HANDSOME FRINGE FOR A DRESS OR MANTLE. D'OYLEY, No. 5. Materials.-No. 20 Messrs. Walter Evans and Co.'s. Boar's Head Cotton. No. 4 Penelope Hook. 3 nails of fine Irish linen or lawn. 11 ch unite; u this circle work 26 Dc. Laterials. Rather coarse black silk twist; icient black glass cut beads, the size of large seeds; a sufficient number of the smallestd curtain rings, of the size of a threepenny e, or smaller. No. 1 and No. 3 Penelope CroHooks. A skein of tolerably stout black sew-loop from last Dc; T 24 Dc u this circle; 1 silk. The number of rings, as well as the ntity of twist, may be determined in the foling manner:-First measure the exact length he articles to be trimmed; then calculate that rds of twist and 9 rings will make 3 nails of e. The cost of this will be sevenpence, or a less; therefore, at a cost of 4s. 6d. a yard, pective of beads and labour, a yard of fringe be produced, such as is usually sold in shops, . and 128. a yard, and, with very little wider ing, at 168. irst take out 4 strands or threads of the e at. her Dc. Thread some beads on the twist; the work the wrong side in front. a Dc u 1st 5 ch; slip up a bead. Make Continue this till there are 3 su every 5 ch. (This is the heading). insert the Fringe.-Double a thread of t of 6 yards length into 16 divisions. the ends; divide these threads so as to 5 lengths in each division (there will me thread over, which can be used up n required); hold the work the wrong in front; place the large hook through 1st ch of 5; double the 5 lengths of st in half, place the doubled centre over hook; hold ten ends of twist together r the finger; make a De stitch, pulling whole of the ends through the loop on hook. ch T 24 Dc on De; Dc u the circle. Repeat from * again. Now unite into the 1st De of pattern first made; this makes a trefoil. 11 ch unite in 1st loop of the 11; work 20 Dcu 11 ch; 1 ch T, 20 De on De; 7 ch De on 8th Dc of nearest pattern; T, make a knotted bar (thus, 6 ch De in 4th loop from that on hook; De in next loop; 7 ch De in 4th loop from that on hook; Dc in next loop 2 ch). Now De u 7 ch. Wherever these stars appear close together thus. **, there make a knotted bar. 7 ch De on 8th Dc of next circle; ** De into 3rd loop; 5 ch 1 L in 4th loop; 5 ch 1 L in same; 5 ch De on end of same circle. 1 ch De in 5th Dc of next; ** Dc in 4th Dc for twice; 5 ch 1 L on 3rd De for twice; De on 5th De of next circle; ** Dc on 4th Dc; 7 ch 1 L in 3rd Dc; 5 ch 1 L in same loop; 7 ch De in 6th loop; ** Dc on the last Dc of this circle. De on 5th Dc of next circle; 5 ch 1 L on 4th Dc; 7 ch 1 L in next loop; 5 ch 1 Lu centre of next bar (always under centre); 5 ch T1 u 2nd of the chs; 5 ch 1 L u same; 5 ch 1 L u next chs; 5 ch De u centre of bar; ** Dc u chs: 18 ch turn back, 1 L in 6th loop; 2 ch 1 L in 3rd loop for 4 times. De u 2nd of the chs; 9 ch T Dcu 2nd of the chs; 3 ch T4 Lu 9 ch; 7 ch T Dc u next 2 ch; 3 ch T4 Lu 7 ch; 6 ch T De u next 2 ch; 3 ch T 4 L u 6 ch; 5 ch T Dc u the end chs; 3 ch T3 Lu5 ch; 7 ch T Dc u the end chs; 7 ch De u next 2 ch; 3 ch T4 L in 7 ch.7 ch T De u next 2 chs; 3 ch T 4 Lin 7 ch. Repeat from * again, T 3 ch Dc u bar; 5 ch 1 L u same; 5 ch 1L u next chs; 7 ch Dc u next; 5 ch De u next; 3 ch 6 Lu next chs; 5 ch 1 Lu L stitch (in centre of bar); 6 ch De u bar already worked into; ** De u chs; 17 ch turn back, 2 De, the 1st in 2nd loop from that on hook, 3 L in successive loops. 