Chapter VI: A Lesson in Stencilling 74 (6)

When the left-hand side is reached, drop the first left-hand one with the rest and let the new weaver hang out till the next is brought over. The first one, when it reaches the left side, is always turned over the last weaver just brought over before dropping it (the first one) into place with the others.

When the first set of strands are used, replace them one at a time by using the new and old together about two inches from the end of each.

It will take about eighteen or twenty yards of braiding to cover the frame. When the braiding is ready to sew on the hat, begin with the centre of the crown. When the crown is entirely covered, start with the brim and begin sewing the coils together to the frame at the base of the crown. The under side of the brim may be covered with silk or material of a similar kind, or if you prefer to have it, covered with braid sewed on in the same manner as the outside, beginning at the base of the crown.

When the whole hat frame has been covered with the braiding, you may roll it in the front or on the side, or in fact any place to suit yourself. A nice large bow of ribbon placed on the hat in a becoming fashion would make it very attractive, or for those who prefer flowers and ribbon the hat trimmed in this manner would be equally charming.

A woven raffia hat made on a wire frame is a very charming and neat creation.

It takes time and patience and skill to make the hat, but when it is finished you are doubly repaid for your work and the time spent on it.

The crown is woven first and then fitted to the crown of the wire frame. Take a small strand of raffia to make a ring of very small dimensions, say about one quarter of an inch in diameter. To this ring, knot eight strands of raffia as shown in Figure 211. Eight more strands are tied around each of the eight strands, using the very pretty and effective "Solomon's Knot."

This knot is a very simple twist and may be tied either with a double or single strand. The strand which is tied on is laid first under the main double strand and then both ends are crossed over each other. The right one goes first under the end of the left-hand one and over the double middle strand and then again under the loop of the left-hand one.

It would be well to practise with strands of raffia other than those used in making the hat so as to become quite familiar with the knot before using it on the hat. Counting the eight strands tied to the ring and the sixty-four strands that are Solomon-knotted to the original eight we have seventy-two strands in all. They start from a common centre and are brought down and outward through the pattern and are knotted one by one onto the main strands as they cross.

If you were to trace any one of the seventy-two strands you will find that it comes to the outside edge of the square through a very simple course. The last or eighth strand, knotted to the main strands, is used to tie up the bunch of strands coming from the sides of the diamond. It falls into place with the other strands and is tied up in turn as the others are. The larger knot tying up the bunch of raffia in the centre of the diamond is the same kind of knot as the smaller ones. It may look slightly different in composition, but that is due to the fact that it is being tied around a larger bulk.

After the knots have been all tied at the edges of the diamonds, the ends are woven under and over making a sort of a square design as shown in the illustration.

The finishing of the crown is done by taking four strands, two from each of the squares at the centre, and knotting them together with a simple knot. Two from each side are knotted together.

If you find that the strands do not come out in sets of four, make an extra strand by splitting in two one of the other strands.

The brim of the hat is not so tedious to make as the crown and having a larger surface on which to work you will find that the progress is more rapid and requires less time and energy.

Knot on the outer wire of the frame as many strands of raffia as will fit very closely but easily side by side and then tie them into loops such as were used on the edge of the crown of the hat. This loop is the same as that used in making the shopping bags and hammocks described in the next chapter.

You may use your own judgment in designing the brim. The outer edge may be made of the same loops that we have just spoken of. On the next row the strands of raffia are drawn down tightly and tied around the wire with a simple knot.

Alternate these two designs and you will have a very pretty brim.

To finish off the edge on the brim, cut the ends off to about three quarters of an inch in length and sew them in under the wire with a needle threaded with fine raffia. A tapestry needle or a darning needle would do for this purpose.

The trimming for this hat could be easily made of raffia. I will leave it to the maker to decide what would be most suitable to the taste. I might suggest such articles as buckles made of raffia or rattan or perhaps quills made of raffia.

If you do not care to have the hat trimmed with its own material, velvet ribbon, satin, flowers, quills, etc., would make a desirable trimming.

A very bewitching hat of a plain, three-strand braid of raffia can be easily made with very little trouble.

The raffia has to be soaked in water until it is soft. Unroll each strip and it will probably be about three quarters of an inch wide. In order to make the braid thick enough it will be necessary to use three or four pieces in one strand of the braid. Braid about nineteen or twenty yards before beginning to make the hat.

Choose a wire frame of a low rounded crown and a broad flat brim. If you wish to change the shape of the frame after the braid is sewed on, it will be a very trifling matter.

The end at which the braid is begun forms the centre of the crown. It is bent over at about five eighths of an inch from the tip and the long end is coiled around in a second row, the edge of which comes an eighth of an inch under the edge of the centre. It is generally sewed on with a darning needle, threaded with a very fine strand of raffia. Use the back-stitch bringing the strand all the way through on the right side and then all the way through underneath.

