G. A. Henty - "At Agincourt"

Amelia Edith Barr - "A Daughter of Fife"

Sabine Baring Gould - "Castles and Cave Dwellings of Europe"

Charles Morris - "Historical Tales, Vol. 6 (of 15)"

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. 740. TWENTY-FIRST LACE STITCH.]

TWENTY-FIRST LACE STITCH (fig. 740).--These close lace stitches, can
be varied in all sorts of other ways by embroidering the needle-made
grounds.

In fig. 740, you have little tufts in darning stitch, and in a less
twisted material than the close stitches of the ground, worked upon the
ground.

If you use Fil a dentelle D.M.C (lace thread) for the ground, you should
take either Coton a repriser D.M.C (darning cotton), or better still,
Coton surfin D.M.C[A] for the tufts. The ground can also be ornamented
with little rings of buttonholing, stars or flowerets in bullion or some
other fancy stitch.

[Illustration: FIG. 741. TWENTY-SECOND LACE STITCH.]

TWENTY-SECOND LACE STITCH (fig. 741).--For the above three stitches
and the three that follow, the work has to be held, so that the
finished rows are turned to the worker and the needle points to the
outside of the hand. In the first row, from left to right, take hold of
the thread near the end that is in the braid, lay it from left to right
under the point of the needle, and bring it back again to the right,
over the same. Whilst twisting the thread in this way round the needle
with the right hand, you must hold the eye of the needle under the left
thumb.

When you have laid the thread round draw the needle through the loops;
the bars must stand straight and be of uniform length. Were they to
slant or be at all uneven, we should consider the work badly done.

In the row that is worked from left to right, the thread must be twisted
round the needle, likewise from left to right.

[Illustration: FIG. 742. TWENTY-THIRD LACE STITCH.]

TWENTY-THIRD LACE STITCH (fig. 742).--This is begun with the same
stitches as fig. 741, worked from right to left. You then take up every
loop that comes between the vertical bars with an overcasting stitch,
drawing the thread quite out, and tightening it as much as is necessary
after each stitch. You cannot take several stitches on the needle at the
same time and draw out the thread for them all at once, as this pulls
the bars out of their place.

[Illustration: FIG. 743. TWENTY-FOURTH LACE STITCH]

TWENTY-FOURTH LACE STITCH (fig. 743).--This is often called the
Sorrento stitch.

Every group of three bars of stitches is separated from the next by a
long loop, round which the thread is twisted in its backward course. In
each of the succeeding rows you place the first bar between the first
and second of the preceding row, and the third one in the long loop, so
that the pattern advances, as it were in steps.

[Illustration: FIG. 744. TWENTY-FIFTH LACE STITCH.]

[Illustration: FIG. 745. TWENTY-SIXTH LACE STITCH.]

TWENTY-FIFTH AND TWENTY-SIXTH LACE STITCHES (figs. 744 and
745).--These two figures show how the relative position of the groups
of bars may be varied.

Both consist of the same stitches as those described in fig. 741. The
thread that connects the groups should be tightly stretched, so that the
rows may form straight horizontal lines.

[Illustration: FIG. 746. TWENTY-SEVENTH LACE STITCH.]

TWENTY-SEVENTH LACE STITCH (fig. 746).--Begin by making two rows of
net stitches, fig. 720, then two of close ones, fig. 738, and one row
like those of fig. 741.

If you want to lengthen the bars, twist the thread once or twice more
round the needle. You can also make one row of bars surmounted by
wheels, as shown in fig. 765, then one more row of bars and continue
with close stitches.

TWENTY-EIGHTH LACE STITCH (fig. 747).--Between every group of three
bars, set close together, leave a space of a corresponding width; then
bring the thread back over the bars, as in figs. 737, 738 and 739,
without going through the loops. In the second row, you make three bars
in the empty space, two over the three bars of the first row and again
three in the next empty space. The third row is like the first.

