Chapter VI: Part II: Household Economies and Fancy Finishes (2)

_8th Row._—10 l b, 4 d b, 7 l b, 4 d b, 10 l b.

_9th Row._—10 l b, 5 d b, 5 l b, 5 d b, 10 l b.

_10th Row._—10 l b, 6 d b, 3 l b, 6 d b, 10 l b.

_11th Row._—4 l b, 6 b d, 1 l b, 5 d b, 3 l b, 5 d b, 1 l b, 6 b d, 4 l b.

_12th Row._—1 d b, 4 l b, 6 d b, 1 l b, 4 d b, 3 l b, 4 d b, 1 l b, 6 d b, 4 l b, 1 d b.

_13th Row._—1 l b, 1 d b, 4 l b, 6 d b, 1 l b, 3 d b, 3 l b, 3 d b, 1 l b, 6 d b, 4 l b, 1 d b, 1 l b.

_14th Row._—2 l b, 1 d b, 4 l b, 6 d b, 1 l b, 2 d b, 3 l b, 2 d b, 1 l b, 6 d b, 4 l b, 1 d b, 2 l b.

_15th Row._—1 d b, 2 l b, 1 d b, 4 l b, 6 d b, 1 l b, 1 d b, 3 l b, 1 d b, 1 l b, 6 d b, 4 l b, 1 d b, 2 l b, 1 d b.

_16th Row._—1 l b, 1 d b, 2 l b, 1 d b, 4 l b, 6 d b, 5 l b, 6 d b, 4 l b, 1 d b, 2 l b, 1 d b, 1 l b.

[Sidenote: A Swallow Design.]

_17th Row._—2 l b, 1 d b, 2 l b, 1 d b. 10 l b, 3 d b, 10 l b, 1 d b, 2 l b, 1 d b, 2 l b.

_18th Row._—1 d b, 2 l b, 1 d b, 2 l b, 1 d b, 9 l b, 3 d b, 9 l b, 1 d b, 2 l b, 1 d b, 2 l b, 1 d b.

_19th Row._—2 l b, 1 d b, 2 l b, 1 d b, 10 l b, 3 d b, 10 l b, 1 d b, 2 l b, 1 d b, 2 l b.

_20th Row._—1 l b, 1 d b, 2 l b, 1 d b, 4 l b, 6 d b, 5 l b, 6 d b, 4 l b, 1 d b, 2 l b, 1 d b, 1 l b.

_21st Row._—2 d b, 2 l b, 1 d b, 4 l b, 6 d b, 1 l b, 1 d b, 3 l b, 1 d b, 1 l b, 6 d b, 4 l b, 1 d b, 2 l b, 1 d b.

_22nd Row._—2 l b, 1 d b, 4 l b, 6 d b, 1 l b, 2 d b, 3 l b, 2 d b, 1 l b, 6 d b, 4 l b, 1 d b, 2 l b.

_23rd Row._—1 l b, 1 d b, 4 l b, 6 d b, 1 l b, 3 d b, 3 l b, 3 d b, 1 l b, 6 d b, 4 l b, 1 d b, 1 l b.

_24th Row._—1 d b, 4 l b, 6 d b, 1 l b, 4 d b, 3 l b, 4 d b, 1 l b, 6 d b, 4 l b, 1 d b.

_25th Row._—4 l b, 6 d b, 1 l b, 5 d b, 3 l b, 5 d b, 1 l b, 6 d b, 4 l b.

_26th Row._—10 l b, 6 d b, 3 l b, 6 d b, 10 l b.

_27th Row._—10 l b, 5 d b, 5 l b, 5 d b, 10 l b.

_28th Row._—10 l b, 4 d b, 7 l b, 4 d b, 10 l b.

_29th Row._—10 l b, 3 d b, 4 l b, 1 d b, 4 l b, 3 d b, 10 l b.

_30th Row._—10 l b, 2 d b, 4 l b, 1 d b, 1 l b, 1 d b, 4 l b, 2 d b, 10 l b.

_31st Row._—10 l b, 1 d b, 4 l b, 1 d b, 3 l b, 1 d b, 4 l b, 1 d b, 10 l b.

_32nd Row._—2 d b, 12 l b, 1 d b, 2 l b, 1 d b, 2 l b, 1 d b, 12 l b, 2 d b.

_33rd Row._—2 d b, 11 l b, 1 d b, 2 l b, 1 d b, 1 l b, 1 d b, 2 l b, 1 d b, 11 l b, 2 d b.

_34th Row._—4 d b, 8 l b, 1 d b, 2 l b, 1 d b, 3 l b, 1 d b, 2 l b, 1 d b, 8 l b, 4 d b.

_35th Row._—4 d b, 7 l b, 1 d b, 2 l b, 1 d b, 2 l b, 1 d b, 2 l b, 1 d b, 2 l b, 1 d b, 7 l b, 4 d b.

Repeat from the 2nd row.

The Bird Motif.

This is worked with two shades of blue beads—light and dark—bright yellow, and any colour chosen for the ground-work.

It is a beautiful design for a beaded bag intended for a gift. If used for this purpose there must be a larger number of beads in the first row for a foundation, as the number shown in the diagram (52) only gives a width of 4 inches. Allow 14 beads for each extra inch required. Be sure to keep the bird design exactly in the centre of the background, the depth of the design as worked is 3¼ inches, therefore more rows before and after the bird design will be necessary to increase the depth.

Using a fine linen or glazed sewing cotton, thread 53 beads for the groundwork foundation, turn, run the thread back through the 52nd bead, and, working as directed for the rose design, form the 2nd row of groundwork, which, in the illustration is white. The “turning” bead is not included in the numbers composing the design, but it must be used at the beginning of every row.

_3rd Row._—30 white (w), 2 dark blue (d b), 20 w.

_4th Row._—21 w, 2 d b, 2 yellow (y), 27 w.

_5th Row._—26 w, 2 y, 1 d b, 1 light blue (l b), 1 d b, 21 w.

_6th Row._—21 w, 3 l b, 3 y, 25 w.

