XXVIBRAIDING AND WEAVING FOUR AND SIX STRANDSWEAVING ON LOOMS

Fig. 221. The bead bag described

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 wordsslip 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 fourthbead 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 benecessary 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 moreexpensive 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, onewhite, 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 curtainsuitable 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.

Braidingor 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.

Fig. 222. The strands crossed

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. (SeeFigure 222.) If a knot is not desired at the start the cords may be commenced as shown in theFigure 223.

Fig. 223. The way to commence braiding without a knot

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 (seeFigure 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.

Photograph by Eddowes Co.A Cushion Top Can be Woven on a Simple Hand Loom

Photograph by Eddowes Co.

A Cushion Top Can be Woven on a Simple Hand Loom

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.

Fig. 224. Braiding with six strands

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 veryclose 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.

Fig. 225. The way to join a braid

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 thelower 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 pieceof 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.

Fig. 226. The foot

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. Theregular 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 wereabout 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.

CROCHETING ABBREVIATIONS.

1.Slip stitch (sl st)2.Chain stitch (ch)(FigureNo.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)

Thebeginner 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 thethread used. The steel hook with the bone handle is to be preferred.

Fig. 227. Chain stitch

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) (seeFigure 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). SeeFigure 228.

Fig. 228. Single crochet

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). SeeFigure 229.

Before inserting the hook in the stitch to beworked, 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.

Fig. 229. Double crochet

Treble crochet (tr c). SeeFigure 230.

Fig. 230. Treble crochet

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 throughtwo loops and the third time through the remaining two loops.

Shells (sh). SeeFigure 231.

Fig. 231. Shells

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

Fig. 232. Tiny insertion

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 innew 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.

3rd row—ch 9 work 1 d c in first s c made, turn.

4th row—* Over ch work 9 s c Work ch of 9 turn.

5th row—1 d c over the d c of preceding row. Turn.

Repeat from * until you have length desired.

Fig. 233. Tiny edging

For the edging made:

1st row—Over each d c on one side and each empty ch on the other work 4 s c.

2nd row—Work 1 d c into first s c then * 2 ch, miss 2 s c and work 1 d c into next. Repeat from * along both sides of insertion.

Loop Edging(Figure 234).

Work 29 s c over a padding cord, then catch in 7th stitch made to form a ring. Again work 29 s c and catch in the 7th stitch to form anotherring. Continue until the edging is the required length.

Fig. 234. Loop edging

For the edge, begin at the first end for the picots and work as follows: make 1 s c into 8th stitch of first ring, ch 5, skip 1 s c—1 s c in next stitch. Repeat for three picots. Ch 2, begin in 8th stitch of next ring and make 3 picots there and so continue to the end of edging.

Loop Insertion(Figure 235).

Ch 10 and catch in a ring into one side of ring work 6 s c, ch 10, catch in the last s c forming a ring, and into new ring work 6 s c. Continue in this way for length desired. Then work down the other side of rings 6 d c in each.

Fig. 235. Loop Insertion

Now work down each side of insertion 1 s c inthe centre point of each side of the ring and 5 ch between. In these ch loops work 6 s c each and fasten off.

Narrow Crochet Edging(Figure 236).

Ch 14.

1st row—1 d c in 10th ch from needle, ch 3, 1 d c in same st. Ch 3, 1 d c in next st, ch 3, 1 d c in same st. 3 stitches on foundation will stand beyond the row.

Fig. 236. Narrow crochet edging

2nd row—Ch 6 turn * 1 d c in centre loop of cluster of three, ch 3 repeat from * 2 times. 1 d c in same space, ch 2-1 d c in third ch of turning loop.

3d row—Turn ch 5 * 1 d c in centre of loop of clusters, ch 3 repeat twice from * 1 d c in same space * ch 1-1 d c in 6 ch loop, repeat from * 7 times ch 1-1 s c in end of foundation.

4th row—Turn ch 6-1 sl st in fourth ch from needle ch 1-1 d c in next space between d c, ch 5-1 sl st in fourth ch from needle, ch 1-1 d c in next space. Repeat from * 5 times. Ch 3-1 d cin centre loop of 7 ch clusters, repeat from * three times more ch 2, 1 d c in third ch on turning loop.

5th row—Turn ch 5, make clusters in centre loop as with other row. Repeat from 2nd row. On each repetition of 3 row the final s c is taken up in the loop of 3 ch of the former scallop.

Cone Insertion(Figure 237).

1st row—Ch 15 turn 1 d c in ninth ch from needle, ch 3 skip 2-1 d c in next, ch 3 skip 2-1 d c in last stitch.

