RERAMIC STUDIO 
189 
Fig. 1. 
pattern, or to indicate any straiglit lines. But under all 
other conditions, loops are worked up and back in groups of 
threes with two or three threads of the burlap between each 
loop. Thus you take three stitches from you, then passing 
over two or three threads to the left, you make three stitches 
or loops towards you. Nor should these loops be set with 
exact accuracy, at just such a distance apart, but they should 
distribute themselves so as to cover the ground, working 
into and between alternate threads of the burlap. A little 
practise and occasional pulling out of the loops to see how 
far apart the holes are will explain this rather obscure point. 
Irregular distribution produces a play of color and depth of 
tone not possible under the old method of working the whole 
surface in straight lines. Straight rows catch the light in a 
uniform way, while triple rows worked in the way I describe 
disperse the Hght much as velvet does. Always work from 
Fig. 2. 
right to left until facility has been acquired ; then one should 
learn to work up and down, from right or left with equal ease, 
but always in groups of threes. Keep the strip worked close 
to the under side of the burlap, and do not carry any stitch 
across one already worked. Bring up the loops with a very 
slight irregularity as to height; for in clipping only the tops 
of the highest loops are cut off, while others remain un- 
dipped. This gives a smooth surface of cut and uncut 
loops, which catch the light differently and add still further 
to the beauty of the texture. In pulling up a loop use the 
whole arm from the shoulder with a slight movement back- 
wards. Never use the wrist or forearm. I,et it be done 
with a single quick stroke, without wriggling or twisting. 
Each strip of cloth cut from a yard measured before 
dyeing should make from forty-six to forty- eight loops. 
This gives a thick rug without waste. All patterns should 
be outlined first, then filled in so as not to crowd the outline, 
and then the ground worked in last. Work from right to 
left away from you, and towards the middle of the frame. 
This is as far as is comfortable to work without strain. When 
the frame is half full, turn it about and work in the same way 
from the middle towards you until the frame is full. 
To shear it, begin at the lower right hand corner, and 
with the shears held horizontally, cut off the merest tips of 
the highest loops. Do not gouge into the surface, but cut 
very carefully, a little at a time, until the surface is smooth. 
If properly done, one should not go over the same place 
twice, and no appreciative amount will have been cut off, 
only a little fuzz from the higher loops. Should any vacant 
places show on the burlap on the under side, fill them in 
while the rug is still on the frame by hooking in a loop and 
its two ends, or more, if needed. Cut off the strip as each 
space is filled, and do not carry the strip across from one to 
another. When the frameful is clipped remove the burlap 
from the frame, and shift it along so as to tack the next 
portion of the pattern on the frame as before. 
In bordered rugs, work the centers first, then tack the 
burlap on so that the border shall run the long way of the 
frame, and proceed as usual from right to left. Some of 
these processes are hard to describe; but one must experi- 
ment and use his judgment about any obscure point. When 
a rug is completed, take it off the frame and turn the margi- 
nal edge of the plain burlap under in a hem about an inch 
wide, and sew firmly with linen thread. A further finish 
may be added, which gives additional strength, by covering 
the hem with a cotton binding such as is used for oil cloth 
or carpet. 
ANSWERS TO INQUIRIES 
M. M. , Brisbane-American glass opaline and opalescent can be bought 
at wholesale from Louis Heidt, Manufacturer., McKibbon and Boerum St. 
Brooklyn, New York. 
F. H. MCG., Ont.-Work in silver, copper and brass, with description of 
tools, has been given in the following issues of Keramic Studio. July 1903, 
November 1903, December 1903, January 1904, Februrary 1904, March 1904, 
April 1904, May 1904, June 1904, July 1904, September 1904, October 1904, 
also in one or two issues of 1905. We hope to have more work in metal from 
time to time. 
M. A. J., Del.-The process of etching on metal was given in the July issue 
1903. It will be reprinted , however, in one of the coming issues. 
H. E. B,, Greenville-The same fixative is used for pastel and charcoal. 
Fixatifis made of Grain alcohol and white shellac. Reduce about a table- 
spoon of the shellac to a powder and add a quart of alcohol. When the shel- 
lac has dissolved pour off the clear liquid carefully, and throw away any sed- 
iment left. The fixatif should be thin and just a little sticky to be right when 
ready to use. A finishing wax for burnt or carved wood ,is made from equal 
parts of turpentine and beeswax. These ingredients hould be melted very 
carefully together in a double boiler over a small flame until it is smooth. 
ANSWERS TO CORRESPONDENTS. 
L. S.-A good treatment for the bird design by Miss Ervin in October 
Keramic Studio to be applied to a fernery would be as follows. Tint the en- 
tire bowl with Apple Green. Clean out moons and paint twigs and birds 
withMeissen'Brown. Dust entire border, (except moons) with Olive Green, 
