The Girl's Own Paper, Vol. VIII: No. 353, October 2, 1886

The baron looked round the verandah in which they were sitting to make sure that they were alone, and having satisfied himself of this he leant forward and said, in a half-whisper, "Tiens, Léon! Will you help me? I am determined to stand it no longer; it is wearing my life out; I have not a moment's peace. If I don't get rid of it I believe I shall go mad."

"What is it you are talking of? I'll help you if I can, but what is wearing your life out?" said Léon.

"The baby, of course," said the baron.

"The baby! Well, but what do you want me to do with that! I can't kill it, you know."

"Of course not, but you said in joke the other day you would take it with you on one of your trips, and put it out to nurse. I wish to heaven, Léon, you'd do it in reality. It is no use my sending it to anyone near here; Mathilde would go after it the next day. My only chance is to send it somewhere where it will be safe, of course, and well looked after, but where Mathilde can't go after it, and as she would go to the end of the world for it if she knew where it was, it must go where she can't find it; she must not know where it is. No one, indeed, need know but you, for as far as I am concerned the less I know about it at present the better; it has spoilt all my happiness. Mathilde is so wrapped up in that child she does not care a fig for me now; in fact, I rarely see her. If you can only put that infant safely out of our way for a year or two, I'll never forget it, Léon."

"Are you in real sober earnest, Arnaut?" asked Léon, who, in his astonishment, had risen to his feet, and was puffing away vigorously at his cigar.

"Of course I am. I am willing to pay handsomely for it, and I shall depend upon you putting it where it will be well taken care of. As for all the rest, I leave it to you to take it where you like—Australia if you wish, only don't tell me where it is, or I might cut my own throat by telling Mathilde if she makes a great scene, as she will when it is gone. Will you do it, Léon?"

"Whew!" whistled Léon. "I don't care for the work, for if anything should happen to the child Mathilde would never forgive me nor you either. However, if you insist, I think I could manage it, but as I am going to start in two or three hours, there is not much time. I must go down to the yacht and speak to my men first. If I may tell them I am taking the child by your express wish I could manage it, I think. The next difficulty is where to take it, but I have an idea about that, so I'll be off now, and see what I can arrange. I shall ride, so I shall be back in an hour."

"Tell them anything you like, except not to let anyone know where you leave the child," replied the baron, as Léon started on an errand which, in spite of his protest to the contrary, was thoroughly after his own heart; indeed, any mad freak such as this was quite in his line.

Among his crew he had an English sailor who acted as carpenter, and, as Léon often said, was worth two or three French sailors in a gale or an emergency. He knew the Channel, too, as well as a pilot, and, indeed often acted in that capacity; he was an honest, trustworthy man—at least, so Léon thought; and as he rode over the hills to Carolles, he decided to take this man into his confidence, and see if he could help him; it was possible this Englishman knew of some of his own countrywomen who would undertake the charge of the child.

Accordingly, when he reached his yacht, Léon called for John Smith, and had a long conversation with him in English, which he spoke fairly well, the result of which was the carpenter, after a little thought, declared he knew of a shepherd and his wife in Sussex who, he felt sure, would undertake the charge of the child; his only fear was that they might have some scruples about keeping the matter a secret, and might want to know who the child was; but if Léon would leave this to him to arrange, he could, he thought, manage it so that the shepherd should have no idea to whom the child belonged, nor why it was put into his care.

"Where does this good man live?" asked Léon.

"About four or five miles from Brighton, sir. The wind is favourable; we might run across in twenty-four hours or less if it lasts, and I think it will; we shall have the tide with us going out if we start at ten to-night," said the carpenter.

"Well, that is settled. Now the next point is, who is to take care of it on board? It must be fed; who of our men understands babies best?"

"I can't undertake that, sir, but there's Pierre Legros, he has half a dozen of his own, and when he is at home looks after them all I believe; he ought to know all about it."

"Call Pierre, then."

Pierre Legros was accordingly called, and, on hearing what was required of him, professed with pride his ability to act as nurse during the voyage; and having commissioned him to lay in a stock of food for the baby, about which Léon's ideas were exceedingly vague, Léon rode back to the château.

The baron was on the lookout for him, and was delighted to hear all was arranged for the baby's removal.

"I have not been idle since you have been gone. Luckily Mathilde has a headache, so I have sent her to bed, and I sat with her till she was asleep. My next care was to get rid of the nurse, so I have packed her off to Brécy with one of the other servants for some medicine for Mathilde, and the coast is clear to the nursery now. There is only one of the housemaids with the baby, and when you are ready to start you must lose something and require her to find it while I secure the child. Lastly, I ordered the dogcart, and said I would drive you."