2nd row—4 s c in first space, ch 1 in second space work 2 d c—1 tr c, ch 3, 1 tr c, 2 d c, ch 1, in third space work 4 s c.

3d row—Ch 10, one sl st over 3 ch—ch 5, 1 tr c in last s c of preceding row.

Fig. 237. Cone insertion

4th row—4 s c in first space, 1 s c in same space with sl st, 4 s c in next space.

5th row—Ch 6, skip 2 s c of preceding row, 1 d c in next stitch. Ch 3, skip 2-1 d c in next stitch. 3 ch, skip 2-1 d c in final st. Repeat from beginning of second row.

Crochet Insertion with Ribbon(Figure 238).

Fig. 238. Insertion with ribbon

Make a ch of 35 stitches: 1 d c in 7 st from end of ch, 3 ch, 1 d c in next 3 rd st of ch, 3 ch, 1 d c in next 3d stitch of ch, 3 ch, 3 d c in 5th of ch, 3 ch, 3 d c in same st as last 3 d c to join shell, 4 ch, 3 d c in next 5th st of ch, 3 ch, 3 d c in same stitch as last three, 3 ch, 1 d c in next 5th of ch, 3 ch, 1 d c in next 3d of ch, 3 ch, 1 d c in last stitch of ch, 8 ch; turn. Work the next and every succeeding row thesame. Run narrow ribbon under and over 3 ch. in centre. This trimming is very pretty when used on a blouse waist.

Fig. 239. Rainbow shawl

Rainbow Shawl(Figure 239).

Either Saxony or floss may be used, about sixskeins of white and half a skein of each of the colours used being necessary.

To form main part of Shawl.

Ch 68 sts of white.

1st row—Turn and work back thus: Draw out st on hook about three-fourths of an inch, pass hook under the single thread of wool, draw through st, pass it under wool, work a sl st, 1 ch (in the way you work first st of every row). To make second st* pass hook through second, draw up to three fourths of an inch, catch the wool and make 2 close ch: repeat from * to end of chain. Turn and repeat from first row till you have worked 76 rows in the white wool.

To make the Rainbow Stripe on either end of white.

Fasten in the pink wool and work two rows, then in the order named—yellow, orange, light green, dark green, indigo, light blue, violet. Finish the end with two or more rows of white.

Fig. 240. Cross stitch

To make Fringe.

*Chain 35, fasten down in next st with a sl st, repeat from * to end of row. Finish both edges of scarf with a row of knot stitches.

Crochet Scarf(Figure 241).

Material, 8 skeins Shetland Floss.

Fig. 241. Shawl in cross stitch

Directions for Cross Stitch (seeFigure 240).

Make a chain the desired length: work 1 tr c in the fourth stitch of ch. Now stitch back into the first and second of ch and make a tr c in each. (This forms a cross stitch.) Repeat to end of chain.

To make Scarf.

Ch 139 stitches.

Work 34 cross stitch on ch; continue working back and forth with cross stitch until scarf measures 1½ yards in length. Finish ends with a fringe. Each strand is 6 inches and 8 strands of wool are knotted to each cross stitch to form fringe.

Havingbecome well acquainted with the stitches and patterns described in the previous chapter, you are competent to go on with the more intricate ones described in this chapter.

A pretty doll's cap is made of silk. Without a silk padded lining the cap will be just the thing for the warmer months.

Doll's Cap.

Begin by winding silk around a lead pencil 12 times: make 24 s c over this.

2nd row—Make 2 s c in every s c on first row.

3rd row—S c in every s c on 2nd row.

Continue widening often enough to keep the work nearly flat (to do this two s c instead of one are worked upon the one of the preceding row). This completes the solid work of the crown.

4th row—Ch 3, make 3 d c in same stitch, skip 4 d c in next st. Continue around entire crown.

5th row—Make a shell of 6 d c in centre of each shell of 4 d c, leaving off within 7 shells of last row.

6th row—Make a ch of 5 st and s c in middle of next shell. Ch 5, s c in middle of next shell. Continue around entire crown.

7th row—* 5 s c on each ch of 5 of previous row. Turn s c for entire row around to where the shells of 4 were left. This begins the front of cap. Turn and repeat from * 2 more rows. Next make a row of shells of 4 st in every 5th st.

8th row—Make shell of 5 d c in middle of each shell of 4 d c. Repeat these 2 groups of 4 rows of s c and 2 rows of shells twice more.

9th row—A row of 5 ch in middle of each shell, then a row of s c. Finish the cap with a row of shells of 7 d c around the entire cap. Finish shells with a row of picots made by a ch of 3 caught in every st with a s c. This completes the cap.

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