XSMOCKING, FEATHER-STITCHING AND LAZY-DAISY STITCH

Fig. 100. The second step in cross-stitch

Do you know that you can make a gingham apron for mother and decorate it with cross-stitching that will last ever so long? Get a piece of gingham with squares about an eighth of an inch. Cross-stitch it in a shade darker than the gingham or in white orred. The stitches are taken on the diagonal as shown in the diagram (Figures99and100). If there is a great deal of cross-stitching to be done, the quickest way is to make all the stitches that run in one direction first, and then come back and cross them. Perhaps mother has a small piece of cross-stitching that you can use as a model. Simple triangles are easy to make. Begin the lower row with an uneven number, such as seven, nine, eleven, or thirteen. The next row make two stitches less, dropping one from each end, and so on till you have one at the top.

Fig. 101. A good hand design in cross-stitching

Now suppose that you had a little linen or silkbag on which you would like to have a cross-stitch design, yet this material is not coarse enough for you to use as a guide for the cross-stitching. Do not think you cannot do it, for I will show you a way. Get a piece of scrim just as coarse as you can find, and baste it over the place you would like to cross-stitch. Work the design on it and when the cross-stitching is all finished pull out the scrim thread by thread. Sometimes you will have to snip the thread of the scrim if your needle accidentally gets caught in them. (Figures101,102, and103.)

Fig. 102. A cross-stitch design

Fig. 103. Another cross-stitch design

A very simple thing to do is to braid a dress for yourself. Now that all the large pattern houses are carrying transfer patterns you can get a designfor braiding very cheap. A little girl I know braided a dress for herself and one for her mother last summer. She used light blue chambray and braided it with white. There are several kinds of braid, but the easiest to use is soutache, whether it is cotton or silk. It is a flat braid and varies in width from one to three eighths of an inch. First stamp your design on the material, or if you have not a transfer pattern you can draw a design on tissue paper, making it as long as required and then baste the paper in right position on your dress. Take a stiletto, which is a little tool somewhat like a nail that is used in embroidery for piercing holes, and punch a hole on the line. Push one end of your braidthrough this and fasten the end of it on the wrong side of your material. Thread your needle with sewing cotton or silk the colour of the braid and sew it down with little running stitches and an occasional back-stitch to fasten it firmly. When you come to the end of the line or of the braid, carry the end through as at the beginning and fasten.

Fig. 103A. A fourth design in cross-stitch

Coronation braid is beautiful, but oh, so very much harder to sew on than flat braid. There are two ways that coronation braid may be sewed on. The one that I give preference to is stamping the design on the wrong side of the material and holding the braid on the right. A stiletto hole is made on the line and the end of the braid brought through to the back and fastened securely so there will be no likelihood of its slipping. Then, holding the braid with the left hand, connect it to the material from the wrong side with fine running stitches. The stamped line on the wrong side will serve as a guidefor the stitches. You can feel every time the needle touches the braid. Now perhaps many of you are wondering what coronation braid is. It is a braid that looks like fat grains of rice all strung together. There are different sizes of the braid, varying from the quarter inch to the three quarters of an inch size.

Fig. 104. Coronation braid

The second way to sew it on is from the right side with little slip stitches. At the small end it would be wise to take a stitch over the braid to hold it firmly. Centre pieces, bureau-scarfs or even towel ends are handsome when decorated with coronation braid, and do you know it is a very easy matter to make designs for yourself, as there is nothing prettier than daisies or wild roses for coronation braid. If the petals are too fine to allow you to use the coronation braid, then you must use one grain for each petal, cutting off the grains as you require them.

Coronation braid comes in white, Delft blue, bright green, or red. The braid is supple enough to turn sharp corners.

The daisy, as I have stated before, is one of the principal designs used for coronation braid. Braidthe flower with one piece of the braid. It is not necessary to cut the braid but at the beginning and the ending of the daisy. The very largest width of coronation braid will be required for the daisy. Two grains will be sufficient for a petal. Bring the narrow ends to the centre and connect them to the material. In the centre make a cluster of French knots. The effect produced is a daisy embroidered heavily and yet quite different from satin stitch. (Figure 105.)