3 double L in next 3 loops (these are made by twisting the cotton twice over the hook instead of once); 3 more L 3 Dc. Now make 15 chs, and repeat the same again, then Dc u bar; 15 ch and repeat the same again. This now forms 3 leaves. Now 1 ch De u next chs; 5 ch T; a row of De round all the leaves, making ch at the point of each; Dc u bar; 5 ch 1 Lu next chs T; 5 ch 1 L on 6th De of leaf; 5 ch 1 L on 5th Dc of same; 5 ch 1 L in loop at point of leaf; 7 ch 1 L in same loop; 5 ch 1 L in 4th Dc for twice; 1 ch De in 7th Dc of centre leaf; 5 ch 1 L in 5th De; 5 ch 1 L in 1 ch at point of leaf; 7 ch 1 L in same loop; 5 ch 1 L in 4th Dc for twice; 1 ch De in 6th De of next leaf; 5 ch 1 L in 4th Dc; 5 ch 1 L in 1 ch at point of leaf; 7 ch 1 L in same loop; 5 ch 1 L in 4th De for twice; 5 ch 1 Lu5 ch; 2 ch De u next chs; 5 ch 1 Lu next chs; 3 ch 1 Lu bar; 7 ch 1 L u next bar; 1 ch T3 De 5 ch. Repeat this u 9 ch three times A HANDSOME FRINGE FOR A DRESS OR MANTLE. more. 5 ch 1 L u next chs; ** De u same chs; 3 ch 3 De u next chs; 5 De u each of the next chs for 3 times; 5 ch T 14 De in Dc; 2 ch 1 Lu bar; 7 ch T; 5 De the 1st on 7th Dc; 5 ch 5 Dc u 5 ch; 5 ch 1 Lu next chs, and 1 L u next (this is without making any chs); 5 ch Dc u next chs; 3 ch De u next, and De u next; 3 ch De next 5 ch T 1 L u 3rd of the chs; 5 ch De next; 1 ch T7 De u 5 ch; ** De u chs; ch 1 Lu next; 7 ch 1 L u same; 5 ch11 u next; 1 ch 1 L in every alternate loop same and next chs for 5 times; De a ne chs; 3 ch 1 Lu next; 3 ch T1L1ch each 1 ch for 5 times; 3 ch 7 De each next chs; 5 ch 1 Lu bar; 5 ch 1 L same 9 ch T Dc u 2nd of the chs; 5 ch 5 De De; 7 ch T De u next chs; 3 ch1 Lunes 7 ch T De u 2nd of chs; 5 ch1 Lus chs; 5 ch 4 De on De; 5 ch T1L chs; T5 ch 1 L u 3 ch; 3 ch 1 L 1 ch 1 Lu 1 ch 4 times; 5 ch De u 3 ch ch 1 Lu next chs; 7 ch 1 L same twice; 7 ch De u next chs; ** De u next for twice; 5 ch 1 Lu next; 3 ch 5 De L stitches; 5 ch De u chs; 5 ch 1 Lu chs; ** Dc u next chs; 9 ch De the 3 previous to the L stitches; 3 chTILI in each alternate loop 4 times; Sch De bar; 4 ch T 1 L u 2nd 1 ch; **Dew at end of 4 L; 3 ch De u chs between two groups of L stitches; 3 ch De nex 7 ch T Dc u bar; 5 ch T1 L 2 7 ch; 4 7 De u same ch; 7 ch 1 L u next chs; 1 L u same; 5 ch De u next; 7 ch 11 next; 5 ch 1 Lu same; 5 ch De ** De u same; 5 ch De u next; # same; 5 ch 1 Lu next chs, and De u without making chs; ** De u next bar De u 1st of the chs; ** De next; 5 Lu bar already worked into; 3 ch De 5 ch between the De stitches; 5 ch T31 5 ch; 3 ch 1 Lu next chs; 5 ch Dow 5 ch De u same; 7 ch De u bar; 9 ch 1 next bar; 5 ch 1 Lunext chs; 7 ch T u 5 ch; 11 De u 7 ch; 7 De u 5 ch; 7 ch u next; 7 ch T De u 7 ch; 7 ch De 17 De on De; 7 ch T 11 De the 1st o De; 7 ch T5 De the 1st on 5th De; ** on 3rd of next De; 5 ch 1 L u bar; 5 Luchs; 7 ch De u bar; 7 ch 1 L ch ch De u next chs; ** De u same; u next; 5 ch De u next for twice; 5 De u next 3 ch; 5 De on De; 5 ch 2nd of the chs; 5 ch T De u 5 ch; 5 ch D u 3 ch; 7 ch De u next chs for 3 times ch 1 L on 3rd De; 7 ch 1L bar; 7 ch u same for twice; 7 ch 1 L u bar; 5 ch 11 u 2nd of the chs; 5 ch 1 Lu next chs ch 1 L u same; 5 ch De u next; 5 ch11 u bar; 7 ch T 3 De u 1st 7 ch; 5 ch De same; 3 ch De u next ch; 5 ch De u sam 5 ch De u next for twice; 5 ch De next 5 ch De u same for twice; 5 ch De next 5 ch De u same; 5 ch De u next for 3 times 5 ch De u same; 3 ch 5 De u 5 ch; 3 ch Dc w next; 3 ch 1 L u next; 3 ch 1L next; 5 ch 1 L u next; 3 ch 1 L # same +51 PAINTING IN SPANISH ENCAUSTIC. PAINTING in wax crayons differs very materially from the former style of crayonpainting, the colours being incorporated with wax instead of pipeclay, which is the basis of dry crayons; it has also the particular advantage of being better calculated for minute drawings, and not mouldering away or rubbing off the paper; but it requires the assistance of washes in water colours to improve its effect, as, from the nature of the wax, the frequent workings over the crayons would cause a glassiness that would prevent their taking hold, in the latter part of their finishing, so as to produce the strength required; therefore, it is to be observed that the water colours are to be used on beginning the picture, and in finishing it. The crayons to be judiciously worked on the water colours, when