Part 3

_B._ _=Brick Darning Stitch.=_--If it is desirable to increase the color effect the first series of rows may be crossed at right angles by a similar series. This is known as the "Brick Darning Stitch." The straight bars should be laid by darning one way and back, alternately. By a little planning very pretty coloring may be gained through relating the background shade to the imposed work. See Fig. VIII _b_.

_C._ _=Seed Stitch.=_--This may be considered a darning stitch, having however the short stitches on the surface and the long ones on the back. This is largely used in combination with satin stitch for lettering. (See Designs Nos. 612 A, B, D, E, and F.)

_D. =Queen Anne Stitch.=_--Another form of darning is the "Queen Anne Stitch." In this the silk is not sewed through the fabric but first laid in long parallel lines from side to side of the outline, then crossed at right angles by weaving in threads alternately. This is rather mechanical and not so artistic as the first method, though we may see very curious examples of it in the old English embroideries. See Fig. VIII _d_.

IX. FANCY STITCHES.

There are many other so-called "fancy stitches." Among them the pretty "Herringbone" and its modifications are worthy of note.

_A._ _=Herringbone Stitch.=_--A short stitch taken from right to left, and as it proceeds the thread is drawn to the right and the work is carried in this direction. It is essentially a cross stitch. See Fig. IX _a_.

_B._ _=Ismit Stitch.=_--A slight difference in the plan of taking a stitch changes the entire effect. This is obvious in the "Ismit Stitch." It is taken exactly as the herringbone and the radical difference in the result is due simply to making the lines meet at a point. See Fig. IX _b_. When the lines are very long they may be fastened by couching stitches at the intersections.

_C._ _=Janina Stitch.=_--A very satisfactory way of filling in the petals of conventional flowers or flower forms. It may be used with really beautiful effect on the canvas materials with Corticelli Roman Floss or Rope Silk. It is also a good method for filling bars on borders. While it is not heavy unless worked close, it carries a decided color effect. It is one of the prettiest of the conventional stitches. See Fig. IX _c_.

_D._ _=Border Stitch.=_--This stitch is not unlike herringbone. It is however carried perpendicularly, while herringbone proceeds horizontally. The side or fastening stitches of the border work are very short. See Fig. IX _d_.

_"Doily" or "Doiley."_

The Inland Printer, a journal devoted to the printing and publishing trades, and a magazine generally considered authority on questions of orthography gives the proper spelling as "doily." The following explains itself.

Question.--Kindly give us the correct spelling of the word variously printed as "doily" and "doiley," and also the plural of the same. There has been considerable discussion in regard to the proper way to spell this word, and we will leave you to render the final verdict.

Answer.--Our final verdict in this case is simply that of all the dictionaries. Every one of them enters the word as "doily," and they are right in doing so, because, though the name from which it is derived was variously spelled as "Doily" and "Doyley," and maybe otherwise also, it is well to select one spelling--presumably the prevalent one--for the common name. At any rate, this is what the lexicographers have done, and no good reason to dissent from their choice is apparent. The plural of the form chosen is "doilies."

FOOTNOTES:

[Footnote 2: Copyright, 1897, by Mrs. L. Barton Wilson. All rights reserved.]

[Footnote 3: The ancient Phrygian workers who introduced this embroidery into Rome were accustomed to represent by it figures, chiefly of birds, and likely this is the source of its name. The name might also have been suggested by the effect of the stitch itself, which is that of close, evenly laid plumage.]

_Centerpieces and Doilies._

* * * * *

_Bulgarian Centerpiece Design No. 55_,

AND SET OF 3 DOILIES, NOS. 55A, 55B, AND 55C.

COLORED PLATE VII.

BY L. BARTON WILSON.

_Materials_: Corticelli Filo Silk, 6 skeins each 526, 626; 4 skeins 123; 3 skeins 645; 2 skeins each 125, 128, 130, 527; 1 skein each 126, 528, 542, 544. Corticelli Etching Silk, 12 skeins each 626, 645; 4 skeins 612. Dealers can furnish stamped linen of this design in 22 inch size. They can also furnish stamped linen 7 and 9 inches square of the set of three doily designs (Nos. 55A, 55B, 55C), to match this centerpiece. See page 92.