[Illustration: FIG. 747. TWENTY-EIGHTH LACE STITCH.]

[Illustration: FIG. 748. TWENTY-NINTH LACE STITCH.]

TWENTY-NINTH LACE STITCH (fig. 748).--This stitch, known as Greek net
stitch, can be used instead of buttonhole bars for filling in large
surfaces.

Make bars from left to right, a little distance apart as in fig. 741,
leaving the loops between rather slack, so that when they have been
twice overcast by the returning thread, they may still be slightly
rounded. In the next row, you make the bar in the middle of the loop and
lift it up sufficiently with the needle, for the threads to form a
hexagon like a net mesh.

[Illustration: FIG. 749. THIRTIETH LACE STITCH.]

THIRTIETH LACE STITCH (fig. 749). After a row of pairs of buttonhole
stitches set closely together, with long loops between, as long as the
space between the pairs, throw the thread across in a line with the
extremities of the loops, fasten it to the edge of the braid and make
pairs of buttonhole stitches, as in the first row above it.

The loops must be perfectly regular, to facilitate which, guide lines
may be traced across the pattern, and pins stuck in as shown in the
figure, round which to carry the thread.

[Illustration: FIG. 750. THIRTY-FIRST LACE STITCH.]

THIRTY-FIRST LACE STITCH (fig. 750).--At first sight this stitch looks
very much like the preceding one, but it differs entirely from it in the
way in which the threads are knotted. You pass the needle under the loop
and the laid thread, then stick in the pin at the right distance for
making the long loop, bring the thread round behind the pin, make a loop
round the point of the needle, as shows in the engraving, and pull up
the knot.

[Illustration: FIG. 751. THIRTY-SECOND LACE STITCH.]

THIRTY-SECOND LACE STITCH (fig. 751).--To introduce a greater variety
into lace stitches, netting can also be imitated with the needle. You
begin with a loop in the corner of a square and work in diagonal lines.
The loops are secured by means of the same stitch shown in fig. 750, and
the regularity of the loops ensured, as it is there, by making them
round a pin, stuck in at the proper distance. The squares or meshes must
be made with the greatest accuracy; that being the case, most of the
stitches described in the preceding chapter can be worked upon them, and
the smallest spaces can be filled with delicate embroidery.

THIRTY-THIRD LACE STITCH (fig. 752).--This stitch is frequently met
with in the oldest Irish lace, especially in the kind where the braids
are joined together by fillings not bars. At first sight, it looks
merely like a close net stitch, the ground and filling all alike, so
uniform is it in appearance, but on a closer observation it will be
found to be quite a different stitch from any of those we have been
describing.

The first stitch is made like a plain net stitch, the second consists of
a knot that ties up the loop of the first stitch. Fillings of this kind
must be worked as compactly as possible, so that hardly any spaces are
visible between the individual rows.

[Illustration: FIG. 752. THIRTY-THIRD LACE STITCH.]

[Illustration: FIG. 753. THIRTY-FOURTH LACE STITCH.]

THIRTY-FOURTH LACE STITCH (fig. 753).--To fill in a surface with this
stitch, known as the wheel or spider stitch, begin by laying double
diagonal threads to and fro, at regular distances apart, so that they
lie side by side and are not twisted. When the whole surface is covered
with these double threads, throw a second similar series across them,
the opposite way. The return thread, in making this second layer, must
be conducted under the double threads of the first layer and over the
single thread just laid, and wound two or three times round them,
thereby forming little wheels or spiders, like those already described
in the preceding chapter in figs. 653 and 654.

THIRTY-FIFTH LACE STITCH (fig. 754).--Begin by making a very regular
netted foundation, but without knots, where the two layers of threads
intersect each other.

Then, make a third layer of diagonal threads across the two first
layers, so that all meet at the same points of intersection, thus
forming six rays divergent from one centre. With the fourth and last
thread, which forms the seventh and eighth ray, you make the wheel over
seven threads, then slip the needle under it and carry it on to the
point for the next wheel.

