Needle and brush

Front matter

iilstf^^W!3

NEEDLE AND BRUSH:

USEFUL AND DECORATIVE.

Chapter I. Sorrento Embroidery

PAGE

^3

CHAPTER n.

ROMAN EMBROIDERY,

CHAPTER HI.

PIANO-COVERS,

CHAPTER IV.

CHAIR DECORATIONS AND CUSHIONS,

CHAPTER V.

TABLES AND TABLE-COVERS,

CHAPTER VI.

FANCY LAMBREQUINS,

NeeDLG AND BH^SH.

CO

o

o o

C03SrTE!3Sr T s .

CHAPTER VII.

SIDEBOARD AND SHELF DRAPERY,

O

SACHETS,

CHAPTER VIII.

CHAPTER IX.

ARTISTIC DESIGNS FOR PATCHWORK QUILTS AND SOFA-PILLOW, ....

CHAPTER X.

TENNIS-RACKET COVER,

CHAPTER XI.

FANCY BOOK-COVER, AND CASES FOR BOOKS AND ENGRAVINGS,

CHAPTER XII.

DECORATED EASEL,

CHAPTER XIII.

WALI> DECORATIONS, CALENDARS AND SCREENS,

CHAPTER XIV.

FOR AND ABOUT THE WORK-TABLE,

CHAPTER XV.

CHAMOIS .AND CELLULOID ARTICLES,

CHAPTER XVI.

DECORATED THERMOMETERS,

CHAPTER XVII.

ON THE WRITING-DESK,

NeeDLe and bhqsh.

CHAPTER XVIII.

FRAME AND CASES FOR PHOTOGRAPHS,

CHAPTER XIX.

FANS, ADAPTED TO USE AND ORNAMENT,

CHAPTER XX.

FANCY FRAMES FOR MIRRORS AND PICTURES,

^65

CHAPTER XXI.

FANCY BASKETS,

CHAPTER XXII.

PRACTICAL PAPER-POCKETS,

CHAPTER XXIII.

ARTICLES FOR THE TOILETTE TABLE,

CHAPTER XXIV

PINCUSHIONS,

CHAPTER XXV.

HELPS FOR AMATEUR ARTISTS,

CHAPTER XXVI.

DECORATION OF DAISIES IN OIL COLORS,

CHAPTER XXVII.

DECORATION OF AZALEAS IN OIL COLORS,

CHAPTER XXVIII.

^ FLOWER PAINTING IN OILS,

NeeDLG AND BR^SM.

COlSTTIEJl^rT S .

CHAPTER XXIX.

PAINTING ON GLASS, .

I'AGE

CHAPTER XXX.

PAINTING ON PLAQUES,

CHAPTER XXXI.

THREE-FOLD SCREEN AND DESIGNS FOR DECO- RATING IT, ... .

CHAPTER XXXII.

DESIGNS FOR DECORATIVE PAINTING,

CHAPTER XXXIII.

DESIGN IN KENSINGTON PAINTING : OWLS ON A BRANCH. .....

CHAPTER XXXIV.

AUTUMN-LEAF DESIGN FOR EMBROIDERING OR PAINTING, .....

CHAPTER XXXV.

SKETCHING IN WATER COLORS,

CHAPTER XXXVI.

LUSTER PAINTING,

CHAPTER XXXVII.

CRYSTALLIZATION PAINTING, .

CHAPTER XXXVIII.

PAINTING ON CHINA,

^9_

CHAPTER XXXIX.

SI'ATTKR-WORK,

A t)i

BEDLB Al

BRUS

CHAPTER I.

SGRREHTQ EMBRGIDERY.