_7th Row._—25 w, 2 y, 4 l b, 21 w.

_8th Row._—15 w, 6 d b, 5 l b, 2 y, 24 w.

_9th Row._—22 w, 2 l b, 1 y, 12 l b, 3 d b, 12 w.

[Sidenote: A Nursery Casement Curtain.]

_10th Row._—11 w, 2 d b, 14 l b, 1 y, 4 l b, 20 w.

_11th Row._—17 w, 3 d b, 21 l b, 2 d b, 9 w.

_12th Row._—8 w, 1 d b, 25 l b, 2 d b, 16 w.

_13th Row._—14 w, 2 d b, 6 l b, 1 d b, 20 l b, 2 d b, 7 w.

_14th Row._—6 w, 2 d b, 22 l b, 1 d b, 7 l b, 2 d b, 12 w.

_15th Row._—11 w, 1 d b, 8 l b, 1 y, 6 l b, 2 w, 10 l b, 1 w, 1 l b, 1 w, 3 l b, 2 d b, 5 w.

_16th Row._—5 w, 1 d b, 2 l b, 6 w, 1 l b, 2 w, 1 l b, 2 w, 1 l b, 5 w, 5 l b, 1 y, 9 l b, 1 d b, 10 w.

_17th Row._—9 w, 1 d b, 9 l b, 1 y, 6 l b, 19 w, 2 l b, 1 d b, 4 w.

_18th Row._—3 w, 1 d b, 2 l b, 21 w, 5 l b, 2 y, 9 l b, 1 d b, 8 w.

_19th Row._—7 w, 1 d b, 8 l b, 3 w, 1 y, 5 l b, 23 w, 1 d b, 3 w.

_20th Row._—2 w, 1 d b, 25 w, 5 l b, 1 y, 2 w, 1 l b, 1 w, 7 l b, 1 d b, 6 w.

_21st Row._—5 w, 1 d b, 6 l b, 1 w, 1 l b, 4 w, 5 l b, 27 w, 1 d b, 1 w.

_22nd Row._—29 w, 6 l b, 7 w, 5 l b, 1 d b, 4 w.

_23rd Row._—3 w, 1 d b, 4 l b, 8 w, 7 l b, 29 w.

_24th Row._—29 w, 3 l b, 1 d b, 4 l b, 9 w, 2 l b, 1 d b, 3 w.

_25th Row._—2 w, 1 d b, 1 l b, 11 w, 1 l b, 1 d b, 1 l b, 1 d b, 4 l b, 29 w.

_26th Row._—29 w, 4 l b, 1 d b, 2 l b, 1 d b, 1 l b, 11 w, 1 l b, 2 w.

_27th Row._—1 w, 1 l b, 12 w, 3 l b, 1 d b, 2 l b, 1 d b, 2 l b, 29 w.

_28th Row._—29 w, 2 l b, 1 d b, 3 l b, 1 d b, 3 l b, 13 w.

_29th Row._—14 w, 2 l b, 1 w, 2 l b, 1 d b, 3 l b, 29 w.

_30th Row._—29 w, 1 l b, 1 w, 1 l b, 1 w, 1 l b, 18 w.

_31st and 32nd Rows._—All white.

See pages 67, 75 and 76.]

Crochet Ribbons for Underwear Beadings.

A very pretty and economical substitute for the silk lingerie ribbon is found in the new crochet ribbons for this purpose. Fine mercerised cotton, or crochet silk thread is used with a fine hook.

No. 1.

12 ch, turn, miss next ch, 5 d c into next 5 ch, 3 d c into next ch, 5 d c into last 5 ch, * turn with 1 ch, miss 1st d c, 5 d c into next 5 d c, 3 d c into next d c (that is the centre d c of the 3 d c into 1 ch), 5 d c into next 5 d c, miss last d c, and repeat from *.

No. 2.

This is a corded design, and is worked over a single stout cotton thread, such as No. 10. Form a knot on the end of the No. 10 cotton, over the cord put 8 d c, keep the cord gently pulled, to have the stitches close together and the line perfectly straight. Turn, miss 1st 3 d c, 15 d c over the cord into the 15 d c *, 3 d c over the cord alone, 15 d c into the 15 d c; * repeat.

No. 3.

11 ch, turn, miss 1st ch, 1 d c into next ch, 3 ch, 2 tr into same ch as last d c, 1 d c into next 3rd ch, 3 ch, 2 tr into same ch, 1 d c into next 3rd ch, 3 ch, 2 tr into same ch, 1 d c into last ch, * turn, 1 ch, 1 d c into last d c, 3 ch, 2 tr into same d c, 1 d c, 3 ch, 2 tr over each 3 ch except the last, where you put only the 1 d c; repeat from *.

No. 4.

13 ch, 1 tr into the 10th ch, over the tr put 1 d c, 4 tr, 1 tr into the 7th ch, over the tr put 1 d c, 4 tr, 1 tr into the 4th ch, over the tr 1 d c, 4 tr, 1 tr into the 1st ch, * turn, 4 ch, 1 tr into the space between the groups of tr with 1 d c, 4 tr over each, 1 tr over the 4 ch, at the turning 1 d c, 4 tr over this tr; * repeat.

No. 5.

14 ch, 1 d c into the 11th ch, 3 ch, 1 d c into every 2nd ch, * turn, 4 ch, 1 d c, 3 ch into each loop; * repeat.

[Sidenote: Designs that will wear well.]

No. 6.

10 ch, turn, 3 long tr into the 5th ch, retaining last loop of each on the hook until working off the 3rd, then work off all the loops together, and put 1 d c around the top, 3 ch, 3 long tr into same ch as last trs, 3 long tr into 1st ch, 3 ch, 3 long tr into same ch, 1 long tr beside last group, turn, * 5 ch, two groups of long trs with 3 ch between into each 3 ch space, 1 long tr between last trs and following chs; * repeat.

No. 7.

