Joseph Smith Fletcher - "The Borough Treasurer"

Martin Farquhar Tupper - "The Complete Prose Works of Martin Farquhar Tupper"

William Elmer Bachman - "The Delta of the Triple Elevens"

Various - "Chambers's Edinburgh Journal, No. 443"

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




The flowers are generally worked in one of the stitches, represented in
figs. 720 and 740; the outlines are less thickly buttonholed and the
stitches, set everywhere less closely.

Here also, the finished parts should be carefully covered with paper to
keep them from getting soiled.

The needle-point lace designs are ordinarily speaking more realistic and
as regards the composition, less artistic and severe than the Venetian
point ones.

The spray, represented in our engraving, is a specimen of an ordinary
Brussels lace pattern and of the stitches it is worked in.

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: APPLIQUE WORK ON SATIN SET WITH FINE CORD.]




Miscellaneous fancy work.


As the plan on which this book was constructed rendered a systematic
classification of the different subjects it treats of necessary, a
certain amount of miscellaneous fancy work, which does not come under
any of the previous headings remains to be dealt with in the present
chapter. In most cases the illustrations and the accompanying directions
are but an application to a practical use of the different kinds of
stitches already described in previous chapters and those who are
familiar with all these various branches of needlework will have no
difficulty in understanding what follows.

KNOTTED CORD (figs. 831, 832, 833, 834, 835).--The knotted cord
referred to in the letter press belonging to figs. 772 and 773 in the
chapter on Irish lace, comes under the present heading: in making it,
the fingers take the place of a crochet needle.

You tie two ends of thread or braid together, take one thread in the
left hand fig. 831, and with the forefinger of the right, pull out a
loop long enough for the left forefinger to pass through and hold the
end of the thread tight with the little finger of the right hand.

Then draw the left forefinger backwards through the loop and behind the
thread that is round the loop and lies in the left hand, fig. 832. As
you lay the thread round the left forefinger, you must pass the knot
and the ends of thread as well, over into the left hand, and with the
right hand pull the thread that lies on the right and draw up the loop,
fig. 833.

[Illustration: FIG. 831. KNOTTED CORD. FIRST POSITION OF THE HANDS.]

[Illustration: FIG. 832. KNOTTED CORD. SECOND POSITION OF THE HANDS.]

[Illustration: FIG. 833. KNOTTED CORD. THIRD POSITION OF THE HANDS.]

In fig. 834, representing the fourth position of the hands, you are
shown how the forefinger of the right hand lifts up the thread and
passes through the loop on the left hand; the end will consequently also
pass immediately into the right hand and the left hand will tighten the
knot.

It is by thus drawing up first a loop on the right and then one on the
left that this pretty cord is produced.

Skilful hands will soon learn to make a cord of the same kind with four
threads, as follows: knot the four ends of thread together, make a few
knots, using two threads as one, then dropping the loop on your
forefinger, put the next one upon it and draw up the knot, passing
however the threads over those that you dropped. Then drop the loop you
have on your finger again and take up the first loops.

[Illustration: FIG. 834. KNOTTED CORD. FOURTH POSITION OF THE HANDS.]

For the cord made with double threads, represented in fig. 835 on a
magnified scale, use Cordonnet 6 fils D.M.C or one of the other
materials mentioned at the foot of the illustration. Soutache D.M.C will
always be found to be very suitable for this purpose.

BALLS FOR TRIMMINGS (figs. 836, 837, 838, 839, 840, 841).--Amongst the
crochet patterns are two that are finished off with balls; to make
these, begin by cutting a number of rounds of cardboard, two for every
ball, with holes in the middle, fig. 836.

[Illustration: FIG. 835. KNOTTED CORD.
MATERIALS: Fil a pointer D.M.C Nos. 10 to 30, Coton a tricoter D.M.C
Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or Soutache D.M.C Nos.
1 to 3.[A]]

If you have a great many balls to make it is well worth your while
providing yourself with a metal die of the proper size, to cut the
rounds with.

[Illustration: FIG. 836. BALLS FOR TRIMMINGS. CIRCLE OF CARDBOARD.]

[Illustration: FIG. 837. BALLS FOR TRIMMINGS. OVERCASTING THE CIRCLE OF
CARDBOARD.]

[Illustration: FIG. 838. BALLS FOR TRIMMINGS. CUTTING THE STITCHES ROUND
THE EDGE.]

[Illustration: FIG. 839. BALLS FOR TRIMMINGS. PUTTING IN THE LOOP.]

