 19 trebles, 4 spaces, 16 trebles, 14 spaces; work back.

60.  Chain 5, 4 trebles, 1 space, 7 trebles, 3 spaces, 4 trebles, 1 space, 4 trebles, *14 spaces, 16 trebles, 4 spaces, 19 trebles, 1 space, 10 trebles, 12 spaces; work back.

61.  Chain 5, 4 trebles, 1 space, 7 trebles, 1 space, 16 trebles, *13 spaces, 7 trebles, 2 spaces, 7 trebles, 1 space, 4 trebles, 1 space, 10 trebles, 1 space, 16 trebles, 14 spaces; work back.

62.  Chain 5, (7 trebles, 1 space) twice, (4 trebles, 1 space) twice, 4 trebles, *13 spaces, 13 trebles, 1 space, 10 trebles, 1 space, 7 trebles, 2 spaces, 10 trebles, 2 spaces, 4 trebles, 11 spaces, 4 trebles, 1 space, 10 trebles, 2 spaces, 4 trebles, 1 pace, 7 trebles, 1 space.

63.  Chain 5, 7 trebles, 1 space, 4 trebles, 2 spaces, 4 trebles, (1 space, 4 trebles) twice, 10 spaces, 4 trebles, 2 spaces, 4 trebles, 5 spaces, 10 trebles, 1 space, 10 trebles, 2 spaces, 7 trebles, 1 space, 4 trebles, 11 spaces; work back fro * in 62d row.

64.  Chain 5, 7 trebles, 1 space, 7 trebles, 5 spaces, 4 trebles, 11 spaces, 7 trebles, 2 spaces, 13 trebles, 1 space, 13 trebles, 5 spaces, 4 trebles, 3 spaces, 4 trebles, 9 spaces, 4 trebles, 3 spaces, 4 trebles, (1 space, 7 trebles) twice, 1 space, turn.

65.  Chain 5, 7 trebles, 1 space, 7 trebles, 5 spaces, 4 trebles, *8 spaces, 4 trebles, 4 spaces, 4 trebles, 6 spaces, 13 trebles, 1 space, 19 trebles, 12 spaces; work back.

66.  Chain 5, (4 trebles, 1 space) twice, 7 trebles, 4 spaces, 4 trebles, 2 spaces, 4 trebles, 10 spaces, 10 trebles, 17 spaces, 4 trebles, 5 spaces, (4 trebles, 1 space) 3 times, turn.

67.  Chain 5, (4 trebles, 1 space) twice, 7 trebles, 3 spaces, 4 trebles, 1 space, 7 trebles, 13 spaces, *19 trebles, 1 space, 19 trebles; work back.

68.   Chain 5, (4 trebles, 1 space) twice, 7 trebles, 3 spaces, 4 trebles, 1 space, 4 trebles, *17 spaces, 31 trebles, 14 spaces; work back.

69.  Chain 5, 4 trebles, 2 spaces, 4 trebles, 1 space, 7 trebles, (2 spaces, 4 trebles) twice, *12 spaces, 7 trebles, 1 space, 16 trebles, 19 spaces; work back.

70.  Chain 5, 4 trebles, 2 spaces, 4 trebles, 1 space, 7 trebles, 1 space, 4 trebles, *4 spaces, 4 trebles, 14 spaces, 13 trebles, 3 spaces, 19 trebles, 11 spaces, 4 trebles, 3 spaces; work back.

71.  Chain 5, 4 trebles, 3 spaces, 4 trebles, 1 space, 7 trebles, *4 spaces, 4 trebles, 9 spaces, 4 trebles, 1 space, 13 trebles, 2 spaces, 10 trebles, (1 space, 4 trebles) twice, 10 spaces, 4 trebles, 3 spaces, 4 trebles, 5 spaces; work back.

72.  Like 71^st to *; 6 spaces, 4 trebles, 1 space, 7 trebles, 10 spaces, 10 trebles, 1 space, 4 trebles,1 space, 10 trebles, 4 spaces, 7 trebles, 9 spaces, 4 trebles, 4 spaces; work back.

73.  Chain 5, 4 trebles, 4 spaces, 4 trebles, 1 space, 7 trebles, *2 spaces, 4 trebles, 1 space, 4 trebles, 9 spaces, 19 trebles, 1 space, 19 trebles, 12 spaces, 7 trebles, 1 space, 7 trebles, 3 spaces; work back.