[Illustration: FIG. 754. THIRTY-FIFTH LACE STITCH.]

[Illustration: FIG. 755. THIRTY-SIXTH LACE STITCH.]

THIRTY-SIXTH LACE STITCH (fig. 755).--After covering all the surface
to be embroidered, with threads stretched in horizontal lines, you cover
them with loops going from one to the other and joining themselves in
the subsequent row to the preceding loops.

The needle will thus have to pass underneath two threads. Then cover
this needle-made canvas with cones worked in close darning stitches, as
in figs. 648, 716 and 717.

[Illustration: FIG. 756. THIRTY-SEVENTH LACE STITCH.]

THIRTY-SEVENTH LACE STITCH (fig. 756).--Here, by means of the first
threads that you lay, you make an imitation of the Penelope canvas used
for tapestry work, covering the surface with double threads, a very
little distance apart, stretched both ways. The second layer of threads
must pass alternately under and over the first, where they cross each
other, and the small squares thus left between, must be encircled
several times with thread and then buttonholed; the thicker the
foundation and the more raised and compact the buttonholing upon it is,
the better the effect will be. Each of these little buttonholed rings
should be begun and finished off independently of the others.

THIRTY-EIGHTH LACE STITCH (fig. 757).--Plain net stitch being quicker
to do than any other, one is tempted to use it more frequently; but as
it is a little monotonous some openwork ornament upon it is a great
improvement; such for instance as small buttonholed rings, worked all
over the ground at regular intervals. Here again, as in the preceding
figure the rings must be made independently of each other.

[Illustration: FIG. 757. THIRTY-EIGHTH LACE STITCH.]

[Illustration: FIG. 758. THIRTY-NINTH LACE STITCH.]

THIRTY-NINTH LACE STITCH (fig. 758).--Corded bars, branching out into
other bars, worked in overcasting stitches, may also serve as a lace
ground.

You lay five or six threads, according to the course the bars are to
take; you overcast the branches up to the point of their junction with
the principal line, thence you throw across the foundation threads for
another branch, so that having reached a given point and coming back to
finish the threads left uncovered in going, you will often have from six
to eight short lengths of thread to overcast.

Overcasting stitches are always worked from right to left.

FORTIETH LACE STITCH (fig. 759).--Of all the different kinds of
stitches here given, this, which terminates the series, is perhaps the
one requiring the most patience. It was copied from a piece of very old
and valuable Brabant lace, of which it formed the entire ground. Our
figure of course represents it on a very magnified scale, the original
being worked in the finest imaginable material, over a single foundation
thread.

In the first row, after the three usual foundation threads are laid, you
make the buttonhole stitches to the number of eight or ten, up to the
point from which the next branch issues, from the edge of the braid,
that is, upwards.

Then you bring the needle down again and buttonhole the second part of
the bar, working from right to left.

[Illustration: FIG. 759. FORTIETH LACE STITCH.]

A picot, like the one described in fig. 701, marks the point where the
bars join. More picots of the same kind may be added at discretion.

[Illustration: FIG. 760. WHEEL COMPOSED OF BUTTONHOLE BARS. MAKING AND
TAKING UP THE LOOPS.]

[Illustration: FIG. 761. WHEEL COMPOSED OF BUTTONHOLE BARS. THE
BUTTONHOLING BEGUN.]

WHEEL COMPOSED OF BUTTONHOLE BARS (figs. 760, 761, 762, 763).--As we
have already more than once given directions for making wheels, not only
in the present chapter, but also in the one on netting, there is no need
to enlarge on the kind of stitches to be used here, but we will explain
the course of the thread in making wheels, composed of buttonhole bars
in a square opening.

Fig. 760 shows how the first eight loops which form the foundation of
the bars are made.

[Illustration: FIG. 762. WHEEL COMPOSED OF BUTTONHOLE BARS. PASSING FROM
ONE BAR TO THE OTHER.]