[Illustration: FIG. 840. BALLS FOR TRIMMINGS. CUTTING OUT THE
CARDBOARD.]

[Illustration: FIG. 841. BALL COMPLETED WITH LOOP ATTACHED.]

Lay two of these rounds together and cover them closely with stitches,
fig. 837, using for this purpose Coton a tricoter D.M.C (knitting
cotton) or Coton a repriser D.M.C (darning cotton).[A]

When the round is entirely covered, put the scissors in between the two
circles of cardboard and cut open the stitches all round the outer edge,
fig. 838; then draw a piece of thread between the two circles and knot
it firmly round the stitches that meet in the centre hole, fig. 839;
leave sufficiently long ends of thread hanging to form a loop by which
the ball can afterwards be fastened to the heading of the fringe; when
the stitches are knotted together you cut and pull out the cardboard,
fig. 840, and snip the thread with your scissors until it becomes quite
fluffy and the ball is perfectly round, as shown in fig. 841.

TAMBOUR WORK (figs. 842, 843, 844, 845).--Since the introduction of
the sewing machine, by means of which this charming kind of embroidery
can be so quickly and easily executed, it has somewhat gone out of
favour. As however, the fine patterns with a good deal of shading in
them, can be far more accurately worked by hand than by machine,
tambouring, which is in point of fact merely a form of crochet, has
lately been revived. The piece of stuff on which the tambour work is to
be done must be mounted on a frame.

[Illustration: FIG. 842. THIMBLE FOR TAMBOURING.]

[Illustration: FIG. 843. TAMBOUR NEEDLE.]

The loops which are made with a small hook, called a tambour needle,
form a fine chain stitch and must be regular and even; to facilitate
this a sort of thimble, fig. 842, is worn on the forefinger of the right
hand, formed of a small plate of sheet brass, rolled up but not joined,
so as to fit any finger; it is open at the top like a tailor's thimble
and has a little notch on the side which is placed above the nail, and
in which you lay the tambour needle whilst you work. From the thimble
being cut slightly slanting at the top, it follows that the inside where
the two ends meet is a little shorter than the outside.

The thread is drawn through in a loop to the front of the work by means
of the hook, whilst it is held at the back in the left hand, and when
the needle is put downwards through the stuff, laid round it. The needle
in its downward and upward passage, should be kept in the notch in the
thimble and the stuff pressed down with the thimble, as the needle is
drawn up to the surface of the work, fig. 844.

[Illustration: FIG. 844. POSITION OF THE HANDS IN TAMBOURING.]

A little practice is necessary to acquire the right action of the hands,
there being always a tendency, the same as in tatting and macrame, to
confuse the movements of the two. As soon as you realize that the upward
drawing of the needle and the downward pressure of the stuff with the
thimble must be simultaneous, you will find that you can work with
great rapidity and with admirable results. Thread with a very strong
twist, which the hook will not split, is the only suitable kind for
tambouring. Of the D.M.C materials, Fil d'Alsace[A] and Fil a
dentelle[A] are the most to be recommended.

Numbers of patterns, originally intended for other kinds of embroidery
can be executed in tambour work; amongst those contained in this
Encyclopedia, figs. 192, 210, 216, 219, and 227 are the ones that are
best adapted to the purpose.

[Illustration: FIG. 845. DRAWING OUT THE THREAD WITH THE NEEDLE.]

SMYRNA STITCH WORKED WITH A CROCHET-NEEDLE (figs. 846, 847, 848,
849).--In the chapter on tapestry, p. 137 we remarked that Oriental
carpets and mats could be worked in different other ways, to be
subsequently alluded to at greater length.

[Illustration: FIG. 846. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
FIRST DETAIL.]

[Illustration: FIG. 847. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
SECOND DETAIL.]

[Illustration: FIG. 848. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
APPEARANCE OF THE KNOTS UNDERNEATH.]

[Illustration: FIG. 849. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
APPEARANCE OF THE WORK WHEN FINISHED.]

Smyrna stitch requires only a crochet needle and is worked on very
coarse canvas or Java linen. You take a coarse mesh of cotton, such as
Nos. 6, 8 or 10 of Colon a tricoter D.M.C (knitting cotton), cut it into
lengths of 8 c/m., fold two lengths together in half, stick in the
crochet needle from above, under two threads of the canvas, take hold of
the loop with the hook, fig. 846, and draw it in; then push out the
hook to seize the ends of the cotton and draw them through the loop
which is on the needle, as indicated by the little arrow in fig. 847.
The stitches or tassels should be two or three double threads of the
canvas apart. As you finish each row, comb the ends of the tassels out
carefully with a fine metal comb. When the whole piece of work is
finished shear the entire surface, quite even, with a pair of sharp
scissors. Fig. 849 shows a square of the work completed, presenting that
warm velvety appearance which distinguishes the Smyrna carpets.