OTH needle and brush are employed in the execution of the fascinating variety of decorative work known as Sorrento embroidery. Linen sateen is the material oftenest chosen for a background, and the purposes to which such work is best adapted are those which permit of developing bold effects. The sofa cushion chosen as an exposition of the work in the present instance is made of dark green plush and linen sateen of a slightly creamy shade. The plush forms the under side, and the linen, upon which the embroidery is developed, forms the other. Before the cushion is made up, the linen is prepared by being stamped with a design showing oak leaves and acorns in combination with an effective arrangement of conventional curves and angles. One-fourth of this design is comprised in Diagrams A and B, which are illustrated on succeeding pages, and are of the full size required. By placing the corresponding edges of these two diagrams together with the corresponding dotted lines marked A and B together, one-fourth of the entire design will result, and by quadrupling the portion thus achieved the entire pattern will be reproduced. The remaining dotted lines show where the corresponding sections come together, and by comparing the diagrams with the cushion illustrated the process of enlargement will be fully comprehended. When the design has been traced, it is gone over with liquid dye in a dark green shade, the application being made with a brush that is not soft enough to take up much at a time. The liquid is applied with quick, even strokes, and extreme care is exercised lest it go beyond the outlines, as the beauty x)i the effect depends on the regularity with which the work is done and the strength of the contrast between the design and its background. When the design has been tinted in the requisite color and given plenty of time to dry, all its outlines are bordered with a button-hole stitching done with heavy rope-silk of the exact shade of the dye, and upon the background a network of outline stitching, broken here and there by a loop stitch, is made. The leaves are then veined with silk somewhat finer, but of the same shade, and the cover is ready for making up. The effect suggests rich applique work, and the process as thus described is illustrated at Figure No. 2 on another page. Sometimes it is the background wliicli is tinted as pictured at Figure their experience yet to undergo, the maxim of

Xo. 3, while the design is left in the color of "make haste slowly" may be repeated with

the linen ; Figure No. 3 also ijluslrates the emphasis. We have spoken of the linen

button-hole stitching very plainly, while sateen so much favored for this class of work.

Figure Xo. 2 clearly exemplifies the process It is sometimes called "art linen '" and is very

of veining. \Mien the design is geometric or firmly and smoothly woven; it is obtainable

architectural, or in any severely conventional in cream and pure white shades, and, when

FiGURK No. I.— SuKA Cushion Decouated wrrii Sokrenk.' I^miuioidkry.

style, the tinted background is effective ; but foliage appears best when it is itself tinted.

yVlmost everybody who has experimented much with the brush will exercise personal preference regarding the liquid dyes which are us(m1 for this class of work, and to such only the hint to profit by experience need be given. To such, however, as liave most of enriched in the manner described, is counted suitable for association with the richest fabrics employed for cushions, portieres and other decorative articles. Any other material woven so that the dyes v.ill not spread too quickly may be used instead. Art linen or linen sateen resembles what is more familiarly or generally known as linen drilling.

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Those who attempt Sorrento emljioiclery with- certain effects, whicli to combine, and how

out previous experimental knowledge, usually much they may 'be diluted. If, however, the

find Grenies' dyes the easiest to work with, be- worker desires but one tint and is certam of

cause with them they may procure a medium obtaining that in perfection at the shops where

Figure No. 2.— Showing the Efi-ect oe a Tinted DKsrG^ for mixing with them, which imparts body .such articles are kept, she may proceed even enougli to iiold them within even the most cir- more fearlessly, but in no instance should she cumscribed space, and because they are so few apply it to the article to be embroidered within number that a few trials will convince her out first testing it upon a scrap of the same texwhich are the pn^per ones to use to produce ture. The fabric should be laid over a sheet

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of blotting paper in order to arrest the super- previous warning, that practice alone can teach

fluous moisture, and the first strokes should the process thoroughl}'. Beginners will do

be made toward the edges of the design, in well to limit their first efforts to producing

order to guard against overrunning. In gen- uniformly tinted designs, but when they have

Figure NO. 3. — Siiuwi.N(; tiik Efkkct uk a Tinted Background.

eral, it may be said that any dyes and any progressed a little in this direction they will

materials adapted to tapestry painting may be understand the possibility of developing shaded

used for Sorrento work. ]5ut it must be tints and of uniting different hues in the same

urged, even witli the danger of repeating our design.

