iii. The third like the first; but the first and last stitches are

to be done in the usual manner, but begin the twisting with the second and third loops.

iv. The fourth is plain. Repeat these four rows as often as required.

v. Use No. 20 mesh for the fancy rows, and No. 14 for the plain.

1832. Counting Stitches.

Stitches in Netting are always counted by knots.

1833. Instructions in Tatting, or Frivolite.

1834. Implements for Tatting.

The only necessary implements for tatting are a thin shuttle or short netting-needle, and a gilt pin and ring, united by a chain. The cotton used should be strong and soft. There are three available sizes, Nos. 1, 2, and 3. Attention should be paid to the manner of holding the hands, as on this depends the grace or awkwardness of the movement. Fill the shuttle with the cotton (or silk) required, in the same manner as a netting needle. Hold the shuttle between the thumb and first and second fingers of the right hand, leaving about half a yard of cotton unwound. Take up the cotton, about three inches from the end, between the thumb and first finger of the left hand, and let the end fall in the palm of the hand; pass the cotton round the other fingers of the left hand (keeping them parted a little), and bring it again between the thumb and forefinger, thus making a circle round the extended fingers. There are only two stitches in tatting, and they are usually done alternately; this is therefore termed a _double stitch_.

1835. English Stitch.

The first stitch is called the _English stitch_, and made thus:--Let the thread between the right and left hands fall towards you; slip the shuttle under the thread between the first and second fingers; draw it out rather quickly, keeping it in a horizontal line with the left hand. You will find a slipping loop is formed on this cotton with that which went round the fingers. Hold the shuttle steadily, with the cotton stretched tightly out, and with the second finger of the left hand slip the loop thus made under the thumb.

1836. French Stitch.

The other stitch is termed _French stitch_; the only difference being, that instead of allowing the cotton to fall _towards_ you, and passing the shuttle _downwards_, the cotton is thrown in a loop over the left hand, and the shuttle passed under the thread between the first and second fingers _upwards_. The knot must be invariably formed by the thread which passes round the fingers of the _left_ hand. If the operation is reversed, and the knot formed by the cotton connected with the shuttle, the loop will not draw up. This is occasioned by letting the cotton from the shuttle hang loosely instead of drawing it out and holding it tightly stretched. When any given number of these double stitches are done, and drawn closely together, the stitches are held between the first finger and thumb, and the other fingers are withdrawn from the circle of cotton, which is gradually diminished by drawing out the shuttle until the loop of tatting is nearly or entirely closed. The tatted loops should be quite close to each other, unless directions to the contrary are given.

1837. Ornamental Edging.

The pin is used in making an ornamental edge, something like purl edging, thus:--Slip the ring on the left-hand thumb, that the pin attached may be ready for use. After making the required number of double stitches, twist the pin in the circle of cotton, and hold it between the forefinger and thumb, whilst making more double stitches; repeat. The little loops thus formed are termed _picots._

1838. Trefoil Tatting.

This is done by drawing three loops up tightly, made close together, and then leaving a short space before making more. The trefoil is sewed into shape afterwards with a needle.

1839. To Join Loops.

When two loops are to be connected, a _picot_ is made in the _first_, wherever the join is required. When you come to the corresponding part of the _second_ loop, draw the thread which goes round the fingers of the left hand through the _picot_ with a needle, pulling through a loop large enough to admit the shuttle. Slip this through, then draw the thread tight again over the fingers, and continue the work. In many patterns a needle is used to work over, in buttonhole stitch, the thread which passes from one loop to another. A long needleful of the same cotton or silk used for the tatting is left at the beginning of the work, and a common needle used to buttonhole over bars wherever they occur.

1840. Alternative Picots.

Picots are also sometimes made with the needle and cotton in working over these bars.