The Bulgarian embroidery as we know it on the brown linen squares is valuable chiefly for its durability and pleasing coloring. These squares embroidered in the bright cottons make beautiful cushions and their use with Turkish rugs and hangings is very appropriate. The stitching is effective rather than accurate. The figures of the characteristic designs are crude, but they are full of suggestions and it is possible in carrying out these to obtain most graceful and dainty drawings. When they are adapted to fine white linens and embroidered in silks the result is at once orientally rich and sufficiently dainty for table use.

Heavy colorings are more and more to be urged for centerpieces and doilies which are to be placed under gas light. The color combinations for this set may seem at first startling, but when the shades are properly distributed the result is rich and harmonious.

Border.--Buttonhole the scalloped edge in blue and gold brown Corticelli Etching Silk, using shades 626 and 645 alternately for each scallop. One connecting scallop should be blue and the next one yellow. The inner edge of scallops should be outlined in Black Etching Silk, 612, also the straight lines enclosing the scroll and the bars of the doilies. The same Blue, 626, in Corticelli Filo Silk with Brown, 526, may be used for the scroll. Keep the blue on one edge and the brown on the other. Embroider in the "overlap" long and short stitch. Work the little trefoils within the scallop in satin stitch with Pink, 128, 130, and cross-bar them alternately with the scallop colors. See Colored Plate VII.

Flower and Leaf Forms.--These should carry the colors of the edge with a few in addition. Use in the leaf forms, in combination with Brown, 526, 527, and 528, the Greens 123, 125, and 126. In the flower forms use beside the blue and yellow, Pink, 128 and 130, and Red, 542 and 544. The leaf forms should be embroidered in long and short stitch. The flower forms may be made altogether or nearly solid or filled with feather stitch or satin stitch diapered. The satin stitch may be done in Filo Silk cross-barred with the Etching Silk. Distribute the colors in masses, that is, confine certain colors to certain forms, _combine_ the colors rather than mix them. The effect of cross-bar diapering in the flower forms of these figures is very pretty and the work is firm as well.

Corticelli Filo Silk alone should be used in the figures of the doilies even for the cross-barring, though the scallops and black lines should be of the Etching Silk. It is possible to introduce the red into the doily scallops in the little connecting points and to so combine the colors as to make all the edges different. Four of each of the doily designs form the dozen, and these may be still further varied by a little planning as to color schemes. The centerpiece and doilies may be embroidered with good effect in simple outline or rows of outline, known as the "Bulgarian stitch." If desired the entire work on the centerpiece may be done with Corticelli Etching Silk, and the effect will be really very beautiful, and novel as well, but the figures of the doilies are too small for such treatment. (Not Difficult.)

_Japanese Design No. 51._

COLORED PLATE VIII.

BY EMMA HAYWOOD.

_Materials_--22 inch Size: Corticelli Filo Silk, 4 skeins, 779.5; 2 skeins each 655.7, 525.7, 525.8, 525.9, 655.8, 655.9, 656, 780; 1 skein 115. Corticelli Persian Floss, 8 skeins 780.

_Materials_--9 inch Size: Corticelli Filo Silk, 1 skein each of above shades. Corticelli Persian Floss, 2 skeins 780. Dealers can furnish stamped linen of this design in 9, 12, 18, and 22 inch sizes. See page 92.

It has been aptly said of Japanese designers that they know how to occupy a space without filling it, thus producing very beautiful effects with little labor. This remark applies well to this design, since it can be quickly worked, and it will prove very charming and effective for either a centerpiece or doily.

Border.--Work in indented (long and short on the inside) buttonhole stitch in two shades of pale soft green. For the outside edge use Corticelli Persian Floss, 780; into this blend Filo Silk, 779.5, still keeping the indented effect in the shading.

Almond Blossoms.--Work solid, beginning the edges of petals with Corticelli Filo Silk, 656, shading lighter to the center, using 655.9, 655.8, 655.7. In the center of the flower make French knots in Golden Brown, 115.

Stems.--Work solid in shades of Golden Brown, 525.7, 525.8, 525.9. The shading should be darker near the flowers and at the bottom of the stem than elsewhere. Use the lighter shades for working the small stems branching out from the main stalk.