NeeDLG AND gi^QSH.

Chapter II. Rqmah Embr81dery

HIS is one of the most set of toilette articles comprisjng a cushion,

beautiful varieties of perfume bottle and bureau scarf,

fancy-work in vogue, Figures Nos. i and 2 show the style of the

and one that, owing to its cushion and bottle. The latter is round in

adaptability to articles of shape, and easily procurable for a small sum.

use and adornment, may The cushion is oblong in shape and is simply

be truly classed among the most practical a bag filled very solidly with whatever mate-

FlGURES Nos. I AND 2. — CUSHION AND BoTTLE.

with which a lady may employ herself. We rial is preferred and provided with an outer have selected to illustrate its development a covering of satin, which is drawn on very

NeeDLS AND BRtiSH.

smoothly. Upon the top is laid a cover of inner edge of the engraving show where to be- Roman embroidery, wrought upon linen sateen gin to increase the size. The dark background and bordered with a fringe of rings and shows where the linen is to be cut away, and

Fkjure No.

-Dksicn kok Cushion-Cover.

tassels. The design of the cover is illustrated the finish of the edges, which is button-hole

at Figure No, 3, which is one half of the actual stitching done with flax thread, is clearly

size, the design being duplicated to produce illustrated at Figure No. 7. Considerable

the requisite dimensions The letters along the care is required to insure regularity in cutting away this background, and it is a question of personal skill whether the butlon-hole stitching be done before or after the background is cut away. For one who is not an expert with the needle it would be easier to do the button-holing first, and this plan is followed by many who do not lack experience, because, they claim, the fraying or stretching of the edges often called linen drilliii:^ and by that name is easily obtained at almost any shop where such articles are kept for sale.

The ring fringe, which is such a handsome hnish for the cover, is made of silk crochetted over metal rings, the process being very accurately described and illustrated in '• Needle-craft," and a ring partially cov-

FiGURE .\u. 4. — Design iur Doi ii.k-Cover.

is thus avoided. The network or cobweb stitches are likewise done at whichever stage the worker finds most convenient. Such work progresses rapidly in deft hands and is done on silk and bolting cloth, on duck and various other fabrics as well as on the linen sateen used in the i^resent instance. The latter is ered with the tassel attached being shown at Figure No. 5 of this chapter.

Flax-thread, rope-silk or any material adapted to the making of fringes may be employed for the jnn-pose. In attaching the rings to form the fringe, their adjoining sides are connected bv invisible stitches and the

NeeBLe ftN9 bR^SHfringe «he„ completed is caught ,o .he cover cover is shown a F.gnre N . 4- He pa in tL same wav. Much of the good effect of tern is duphcated as many fmes as n c- Ron,an embroidery depends on bringing out essary to produce the ,e,u,s,te letrgth, and

Figure No. 5.— King and Tassei.

Figure No. 6.— Bureau Scare.

the pattern by laving it over a color present- the lower edge of the cover, which extends

ing a decided contrast. almost to the bottom of the bottle and has a

The design which enriches the bottle- row of button-hole stitching along the margin,

NeeDLG AND B^^SH.

Figure No. 1. — Corner Section ok Dksh.n for Uireau Scarf.

NeeDLG ilND BKQSH.

is finished with a row of r'w^^s. covered with The bureau scarf shown at Figure No. 6

silk. Rings adapted to this purpose may be is a charming exponent of Roman embroidery,

Fi(-.URE No. 8. — Ckntkr Section of En'o ok Desic.n for Bureau Scarf.

purchased readv for use at any fancy-goods and its practical value, joined to its beautiful shop. A ribbon bowed about the neck of the effect, well repays the time and expense of bottle completes the ornamentation. making it. The embroidery designs shown nggDlg and gi^cas"- at Figures Nos. 7, 8 and 9 are in the full color. Brown with ecru and red with cream, size of the sections they represent. Two are effective combinations. When the emcorner sections like Figure No. 7 and broidery is developed upon any article which one like Figure No. 8 comprise the width will require laundering it is of course best to of the embroidery at each end, and the limit the choice to fadeless colors, but when