A belt decoration with five or six coronation daisies is very attractive when used on a light summer dress. Sometimes the owner prefers to couch the braid down with blue cotton and to work the centre of the daisy in the same colour.

Fig. 105. A daisy in coronation braid

A row of daisies is improved by working a fagotting stitch which is explained in "Simple LaceStitches," between the petals. See that the braid is sewed on far enough apart that the lace stitches will not be crowded.

Coronation braid is also used with crochet stitches for the borders of centre pieces and towels.

Smockingis such a fashionable trimming this year that I am sure you will not be contented till Sally Ann has a smocked dress. Why, one cannot take a walk in the park without seeing several little children and some grown-ups, too, wearing smocked dresses. Sometimes they are made of fine lawn or pique and then again they are China silk, crêpe de chine, or cashmere.

Stamped patterns can be had for smocking but they are not at all necessary. Nearly every little English girl knows how to smock without buying a pattern and why should not you?

The simplest form of smocking is the honeycomb or diamond (Figure 106). It can be any size you wish. A good size for Sally Ann's dress is the half-inch diamond smocking. The beauty of the work lies in its regularity. To keep it so, the dots must be spaced evenly. A good way is to have a marking card. Take a piece of heavy paper orthin cardboard about six inches long by an inch and a half wide. With a ruler draw a faint line one half inch down parallel with the long edge of the card. Draw four other lines below this at quarter-inch intervals. Be sure that the space between each two lines is a quarter inch, no more or no less. Along the top line measure in one half inch. From this point make dots at quarter-inch intervals all the way across. Each line is dotted in like manner, letting each dot come directly under the upper one in straight rows. If mother has a card punch ask her to lend it to you and where the dots are make holes. A stiletto will answer the same purpose as the punch; or an orange stick may be pressed into service. Your marking card is now ready.

Fig. 106. Diamond smocking

Measure the length you wish to make Sally Ann'sskirt. Select a piece of material that will show pencil marks, such as lawn, pique, China silk, or crêpe de chine. It will not be necessary to gore the skirt, as the smocking will form a sort of yoke for the dress. A little frock smocked in blue or red will be nice enough for all occasions. Take the material and smooth all the creases out after it is cut the right length. You must allow about the same amount of material for the width of the hem as you do for ordinary skirts. Place the smocking card so that the edge of it is on a line with the top edge of the goods. The smocking must be done before the belt is put on. Through each of the perforated holes make a dot in lead pencil. After every hole has been dotted, move the card so that there is only one quarter of an inch space before commencing to dot again. In other words, place the card so the dots have the appearance of being one continuous design.

Thread a No. 6 sewing needle with a piece of red or blue cotton. Make a tiny knot at the end. Start from the topmost left-hand dot from the under side of the material. Draw the first and second dots together. Three stitches on the right side will suffice to hold them together. Between the second and third dots let the thread span the material on the wrong side without pulling it. The third and fourthdots are drawn together and then the thread spans the space between the fourth and fifth. Do you see how we are working? First a dot, then a space, a dot, then a space, until the entire line is finished.

The second row is worked exactly the same only instead of starting on the first dot of the second row, start with the second. The third row corresponds with the first and now at last we have formed a diamond.

Fig. 107. Smocking in points

If a little more colour is wanted than just the dot alone, pass a thread along the edge of each diamond under the dots. A suggestion which may prove helpful to you if the material has starch in it is that it is easy to crease each line of dots before starting to smock. If the material is soft the smocking should be stroked or gauged. There is a new term to learn, "gauge." It is the same as stroking in sewing. The English women have all sorts of complicated patterns in smocking, but the one that is most popular is the diamondsmocking I have told you about. After you know the principle you can make the smocking as deep as you wish and then try and smock in points. (SeeFigure 107.)