1841. Instructions in Knitting.

1842. Improvements in Process.

Although the art of knitting is known perhaps more generally than almost any other kind of fancy work, still as the knowledge is not universal, and there have been of late years great improvements in many of the processes, we hope that a short account of all the stitches, and the elementary parts of the craft, will be welcomed by many of our friends--and most seriously would we recommend them to attain _perfection_ in this branch of work, because, above all others, it is a resource to those who, from weak eyes, are precluded from many kinds of industrial amusement, or who, as invalids, cannot bear the fatigue of more elaborate work. The fact is that knitting does not require eyesight at all; and a very little practice ought to enable any one to knit whilst reading, talking, or studying, quite as well as if the fingers were unemployed. It only requires that the fingers should be properly used, and that one should not be made to do the duty of another.

1843. Implements for Knitting.

These are rods or pins of ivory, bone, or steel. The latter are most commonly used, and should have tapered points, without the least _sharpness_ at the extremity.

1844. Casting On.

The first process in knitting is casting on. To effect this, hold the end of cotton between the first and second fingers of the left hand; bring it over the thumb and forefinger, and bend the latter to twist the cotton into a loop; bend the needle in the loop; hold the cotton attached to the reel between the third and little fingers of the right hand, and over the point of the forefinger; bring the thread round the needle by the slightest possible motion; bend the needle towards you, and tighten the loop on the left-hand finger, in letting it slip off to form the _first_ stitch.

1845. Formation of Stitches.

Now take that needle with the loop on it in the left hand, and another in the right. Observe the position of the hands. The left hand needle is held between the thumb and the second finger, leaving the forefinger free, to aid in moving the points of the needles. This mode of using the forefinger, instead of employing it merely to hold the needle, is the great secret of being able to knit without looking at the work, for so extremely delicate is the sense of touch in this finger, that it will, after a little practice, enable you to tell the sort of stitch coming next, in the finest material, so that knitting becomes merely mechanical. Insert the point in the loop, bringing it behind the other needle, slip the thread round it, bring the point in front, and transfer the loop to the left-hand needle without withdrawing it from the right hand. Repeat the process for any number of stitches required.

1846. Plain Knitting.

Slip the point of the right-hand needle in a loop, bring the thread round it, and with the forefinger push the point of the needle off the loop so that the thread just twisted round forms a new one on the right hand.

1847. Purling.

The right-hand needle is slipped in the loop _in front of_ the left-hand one, and the thread, after passing between the two, is brought round it; it is then worked as before. The thread is always brought forward before beginning a purled stitch, unless particular directions to the contrary are given.

1848. Mode of making Stitches.

To make one, merely bring the thread in front before knitting, when, as it passes over the needle, it makes a loop; to make two, three, or more, pass the thread _round the needle in addition_, once for 2, twice for 3, and so on.

1849. To Decrease.

Take one stitch off without knitting; knit one, then slip the point of the left-hand needle in the unknitted stitch and draw it over the other. It is marked in receipts d. To decrease 2 or more, slip 1, knit 2, 3, or more together, _as one_, and pass the slip stitch over.

1850. How to Join a Round.

Four or five needles are used in round work, such as socks, stockings, &c. Cast on any given number of stitches on one needle, then slip another needle in the last stitch, before casting any on it; repeat for any number. When all are cast on, knit the first 2 stitches off on to the end of the last needle. One needle is always left unused in casting on for a round.

1851. How to Join Toe of Sock, &c.

Divide all the stitches on to two needles, hold both in the left hand, as if they were one, and in knitting take a loop off each one, which knit together.

1852. To Cast off.

Knit 2 stitches; with the left-hand needle draw the first over the second; knit another; repeat. Observe that the row before the casting off should never be very tightly knitted.

1853. To Knit Three Stitches Together.

To knit three stitches together, so that the centre one shall be in front.--Slip 2 off the needle together knit the third, and draw the others over together.

1854. To Raise a Stitch.

To raise a stitch is to knit the bar of thread between the two stitches as one.

1855. Abbreviations.

The abbreviations used are:

K, knit; P, purl; D. decrease; K 2 t, knit two together; P 2 t, purl 2 together; M 1, make one.

1856. Size of Needles.

Take care to have needles and cotton or wool that are suitable to each other in size. The work of the best knitter in the world would appear ill done if the needles were too fine or too coarse. In the former case, the work would be close and thick; in the latter it would be too much like a cobweb.

