which we work must be adapted to the foundation. Crewel would be out of place on handsome silks and satins, but is very suitable for all the varieties of linen, cotton, and woollen goods. A judicious use of a few stitches of silk will often add wonderfully to the brilliancy of crewel work.
Filofloss and etching silks are both admirable for working outline designs on linen.
Etching silk works best when you use it as it comes from the spool: that is, thread your needle before
Fig. 1.
cutting off the silk. Used in this way, it is not so apt to untwist or knot.
There are quite a number of stitches employed in embroidery, but only a few are generally used. Of these the most important is what is generally called outline or stem stitch. It is extremely simple, being merely a kind of back-stitch, which can easily be understood from the designs in this stitch—as in Figs. 1 and 2. Very fine lines are sometimes worked in what is called split stitch, in which the needle is brought out so as to split the thread instead of coming to one side. The main beauty
Fig. 2.
of outline work consists in the design, which should be well studied and drawn, and in the perfect neatness of the execution. Although a diversity of colors are sometimes employed, as a rule, one or two shades of a single color will give the most satisfactory results. It is very important in outline work to keep the stitches as far as possible of the same length, and to follow the outline exactly. An irregular, waving line has as disagreeable an effect as a weak line in drawing. Judgment also must be exercised in turning corners, working foliage, etc. The distance must be measured with the eye, and the stitches so adjusted as to avoid a sudden shortening or lengthening of the stitch. Care must be taken, too, to have the outline lie perfectly flat. Too loose a stitch will give a slovenly appearance; too tight a one will draw up the material. Always work with a short thread, as otherwise the silk or crewel will inevitably become rough. Avoid making knots in the back; a little practice will enable one to begin and end a line so as to look neatly in the back. Never work with too small a needle, as it will drag the material, and produce an unpleasant effect. A Kensington needle is the proper one to use.
One great advantage which outline work possesses is its adaptability to so many articles of every-day use, and the good results which are attainable with a comparatively slight expenditure of time and money. For outline work the less expensive materials should be selected for foundations.
A good piece of work to begin with is a set of d'oylies, for which designs like Fig. 1 are well adapted. They may be worked in linen sheeting — that a yard and a half in width cuts to the best advantage. For a dozen d'oylies you will need half a yard and one inch. It is far better always to shrink washing material before working it. This is best done by washing it in hot suds, rinsing it through two waters, and then boiling it for ten or fifteen minutes. Rinse again in cold water, dry, and iron until it is perfectly smooth. Cut by a thread into small squares, a quarter of a yard each way. They should be fringed all around about seven-eighths of an inch deep, but it is best to do this fringing when the rest of the work is completed. The edges of the d'oylies should be hemstitched, so as to hold the fringe in place. A narrow border of drawn work, the directions for which will be found under the head of drawn work, will be a great improvement.
Having transferred the pattern (which in case of the fans should be placed in the corner, according to one of the methods given elsewhere), the next question is, "With what shall it be worked? " If the linen is heavy crewels may be used, although a better effect will be obtained by using etching silk or filoselle, a kind of silk which is inexpensive, works easily, and has the merit of not fading. Marking cotton is also sometimes used. As to color, that must be left, in great part, to the taste of the worker. Monochrome, that is, work in one or more shades of a single color, is always a safe, and to many tastes, the more truly artistic treatment. If, however, several colors are used, one rule is imperative, never use more than three bright shades. The more sober tints may be used in greater profusion.
Outline embroidery can be varied by using it in connection with applique work. For a watch pocket or small banner screen for a lamp, the design could be worked in outline on silk, then cut out and appliquéd on a piece of felt, the edges being button-holed or chain-stitched with gold thread.
As an instance of what may be done in this way, I quote a description of a tidy which an eminent authority on decorative work describes as "simple and unassuming, but in its way artistic."
"One of these was a long strip of Momie cloth, intended to be thrown over the back of a sofa. On this three ducks were worked in outline in brown crewel. They were standing on a brown ground, which was represented by a piece of brown cloth, applied to the gray; in one corner, up above the ducks, was a large, very much conventionalized sun, manufactured out of yellow cloth, and the rays worked from it in yellow silk."
Designs for outline work may be found in great numbers in the periodicals of the day. "St. Nicholas is," as an enthusiastic young friend once said, "a perfect mine!"
Powdered designs have been very popular. In this style of work a plant form is taken as the foundation of the design, and varieties of this form are scattered apparently carelessly over the entire material. Take the rose as an instance. Here will be a leaf, there again a small spray; a rose-single, for double flowers are out of place in outline work—or perhaps a bud, will be worked at seemingly irregular distances; but these must all be arranged carefully so as to balance one another, and present a harmonious effect. It is just the difference between disorder and "pleasing confusion."
Lately a modification of this design, called "crackle work," has become popular. In this work the powdered flowers, leaves, or fruit, are connected by straight lines meeting each other at various angles. I saw at the rooms of the Society of Decorative Art, the other day, a set of charming doileys, worked in shades of silk in this way: They were worked on exquisitely fine linen, and bordered with drawn work. Bureau and buffet scarfs may be decorated in this way, either by working the crackle work over the entire surface, or with a border of work at either end. Care should be taken not to draw the lines too closely together, as boldness is an essential in these designs. The idea, like so much of our decoration, comes from Japan, and is said to have been suggested by the effect produced by plum blossoms, nipped by a late frost, falling on thin and cracked ice. It is an illustration of how Nature, closely studied, will reward her votaries with many an unexpected gift.
A useful present for a gentleman is a pipe rack. It is made of a piece of linen lined with some brightly colored silk, and suspended from the wall by three ribbon loops. At the top outline two interlaced pipes, and below, quite in the centre, fasten on a hand of some stiff material, divided into compartments hy rows of strong stitching.
To protect a handsome sofa pillow, a charming and serviceable cover can be made of a square of linen, edged with lace, and bordered below the bem with a drawn work design. Divide the centre into smaller squares by bands of drawn work. Powder the small squares with tiny clover blossoms and sprays. A good effect is sometimes produced by working the blossoms solidly (directions for which work will be found in the chapter on that subject) and outlining the leaves.
Bands of Turkey red or blue denim, form good backgrounds for etchings, in white linen floss. The band can be feather-stitched on fine unbleached crash. Kate Greenaway figures are very appropriate. Sometimes two of these bands are used, the space between being finished in drawn work, or in darned work in red or blue washing cotton.
A tea tray cloth is