Fig. 108. Single feather-stitching

Feather-stitching is almost as simple as smocking. It has various other names. Perhaps you know it by the name of "brier-stitch." The first and simplest form is the single feather-stitching. A thread as fine as No. 60 sewing cotton or a heavy Germantown wool can be used for it. Baby blankets or a blanket for yourself are pretty feather-stitched in wool.

Like smocking, patterns can be had for feather-stitching. But the best embroiderers never use them, as their mechanical correctness makes the work too much like machine work. I do recommend, however, a faint line drawn so as to have something on which to guide your line and gauge your stitches.

Fig. 109. Double feather-stitching

Let us thread our needle with a piece of coarse blue thread. On a little piece of muslin draw a faint pencil line across it. Commence from the upper right-hand side of the line.Take a short stitch about three sixteenths of an inch on the right of the line, slanting to the line. Let the thread come under the point of the needle in each stitch. The second stitch is taken on the left side of the line the same distance over and the same in slant (Figure 108).

Fig. 110. Triple feather-stitching

Fig. 111. Four on each side

Double feather-stitching is two stitches to the right, two to the left and so on till the line is finished (Figure 109). In fact you can make three, four (Figures110and111), or five stitches or even more if you wish on each side. The prettiest little border can be made of feather-stitching in circles. Take a quarter or a fifty-cent piece and draw a faint line around it on the material about one inch from the edge. Move the piece till it overlaps the pencilled circle and draw another circle. Repeat as many times as necessary to go around the skirt, sleeve, or section you are decorating. A row such as this makes a pretty decoration around the sleeves and neck of a night dress or the ruffles of drawers.Marking cotton No. 20 or No. 25 should be used for feather-stitching underwear.

Infants' dresses, bibs, or petticoats of lawn or any very sheer material of cotton or linen should be worked in fine marking cotton, either Nos. 25, 30, 40, or 50.

Just a word about threads. There are several different kinds. The most popular and best known are D. M. C., Madonna, Royal Society, and Utopia. The numbers run about the same. Some teachers recommend one certain kind, but the result obtained from using any of them is almost identical.

Fig. 112. Seaweed-stitch

There is a pretty little stitch that can be made with a foundation of double feather-stitching. We used to call it "seaweed-stitch" when we were youngsters. I remember I made a white cashmere coat for my doll and used the seaweed-stitch along the hem and above the opening, and on the cuffs and collar of the coat. It was embroidered in rose coloured filo silk. A row of double feather-stitching was worked in the usual way. At the end of each stitch a little Van Dyke point or V was worked. Try it yourself and see how dainty it is (Figure 112).

A good way and something new for decoration is the feather-stitchery used like festoons on the hems. The way this is done is to take a compass and make a circle about two and a half inches in diameter. Cut it out in heavy paper or thin cardboard. Baste the hem in place and then trace one-third of the circle. Repeat in like manner till the hem has the appearance of large scallops. Along the lines work the single or double feather-stitching in No. 20 marking cotton through the two thicknesses of the material. Pull out the basting threads from the hem and then carefully cut away the material within each scallop on the wrong side of the hem. In other words, the upper part of the under hem is cut close to the stitching. Cut right down to the feather-stitching.

Only thin materials are pretty worked like this, as the doubled material gives a milk-white appearance, while the upper or single parts are transparent. A lazy-daisy stitch worked in the centre of each scallop adds further beauty to a feather-stitched hem such as has been just described. The lazy-daisy has been aptly called because it requires a stitch to connect each petal to the material.

Fig. 113. The lazy-daisy stitch

Another name for this lazy-daisy stitch is the "bird's-eye" stitch (Figure 113). It is used to representclovers, daisies, or leaves. The stitch is made, if for a daisy, from a common centre. Bring your needle up from the centre of the daisy and take a stitch the length of the petal. Let the thread come from the left under the point of the needle. Pull the needle through the material on the right side. A short stitch at the end of the petal catches it down to the material. The needle is now brought back to the centre and the next petal made in the same manner. Any size daisy can be made like this from the quarter to a two-inch size. Remember that the larger your daisy is the more petals it should have. As fine thread should be used for the little flowers and the heaviest silk or lustre for the big ones, it is a wise plan to faintly mark in pencil the daisy. One line will be sufficient for each petal. If you do this, you can then be sure that each petal will be the same length as the last.