1857. Instructions in Embroidery and Canvas Work.

1858. Embroidery.

Embroidery, properly speaking, includes every sort of ornamental work done with a sewing needle of any kind; but in its popular acceptation, it applies only to the ornamentation of any article by the eye, or from drawn or marked patterns--whatever may be the material, or combination of materials employed; Berlin or canvas work, on the contrary, is the usual designation of all kinds of embroidery on canvas, _done by counting threads_, and frequently by the aid of a painting on checked paper.

1859. Distinction in Embroidered Work.

Although these two different sorts of work are really equally entitled to the designation of _embroidery_, yet for the sake of making our hints as intelligible as possible, we will adopt the popular terms, and confine our present remarks to that sort of embroidery which is not executed by the stitch.

[BE A FRIEND TO VIRTUE--A STRANGER TO VICE.]

1860. Materials.

Every sort of embroidery material may be used for embroidering upon. The most common are muslin, cambric, velvet, satin, cloth, and leather.

1861. Application.

The simplest style of embroidery is that termed _Application,_--that is, where the pattern is in one material, laid on another which forms the ground. In this way muslin is worked on net, velvet is laid on cloth, or on another velvet, and cretonne designs cut out and laid on another material, the edges being either sewed over, or ornamented with fancy cord, braid, gold thread, or any other appropriate material.

1862. Braiding.

Another very easy style of ornamentation is that known as braiding. Children's dresses are worked with narrow silk or worsted braid, the latter being also used for ladies' aprons, flounces, &c. Gold and silver braid enter largely into various sorts of decorated needlework, and the Victoria braid, of cotton, which has something of the appearance of satin stitch, is generally known.

1863. Stitches in Braiding.

There is considerable art required to achieve putting on the Victoria braid evenly and firmly. The stitches should be taken across the braid. This makes it lie flat.

1864. Elaborate Embroidery.

But the most elaborate kinds of embroidery are those which represent flowers, fruit, and other devices on any material; and these may be divided into white and coloured embroidery.

1865. Broderie Anglaise.

White embroidery, or embroidery on muslin, is used for a great variety of articles of ladies' dress. The simplest is termed Broderie Anglaise. In this style, the pattern is either in satin stitch, or from left to right, formed of holes cut out of the muslin, and sewed over with embroidery cotton. The great art in working broderie is to make the holes all of the same size, and to take the stitches closely and regular.

1866. Satin Stitch.

Satin stitch is a smooth raised work, used for leaves, flowers, &c. It is done by first tracing the outlines accurately with soft cotton, then taking stitches from point to point of the part to be raised, so as to have the greatest thickness of cotton in the centre, and sewing it over, in stitches taken close together, but slightly slanting, and completely across the part outlined. The veining of leaves is generally formed by taking the stitches from the vein to the edge, first on one side and then on the other. The borders of embroidered muslin collars, &c., are usually finished with buttonhole stitch, worked either the width of an ordinary buttonhole, or in long stitches, and raised like satin stitch. Eyelet holes are made by piercing round holes with a stiletto, and sewing them round.

1867. Fancy Stitches.

There are many fancy stitches introduced into muslin work, but these require to be practically taught.

1868. Frame for Embroidery.

The kind of frame on which muslin is most easily worked, consists of two hoops of wood, about eight inches in diameter. One is rather smaller than the other. On it the muslin is stretched, and the larger one being slipped over it, and fitting tightly, keeps the muslin in its place.

1869. Embroidery on Satin, &c.

Satin and velvet are embroidered in coloured silks, gold and silver bullion, pearls, &c. A very fashionable style is the work with _ombre_ or shaded silks.

1870. Netting Silk in Embroidery.

The most delicate kinds of embroidery are worked with fine netting silk, one strand of which is drawn out. This makes the silk appear softer and richer.

1871. Shading in Silks.

It requires considerable care to work well with ombre silks, to avoid incorrect shading. Nature should be followed as closely as possible. Not only must the form be carefully preserved, but the lights and shades must be disposed in an artistic manner. For instance: the point of a leaf is never the darkest part, nor should the lower leaves and flowers of a group of the same kind be light.

