John. T. Morse - "John Quincy Adams"

Ellis Towne; Sophie May and Ella Farman - "Lill's Travels in Santa Claus Land"

Anonymous - "Little Cinderella"

Charles Miner Thompson - "The Calico Cat"

Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

Encyclopedia of Needlework

T >> Therese de Dillmont >> Encyclopedia of Needlework




[Illustration: FIG. 589. DOUBLE FRINGE. MATERIALS: Cordonnet 6 fils
D.M.C Nos. 10 to 30 and Coton a broder D.M.C Nos. 16 to 35. COLOURS:
White for the Cordonnet, Rouge-Grenat 335 for the Coton a broder.]

[Illustration: FIG. 590. KNOTTED BERRY FOR FIG. 589.]

[Illustration: FIG. 591. LARGE SHELL KNOT, OPEN.]

[Illustration: FIG. 592. LARGE SHELL KNOT, SHUT.]

DOUBLE FRINGE (figs. 589, 590, 591, 592).--Entire length of the
threads for No. 10 of Cordonnet 6 fils D.M.C: 100 c/m., and entire
length for No. 16 of Coton a broder D.M.C: 40 c/m. Knot on, as in fig.
515, 1 thread of Cordonnet, 4 of Coton a broder (these are to be taken
double) 2 of Cordonnet, 4 of Coton a broder, and so on.

In the second horizontal bar, you only use the red threads of Coton a
broder for knotting, not the white Cordonnet ones. To supply their
place, knot on two threads of red Coton a broder under the white
threads.

With the red threads (4 count as one) make 3 rows of collecting knots,
followed by a single horizontal bar. Divide the white threads into twos
and make single chains with them, the whole length of the fringe; the
thread must be changed 8 times for each chain; then pass the right chain
under the left one and join them by a flat double knot.

You then, with the threads turned outwards, right and left, make the
single chain with 5 changes of the threads and join them together again
by a flat knot.

The other single chains are made with 6 and 8 changes of the threads and
crossed under the double knots. The tassels, which the red threads serve
as a foundation to, are begun by: 1 waved plait with two knots, then 4
single chains, again a waved plait and 1 berry composed of knots.

This berry is made over the 8 threads that come from the chains, with a
long auxiliary thread, knotted as shown in fig. 590.

[Illustration: FIG. 593. MACRAME BORDER. MATERIALS: Cordonnet 6 fils
D.M.C Nos. 10 to 20 and Or fin D.M.C No. 30. COLOUR--For the cotton:
Vert metallique 465[A]]

[Illustration: FIG. 594. BEADED GROUND. MATERIALS: Cordonnet 6 fils
D.M.C No. 25 or Fil a dentelle D.M.C Nos. 25 to 50 and gold beads.[A]]

Large shell knots, as described in figs. 591 and 592 may be substituted
in the place of the berry, fig. 590.

MACRAME BORDER (fig. 593).--Fill 24 shuttles, knotted together, that
is, 2 and 2, and knot on 3 green threads, 6 gold and 3 green. The
changing of the threads and the course of the knots can be so easily
copied from the pattern that a description in detail is not necessary,
it is sufficient to observe that all the dark parts in the engraving
should be worked in green and the light ones in gold.

[Illustration: FIG. 595. SQUARE OF MOSAIC MACRAME. MATERIALS: Fil a
pointer D.M.C No. 30, Coton a broder D.M.C No. 16 and Or fin D.M.C pour
la broderie No. 20[A]. COLOURS: Rouge-Cardinal 346, Rouge-Grenat 326 and
309, Bleu-Indigo 312 and 334, Gris-Tilleul 391 and 393[A].]

BEADED GROUND (fig. 594).--Knot on 4 threads for every group of knots,
and secure them by a knot and a picot, as shown in the engraving. Work
the groups of knots, as indicated in fig. 568, and after each group is
finished, thread a gold bead on to every 2 threads. Our model is worked
in ecru thread and gold beads; the latter go very well with any colour
and especially with the more subdued shades of green, such as the
Vert-Mousse, Vert Bouteille and Gris-Tilleul of the D.M.C colour card.

