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The San Francisco call. (San Francisco [Calif.]) 1895-1913, July 04, 1909, Image 12

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Persistent link: http://chroniclingamerica.loc.gov/lccn/sn85066387/1909-07-04/ed-1/seq-12/

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A PAGE.
FOR
MISSES
H^AND made Russian crash, the
same that can be bought In the
shops for 25 cents a yard, is
being used es the foundation
textile for the most artistic ar
ticles of fancy work this summer. The
Elizabethan bags, particularly, are be
ing made and worn by young society
girls with whom the pretty fashion has
spread apace.
Many art workers would spurn the
hand made Russian crash because of its
cheapness and In that it Is too narrow
for most large pieces, such as table
covers, bed spreads and window drap
eries. But the same young woman.
Miss -Mary Bacon Jones, an artist, who
evolved the crash embroidery, has also
Invented the most Ingenious method of
putting the bre&dths together.
For porch work there is nothing half
co e tunning as these band, work and
handkerchief bags, resembling as they
do those worn during the Elizabethan
period. They have a novelty all their
own. It Is not the material alone that
lends the work its especial value, al
though the soft cream gray tones of the
Russian crash form a particularly ar
tistic background for the workmanship
put upon It. It is- the combination of
color and the harmonizing of the de
tails that count for much.
Of the design and coloring It might
he said right here that the young
woman who designed the new work
gets her designs wherever they are to
be found. In this lies much of her
success and originality.
"I am just as apt to get my design
from a fine bit of ironwork as I am
from a Turkish rug. Some comes from
old English tombs, some from odd bits
of oriental embroidery and others from
wall paper or silk. None is bought in
the shops. These I adapt to the work
In hand. It sounds difficult, but really
It Is most simple. For a girl who
v hts not studied design let her get some
paper, the sort .that Is /squared off for
the use of architects In drawing per
spective elevations.
"Copy*' a motif on paper. The Moor
ish and Turkish patterns, especially,
offer good material, and o»e motif
will form the basis for an allover de
sign, a border of for a central figure
of some more elaborate pattern. How
ever, the greater the simplicity the
more effective will be the result.
"During the last year most of my
inspiration came from a fine \ set of
Japanese prints, the work of the best
Nippon artists, loaned me by a friend.
These have been used ad lnflnitum for
the work of my pupils. It may not
always be desirable to copy the design
or coloring exactly, but one can indi
cate the motif and give the suggestion
just the same. If a girl has none of
these in her own home she-can easily
obtain access to them at the Lenox
library, where there is a fine collec
tion, or at the high class are stores of
the. Japanese importing houses.
"There Is something" indescribably
beautiful about the. coloring of these
prints. Soft dull greens, yellows and
browns mingle together delightfully.
So in this work it is always well to
keep in close touch with the Japanese
coloring, then one cannot get far
away from the best standards^ :It
may be that the coloring In the article
under construction will be done in a
higher key than the original. This,
however, must depend on the room in
which the cushion, table cover or
drapery is to be used.
, K EEP this suggestion , ever be-
I fore my girls. Get your idea
• where you can find- it and adapt It
to your work. Learn to think in
different fabrics. Unfortuately, most
girls who study art today think of
design solely In respect to the especial
field in which they 'are working. This
narrows their-horlzon and limits their
vision. The , perfection of art is to
adapt design ; to any , sort of work you
may want to do. Then you are bound
to.be'orlginal.-
••Draw your inspiration; from every
thing; within your reach.. Do not look
at embroidery for Inspiration. Look
to embroidery for the stitch, then
turn to nature or art for your In
spiration. Take the designs on the bags,
for example. They have been adapted
from various ' sources. It may be th&t
the half wreath of* leaves on one was
suggested from the pattern on a
Japanese kimono, the one with the
birds from a Chinese mandarin's robe,
and so on.
"Russian crash, as I said before, has
the advantage of cheapness, but don't
let this influence you In buying cheap
working silks. The Imported article Is
essential, for I find the native dyes
very unsatisfactory. Sometimes I get
my colors from an oriental rug mender.
Then you are pretty sure to get Bottf
shades and fast colors. If I want a dif
ferent toned background from that
characteristic to the crash I dye it. It
is not difficult to do and I'll warrant
that once a girl takes up the art of
dyeing textiles she will, if she have the
artistic sense, want to go on with It
"There are two men in New York
making a specialty of artistio dyeing
for Its own sake. One Is Albert Herter,
who Is doing some exquisite work, and
Professor Pellew at Columbia unlver-
sity. The toning needed for the crash
would not constitute a problem re
quiring expert assistance, however.