13 ch; into the 10th and 7th, 4th and 1st ch put 2 tr with 2 ch between, 1 tr beside last tr, * turn, 3 ch, into each 2 ch space put 2 tr with 2 ch between, 1 tr between last tr and next chs; * repeat.

No. 8.

15 ch, turn, into the 10th ch put 1 d c, 5 ch, 1 d c, 3 ch, into the 7th ch, 1 d c, 5 ch, 1 d c, 3 ch, into the 4th ch, 1 d c, 5 ch, 1 d c, 3 ch, 1 d c into the 1st ch, * turn, 5 ch, into each picot 1 d c, 5 ch, 1 d c, 3 ch between the picots, 3 ch, 1 d c into the 3rd ch at the turning; * repeat.

The illustrations show the actual size of the crochet ribbons, so the worker can easily gauge what width pattern she wishes to work. These are so varied in design as to give plenty of choice. If a firm, close pattern is preferred, either No. 1 or No. 2 would be suitable, the latter being particularly strong, the padding cord giving extra durability.

For an easily and quickly worked pattern, it would be difficult to find anything to beat design No. 5. This has the very even flat appearance, which renders it particularly suitable for ribbon purposes. Similar in appearance, though somewhat different in the working, is No. 7.

No. 8 is a very lacy pattern, particularly suitable for finer kinds of underwear.

These crochet ribbons will launder excellently.

Bead Fancies.

The fashion of the present day runs towards beads in every colour and design, and although the making of beads is not exactly a needlework economy, it is a dress economy, and that is very nearly related to needlework.

I have been very successful in making all sorts of articles for ornamentation—from beads, sealing-wax, broken china, a little gold paint and some glue, not to mention a little grease and a knitting-needle.

I began my home-made bead-making from necessity, because I was unable to find any beads to match a particular frock I very much wanted a string for. Also, in hunting everywhere for them, I found that the really artistic and barbaric ones ran into a great deal of money, especially if they were large.

Now I wanted an odd shade of blue, which was really no shade at all, because the material was old and had faded to the beautiful tint which it now possesses. I could not procure any that were even remotely like it, and so my idea of making some for myself was born.

To begin with, I bought for sixpence a large box of assorted beads, such as are sold for children to string at kindergarten.

Sealing-wax is an Essential.

At a stationer’s I bought up a whole lot of broken sealing-wax for a very little money, purchasing at the same time two good sticks, one of gold and one of silver. These I carried home and sorted as best I could into shades of different colouring.

You will be surprised to find what a lot of different tones there are to be had in sealing-wax, though, when buying, be careful not to be taken in by the outside of the stick! I bought what I thought was a beautiful shade of lavender, but fortunately was told by the assistant that it was really a dark blue, which had been in the window and faded! Blues will often fade mauve, and reds will become pink. But you will easily avoid mistakes by looking at the box which gives a description of its contents.

Broken China the next Requisite.

Having secured what I wanted at the stationer’s, I next looked through the china pantry and kitchen cupboards to see what I could find in the way of broken china and glass.

I turned out quite a nice little heap from here, and then went to the tool-house, where I had a little store, which I had dug up out of the garden.

I never can understand where all the broken china comes from which is always to be found in every garden when the earth is turned up. I have a small basket full of all sorts, of odd pieces in bright blues, reds, and yellows, which appear to be chips from plates or saucers. I should think it would take a generation of families, and their tea, dinner and breakfast services, to account for the quantity and colouring I have by me.

All this china I washed carefully in soapy water, rinsing in very hot clear water, and drying whilst still hot. By this means the china and glass keeps its shine, and if set in the sun for a little while it will greatly improve the lustre.

Next I sorted the colours, and then, with the aid of a wooden hammer and a piece of felt, I cracked the china into tiny pieces. Be careful in doing this to put the coloured side of the china downwards, and lay on a piece of felt, with another piece on top. Hit gently, but firmly, and where the piece is cracked insert a nail or strong pin in the crack and hit with the hammer. The cracks will split and will leave a nice edge, which is very useful for sticking in the sealing-wax. Break the pieces as small as possible, but leaving the colour to show on one side. If you smash at the pieces they will powder and be of no use at all.

This is worked on one side in green, and on the other side in purple.]

Whatever odd beads you have, or old pieces of coloured paste and imitation stones—which are often to be had in old buckles—spangles and bugles, all are grist to the mill. I have also used broken pieces of pebbles and stones which I found among the gravel, and which were broken by the roller, and which, when chipped very fine, displayed really brilliant colouring. Pieces of flint with a sparkle of mica look beautiful.

Making the Beads.

Having completed this collection, I turned my attention to the bead-making, and I began in this manner:—

I started with a set of six large beads in blues for my chain. I chose the largest beads in my assorted box, irrespective of colour and shape. Taking one of these I slipped it over the end of a steel knitting-needle, using one large enough to hold the bead tightly. This needle I first greased with a rag on which a little lard had been rubbed. This prevents the sealing-wax adhering to anything but the bead.

Next I lit a taper, and, using blue wax, I covered the bead roughly with it, turning the knitting-needle in my hand, so that the hot liquid ran round it. This I plunged into cold water.

Before proceeding, I would like to say that great care must be taken not to smoke the wax when a taper or candle is used; if you will heat the wax in the centre of the flame, you will find that the colour does not become blackened.

As soon as the blue wax had cooled, without hardening, I splashed on some of the gold, and, turning the bead rapidly in the flame itself, the gold mingled with the blue, so forming a sort of marbled effect. This I also plunged into the cold water.

Then I chose a brilliant yellow wax, and, heating it in the candle flame, I squeezed the tip into a sharp point.

This, in turn, I heated, and dabbed it in regular intervals round the bead to form spots. While the spots were still soft, I pushed into the centre of each one a tiny piece of broken china, in a pure turquoise shade, pinching the wax to cover the rough edge.

Do not use the fingers to the sealing-wax more than can be possibly helped, as touching it takes away the glaze.

