274 
THE LADIES’ FLORAL CABINET. 
sideboard and table cloths are very rich looking worked 
in this manner. 
Bandanna work is very popular with us now. Take a 
cotton bandanna with as large and handsome a border as 
possible. Cut it roughly the shape and rather larger than 
the size you require (as it always pulls up in working). 
Line it with a soft cotton material. Trace round the out¬ 
lines of the pattern in tinsel, sewing it on with tiny black 
cotton stitches. Then between the tinsel fill in the pat¬ 
tern in crewel wool or silks, if desired, in French knots. 
The background of the handkerchief should be worked 
in one color (a darkish one). At least a dozen skeins of 
wool, each of a different color or shade of color should be 
bought and the pattern worked in about the same colors 
(but not shades of color) as those in the handkerchief. 
When finished this work is like the richest Oriental 
embroidery—indeed, it is called “ Anglo-Indian.” Silk 
should be but sparingly introduced, as the additional 
effect produced does not outweigh the greatly additional 
expense. Most people know how to make French knots, 
but for the benefit of the ignorant I volunteer the fol¬ 
lowing directions. Draw the wool through the stuff and 
hold it firmly with the finger and thumb of the left hand> 
wind the wool two or three times round the needle be¬ 
low the fingers and push the needle back in about the 
same place. [Illustrated directions for making the knot- 
stitch were given in The Floral Cabinet for January, 
1883 .—Ed.] Repeat putting the little “ knots ” as close 
together as possible—the handkerchief should not show 
other fancy stitches ; herring-bone, feather and chain- 
stitch, &c„ can be introduced in this bandanna work, 
but when French knots only are used it is more effective. 
This embroidery is suitable for brackets, fire-screens, 
mantel valances, table borders, chair backs, &c. 
To turn from embroidery in general to knick-knacks for 
presents in particular, let me first describe how to orna¬ 
ment a flower-pot. Choose a small one and paint it with 
Chinese white in water-colors—this will, probably, nearly 
all sink in. When dry put on coat after coat of indian- 
ink, each being allowed to dry. Then trace out a pretty 
pattern with a brush full of white paint. Whiten this 
over until the black has disappeared. Then lay on other 
tints and varnish the whole with a waterproof (crystal) 
varnish. Of course, the saucer should correspond. 
English ladies now paint almost anything, drain-pipes, 
gallipots, plate and looking glass, wood, leather and even 
empty butter tubs. 
Covers for the keys of pianofortes are now used in 
England. These covers are flat pieces of work, very 
lightly wadded, and are laid along the keys to prevent 
dust. Any handsome embroidery is suitable, and choos¬ 
ing suitable designs would exercise the taste as well as 
the skill of the worker. Plush, velvet, satin, embroidered 
in crewel work, and tinsel all look well in the drawing¬ 
room, while for schoolroom or nursery pianofortes, flan¬ 
nel, merino or any soft material serve the same purpose, 
and are in their way more suitable. Leirion. 
Silk Purses. 
T HE quaint long purses of olden time have become so 
popular that many will be glad to know how to 
make them. For knitting one the following directions 
are given in “ What to Make with Eureka Knitting Silk : ” 
‘‘Take a pair of No. 18 needles, 3 spools dark-brown 
purse silk, 2 spools dead-gold color. The full length of 
the purse is to be knit. 
“ Cast on 156 stitches with brown ; knit 18 rows plain. 
“ Nineteenth Row.—T ake the gold silk, *k (knit) 
1, p (purl or seam) 1 ; repeat the full length of row 
from *. 
“ Twentieth Row.—*p 1, k 1, repeat from *. 
“ Knit 9 rows in this manner, then repeat the brown 
stripe. 
“ Work in alternate stripes of color until you have knit¬ 
ted 10 stripes, finishing with gold. If this is not wide 
enough (people knit with different degrees of tightness), 
then continue the knitting. The middle, when doubled, 
should be 4)4 inches. Sew the two ends together (draw¬ 
ing them tightly) and the side, leaving an opening in the 
middle. Any other colors may be used. A purse begun 
at the end should have from 54 to 64 stitches cast on to 
be knitted a length of 9 inches. Slip a steel or gilt ring, 
fitting rather tightly over the purse and complete with 
either silk or steel bead tassels at both ends.” 
To make a crocheted purse use dark crimson knitting 
silk. No. 300, and a fine steel needle. As this purse dif¬ 
fers in shape from the knitted one, being square on one 
end and rounded on the other, commence on the square or 
straight end with a foundation chain of 80 stitches, join 
these in a round and work in a single crochet 55 rounds. 
For the next round, which commences the middle portion 
of the purse, work alternately 1 chain and 1 double 
crochet (dc) in every second following stitch; make 33 
open-work dc rounds, always working the dc in the 
chain of the former round. The first five of these rounds 
are also worked around the purse, as were the former 
ones, but the remaining rounds are worked backward 
and forward, so as to form the opening. The part now 
following is again worked around, continuing in this way 
50 more open-work dc rounds, after which work 25 
single crochet rounds. In the last 6 of these round off 
the purse by narrowing at regular distances; this is done 
by working a short double crochet in two consecutive 
chains and then working off with one thread 3 stitches 
together. Line the square end worked in single crochet 
with crimson silk; border the opening with a row in dou¬ 
ble crochet, and with single crochet fasten together the 
foundation stitches on the open end to make the square 
finish. Five tassels, made of small cut-steel beads, are 
attached to this end, and a large tassel is fastened on the 
opposite end. The tassels are made by stringing the 
beads and fastening in a large bead, three loops about 
an inch in length when doubled. Two flat steel rings 
serve to keep the purse closed. 
Feathers can be bronzed or gilded by dampening or gilt powder. Artificial flowers are also often im- 
them with weak gum-water, over which sprinkle bronze proved by adding in the same manner a little bronze. 