"If a darker tone of gray be desired
for a divan cushion or a table cover,
take the ordinary black dye bought In
the shops and dilute It with water until
only a suspicion of color remains. > Or
one can thin, oil colors with naphtha as
for stenciling, and considering the
crash in the same light as one would
water color paper, wash it in'as If pre
paring a background.
. "It isn't necessary to stick to : "the
crash as a textile. I have even used
dress voiles. But right here let me cay
that deep thought . must be put on the
finish of 'the article to make It artistio,"
otherwise It .will lookjlke dress goods
and nothing else. One scarf In particu
lar which' l have in mind bore a pat
tern adapted from "an oriental curtain.
It was done in soft finish black silk.
Now, if it had been hemmed -the effect
would have been clumsy and Its appear
ance home, made. From a. bit of ori
ental imbroldery done on a species of
scrim f I got the idea of twisting the
fringe and tying It in little knots close
to the end. This trawsfbrmed the scarf
at once from a homely, Inartistic piece
Into - something odd and original. ']
'J't» ; N • learning the crash embroidery I
* I "*\u25a0 advjVe girls to , begin , with'- thie
pincushions first./ They are done
In line design and constitute 'theVflrst
gtep In the process. V Y rom . a ru 5> F 8 - 11
paper or other source pick out a novel
conventlonallted motif and ' draw It on
the -crash. ; repeating- it In ; allover/ de
sign or simply; In a motif. Do this In
what- is known ;as.;outrfne stitch. This
sounds commonplace, for the atrocities
SUMMER FANCY WORK CLASSES
FOR YOUNG GIRLS
committed In Its name are legion. It
is, however, quite capable of most
artistic results if treated fairly.
;. "This places the design uppermost
and the stitch secondary. At, no time
should one stitch for stltchlng's sake,
the aim being " to express the idea.
Look on your work as a color scheme,
SOCIAL AMENITIES FOR
THE SCHOOL GIRL
AT summer, resorts where there is
water, v one: of the most, popular
meeting places of the young people
Is thie yacht, club, which Is a center
of fun and activity, for old and yoiing,
many elders, being -keen over j«.cht
lng, while^ others, enjoy.' the- merelalt?
ting about , the ; clubhouse as partici
pants in: Its, sociability. ; v
Though forming a; large part of the
aggregation, young ; people ; are always
conspicuous in"a ; clubhouse, -and it be
hooves, them 'to. remember that, they \u25a0 are
in a" public place_j£here ] quiet 'manners
are ; more^ becoming; than: are always
necessary^in; the^ privacy, ot 'one's jown
htnne./"v'Rough house";, and 'rowdyism
generally ',> are\ extremely/ bad . formlat
all" times; j but ; particularly? so In" public
places, though -there are young people
so thoughtless :^s; to; act: as i lf a club
house i Avas rqade /for '.L their i 6ole }beneflt
and • toTconduct^themselves ' there with ' a
bolsterousnesavwhichi shows : no . consld
eratloiS,for, those 'about jthem..
Y Girls ;\u25a0: should ~ never. ; " go V? to i : a -yacht
club " unchaperoned, . and: .while
should neyer.|f orget^theyj have a chap.