FicuRK No. Q.— Section of Dksic.n for Sides of Bureau Scarf.

requisite length for each side is obtained by done on silk very delicate and effective conduplicating the design shown at Figure No. 9. trasts may be developed. Very delicate texi- The network may be made as simple or as ures are sometimes rendered less liable to elaborate as personal taste desires and the fray if they are sized with diluted white glue, needle-work may all be done in the same white of egg, gum-arabic or some similar shade as the material or in a contrasting mixture before the background is cut awav.

ftl^X X X XX X X X X X .^QTi^

NSeDLG anB sh^$h.

How 10 do this so as to produce a graceful junction with the silk scarf as described

effect without involving a large outlay ; or, above a piece of Irish point lace long enough

even if the expense be a minor consideration, to pass about the shelf. This may be ar-

without producing too heavy and elaborate an ranged plainly with its depth hanging below

effect is often a puzzling question. A simple the edge, and the scarf, run through a ring,

but artistic arrangement is developed as fol- disposed to overhang it slightly. A bow of

lows. A scarf of India silk, a little longer ribbon matching the scarf in hue might be

than the distance round the shelf, is bordered fastened where the draping is made with the

at the ends and at one of its sides with ring. Mantel draperies thus arranged are

thumb fringe or little ornaments sewed on to easily taken down, shaken and readjusted,

form a fringe, and is run through a brass ring and this fact alone is much in their favor,

which is concealed by being button-holed or especially where open fires are used, crochetted all over with cable silk. The ring Among the most beautiful of inexpensive

is adjusted at the center or to one side of it, material for draperies is a Japanese cotton

and the scarf is disposed with its untrimmed crape, delicately figured in gold. Pongee,

side on the shelf and its extremities falling sateen, chintz, and all materials adapted to

gracefully at the ends. The edges which rest the purpose may be arranged in the manner

upon, the shelf may be held in position by described. Sometimes two shorter scarfs are

extending them beneath the heaviest orna- passed through a large ring, and one end of

mcnts or pieces of bric-a-brac and the fulness eacii is carried to its respective end of the

may be drawn into iimumerable graceful folds shelf ; the remaining ends then disposed in

as it escapes from the ring. any pretty fashion at the center, a favorite

This arrangement is one upon which a disposal being a fan-shaped arrangement

great many variations may be rung. An ex- which displays to good advantage whatever

quisite effect is produced by using in con- decoration is upon liicm.

W.W.I

Chapter III

OW can I make a piano-cover that which may be applied to a piano-cover of

will be pretty, harmonize with felt, billiard-cloth, etc., with most effective

other furnishings and yet not re- and pleasing results. Tjs^TJT quire a large outlay of money, is I a question often asked. In this '^^^^^ °' Pi^"° Cover.

* ^ * chapter is illustrated a pretty Figure No. i. — This engraving illustrates

y cover suitable for a table or a table or piano cover that is handsome and

piano, and also a very effective border, not very expensive, if made at home. The

. HR; JpEvHii'lB^

'' 'M' 'til' "lii- '^liwi '^ iii ^ i i i riBir

iMmmr ""

Figure Nu. i.— Tahi.k ok Piano Cover.

NeeDLG AND gi^tiSMfabric is dark-red cloth, and the border is strip is pointed, the outer ends being exmade of rows of black velvet-ribbon applied tended some two or three inches beyond the

Figure No. 2. — Part ok Border Desicn.

as illustrated with fancy stitches done with edge of the cover and tipped with a fancy silk floss in bright gold. Each end of each ornament of gold and red; thus forming a

Figure No. •;. — Tart of Border Design.

3°

NeeDLG AND BI^tlSH.

handsome and rich looking fringe. Tassels may be loosened from old fringes and used with good effect, or any style of ornament may be selected. Long stitches are crossed upon the fringed ends of the ribbon, to render them lighter and more elaborate in effect. A variety of colors may be introduced in the application of the ribbon, and the cover fabric may be of any color and of any preferred material.

