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For variety, try one or two pillows with a 
border across two parallel sides, securing 
an oblong effect 
closely woven canvass, leather or any 
dust repelling material. Moreover, they 
are charming to sit upon before an open 
lire, informally to sip tea or coffee taken 
from the low tabourette standing near 
at hand. 
For the other rooms, beginning with the bedrooms, there are 
the dainty little odd pillows of soft, light, filmy material for 
•daytime use on the bed. These may be as frivolous as one could 
wish—lace and silk, batiste or mull and in delicate light colors. 
They should be of the dominant color of the room, however, 
and sometimes even bedrooms are quiet and restrained in color 
and furnishings and low in key. 
For the smoking-room, where the furniture is leather-cov¬ 
ered, the cushions might well be made of leather with tooled 
surface or border pattern in conventional or geometric design 
and wondrous color, or leather applique, or strong firm stitches 
of heavy silk; again broadcloth or tapestry in plain colors with 
leather border or applique. Some should be very heavy, firm 
pillows, while others can be softer. Of greatest comfort are the 
long, narrow, quite fiat cushions to be used on the foot-rest. 
How is it possible to generalize in speaking of the cushions for 
the rest of the house? 
Any material may be used, any method employed, any size, 
shape or weight made, provided that the finished pillow is in 
harmony with the room and is beautiful. 
As they are only a completion of the sofa or couch or divan, 
the material used should so harmonize that the pillow takes its 
place and does not obtrude upon the eye of the beholder. The 
safest thing would be to use the same material as that used in 
the rest of the room, and where variety is wanted the design 
might be different upon each one, pro¬ 
vided it is the same type of design and 
if the contrast is not too strong between 
background and motif. Sometimes, 
however, in the room, great need may 
be felt for one or even several strong 
notes of contrast to repeat a color 
found in the lamps or vases or even in 
the rug, and these may be supplied by 
the color of the pillow itself or by its 
decorations. The rest of the pillows 
would be the same as the hangings or 
upholstery of the room. 
We do not wish to have the pillows 
look as though they were bought one 
by one without reference to the room 
they belong in, but as though they 
were integral parts of one great unit. 
Care should be taken in selecting; 
A design of irregularly spaced spots for an ob¬ 
long pillow; one of the pillows illustrated at 
the right shows the design as executed 
For across the end of an oblong pillow. Why 
is it that nearly everyone seems to think a 
pillow must be square? 
With block print, stencil or applique, dull 
colors may be applied to bright ones or 
vice versa 
the material even as in selecting the up¬ 
holstery stuff, for its durability and its 
possibility of being cleaned. Nothing is 
so uninviting as a pillow that looks faded 
or used or soiled! 
Designing a pillow is no easy matter. 
It is a problem, this pillow. Yet it offers wide opportunities for 
originality in motif and treatment. It may have a small conven¬ 
tional all-over pattern delicately woven into its surface, here and 
there bright threads balancing masses of more neutral tones. 
Or a border may be richly embroidered, forming an enclosing 
frame for the plain center where the head may lie. The border 
may be plain with a diaper pattern in the central square. The 
border may run across two parallel sides, giving the pillow an 
oblong effect; indeed, the pillow may be oblong as well as square. 
Irregular spots of pleasing proportions placed at exactly the right 
distance from each other, stiff formal masses symmetrically 
placed, or graceful curves traced in outline—all are permissible, 
and to gain as an end a thing of artistic merit, any method is 
right which will give the result. 
Embroidery gives an opportunity for the play of color that 
so delights the eye; by applique larger masses of flat beautiful 
color and surface may be contrasted with the stitches used to 
hold it together. With block print or stencil, variations of dull 
colors may be applied to bright ones, darker to lighter, more 
intense to neutral and a certain mystery of effect may be gained 
thereby. With these two last, certain spots may be accented 
with silks which give a sparkle and zest to the otherwise too 
obvious result. With the loom or tapestry frame the whole 
material may be woven, as an expression of one’s own idea. 
The final step in a sofa pillow is the finish for its edge. 
Cord and perfectly plain seams give a 
severe formality of which one never 
could tire. A flat hem, from one and 
one-half to two inches beyond the 
cushion, adds to its size, and is simple 
enough. Couching stitches hold the 
pillow in place. Lacing, where narrow 
material is used, with the hems at two 
ends, even wider than two inches, gives 
a variety of finish. 
Ruffles, fringes, bows of ribbon, 
rosettes and all things of like nature 
are frivolous, and only suitable in 
rooms whose character is in harmony 
with such trifles. 
Look over your pillows; do they 
truly represent your taste and best 
judgment, or have you, too, been care- 
cushion cover in Greek lace, designed and ex- ■' r . . . 
ecuted by an English craftsworker ^ ess this important matter. 
November, 1910 
HOUSE AND GARDEN 