SQUARE OF MOSAIC MACRAME (figs. 595 and 596).--This little pattern
illustrates the way in which tapestry and cross-stitch patterns can be
utilised for macrame.

All patterns that are drawn on checked paper can be copied in macrame
and even in several colours. For every square, you count either one
single or one double thread, according to the scale on which the work is
to be.

In the case of a single thread, you count one double knot per square, in
that of a double one, 4 double knots, two in the first and two in the
second row.

After knotting the threads together, two and two, and pinning them to
the cushion, see letter _a_, make 2 single chains with 2 changes of the
thread, letters _b_ and _c_, then take a very long cord, letter _d_, and
knot on the threads. The cord forms picots along two sides of the
square; into which you fasten threads, letters _e_ and _f_, for the
single chain formed, on the two other sides by the knotting threads.

[Illustration: FIG. 596. WORKING DETAIL OF FIG. 595.]

The coloured threads for the flowers are knotted on as the pattern
requires it, taking the place for the time being, of those with which
the foundation is made, which are left hanging on the wrong side until
they are wanted again.

The top leaves of the iris shaped flower, are worked in two shades of
blue; the bottom ones, in three shades of red, the stalk and the leaves
in green, and the little stars, with which the ground is powdered, in
real gold thread.

When the ground is finished, you make the same openwork border at the
sides and along the bottom, as at the top and finish off with very full
tassels, hung on over 3 double threads and made of all the colours used
in the square, tied up with gold thread, fig. 596 letter _g_.

FRINGE WITH THREE ROWS OF TASSELS (fig. 597).--As this kind of fringe
is chiefly used for trimming carpets, curtains and furniture, it is best
to make it in the coarsest numbers of the materials indicated at the
foot of the engraving.

[Illustration: FIG. 597. FRINGE WITH THREE ROWS OF TASSELS. MATERIALS:
Cordonnet 6 fils D.M.C Nos. 3 to 30, or Fil a pointer D.M.C Nos. 10 to
30[A]. COLOURS: Bleu-Indigo 312 and ecru.]

The pattern is so simple in its construction that it is sufficient to
refer our readers to fig. 528, for the knotting on of the threads and to
fig. 531, for the waved plait.

The little tassels between the knots, are made separately from the rest
of the work and fastened on by the thread with which you sew them
together at the top.

[Illustration: FIG. 598. MACRAME GROUND. MATERIALS: Ganse turque D.M.C
No. 12 and Coton a broder D.M.C No. 16. COLOURS: Rouge-Cardinal 347, or
Rouge-Cerise 3318.]

MACRAME GROUND (fig. 598).--The work represented in the engraving was
made for a purse and copied from a beautiful piece of Arabian stuff.
Ganse turque D.M.C was used for the light background and Coton a broder
D.M.C for the design. It is very easy to copy this pattern from the
illustration by paying scrupulous attention to the number of knots; we
do not therefore enter into any detailed description of the same, merely
referring the worker to figs. 528 and 596 and the accompanying
directions, for the adding on and the taking off of threads.

MACRAME SQUARE (figs. 599 and 600).--Length of the single threads of
both kinds: 200 c/m.

Knot upon a ring consisting of one thread: * 1 thread of white
Cordonnet, 1 of Coton a broder colour 309, 1 of colour 358, 1 of colour
309 and repeat three times from *. (The embroidery cotton is to be taken
double.)

Begin with the light red thread and make: 1 single chain with 3 changes
of the threads, 1 single chain with the dark red thread with 4 changes
of the threads. Add, or rather thread, 8 supplementary threads in
succession on to the white thread, which in fig. 600, comes in the
middle of the group of knots, and over each of these supplementary
threads, make 2 double knots with the light red thread and 2 with the
dark.

[Illustration: FIG. 599. MACRAME SQUARE. MATERIALS: Cordonnet 6 fils
D.M.C No. 15 and Coton a broder D.M.C No. 16 or Fil a dentelle D.M.C No.
25 and Coton a broder D.M.C No. 30.[A] COLOURS: White, Rouge-Grenat 309
and 358, or Gris-Lin 716 and Rouge-Maroquin 3327 and 3329.[A]]

When all the red threads are knotted over the white ones, make crossed
bars with the red threads by themselves, thus producing a point at the
bottom of the leaf.