1872. Materials used in Embroidery and Canvas Work.

The materials for canvas work and embroidery may be classed under the names of wool, silk, chenille, and braid; beads, straw, and a variety of other fancy materials, are also brought into use. A knowledge of the proper mode of using them, and the varieties of each which are made, is one of the most useful things it is possible for the amateur needle-woman to become acquainted with. We will, therefore, take them in their order.

1873. Wool.

German wool (or Berlin wool, as it is commonly called) is the most beautiful material manufactured for canvas-work. The vast variety of shades, the exquisite tints produced, the softness and evenness of the fabric, are beyond all praise. We speak of Berlin wool _as it ought to be_; for no article is more frequently of inferior quality. From damp, or bad packing, or many other causes, it is frequently crushed and injured, and in that state is not fit to be used for good work. Berlin wool is supposed to be all dyed, as well as made, abroad; at present a large proportion is entirely produced in our own country, which is little, if at all, inferior to the foreign. Berlin wool is made only in two sizes, 4-thread and 8-thread; unless the latter is specified in directions, the other is always implied.

Berlin wools are either dyed in one colour, or in shades of the same colour, or (_very rarely_) in shades of several colours. Technically, a silk or wool dyed in shades of the same colour, going gradually from light to dark, and from dark to light again, is termed an _ombre_, or _shaded_ wool or silk, whereas _chine_ is the term employed when there are several _colours_ used. There are, also, what are called _short_ and _long_ shades; that is, in the former the entire shades, from the lightest to the lightest again, will occur within a short space, a yard or so; whereas, in _long_ shades the gradation is much more gradually made.

We notice these apparently trifling differences that readers may comprehend the importance of obtaining precisely the proper materials for each design. If we prescribe a certain article, it is because _it_ and no other will give the effect. Transparent, white, or silver beads are usually worked with white silk, but clear glass beads, threaded on cerise silk, produce a peculiarly rich effect by the coloured silk shining through transparent glass. The silk used must be extremely fine, as the beads vary much in size. A change of material, which might appear of no consequence whatever, would completely spoil the effect of the design.

1874. Fleecy Wool.

Fleecy wool is the sort of wool used for jackets and other large articles. Some of the tints are quite as brilliant as those of Berlin wool. It is made in 3, 4, 6, 8, and 12 threads, and is much cheaper than German wool. It does very well for grounding large pieces of canvas work.

1875. Shetland Wool.

Shetland wool is very fine and soft, is much used, and prized for shawls and neckties and for veils.

1876. Eis Wool.

A pure German wool of silky brightness, is used for the same purpose as Shetland wool excepting for veils. It is also used instead of silk for embroidering on velvet, as tea cosies, &c.

1877. Andalusian Wool.

Andalusian wool is a medium wool, less thick than Berlin wool, is used for cuffs and shawls.

1878. Other kinds of Wool.

There are also other names given to wools by the vendors or manufacturers of them: for instance, "The Peacock Wool" and "The Coral Wool" are trade marks, and not particular wools.

1879. Scotch Fingering Wool.

Scotch fingering wool is used for knitting stockings and socks, and gentlemen's kilt hose.

1880. Thin Lambs' Wool and Wheeling Yarn.

Scotch yarns, used principally for children's socks and stockings.

1881. Merino Wool.

Merino wool is the produce of a Spanish breed of sheep. The wool was introduced into this country about the close of the last century. George III. was a great patron of this breed. French Merino is made from this peculiarily soft wool; so also Berlin wool, used for canvas embroidery.

1882. Angola Wool.

The produce of an African breed of sheep; is a soft hairy wool. Is used for making Angola shawls and gloves, valued for their extreme softness and warmth. These were popular till the cotton manufacturers introduced a very poor imitation make entirely of cotton.

1883. Camel-hair Wool.

Camel-hair wool is the production of the llama, or al-lama, a native of South America. This ruminant animal resembles in its nature, but not in its form, a camel. The back and sides of the llama are clothed with fine long woolly hairs, becoming smooth, silky, and shining towards the tips, the general colours being of a uniform bright brown. The native Indians use it in the manufacture of stuffs, ropes, bags, and mats.