I made three beads similar to this design, and three in a paler shade of blue, with the same yellow spots, but using pieces of dark red china instead of the turquoise. These I strung with a three-inch length of small yellow beads (which I bought at the same shop as the box of beads came from, and which were also sold for children’s kindergarten work) between each large one, and the chain, when finished, looked truly beautiful. It certainly enhanced the beauty and value of the frock for which it was made.

Making Fancy Buttons.

To match the chain I made four buttons, used to fasten the shoulder-pieces of the bodice, in the same colours and the same design.

To make these, any old buttons that have shanks to them will do, but have shanks they must, as there is no other means of fastening them. I had four old brass buttons, with flat, shiny tops. With an old knife I scraped the face of each so as to make it rough, as the wax adheres better to a rough surface.

[Sidenote: Pretty Uses for Beads.]

I used a piece of cardboard—piece of an old box—and cut four small slits in it large enough to slip the button-shanks through. On the other side I slipped a burnt match into the shank of each, and by this means the buttons were quite firm and did not wobble about.

Then I covered two with dark wax, and two with light wax similar to the beads, scraping away any wax which had overflowed on to the cardboard. Before it was cold I pressed a tiny ring of the small yellow beads round the immediate edge, finishing off with a spot of the yellow wax in the centre of each, and a scrap of broken china in the centre of that, again.

I found the buttons a little rough on the edge, but, with the aid of a nail file, I rubbed them fairly smooth, and they did not notice when sewn on the frock.

I have made buttons and buckles galore from old oddments, using up different coloured beads in an inlaid fashion.

A most effective way is to cover the surface of a button with a thin layer of glue, and to lay the beads on in a design like a mosaic. This is a really beautiful way of decorating buttons, and a very pretty opaque look can be given by sprinkling the beads, while the gum is still wet, with a little of the flitter used in pen painting.

Various Ways of Using Beads.

A very pretty way of using beads also is to hem a skirt with them, simply tacking the hem in the desired depth, and then, with a long cotton and needle, make a stitch through to the right side, slip on a bead, pass the needle through to the wrong side, take a long stitch underneath, and come up on the right side for a bead again. This is a most effective way of finishing a hem, and has the advantage of being much quicker done than ordinary hemming. I feel sure that, once having tried this way, you will confess it is very much prettier than an ordinary hem.

Tops of tassels can be made to match buttons and bead chain in the exact manner that the sealing-wax beads are made themselves.

If a whole set, consisting of chain, buttons, tassel-tops, belt and shoe-buckles, are made to match, you have no idea how lovely they look; and also what a very “Parisian” look it gives to an otherwise plain and rather ordinary frock.

Of course, if you are very industrious, and would like to complete your outfit, I would suggest knitting one of the ever-popular bead-bags.

For this all that is necessary is a ball or two (according to the size of the bag) of coloured knitting silk, and a bunch of small beads, either the same or a contrasting shade. For instance, a golden brown silk, with tiny yellow beads, would look beautiful, especially were it lined with a daffodil lining, and finished off at the end with a bead tassel made to match.

To make these bags you want, as I say, one ball of brown silk, and one bunch of tiny yellow beads, and a pair of fine knitting-needles especially made for this work, and which are about as thick as a hat-pin.

To begin with, thread a needle (a bead needle or darner is best) with the end of your ball of silk, then pull out one little strand of beads and run the needle, darning fashion, into the thread on which the beads themselves are strung. Pull your silk out of the needle, leaving a tiny piece over where the silk and cotton are entwined. Slip the beads along, and you will find they go easily over the joined silk, and so pass, as it were, _en masse_ on to the knitting silk.

According to the size of the purse or bag, whichever you desire to make, so cast on sufficient stitches for one side only, the bag being knitted quite flat, and sewn up the sides when finished.

Having cast on your stitches, knit one row plain and then one row in this manner—

Slip your needle into a stitch; push up a bead; knit the stitch, and so on to the end of the line.

Next row knit plain silk with no beads, as the beads are only wanted one side.

If you do this for about eight inches, for a small bag, and then halve it and sew it up, you can then mount it on a piece of brown silk to make it deeper.

Personally, I think they look much prettier when knitted on four needles; and a very pretty purse I made I knitted first of all to a depth of three inches in plain silk, and then four inches with the beads.

As I came to the bottom I narrowed off as for the toe of a sock, finishing to a point. This point I finished with a tassel of brown and yellow beads which matched the bag itself. With a crochet-hook, I made a tiny edge at the head of the bag, through which I passed a draw string of silk in ordinary chain-stitch, finished at each end with a tiny tassel.

Some Embroidery Stitches.

No. 1.

This design in squares is suitable for working either in white or colours. Many useful purposes present themselves for making the design into trimmings for dresses, hats, etc., as well as for the alternate squares in a checked cushion cover. “Tenax” is a lovely silk thread that would be suitable for these stitches.

No. 2.

Here each little diamond is worked in simple outline stitch, and each square outlined with backstitch.

No. 3.

This design is very suitable for hat bands and is worked in two colours. The stitch used is stem stitch, worked from left to right, bringing the thread over two of the double threads which form a square, then bringing it out in the centre of the two squares, that is, half-way back on the preceding stitch, and carrying it down over next two squares and so on. Work the crossing lines first, then fill in the spaces, all in same stitch.

[Sidenote: Designs in Squares.]

No. 4.

A mosaic design, suitable for trimming sports coats, hats, belts, etc., also for cushion borders, and other household purposes.

No. 5.

This is the knitting stitch, and is also suitable for trimming, coats and making bands for the new knitted hats. It is made with stem stitch worked diagonally.

No. 6.

Lattice work made of stem stitch. A very beautiful design for present day dress trimming, and easily and quickly worked.

No. 7.

Another design for dress trimming, either with cotton, silk or fine woollen thread. It is just satin stitch combined with simple running stitch.

No. 8.

Like No. 7, this design is used for trimming dresses, and tweed or serge costumes, also worked with fine wool on crêpe-de-chine for blouses, rest gowns, etc.

No. 9.

Another “alternate design” for a checked cushion cover, equally suitable for dress, hat and other trimmings. It also makes a pretty border for table centre, cushion cover, tunic, or curtain.