The crown is made entirely by sewing the plaits together, separately from the wire frame, but it will be well to try it on the frame occasionally so that it will securely fit. When about six or seven rows have been sewed together and the crown is four or five inches high, the brim is begun. The coil of braiding is brought around more loosely and flattened out as it is sewed.

When six or seven rows have been completed, the brim at the back will be large enough. Each succeeding row will have to be cut as it gets near the back and the end fitted in under the previous row until the sides near the back are about nine or ten rows wide and the front twelve rows. It would be well to pull the coil slightly tighter as it draws nearer the outer edge so that the last rows may roll a little.

If you care to have the under brim of braided raffia it can be made in the same way, except that it is one row wider at the front and sides, to allow it to roll over the edges of the brim. It is pressed on the wrong side and attached to the under brim of the wire frame, with very small stitches of raffia. The outer edge of the under brim should not be fastened until the crown and the top brim are on the wire frame, as the top brim should come over the edge of the under brim.

The crown and the upper brim are now pressed on the inside and put on the frame to which they are caught with a stitch of raffia here and there.

The centre of the crown particularly should be firmly attached with stitching to the centre of the wire frame. A row of braiding is brought around to cover where the upper and under brims join inside the rolled brim and is sewed on either edge with small stitches of raffia.

A hat like this would be very pretty trimmed with a satin ribbon or silk bow. A large bow at the side or the back would make it very attractive if the bow is of a contrasting colour.

Some people prefer leaves and flowers, with a little touch of silk; others quills or feathery materials. In fact it may be trimmed with material of any kind.

XXIV

KNOTTING FOR DOLLS' HAMMOCKS, SHOPPING BAGS, AND OTHER PURPOSES

Knotting of raffia for dolls' hammocks, shopping bags, belts, coverings for hanging jars, and many other things proves to be a very interesting part of the basketry work.

Little girls could easily make some very pretty belts to be worn with some of their dainty frocks, and I don't know what could be more delightful than a hammock for dolly to sleep in.

First let us see how we can make dolly's hammock. We will have to have two small brass rings about three quarters of an inch in diameter, twelve pieces of raffia, and a pair of scissors.

Place one of the rings on a table or other flat surface and tie each of the twelve pieces of raffia on the ring, leaving an end about an inch long. Begin and tie simple knots three inches from the ring and one inch apart, knotting the strands two and two until nine or ten rows have been completed. Finish the hammock by fastening the ends three inches from the last row of knots, to the other ring. The hammock is ready for Sally Ann to have a nap.

The next thing to do is to make a shopping bag, to carry all the small bundles when you go down town to buy dolls' clothes.

This little bag is made with the same kind of knotting, only the number of strands and the arrangement of them differ (Figure 213).

Twenty-two strands of raffia and a pair of scissors are necessary. Arrange twenty of the strands in pairs, and tie each pair in the centre. Place them on a table with the knots side by side, leaving a little less than ten inches on each side of the knots. Begin on one side of the centre knots, and tie one strand from one knot to the next strand from the next knot. They must be an inch from the first knots. Tie the same two strands an inch from the centre on the opposite side. In the same way tie the outside strands of this group to form the corners. Tie them one inch from the first centre knot. Make ten rows of knots an inch apart. When these have been completed, the bag is ready for the handles.

Separate the strands on one side of the bag from those on the other. Divide the group on one side in half. Fasten each group one and a half inches beyond the last row of knots. Braid the strands about six inches. Do the same with each group, making four braids in all. Hold the two braids from one end of the bag together so that the loose ends of one braid overlap the other. Beginning at the middle point make a binding one and a half inches to the right and a similar one to the left. Cover the binding with "Solomon's Knots." Keep the lines of knotting straight. Finish the opposite handle in the same way.

Some day when you have shopping to do for your mother, take your bag along and see how handy it will be.

In the beginning of the chapter I spoke of a belt to wear with a pretty frock. A belt made of a six strand braid proves to be very serviceable to some little girls. You may use plain white raffia or a plain colour but oftentimes two colours add to the attractiveness of the belt.

Take three long pieces of raffia, that is, if the raffia is very thick; if not, six or twelve pieces using two or four pieces as one strand. Hold the strands at the centre in the left hand. Put the strand on the extreme right over and under the next two strands. The strand on the extreme left is put under, over and under the other strands. This forms a braid. Continue doing this braiding until the belt is long enough to suit you. To finish the ends tie the remaining loose strands close to the braid and cut off the ends. Turn the knots under and sew over the ends with the loop-stitch described in a preceding chapter.

