Roses.—For the roses we suggest a most delicious new shade of pink Corticelli Filo Silk, 101, 102, 103, 105. Take the darkest for the curled over edge, working in a slanting direction. The outer edge, however, should not be put in until the middle part is worked, so that the edge can be worked over it. The inner part should be graduated, putting the lightest next to the center so that one begins with 103 next the outer edge; 104 is left out so as to make a more decided break from the curled over edge. The round center is very effective worked in pale Gold Color, 113. This is covered with a network of crossed bars in a dark, rich shade of Brown, 647, and outlined with the same.
Conventional Wild Rose Design No. 52.
Leaves.—The leaves are worked mainly with a soft shade of green, but to avoid monotony golden brown is blended into the green at frequent intervals, sometimes half a leaf is brown, sometimes it is tipped with brown on one or both sides, or a little brown is worked in at the base of the leaf. For the green shades take 106, 107, 108, 109, and for the golden brown use 525.7, 525.8, 525.9. The stems and thorns are likewise put in with the three shades of brown. In working the leaves let the stitches take the direction of the veins; by this means the veining will be expressed much better than by putting it in. (Not Difficult.)
Japanese Chrysanthemum Design No. 609 B.
Colored Plate XVII.
By Amalia Smith.
Materials—22 inch Size: Corticelli Filo Silk, 2 skeins each 672, 673, 678; 1 skein each 616.5, 655.7, 674, 755, 780, 781, 782, 783. Corticelli Persian Floss, 5 skeins 615. Dealers can furnish stamped linen of this design in 22 inch size. See page 92.
This is a very effective design, pleasing in coloring, and capable of very artistic treatment.