Calyx and Small Buds.--Use Green, 780, for the upper part and Brown, 525.7, near the stems.

The work should be pressed before the edge is cut. If desired a double strand of Corticelli Filo Silk may be used for working the blossoms and stems. Great care must be taken, however, not to allow the strands to twist around each other. They should lie side by side, giving their full value. Even when working with a single strand great attention should be paid to keeping it from twisting. Keep it in its normal condition by occasionally untwisting; otherwise it will become like a wisp and all the beautiful gloss of this lovely silk will soon be lost. (Easy.)

_Pansy Design No. 603 A._

_Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each 507, 644.8, 645, 649.9, 650, 651, 652, 653, 654, 729.5, 754, 778, 781, 782, 783, 784. Corticelli Persian Floss, 6 skeins 615. Dealers can furnish stamped linen of this design in 22 inch size. See page 92.

Border.--Work the scallop in buttonhole stitch with Persian Floss, 615. Work the cross-bar in the four corners in border in outline stitch with one thread of Filo in Brown, 644.8. Where the lines meet make a cross stitch in Brown, 645. In the center space between the bars make an X in Brown, 778. See Colored Plate IX for method of working border and cross-bar.

Flowers.--Work solid in Purple, 649.9, 650, 651, 652, 653, 654, 729.5. Begin edge of upper petals with 649.9, shading gradually darker to the center with 650, 651, 652. Work the edge of the three lower petals with 651, and shade gradually darker to center, using 652, 653, 654, 729.5. Put a few stitches of Yellow, 507, in the center.

Leaves.--Work solid in Green, 781, for points. Shade darker toward the center, using 782, 783, and for veins, 754. Some leaves should be worked with 781 on edge, 754 for center, and work veins with 784.

Scroll Lines and Cross-bar.--Outline the cross-bar lines with 645 and the scroll with 646.

A study of Pansy Design 605 B, Colored Plate I (Frontispiece), will give some hints as to how the pansies should be shaded, although the coloring is different. (Somewhat Difficult.)

_Violet Design No. 603 C._

_Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 725, 727, 728, 781, 782; 1 skein each 506, 644.8, 645, 729, 778, 783. Corticelli Persian Floss, 6 skeins 615. Dealers can furnish stamped linen of this design in 22 inch size.

Border.--Work the scallop in buttonhole stitch with Persian Floss, 615. Work the cross-bar in the four corners in the border in outline stitch with one thread of Filo, Brown, 644.8. Where the lines meet make a cross stitch in Brown, 645. In the center space between the bars make an X with Brown, 778. See Colored Plate IX for method of working border and cross-bar.

Flowers.--Work solid in the shades of violet, making some flowers lighter than others. Work some of the petals darker on the edge and lighter toward the center, and reverse, some lighter on the edge and darker toward the center. Make a few solid stitches of yellow in the center of the open flowers. Work the buds solid in 728, 729, and the calyx solid with Green, 782.

Leaves.--Work the edge and points with 781 and shade darker to the center with 782. Use 783 for veins and stem. (Easy.)

_Wild Rose Design No. 603 E._

COLORED PLATE IX.

By AMALIA SMITH.

_Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 636, 655.7, 781, 782; 1 skein each 504, 637, 638, 639, 640, 644.8, 645, 755, 778, 780, 783. Corticelli Persian Floss, 6 skeins 615. Dealers can furnish stamped linen of this design in 22 inch size.

Border.—--Work the scallop in buttonhole stitch with Persian Floss, 615. Work the cross-bar in the four corners in border in outline stitch with one thread of Filo in Brown, 644.8. Where the lines meet make a cross stitch in Brown, 645. In the center space between the bars make an X in Brown, 778. See Colored Plate IX.

Flowers.--Work solid. Begin the edge of petals of open flowers with Pink, 639. Shade lighter to the center, using 636, 637, 638, 655.7. Make some lighter and some darker. Put three stitches of Green, 780, in the center, and surrounding center but 1/4 inch away make a few French knots in Yellow, 504. Work the back petals in the half flowers with Pink, 639, 640, and the front petals or those in the foreground with 637, 638, 639.

Buds and Calyx.--Work the buds with Pink, 639, 640, and the calyx points with Green, 780, 781. For the bulb and stem use 782.