In working with raffia many times an article will need something to put a finishing touch to it, I would suggest using a fringe or tassel according to the kind of work in question. In my experience they have proved to be just the thing for such purposes. For example, in knotting raffia for a work bag, the ends of the raffia may be left hanging and when cut to an even length provide a very plain finish for the bottom of the bag. Fringing or tassels would, I think, add considerably to the appearance of the article. To make fringe on the bottom of such a bag it is necessary to cut the ends an even length after the last knot has been made, and with a pin or needle fray out the ends very finely.

The way to make tassels for a finish is to wind a strand of raffia over a cardboard about two or three times, or if the tassel is to be quite thick, wind five or six times. Slip it off and bind it several times near the top with the end strand of the bag. Sew it fast with a tapestry needle. Cut through the centre of the loops. A row of these across the bottom of a bag are very effective.

A very dainty little article for a very small child to make is a little clothes brush or whisk broom. Secure a brass ring about one inch in diameter and cover the ring with the loop stitch. Fold twelve strands of raffia twice and slip the bunch through the ring bending it in the middle. Make a binding one inch below the ring and one inch long; cover the binding with "Solomon's Knots." Fringe the ends well and trim off evenly (Figure 214).

Knotting in silks, cotton or linen strands should be mentioned in this chapter. It is a difficult thing to find a piece of fringe that will just match the colour of silk you have but it is an easy matter to make the fringe yourself. The simplest kind is the knot fringe. It can be made of filo, rope, twisted, or heavy floss when used in connection with a silk, satin, or velvet background. For cotton or linen background, cotton floss or fine cord can be used.

Let us suppose that you wish to make the fringe into a hem. Take a cluster of six or eight strands of rope silk, ten inches in length, and draw them through the extreme edge of the hem. If the other kind of silks are used, more strands will be necessary. Knot the cluster close to the hem. At a little less than a half inch distance over make another cluster and repeat in this manner across the space on which you want the fringe.

Now take the first cluster and divide it in half. Hold the half nearest the next group in your left hand and divide the second group. Taking the half close to first group, knot the strands together one half inch from the hem. Continue like this all the way across. Do not pucker the material when knotting.

A third row of knots is now made below the second. This takes up the first half of the knot previously used and half of the next group. In this way you form a diamond. If a deeper fringe with more knots is desired cut the strands of silk three inches longer. For every inch of fringe allow three inches of strands.

XXV

SIMPLE BEAD CHAINS ON SINGLE STRINGS, A HOME-MADE LOOM, WOVEN CHAINS, BELTS AND PURSES

Have you ever taken pop corn and made a chain of it for Christmas trees, or perhaps you have strung cranberries? Maybe it was the first time that you ever held a needle. I remember when we were youngsters living in the South, our nurse used to take us out under trees and we would string "Job's Tears" for hours. Many drug stores sell these seeds on strings for infants to cut their teeth on.

The simplest form of bead work is just as easy as stringing pop corn or berries. Beads come in all sizes from the tiny ones that are no bigger than a top of a pin to the large ones the size of a marble. Sometimes you can get odd-shaped beads, flat on one side and curved on the other. A string that is pretty enough to wear on state occasions can be made of heart-shaped and round beads.

The regular bead needle is very fine and long. It is better when stringing a single strand to double the thread. Use linen thread No. 100 or 150. Thread the needle with a piece of thread eight inches longer than double the length of the necklace. Bring the two ends together and make a knot three and a half inches from the ends of the thread. The thread will be very much stronger if you wax it. Now thread seven small round beads then an odd shaped one. Repeat in this manner till you have the length of chain desired. Cut off the needle and tie the remaining thread in a tight knot close to the beads. Ribbons are sometimes used to fasten the chain or necklace together but the little clasps that you can buy for a few cents are neater and do not get soiled as ribbon does. Fasten on the clasp with the thread that extends beyond the knots.

A sweet little daisy chain can be made on two threads. Thread two bead needles with two long threads. Bring one end of each thread together and make a knot as described above. Fasten the knot to a table with a pin so that one needle is on the right and the other one on the left. Thread two white beads on your right hand needle. Put your left hand needle down through the white bead so that you have a thread coming from each side of the beads. Your needles will have changed position. Thread the right hand needle with one yellow bead. Pass the left hand needle down through this and again the needles are reversed. Thread two more white beads like the first two and do the same thing. Now take the right hand needle and thread two more white beads and carry the needle through the first two white beads from right to left. Thread two more white beads on the same needle and carry it through the second or top group of white beads from left to right. Thread ten green beads on each of the needles and now we are ready to make another daisy (Figure 215). Continue in this manner till the necklace is complete.

Another and more elaborate daisy chain is made on one needle. Make a knot in the thread and string four green beads. Hold this down between the thumb and forefinger of the left hand. Thread one green bead and pass through the third of the four beads. Thread another green bead and pass through the first bead. Thread one white bead and pass through the green one on the left. Thread another green bead and pass through the green one to the left (Figure 216).

