no stains or specks in them; and if figured, it is advisable to have the pattern equally good on both sides. This will enhance the price at first, but you will find it to be good economy afterward. In silks that are to be sold cheap, a kind of camel’s hair is frequently introduced. This may be detected by pulling a piece of the suspected silk cross ways, and if camel’s hair be mixed with it, it will spring with a kind of whirring sound. This should be attended to.
Satin.—It is of various qualities and prices. The best is soft and thick. When used for trimmings, it should be cut the cross way, as it then looks better, and has a much richer appearance than when put on straight.
These general observations will be of great use, and should be well impressed upon the memory, so as readily to be called into exercise when needed.
In making up linen, thread is much preferable to cotton. Sewing-silk should be folded up neatly in wash leather, and colored threads and cotton in paper, as the air and light are likely to injure them. Buttons, hooks and eyes, and all metal implements, when not in use, should be kept folded up; as exposure to the air not only tarnishes them, but is likely to injure them in a variety of ways.
MATERIALS FOR FANCY NEEDLEWORK.
Canvas (coarse) eighteen threads to the inch. Work in cross stitch with double wool. This is proper for a foot-stool, sofa-pillow, &c.
Canvas (very coarse) ten threads to the inch. Work in cross stitch, over one thread, with single wool. If used for grounding, work in two threads. This will accelerate the work, and look equally well.
Silk Leaves.—If no grounding is required, work in tent stitch. The pattern should be large in proportion to the fineness of the material. The finer the canvas, the larger the pattern.
Color.—An attention to shade is of the utmost consequence; as on this, in an eminent degree, depends the perfection of the work. The shades must be so chosen, as to blend into each other, or all harmony of coloring will be destroyed. The canvas must be more distinct in tent stitch than in cross stitch, or rather more strongly contrasted, especially in the dark shades of flowers: without attention to this point, a good resemblance of nature cannot be obtained.
Wool, (English and German) white, black, and various colors.—Two, three, four, five, or six shades of each color, as the nature of the work may require. The same observation applies to silk and cotton, in cases where those materials are used.
Split wool, for mosaic work.
Silk. Split silk. Floss. Half twist. Deckers. China silk. Fine purse silk.
Cotton, of various kinds.
Gold twist. Silver thread. Chenille.
Beads. Thick and transparent gold. Bright and burnt steel. Silver plated, &c.
Perforated cards.
Canvas, called bolting, for bead work.
SCALE OF CANVASES.
| English Canvas. | ||
| Canvas No. | Cross stitch. | Tent stitch. |
| 16 | 4½ | 9 |
| 18 | 5 | 10 |
| 20 | 5½ | 11 |
| 22 | 6 | 12 |
| 24 | 6½ | 13 |
| 26 | 7 | 14 |
| 28 | 7½ | 15 |
| 30 | 8 | 16 |
| 32 | 9 | 18 |
| 34 | 9½ | 19 |
| 36 | 10 | 20 |
| 38 | 10¼ | 21 |
| 40 | 11 | 22 |
| 42 | 11½ | 23 |
| 45 | 12½ | 25 |
| 48 | 13 | 26 |
| 50 | 14 | 28 |
| 55 | 15 | 30 |
| 60 | 17 | 34 |
| Silk Canvas. | ||
| Canvas No. | Cross stitch. | Tent stitch. |
| 14 | 28 | |
| French Canvas. | ||
| Canvas No. | Cross stitch. | Tent stitch. |
| 10 | 6½ | 13 |
| 12 | 7½ | 15 |
| 14 | 8½ | 17 |
| 16 | 9½ | 19 |
| 18 | 10 | 20 |
| 19 | 11 | 22 |
| 20 | 12 | 24 |
| 22 | 13 | 26 |
| 24 | 14 |
28
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