A charming little yoke can be made of groups of fine tucks and rows of the daisies.

Themore one does of fancy work the more fascinating it becomes. Every new piece presents an opportunity for new stitches and colours.

We have talked a lot in the first chapters of this book as to the different implements necessary for sewing and by now I am sure you have a well-equipped sewing box or basket. Now it will be necessary to add considerably to your work box for embroidery.

The crewel needle which I mentioned in the ninth chapter is the most important implement. Get a pack of assorted Nos. from 5 to 10. They will answer every purpose unless you need a large tapestry needle for couching. The most unfortunate thing about a crewel needle is that the eye has the bad habit of breaking. This is caused from the steel being so fine at the top that vigorous working snaps it off very quickly.

A tapestry needle is like a large crewel needle, only it is much stronger and the eye is very large.

A stiletto of ivory, bone, or steel should also be in your box. An orange stick can be substituted for a stiletto in case of emergency.

A small pair of scissors, too, should be included to cut the ends of silks or pare away the material after buttonholing or making an eyelet.

I have kept the most important till the last. That is the embroidery hoop or rings. Really you would be surprised to see how many different kinds there are in this world. First there are the black celluloid ones that have their good points, but they do not stretch over the material. Then there are the common wooden ones that have sharp edges that catch and fray the silk on every turn. There are some wooden ones that have a felt lining and whose edges are an improvement on the cheaper kind, but they also do not stretch over thick fabrics. The kinds that have a spring and may be adjusted to any size desired have their advantage, but the spring catches the silk also and of course that will never do for fine work. The simplest, best, and cheapest kind is the pair that is made at home. Get two pairs of the cheapest rings, even if their edges are rough. One pair should be small enoughto set inside of the other. They vary from the smallest to the largest circular kind, each one setting inside of the other. Select two pairs that come next in size to each other. The most convenient size and ones that can be used for all kinds of work are the six inch. Take the larger hoop of each pair for your work. Now cut a piece of canton flannel in half-inch strips, or if mother has the coloured selvage left from a piece of flannelette, get that. The largest hoops should be wound over and over like the hoops they use in schools for fancy drills. The other hoop should be padded before winding it. To pad, lay strips two or three thicknesses deep around the hoop and then wind thickly like the other hoop. Hoops like these never leave marks on the material, as often happens with the celluloid or wooden hoops. Another point is that the sheerest material, such as chiffon, can be used in them, while if a heavy burlap or crash is embroidered over them a little of the winding strips can be removed for the time being.

There are other things you might find handy for your box, but it is no use getting them till you have occasion to use them.

Now we are ready to make use of some of the things just described. The tapestry needle will be broughtinto use for our next stitch, which will be couching.

It is a beautiful old stitch that is often used as an outline. It can be made as a heavy thick cord, or yet again it need only be the size of a fine string. The expression is often used, "Couch a cord on." Cord is used instead of threads and lustre on pieces where only the effect is wanted.

Fig. 114. Couching

To couch with a number of silk or lustre threads select a No. 2 tapestry needle. Cut the skein of silk so that you will have the longest length of thread possible. Thread your needle with all the strands in the skein, if the eye will carry them. Make a stiletto hole in the cloth on the line of the design. Bring the tapestry needle through to the back (Figure 114).

A crewel needle is threaded with a single strand of silk, the same shade or lighter or darker if youdesire. Fasten the silk ends down neatly on the back of the material with the single thread and bring it up one quarter of an inch from the hole and span the cluster of silk threads. The threads are caught down in this manner at quarter-inch intervals. When the end of the line is reached, the cluster of threads is again taken through to the back of the material.

Couching is a stitch that you will hear more about in later chapters.

The Turkish or Ismet stitch is another name for cat-stitching or herring-boning. SeeFigure 98. The stitch is taken vertically instead of horizontally, as in cat-stitch. Turkish stitch gets its name from the embroideries from Turkey (Figure 115). It seems to be the favourite stitch of the Turkish ladies.

