160 
KERAMIC STUDIO 
THE LINEN PAGE. 
JETTA EHLERS 
Editor 
18 East Kinney Street, Newark, N. J. 
RECENTLY^a piece of the wonderful Italian needle-work 
was shown on this page. Believing that the study of 
these fine things is an inspiration for us in our work, another 
sample of the foreign linens is brought to your attention this 
month. This mat is one of a set brought from Russia and is 
highly original in its treatment. While most of the work is 
done with linen thread of the same tone as the linen, a bit of 
yellow is introduced, and the effect is very pleasing. The 
yellow is so pale that it does not obtrude, but, at the same time, 
gives a richness and "snap" to the work. 
The simple lines of it are most charming. The stitch 
used in the wee bands of work is similar to Swedish weaving. 
The edge is rolled and hemmed. This is headed by a row of 
fagot stitch much like the Italian. A table-cloth treated in 
this fashion would be very interesting. Instead of the weaving 
Italian hemstitch could be used, and as this works up quickly 
it need not necessarily be a great task to attempt so large a 
piece. A runner and table mats suggest another way in which 
the same idea might be used. On many Russian pieces bands 
of cross stitch are used in combination with such work as is 
shown in the illustration. 
Last Hallow'een, a ringing of the door bell, accompanied by 
much giggling, told of visiting "goblins." With a few pennies 
in hand, the door was opened to discover two bobbing figures 
much bedecked, and crowned with grotesque masks. One 
tiny tad wore what was instantly recognized as a fine piece of 
Russian needlework. She seemed greatly pleased that it was 
noticed, and upon questioning, said that her mother's mother 
had made it when a young girl in far off Russia, and that it 
had been brought with them when they emigrated to this coun- 
try. It was one of the most beautiful peasant blouses imaginable. 
It was embroidered in most wonderful bands of cross-stitch with 
lines here and there, which upon closer examination were found 
to be almost exactly like the work used on the piece in our illus- 
tration. Bands extending over the shoulders and part way 
down the sleeve were outlined with it, as were the cuffs and the 
side fastening of the blouse. With many admonitions to be 
careful of the beautiful thing, the two youngsters disappeared 
down the corridor, followed by envious and covetous eyes. 
One of the most satisfactory fabrics we have ever had to 
work with is the Russian hand woven linen. This alas! can not 
now be had owing to war conditions. If by any chance you 
come upon some, gather unto yourself all that your purse will 
allow. 
If you happen to have a dark dining room, try the effect 
of bright colored linens on your sideboard, serving table, or 
anywhere you would use covers. 
A set was shown for such a room carried out in orange 
combined with old blue. Bands of the blue were appliqued and 
a crocheted edge of simplest pattern repeated the blue. Aside 
from the things with which it was intended to be used it was 
very garish but in the dark room it was beautiful. Much can 
be done with applique bands in making large pieces for covers 
and the like, as it permits of such a broad style of decoration. 
A little experimenting in this direction is sure to repay one. 
We have been conservative for so long in the use of white 
linens only that it is difficult for many to get away from it. 
But once the step is made the fascination of the colored material 
is bound to "get" you. We need all the brightness about us 
these days of storm and stress that we can have. Even the 
humble sideboard cover might "do its bit." 
SEVEN BORDERS (Page 159) 
Arthur L. Beverly 
NO. 1 — Border for Satsuma bowl. Design is especially 
adapted to this ware as it is suggestive of the Japanese. 
The white in design [is to be the china. Background spaces 
Warm Blue Enamel. Value is wash drawing. Flowers Coral 
enamel. 
No. II — Tint entire bowl in Trenton Ivory. Design in 
Green Gold. Flowers in Coral Enamel. 
No. Ill — Black parts of design to be painted in Black. 
grey value to be a rich green. Flower forms in brilliant 
Orange and leaf forms in Blue. Have these two colors in the 
same value and higher than the other parts of design. The 
white of the china runs in to make the band at the top and the 
buds and stems at the bottom. 
No. IV — Entire surface tinted a deep Old Ivory. Grey 
value in Gold. Black value in Black. White value in white 
of china excepting small centers which are to be in Yellow Green. 
No. V — Black value, soft Brown. White value, Yellow. 
grey value, Yellow Green. 
No. VI — Entire dish tinted in light Yellow Green. Black 
value a brilliant soft Blue Enamel. Grey value to be a warm 
Grey Enamel. Flowers in large panels to be in Yellow and 
Orange. 
No. VII — To be carried out in gold with red flowers and 
bits of green. These borders may be applied to bowls, adapted 
to plates, cups and saucers and small odd pieces. 
BIRD DESIGN UNIT BY ESSIE FOLEY 
