The Sunday Oregonian., October 21, 1917, SECTON FIVE, Page 9, Image 73

THE SUNDAY OREGONIAX, POItTLAXD, OCTOBER 21, 1917.
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(Continued from last Sunday.)
No. 9 After you have cast the desired
number ot stitches on your needle, the
next thine to do is to turn and begin the
econd row of your knitting. Transfer
the needle with the stitches from your
right hand to your left, keeping the
yarn back of your work. Take the sec
' ond needle in your right hand, holding
it with the thumb and first two
fingers and the thread between the
third and fourth fingers as Illus
trated. Now slip the point of the
right hand needle under the first stitch
on the left hand needle, inserting it
from left to right, then hold the needles
In position as shown in the illustration.
No. 10 Now carefully slip the first
stitch off the left hand needle on to
the right hand needle as illustrated. We
are now ready to begin the plain stitch.
No. 11 Insert the point of the ngnt
hand needle, from left to right, through
the first stitch and under the point of the
left hand needle as illustrated and as
done in No. 9.
No. 12 Holding tha position of No. 11.
with the first finger of the right hand
pu- tne thread under and over tua point
of the right hand needle as illustrated.
No. 13 Now draw the thread around
the point of tha right hand needle
with the fingers of the right hand and
carefully draw the thread through the
first loop on the left hand needle as
snown In the illustration.
No. 14 Holding the position of No. 13.
carefully raise the point of the right
hand needle to the point of the left
hand needle, slipping off the first stitch
from the left hand needle. Tou now
have the position of No. 14 and ara ready
to start the next plain stitch. Repeat
rrom instruction No. 11 until you tiav
finished the row. then go back to In
struction No. 9 for tha turn and so on.
No. IS This i,carf is made entirely of
rows of plain knitting.
Further instructions iciU be given
next Bundaui
The Home Harmon ions
A Splash of Color
By Anita de Campi
D1
ECORATIVE schemes this season
have more depth of color than has
been allowed heretofore. Partic
ularly is this true of bedrooms. Pale
tints in bedrooms have been accepted
lor so many, many years that this
change comes as a decided innovation.
The new cretonnes are partially re
sponsible for this order of things. They
are so rife with brilliant tones that the
erstwhile beloved pinks and blues look
deplorably washed out beside them.
Lacquers and enamels follow the 1
general trend. The latter are no long
er confined to a choice of white or
Jvorv. but are tempting in neutral tints
that blend well with rich draperies. As
to lacquers in matter of color they
are a law unto themselves. Sea green,
antique gold, dull red. robin's egg blue,
mauve and saffron all find their place
of acceptance. The room itself is char
acterless unless it has in it somewhere
a. burst of color, yet. generally speak
ing, the tones throughout, though deep,
are subdued.
The room illustrated here has its
'color splash" easily achieved in the
glased chintz roller shades that are
printed in gorgeous tones over a back
ground of black and white lines. The
tiny edge, is bordered with a bias black
and white hem and set off with a tre
mendous tassel of scarlet Vermillion.
The rest of the room is in silver and
preen. The wallpaper is in a fern-like
pattern of delicate preen leaves on a
broken ground of cross-patched silver
and white lines. The carpet is green
a real pea green.
, The furniture is fawn-colored en
amel with brown cane insets ond all
of the drawers are lined with Chinese
Vermillion. The covers are white over
tan. The cunning lamp shades are
green silk covered with antique lace.
The chair cushion, giving a unique
touch, is of military blue with a cord
ing of vermillion. and the same blue is
repeated in the paint showing" around
the border of the carpet. Notice the
radiator, properly built in under the
window.
The inside draperies are of green silk,
as is the big floor cushion. The latter
is belted in in the latest fashion, with
a band of mustard and blue Japanese
embroidery. The dressing bench has a
cushion of fawn and brown.
More elaborate is the color splash at
tained in an otherwise almost colorless
room by the use of a wonderful Spanish
shawl laid over the bed as a day cover.
Nothing could be more decorative than
ouch an exquisite piece of needlework,
in which the embroidery is done in viv
idly colored silks on a cream grounq.
An interesting part of the shawl is its
deep thick silk fringe, intricately hand
knotted. In this room the side walls
are of ecru grass cloth, marked off
into panels with narrow walnut mold
ing. There is no picture molding nor are
there any pictures in this room. A
seven-inch flat white enamel molding
forms a base to the side wall and the
ceiling i" white. The floor is stained
walnut, the doore and furniture are of
-walnut ad the rug is olive green in
small diapered pattern. The draw cur
tains, of which there is but a single
pair at each window, are of raw silk.
The only touch of real color, aside from
J that in the spread, is in two little lamp
shades at the bed head. These are in
light yellow silk.
Novel and not difficult to copy is a
day bed cover that is shirred and cord
ed all over. The original is made of
flamingo red chiffon taffeta and used
on a peacock blue lacquered bed. The
I
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'1 SpIctsh of'
chirring: cords run lengthwise of the
bed in rows about seven inches apart,
the outside edge only remaining un
hirred; this forms a. flounce over each
side of the bed reaching to t he floor.
The bed is dressed without pillows, the
shirred pieces beinar tucked in at the
head and foot of the mattress.
In this room the side wall and the
draperies are of the same soft-lookins
material, cloth being used instead of
paper. The ground is a dull mustard
color with bronze preen leaves printed
on it. 9
Unbleached sheets, embroidered in
colored worsteds, are gayly used as bed
spread and curtains in & simple room
furnished in straight-line brown oak.
