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FOR PINCUSHION COVERS THE heart shape is a comparative ly new outline in pincushions, but ths oblong has been a favorite lor some time. Each has its par ticular place to rill on its own bureau. The longer shape belongs to that ample bureau top, and usually implies tiie tame shaped porcelain or silver pin tray placed beside it. The heart., which 5s a more fanciful idea, is at borne upon the dainty white FOR THE INDUTRIONS NEEDLEWOMAN and colored dressing bureau. ' Which do you care to attempt? Ijet us talk stitches first. The direc tions for both covers are practically th« same. Begin with the central design and work the leaves and petals in either solid stitch or; skeleton work. For the solid parts there will be 'considerable padding for rich work. \('herever .\u25a0-the leave? or petals are divided by a. line or vein the solid stitch may toe made less ADELAIDE BYRD long, and loose by covering, the . leaf or patal with two sections of work instead | of one. The flower centers may. ba car ried out in heavy solid .work or- in French knots. . -\u25a0 The stem's demand sollfl over r and-over - Stitch. ;;> : " :/ T,Y' : ''L' '. \u25a0 Solid ".work, '.like, the sterns, very • closely, worked and ~padded : first in 1 the \u25a0 reverse direction, .ir.ay :be , lined all ; around theedges. including the leaves . and patterns that contribute to the edges. Wellrworked 'solid stitch ' may be as safely cut.out.as , buttonhole .etitch. . '-_.; # ; '<:-'\u25a0]. ;\u25a0. ' \. ' . ; \u25a0 All of tlie double' slats should be worked as cyelet3: for the ribbon to pass through. .- ;\u25a0\u25a0 PERFECT WORK ON PARIS GROWNS NEVER before In years has so am ple opportunity been offered tor the fine hand sewing that - was fashionable^ in the days V of ' our grand parents. One of the recent fads in Paris costuming, for the debutante in particular, is the reverse of the winter's elaboration. ; _- , - . .; Wonderfully simple frocks are shown for her, for both: evening and daytime wear, and in seasonable; weights;, and upon these frocks. whose outline is their charm, much time and labor is spent. Here is opportunity . for various stitches and for the, finest of sewing. Rarely are they machine stitched ; that is the trade-mark of the American tailor. They are'. blind-stitched along :* their hems; linings are slip-stitched to materials, and in the even weaves for summer 'hemstitching is resorted to as a finish. ' ••; . • . . \u25a0' '\u25a0\u25a0 In all of our. pattern sheets and fash ion magazines are- we even now seeing the result of tho perfectly designed, simple gown \u25a0\u25a0'• versus the complicated, and we are feeling the result— if we en joy the very act of sewing— in a tend ency to sew more perfectly. .; In tho longest of the % bloused and belted tunic dresses on which the only trimming was an embroidered ornament, which displaced, the belt buckle, and two more like it on the side panels of tho tunic, who could neglect to Work them by hand. and as earnestly to. finish the dress to perfection ? , A cut skirt made of two shades of Embroidered Dresses EMBROIDERY is the' strong note of |j the season, on the spring and sum mer frocks. Braiding holds its own and is distinctly suited to the quite heavy weights in cotton and linen stutts; but the different fancystltches are so largely used on all sorts of gowns for \u25a0 the grown-ups and the little people that they : are worthy of particular mention to the artist in embroidery silk. . A new trimming shown on Shantung pongee ; is twisted : cotton cord, wound round into a design and couched fast at regular intervals of an eighth of an inch . with; embroidery cotton. Both cord and ; cotton are the natural color of the pon gee. -. '\u25a0 . ,*« __ ~ - Very coarse twisted and untwisted silk; '"- floss is the choice medium in ; which most of the satin-stitch embroidery, is carried out upon "such dresses as the col ored pongees and, seasonable '.silks. ; It (looks particularly well on the wide waled silk serges now so popular. . \u25a0 * Coarse untwisted* linen floss ris an • ex clusive material 'which may! be; found in colors matching to a nicety many, of the \u25a0 new costume linens. ; This i floss ; lends ; lt- I self to a most successful j treatment of long: Japanese : stitches, and vWhen; the one-piece linen frock is embroidered.Hhe "most successful color scheme Is the per-V; feet match.; v.~ .» * : : . .- ;; .. ; . \u25a0>.»\u25a0/ :\u25a0;, ' White embroidery looks well, however, upon ; very dull light shades, such as ecru,, champagne and delicate gray. - The tunic, which- is to bea distinctive ;\u25a0 note of the season for the colored; linen-; gown, claims its "full share of the needle woman's attention.; Embroidery does not stop at the yoke, but a repetition of « the motif- is frequently carried"; down. 1 to the lower edge of the : tunic, t; On; certain-/ [models -ithe decoration does ;not*i extend round the' 1 tunic's : edge, but only across the front section for a distance of ten to.' twelve, inches. V. •".'.. v r. "..'-.-" ' : ,. \u25a0-: ' .'"'\u25a0\u25a0' ' 'H>'~\ \u25a0"•.'.'