1884. Alpaca.

Al-Paco produces the alpaca wool. This creature is also a species of camel, though different in shape. Cavier regarded the paco as a variety of the llama; so also the vicugua. The llama is generally used as a beast of burden, while the former are used chiefly for their flesh and wool.

1885. Yak Lace and Fringe.

This is said to be made from the tail hair of an animal resembling an ox, a horse, and sheep; the first for its shape, the next for its tail, and the third for its wool. The tail, under the Indian name of _Chowrie_, is often mounted in horns and silver, and used as a switch to keep off flies. The yak inhabits the coldest parts of Tibet, India.

1886. Silk.

This well known production of the silk-worm in its natural state, as reeled from the cocoon, is termed "raw silk;" and before this can be used for weaving it requires to be twisted, or, as it is technically termed, "thrown;" that is to say, it is not two threads twisted one over the other, but the single filament itself is twisted so as to render it firmer; this is termed "singles." The next process is termed "tram." This is two threads loosely twisted together. This usually constitutes the "weft" silk, which is thrown by the shuttle across the long threads, or "warp," of the piece-silk.

1887. Organzine.

Organzine, or hard silk, generally constitutes the "warp," or length of the silk. This is made by first twisting each individual thread of silk, and then two or more of the threads are twisted together by the "throwing" mill (throw one thread over the other). In this state it must be boiled, to discharge the gum which renders the silk hard to the touch, and unfit to receive the dye. It is now boiled in soap and water for four hours, and then boiled in clear water to discharge the soap; after which it is glossy, soft, and fit for wearing.

1888. Filoselle Silk.

Filoselle silk was formerly a "spun silk," and the product chiefly of the silkworm, which naturally eats its way through its cocoon. It is only comparatively of late years that this silk has been used. The short filaments are spun in the same way that cotton and wool are spun, and is afterwards woven. A great deal of this silk is used for stockings and socks, and for weaving in with wool-fabrics, but there is also another kind of Filoselle used in needlework. This is two-thread silk, or "tram." Eight or ten of these slightly twisted threads form a strand of silk, so that, according to the purpose required, one, two, or more threads of it can be used for embroidery. This is glossy as satin.

1889. Floss Silk.

Floss silk consists of several filaments of untwisted silk sufficient to make a strand of silk. It is used for working on the surface of wool stitches to heighten the effect and give brilliancy.

1890. Tusseh Silk.

Tusseh silk or, as some term it, "Tussore," is spun from the silk of the perforated cocoon of the tusseh-moth. This silk is seldom dyed, being the natural colour of the cocoon, which cannot be satisfactorily extracted; nor will it absorb dye perfectly.

1891. Embroidery Silk.

Embroidery silk is bright and lustrous, and composed of two rather loosely twisted large threads. _Sadler's Silk_ and _Purse-Silk_ have three threads. _Sewing Silk_ has two. _Tailor's Twist_ three threads.

1892. Chenille.

Chenille is of two kinds. _Chenille à broder_ (the finest sort), and _chenille ordinaire,_ which is stiff, and about the thickness of a quill: both are round. The extreme richness of the appearance of chenille makes it suitable for any work requiring great brilliancy; as the plumage of birds, some flowers, and arabesques. Silk canvas is much embroidered with chenille, but is extremely expensive, and very soon injured by dust. It should only be employed for articles intended to be glazed, such as pole-screens, the tops of work-boxes, and screens.

1893. Arrasene.

Arrasene is a perfectly flat silk-chenille--and is used for embroidery on all descriptions of material.

1894. Braids.

Braids are of various kinds. Russian silk braids are generally employed for dresses, slippers, &c.; but for many of these purposes the new Albert braid recently manufactured in England is much richer and far more effective. Russian silk braid is generally narrow, and the plait is of that kind which is termed Grecian--all the strands going from the edge to the centre. In French braid, on the contrary, the plait of every two strands over each other. French braid, in silk, is very little used in this country. Slippers and other small articles worked in braid have the effect greatly improved by laying a gold thread on one or both sides of the braid.