Fig. 115. Turkish stitch

Have you ever noticed how many pieces of Turkish embroidery are worked on coarse unbleached muslin or tan linen? The colours are generally bright green, blue, coral pink, chestnut brown, purple and then outlined in black or gold thread.

Shadow work, is not that a funny name for embroidery? But you can understand why it is calledthat when you see a piece worked. It gives the appearance of a design under the cloth, as all the stitches are taken from the wrong side of the material. The design is drawn or stamped on the wrong side. Lawn is usually selected for the background of shadow work because of its transparency. A heavy cotton such as No. 16 or No. 20 marking cotton or D. fine lustre is necessary.

Daisies or chrysanthemums are most popular for shadow work on account of the smoothness on their edges. Not that it is impossible to work an indented edge, but it is more difficult.

Fig. 116. The right side of shadow stitch

To work the shadow stitch, place your work over your embroidery hoop with the design side up. Start to work a petal from the heart of the flower. Do not use a knot. The stitch is like cat-stitching (seeFigure 98). First you take a stitch on one side of the petal, then you pass over to the other side. Be sure you take the same length stitch every time. The stems are worked in outline stitch. Shadow work from the right side looks like back-stitching(Figure 116). It is used on aprons, shirtwaists, or bureau scarfs where a good effect is wanted with very little work.

There are two ways of working the leaves of daisies or chrysanthemums in shadow work: First, and the best in my opinion, is to start and work from the top of the leaf to where the midrib commences in the design. Now work from the midrib to the outer edge on the right side of the leaf. The left-hand side is yet to be filled in. Start from the base of the leaf and instead, however, of putting the needle through the material by the midrib catch one thread upon the midrib and then take a stitch on the left-side edge of the leaf, up to where the midrib ends.

The other way of working a leaf is to outline the midrib first. Then start from the base of the leaf and work across the entire leaf. The former way is the better, because there is not such a wide stretch of thread on the wrong side as in the latter method.

Batiste, organdy, and lawn are the usual materials used in America for shadow work, but in England, where more substantial materials are generally liked, tea cloths of linen in shadow stitch are often seen. Tiger lilies are good for any large piece.

The effect of shadow work on linen is as if a padded design was placed on the material.

White is the nicest for working shadow stitch on waists, especially as colour is apt to cheapen the effect.

Remember that a design drawn out in pencil soils the cottons or silks and necessitates the article being washed before it is used. You can buy patterns for embroidery so cheap and in such excellent taste that it pays one in the end to use them instead of drawing on the material. There is the perforated design that can be had from five cents up. It is the oldest and in some ways the most expensive pattern. The perforated paper is laid, with the rough side up, over the material on the ironing table or any other flat surface. An especially prepared powder that embroidery shops sell for stamping designs is the best to use. A pouncet is several layers of felt rolled together, or a piece of wood covered with felt. Rub the pouncet in the powder. See that the pattern is weighted down so that it will not slip while you are working on it. Rub the powder in with a circular movement. Lift the weights from the lower edge of the paper, and gently raising the pattern see that the design is well on before removing the pattern. A hot iron will be necessary now to set the powder. Every time you use the iron justclamp it down on the design. Wipe it off on an old piece of cloth before you press it again on another section of the design. Each time the iron touches the powder, part of it adheres to the iron and the design would be spoiled if the iron was used again before wiping it. After the design has been set, the iron can be used freely over the whole work.

There is another method of stamping with a perforated pattern, and that is placing the smooth side of the design face upward and using a blue paste that comes in cake form. The pouncet is dipped in kerosene or naptha and then rubbed on the paste. Apply to the paper as directed for the powder. This method requires no iron, but care must be taken not to get the pouncet too wet or the design will run.

A third method for stamping is one that requires to be rubbed with the back of a spoon. The fourth and newest method of stamping is by the transfer designs. The patterns are in different colours. Place the transfers with the bright or raised surface next to your material and press with a heated iron. Some patterns require a very hot iron, while for others a moderately heated iron suffices.

