Daily inter mountain. [volume] (Butte, Mont.) 1881-1901, 1900-08-06
SUMMER "CATcH-UP" WORK.

Any form Of occupation with which -
employ the thoughts and fingers Of the
%sojourner while resting during the MORN
ings of summer on that long and dreary
waste known as the hotel piazza comes
as a welcome suggestion at this time.
Any light form of fancy work Is to be
desired, that which ear be designated
as "catch-up'' work coming first in ia
vor. Under this head may be classed
rocco embroidery. Honiton and Renais-
n lace work. crewel work of the Tu-
dor and Stuart period and outline mon
ochrome embroidery.
Rocco embroidery is most effective OH
sofa and needle cushions and aa kinds
of screens. 1t is a combine rion Of rib
bon work and oss embroidery, one of
the newest varieties being know as
giant ribbon work. The flow err design
in the main is produced with the ribbon,
Whlle the centerS. stems n leaves are
embroidered, and may be executed on
either a linen or silk foundation.
Crewel work is best handed on cool or
rainy days, being SO "woolly' in It's ma
ture as often to be too irritating to ma
nipulate in extremely warm weather.
1t is peculiarly well adapted to chair
seats. foostools or S%ettees, and any an
tiqued design is appropriate for reproduce
ton on the canvas.
Outline embroidery in monochrome
tints is easy of execution, and is equally
effective on linen for doilies or ON coarse
canvas for book or 6lotter covers.
A pleasant and simple form of fancy
work is the handkerchief scarf bureau
cover. 1t is composed of three embroid-
cred handkerchiefs of the Swiss variety.
which can be bought for from II to %
cents apiece. These are united by lace
insertion bands. not less than two inches
in width, and the entire scarf is bordered
with a wide frill of lace to match the in
ser. ion. The lace selected is gena~~nv
the light and cheap variety OF Valen-
EIpnnpS The Cna rf q { a It,1n HOG a 1iV,:po
OF any chosen color, and the accompany
ing pincushion has a cover of a single
handkerchief, lace bordered.
For nyone to become skilled in the art
of embroidery there are a few funda-
mental principles which one must learn
and by guided by, to throw the effects of
light and shade into the work. The first
fact to be learned is that the part of an
object which projects most is the part
which takes the light, and the nearer it
is to the light the brighter it is, n is
recognized as the high light" For in
stance. in a flower design the blossom in
the foreground is the n to embroidel
in the lishtest shades of the color used
while the petals nearest to the eye are tC
be made lighter than the rest. IT is nee
essaryessary to decide first in the di,
rection from which the light that is tc
create the hadow is to come. Having
decided this point, it is necessary to BIZ
consistent with it. 1t will never do tt
MAKE some parts OF the design now w
in one light and some in another.
The next step to be considered = the
influence of the VaIiousforms in the de.
sign upon each other in casting shadows
But the deduction is cay. for the on4
form back of another should tie darke
than the one in front, and the close
they come together naturally the deepe
will be tbs shadow. 1t should be remem
hered to work the lighter design first
:. with the one behind it to follow. A flow
er is necessarily deeper at the center
therefore it should be darkest there. s.
1T is a safe rule to begin at the QUITE
edges with the lightest shade and worl
toward the dark center.