[Illustration: FIG. 763. WHEEL COMPOSED OF BUTTONHOLE BARS. BARS AND
RING FINISHED.]

In fig. 761 you will see that a thread has been passed through the
loops, for the purpose of drawing them in and making a ring in addition
to which, two threads added to the loop serve as padding for the
buttonhole stitches; the latter should always be begun on the braid
side. Fig. 762 represents the bar begun in fig. 761 completed, and the
passage of the thread to the next bar, and fig. 763 the ring buttonholed
after the completion of all the bars.

[Illustration: FIG. 764. FILLING IN A ROUND SPACE WITH NET STITCH.]

FILLING IN ROUND SPACES (figs. 764, 765, 766).--The stitches best
adapted for filling in round spaces are those that can be drawn in and
tightened to the required circumference, or those that admit of the
number being reduced, regularly, in each round.

In tacking braids on to circular patterns, the inside edges, as we
pointed out at the beginning of this chapter, have to be drawn in with
overcasting stitches in very fine thread.

Fig. 764 shows how to fill in a round space with net stitches. It will
be observed that the loop which begins the row, has the thread of the
loop with which it terminates, wound round it, which thread then passes
on to the second series of stitches. In the same manner you pass to the
third row after which you pick up all the loops and fasten off the
thread by working back to the braid edge over all the rows of loops,
following the course indicated by the dotted line.

[Illustration: FIG. 765. FILLING IN ROUND SPACES. FIRST CIRCLE OF WHEELS
BEGUN.]

[Illustration: FIG. 766. FILLING IN ROUND SPACES. THE TWO CIRCLES OF
WHEELS FINISHED.]

Fig. 765 shows how to finish a row of loops with wheels worked upon
three threads only. In the first row, you make a wheel over each bar; in
the second, you make a bar between every two wheels; in the third, the
wheels are only made over every second bar; a fourth row of bars which
you pick up with a thread completes the interior of the circle, then you
work along the bars with overcasting stitches, fig. 766, to carry the
thread back to the edge of the braid where you fasten it off.

NEEDLE-MADE PICOTS (figs. 767, 768, 769).--The edges and outlines of
Irish lace are generally bordered with picots, which as we have already
said can be bought ready-made (see fig. 692). They are not however very
strong and we cannot recommend them for lace that any one has taken the
pains to make by hand.

[Illustration: FIG. 767. CONNECTED NEEDLE-MADE PICOTS.]

[Illustration: FIG. 768. ISOLATED NEEDLE-MADE PICOTS.]

[Illustration: FIG. 769. BUTTONHOLE PICOTS WITH PICOTS IN BULLION
STITCH.]

In fig. 767, the way to make picots all joined together is described.
You begin, as in fig. 762, by a knot, over which the thread is twisted
as indicated in the engraving.

It is needless to repeat that the loops should all be knotted in a line,
all be of the same length and all the same distance apart.

Fig. 768 represents the kind of needle-made picots which most resemble
the machine-made ones, and fig. 769 show us the use of little scallops
surmounted by picots, made in bullion stitch.

One or two rows of lace stitch fig. 736, or the first rows of figs. 749,
750, can also be used in the place of picots.

IRISH LACE (fig. 770).--English braids or those braids which are
indicated at the foot of the engraving must be tacked down on to the
pattern and gathered on the inside edge, wherever the lines are curved,
as explained in fig. 693; in cases however where only Lacet superfin
D.M.C[A] is used, the needle should be slipped in underneath the outside
threads, so that the thread with which you draw in the braid be hidden.

The braids are joined together where they meet with a few overcasting
stitches, as shown in the illustration.

Here, we find one of the lace stitches used instead of picots; the first
row of fig. 736 always makes a nice border for Irish lace.

IRISH LACE (fig. 771).--This pattern, which is more complicated and
takes more time and stitches than the preceding one, can also be
executed with one or other of the braids mentioned at the beginning of
the chapter; but it looks best made with a close braid.