Then, over the first white thread coming from the right, knot all the
white threads on the left of it and in the last place, the cord itself,
over the 3 red threads.

Make the same series of threads on the left. This is succeeded by a
second bar of white knots, the last thread of which is left unknotted.
Make 4 double knots with the 8 white threads and close the square by a
double bar. Add a supplementary thread to the first bar, so that you may
have 10 threads coming from each side of the second bar and over these
you knot the red threads, which form a dark setting to the leaves.

[Illustration: FIG. 600. GRADUAL INCREASE OF THE THREADS. WORKING DETAIL
OF FIG. 599.]

When this is done on both sides, make 10 flat double knots with a
supplementary knot, taking 4 single threads for each knot, and
decreasing the number of knots successively to 2. At the point of the
inside square, knot the white threads over the red ones and turn back
the second white thread to serve as a cord to the first of the outside
bars. Join the first thread on the left and the first on the right, to
form a flat knot with them in the middle, the threads of which are then
passed over the red threads; the last white threads become the cords for
the second outer bar. Make a group of bars with the red threads and
cross them 3 times, then finish with a handsome tassel and join the
white threads together all round the square with tassels. In the case of
your wishing to use these squares for making a larger piece of work,
through joining several of them together, you can knot the ends of the
threads into short double chains, finishing off these again with ring
knots, fig. 608, and loops; through these loops, when you come to join
on the next square, the knotting thread is drawn, forming them thus into
connecting picots, like those which you make in tatting.

FRINGE WITH CORNER (figs. 601, 602, 603).--Macrame fringes are not
capable of being drawn up, as knitted, crochet, and netted fringes are,
on the inside, so as to turn the corners. Consequently, according to the
pattern, a greater or less number of supplementary threads have to be
knotted in so as to form the corners.

[Illustration: FIG. 601. FRINGE WITH CORNER. MATERIALS: Cordonnet 6 fils
D.M.C Nos. 10 to 30 or Fil a dentelle D.M.C Nos. 25 to 50.[A] COLOURS:
White and Rouge-Cardinal 348.[A]]

The working detail, fig. 602, shows us how the 5 first supplementary
threads, are looped on to the 4th row of knots. A group of crossed bars
requires 16 threads, which answer to 4 groups of little squares, placed
between the lozenges. The 6th supplementary thread is put into the
double connecting knot at the corner, fig. 603, and on this, the bar of
knots which runs right and left is subsequently made. (In order to make
it clearer, the supplementary threads are represented in the engraving
in a darker shade).

On the two middle threads, which are a continuation of the connecting
knot, 7 supplementary threads have next to be knotted, thread 7 singly,
threads 8 and 9 together, threads 10, 11, 12 and 13, all singly.

In this manner the supplementary threads 7, 10, 11, 12 and 13 connect
the two cords, whilst threads 8 and 9 only, are mounted separately on
both sides.

[Illustration: FIG. 602. ADDITION OF THE FIRST SUPPLEMENTARY THREADS.
WORKING DETAIL OF FIG. 601.]

The bars, formed by the knots which are made with the supplementary
threads, must be drawn tight, like any other double bar. The space left
between the cords in the engraving is intentional, to distinguish the
supplementary threads from the others.

A long, coloured thread is looped on to the topmost thread, between the
two bars, and with this, knots are made over all the 14 threads that
come from the bars and run inwards.

In the middle of the square there must be 9 flat double knots; when
these are made, you continue knotting the red thread from the right and
left, down to the bottom point of the square, and complete the figure by
a single bar of knots, made of the white thread.

[Illustration: FIG. 603. ADDITION OF THE SECOND SUPPLEMENTARY THREADS.
WORKING DETAIL OF FIG. 601.]

Knotted tassels, hanging from the points of the scallops, and others
ornamented with flat double knots made of 10 threads, suspended between
the scallops, form the outside finish to this fringe.