"But how about the child?" interrupted Léon.

"I am coming to that. Just as we are going to start, you must lose a stick or a coat. I'll offer to go back for it, and meet you at the side door; there is a staircase leading to the nursery close to it, down which I shall come with the baby after I have sent the housemaid who is guarding it to look for your stick. We shall be off and the baby on board before it is missed, for the girl is sure to stay gossiping with the other servants when we are off."

"Well, I hope you'll succeed, but I confess I think this is the most difficult part of the affair. However, there is no time to lose; you had better order the dogcart at once, while I go and say good-bye to mother and the boys. We must be off in twenty minutes," replied Léon.

Half an hour later the brothers were seated in the dogcart, while the old baroness, with a shawl thrown round her head, stood on the steps under the portico to catch the last glimpse of her handsome Léon, with her two younger boys by her side, and Père Yvon and some of the servants in the background. The groom had just let go of the horse's bridle when Léon exclaimed—

"Wait a minute! I have forgotten my Malacca cane. I lent it to you the other day, Arnaut. I must have it. Where shall I find it?"

"So you did. Here, one of you boys, run into my—but no, you'll wake Mathilde, I'll go myself. Here, Léon, take the reins, and drive round to the side door; I'll meet you there," said the baron, descending from the dogcart, and running into the house.

(To be continued.)

FASHIONABLE EMBROIDERY

The fancy embroidery of the present day is of such varied character and make that all would-be workers will find among the diversities of stitch and material some description that suits their particular need and ingenuity.

A few years ago one embroidery alone claimed attention. This was the celebrated crewel work, of which there is no fault to be found in the execution and design of its higher grades, but which, like all fancy work that becomes the rage and is cheapened and multiplied without any regard to reason, degenerated to the most impossible designs and the worst execution attainable. Thus crewel work passed away, and though the best kinds are still to be met with, it is really superseded in modern drawing-rooms by embroideries all originating in the present desire after Oriental colouring and design, but of kinds distinctly characteristic and individual.

The work known as Leek embroidery recommends itself in many ways, it being very reasonable in price, easily executed, and extremely rich and handsome when finished. The foundation is Tussore silk, specially made with the pattern to be embroidered upon it printed upon the foundation, during its manufacture, and therefore indelible. The colouring of the foundation is either cream, straw, pink, blue, green, or terra-cotta, and the pattern is not printed in outline only, but filled up with indications guiding the arrangement for the centres of flowers, veins of leaves, and other distinguishing marks. To work the embroidery it is necessary to line the Tussore with fine unbleached muslin, and to work with Tussore silk and Japanese gold thread. The Tussore silk costs 1d. the skein, and is dyed in every shade of Oriental colouring. Three to four shades of a colour are used to work in a flower, and two shades of green for the leaves. The stitch is crewel-stitch worked very close. No shading about each leaf is necessary, but different greens are used for different leaves, and thus a variety of colouring is attained without trouble. Every part of the pattern, the bordering included, is worked, and only the foundation left, showing where it forms the background to the design. The gold thread is laid on as the finishing touch. It is placed round all the chief parts of the design, and sewn on as an edging with a couching stitch; that is to say, the gold thread is held tightly stretched in its position with the left hand, while a stitch brought from the back of the material is passed over it and put down to the back again with the right hand. Lines of gold are used to mark out the border pattern, and are fastened down with the couching stitch. When sewing on the gold it is very important to keep it tightly stretched, as if put on loosely it is not effective. If the work is at all puckered, iron it with a warm but not hot iron on the wrong side before laying down the gold thread. Leek embroidery is sold by the yard in strips, varying from one inch to twelve inches in width, and costing from 6d. to 2s. the yard. These strips are used for mantelpiece borders, table borders, chair backs, and curtain bands, according to their width. They look best mounted upon plush or velveteen, but are often mounted upon Liberty's Oriental silks, or made up as perfectly plain bands. When used for chair backs or for hanging firescreens the background should be handsome, and either ruby or dark blue in colour, and the work arranged either straight down its centre or crossing it in a number of diagonal lines. This manner of making up is newer and more effective than merely laying it on as an edging. Bands of unmounted Leek embroidery, simply lined with twill, are much used for looping up summer curtains, and give richness to the soft, creamy materials now employed for curtains.

As dress trimmings Leek embroidery is good, the wide bands making a waistcoat front and the narrow the cuff trimmings. To a velveteen winter dress a waistcoat and cuffs so made are an admirable finish as long as the embroidery is kept subdued by rich colours, and the gold carefully put on, while for dinner dresses a broad panel of embroidery is carried down the skirt, and the waistcoat cut low, and no trimming required for the sleeves.