eron, : as 'some ; of : them ; seem to do> when
they/{wander.^ as Hfar i as? possible : from
her protection, .• Il^you I have ;beensinr
vited .to j go 'yachting 1 , when, you arrive
in either a > small 0r..: a? large '-. party Jat
the" clubydo^not; go racing ' off to ; the
a painting,' and you have no Idea what
a different, feeling you will have
toward -your work. I have seen 'this
exemplified among my own . girls. \ Some
there have been who : disliked em
broidery of the old fashioned sort and
found -it; extremely, monotonous. But
the. moment they came to look on their
piazzas or the afloat,' but remain with
the party ' and follaw. the direction^
taken- by. the host "or | the "hostess \ and'
the \u25a0; chaperon. , The boat ; may. not : be
In readiness -and the t host. may" wish \u25a0,
the party to remain ? awhile about the
club, in which j.-case he. 'Vwlll, signify;
hls^desires -to ; the^cnaperon, : who In;
turn", passes them; on ; to : you. ,: ; On the^
other : hand the . boat may be - ready,- and -
it • will < annoy \u25a0 the^ host exceedingly : If:
you '\u25a0'-. loiter about v the; club when !l he
wishes * to y\ get w you i speedily "x aboard, :
while. It -j always % displeases s the : chap-,,'
eron |when ,: her,' young; charges • exhibit ;
a: propensity^ toTscatter.; ';< .:,\'-'-r-,; r
Remember^ that, on general princi
ples : when : you are a ; guest', It is always
tactful ; to j f ollowithe ! leader, \ who) natu- 1
rally iis the ; host ; orUhe ) hostess i of • the -
occasion,^ and ? that^itr really « Is : most/;
thoughtless "and> selfish when J you ; do;,
otherwise.'; %lti youl have^ come to ; the 5
clubXtoigo ;yacktln'gv and jhave{a
moments, to\walt; don't; suggest: things \
to ! do;ln^,the:lnterlm,;and;aboveall' doS
not^play^the -piano /.or t'start- an im
promptu; dance. ??.Thisj Is fa^nolsy^ per- i
forrriance? not ;.: agreeable ito? those '- sit- v
tlngi about ! the < .yeraudas,^ andf as ; dane- \u25a0
ing risvh ot * the * purposed f or I whlch v : your*
have (come", lt"^ is' • weir.to^elimlnate ; it: ";-' ' '\u25a0'' \
Of . course, ; when^you^come ,Ho the-,
club to ildances, 7 that*; Is % quite /another'
matter;; and^youv dance? to 3 your.l heart's *
;\u25a0::;>:,,%. \/:-\,- :..;.'.-. y--.'T,^ .\u25a0\u25a0,><„>:•; v ," .-;-:.:-^--..-.
work from the art* standpoint it
changed everything. V
"Once the. lesson taught In the pin
cushion design has been absorbed!
then we may turn to the bags. Here
the same outline stitch is used, but it
is a lesson 1 In repetition. It may be
the same pattern developed • will be
used, but ; the design is" outlined, not
only once, but many times. This gives
the: filled* ln quality. It really throws
us Into the long and short stitch. The
design herein Is treated in mass and
not ; in line.
"The bags vary In size. Some are
about eight inches In length by six
and a half inches in width, some long
er and others smaller. They ; may be
cut according to fancy. Frequently an
Inch wide strip of. goods' ls Inserted
between the front* and the back to
enlarge the capacity of the bag., The
strip is apt to be covered by an inter
lacing of, cord or by fancy stitches qjS
embroidery. 'Silk Is generally used,
though frequently linen thread is com
bined with it."-' and r in the' case of a
very coarse crash crewels are most ef~
fectlve. •" ,
"Get ; good .foundation material and
artistic colors. If -these are right,
though the pattern may 'not be all
that could be desired, the result is
bound to; be satisfactory." On. the con
trary, the most artistic will
be spoiled If Inartistic textile and poor
colors are used.
content, -. spending ; -the time > between
numbers son 'the:' program ;.out,,on ; the
piazzas- . sitting Lor " promenading, \u25a0 : but
always In [ proximity io j your chaperon.
Mme. ; Grundy • floes 'not
your, straying with an escort down into
the grounds ? or ..'off *to i the 1 float , or pier,
of:'- : to//.' sequestered, v upper balconies.
When '; you promenade It^ is not neces
sary, to :\u25a0 remain ; literally In sight-. of
your t ; chaperon "provided you do "not
leave the . piazza .where*, she is sitting
andjshe;seesryou ; as^ you* pass : and re
pass. -; If .you', are: offered;, refreshments
by- your ; escort between a dance always
see that the same courtesy Is extended
to j your .chaperon. - ; She may • decline It.