[Illustration: FIG. 770. IRISH LACE.]

[Illustration: FIG. 771. IRISH LACE. MATERIALS: Lacet surfin D.M.C No.
5, white or ecru and Fil d'Alsace D.M.C Nos. 40 to 150, or Fil a
dentelle D.M.C Nos. 50 to 150.]

The bars, which in the illustration are simply buttonholed may also be
ornamented with picots of one kind or another; the interior spaces of
the figure on the left can be filled, instead of with corded bars, with
one of the lace stitches we have described, either fig. 720, 721, or
732, any one of which is suitable for filling in small spaces like
these.

In the figure on the right, the ring of braid may be replaced by close
buttonhole stitches, made over several foundation threads or over one
thick thread, such as Fil a pointer D.M.C No. 10 or 20[A] to make them
full and round.

You begin the ring on the inside and increase the number of stitches as
the circumference increases.

[Illustration: FIG. 772. IRISH LACE. MATERIALS: English braid with open
edge.--For the lattice work: Fil d'Alsace D.M.C in balls Nos. 50 to 100
or Fil a dentelle D.M.C Nos. 50 to 100, white. For the cord: Cordonnet 6
fils D.M.C No. 15, ecru.[A]]

Any of the stitches, from fig. 720 to fig. 743, can be introduced here.

IRISH LACE (fig. 772).--Here we find one of the fillings above alluded
to, fig. 751, used as a ground for the flowers and leaves. For the
design itself some of the closer stitches described in this chapter,
should be selected. When the actual lace, is finished you sew upon the
braid a thin cord, made of ecru Cordonnet 6 fils D.M.C, as described in
the chapter on different kinds of fancy work. Cords of this kind can be
had ready made, but the hand-made ones are much to be preferred, being
far softer and more supple than the machine-made.

[Illustration: FIG. 773. IRISH LACE. MATERIALS--For the cord: Cordonnet
6 fils D.M.C Nos. 15 to 25. For the bars and lace stitches: Fil a
dentelle D.M.C No. 200.[A]]

IRISH LACE (fig. 773).--This lace, more troublesome than the preceding
ones to make, is also much more valuable and effective. The ground is
composed entirely of bars, like the ones described in fig. 761, the
branches, true to the character of the work are worked in the close
stitch represented in fig. 755, and the flowers in double net stitch,
fig. 721.

In working the above fillings, the thread must not, as in lace made with
braid, be carried on from one point to the other by overcasting stitches
along the braid edges, but should be drawn out horizontally through the
cord and back again the same way, giving the needle in so doing a
slightly slanting direction.

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: VENETIAN LACE OF THE XVI CENTURY.]




Laces of different kinds.


In general, to the uninitiated, the word "lace" signifies exclusively
the delicate and elaborate fabrics that owe their origin to Venice and
the Netherlands and were thence imported into other countries. But
besides Venetian, French, English, Chantilly, Brussels, Sedan point,
names familiar to every one, there are all kinds of other laces,
likewise of great antiquity, and named as the above are, after the
country they belong to.

As it would be impossible in these pages to give a comprehensive account
of them all, we have restricted ourselves to such as seem more
especially suited to the amateur, to whom needlework is a mere
recreation and pastime.

Worked like the above-named entirely with the needle, but much less
elaborate and minute in character and workmanship, they are quicker and
easier to make and we are sure that by the help of the directions that
accompany the illustrations, any careful worker will be able to imitate
them without difficulty.

MATERIALS.--It will be observed that we do not bind ourselves in the
following directions to one size of cotton, that as in point of fact,
one and the same piece of work can be executed in either fine or coarse
cotton, we have only indicated the most suitable kind of material to
use: as for instance for Armenian lace, Fil a pointer D.M.C[A] or
Cordonnet 6 fils D.M.C[A], for Smyrna or knotted lace, Fil a pointer
D.M.C, Cordonnet 6 fils D.M.C and Fil a dentelle D.M.C[A], for Reticella
and Venetian lace, Fil d'Alsace D.M.C[A], for Brussels lace, the finest
numbers of Fil a dentelle and for pillow lace, any one of those
enumerated, excepting Coton a broder surfin.