they produce the appearance of an elegantlyfinished stippled engraving, coloured in the plate; the tooth or grain of the paper catching the crayons in dots (when worked gradually with a light hand) in a wonderfully pleasing manner. We shall now proceed to the instructions, which we shall confine under a few headsnamely, the kind of wax to be used in making the crayons, the colours fit to be incorporated with the wax, the choice of paper, and the mode of using the crayons. The wax proper to be used in making the crayons must be bleached beeswax, entirely free from adulteration, either by spermaceti or tallow, which ingredients the waxchandlers generally add in making their candles. It must not only be pure, but likewise of the hardest kind, of which the Russian wax is the best, although in colour not quite so fine as either the American or English wax; but its hardness gives a firmness to the crayons, and prevents a greasiness which softer wax would create. The colours proper for mixing into crayons must be the following, viz.: For yellows, king's yellow, or yellow ochre; for blues, Antwerp or Prussian; for reds, carmine, lake, and Chinese vermilion; for browns, umber, burnt and unburnt; for blacks, lampblack only. As to compound teints, they are to be produced by a judicious management of the water colours over the crayons; and this rule, with respect to the colours proper to be used for crayons, is to be particularly observed, that none are fit for the purpose but such as, in their dry unmixed state, will mark on paper pretty freely; for the reader may easily judge that the tenacity of the wax would completely prevent any hard colour from working th was incorporated with it. Having procured the kind of wax abo mentioned, you are to have a nice glaz white pipkin, perfectly clean and free fr any greasy particles; and having previous ground your colours on a flag with yo muller, perfectly fine, in fair water, a dried, put a small quantity of wax into t pipkin, which you are to place over a v slow fire; when the wax is entirely d solved by the gentle heat (for if it bubb it is spoiled), gradually sprinkle in y colour, stirring it with an ivory pen handle, until you find it perfectly mis at the same time observing, that you do overload the wax with colour, as it make the crayons too brittle; nor are J to put in too little colour, as it makes th faint and work greasy. There are some colours, such as vermilio which, on receiving too great a heat, tu black; and that must be very cautious observed, as vermilion, in this kind painting, is a highly useful colour; # also lampblack, forming a harder kind crayon, which is to be made by mixi some of it, in its raw state, with str glue, letting it harden and then burning in a crucible (as directed in the instructi for calcining colours for miniature-paintin then pulverizing it on your flag, and mix it with your wax, as before mention This kind of black crayon is most excell for giving sharp touches in dark parts; a for making sketches to refresh the mem is much superior to Indian chalk, as noth will cause it to rub or spoil, it remaining immoveable as writing ink. The paper fit to be used in wax-cra painting must be of the wove or vell kind; but, as of this there are sev sorts, it is necessary to mention that it m be of a middling fineness; for, if too coal the grain will catch the crayons in dots remote from each other, as to make y work look unpleasant; and, if the paper too fine, it will not catch the crayons as ought, but clog your painting without p ducing any effect. The only rule we sh therefore lay down for choosing your pap is to go to the stationer's, and, taking small bit of soft black crayon in y pocket, inquire for wove paper, and, gently rubbing the crayon on a few she of different kinds, you will then becom judge of what paper is the best for y purpose, which