FRINGE WITH POINTED SCALLOPS AND LARGE TASSELS (figs. 604, 605, 606,
607, 608, 609, 610).--Entire length of the threads for No. 15 of
Cordonnet 6 fils D.M.C: 200 c/m.

[Illustration: FIG. 604. FRINGE WITH POINTED SCALLOPS AND LARGE TASSELS.

MATERIALS: Fil a pointer D.M.C Nos. 10 to 30, Cordonnet 6 fils D.M.C
Nos. 10 to 50, or Fil a dentelle D.M.C Nos. 25 to 50.[A]]

The present pattern, which concludes our chapter on macrame work, is one
of the most difficult of all, requiring great accuracy in every
particular, but more especially, extremely careful attention to the
direction of the cords, that the groups of double knots and the bars may
be drawn up very tightly together, so as to make the pattern very
distinct and give each figure its proper value.

[Illustration: FIG. 605. ADDITION OF THE FIRST SUPPLEMENTARY THREADS.
WORKING DETAIL OF FIG. 604.]

For each repetition of the subject 16 threads are wanted. You begin the
half stars, on each side of the lozenges, with the 15th and 16th double
thread of the first figure and make 3 double knots with 3 threads over a
4th thread, fig. 606.

Over 2 cords on the left and 2 on the right, consequently over 4
threads: 5 buttonhole knots, with the 4 threads and the disengaged
threads, 1 flat double knot over each of the 4 threads. This forms a
shell knot, on either side of which, make 3 buttonhole knots over 3
threads.

[Illustration: FIG. 606. ADDITION OF THE OTHER SUPPLEMENTARY THREADS.
WORKING DETAIL OF FIG. 604.]

For the groups of bars on either side of the shell, take the 11th,
12th, 13th and 14th double thread on the left, and the 3rd, 4th, 5th and
6th on the right. These groups are joined by buttonhole knots.

Knot the 4 threads of the left group over the cord on the right; and
over them again the 2 next threads on the right; knot the 4 threads on
the left over the 4th thread on the right; make 2 buttonhole knots with
the 4th thread over the 3 threads at the bottom and on the side.

Over the 4 threads, that come from the left and right, make quadruple
bars; cross the upper threads after the second row of bars, make 2
buttonhole bars with the next thread over the 4th thread, then finish
the 3rd and 4th bar of knots.

[Illustration: FIG. 607. CHINESE KNOT AND DOUBLE CHAIN FOR A RING KNOT.]

To make the olive-shaped group of knots on both sides, take the threads,
that come out from the shells, as cords. Fig. 605 shows the adding on of
the first supplementary thread, fig. 606, that of 12 more which, knotted
on to the first, form with it, the group of bars on the diagonal corner
line. The knots, of which the next large shell is composed, are made
with 2 more supplementary threads and one thread from the preceding
figure. Add on 2 more supplementary threads to the disengaged threads,
which 4 then serve as cords for the groups of bars, left and right.

The 4th group of bars which forms the corner of the fringe, is made on
the 4 threads that come from the large shell, on to which the fourth set
of 12 supplementary threads is knotted.

[Illustration: FIG. 608. RING KNOT FORMED OF A SINGLE CHAIN.]

The pattern ends at the bottom with a half star, and a double bar;
beneath these, large scallops are added, consisting of 2 half stars, 4
ovals, 1 whole star and 2 ovals.

All the threads that come from the groups are then collected at the top
of the scallops and overcast with strong thread, so as to form a thick
round cord along the edges of the scallops, widening towards the point,
as more and more threads are taken in. At the point, these threads are
knotted into a big tassel with another bunch of supplementary threads
added to them. The other small tassels, represented in fig. 604, are
made separately and then fastened on.

The fringe is further ornamented by large knotted tassels, introduced
between the scallops, for which, a large knotted berry, fig. 590, over
21 cords, has first to be made.

Collect the 21 threads all together, to begin with; then make: 2 rows of
knots over 12 threads, 1 over 15, 3 over 21, 1 over 15 and 2 over 12;
then cut the ends of the 21 threads to the same length, and turn them
inwards, to fill up the hollow space inside the berry, stuffing it
besides, if necessary, with wadding to make it perfectly firm and hard
and sewing it together at the ends.

