The Maize Motiv for Embroidery (page 14) will be found very effective if enlarged to twice to four times the size given in the supplement. A tine outlining would bring it out very nicely, as a small and delicate piece of work, but great care would be required to embroider it solidly, or in the long-and-short-stitch bordering if the present size be retained. A special distribution of the colours will also be necessary, or the suggestiveness of the ears will be lost in the predominating green of the leaves. The ears look decided enough in the drawing to hold their own; but this would not he the case if they alone were worked in yellows and browns. Therefore, use the same yellows, with the light brown in the shadows, for the stalks and in the suggestive border formed of the jointed stalks. Two tones of yellow and three of yellowish green would be sufficient to outline the design, hut a little more elaborate colouring should be used to work it in full. To express the joints, work the ends of the stalks solidly on both sides of the opening and connect them with a single stitch on each side, which shall make that opening seem of less width than the rest of the stalk. Great care must he taken not to lose the outline, and so destroy the character. Work the kernels of corn separately, the central row light, those on each side a darker yellow, and the second on each side a light brown. Take these stitches perpendicularly, commencing the stitches on each succeeding kernel in the needle holes of the last. This line of needle holes will make a little shadow line between them, and will hold firm unless the ground material is very sheer, in which case one may not be able to keep it straight to a thread. Keep the shape of the grains carefully, and, if it seems necessary, put in a single stitch over the others in each grain of the central row of very light yellow or white for a high light. The silk tassels should be fairly outlined in one thread; or with the solid embroidery, work them in the twisted outline stitch. There is in the over-lapping leaves and those which seem to wrap the steins a very nice opportunity for effective shading. Bring decided shadows behind the front leaves, and in those clusters around the ears, let the first leaves at the stems be quite light, the others growing darker until the deepest shade comes behind the corn, thus throwing it out nicely.

L. B. W

The Table Centre (Water Lily)

Work this on an ivory white or .1 pale shade of purple satin. The flowers are to be buttonholed in a rich orange coloured filo-floss silk; use three strands of the silk. The leaves and stems can be done either in satin-stitch or buttonholed, in a pale shade of green. The veining, if on the white satin ground, is to be worked in stem stitch with a deep purple, silk; if the other ground is used, a very dark green or black silk would look better. After the work is finished it is to be cut out close to the buttonholing.

Wood-Carving. Salad Spoon and Fork Designs. It is possible to get spoons with handles large enough to carve, but if the carver prefer to make them complete, it will certainly he more satisfactory. A block of wood, such as lime, sycamore, or beech, sufficiently large to allow for the width and depth of both spoon and fork, should be planed up. Next work out the shape on the top and scoop out the inside of the spoon. Sharp gouges will be needed, those bent at the end being very useful. A bent file or "riffler " will be necessary to give a finish good enough for final sandpapering. The next step is to shape the end and work out the bottom of the spoon. In order to do this, as much of the handle must be shaped as possible, more especially that part adjoining the spoon. Great care must be exercised in this shaping to avoid breakage. Files will be very much in evidence, as the finish must be good. In treating the fork, which is usually straight, but. of course, may easily be made curved, shape in the same way, cutting the prongs with a fret saw. and using very little pressure. The file will still be found the most useful tool to use, for it is almost impossible to get the wood thoroughly smooth without it. When the ends are done, the actual carving in the handle will be very easy, for the spoon especially will be a good test for skill in handling gouges. A small amount of relief will be needed, sharp edges should he avoided, and the leaves should be flat and not project; otherwise they will be broken nil.

The Maize Bread-knife handle may be carved before or after the blade is fitted on. There is less risk of splitting the finished work if the blade is fitted first, To do this have a piece of wood larger than required, fit a ferrule on the end, and bore a hole smaller than needed to take the end of the knife, and then drive the handle home. Rough out the shape, and give a little undercut to give effect to the folds of the sheath. Avoid sharp projections and continually feel the form as the work progresses, so as to prevent any sharp edges.