Two Novel Bags.

A Crochet Bag Embroidered in Cross-Stitch.

Ecru “Star Sylko,” No. 8, with No. 5 in green and purple for the cross-stitch embroidery were used in making this lovely bag. A pair of ring handles, dark green, give a nice finish.

Commence with 5 ch formed into a ring into which put 6 dc.

_2nd Row._—2 dc into each dc.

_3rd Row._—* 1 dc into next dc, 2 dc into next dc, * repeat.

_4th and every alternate Row._—1 dc into each.

_5th Row._—* 1 dc into each of next 2 dc, 2 dc into next dc, * repeat.

_7th Row._—* 1 dc into each of next 3 dc, 2 dc into next dc, * repeat.

_9th Row._—* 1 dc into each of next 4 dc, 2 dc into next dc, * repeat.

_11th Row._—* 1 dc into each of next 5 dc, 2 dc into next dc, * repeat.

Continue on in this way, increasing the number of stitches before the 2 dc into 1 dc by one until there are 182 stitches around, then work 72 rounds more.

In the next 12 rows there are chs at each side.

_1st of the 12 Rows._—91 dc into first 91, 3 ch, 91 dc into next half, 3 ch.

_2nd Row._—* 91 dc, 5 ch, * repeat.

_3rd Row._—* 91 dc, 7 ch, * repeat.

_4th Row._—* 91 dc, 9 ch, * repeat.

_5th Row._—* 91 dc, 11 ch, * repeat.

_6th Row._—* 91 dc, 6 ch, 1 dc into the 6th ch below, 6 ch, * repeat.

_7th Row._—* 91 dc, 7 ch, 1 dc into the dc below between the chs, 7 ch, * repeat.

_8th Row._—* 91 dc, 8 ch, 1 dc into the dc, 8 ch, * repeat.

_9th Row._—* 91 dc, 9 ch, 1 dc into the dc, 9 ch, * repeat.

_10th Row._—* 91 dc, 10 ch, 1 dc into the dc, 10 ch, * repeat.

_11th Row._—* 91 dc, 11 ch, 1 dc into the dc, 11 ch, * repeat.

[Sidenote: Two Novel Bags.]

_12th Row._—* 91 dc, 12 ch, 1 dc into the dc, 12 ch, * repeat.

Take up one of the ring handles and make * 24 ch, bring these across the side of the ring and fasten to the 3rd dc with a dc, * repeat into every 3rd dc up to the chs at the side. Fasten the thread and cut it. Fasten again to the first dc after next chs and work the 24 ch loops over the other handle in the same way.

The design is worked in cross-stitch—green on one side and purple on the other. A diagram is given for this part of the work.

Finish the end of the bag with a tassel made of the combined threads. Line the bag in the usual way with light color silk.

A Black Silk Bag Beaded in White.

This bag is very easily made and requires only one ounce of white porcelain beads with a ball of No. 12 black “Star Sylko.” Cut out the bag to the required size and use the corners of the silk left over to form the four vandyke points. Turn a narrow hem at each side and the top of each point, tack in place. Sew the beads at each side of the point with a very fine needle and the “Star Sylko,” each bead is put on with a “top-stitch,” going through the centre of the hem. When the four points are worked, sew up the sides and bottom of the bag with a French seam, and turning out the right side crease the edge all round and tack it, then sew on the beads as in the points, around the seam. Make a crease around the top of the bag, one and a half inches from the top edge. Tack the points to this crease, one on the centre front and another on the centre back, then one at each side, all with edges overlapping. Now sew the points to the bag with the top-stitch and bead as before.

Make the lining to fit the bag, turn in both top edges and tack in place with the lining edge even with the edge of the bag, top-sew with the beads to join them.

Make a line of running stitches about the quarter of an inch above to top of the points to make the slot for the tie-strings. Turn the bag inside out and sew the lining to the silk front along the line of beads at the top of the points.

Now work a buttonhole at each side of the slot through which the narrow black riband is run, one from each side. Make a small loop of the riband and sew below each buttonhole for the purpose of pulling the bag open when closed.

The Beaded Tassels.

With the No. 12 “Star Sylko” make 5 ch into a ring, 6 dc into the ring, then 2 dc into each dc for two rounds, draw the thread through the last loop and, leaving about a yard of it attached, cut it. Run the end of the thread through the eye of the fine needle and thread 24 beads, sew this into a loop to next dc, and repeat into every 2nd dc. Fasten a thread on the wrong side of the disc and bring it up through the centre ring, thread five beads, sew to a point and bring the thread back again through the beads, fastening off underneath the disc.

A Violet Handkerchief Sachet.

There are often small pieces of canvas left over after a piece of work is finished that are too good to throw away (especially considering the present price of canvas) and yet do not seem large enough to make even a tray cloth.

The little handkerchief sachet shown here suggests one way in which such a piece may be used. The bit of canvas employed measured 12 inches by 8 inches, but two pieces half that size would do, joined to form the two sides of the sachet.

Single violets and leaves are worked in cross-stitch and dotted about over the sachet. “Tenax” Embroidery Thread was used in pretty shades of violet and green, with one stitch of yellow in the centre of each open flower, each stitch being taken over two threads of the canvas. White silk was used to line the sachet, but if you have a bit of pale primrose or pale heliotrope, this would do equally well, and go beautifully with the colour of the violets. The edge is finished with a fine cord, and narrow violet ribbon is used to tie the sachet.

Diagrams are given here for working the nine little designs used on the handkerchief sachet, each blackened square representing a cross-stitch on the canvas. Or you could, if you preferred, work little rosebuds and leaves, or daisies, instead of the violets.

One often wants to make something for a Sale of Work that does not involve too much outlay of time or money. Little sachets of this kind would be just the thing, and would probably find a ready sale. Moreover, they do not entail a great deal of work, which is a big consideration in these busy days.

The arrangement of the flowers on the sachet need not, of course, be strictly adhered to. The little buds and blossoms lend themselves to almost any form of treatment. Just two or three of the violets may be used, repeating as desired.