To this you attach 5 large and 6 small pendants; the smaller ones are
begun with a Chinese knot, figs. 607 and 609, which terminates in a
double chain, formed into a ring knot.

[Illustration: FIG. 609. SMALL PENDANT OF THE TASSELS IN FIG. 604.]

[Illustration: FIG. 610. LARGE PENDANT OF THE TASSELS IN FIG. 604.]

These ring knots take the place, in macrame, of bead drops, in gimp
trimmings; when they are made of a double chain, you cut away 3
threads, when of a single, 1 thread, conceal the ends carefully inside
the knot, make a loop with the 4th or 2nd thread, fig. 608, and lastly,
fasten off all the ends with two or three invisible stitches.

Into the loop formed by the 4th thread, you hang 3 small ring knots,
made of a single chain, with a loop, top and bottom, formed of the ends
of the thread.

Fig. 609 represents the small pendant, of which six are required for a
tassel; fig. 610, the large one, of which there should be five. The
berry, or head of the tassel, is attached to a crochet, or knotted cord,
of which a description will be found in the last chapter but one of this
work.

FOOTNOTES:

[A] See at the end of the concluding chapter, the table of numbers and
sizes and the list of colours of the D.M.C threads and cottons.





[Illustration: INSERTION IN EMBROIDERED NETTING.--ORNAMENT WITH VARIOUS
STITCHES.]




Netting.


Netting is a handicraft, so ancient that it would be difficult to trace
it to its origin, or determine the date of its invention. There is
evidence to show that the making of nets for fishing and game catching
was as familiar to the earlier races of mankind as it is to us.

Practised in the first instance for the wants of life, it by degrees
developed into an art, in conjunction with embroidery, to which it was
made to serve as a foundation. The netting of every country, almost, has
a distinctive character of its own: that of Persia is known by its fine
silken meshes and rich gold and silver embroidery; that of Italy, by the
varied size and shape of its meshes and a resemblance in the style of
its embroidery to the Punto tagliato; whilst the netting of France,
known by the name of Cluny guipure, consists of a groundwork of fine
meshes with stiff close designs embroidered upon it, outlined in coarse
glazed thread.

Netting, which divides itself under two headings, netting proper, or
plain netting and net embroidery, has never yet gone out of fashion and
places are still to be found where the entire population is engaged in
this industry.

PLAIN NETTING AND THE IMPLEMENTS USED IN NETTING (figs. 611, 612,
613).--Plain netting consists of loops, secured and rendered independent
of one another by knots. For forming and tightening these loops and
knots the following implements are necessary; in the first place, a
netting needle; these are generally made of steel, split and flattened
at both ends, with a hole bored through them below the fork at the one
end, in which the thread, fig. 611, is secured, before it is wound on
lengthwise between the forks. They are numbered as to size like knitting
needles. There are netting needles likewise of bone, ivory, wood and
tortoise-shell for twine and thick materials; these are without hole,
fig. 612.

[Illustration: FIG. 611. NETTING NEEDLE OF STEEL.]

[Illustration: FIG. 612. NETTING NEEDLE OF IVORY.]

The thread must be wound on very tightly, and not too much of it at a
time, that the needle may slip easily through the loops. The mesh, or
spool, fig. 613, whether of ivory, bone, steel or wood, should be smooth
and round and of the same thickness throughout, so that the loops, made
upon it, may be all of one size and easily slipped off.

[Illustration: FIG. 613. MESH OR SPOOL OF IVORY.]

For long loops a flat mesh is best, and in all cases, the needle and
mesh should be selected with a view, both to the material employed, and
the size of loop required.

In addition to these two implements, a cushion, weighted with lead will
be required, to pin the foundation loop to, on which the first row of
netting is worked.