Third row--Thread a green, pass into a green to the left. Now thread a white bead and pass in through the first white bead.

Fourth row--Thread a yellow bead and pass through last white, and a green bead through the green.

Fifth row--A green bead through the last green, a white through the yellow.

Sixth row--A white bead through the last white, a green through the last green.

Seventh row--A white through the last green, a green through the last white of the sixth row.

Then three white beads on the needle and pass through the first white on the second row. Carry the thread through the daisy thus formed till you have it again in same position as it was before you threaded the three beads.

Eighth row--One green into the last green, one white into the last white. (Note that you are now starting another daisy on the left-hand side).

Ninth row--One yellow into last white, one green into last green.

Tenth row--One green into last green, one white into yellow.

Eleventh row--One white into last white, one green into green.

Twelfth row--One white into last green, one green into white.

Repeat the directions from the second row. Note that though the chain is four beads wide there are only two beads that you work on in each row.

If the thread breaks, start the new one, two or three rows back and go through the different beads.

The above directions are for a chain that is worked without a loom. Now-a-days it is quite possible to buy a little loom for about fifty cents, but you can make one at home that will not cost you a penny. The size of the loom will depend on what you are working but we presume that it is a chain. Should you ever make a purse it would pay you to buy a loom.

To make the home-made loom get a piece of card and a wooden meat skewer such as butchers use. Fasten the skewer down on both ends to the cardboard about two inches from the upper edge. One inch above the skewer in the direct centre make a hole and one inch from the bottom edge of the cardboard make another hole. Cut six pieces of No. 90 linen thread, thirty-six inches long. This measurement is sufficient for a chain twenty-seven inches or under. Tie one end of each thread to the skewer. Now holding the six threads together, carry them down through the bottom hole across the back of the cardboard and tie in a loose knot to the top hole.

Thread a bead needle with a thread of No. 100 linen thread that has been well waxed. Tie the thread to the extreme right hand thread of the warp. Now we are ready to make the chain (Figure 217).

First row--Thread the needle with five yellow beads. Pass the needle toward the left under the warp threads, letting one bead slip in every space. On the left hand side bring the needle up to the right side and slip it through the five beads.

Second row--Thread five blue beads and fasten them in the same way.

Third row--Thread five yellow beads.

Fourth row--Five red beads.

Fifth row--Five red beads.

Sixth row--Two red, one blue and two red.

Seventh row--One red, three blue, one red.

Eighth row--Five blue.

Ninth row--One red, three blue, one red.

Tenth row--Two red, one blue, two red.

Eleventh row--Five red.

Twelfth row--Five red.

Continue in this manner for as many inches as needed (Figure 218). When you have used up all the warp threads on the upper side of the cardboard roll the finished chain over the skewer and fasten the remaining threads in the lower hole.

To make a belt or purse the larger loom will be necessary. Designs used for cross stitch are suitable for bead work.

Before I tell you how to make any more bead chains and the other articles that may be made with beads, I want to tell you how to make a dainty purse that is illustrated in this chapter. It is made of gold and rose-coloured glass beads and it belongs to a bright little girl I know who has been using it for the past three years. A spool of heavy buttonhole twist of a colour to correspond to one of the coloured beads is needed (Figure 221).

Take eighteen strands of silk, each a yard long. See that the ends are all even. Tie a tight knot through the centre of the threads. Thread a bead needle with one of the strands of silk. Put on two pink beads then three yellow, five pink, three yellow, five pink, three yellow, five pink, three yellow, five pink, five yellow, one pink, seven yellow, one pink, seven yellow, one pink, seven yellow, one pink, five yellow, five pink, three yellow, five pink, three yellow, five pink, three yellow, five pink, three yellow, seven pink. This completes the first string. Do not allow any beads to drop, which they are very apt to do while you are working on another row. It is suggested that the strand of silk on the left of the beads should be knotted closely to the beads to prevent them from slipping.

Unthread your needle and take the next strand; thread two pink, one yellow, then slip your needle through the second yellow bead of the first row, thread one yellow, five pink, one yellow, now slip your needle through the middle yellow bead of the first row or in other words slip your needle through every eighth bead on the first row. The colouring remains the same. I will start the instructions again for the second row which is to be threaded, two pink, one yellow, slip needle through bead on first row, one yellow, five pink, one yellow, slip needle through bead, one yellow, five pink, one yellow, slip needle through, one yellow, five pink, one yellow, slip needle through bead, one yellow, five pink, one yellow, slip needle through bead, three yellow, one pink, three yellow, slip needle through, three yellow, one pink, three yellow, now slip needle through bead, three yellow, one pink, three yellow, slip needle, three yellow, one pink, three yellow, slip needle, one yellow, five pink, one yellow, slip needle, one yellow, five pink, one yellow, slip needle, one yellow, five pink, one yellow, slip needle, one yellow, five pink, one yellow, slip needle, one yellow, six pink, slip needle into last bead of first row and knot the two threads close to the bead. Be sure that the knot is large enough not to slip through the hole of the bead.