Oriental embroidery cannot be made up in so many different ways as Leek embroidery, but it is quite new, and aims at reproducing early Eastern designs. The foundation material is surah silk, the silk sold in large squares as Liberty's handkerchief being correct in colouring and texture. Upon this foundation the patterns, which all consist of single petalled flowers resembling single dahlias, sunflowers, or chrysanthemums, are worked with Oriental silk, which are silks of a thick make, but very soft and with a gloss on them similar to the gloss on floss silk. The leaves surrounding the flowers are of the shape of the jessamine, and to these are added tendrils and queer-looking bunches of seed-vessels.

There is little variety in the design, as the embroidery is entirely executed in one stitch (that of a close herringbone), but there is great variety and great scope for good shading in the colouring. Oriental silks are all dyed in the shades of blues, yellow pinks, terra-cotta reds, and brilliant yellows, to be seen in Eastern embroideries worked before the introduction of aniline dyes, and the consequent lapse into Imperial purples and magentas and royal blues.

By a judicious use of good colours the same design can be so repeated as to look entirely different. Thus, a spray of flowers worked upon an orange-red ground, with cream, yellow, pink and pale blue colours, will be quite distinct from the same spray laid upon sea-green silk, and coloured with deep orange-reds and blues running from sky into navy blue.

As before mentioned, the only stitch used is herringboning, and the only flowers single petalled ones; but the herringboning is done so closely together that it looks like an interwoven stitch of double crossings, and the flowers are all worked in their centres in a different silk to that used on their tips, and therefore resemble double petalled flowers. The tips of each petal are wider than the commencement, and the herringboning is not taken along as a wide line of equal width, but as a curved line running small, and widening out again several times if the petal or seed-vessel is a long one. Each petal is worked separately, and the silk is never dragged or drawn tightly, but is allowed to lie easily over the foundation, and rather loosely, although the stitches follow each other so closely that nothing of the foundation can be seen where they are laid. The stems, long leaves, and large branches are worked as closely as the petals in herringbone, but tendrils and sprays are more opened out, and are given the look of single coral stitch as a variety.

When shading a flower select two colours that are distinct in tone but not jarring in their contrast; thus, cream-white used for the outer petals can be finished with pale blue, yellow pink, pure orange, or pale yellow for its centre petals; scarlet red outside petals with black inner petals, bright blue outside petals with lemon yellow or terra-cotta red inside petals, and every one of these colours are allowable when working bunches of flowers scattered over the whole of a five o'clock tea-cloth or fireplace curtains.

The embroidery is used for table-cloths, mantel borders, and curtain brackets, knitting bags, handkerchief cases, and as a trimming to evening dresses. In all cases it requires a silk lining, and should be worked with a muslin lining beneath it. Embroidering Breton handkerchiefs is not a new description of fancy work, but it is still in vogue; and when a lady has had sufficient patience to successfully accomplish the feat of covering every portion of the handkerchief with thick filoselle work, there is no doubt that she has produced a piece of embroidery not only handsome and durable, but that will justly hand her name down to posterity as a real worker, and not one who takes up the whim of the hour and throws it on one side as soon as it bores her. The squares made of these embroidered handkerchiefs are shown more effectually when they are lined with quilted silk and used as banner-screens than when they are bordered with wide plush and used as table-cloths. The pattern in the latter case is never seen as a whole, and the beauty of the work is often marred by water from flower vases spilt over it, or wet teacups and saucers put down on it. The small screens now so fashionable make another admirable place for mounting Breton work. These screens are made of two compartments only, in height about 4½ feet. To each panel, 2½ feet from the ground, a ledge that can be put up or down is fixed, and that is used for holding a book or a teacup. The panel below this ledge is merely filled with a little curtain made of coloured Oriental silk, and arranged in very full folds. The panel above the ledge, that is fully displayed to every eye, is filled with the embroidery stretched quite tightly across it and displayed to its full advantage. The back of the embroidery is concealed with a satin or silk matching the little curtain beneath. Two Breton handkerchiefs are required, one for each division, but they should not be selected both of the same design. The little screens are made of oak, mahogany, and ebonised wood. They are a simple framework, an inch and a half square, and any working carpenter would make them to order.

