In the little penwiper shown at Fig. 1 both these methods are employed. The small branching pattern within the scrolls is executed in actual stitchery with chenilles, while for the curves and along the top some of the same materials are sewn down with stitches of silk. As to colouring, the background is green and the chenilles are brown, blue, pink and green in tint; the brown and green details are secured with stitches of bright yellow crewel silk, which give little touches of brightness at intervals. Two hints may be gleaned from this penwiper. Firstly, that for workers with whom felt-work, on account of its easiness of execution, is still popular, chenille has a better appearance than flat silk embroidery; and, secondly, that on such small articles as the one before us scraps of various colours remaining over from larger undertakings can be profitably utilised. [Illustration: FIG. 2.—HANDKERCHIEF SACHET.] [Illustration: FIG. 3.—HINGE.] Work upon single thread canvas is almost as inexpensive as that upon felt. Many shops show a large stock of sachets, such as that figured here, and of other trifles; mats, chair-backs, cushion-covers, and so on, similarly made, stamped with a design and bordered with satin. To embroider these in any but a commonplace manner might be thought impossible. Yet they can be improved and made more important-looking by working with chenille. [Illustration: FIG. 4.—RETICULE.] [Illustration: FIG. 5.—SASH-END.] The handkerchief sachet at Fig. 2 is worked in brown, green, pink and light and dark blue. There is no couching here, but the chenille is used to make actual outline and satin stitches according to the necessities of the pattern. The velvet-like surface of the chenille is quite satisfactory, and the colour and substance of the canvas are repeated, or at least suggested, in the lace edging of the sachet. This is in reality crochet, worked with cream-coloured cotton of a rather coarse size. Setting aside now such materials as felt and canvas, we come next to consider the suitability of chenille on richer backgrounds; silk, velvet, and so on. Here the finer qualities especially are to be seen to full advantage. One of the newest forms of the work has been introduced by Mrs. Brackett of 95, New Bond Street, W., and is remarkable as including imitations of ancient Roman coins. These are of various sizes and designs and found in two colours; gold and “vert-de-gris,” the latter suggesting the effect of centuries of ill usage. These “coins” are of course thin and light, and pierced with holes at the edges so as to be easily sewn to the background. The designs of which they form a part are more or less in character with them and often suggest antique metal-work. For instance, Fig. 3 shows a specimen of such Roman embroidery where the pattern bears a certain resemblance to a heavy hinge, the effect being lightened with a coiled spray of highly conventional foliage.