To make up the reticule, the panel covered with embroidery as well as the opposite one of pale terra cotta, blue and gold brocade were lined with thin silk of a dull, brownish terra-cotta colour. A two-inch wide band of some of the same silk was sewn round the curves (but not along the tops) of both sections, thus forming the frame-work of the bag by hinging the two parts of it together. A similar band of some of the same silk was laid over the first one and gathered along both edges that it might set rather fully. Above the shields a strip nearly as high as they (four to five inches) of some of the same silk, was sewn on. This was made of double material, that it might not be too limp, and two lines of stitches two inches from the top formed a running for the blue suspension cords. These were finished off with a cluster of shaded-blue baby ribbons. Lastly an edging of gilt gimp edged the shields and concealed their junction to the silk beyond. The three principal colours used, terra cotta, blue and gilt, proved more successful than a medley of many carelessly chosen tints such as an amateur embroideress is but too apt to display. It cannot be too often repeated that materials to be used together should be first arranged and selected together, not merely worked up because each in itself is bright or pleasing. As a general rule the more shades and the fewer colours, the better will be the final effect. Tones of willowy green and of pink are the only colours admitted in the sash-end seen in the illustration (Fig. 5). Here, again, is yet another way of using chenilles, quite different from those previously mentioned. In working the first thing to be done is to trace upon the material, pink watered silk ribbon in this instance, the outlines of the design. The bow and loops are formed of real ribbon folded, gathered, and coaxed into the desired form, and secured lightly and firmly with tacking threads. Along both edges of the ribbon, just within the selvedge, is couched a line of chenille of a slightly darker shade of green. This couching secures the green ribbon to the moire, and the tacking threads can be cut and drawn out at once, before they have had time to mark the material. The nine oval pendants issuing from the lowest loop of ribbon are worked over with chenille of graduating shades of green, the material being simply laid across and across the space to be covered, and caught down with stitches of silk at the sides. These stitches sink into the chenille and are covered, and are further effectually concealed with a line of Japanese tinsel, carried round each pendant and serving to keep it in a good shape. The chenille when taken from side to side in the manner described does not in itself define the form sufficiently clearly. The showers of sequins, pinkish and green in colouring, must on no account be overlooked. They are graduated in size and may vary in form, according to the worker’s