Leaves.--Work solid. For the edge and points use 781, shading toward the center with 782, 783. The veins and stem work with 783, 755.

The Wild Rose is always a popular subject for embroidery, and even a beginner should have no difficulty in working the design as the Colored Plate IX gives the exact shading and stitch direction, (Easy.)

_Sweet Pea Design No. 603 F._

_Materials_--22 inch Size: Corticelli Filo Silk, 1 skein each 644.8, 645, 678, 679, 680, 673, 674, 726.5, 727, 778, 780, 781, 782, 783. Corticelli Persian Floss, 6 skeins 615. Dealers can furnish stamped linen of this design in 22 inch size. See page 92.

Border.--Work the scallop in buttonhole stitch with Corticelli Persian Floss, White, 615. Work the cross-bar in the four corners in the border in outline stitch with one thread of Corticelli Filo Silk, Brown, 644.8. Where the lines meet make a cross stitch in Brown, 645. In the center space between the bars make an X with Brown, 778. See Colored Plate IX for method of working border and cross-bar.

Flowers.--Work solid in shades of purple and pink Corticelli Filo Silk. Begin some flowers with Pink, 680, shading gradually lighter toward the center with 679 and 678. In others combine purple and pink. Begin with 674 and shade gradually to light pink; then darker toward the center, or reverse, using different shades in each flower. Reference to the Colored Plate of Sweet Pea Design 407G will be found quite a help in getting the proper shading, although the colors used are not identical with those suggested for this design.

Leaves.--—Work the points with Green, 781, shading darker toward the center with 782, 783. Work the veins and stems in 783. For the tendrils use 780. (Difficult.)

_Pansy Design No. 605 B._

COLORED PLATE I.

(Frontispiece.)

BY AMALIA SMITH.

_Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 725, 727; 1 skein each 645, 726, 728, 729, 729.5, 740, 741, 742, 743, 743.5 743.7, 754, 766, 780, 781, 782. Corticelli EE Embroidery Silk, 6 skeins 615. Smaller pieces take less silk. Dealers can furnish stamped linen of this design in 18 and 22 inch sizes. See page 92.

Pansies always have a peculiar charm of their own, and as subjects for embroidery afford opportunity for very skillful, as well as artistic, treatment. The range of color is so varied and the possibility of pleasing combinations is so great that the following instructions are given simply as a suggestion. However, the directions will be found ample for the less experienced needleworker who does not care for a color scheme of her own.

Border.--Work the scallop in buttonhole stitch with Corticelli EE Embroidery Silk, White, 615; or Persian Floss, 615, can be used.

Flowers.--Work solid in combination of Purple, 725, 726, 727, 728, 729, 729.5, and Yellow, 740, 741, 742, 743, 743.5, 743.7. It would be effective to work some flowers all in purple, others in yellow with purple rays. Commence with the two upper back petals of the open flower nearest to the border. Work the edge of the petal with Yellow, 743; shade into that 743.5, 743.7, and use 645 near the center for shadow. Begin the edge of the three lower petals with 743, shading lighter to the center with 742, 741, 740. See Colored Plate I (Frontispiece). To lend variety the three lower petals in some yellow flowers can be made lighter on the edge and darker toward the center.

From the center of the flower, extending into the three lower petals make rays of Purple, 729. Work a few solid stitches of Scarlet, 766, in the center of the flower. Now begin with the two upper back petals of the purple flowers using 728 for edge of the petal, shading gradually darker to the center with 728, 729, and make a few stitches of 729.5 in rays, and as shadows. Begin the edge of the lower petals with 725 and gradually shade darker to the center, making rays in the three lower petals with 729.5. Work a few solid stitches of Scarlet, 766, in the center of the flowers. See Colored Plate I (Frontispiece) for shading and proper direction of the stitches.

Buds and Calyx.--Work the buds solid, using 727, 728, 729. Work the edge with 727 and shade gradually darker to the stem, using a little of 729.5 near the stem. Work the points of the calyx in Green, 781, shading toward the stem with 782 and 754.

Leaves.--Work the points of the leaves solid, in 780, shading gradually darker toward the midvein and base of the leaf, using 781, 782. (Difficult.)

