which small squares or
triangles of chintz were sewn, making a series of small pockets, each
one stuffed with convenient threads or bits of colored sewing silks, or
needle and thimble. These were pinned at the belt of the active
housewife, and hung swaying against her skirts if she rose from her
sewing, or were conveniently at hand if she sat patching or
embroidering. I remember that some of my grandmother's "huz-ifs" still
held threads of different colored crewels wound on bits of cardboard,
and any embroiderer might envy the convenience of such holders.

I do not see, in fact, why there should not be a revival of "huz-ifs," a
pleasant new fashion, founded upon the old, holding in harmonious
variety all the wonders of modern manufacture, as well as making
mementos of former gowns of one's own and of one's friends. They might
be studied gradations of color and design, and be enriched by harmonious
bindings. If my dwindling time holds out, perhaps I shall institute or
assist at such a renewal of old conveniences, in spite of sharp contrast
of purposes, adding to home costume a grace of pendent color.

I was talking of design, when "huz-ifs" intruded, and was saying that at
the period when "blue-and-white" took on the "outline practice" design
was a difficult question; indeed, it is always a difficult question for
embroiderers. It is so important a part or quality of the art of
embroidery. In fact, it is the business of the successful embroiderer to
know as much about design as she must about stitchery and color.

After the advent of "blue-and-white," embroidery took on many different
features. Curiously enough, when it was confined to decorative uses, its
character immediately changed. Crewelwork of the period was not given to
hangings and furniture, but to clothing. An embroidered apron became of
much more importance than a bed valance or counterpane. The young girl
began by embroidering her school aprons with borders of forget-me-nots
and mullein pinks, in colored crewels.

I remember seeing among my grandmother's savings an apron of gray
unbleached linen, quite dark in color, with a border of single pinks
entirely around it. The design had evidently been drawn from the flower
itself, and the whole performance was essentially different from that
of a slightly earlier period. The materials of homespun linen and
home-dyed crewels were the same. The thing which was different and
showed either a cropping-out of origina