experience you will att without any expense worth mentionin Having procured this necessary article your satisfaction, you then proceed to wel COCHINEAL. IE history of the cochineal insect was long time very obscure; and, at one the species employed in commerce considered a kind of grain. It was not near the close of the seventeenth centhat it was discovered to be of insect n. Having laid her eggs, the female never moves from her place, but dies, and her body becomes a covering for the eggs until they are hatched. When this is done, the young insects work their way out, and commence feeding. After a short time their skins harden, and serve as a cocoon. From this appearance they pass into a chrysalis state, and soon after appear as the perfect insect. The cochineal is first collected about the middle of December. The insects are removed from the nopal with a knife, the edge of which has been blunted, or are carefully brushed off. This labour is performed by the Indian women, who often sit for hours together by the side of a single chineal insects are natives of Mexico, $ insect is reared on the Indian fig- natives, where these creatures are ced, raise plantations of the nopal their dwellings. It grows freely from gs; and these are fit to receive the after eighteen months. Into a small formed of some thread-like substance, tony matter, a few females are placed, the middle of October. These nests fixed to the nopal, on the side facing ising sun. e eggs are soon laid and hatched; and ch female produces upward of a thoueggs, a large colony of these little ures soon spread over the tree. It is that six generations of them are prod in a single year. first leaving the egg, the insects of sexes are quite active, and run about g the leaves and branches of the trees. fare so small, however, at that time, they cannot be seen without the aid microscope. They are flat, ovular, out wings, and with short antennæ, or as. The females have a small, short, almost conical beak, placed between first and second pair of feet, which tains a sucker. It is by the means of s that they draw forth the juices of the yes and tender stems. When the female insect has reached at is called its perfect state, it is filled th a multitude of very minute eggs. The insects are usually killed by the application of heat; sometimes by baking them in ovens. When the cochineal arrives in the market, it is in the form of a small grain, having a convex and a concave side, but with very little resemblance to the body of an insect." Cochineal is used for dyeing crimson and scarlet, and for making carmine. Cochineal; alone, yields a purple colour, which, by mixing with it a solution of tin in nitro-muriatic acid, may be changed to a most beautiful scarlet. This discovery is said to have been made by the following singular accident: A person having placed in his window an extract of cochineal, made with boiling water, for the purpose of filling a thermometer, some nitro-muriatic acid dropped into it from a vial broken by accident, which stood above it. This acid changed the purple dye into a most beautiful dark red. By experiments he soon found that the tin dissolved in the acid caused the change of colour. An ingenious dyer at Leyden, Holland, brought the discovery to perfection. The secret afterwards became known, and a large dyeing establishment was erected at Paris. These events occurred more than two hundred years ago, and now cochineal is very extensively used in Europe and America. When we study the history of the insect world by which we are surrounded, and learn how much these inferior creatures contribute to our pleasure and comfort; and how they afford us not only materials for our richest clothing, but colours to beautify and adorn it, and our dwellings also, we cannot but feel interested in them, and love to investigate their curious history. |