Thread your needle with the third strand. Put on two pink, three yellow, two pink, slip needle through third bead of first group of five pink of the second row. (For the rest of the row "slip needle" means slip the needle through the fourth bead below the one slipped through on the second row) two pink, three yellow, two pink, slip needle, two pink, three yellow, two pink, slip needle, two pink, three yellow, two pink, slip needle, two pink, five yellow, slip needle, seven yellow, slip needle, seven yellow, slip needle, seven yellow, slip needle, five yellow, two pink, slip needle, two pink, three yellow, two pink, slip needle, two pink, three yellow, two pink, slip needle, two pink, three yellow, two pink, slip needle, four pink.

The fourth row is the same as the second. Every other row from the third is also worked like the third.

The last row which joins the bag--Two pink, slip needle into fourth bead of next to last row, thread three more beads, slip into centre bead of the group of sevens of the first row. The pattern is diamond-shaped as you will note, therefore after threading your needle with three beads of the shade to correspond with the previous row slip your needle in the centre bead of the groups of seven of the preceding row and the first row. Work first to the right and then to the left.

Every two strands of silk must be knotted together to keep the beads from slipping off. Braid the threads extending beyond the bead work in groups of three. A large bead or slide will be necessary to make the purse a practical money bag. Get two big beads that have openings large enough to pass all the silk threads through. Take a knot on the silk thread after the first large bead is in position. This knot should be two inches at least from the beads. The silk threads may now be cut quite close to the knot or they may be cut one inch from the knot to form a tassel.

If the little purse was left without any further work it would look quite top heavy and unfinished, for that reason a bead tassel is suggested as shown in the illustration of the bead purse.

Thread your needle with a long strand of the buttonhole twist. String about two and a half inches of pink beads. Before commencing to string the beads fasten the thread in the heavy knot at the bottom of the purse. Catch the thread with the beads also in the knot. Make two pink strings this length and two yellow. Then make four strings, two pink and two yellow, that are not more than an inch and a half long. Fasten off the threads securely and the bag is complete.

Three bunches of pink beads and two bunches of yellow will make two purses as have just been described. The beads vary in price from six cents a bunch to twenty-five cents. Sometimes the more expensive kind have only half the number of beads that the cheaper bunches have. Do not get too small a bead or the work will become very tedious. The large beads for the slides are more expensive. They cost four cents apiece or more.

Of course other colour combinations can be made, also other patterns. Silver and blue is another pretty combination for a bead purse.

Now while we are on the topic of beads, I would like to tell you about some sensible portières and cushion tops that I recently saw at an Arts and Crafts exhibition made of an inexpensive background and beads. Monk's cloth was used for one of the portières. Monk's cloth is somewhat like burlap but the weave is coarser and more even. A hem was turned on one short side and one of the long sides and the thread drawn out for a space of about two inches. The threads were hemstitched and then a design of beads worked between the groups of threads. To accomplish this the design was well planned out before commencing the work. The number of beads needed to fill out the space can be judged by placing the beads in the opening and testing that for yourself. After the design has been selected make a pencil copy of it. It is better to restrict yourself at first to just two colours. Fasten your sewing thread securely to the threads of the material. Use carpet thread for the weaving. Let us suppose that you have selected a pattern that is seven rows of beads deep and you have chosen tan as the background and red and chalk white beads for the decoration:

First row--Thread one red bead, six white, one red, six white. As we will only work a section at a time, let us secure the beads. Slip your thread under the hemstitching. Now let each bead come between two consecutive groups of hemstitching. Bring your thread to the right side. Be careful not to disturb your beads. Now carry the thread through the beads again. The thread should be drawn tight but not so as to pucker the hem.

Second row--Work this by stringing one white, one red, four white, one red, one white, one red, four white, one red. Fasten as described in the first row.

Third row--One red, one white, four red, one white, one red, one white, four red, one white. Fasten.

Fourth row--One red, one white, one red, four white, one red, one white, one red, four white. Fasten.

Fifth row--One red, one white, four red, one white, one red, one white, four red, one white. Fasten.

Sixth row--One white, one red, four white, one red, one white, one red, four white, one red. Fasten.

Seventh and final row--One red, six white, one red, six white. Fasten.

After this section is worked slip your needle through the beads to the last one on the first row and continue to weave.

The beads to use for portières or large pillows are round ones that are three eighths of an inch in diameter.