Border Design for a Piano-Cover. Figures Nos. 2 and 3. — These two engravings illustrate a geometrical mosaic arranged as a border to a piano-cover. The best way to proceed in duplicating the design is to trace it on parchment paper, uniting the two sections on one piece of paper according to the capital letters, and then duplicate the size as often as may be necessary to obtain the requisite dimensions, making subsequent duplications so as to complete the shapes by bringing the small letters together. The unbroken lines indicate complete outlines, and the dotted lines show where parts of the design are separated owing to the size of the pages. No difficulty in perfecting the outlines, need be feared, however, if the design be traced and matched according to the instructions given. Such borders are worked with metallic cord sewed down invisibly with cotton, with fine silk cord purled with button-hole stitches, and with embroidery silk which follows the design in chain or herring-bone stitch. A handsome piano-cover, which may be made at small cost is of felt in old-red, with a border of olive velveteen, upon which this design is stamped and then reproduced with bronze and copper-colored metal cords.

NeeDLG AND 5I^tl$H.

CHAPTER IV ^^^13^ gmm DECORATIONS RUB CUSHIONS

KRY often the turnish- and this chapter contains several illustraings of a room which tions of chairs, both modern and antique. seem quite luxurious From them many ideas may be gleaned which are the result of in- may be applied to possessions in hand, genious feminine fingers and taste, the Decorated Chair. )pment of artistic needle- Figure No, i. — Any chair of like shape being not always completed may be decorated in this way, and it may be the driving of tacks, gilded or colored, the gilding being exceed- Just now there is a fancy for ingly effective. A square, flat pillow or using old-fashioned chair frames and brisihten- cushion is made of brocaded silk to tit

FiGiRE No. I. — Decurated Chair. ing them up with pretty cushions and covers, the back as pictured, and the filling may be

NeeDLe and brcish.

balsam, fir, cotton, down, etc. An edge of cord is added, and bows at the upper corners appear to secure it to the cliair. A scarf of the silk is laid across the seat and is edged all round with cord and decorated at the ends with a row of ball fringe. Tiie cushion and scarf mav be of any preferred material or color and decorated to please the taste.

and then carefully cut out, leaving a design in low relief. A fancy stitch in yellow silk floss fastens the edge of the pongee strip to the side of the scarf. The ends are then decorated with a heavy silk fringe and fall well over the seat and back. The covers for the arms are made in the same way, only they are, of course, much smaller. If preferred,

Plain fabrics will be decorated with embroi- tightly twisted silk fringe, with acorn pen-

dery done in outline stitch, or with applique' dants, could be used, or brass crescents might

embroidery or ribbons. be employed if liked.

Chair-Covers. Decorated Chair.

Figure No. 2. — Dark brown velvet consti- Figure No. 3. — A wooden chair of any

tutes the background of these covers, and shape may be decorated in this manner, and

upon it is laid pongee silk in its natural hue. may be gilded or painted in any preferred

The silk is stamped in foliage pattern —which color. The scarf of velvet or plush is long

is outlined with silk braid upon the velvet— enough to throw over the cross-bar below the

NeeDL© AND gF^as^- top and is caught in at the back of the seat tlie back, and also below the seat, it is emwith wide ribbon that is bowed prettily ; it bellished with applique' flower sprays, which

I-IGUKK 2\U. 3. — DKCORATiiD CHAIR.

Fi(;l-ke Xu.

4. — Decora ir.ii Ruckkr.

falls nearly to the floor in front and has a row are selections from Kursheedt's Standard floof plush ball ornaments along this end. At ral appliques. If preferred, this part of the

NeeDLG AND si^tiSH.

decoration may be hand-painted or embroidered, but the applique decoration is effective and easier of accomplishment.

Decorated Rocker.