\u25a0\u25a0\u25a0'\u25a0•-•\u25a0.'.' '-> \u25a0'\u25a0\u25a0*:" -.ir-iv-'V And now let me tell you about the undersides of these cushion covers. In each case you will-trace, in exact outline, a copy of the top cover, and draw a line very near to the outer edge, thus providing a narrow space for solid work along the edge. The gray handkerchief .linen relied for its finish— where upper and /lower section Joined— upon a line of chain stitching done in gray linen floss. .'lt is well that the embroiderer's aft has kept alive this old-fashioned stitch. Feather stitching, too, is no longer relegated to white undermuslins, but is used on the best and most expensive of rose-colored upper linens— dresses. On one of these an applied v fold ten inches deep was basted on the lower part of the skirt, pressed and feather-stitched Into place. ' Corded shirrings ; are beautiful and give the most perfect sort of a finish to the tulle yoke. They particularly reliable for the sub-yoke which is dif ficult to fit, and may ; be drawn into position when the shirrings have been made over cords. This Is always hand work, thpugh the impatient have tried to "machine it." "We have come upon a -day of such speedy, changes in the styles that it would seem Impracticable, to say the least, to put hours and hours of work upon the finish of the elaborate gown; but there, still are types of costumes to "which .we bow in this matter of the finish." The tailored suit deserves its own stitched edges done to perfection, and it gets it. The dress so designed that its charm llos alone in, its perfect work manship is notto be denied Its needed share of even the busy woman's time; it may be, temporarily, her "fancy work." . The Irish Lace Rose THE making ; of Irish j lace by the American women has been, con tinued until the work has reached a degree of perfection little below its native standard. ' Some of the motifs .are less difficult than others, and: the rose has proved a" favorite with : beginners. A novel use for this little crocheted blossom is its incorporation in the all over embroidered surface of the linen frock. \u25a0} A pretty foreign model supplies the idea for the deft-Sngered amateurs in lace and dressmaking on this side of th© water. \u25a0\u25a0.:..\u25a0..- '^ .''.,-'\u25a0 Over -the surface of a linen gown of a' rarely : beautiful rose shade \u0084' there was spread ja j continuous vine pattern, its tendrils and leaves rather sparsely covering, the "whole of the bodice and /the ?upper, half -of the "skirt.' Through outi' tne embroidery- there -were left round: openings, an' inch, and a quarter : in diameter,': which V were t buttonholed round; their edges before .they were cut \u25a0'out. :.''.,''' \u25a0 - - .' \u25a0'\u25a0-: \u25a0.' ' Into each of these open spaces was ap i pliqued an : Irish \u25a0 rose ,\u25a0 of . the requisite size. It edges \u25a0 were tacked to the but .tonhole;stitch surrounding the opening. '" The \u25a0 roses were':dyed to -.match the : linen:.;-.- \u25a0>; \u25a0:'"*• .;' V: •\u25a0;'.\u25a0 ' \u25a0\u25a0.->.-'\u25a0" : ; Round or square ; medallions of cluny lace would prove most effective If set within a finished • opening. J . • Men's Slippers RAFFIA: bath slippers it or men are ' a pleasant luxury,; for, the coming warm weather.'X They are woven from strands- of 4 the/naturalj'color and < lined :with pale yellow LTurkish toweling, such .'as: is used :f or ; bathrobes.. -~ ;•".' \u25a0>• : Pieceg -of - the "; lining -j extending up : are : turned >over.J the \u25a0, edge ' and" lapped 'upon 7 the ; outsider of the, slipper to the : i d.epth* -of - an ;i inch , and ;-. a > half,' thus added comfort, \u25a0 ?- ,f ' \u25a0• . .'\u25a0\u25a0 \u25a0\u25a0\u25a0\u25a0'-'.•\u25a0.\u25a0• '\u25a0\u25a0'. '\u25a0'"\u25a0'\u25a0 \. ' '\u25a0\u25a0 ' ' ' '.''.'-\u25a0\u25a0>'•, Y The San Francisco Sunday Call :/ heavier patches of the design may be omitted along the edge o£ this under cover. To reproduce the slots in their correct positions, trace exact copies of those in the top of the cover and work them also in eyelet stitch. Correct material in which to de HOW TO APPLY THE DESIGN rpiIKRE are two ways to apply •*\u25a0 thi:? design to the material upon which you wish to work it. -If your material is sheer — such as handkerchief linen, lawn, batiste and the like — -the simplest method is to lay the material over the de sign and, with a well-pointed pencil, draw over each line.' *. If your material is heavy, secure a piece of transfer or impression paper. Lay it, face down, upon this; then draw over each line of the paper design with a hard pencil or the point of a steel knitting needle. Upon lifting the pattern and trans fer paper you will find a neat and accurate impression of the design upon your material. - There are two points to observe in this simple process, if you would HOW TO MAKE CUSHIONS JUST how? The cushion itself is not i a difficulty when once it is realized * that the upper cover Is about a sixteenth of an, Inch larger than the first covering. This is a matter of the fit and of wear. It is a bit of general, oldtime informa tion about pincushions and cases In general that