For curtains, table covers or any article where the weight of the large bead is not desirable use a smaller bead that is not more than a quarter-inch in size.

Scrim curtains with a single row of the smaller beads add a pretty touch of colour to the otherwise plain window. Almost any shade can be had in the beads, but the trouble is that they can not be bought at every store. A bead supply house is the one from which to get them. They cost only one-quarter as much as when bought in a department store.

Ecru scrim with a row of turquoise blue, canary yellow and sage green beads and the simple twist stitch such as described in the chapter on "Simple Stitches in Drawn Work," makes a curtain suitable for a simple room. The way to accomplish this work, is to take a stitch on the drawn thread, in the regular way for the twist stitch, then slip a bead on, then take another stitch, then a bead, so on to the end.

If a skeleton square of beads is desired on a sofa cushion it is advisable not to draw it out in the same manner as for a curtain.

For a two-inch border to be set in four inches from the edge, crease the cushion through the direct centre. Measure four inches from the edge and cut the material on the crease for two inches. Treat each side like this. Draw the threads out on each side of the cut, stop when you get four inches from the edge. Of course the material must be in a perfect square and just the size you want for the pillow before you begin any of the work. Place the beads as explained for the portière. Do not cut the threads you drew out but, threading a needle with two or three at a time, carry them through the beads. In this way there is no necessity for cutting and buttonholing the corners where the border intersects, as in drawn work. Loose woven materials such as monk's or arris cloth are extremely hard to buttonhole and even after very careful work they are apt to fray.

If a fancy edge is desired for the pillow one made of beads is far more appropriate than anything else. After the pillow is complete and made up, put on the bead edge by catching a bead to the material at a short distance from each other.

For a canoe or porch pillow there is nothing more durable than bead pillows of a dark colour worked with gay coloured beads.

XXVI

BRAIDING AND WEAVING FOUR AND SIX STRANDS

WEAVING ON LOOMS

Braiding or plaiting can be done in any materials and may be used for shopping bags or circular rugs. Raffia, corset laces, heavy silk floss or rags can be utilized for the braiding.

It is extremely difficult to conceal the ends when three strands are used so for that reason I have selected four strands to commence with.

When working with cords or very long strands of material, knot the four ends together. Pin the knot to your knee and proceed to weave. Take the extreme left-hand strand and weave under the next strand. At the same time weave the extreme right-hand strand over the next. Cross the two strands in the centre. (See Figure 222.) If a knot is not desired at the start the cords may be commenced as shown in the Figure 223.

To braid with six strands take the extreme left-hand strand and weave under and over to centre and with the right-hand strand weave over and under to centre and cross the left-hand strand (see Figure 224).

After the braid has been made it can be sewed together for a mat. In joining a strand insert the new piece so that it extends a little beyond the braid. If a long braid is desired it is best to have the strands of different lengths so that the joinings will not be all in one place (Figure 225).

When braiding or weaving with rags cut the strips about three quarters of an inch wide. Old rags can be used for this, cutting out the weak parts. Cheap cotton fabrics when new make excellent mats.

Weaving on frames is very interesting and not such a difficult task as you imagine. There are hand and treadle looms. The following instructions will be for the former. A stretcher such as artists use for painting can be used or four pieces of board twenty-four inches long by four inches wide and one inch thick. Take the four pieces to form a frame.

Buy three half-inch dowels or long round sticks; which may be bought from a hardware shop; and sand-paper till they are quite smooth. Screw in four large picture rings two on each side of the frame, one at each end. Slip one dowel through the rings at each end and tie to picture ring.

The warp may be cord which is sold by the pound or a heavy soft twine. A wholesale cord or rope house will be the best from which to buy the warp.

A thin board such as you have in your window shades and to which the string is attached makes a good shuttle. Cut it so that it is twenty-two inches long and wind the warp on it lengthwise.

Tie one end of the warp thread to the lower left-hand picture ring.

Lay the warp threads over the lower dowel, up through the frame and over the upper dowel. Remember always to lay the thread outside and over each dowel. The first six threads are placed very close to each other. After that the threads are laid half an inch or a little more than a quarter of an inch apart. The finer the weaving the more warp threads will be needed. The usual allowance is from four to eight threads to an inch.

Two plain boards that are as long as the dowels and three inches wide by a quarter of an inch deep will be required now. Slip into one of these boards at each end between the warp threads and bring the boards to the centre and tie together to keep them from slipping.

Take a piece of cord nine inches longer than a dowel and tie to the throat of the lower left-hand screw. Make a knot at first warp string and slip it over dowel. Twist the double thread two, three or four times. Repeat slipping over dowel and twisting between every two warp strings until you reach the right hand screw. Tie the threads to the screw. This is called pairing the threads. Repeat the pairing at the other dowel. When the pairing is finished slip the lower dowel out of the rings and tie the dowel again to the screws.