The carpet is mulberry-colored and the
needlework on the muslin is mulberry,
rose, old blue and green, carried out In
Bavarian peasant design. It certainly
is cheerful and its cost is reckoned
more in hours of labor than in dollars
and cents. The curtain fixtures, con
trary to the usual rule, are not con
cealed, but made actually a conspicuous
part of the decoration, as the pole is
enameled mulberry color and the large
rings looping it are overwound with
the various colored worsteds used in
the embroidery.
Some 'of the latest cretonnes have
quite the effect of beautifully blocked
linen, yet they are reasonably priced.
Especially attractive are those that are
carried out in Japanese colors colors
that are familiar to everyone who has
in mind Japanese paper fans. Bright
pink is in evidence in the printing.
Large, sketchy-looking flowers in huge
motifs have not more than four repeats
to the yard. Some of these beautiful
things do not sell well by the yard, be-
oloir (Sasily Achieved
the other colors in the room. Curtain
both rooms alike.
C. R.: Tes. it would- be consistent to
have the woodwork in your bedroom in.
old ivory. Simple adapatations of the
Adam style make good conventional,
dining-rooms. The finish is brown ma-,
hogany.
cause when only a small portion of the
bolt is spread out the design looks too
big and bold, but when made up in full
lengths, liberally folded, the pattern is
broken up by tha folds and the effect
is enchanting.
Cretonne of the kind described is
used in a room furnished in. mauve
lacquer. The printing is done in pink,
old blue, orange and yellow flowers and
sage green leaves. The pattern is out
lined in white on a black ground. It
is made up into shaped flat lambre
quins hanging from black and gold
moldings.
Side curtains match the lambrequins,
both being trimmed with black and
orange fringe. Glass curtains, close to
the window, are of string-colored lace
net and between these and the cretonne
draperies ion a separate rol are draw
curtains of yellow silk. These ara al
most concealed by the side curtains
during the day. but at night are drawn
across the net curtains, serving in place
of roller shades.
In,this room the carpet is deep purple
and the side walls papered in ecru,
over-printed with a black line work in
small octagons.
Changeable silk brocade is employed
in a fine scheme. The colors in the silk
are violet blue changeable with gold.
The brocade pattern is small, hardly
noticeable. Contrasting with these
tints are cushions of bright old rose
velvet. The lamp shades are of paint
ed parchment. The furniture is in
modern adaptation of Italian renais
sance. The bed covers are. of course, filet
lace over old rose silk and the carpet
is ash colored. One chair in this room
is upholstered in putty-colored uiao-
nal cloth, hand embroidered in an Ital
ian ranaissance pattern of scrolls, queer
flowers and queer birds. The dresser
bench, bed end benches and writing
table all have console ends. It is all
walnut, decorated in polychrome. The
walls are divided into panels and pa
pered in taupe velvet flock.
ANSWERS TO INQUIRIES.
W". L.: Cheap varnish has evidently
been employed. The best thing for you
to do would be to remove it entirely
with varnish remover. Varnish with
a luster is no longer used. Kither paint,
enamel or refinish in flat finish.
A. B. G.: "Why do you want to put
anything in the panels? Are they not
decorative enough in themselves? Use
casement curtains of printed linen. Let
tUe colors In the pattern rrrnt all of
Mourning; to Be Banished
From Wear on Streets.
Women Show HerolMtn in Prevent
ing Heartaches In Those Whose
Loved One (o to Front. ' N
ONE significant evidence of the high
.spirit of courage and helpfulness
with which women have undertaken to
do their part in the war. is the resolu
tion adopted by a large number of
American women to banish from the
streets of American cities and towns
during the remainder of the war, the
depressing signs of recent bereavement.
In smaller towns psrticularly the
sight of many friends and neighbors
plunged into habiliments of woe would
have a very disheartening effect on
those mothers, wives and sweethearts
who are to be called upon shortly to .
send their loved ones to the front with
brave hearts and high spirit of duty to
right and to country.
Thousands of women all over the
country are pledging themselves to ab
stain from the wearing of mourning,
however the issues of war may affect -them
personally, and whatever their
own personal desires might be in that
event. "Judging by the views ex- "
pressed on this subject by men and
women of National prominence," says
the Iry Goods Economist, an authori
tative trnde masazine of the country,
"those who object to giving up this
conventional form of respect to their
dead during the war will be in a very
small minority." The Economist ap
peals to the women of America to fore
go their own personal desires and omit
any outward manifestation of loss
which would militate against their
country and its future.
Lick 'cm Good, Then
Germany has sowed her crops and is
about to reap her harvest and her
bins will be heaped up and running -over
with the grain of hatred. You've -seen
Canada thistles in a fleld and know
how hard they are to get out. Hatred
is like the thistles. Once growing, it
takes years to clear it away. It is our .
hope that Germany's crop of hatred
will soon be reaped and that clean. .
sweet, nourishing grain will be grow
ing again in her fields. We hope that
hatred will die with battle. We hope
that when we have whipped Germany
and cured her of her madness, we will
not continue to hate. The other day
we heard a man say, "Til never buy an
article made in Germany as long as I
live." Since then we have heard that-
many times. At first we agreed. Then
we started to think and saw how wrong .
it was. Suppose you were disobedient
and your dad licked you as you de
served and then kept on being angry
with you for years. How would you
like it? Would it be fair? The world
will not be bettered by hatred dwelling
within it. Lick 'em good; make "em
behave then let it stop. From the
October American Boy.
When a woman insists upon her
rights the time has come to stand from
under.
ion