Fi(;UKB No. 4. — In this engraving is illustrated a handsomely decorated rocker having an upholstered seat and back. A handsome scarf, made of oblong sections of velvet in frame at the meeting of the back and seat, and hold the scarf permanently in place, though other means of fastening may be used, if these and the weight of the fringe and tassels be not sufficient. Fancy and plain ribbons and silks may be used instead of velvet, with pretty effect ; and the colors may be those most pleasing to the taste. Such scarfs are usually prettily lined and are as suitable

Figure No. 5. — Decorated Rocking-Chair iwo shades arranged as pictured, and decorated with long stitches done with gold floss in imitation of sun rays, is arranged upon it to fall over the back and below the seat, all the edges being bordered with thick cord. The ends are trimmed with bullion fringe, and bullion tassels are fastened to the corners. Wide ribbons fastened to the scarf at the lower part of the back are tied above the for arm and easy chairs as for rockers. A willow chair with a pretty cushion fastened in the seat will be rendered very elegant by the addition of such a scarf.

Decorated Rocking-Chair,

FinuRK No. 5. — The covers on the back, seat and arms of this handsome chair are made of scraps of silk, plush, satin, velvet.

NGGDLe AND 5^a$H.

ribbon, etc., put together in the famous crazy or mosaic fashion. All varieties of fancy stitches may be used with pleasing variety in such work, and, of course, all sorts of colors may be introduced in them. A narrow band of velvet borders the covers, and the back cover is made long enough to fall over for a short di'stance at the back, where it is bordered with a row of handsome fringe. A row of similar fringe falls from the band crossing the front of the chair, and also from cotton with either material. Fancy matting is also used for chair covers, all its edges being tacked to place under gimp with brass headed tacks.

Fancy Chair.

Figure No. 6. — This chair was made of inexpensive wood, tinted and varnished to imitate ebony and touched along some of the edges with gold paint. The seat is slightly padded and covered with figured silk. A

FicuRE No. 6. — Fancy Chair.

FicuRE Nu. 7. — Decorated Chair.

the outer long edges of the arm covers. Around the lower front part of the arm is passed a wide ribbon that is tied in a large bow. An old chair, varnished or painted, will look like new when decorated in this way, and will result in a rich and elegant piece of furniture. Canvas and burlaps in e'cni and the yellow shades are used for covering chairs intended for balcony use or for the upper rooms of houses. A combination that is very effective is developed by associating Turkey red sachet in crescent shape covered with silk is tied to the top of the back with ribbon bunched in long loops and ends, the ends being pointed and tipped with small pompons. A fringe formed of strips of ribbon similarly finished depends from the seat of the chair, and also from the lower edge of the sachet. The silk employed in the present instance has a gold-colored ground showing black figures, and the ribbon and pompons being gold the effect is gorgeous and handsome.

NGeDLG AND gp^asH.

NeeDLG AND gi^tiSH.

Decorated Chair.

Figure No. 7. — Any fancifully shaped small chair ma)' be decorated in this way. The wood may be of any handsome variety, or inexpensive wood may be beautified by paint and varnish. The cushion is made of fancy striped, loosely woven canvas or crash embroidered in oriental colors, according to the design pictured and described at Figure" No. 8. To the top of the chair is fastened a sachet in two parts, one part falling backward and the other forward, and the two being tied entire pattern and is done in short button-hole stitch, the stitches being taken up at comparatively long intervals. The filling stitch is Kensington and the colors are indicated by letters in the engraving, which, being interpreted, mean : A, cream ; B, blue ; C, red ; D, orange ; E, light-olive ; F, pink ; G, heliotrope ; H, dark-olive ; I, reddish-orange. The stems are embroidered with gold tinsel thread, and the straight lines in the figures and the little cross designs are done with flat silver tinsel.

Ik

Figure No. 9. — Chair, with Embroidered Cushions.

Figure No. 10. — Emkroidery Dksi(;x.

to the chair with ribbons. The outer covering of the sachet is embroidered to correspond with the cushion and it is lined with the plain color.

Embroidery Design for Chair.