To space the warp threads an upholsterer's needle and carpet thread will be needed.

If the weaving occupies the full size of the frame, hitch or tie the carpet thread to the lower left-hand screw, while if the warp threads do not extend very far over place an extra screw on the outside of the frame where the warp threads begin.

Buttonhole stitch over the dowel keeping the lower thread down and the upper thread on top.

Hold the warp threads apart with finger of the left hand while buttonholing. Pull your stitches tight. Two or three stitches should be made between each two warp threads. The stitches must be an eighth of an inch apart.

Now we are ready for the bridge.

Two feet, as they are called, will be necessary to support the bridge. A carpenter will make them for a small amount. They should be seven inches high by three inches wide at the base (Figure 226). One foot is placed in the centre of opposite sides of the frame and the third dowel run through the holes.

Loosen the two boards at the centre and place them close to the dowel. Place the bridge over the set of threads nearest you. Take a six-inch piece of cord and catch up first warp thread. Tie thread to bridge. All knots should be made like a weaver's knot. The loop should not extend lower than two inches below the bridge.

This completes the setting up of the loom. To weave, the material may be cut as stated before or raffia or Indian fibre may be used. If the weaving is to be in one colour only, it is well to join the pieces together and wind on a long shuttle. If short pieces are used a hook will be required. It can be made of a strip of wood taken from the hem of window shades. Notch one end of it.

A selvage will be necessary at the beginning and the end of the weaving and is done in a fine cord.

Start at left-hand corner and tie the thread to warp. Pass the shuttle to right-hand side between the threads. Lower the bridge and pass the shuttle back again between the threads to left-hand side. Raise the bridge again and repeat as just explained. It will be best to comb down the woof to keep it straight and regular. A regular weavers' comb can be bought, but a coarse hair comb may be substituted. Six rows will be sufficient for the selvage. The regular weaving is worked the same only in coarse warp. Remember the bridge must be lowered every other time.

In weaving a new thread or strand commence a little way back from where the last strand stopped.

Learn to weave and you get much more artistic effects in rugs than ordinary rug or portière weavers obtain.

Beautiful cushions and other useful articles can be made by weaving.

It is a great mistake to think that all cast off clothing can be woven into handsome rugs or portières. True it is possible to weave them, but it is almost a hopeless task to get artistic effects from old coats or a lot of dark articles.

The modern rug weavers get a few yards of cheap muslin in two or three shades and make a rug that can be sold for two or three dollars. Silk is not like old woollen materials, it can be utilized to the last thread because it is soft and works to good advantage.

Two old silk petticoats will make two pillow tops that are artistic as well as useful. One of the most beautiful examples of silk weaving was a cushion I saw made from two old silk petticoats; one was sage green and the other Delft blue. The strips were about one inch wide. All the worn parts were cut out. No piece was considered too small to use.

Every pattern of rug has a name given it by the weaver. The most common pattern is the hit-and-miss. The name aptly describes it. There are never two hit-and-miss patterns that are exactly alike. To look at a collection of hit-and-miss rugs one is reminded of the Croton shrub which has no two leaves alike. As children, we used to call them Match-me-if-you-can trees.

A hit-and-miss pattern is a good one to learn on.

Do not weave first one green strip then one blue and so on, because you will get a jumble of blue that is neither interesting nor pleasing. Decide on which colour you would like for the background, then use most of that shade.

I have heard an old weaver say that when she works the hit-and-miss pattern she will carry first one stripe of the background the entire way across and probably start the second row. A little strip of the second colour is then used and then the background again. The good worker never cuts her strips all the same length but strives to get the effect of little slashes of colour against a solid background. A rug made of medium blue and white rags suggests the sea with white caps on it.

When an Indian weaves a rug, he sits on the floor and weaves, till he has to stand to work.

Tapestry is woven almost the same as described for rugs; instead of the loom having a bridge that has to be moved by hand to regulate the threads, a treadle is used.

The wrong side of weaving is always facing you on the loom and all ends are fastened afterward with a needle and thread. Perhaps you would be interested to know how a weaver makes a set design in tapestry. Usually an artist designs a piece, say a design for the back of a chair. Often the artist is the weaver himself. He will make two sketches in colour one to put under the warp threads and the other to keep in sight. He then starts to weave the design in as many colours as desired, then the background is worked.

A piece of hand-made tapestry is a possession that only the very wealthy can buy for it is indeed exceptional to find an ordinary weaver who can make tapestry. To the French is given the honour of being the most clever weavers in the world. As a general thing in France weaving is an inherited trade. You will find, if you ask the weaver what his mother, his father and his grandfathers were, he will tell you--weavers. The hands of the men are almost as small and soft as the women's.

