Wait And See

Wait And See
by Marianne Farningham

Be not swift to be afraid;
Many a ghostly thing is laid
In the light from out the shade.
Wait and see.
Do not live your sorrows twice;
Fear is like a touch of ice;
Faith can kill it in a trice,
Wait and see.
Why expect the worst to come?
Pondered cares are troublesome,
Joy makes up a goodly sum,
Wait and see.
Better than your wildest dreams
Is God's light that for you gleams.
When the morning cloudy seems,
Wait and see.

Immortal Light

 Richard Watson Gilder, who died in 1909, and whose dream is now reality, wrote this beautiful prayer:

O Thou the Lord and Maker of life and

 light!

Full heavy are the burdens that do weigh

Our spirits earthward, as through twilight

gray

We journey to the end and rest of night;

Tho well we know to the deep inward sight,

Darkness is but Thy shadow, and the day

Where Thou art never dies, but sends its

rays

Through the wide universe with restless

might.

O Lord of Light, steep Thou our souls in

Thee!

That when the daylight trembles into shade, 

And falls the silence of mortality,

And all is done, we shall not be afraid,

But pass from light to light; from earth's

dull gleam

Into the very heart and heaven of our dream.

Divine Discontent

 An unidentified author writes thus of discontent:

When the world was formed and the morn-

ing stars

Upon their paths were sent,

The loftiest-browed of the angels was

named

The Angel of Discontent.

And he dwelt with man in the caves of the

hills,

Where the created serpent stings,

And the tiger tears and the she-wolf howls,

And he told of better things.

And he led man forth in the towered town,

And forth to fields of corn;

And he told of the ampler work ahead

For which the race was born.

And he whispers to men of those hills he sees

In the blush of the golden west;

And they look to the light of his lifted eye

And they hate the name of rest.

In the light of that eye doth the slave be-

hold

A hope that is high and brave,

And the madness of war comes into his 

blood

For he knows himself a slave.

The serfs of wrong in the light of that eye

March on with victorious songs;

For the strength of their right comes into

their hearts

When they behold their wrongs.

"Tis by the light of that lifted eye

That error's mists are rent--

A guide to the table-land of Truth

Is the Angel of Discontent.

And still he looks with his lifted eye,

And his glance is far away

On a light that shines on the glimmering

hills

Of a diviner day.

Collar Design in Bulgarian Embroidery

       I am furnishing you a pretty design today. the very name of which will call to your mind the peasantry of the Balkan Mountains who are noted for their remarkable skill in completing some of the handsomest embroidery of historical beauty. It is their aim and delight to use a great many colors, intermingling them in a manner so clever that one color blends like a shadow into its adjoining part.
      For this pattern I suggest for the center pieces, or floral motif, the different shades of blue, ranging it from pale blue to a china or phenol blue, or begin the wheel center with medium blue and graduate the tones to a navy blue. In the stem and leaf portions use dark leaf green in outline, then a lighter green for leaves, with a very pale tip-green. The butterfly can be worked in Delf blue with wing spots of blue, two colors, and a mere touch of green. Miniature triangles on collar border should be worked in green. Fill the notches in satin-stitch of dark green floss, and border with a scallop of dark blue. I have offered this color scheme because the colors, as a rule, wash well.
      All portions are in solid effect, with the exception of wheels, made with Battenberg stitches. The pattern can be developed in all white, but I feel sure you will like a color effect to create a decided novelty in your finished collar. Sincerely yours, Winifred Worth

Restored illustration of collar design.

Old-Fashioned Embroidery Designs for Plate Doilies

Satin, outline, eylet and button-hole stitches.

       These designs may be worked in either solid or eyelet. Detail drawings, show method of working.
      There are two ways to apply the designs to the material upon which you wish to work them.
      If your material is sheer--such as handkerchief linen, lawn, batiste, and the like--the simplest method is to lay the material over the design and with a well pointed pencil draw over each line.
      If your material is heavy secure a piece of transfer or impression paper. Lay it face down upon this, then draw over each line of the paper design with a hard pencil or the point of a steel knitting needle. Upon lifting the pattern and transfer paper you will find neat and accurate impression of the design upon your material. 
      There are two points to observe in this simple process if you would execute it satisfactorily. One is to see that your material is level--cut and folded by a thread--and that your design is placed upon it evenly at every point. 
      The second is, when placed accurately secure the design to the material with thumb tacks or pins, so it cannot slip during the operation.
      Do not rest your hand or fingers upon any part of the design while you are transferring.

 

Historic embroidery pattern depicting daisies.

Historic embroidery pattern depicting wheat stalks.