Figure No. 8. — This design is used in embroidering the chair-cushion and sachet illustrated at Figure No. 7. Its colors are dark-cream, old-pink, old-blue, old-red, reddish-orange, dark and light olive-green, heliotrope and black. 7"he black is used to outline the

Chair, with Embroidered Cushions.

Figure No. 9. — The frame of this chair is of a shape that may be purchased at any shop dealing in such articles, and the cushions are of velvet ornamented with outline designs done in silk. Such a chair in wood having a white enamelled finish, with blue satin cushions wrought in pale gold would be very ornamental in a drawing-room or boudoir. An ebony frame with yellow cushions would be equally effective.

NeeDLG AND S^CiS"-

Embroidery Designs. embroidery, and ibe stems may be increased

Figures Nos. io and ii. — These two fig- in length and blossoms added in proportion

ures illustrate the designs employed in em- to the size of the seat and back of the chair.

Figure No. ii. — Embroidery Design.

broidering the chair pictured at Figure No. 9, If solid embroidery be preferred to outline on the ])receding page. Either satin or out- work the floral designs may be done in satin line stitch may be employed in doing the stitch. They are equally pretty when painted.

NeeDLs AND gi^tiSK-

Chapter V T^ables And T-able-g0vers

HK fancy recently displayed for putting ornamental covers ^ upon our tables has resulted V/J, very happily ; for the designer, in showing of what he is capable, also shows people how to work artistically themselves. Provided with a good design the worker need only " go ahead," for she is right. Fine felt, flannel, cloth, Canton-flannel and Turkish towelling are all called into service for the cover proper, while all these materials, with silk, plush, fancy stitches,7f/(yj't'//i? and crewels, add to the ornamental part. Very simple tables of pine wood, with ebonized legs, become works of art, and dainty rattan ones gain new beauties. There are few houses without unsightly tables that are absolute necessities, and these a mantle of beauty should cover, so that use and beauty may form the proper partnership.

Table, with Fancy Cover.

Figure No. i. — The table illustrated is of rattan, the size being such that it commends itself to people who have all sorts of little things seeking for a resting place. The cloth is of the proper size to hang over the edges gracefully. It is of dark red felt, with its edges cut out in large points that round slightly, each one being ornamented with an applique design and tipped with an olive tassel of silk. At each corner, near the lower shelf, the slender legs are ornamented with a bow of satin ribbon. The applique pieces are securely button-holed to the cloth with bright yellowyf/(«r//f. They are of fine felt, which is found the best material for such purposes, as it does not fray. E\ en when the cloth is of the other materials suggested, the pieces are usually of felt. Following are descriptions of the pieces, which are pleasingly varied in design.

Appliqu^ Design.

Figure No. 2. — A dark shade of blue is used for this fan, while the embroidery is wrought out in bright yellow and dull brown. On one side the effect is Chinese and cabalistic enough to delight the soul of her who is most eager for all that comes from Celestial

lands.

Applique Design.

Figure No. 3. — This broadly shaped fan is of light olive felt, with the embroidery upon

4°

NeeDLG AND B^^SMit done in liglu and dark cardinal filoselle. are all familiar ones, being the outline stitches

Figure No. i. — Tahle. with Fancy C(jver.

Figure No. 2. — Ai'i'i,i(,)rE nEsiGN. Figure No. 3. — Aim'I.kjue Design.

The stitches employed in performing the work general!}- known as the South-Kensington.

NeeDLe and gi^as^-

Applique Design. brown, cream and very light blue. In cut-

FiGURE No. 4. — This slender fan design is ting out these appliques, it would be well

of the light red shade so often seen on to remember that very sharp scissors should

Figure No.

-AiM'i.Kji'E [Resign.

Figure Nu. 5. — Ati'lhjue Design.

Figure No. 6. — Arri.iQUE 1)esu;n.

Figure No. 7.— AritiQUE Design.

Turkish embroidery and to which it owes its be used, so that the edges will be perfectly present popularity. The work is done in smooth.