1895. Victoria, Adelaide, or Coronation Braid.

Victoria, Adelaide, or Coronation braid (for the same article has been called by all these various names), is a cotton braid, which, when laid on net or muslin, looks something like satin-stitch. It is composed of thick and thin parts alternately, and is made in only two sizes.

1896. Albert Braid.

Albert braid is a sort of silk cord, made in many beautiful colours. It is intended for either application, in braiding, and being _raised,_ looks extremely well, with very small outlay of time or money.

1897. Gold and Silver Braids.

Gold and silver braids are often used in Mosaic work, and for slippers, blotting-cases, &c. The Mosaic braid, which is comparatively cheap, is generally used.

1898. Stitches.

Various stitches are used in embroidery with crewels and silk.

1899. Stem Stitch.

Stem stitch, also Crewel stitch, is that used for stems and for ordinary filling-in of flowers and arabesques. Instead of working from right to left, the stitches are smoother if worked from left to right. In stems a long stitch is made, and then a second halfway the length of the first, and half-way beyond it, till a stem is formed; and to complete it work from right to left, placing the needle under a stitch of the stem, not of the material, and so work back upon the top of the previous stitches. In the stem first worked only the tiniest piece of the material is taken up on the needle, so that the wool or silk is all on the surface.

1900. Stem Stitch in Flowers, &c.

In flowers and arabesques the stem-stitch is worked straight, but each stitch differing in length from the other, so as to make the wool smooth. Commence the work at the lowest part of the petals, and work upwards to the edge.

1901. Split Stem Stitch.

Having worked one stitch, in making the second split the first stitch in the centre with the needle. In the stitch, the thread is continued under the material.

1902. Couching.

Couching is a laying down on the outline of the design, a thick strand of filoselle, or cord or wool or silk of any kind, and then over-stitching it down with a fine silk of the same, or a contrasting colour.

1903. Basket-work Stitch and Diaper Stitch.

These are done with gold, silver, or silk cords, stitched on the material in patterns, with silk of another, or of the same colour. The cords are just passed through the back of the work to its surface; either one, two, or three at a time are held in place by the left hand, the over-stitching being done by the right hand.

1904. Canvas for Cross-stitch Work.

The Penelope is now universally used where the ground is filled in. Formerly it resembled the silk canvas now used where no grounding is required, but by accident a manufacturer observing some cross-stitch work unpicked, took the hint, and the result was the "Penelope canvas," of which there are different degrees of fineness, determined by the number of double-crossed threads that may fill the space of one inch.

1905. Elephant Penelope Canvas.

Elephant Penelope Canvas is extremely coarse--fitted for working rugs and eight or twelve thread wools.

1906. Silk Canvas.

Silk canvas requires no grounding; it is made of a cotton thread overcast with silk, and resembles coarse even-threaded cheese cloths, but is silky.

1907. Mode of doing Canvas Work.

This is always done by the thread,--particular care should in all cases be taken that the size of the various materials is properly proportioned. Placing the canvas in a frame, technically termed _dressing the frame_, is an operation which requires considerable care. The frame itself, especially for a large piece of work, should be substantially made; otherwise the stress upon it will be apt to warp it, and drag the canvas. If this occurs to any extent, the injury can never be repaired.

1908. To Frame Canvas.

After herringboning the raw edges of the canvas, sew them, _by_ the thread, to the webbing of the frame,--that is, to the top and bottom. Then stretch the ends till the canvas is extended to its utmost length, put in the pegs, and brace the sides with fine twine. If the canvas is too long for the frame, and any part has to be rolled over the end, let the wood be first covered with a few thicknesses of silver paper.

1909. Design on Cloth.

Sometimes, to save the trouble of grounding, a design is worked on cloth, over which canvas is laid. Whenever this is the case, the cloth must be carefully damped, to remove the gloss, before it is put into the frame. Then, as cloth will always stretch much more than canvas, it must be cut a little smaller both ways. The raw edges of the cloth should be turned in, and tacked to the canvas before they are framed. Some people withdraw the threads of canvas after the work is done; but it has a much richer effect if the threads of canvas are cut close to the outer stitches; and if there are any small spaces in the pattern, where the ground should be seen, they may be worked in wool of the colour of the ground.

