I like the old-fashioned term "fancy-work," because it is such a true word. To many a woman whose life is, of necessity, spent chiefly in the pursuit of very prosaic and wearing duties, the painting of a tile, the working or knitting of a bit of lace, the copying of a flower in silk or worsted, is, indeed, fancy work. It is a little opening into the ideal world which does her untold good, and which serves to brighten and cheer long days of plain sewing, sweeping, dusting, etc.

In preparing this manual, my aim has been to give such a variety of directions and hints, that something may be found to suit every taste. And while I have endeavored, at the risk of being blamed for undue prolixity, to make my directions extremely plain and practical, I have tried to make them also suggestive. I hope this book may be to many a guide post pointing on to pleasant fields not described in it.

I have tried to make my directions thoroughly reliable, having, in most instances, verified them as I wrote. As far as possible, I have avoided technical terms, thinking simplicity desirable. I am particularly indebted to Mrs. Glaister's book on Art Embroidery, to the Art Interchange, and to Mr. C. G. Leland, of the Philadelphia Industrial School, who very kindly responded to my request for information.

The chapters on Decorative Design, Repoussee Work, Leather Work, and Papier-Mache, derive most of their authority from the writings of the latter gentleman. I would advise any one interested in these subjects to consult Mr. Leland's Manuals, which are written with an enthusiasm and clearness most inspiring.

Much care has been exercised in selecting the illustrations, none being given which cannot easily be understood by the aid of the directions.

In conclusion, I would beg my readers to bear in mind that success in any work, whether decorative or otherwise, cannot be achieved at once. The old adage, "Make haste slowly," has lost none of its force.

DECORATIVE DESIGN.

Table of Contents

I fear many will look at the heading of this chapter with the feeling that it, at least, will be of no value to them. But I would ask them to pause before they turn to what they will probably call the more practical parts of this manual; for the subject treated here lies at the very foundation of any work we may wish to do with needles and brushes.

I would like to impress upon all who wish to perfect themselves in decorative work the advantage of learning to draw and adapt, even if they do not invent their own designs. And this is a much easier thing to do than many think. I well remember the semi-despair that seized me when taking my first lesson in china painting, at being told by my instructor to draw what I wanted to paint. However, I found that by combining one or two flowers together, I had made what seemed then to me a very pretty design. And I have often thought that was about the most valuable lesson I ever received, for it showed me what could be done by effort, and encouraged me to depend on myself instead of on tracing paper. So much for a personal experience. Let me quote a high authority on this subject, Mr. Leland, of the Philadelphia Industrial School. In his "Manual of Drawing and Decorative Design" (a most suggestive and helpful pamphlet), he says:

"The first thing for the pupil to do is to become familiar with the lead pencil. I say the lead pencil—though if a black-board is accessible, it is to be insisted on that all that is done with the pencil shall also be practised with chalk. Free-hand drawing cannot be too free. The hand, practised to sweep boldly yet steadily in spirals, circles and curves, can be trained in a short time to a rapidity of execution and an unerring accuracy which seem miraculous to many. Let us consider how this is to be acquired. The beginner should take a lead pencil, not too soft, an H. or H. B. (hard or medium) will do. Practice for some days on a ground-glass slate, such as costs from twenty-five to fifty cents, tracing the outline pictures which are sold with such slates In tracing the outline pictures draw very slowly indeed at first.… Draw with the point of the lead, not with its side.… After practising on the slate until you feel familiar

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