some of the moderns do not know. Indeed, they travel so fast and their fancy-work fashions go so much faster than they do, that It is hardly "to be expected that they can either keep pace or remember old rules. But back to the cushions. Sofa pil : lows are now considered a more har monious whole When • they match throughout. The "pillow-top" is not so much in evidence as it was, and the "cushion-cover" is about to take its place. Embroiderers are taking thought for the truly artistic and demanding enough material for the top and bottom. Makers are alive to the demand, and stamped pieces for tops are now pro vided with a like piece or a fold of the same material to cover the bottom. The cushion finish remains somewuat like those we have known, except that gold galloon has been added to the tiny fringes we have used. Cords make reliable edges, and the ruffle has not entirely departed. Most prominent among decorative schemes isthe stencil patu-rn upon Rus sian crash. Conventional designs pre vail among the stencil patterns, and tney are to be executed in either of two ways: by . a cardboard process with . the dyes put on- through the openings, or by a brush and oil paint method upon the stamped design which is already on the cushion material. Raffia embroidery has its own special designs stamped on coarse open linen. The colored strands are threaded in raf fia needles and worked up and down: in . a long satin stitch to cover conventional designs. They v usually are patterns suited to the mission room or the den. Hardanger work v is more or less in evidence again. It is more durable and has no peculiarities to make it undesir able. White cotton hardanger work upon yellow linen canvas is most effect* ;' ive." '..::-"\u25a0\u25a0." \u25a0\u25a0 . ..""•"•\u25a0\u25a0\u25a0 \u25a0 ' - jiany« cushions 'are' laced .-together.* When of leather the holes are cut or punched. In linen worked- eyelets may be used." but to be better and even more \u25a0 effective, the- eyelets r sihould be punched and buttonholed - over c - brass or -bone : rings. - Speaking of the leatber again/ th© cut velop the cushion cover Is heavy white linen, and white cotton should be used for the embroidering. If pincushions the desired size ar» not to be found, frown upon the slightest hint of discouragement ami . trace your own pincushion size throush. the finished slots. execute it satisfactorily. One is, see that your material is level — «:ut and folded by a thread — and that your design is placed upon it evenly at every point. The second is, when placed accu rately, secure the design to tho ma terial with thumbtacks or pins so that they cannot slip during the operation. Transfer paper comes in white, black, blue, red and yellow. I ad vise the use of the lighter colors when possible, as the black and blue are so liable to crock. Do not rest your hand or fingers upon any part of the design you are transferring, else the imprint of hand or fingers will be as distinct upon the material as the drawn lines of the design. leather cushion cover is a satisfactory library type, and two perfect circles laced together by thongs of leather make an admirable .touch of color, if chosen with care. No ornamentation is necessary. Cut work in leather implies a full sized satin lining, because a mere bit of satin pasted beneath the cut space in the leather would speedily pull away with any ordinary wear. Brown leather of. a rich, warm tone demands an orange-colored lining, and the combina tion will add a touch of desirable color to any room. The exquisite French cushion of th» season is copied from that Louis period which has furnished so many perfect modern rooms in imitation of those in French palaces. It is a delicate cream-tinted grosgrain sMc, done in ribbon embroidery. Faded rose and green have been used to carry out th<> wreath design. Gold thread 1 is applied for the stem 3. and the ruching that sup plies the medallion or shield-shaped in closure for the wreath is a rococo rib bon quilling, of the most delicate and faded tones. Even the border is a tar nished \u25a0 bronze and silver galloon, very narrow, and a distinct copy of the pretty work done by court ladies in French palaces, - The cushion still retains its comfortable place In our households, and each year will see added beauty la its designs. Solid Stitch on Lace IXTO the decoration of many white frocks, there now enters some color to carry further the bright note supplied by a corsage bouquat of satin roses or a ribbon girdle with rosettes. Upon the more or less solid spaces of well-made cluny lace there Is em broidered a patch of solid work, whtcli may-take on a square, a circular or a floral shape according to the space to be covered. The work is dona" In soft-colored mercerized cotton, the quality of which varies In coarse ness with the lace. In order to gain a necessary firm ness it will be well to baste the lace or insertion upon white batiste or even mull, and to stick through i thiarT catting away the - remainder when < " the color work is completed. If the heaviest solid work be to your liking, pad the space to-be em- ; broidered. upon the top of the lacs.