You can make a perforated pattern yourself by drawing a design on a piece of paper and using a sewing machine to perforate along the lines.

Embroiderybuttonholing is a little different from the buttonhole stitch used in sewing. It is a stitch that is most used to finish the edges of centre pieces, scarfs, and, in fact, any article where embroidery is wanted to finish the work. You know that it is possible to use a fancy stitch, such as the Turkish stitch described in the last chapter, but in that case the material will have to be turned back and hemmed. The twill or purl of buttonholing, as the little ridge on the edge is called, serves as a resistance for the material from fraying out.

The buttonhole stitch is the most popular in embroidery. It is the foundation for many other stitches. Feather-stitching is really an open form of this stitch.

As a usual thing it is necessary to pad before working buttonholing. It raises the work and makes it much more durable as an edge. The padding can be done in either running-stitch or chain-stitching.

Let us take for our first example the straight buttonholing. It is the simplest form. Cover the space between the lines with coarse, running stitches. Let the background be medium weight linen. The padding thread should be No. 16 or No. 20 marking cotton, or two strands of white darning cotton makes an excellent padding. The stitches can be fully one quarter of an inch in length. Take up a single thread of the background so that the padding will be all on the top of the material. This keeps the work well raised on the right side and perfectly flat on the wrong side. An extra row or two toward the outer edge of buttonholing raises the edge prettily. Chain-stitching is a more rapid way of padding, but should only be used for coarse work. Remember that the wider the buttonholing the more padding will be necessary.

The padding should be worked over your embroidery hoops, keeping the work as near to your fingers as possible. The actual buttonholing gets a rounder effect if done over the finger, though it is possible, of course, to do it over the hoops.

Again, no knots in buttonholing. Thread your needle with No. 25 marking cotton. Make three little running stitches and one back-stitch to insure firmness in the starting. Let your thread come upslightly under the lower line of the buttonholing. With your left thumb holding the thread down to the material draw your thread to the right, take a stitch over the padding, bringing the needle out slightly below the lower line. The thread should fall under the point of the needle in each stitch.

The next thing we learn in buttonholing is a scallop. The deeper the scallop the more difficult it is to make a good corner and to keep the slant of the stitches right. When you buy a stamped piece of embroidery, select a pattern that has a shallow scallop and one where the points are not too sharp. In working a scallop the stitches should slant vertically in the direct centre, slanting the other stitches toward this point (Figure 117).

Fig. 117. A simple scallop

The object in carrying the needle slightly beyond the stamped line is that all the stamping may bewell covered. A stitch that is taken directly through the line shows the stamping.

The diagrams (Figures117and118) show how to work a simple scallop and one with a sharp scallop. A good deal has been written about the cutting of scallops, but the safest and wisest is to wash the piece before cutting out the scallops. A pair of small embroidery scissors should be used to cut the material away close to the twill of the buttonholing. If a scallop is cut before it is washed it frays so much that the edge has an untidy look.

Fig. 118. A sharp scallop

Some women work a row of machine stitching close to the lower edge before padding it, as a preventive from fraying, while others insist on cutting the material to allow a hem on the wrong side only. Try the first way and see if you are not successful. Another point to bear in mind in buttonholing is that the stitches should be taken very close to each other. If a piece of buttonholing is well done it is hard to distinguish one stitch fromthe other, and yet they must not be made one on top of the other or the buttonholing will be rough.

Wallachian work gets its name from a little community in Pennsylvania. It is a German word and is nothing more than coarse buttonholing. It is especially appropriate on heavy waists, centre pieces, pillow tops or work bags. A finer form of it looks well on sheer waists. The rings or circles are worked from a centre like the spokes in a cart wheel (Figure 119).