I have seen a beautiful screen that represented a pansy field, if you can imagine such a thing worked in over two hundred shades of silk. Every conceivable kind of pansy was worked in it. It was made for a man who loved pansies. It took four weavers three months in which to make it, working eight hours each day.

Too much thought can not be given to the right colour for your rugs or whatever you intend to weave on your simple loom. Study to get harmonizing effects rather than contrasting ones. Gray is probably the most pleasing of backgrounds and can be combined to advantage with almost any other shade. Remember that a dark room needs a cheerful colouring while a bright airy room can stand subdued shades.

Red excites the nerves. Lavender is depressing. Blue is a cold colour and should be combined with other colours to be effective. Green is restful to the eyes in any shade, while yellow seems to reflect light and for that reason is to be highly recommended for use in a dark room. One of the prettiest rooms I know, which is ordinarily a very dark one, is one that has bright yellow and chestnut brown for its decoration. The minute you enter that room you are impressed with its cheerfulness and warmth.

No matter how pretty and beautiful are the hangings and other dainty touches of a room, a rug remains the chief attraction. It is to a room what a vase is to a flower. A rug is not absolutely necessary, but unless it is the right kind your room looks patchy.

As in everything else practice makes perfect and as soon as you become accustomed to weaving you will plan regular designs that will make the work more fascinating. If you have a large quantity of undefinable shades of silk or wool or cotton rags I would recommend that you dye them all one shade.

One ten-cent package of a dye will colour a couple of pounds of rags. Get a dye that is good for all three kinds of material as sometimes a dye that changes the colour of silk may not affect cotton at all.

XXVII

SIMPLE CROCHETING, STITCHERY FOR EDGES AND SHAWLS

CROCHETING ABBREVIATIONS.

1. Slip stitch (sl st)
2. Chain stitch (ch) (Figure No. 227)
3. Single crochet (s c) " No. 228)
4. Double crochet (d c) " No. 229)
5. Treble crochet (tr c) " No. 230)
6. Shell (sh) " No. 231)
7. Stitches (sts)

The beginner in crochet will have very little trouble in learning the work as the stitches used are comparatively few in number although the various combinations in which they may be used are almost unlimited. It is wise to become accustomed to the stitches and especially with the abbreviations, which are used so extensively throughout all crochet work. No doubt the beauty and variety of the patterns one can execute, also the durability of the work are the chief causes for its popularity at the present time.

The implement used is a crochet hook which varies in size according with the quality of the thread used. The steel hook with the bone handle is to be preferred.

Too much emphasis cannot be placed upon the importance of the position of the hands when working, and the firmness of the stitches, as the work is, at once, better and more even when the proper position is maintained. The crochet needle should be held lightly between the first finger and the thumb of the right hand; the hook horizontal and parallel with the first finger of the right hand, that part of the work which is in course of construction being held closely between the thumb and third finger of the left hand. The thread is wound once around the first finger, passes under the second and third fingers of the left hand, and is wound around the small finger. It is now held in position by bending the fourth and small fingers toward the palm of the hand.

The foundation stitch of all crocheting is the chain stitch (ch) (see Figure 227) which is begun by making a slip knot around the needle. Draw the thread through this loop, and you have a chain. Again draw the thread through this second loop, continue until the chain is of desired length.

Another stitch is the slip stitch (sl st). Insert the hook in the foundation work. Draw loop through the work and another through the loop on the needle.

Single crochet (s c). See Figure 228.

Insert hook in work, make a loop on the hook and draw through, making two loops on the needle. Throw thread again over hook. Draw thread through both loops.

Double crochet (d c). See Figure 229.

Before inserting the hook in the stitch to be worked, put the thread around it. Throw thread around hook and draw the thread through the stitch and you will have three loops on hook. Throw thread again around hook and draw thread through two loops. Throw thread again around hook and draw through the remaining two loops.

Treble crochet (tr c). See Figure 230.

Put the thread around the hook twice, insert in the work. Draw a loop through work, making four loops upon needle. Draw the thread or loop through two loops on needle, then again through two loops and the third time through the remaining two loops.

Shells (sh). See Figure 231.

Shells are formed by making groups of either single, double or treble stitches worked into the same space or stitch.

Edging and insertions are very much in use and are often applied to blouses, collars and cuffs, towels, centre pieces, handkerchiefs, belts and various other articles.

_Tiny Insertion_ (Figure 232).

Ch 7 catch into a ring and into one side of ring work 5 s c *ch. 7 catch in next to last s c, 5 s c in new ring. Repeat from * for length desired and fasten off.

_Tiny Edging_ (Figure 233).

1st row--Ch. 9 turn.

2nd row--1 s c in each 9 ch, turn.