In_jwhlcht;case -It i.is «iuite> proper .: for
you; and your partner to", have "it .with
outcher.- .. \u25a0.-'•':'.\u25a0 :"\\.l :..-. = .',:::'
y v When ; oh \u25a0• a '} floats waiting.; to : get ; off
to^a':yachtrdo*not (cause ; your 'chaperon
anxiety; by/: romplng : around'or : getting
up; : excltement,:by; seeing jhowjnearj to
the .water'sTedge-youscanr!comelwHh
out > falling £ ln-^cThis may! amuse f you,
but iit - gives ; herl, serious 1 : for
she is • responsible;, for 1 each "• one '; of * you
and (consequently .'dreads Ho see you do
hazardous|. things.' _ Do^not , play \u25a0: about
'theSboats ,; at-', the | float ; or :: > handle any
temptlng;lboking.paddlesior.' oars.? This
is meddllng^wlthithe'prop'erty^of [others
and; we Jail \ know * that'; la J not T a com
mendable thing .1 to * do.^
The Sao Francisco Sunday Gall
•In cutting tno bag it is Best to learv
plenty of material around the design
for spacing. An added reason for this
la that the material, may fray.
( ( TV FACTOR that adds mort than
/ \ all else to th» beauty of the
/* bag 1«- Its finish. Much of Its
artistic beauty depends-' on the small
details,, finishing", such ** the cords and
tassels or balls, the method of drawing
the cord through and the rows of out
lining that finish the design. One bay
may have . the draw string of silk cord,
another of linen and Bilk twisted by
hand, others white soutache braid with
a touch of prevailing color run
through. Occasionally the draw string,
will pass through clusters of double or
triple bars at the top. Button molds
are sometimes covered with lines and
then embroidered over with silk or
wholly wrapped with embroidery
stitches.
"In the bag with the bird design the
textile Is coarse white crash done in
linen thread. The breasts of the birds,
eyes and legs are In turquoise blue,
the tali orange. A soft, natural gray
outlines the whole. Over the side
strip, between front and back, a gray
and blue linen cord Is laced. Here
and there a few stitches of orange are
Introduced, especially where the cords
cross. This brings In the three colors
used In the design. A narrow white
linen braid, through which a gray
linen thread is run, forms the draw
string. In this Instance there are no
ball ends, the cord being joined to
gether In one piece. "Where, the two
ends come together It Is firmly wrapped
with' blue linen thread, then button
holed over. The bars through which
the string passes are blue with a touch
of orange top- and bottom.
"Another of the bags also with a
bird design is done In crewels. Dull
greens, browns, brilliant orange and
pale yellow are -used, though the
brighter colors are all subservient to
the brown tones. 'Couching cord, which
is afterward buttonholed In brown
crewel. Is used for the draw string.'.
Perfectly round buttons, like marbles,
wholly covered with buttonhole stitch,
for the ends. An endless variety of
original combinations may be thought
out by the embroiderer after a few
trials. *»
"In some Instances the background
. t .-•.-.: \u25a0.. . ..\u25a0 CJM0fSM9K
Furnishings for the Garden Studio
F> LOOR coverings, furniture and plc-
Jiture frames which have become too
6habby for a cottage located in a
fashionable resort may be utilized for
a garden studio If the young girl who
expects to occupy It knows how to give
directions for having such furnishings
renovated. .
Beginning with the faded or stained
matting Intended for- the studio floor,
the embryo house keeper should have a
>maid restore Its color by. scrubbing it
.thoroughly with a strong solution of
ordinary baking soda or salt in. luke
warm water. Matting that has not re
ceived hard usage need only be thor
oughly swept, gone over with a cloth
wrung out of sweet milk and V then
wiped with very hot water.
Soiled v willow and rattan, furniture
may be cleaned with white soap and
warm water applied with a whisk
broom, weh wiped with a cloth
and sun dried. To bleach such furni
ture have a lighted sulphur candle
p*laced near the chair or \ table — before
it has-been dried a<fer its. soap and
water B^th — ami. keep both candle and
furniture covered with a large dry
goods box until 'the sulphur fumes have
evaporated.
Soiled and sagging cane seats of
chairs may be cleaned and made taut
by having a maid turn the furniture
upside down and wash the caning
thoroughly with a solution of one tea
spoonful of oxalic acid to a quart of
warm water and then promptly rinse
with clear ; water.
Old mahogany furniture should never
be painted or varnished, but should be
cleaned with raw linseed oil and pol
ished with sortened beeswax applied
with a piece of heavy woolen cloth.
Finger marks may be removed with a
'piece .of/ flannel 'dipped in paraffin" and
pencil scratches .by rubbing -the spot
-first with a piece of cut lemon and then
\wlth \ a cloth dipped In a little whiting.