Fig. 119. A Wallachian ring

Fig. 120. Wallachian stitch

The leaves or petals of a Wallachian figure are worked on the slant, and here is the difference from ordinary buttonholing and the distinctive feature of Wallachian embroidery. Usually the petals have an indented top and a line running through the centre. Begin at the lower right-hand section and take a short stitch on the line as for outlining. The next stitch is taken close to this from the midrib to the outer right-hand edge. Thestitches need not be quite as close as in buttonholing and no padding is required. Continue in the same slant to where the centre line stops. The stitches from this point radiate till they are in a good slant to continue down the left side. Note the stitches in the diagram (Figure 120).

Some people do not slant their stitches and the result is that the work is not as pretty and loses its chief charm.

Placing your thimble on a piece of material, make a little circle around it and in the centre make a little dot to practise the Wallachian ring on.

Fig. 121. A whisk broom holder in Wallachian stitch

You will find that your thimble or spool is a great help to you also in making scallops. Draw a line with the ruler just below where you want your scallop to be. Inscribe half a circle with the aid of your thimble or spool on the straight line. Just within this half-circle draw another half-circle that will touch the upper line of the scallop. A ten-cent piece or in fact any coin can beused like this. Embroidered pieces should be washed by themselves, especially if they are worked in colours.

A little girl I was teaching some years ago was very slow in working a centre piece. She finished the piece one day just before her term was over. Thinking that she would surprise me, little Daisy decided to launder the piece herself. Her mother knew nothing about embroidery, so was not able to tell her how to proceed. So Daisy washed the piece and having seen how mother bleached the linens, Daisy desired to give her piece a sun bath. She spread it out in the sun and when she went for it the colour was half out. Poor little Daisy was heart-broken. She would not have had this trouble had she observed the following directions:

Put the piece to launder in warm water and rub it with a pure soap, such as castile. Ordinary laundry soaps are too strong of lye to be used. If the piece is very soiled let it soak a long time, several hours. Usually washing the piece out in water is sufficient. Rub with the hand only. Rinse in clean water and lay the piece on a thick cloth or a Turkish towel. Roll the towel up and leave until the piece is almost dry.

Lay the embroidery, with the worked side down,over a heavy padded surface. Press with a hot iron quickly. If the centre of the piece puckers, dampen it again till you have pressed it out thoroughly.

If you fear to put the iron directly on the piece lay a thin white cloth over it and then press. Many a really beautiful piece is spoiled in the laundering.

Romancut-work or Colbert embroidery is one of the prettiest forms of buttonholing. The right way to work it is to make the stitches so that each one is distinct from the other. Some people insist on crowding the stitches as in regular fine buttonholing, which is quite a mistake, as its distinctness lies in dissimilarity to the ordinary buttonholing (Figure 122).

The work is used for centre pieces, corners of lunch napkins, coat sets, as well as on heavy linen dresses. In Scotland the little girls make the entire yokes of their night gowns in cut-work as well as the top of their night gown case. These cases are placed on top of the bed pillows during the day and are marvels of fine handwork. This custom is not restricted to Scotland, but Italian, French, and German women are also proud of their night dress cases.

The design for Roman cut-work should be boldand not too close together. It should be stamped directly on the material. The American way of working it is to run a line of fine stitches on the outline and then work a row of buttonholing. The stitches are a little less than an eighth of an inch deep. The background spaces between the design are then cut away close to the buttonhole edge. Do not neglect to wet and press the linen before cutting the buttonholing. Keep the twill of the buttonholing on the outer edge of the design so that the background will be bordered with the twilled edges (Figure 123).

Fig. 122. Roman cut-work

The European method of Roman cut-work is to run the thread first and then cut the material sothat there is an eighth of an inch extending beyond the running stitches. This is turned under till the running thread forms the edge and then the buttonholing is worked through both thicknesses of the material. This way prevents the linen from fraying. The design is basted over a piece of coloured paper, letting the basting stitches follow closely the buttonholing. The wide spaces are then filled in with a simple lace stitch such as the twisted bar, woven bar, or spiders. Sometimes the spider is used in conjunction with one of the former stitches, and it is an excellent stitch for filling in the corners. Marking cotton No. 20 or No. 25 should be used for Roman cut-work, as well as the lace stitches.

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