1910. Stretching Work.

Should a piece of work be a little drawn when taken out of the frame, damp the back well with a clean sponge, and stretch it again in the frame in the opposite direction. Whenever Berlin-work is done on any solid thick material, as cloth, velvet, &c., a needle should be used with an eye sufficiently large to form a passage for this wool. This prevents the latter from being crushed and impoverished as it passes through.

1911. Stitches in Canvas Work.

There are five kinds of stitch used in canvas work--_Cross Stitch, Tent Stitch, Tapestry Stitch, German Stitch, and Irish Stitch_.

1912. Cross Stitch.

Cross stitch is generally known. The needle is brought up in one pole of the canvas and down on another, two threads higher and more to the right. The slanting thread is then crossed in the opposite direction. A cross-stitch covers two threads in each direction.

1913. Tent Stitch.

Tent stitch occupies one-fourth the space of cross-stitch. It is taken from one hole to the next above, and on the right hand side of a previous stitch.

[EVERY ONE BASTETH THE FAT HOG, WHILE THE LEAN ONE BURNETH.]

1914. Tapestry Stitch.

Tapestry stitch crosses two threads of the canvas in the length, and one in the width. It is sometimes called Gobelin stitch, because it resembles somewhat the Gobelin tapestry. It is not suited for coarse canvas, and, in working from a Berlin pattern, _two_ straight stitches must be counted as one square cross stitch.

1915. German Stitch.

German stitch is worked diagonally, and consists of the first part of a cross stitch, and a tent stitch alternately worked.

1916. Irish Stitch.

Irish stitch is worked parallel with the selvedges of the canvas. None of the stitches cross the threads in the _width_. In the first row, take the thread alternately over four and two threads; in all future rows take the stitches over four threads,--which, as they rise--first from the long and then from the short stitch, will produce the same appearance in others.

1917. Handling Wool.

With regard to wools, they should never be wound, as the least handling crushes the pile and spoils them. Chenille needs still more careful handling.

1918. Stiffening Work.

To stiffen large pieces of work, wet the wrong side thoroughly with gum water or gum tragacanth, and dry it before a fire (the wet side nearest the fire), before removing it from the frame.

1919. Beads in Canvas Work.

Beads in canvas work have the treble merit of being at once brilliant, durable, and attractive.

1920. Tapestry Painting.

Tapestry painting is an imitation of the famed Gobelin tapestry, which is hand-woven over fine cord. The imitation is painted on a machine-woven rep canvas: the term rep is a corruption of the Saxon term _wrepp_, or _rape_, a cord, Dutch _roop_, from which we get the word rope. In the Gobelins the shading of the different tints of wool that form a picture, or other designs, are put in by hand work, or shuttles moved by the hand, and on the wrong side of the picture, and the threads of wool, the weft run longitudinally, not horizontally, so that when the design is finished the picture is turned horizontally, and is complete. In Tapestry Painting the _rep_ of the canvas is from right to left (horizontal), and this is then painted over and forms a picture in imitation of the Gobelin tapestry. The latter is so named after its French inventor, Giles Gobelin, about 1520. He was a famous dyer who discovered the celebrated Gobelin's scarlet dye. The house in which he lived was purchased by Louis XIV for a manufactory of tapestry for adorning palaces, the designs for which were drawn by Le Brun, a celebrated French painter, about 1666. Her Majesty Queen Victoria has recently caused to be established at Windsor, an establishment where the art of making "Gobelin Tapestry" is successfully taught.

1921. Tapestry of Auxerre.

This town, in the northern part of the province of Burgundy, was once famous for its tapestry of a peculiar make. The design was handwoven in small patches of colour, and then was sewed together at the back to form the picture. Tapestry painting in blocks or masses of a single colour successfully imitate this tapestry, only that where the joining is of the real Auxerre tapestry is in tapestry painting marked by a black outline.