Spots on furniture may be
removed by rubbing them with essence
of -peppermint or spirits of camp_hor
and then wiUrilnseedor olive 'oil.' >
The faded leather covering of a sofa
or chair may; be brightened by going
over It with a soft sponge squeezed
• nearly dry from hot soap suds, remov
' ingjas" much moisture as is possible by
.rubbing ; lt ; with* flannel; then polishing'
it briskly with .a, kerosene : dampened
piece of I woolen : goods and* leaving the
< su oten aarned. ltxrrag the pattern
in relief. Th« azmlag Is most effect
ive and may be done In two way*
Elthsr the backgrounds la darned la,
leaving the patttrn promises:, or els*
background plain. Occasionally, «j la
. the case of the table rauner. the back
ground Is darned la In tha border,
.while tha tarns motif carried uj> the>
aida la itself darned.
"One Important thin gr to take not* of
is tha sort of ham you ujs In your
•t&blecovers and scarfs. , Be careful not
to overpower or diminish your* pattern*
Try different width hams or bands to>
sea whether & wider or narrower on»
will look bast. Try also to sea whethe*
you want one or two rows of outlining
to inclose tha design. Ona zcay do, •»
It may. require two. It Is this unex
pectedness and originality that mates
tha oriental work so interesting.
gl % NOTBER wholly new style of
j\ embroidery, at least its appllca
• tlon to articles of household dao
oration is new, is tha cut work. At
tha National History museum you will
see fine specimens of old German em
broidery dona in this style. Abroad it
has Ions been used In tha way. of in
sets of* laea for gowns, but not fo?
table linens.
"If a srirl is stenciling, tha same
patterns used for tha ona may be usad
for tha* other. It Is not at all dlfS
cult .to do. Take, for example, a
creamy linen and draw your pattern
across tha end. Cut It out. following
: the lines elpsely. Add an underlay of
a coarser and more' loosely y woven
linen, baste it down and either button
hole or embroider It over and over.
If tha material is very thin it should
be both basted and hemmed before em
broidering to stand washing.
"One girl recently made a charming
bad spread of tha Russian crash. It
took three widths to make tha spread
wida enough. Each length was first
hemstitched, then buttonholed, then
fastened together with a feather stitch.
This hand work gives an article a
special value and differentiates it from
the manufactured article. In this case
the linen was a soft gray, the underlay
pink and tha embroidery linen also
pink. The same idea could be carried
out in a lunch cloth with charming
effect."
furniture /• in the open air until the
odor of the oil has vanished. Any
grease spots on leather may be treated
with fuller's earth, which should be
sprinkled over the place, left for %
short time and then rubbed with ben
zine.
Tarnished brass or sopper * drawer
handles and desk furnishings should b«
brightened with powdered bath brick
or with the inside of a lemon rubbed
on with flannel and polished with %
piece of leather. Aft ir that the metal
may be lacquered and kept bright wttJi
a dean, damp doth.
Stale beer will remove fiy # specks
from gilded picture frames, which may
be brightened by going over them
with a soft brush dipped in white of
eggs mixed with a little baking soda,
'Electric Tablecloth
ONE of the fads of the fashionable
London dinner table at , present
Is t an electric table doth, which may
be shaded from the snowy white of
the conventional damask to a glisten-*
ing silver. It is a favorite trick of tho
London hostess to surprise her guests
with the table cloth gradually taking
on color, or. as it were, growing la
brilliance until it seems to be aflame.
To gain this effect only a few heavily
shaded candles are on the table. The
hostess operates a switch, and grad
ually light ascends from the whole
spread of table cloth. It even shows
through- dainty china, and the effect is
said to be almost as uncanny as It h
pretty and effective. The light Is
spread by a multiplicity of wires liter
ally sewed in a specially prepared ma
terial, which lies close on the tabls
and then Is covered by the regulation
table cloth. > The invention is a secret,
and " so far the luminous cloths have
been In the exclusive possession of a
few wealthy women. One of these Is
Mrs. Potter- Palmer, who is always on*
of the first to turn new and clever In
ventions to her social advantage.
: \u25a0' — - — »
To Keep Candles Upright
AS every -one knows, warm weather
plays havoc with candles. , causing
them when used on the dinner table
°* * b ,?ut the room for illumination to
take on a decided droop. Thia can be
completely obviated by , keeping the
candles. for several hours b<s "ore they
are. to be. used In the ice tax. where
they harden sufflci«nt!y to remain beau
tifully .upright throughout the i era*.
Ing.

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