PILLOW LACE AND THE NECESSARY ARTICLES FOR ITS MANUFACTURE.--Pillow
lace derives its name from the cushion or pillow on which all bobbin
lace is made, which distinguishes it from point lace, so-called because
it consists of "points" or stitches made with a needle and thread.

Various articles are required for the making of pillow lace; in the
first place a cushion or pillow, then bobbins and a winder, parchment
patterns, pins and a pricker.

THE LACE PILLOW (figs. 774, 775, 776).--The pillows used for pillow
lace are of different kinds and vary in shape with where the country,
and the manner in which the lace is made.

[Illustration: FIG. 774. THE LACE PILLOW.]

Fig. 774 represents the shape in use in the mountains of Bohemia and
Saxony, where pillow lace has always been one of the chief industries of
the inhabitants. Any one can make a cushion of this kind themselves with
a piece of stuff, 60 c/m. long and 40 wide. The long sides are firmly
sewn together and the short ones turned in with a narrow hem through
which you run a cord to draw them up. A disc of stout cardboard is put
inside the case after you have gathered up the one end; you then stuff
the case as full as possible with bran, sawdust or horsehair, lay a
second disc of cardboard in at the top and draw up the other end.

These pillows are then put into cardboard boxes with rather high sides,
or into a kind of basket, weighted at the bottom, to keep it firm and
steady. Pillows of this most primitive kind have the great advantage of
being perfectly easy to make.

[Illustration: FIG. 775. PILLOW WITH MOVABLE CYLINDER FOR MAKING LACE.]

[Illustration: FIG. 776. POSITION OF THE BOBBINS AND THE WORK ON THE
CUSHION FIG. 775.]

Fig. 775 represents a pillow of a more complicated kind, which can be
stood upon the table or mounted on a stand. The cylinder is movable so
that you can go on working without interruption.

The whole apparatus consists of a board or stand, 50 c/m. long and 40
wide, resting upon two transverse pieces of wood, 31/2 c/m. high behind
and 1 c/m. in front.

The board should be covered, first with a very thick flannel or Bath
coating and then with a fine dark green flannel or cloth.

Two small supports are fixed on to the outside edge of the stand to hold
the cylinder, which consists of two discs that revolve on a rod about 22
c/m. long.

This rod should be covered, in the first place with a thick layer of tow
and then with flannel or cloth.

On the left side of the cylinder is a cog-wheel and a metal spring is
attached to the board, by means of which the wheel is prevented from
turning the wrong way.

Fig. 776 shows how the bobbins are placed upon the pillow. In Normandy a
kind of stuffed box is used instead of a pillow. The board is 3 c/m.
higher behind than in front and is deeply grooved to hold the cylinder,
which is stuffed and shaped like the one represented in fig. 775.

This cylinder scarcely projects above the stand, a second groove in the
back edge receives the lace as it is worked off the cylinder.

The pillows used for Valenciennes lace are of again a different
construction, but as it is not our intention in the present work to
describe the finer kinds of lace it appeared superfluous to give any
illustration of the pillows on which they are made.

[Illustration: FIG. 777. THE BOBBIN (Jamnig's patent).]

THE BOBBINS (fig. 777).--A bobbin is a sort of little wooden spool
with a handle to it; there are several varieties of them but we have
confined ourselves to a representation of the kind considered best for
beginners.

As a considerable number are wanted for every pattern and they are apt
to slip about and get entangled in inexperienced hands, they are now to
be had with the handles weighted with lead to steady them and counteract
any independent motion of their own. We cannot help again laying great
stress on the importance of seeing that the size of the bobbins and the
number of the cotton be well assorted to the kind of lace.

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