One may be placed at each corner and one in the middle, or they may be arranged in a straight or diagonal strip. The latter would be very pretty.

A Rosebud Handkerchief Box.

Pretty boxes have a fascination for most girls. For handkerchiefs, gloves, and the ever-accumulating stock of collars and ribbons, there is no receptacle quite so handy as a box, and, of course, it should be pretty.

These are expensive to buy, however, and therefore the girl who wants one at little or no cost must make it herself. Moreover, the one you buy is not the _only_ one of its kind, whereas the one you make can be.

The rose-box here illustrated has a little cross-stitch pattern worked on every side, and on the lid. This gives a very pretty and original effect. The designs are worked in pink and green “Star Sylko” on white Hardanger canvas, and the box is lined with pale blue.

To make this box, four pieces of thin cardboard 7 inches by 5½ inches are required for the lid and bottom of the box, four pieces 7 inches by 2½ inches for the sides, and four pieces 5½ inches by 2½ inches for the ends. In each case one piece of cardboard is covered with the lining material, and one piece with the canvas, both of which are cut a little larger than the cardboard. In the case of the canvas the cross-stitch design is, of course, worked on before the cardboard is covered.

Having covered all the pieces, proceed to sew them together in pairs—a canvas-covered piece to a lining-covered piece. Then seam the double pieces together to make up the box. This wants to be done carefully to be quite secure, and, at the same time, neat.

Before attaching the lid, the seams and edges are finished off. In the box illustrated this was done with No. 3 white “Star Sylko,” using three strands, and couching down at intervals with white cotton. This is continued down the corners of the box, and completely covers the seams.

The lid is next attached to the back of the top edge with over-sewing, which must be neat and yet strong. Finally, the lid is edged with No. 3 “Star Sylko” in the same way as the box, making a little loop at each corner, and a knot and ends at the back.

Diagrams for working the rosebud cross-stitch designs are given, though some other flower can be worked if preferred.

White canvas, as shown, gives a pretty, delicate effect, but, of course, this soils very quickly, and for a more serviceable box it would be better to use a colour. Pale blue or pink would be delightful, or the shades can be chosen to follow the colour scheme of the room. If a plain material is used, of which it is not easy to count the threads, the cross-stitch can be worked over Penelope canvas.

Again, if time is limited, it is not actually necessary to work the cross-stitch designs. Some figured material, such as brocade, can be used, or anything that you happen to have by you; but a thin material should not be employed, or it will tear away when you come to join the pieces together.

A particular attraction about this box is that it costs practically nothing. The outside was made from those odd pieces of white canvas which every girl has, and which are too small for the smallest cloth. The lining was of pieces left over from making a summer dressing-gown. The cardboard was from a collection of old boxes and other odd bits carefully saved, and the quantity of ‘Star Sylko,’ from balls already possessed, was very slight.

Contents

PAGE
Advantage of Coloured Knitting Cottons, The 68
Apron you can make from a Summer Skirt, An 47
Aprons, Three Pretty 9
Art of Blouse-making, The 59

Bags, Two Novel 107
Bead Fancies 98
Bead Work, Modern 90
Blouse-making, The Art of 59
Blankets, To finish the hems of 74
Brassiere, The 3

Camisole Yoke of Embroidered Filet Net and Crochet, A 6
Camisole Yoke, A Pretty 7
Casement Curtain, The Nursery 67
Child’s Knitted Petticoat, A 51
Child’s Overall from a Narrow Skirt, Making a 28
Collars for Cold Days 14
Collar, Mending a 40
Coloured Knitting Cottons, The Advantage of 68
Crochet Ribbons for Underwear Beadings 96
Crochet 96, 67, 3, 6, 7, 107
Cynthia Knitted Stripe, The 71

Decorative Stitches for Children’s Clothes 61
Doing up an Eiderdown 75
Dressmaking, A Practical Way to Teach Girls 53

Economy Quilt, The 72
Eiderdown, Doing up an 75
Embroidery Stitches, Some 103

Fancy Tops for Socks and Stockings 23
Freshen a Last Season’s Jersey, To 16

Gloves, The Use and Abuse of 18

Handkerchief Box, A Rosebud 111
Handkerchief Sachet, A Violet 109
Hat, A Knitted 20

Jersey, To Freshen a Last Season’s 16

Keeping out the Wind, For 45
Knitting 14, 16, 20, 23, 30, 34, 49, 51, 68, 71
Knitting your own Woollen Spencers 49

Making a Child’s Overall from a Narrow Skirt 28
Mending a Collar 40
Mending a Man’s Shirt 37
Mending a Sheet 87
Mending, The Wisdom of Preventive 41
Modern Bead Work 90

Nursery Casement Curtain, The 67

Patchwork Quilts 79
Patchwork Toilet Runner, A 89
Partly-worn Garments, Utilizing 13
Practical Way to Teach Girls Dressmaking, A 53

Quilts 68, 72, 79

Re-footing Made Easy 30
Re-heel a Worn Sock, How to 34
Repairing, Articles on 18, 37, 40, 83, 87
Repairing Table Linen 83
Rosebud Handkerchief Box, A 111

Sheet, Mending a 87
Shirt, Mending a Man’s 37
Slippers you can make 35
Socks and Stockings, Fancy Tops for 23
Socks, Re-footing 30
Sock, To Re-heel a Worn 34
Spencers, Knitting your own Woollen 49

Table Linen, Repairing 83
Tacking Stitches, Decorative 61
Toilet Runner, A Knitted Stripe for a 71
Toilet Runner, A Patchwork 89

Undercoat or Waistcoat, An 45
Use and Abuse of Gloves, The 18
Utilizing Partly-worn Garments 13

Violet Handkerchief Sachet, A 109

Wisdom of Preventive Mending, The 41

Printed for the Proprietors of “THE GIRL’S OWN PAPER & WOMAN’S MAGAZINE,” by CURTIS & BEAMISH, LTD. COVENTRY, ENGLAND.