Breton embroidery is too laborious for many people, and those whose time is much occupied with household matters, and who cannot devote much of it to the task of making their drawing-rooms pretty, we recommend to try crazy patchwork in its place. We have lately seen this easy work carried out most successfully, and used as mantel and table borders, covers for footstools, and as the centres of small table-cloths. The work is one of the least expensive that can be tried, and can be put down without derangement of effect at any moment (a great point in its favour where interruptions are frequent). Before commencing any piece of it, it is better to accumulate all the oddments of ribbons, plush, velvet, silk, and satin lying in the piece-drawer from dress trimmings or sent as patterns from shops. The more plush and velvet obtainable, the greater the effect produced, while the colouring should be of a vivid tone, but excluding the bright aniline dyes already once referred to as being unsuitable to blend with other shades. A strong piece of ticking is required for the foundation, and on this the pieces are arranged. They should be pinned on while the amalgamation of colouring is being tried, and, when that is settled, basted on to the lining, the edges of soft materials being turned under and secured with the basting lines. Similarity in shape and size is to be avoided when placing the pieces, and the effect aimed at that of the colouring of a kaleidoscope in its variety and brightness. In order to obtain queer shapes and corners, it is not necessary to carefully cut them out and fit them into their various spaces; in fact, it is better not to do so, but to lay one material partly over another, and by so doing make the desired form. The embroidery is generally left until the pieces are basted down to the lining, but now and again the scraps should be embroidered before they are fixed down, this method being the least troublesome when fine silk work is attempted, such as working flowers in shades of colour or intricate designs, or following out the lines of stamped velvet or brocade with couched-down cords and gold thread. Thin Oriental silks require a thin muslin lining underneath them, and the embroidery executed before they are tacked to the ticking, as unless this precaution is taken they are apt to pucker and look uneven and poor. When the patchwork scraps are all arranged, spare strands of filoselle of any shades are used to cover over the basting threads with lines of coral stitch, feather, chain, rope, and herringbone, while oddments of silk cord, Japanese gold thread, very fine braids, etc., are sewn down either as borderings to the securing lines or as forming designs and figures on the patches themselves. Embroidery stitches of all kinds are used to fill in the centres of the patches, and advantage is always taken of any pattern on the patches either by filling it in entirely with shaded silks, filling up its background with stars, crosses, or dots, or by enclosing it within diagonal lines, or sewing spangles down so as to cover it over. Every effort is made to enrich the patches by the use of gold thread, spangles, gold lace, and silk cords, and when the work is faithfully done, no one could guess it was devised out of oddments and produced at a nominal cost.

    B. C. Saward.

ROMANCE

FOR VIOLIN AND PIANOFORTE

Professor Sir G. A. Macfarren

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ANSWERS TO CORRESPONDENTS

EDUCATIONAL

A. Z.—The part of a whole made by two-thirds of three-fourths is one-half. Such books as those you name are not so appropriate for young girls as very desirable, instructive, as well as interesting books, although a girl of twenty-one might read one of such a kind once in a way. There is an article by Dr. Green in the last two numbers of the Leisure Hour (published by the Religious Tract Society, 56, Paternoster-row, London, E.C.), those for April and May, in which such books as you require are recommended—history, biography, travels, archæology, geology, astronomy; Shakespeare, Milton, Elizabeth Barret Browning, Longfellow, Tennyson, etc. Such books should occupy all your leisure for reading, besides the study of household economy, nursing, cookery, needlework, and cutting out. The first five years after leaving the school-room should be devoted to such studies as these, not wasted on the class of literature you specify.

G. H. T.—Yes, there is a Kindergarten College and Practising School established by the British and Foreign School Society. It is at 21, Stockwell-road, S.W., and it is directed by the Misses Crombie. There are ten such schools in London and eight in the provinces. Write for papers, and all information will be supplied you direct from that or any of the other schools. Had you given your address we could have given that which is the nearest to you. We think your age would be suitable. The answer you receive as to terms may decide you as to the way in which your £20 may be required. Perhaps if you annoyed your cousin she would not allow you to return home to sleep. Whether you could do so as well as board at the college we could not say. "Look well before you leap."

ART

Sheltie.—To ornament ginger jars, or any kind of earthenware, without knowing how to draw or paint, first size it with ordinary glue-size, melted over the fire; then cut bright scraps of chintz, or gaily-painted cottons, into diamonds, squares, half-circles, triangles, etc., and paste them to the jars, carefully covering every part of the jar with the scraps laid closely together, but without making any set design. Let the paste dry; then size the jar, and varnish with white hard varnish.

Fleur des Alpes.—We fear there are no chances of a sale in London, as the market for screen and fan painting is already so full. Besides, you should take such work personally to shops and obtain trade orders. Would it not be wiser and more easy to dispose of them at Geneva, which is within your reach? Accept our best wishes.