MATERIALS SUITABLE FOR NETTING.--These, of course depend on the
purpose of the netting: silk, twine, wool and cotton, can all be used
and each possesses its advantages and disadvantages. Silk has the finest
gloss but when it is strongly twisted it is very apt to knot, and when
loosely twisted, does not make firm knots. It is difficult to get linen
thread with a smooth uniform twist and moreover it soon frays in the
working; wool is too elastic a fibre and is unsuitable for washing
purposes, cotton remains therefore, in every respect the most desirable
material, being both smooth and uniformly twisted; as qualities, more
especially adapted for netting we may mention the following: Fil a
pointer D.M.C, Cordonnet 6 fils D.M.C (crochet cotton), Fil a dentelle
D.M.C (lace thread), and even Coton a tricoter D.M.C[A] (knitting
cotton).

NETTING STITCHES.--The loops are always the same--four-cornered
whether they be square or oblong--and connected together, though secured
and rendered independent of one another by knots. By different ways of
passing the thread over the mesh and connecting the loops together, the
following stitches are produced: 1 deg. plain loop, 2 deg. double loop, 3 deg.
oblong loop, 4 deg. honeycomb loop, 5 deg. twisted loop.

[Illustration: FIG. 614. FIRST POSITION OF THE HANDS.]

1 deg. PLAIN LOOP. FIRST POSITION OF THE HANDS (fig. 614).--Every kind of
netting requires a foundation loop, from 10 to 20 c/m. long, made either
of Cordonnet 6 fils D.M.C Nos. 3 to 10, or Fil a pointer D.M.C No.
10[A], which is pinned to the cushion. Fasten the working thread to the
foundation loop; then take the mesh in the left hand, holding it between
the thumb and forefinger, with the other fingers extended beneath. Take
the needle filled with thread in the right hand and pass the thread
downwards over the mesh and over the second, third and fourth fingers,
inside, carry it up behind the third finger and lay it to the left under
the thumb by which it has to be held fast.

[Illustration: FIG. 615. SECOND POSITION OF THE HANDS.]

SECOND AND THIRD POSITION OF THE HANDS (figs. 615 and 616).--Carry the
thread down behind the second, third, fourth and fifth fingers, and put
the needle through the loop on the fingers and behind the mesh, through
the foundation loop, thus forming a second loop, which you hold back
with the little finger of the left hand. Then gradually drawing up the
thread that runs from the mesh, let go the loop held down by the thumb;
then by degrees let go also, the loop which lies over the second, third
and fourth fingers, still holding the last loop fast with the little
finger; finally you release this too and pull up the knot thus formed
close to the mesh with the right hand. This completes the stitch. The
next stitches are made in the same way; whether they are to serve for
casting on or for a netted foundation. The mesh is drawn out at the end
of each row, the work turned and the mesh held beneath the last row, in
readiness for the next, in making which you pass your needle through
each loop. These diamond-shaped loops form a diagonal net.

[Illustration: FIG. 616. THIRD POSITION OF THE HANDS.]

2 deg. DOUBLE LOOP.--To make a double loop put the thread two or three
times round the mesh.

3 deg. OBLONG LOOP.--For oblong loops, the knots must be made a little
distance from the mesh.

4 deg. HONEYCOMB LOOP.--Make an oblong loop, pass the thread round the
fingers, but not over the mesh as in plain netting, put the needle, not
into the loop of the previous row, but between the loop, just made. The
knot which is made in the same way as in plain netting, must be drawn
close up to the mesh; the two threads of the loop should lie side by
side on the mesh. The loops in honeycomb netting are six-sided.

5 deg. TWISTED LOOPS.--Pass the thread, as in plain netting, over the mesh
and fingers, but before letting the thread which is under the thumb go,
pass the needle from right to left under the loop you are making and the
thread, and only then draw up the knot.

Although in netting the loops cannot be formed in as many different ways
as in knitting or crochet, they admit of a certain variety, as the
following explanations will show.

PATTERNS PRODUCED IN NETTING BY USING MESHES OF DIFFERENT
WIDTHS.--Plain netting can be varied by making one row of loops over a
large mesh and one over a small one, or several rows over the large and
several over the small, alternately, changing the meshes at regular
intervals.

[Illustration: FIG. 617. PATTERNS PRODUCED IN NETTING BY INCREASING AND
DECREASING.]

Copyright (c) 2007. topboookz.com. All rights reserved.