THE
HOME ART SERIES

By FLORA KLICKMANN,

Editor of the “GIRL’S OWN PAPER & WOMAN’S MAGAZINE.”

FOURTH EDITION.

BEAUTIFUL CROCHET
ON
HOUSEHOLD LINEN

Showing Table Cloths, Toilet Covers, Curtain Tops, Towel Ends, Sideboard Cloths, Tea Cosies, Dressing Table Runners and other items.

=120 Pages, fully illustrated.=

=2/- net= (by Inland Post =2/4=).

“This attractive manual is issued under the able editorship
of Miss Flora Klickmann the well-known authority on Knitting
and Crochet.”—_The Queen_

“A profusely illustrated and practical up-to-date
guide.”—_London Teacher_

THE HOME ART BOOR OF
FANCY STITCHERY

Eighth
Edition.

With New Ideas for applying Crochet to Lingerie & Napery, Bead-work and Fancy Stitches for Dress Trimmings, Feather-Stitching, Smocking, Hardanger Work, Darned Filet Crochet, Knitting, Macramé Work, Darned Net, Cross-Stitch, Irish Crochet, Embroidery on Flannel.

=263 Designs.=

=2/- net= (by Inland Post =2/4=).

“It is thoroughly practical and will be welcomed by all
women who delight in the craft of the needle.”—_The Lady_

“A practical little book.”—_The Birmingham Post_

“A most useful manual of fancy work. An extremely valuable
addition to the needle-woman’s equipment.”—_The Queen_

THE HOME ART
CROCHET BOOK

FOURTEENTH
EDITION.

Containing Entirely New Designs for Lingerie, Edgings and Insertions, Borders for Tray Cloths and D’oilys, Deep Laces for Table Cloths, and Valances, Motifs for Inlet Work and Irish Lace.

=149 Designs.=

=Demy 8vo, 2/- net= (by Inland Post, =2/4=).

“It is a book which will be of the greatest interest to
needlewomen. Many of the designs are extremely handsome, the
advanced worker being as well catered for as those who are
not so skilful.”—_The Lady_

PUBLISHED AT 4, BOUVERIE STREET, LONDON, E.C. 4.

Either of the above Books will be sent, by the Publishers, anywhere in the United Kingdom, post free, on receipt of postal order for 2/4.

THE
HOME ART SERIES

By FLORA KLICKMANN,

Editor of the “GIRL’S OWN PAPER & WOMAN’S MAGAZINE.”

EIGHTH EDITION.

THE CRAFT OF THE
CROCHET HOOK

A Book of New Ideas in Crochet Work of various kinds, showing Novel Methods of applying them to Personal and Household Linen and Home Decoration.

=150 Designs.= Demy 8vo,
Paper boards. =2/-= net (by inland post =2/4=).

“It is a very desirable book for the crochet-woman who is
always looking after fresh patterns and fancies.”
—_The Western Daily Press._

“For clearness, variety, and suggestiveness, it is far in
advance of anything previously published.”
—_The Christian World._

“It has been well planned and carried out.”
—_The Bookseller._

THIRD EDITION.

ARTISTIC CROCHET

Novel Beadings, Insertions and Edgings suitable for Underwear and Dress Trimmings, Exquisite Floral Designs in Irish Crochet, also Practical Suggestions, both simple and advanced, for Tea-Cloths and Bedspreads.

=120 Designs.= Demy 8vo,
Paper Boards, =2/-= net (by inland post =2/4=).

“The practical needlewoman will rejoice in this book of new
ideas in Crochet Work.”
—_The Pall Mall Gazette._

THE CULT OF
THE NEEDLE

SECOND
EDITION

Giving directions for Bulgarian, Catalan, Hungarian and Baro Embroidery, Amager Work, Hemstitching, Netting, Wool-work, Bohemian, Carrickmacross, Innishmacsaint and Reticella Lace, and other forms of Needlecraft.

=185 Designs.=

Demy 8vo, Paper boards, =2/-= net (by inland post =2/4=).

“Women who have no particular taste for ordinary sewing and
embroidery need not on that account be deterred from buying
this most useful little book. The fact that it is Edited by
Miss Flora Klickmann is in itself a guarantee that something
interesting is to be expected within the covers.”—_The
Glasgow Herald._

“It is a perfectly delightful little manual.”—_The Lady._

PUBLISHED AT 4, BOUVERIE STREET, LONDON, E.C. 4.

Sold by all Booksellers and Fancy-Work Dealers.

THE
HOME ART SERIES

By FLORA KLICKMANN.

SECOND EDITION.

THE MODERN
KNITTING BOOK

CONTENTS

Things for MEN’S WEAR.
Things for WOMEN’S WEAR.
Things for CHILDREN’S WEAR.
Things for BABIES’ WEAR.
For WORKING IN WOOL.
Designs for HOUSEHOLD USE.

“It is a book of charming ideas for knitted underwear, coats
and wraps, socks and stockings, etc.”
—_The Pall Mall Gazette._

120 pages.

=2/-= net

(by post, 2/4)

THE MODERN
CROCHET BOOK

Fifth
Edition.

Containing Original Ideas for combining Crochet with Embroidery and with Fancy Braids, together with new & unusual Designs for use on Household Linen, on Underwear, and as Dress Trimmings.

120 pages. 127 Designs.

=2/-= net (by inland post, 2/4).

“This is a model of what such books should be.”
—_The Standard._

“Beautiful illustrations are used, and these include some
filet mesh _motifs_ which are bold designs for the work
which is now so popular.”—_The Guardian._

“It is thoroughly practical and full of original and dainty
ideas.”
—_The Christian World._

THE
MODERN HOME SERIES

Edited by FLORA KLICKMANN.

THE MISTRESS OF
THE LITTLE HOUSE

What she should know and what she should do when she has an Untrained Servant.

120 pages. =2/-= net (by post, 2/4).

“It is full of practical information, pleasantly put, for
every housewife.”—_The Guardian._

“It is a most useful little volume.”—_The Lady._

THE ETIQUETTE
OF TO-DAY

120 pages. Illustrated. =2/-= net (by post, 2/4).