74.  Chain 5, 7 trebles, 3 spaces, 4 trebles, 1 space, 7 trebles, *4 spaces, 19 trebles, 12 spaces, 4 trebles, 3 spaces, 22 trebles, 9 spaces, 4 trebles, 4 spaces; 2o4k back.

75.  Chain 5, 7 trebles, 2 spaces, (4 trebles, 1 space) twice, 7 trebles, *4 spaces, 4 trebles, 9 spaces, 4 trebles, 5 spaces, 19 trebles, 9 spaces, 16 trebles, 1 space, 10 trebles, 1 space; work back.

76.  Chain 5, 13 trebles, 2 spaces, 4 trebles, 1 space, 10 trebles, *2 spaces, 13 trebles, 11 spaces, 10 trebles, 1 space, 25 trebles, 14 spaces; work back.

77.  Chain 5, 4 trebles, 2 spaces, 4 trebles, 3 spaces, 4 trebles, 1 space, 10 trebles, *14 spaces, 19 trebles, 1 space, 13 trebles, 10 spaces, 10 trebles, 1 space, 4 trebles, 1 space; work back.

78.  Chain 5, 4 trebles, 1 space, 4 trebles, 5 spaces, 4 trebles, 1 space, 10 trebles, *2 spaces, 4 trebles, 1 space, 7 trebles, 10 spaces 13 trebles, 2 spaces, 4 trebles, 16 spaces; work back.

79.  Chain 5, 4 trebles, 1 space, 4 trebles, 3 spaces, 4 trebles, 2 spaces, 4 trebles, 1 space, 10 trebles, *15 spaces, 19 trebles, 16 spaces; work back.

80.  Chain 5, 4 trebles, 1 space, 4 trebles, 2 spaces, 7 trebles, 3 spaces, 4 trebles, 1 space, *10 trebles, 17 spaces, 10 trebles, 13 spaces, 16 trebles; work back.

81.  Chain 5, 4 trebles, 1 space, 4 trebles, 2 spaces, 10 trebles, 3 spaces, 4 trebles, 1 space, *13 trebles, 32 spaces, 10 trebles; work back.

82.  Chain 5, 4 trebles, 2 spaces, 10 trebles, 6 spaces, 4 trebles, 1 space, 13 trebles, *29 spaces; work back.

83.  Chain 5, 28 trebles, 4 spaces, 4 trebles, 2 spaces, 13 trebles, *25 spaces; work back.

84.  Chain 5, 10 trebles, 1 space, 13 trebles, 6 spaces, 7 trebles, 2 spaces, 16 trebles, *19 spaces; work back.

85.  Chain 5, 7 trebles, 1 space, 10 trebles, 1 space, 7 trebles, 7 spaces, 7 trebles, 7 spaces, 7 trebles, 2 spaces, *76 trebles; work back.

86.  Chain 5, 4 trebles, 2 spaces, 4 trebles, 1 space, 4 trebles, 2 spaces, 7 trebles, 8 spaces, 7 trebles, 3 spaces, *58 trebles; work back.

87.  Same as 3d row.

88.  Same as 2d row.

89.  Same as 1^st row, all spaces.

This completes the square.  To it may be added any border desired, more or less elaborate, or fringe may be knotted in.  The simple scallop of the model makes a pretty finish, and is worked as follows:

1.      Fasten in at the corner space, make a shell of 4 double trebles (chain 4 for 1^st), 2 chain and 4 double trebles in the space, fasten in next space with 1 double, *miss 1 space, shell in next, miss 1 space, fasten in next, chain 2, fasten in next; repeat from * around, making a shell in corner space and fastening in the space each side to give the necessary fulness.

2.     Make 2 trebles between 3d and 4^th double trebles of corner shell, chain 1, shell of 3 trebles, 1 chain and 3 trebles under 2 chain in center of shell, chain 1, 2 trebles between 6^th and 7^th double trebles, a treble in the fastening double, *work over next shell as directed, 4 trebles under 2 chain, repeat, working the corners like 1^st corner.

3.     Chain 3, miss 1, fasten; repeat around, missing 2 stitches in depth of scallop to prevent too much fulness.

This is a quaint and charming design for filet-darning, on netting, or it may be cross-stitched.