_Garland Wild Rose and Forget-me-not Design No. 54._

BY ALICE C. MORSE.

_Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 623, 624, 637, 638, 639, 640, 741, 742, 805, 806; 1 skein each 504, 625, 626, 780, 807, 808. Corticelli Persian Floss, 8 skeins 616.5. Smaller pieces take less silk. Dealers can furnish stamped linen of this design in 18 and 22 inch sizes only. See page 92.

This garland design when embroidered will be a surprise to any one who has never tried a similar pattern. The coloring has a very rich, subdued tone which is quite different from that found in any other style of design.

Border.--Work the scallop in buttonhole stitch with Corticelli Persian Floss, 616.5.

Wild Roses.--Work solid, using all the shades of Pink Corticelli Filo Silk, 637, 638, 639, 640, working the edge of the petals dark, shading gradually lighter toward the center of the flowers. Use three shades in each flower. Vary the flowers, making some darker than others. In the center work four or five stamens with one thread of Filo, 780, and at the end of each stamen make a French knot with Yellow, 504. (See Photo Frame No. 60.)

Forget-me-nots.--Work in satin stitch with Blue, 623, 624, 625, 626. Don't try to shade each petal, but get light and shade effect by making some petals in 623, some in 624, etc. Use 626 for an occasional petal only, as the color is rather strong. Work in the centers one French knot with 742.

Leaves.--Work solid with Green, 805, 806, 807, 808. Make the larger leaves in the darker shades; the points of the leaves in 805. Veins and stems work with 808.

Ribbons.--Work in satin stitch, slanting across the ribbon, using Yellow, 741, 742. To give the effect of the twisted ribbon, work one turn of the ribbon with 741, the next fold with 742, and so on. If you prefer, Green, 125, 126, 127, can be used for the ribbon, carrying out the same idea as directed above. (Somewhat Difficult.)

_Easter Lily Design No. 605 D._

COLORED PLATE X.

_Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 615, 692.8, 781, 782; 1 skein each 506, 661, 662, 663, 780, 783, 784. Corticelli Persian Floss, 6 skeins 615. Smaller sizes take less silk. Dealers can furnish stamped linen of this design in 18 and 22 inch sizes. See page 92.

Border.--Work in buttonhole stitch with Corticelli Persian Floss, 615.

Flowers.--Work solid, beginning the edge of the petals with Corticelli Filo Silk, White, 615, shading into it Green, 692.8, 661, 662, using 663 for the center. Work six or seven stamens in 781, putting three small stitches of Yellow, 506, at the end of each to form the top or head. Work the point of the buds with Green, 692.8, shading darker with 661, 662, 663, to the stem. See Colored Plate X.

Leaves.--Work solid, with Green, 781, for points, and shading gradually darker with 782, 783, and 784 to the stem. The leaf is worked straight from the point without veins. Use Green, 782, for the stems. When well done the shading in this design is very delicate. (Not Difficult.)

_Orchid Design No. 605 F._

COLORED PLATE XI.

BY AMALIA SMITH.

_Materials_--22 inch Size: Corticelli Filo Silk, 2 skeins each 725, 726, 781, 782; 1 skein each 650, 651, 652, 676, 780, 783, 784. Corticelli Persian Floss, 6 skeins 615. Smaller sizes take less silk. Dealers can furnish stamped linen of this design in 18 and 22 inch sizes. See page 92.

Border.--Work the scallop in buttonhole stitch with Corticelli Persian Floss, White, 615.

Flowers.--Make a few stitches at the middle of the point of each petal with Corticelli Filo Silk, Purple, 676, shading toward the bottom of the petal with 652, 651, 650, 726, 725. Begin back edge, or lip, of cup with 651, shading darker toward the center with 652, 676. Do the front lip in similar manner, but use 650 for the edge and 651 to shade toward the center. Under the lip make the shadow with 676. From the center of the cup make a pistil in Green, 781. Careful study of Colored Plate XI will show the proper shading and correct direction of the stitches.

Leaves.--Work solid, using 780 for the point and shading gradually darker with 781, 782, 783, 784. Work the stems near the flower, with 783, shading darker with 784 toward the base of stem. (Somewhat Difficult.)

_Buttercup Design No. 610 B._