Containing The Advisability of Social Customs,
Introductions, Leaving Cards, Paying Calls, “At Homes,”
Luncheons, Dinners, Garden Parties, “High Teas,” Town
and Country Visits, Foreign Travel, Conversation, Letter
Writing, In Public, Christenings, Weddings, Funerals.

PUBLISHED AT 4, BOUVERIE STREET, LONDON, E.C. 4.

Either of the above Books will be sent, by the Publishers, anywhere in the United Kingdom, post free, on receipt of postal order (not stamps) for 2/4.

Hardanger and
CROSS-STITCH

=2/-= net

(by post, =2/4=)

FULLY ILLUSTRATED.

SHOWING HANDSOME HARDANGER BORDERS AND CORNERS, ALSO NATURAL DESIGNS IN CROSS-STITCH FOR VIOLETS, CYCLAMEN, CREEPING JENNY, NASTURTIUMS, DAISIES, ROSES, FERN, DAFFODILS, CLOVER, CHERRIES, WILD BIRDS, WITH BUTTERFLIES IN HARDANGER.

This Volume will especially please the worker who is weary
of the old-fashioned conventional cross-stitch borders. It
gives a series of lovely natural designs of flowers and
birds, and fruit and leaves, such as would be a delightful
addition to any woman’s pretty house.

“Many beautiful modes of simple embroidery are described and
illustrated in _Hardanger and Cross-Stitch_, edited by Flora
Klickmann, and forming one of a series of which we have more
than once noted the excellence.”—_The Church Times._

London: “The Girl’s Own Paper and Woman’s Magazine” Office, 4, BOUVERIE STREET, LONDON, E.C. 4.

Do you want to write
for the Press?

You will start to write the
day you read this book.

Third Edition called for within a month of publication.
=7/-= net (by post, =7/6=).

The LURE of the PEN

A Book for would-be Authors.

By FLORA KLICKMANN,

_Editor of “The Girl’s Own and Woman’s Magazine”; Author of
“The Flower-Patch among the Hills,” “Between the Larch-Woods
and the Weir,” etc._

(1) MSS. THAT FAIL. WHY THEY FAIL.
(2) ON TRAINING YOURSELF FOR LITERARY WORK.
(3) THE HELP THAT BOOKS CAN GIVE.
(4) POINTS A WRITER OUGHT TO NOTE.
(5) AUTHOR, PUBLISHER, & PUBLIC.

It is unique in its own line, breezily written, and crammed full of interest and information for those who read, as well as for those who want to write. Coming from so experienced an Editor it cannot fail to be authoritative.

=The Bookman= says: “The fresh and original standpoint
from which the book is penned, the innumerable new and
entertaining stories, the humour, wisdom, expert knowledge
and common sense, make the LURE OF THE PEN not only
invaluable to the literary aspirant, but also a work of
amusement, interest and information to the general reader.”

LONDON: 4, BOUVERIE STREET, E.C. 4; and at all Bookshops.

“A pendant to ‘The Flower-Patch Among the Hills,’ and every
whit as delightful.”—=The Graphic.=

EVERYONE SHOULD READ
the New Book of Cheerfulness
BY THE AUTHOR OF
“THE FLOWER-PATCH AMONG THE HILLS.”

Between the
Larch-woods
and the Weir

Large
Crown 8vo,
Cloth,
=7=/- net.

By

FLORA KLICKMANN,

_Editor of “The Girl’s Own and Woman’s Magazine,” etc._

A Joy-Book of the Hills. Overflowing with humour, bubbling with smiles, yet never out of sound of the soughing of the pines, the scold of the squirrel, the call of the birds, and the delicious pungent scent of woodsmoke.

A book to laugh over, to think over, and to be thankful for.

“We are quite glad to hear more of Miss Klickmann’s country
holiday, her fellow holiday makers, and her neighbours,
human and other; and of the cheerful spirit, not stifled by
the distant sound of War.”—=The Times.=

“Another charming book which shows a keen appreciation both
of nature and of the oddities of Mankind. The author’s
kindly humour is irrepressible.”
—=The Spectator.=

“The perception of beauty, the descriptive skill, the
insight into character, the homely philosophy, the
refreshing humour, the sane outlook, the fascinating style,
all make a pleasant appeal to lovers of good books.”
—=The Methodist Recorder.=

“Fun, humour (caustic but never unkindly), social satire
(shrewd and penetrating, yet singularly pitiful), the reader
will find in abundance in these pages.”
—=Mr. Coulson Kernahan, in the Bookman.=

“It is characterised by a delightful sense of humour, and
it is written with a light and graceful pen.”—=The Glasgow
Herald.=

“The pages sparkle with humour, and the portraits of various
country characters are entrancingly funny. There is more
to be learned in the pages devoted to birds than in many a
scientific volume.”—=The Sphere.=

=THE “R.T.S.,” 4, BOUVERIE STREET, LONDON, E.C. 4.=
_And at all Bookshops and Bookstalls._
=PRICE SEVEN SHILLINGS NET (by post 7/6).=

“It’s dood for me”

_Fry’s_

PURE
BREAKFAST

_Cocoa_

This bonny little chap is a FRY’S COCOA boy, plump and strong, with rosy cheeks: sunny, healthy, mischievous, full of life and energy. ——————— Have you any little “pale faces” at home? Build them up with FRY’S.

* * * * *

Transcriber’s Notes:

Obvious punctuation errors repaired. Varied hyphenation was retained.

Page 11, “Richlieu” changed to “Richelieu” (Richelieu openwork)

Page 28, “occured” changed to “occurred” (may not have occurred)

Page 43, repeated word “for” removed from text. Original read (apparent need for for it)

Page 58, “opportuities” changed to “opportunities” (such unique opportunities)

Page 106, “crepê-de-chine” changed to “crêpe-de-chine” (crêpe-de-chine for blouses, rest)

Page 113, index, “Brassière” changed to “Brassiere” to match text usage (Brassiere, The)