1922. Terra Cotta Painting.

Terra Cotta is an Italian term for "burnt-earth." Bricks are a coarse kind of terra cotta. The new building erected at Kensington for the reception of valuable remains and subjects of natural history, is built entirely of terra cotta slabs. Terra Cotta vases of the early and late Etruscan period, such as those in the British Museum, are priceless. These are painted in various designs, and burnt in. The Doulton Ware is a close, if not exact, representation of these matchless specimens. Terra Cotta painting is simply vases and plates of red terra cotta, painted in Greek designs with ordinary black paint, and then varnished, or plates painted with a similar medium, in flowers of various colours. These last, of course, are no imitations of the antique.

[TIME AND TIDE TARRY FOR NO MAN.]

1923. Lustra Painting.

Lustra painting is a recent invention that so much resembles silk embroidery as to be mistaken for it. The outline of a design is sketched either on Roman satin or any smooth fabric, and then bronze powders of different colours are rubbed in with a preparation which is a trade secret. The leaves and stems are outlined in silk, this rendering the imitations more complete.

1924. Hints upon Etiquette. [1]

[Footnote 1: See "Etiquette and Social Ethics." 1s. London: Houlston and Sons]

1925. Introduction to Society.

Avoid all extravagance and mannerism, and be not over-timid at the outset. Be discreet and sparing of your words. Awkwardness is a great misfortune, but it is not an unpardonable fault. To deserve the reputation of moving in good society, something more is requisite than the avoidance of blunt rudeness. Strictly keep to your engagements. Punctuality is the essence of politeness.

1926. The Toilet.

Too much attention cannot be paid to the arrangements of the toilet. A man is often judged by his appearance, and seldom incorrectly. A neat exterior, equally free from extravagance and poverty, almost always proclaims a right-minded man. To dress appropriately, and with good taste, is to respect yourself and others. A gentleman walking, should always wear gloves, this being one of the characteristics of good breeding. Fine linen, and a good hat, gloves, and boots, are evidences of the highest taste in dress.

1927. Visiting Dress.

A black coat and trousers are indispensable for a dinner, or a ball. Either a white or black waistcoat is proper on such occasions. Morning dress is sufficient for an ordinary visit of ceremony.

1938. Officers' Dress.

Upon public and state occasions all officers should appear in uniform.

1929. Ladies' Dress.

Ladies' dresses should be chosen so as to produce an agreeable harmony. Never put on a dark-coloured bonnet with a light spring costume. Avoid uniting colours which will suggest an epigram; such as a straw-coloured dress with a green bonnet.

1930. Arrangement of the Hair.

The arrangement of the hair is most important. Bands are becoming to faces of a Grecian caste. Ringlets better suit lively and expressive heads. Avoid the extremes of fashion, whatever the fashion may be, especially those fashions which tend to spoil the hair and render it unfitted for plainer styles.

1931. Excess of Lace and Flowers.

Whatever be your style of face, avoid an excess of lace, and let flowers be few and choice.

1932. Appropriateness of Ornaments.

In a married woman a richer style of ornament is admissible. Costly elegance for her--for a young girl, a style of modern simplicity.

1933. Simplicity and Grace.

The most elegant dress loses its character if it is not worn with grace. Young girls have often an air of constraint, and their dress seems to partake of their want of ease. In speaking of her toilet, a women should not convey the idea that her whole skill consists in adjusting tastefully some trifling ornaments. A simple style of dress is an indication of modesty.

1934. Cleanliness.

The hands should receive special attention. They are the outward signs of general cleanliness. The same may be said of the face, the neck, the ears, and the teeth. The cleanliness of the system generally, and of bodily apparel, pertains to Health, and is treated of under this head.

1935. The Handkerchief.

There is considerable art in using this accessory of dress and comfort. Avoid extreme patterns, styles, and colours.

Never be without a handkerchief. Hold it freely in the hand, and do not roll it into a ball. Hold it by the centre, and let the corners form a fan-like expansion. Avoid using it too much. With some persons the habit becomes troublesome and unpleasant.

[PUNCTUALITY BEGETS CONFIDENCE.]

1936. Visits and Presentations.