[Illustration: FIG. 850. MALTA STITCH. FIRST DETAIL.]

[Illustration: FIG. 851. MALTA STITCH. SECOND DETAIL.]

[Illustration: FIG. 852. MALTA STITCH. THIRD DETAIL.]

[Illustration: FIG. 853. MALTA STITCH. FOURTH DETAIL.]

MALTA STITCH (figs. 850, 851, 852, 853, 854).--This stitch is much
used by the Maltese; it is the same as the "point tricot" excepting that
in the latter, the loops formed by the return of the thread are open and
the stitches packed very closely together, whereas in the Maltese work
there is always one close loop and two open tassels.

[Illustration: FIG. 854. MALTA EMBROIDERY. MATERIALS: Coton a repriser
D.M.C No. 25.[A] COLOURS: Jaune-vieil-Or 680, Vert-Mousse 469,
Bleu-Indigo 311 and Rouge-Cornouille 449.[A]]

It is worked as follows: take a thick bunch of lengths of Coton a
repriser D.M.C, pass it under two vertical threads of the stuff, from
right to left, fig. 850, leaving an end, 1 or 2 c/m. long, lying on the
surface of the work; put the needle in again under the two threads that
are in front of the first stitch and leave the tassel, formed by the
first stitch, above the one by which you bring the needle back between
the two stitches.

The needle must now follow the same course it took for the first stitch
and the thread must be drawn out far enough to form a loop as long as
the tassel; you then repeat the second stitch, carrying back the working
thread however this time above the loop, after which you cut the two
open ends the same length as the loop. In the Maltese work, three times
as many threads have to be left between the tassels as are covered by
the stitch.

Thus if your stitch cover 4 threads of the foundation, you should leave
12 threads between the tassels, and if it cover 6, you should leave an
interval of 18 threads, that the stuff may always be visible between the
little tassels or balls.

Fig. 854 represents a portion of a curtain, embroidered on Flemish linen
in the colours indicated at the foot of the engraving; these may be
arranged according to the taste of the worker.

Malta embroidery is mostly done on coarse coloured linen fabrics or on
single thread canvas.

TRIANGULAR TURKISH STITCH (figs. 855, 856, 857, 858, 859). Amongst the
many pretty stitches for which Turkish embroideries are distinguished,
there is one in particular, which though apparently very difficult, is
in reality quite the reverse; it resembles line stitch upon straight
threads, only that in the East it is generally worked in diagonal lines,
each row requiring two journeys to and fro.

In the first, fig. 855, the needle must always be carried, first over,
then under two threads in a diagonal line and so on to the end of the
row.

Coming back, you pass the needle under the stuff and the stitch on the
right side, and bring it out at the bottom of the stitch; then you make
a back stitch over two horizontal and two vertical threads, pass the
needle over two straight threads, put it in behind the same, bring it
out again near the upper stitch and then insert it near the bottom
vertical stitch; after this you carry it to the second stitch lower down
and pass it over the same. Four threads should meet in every hole which
the needle makes. The third and fourth row should be worked in a colour
that forms a sharp contrast with the one in which the two first rows are
worked and constitute with these one complete row of stitches, fig. 856.

Figs. 857, 858 and 859 show how the same stitch can be worked in
straight, instead of in diagonal rows.

[Illustration: FIG. 855. TRIANGULAR TURKISH STITCH WORKED DIAGONALLY.
FIRST JOURNEY COMPLETED AND SECOND BACK, BEGUN.]

[Illustration: FIG. 856. TRIANGULAR TURKISH STITCH WORKED DIAGONALLY.
TWO JOURNEYS TO AND FRO FORMING THE COMPLETE ROW.]

The dark shade in fig. 859 shows the first row of stitches, the light,
the second, or rather the third and fourth, as four rows of stitches are
required to make one complete row of triangular Turkish stitch.

[Illustration: FIG. 857. TRIANGULAR TURKISH STITCH WORKED HORIZONTALLY.
FIRST JOURNEY.]

[Illustration: FIG. 858. TRIANGULAR TURKISH STITCH WORKED HORIZONTALLY.
FIRST JOURNEY BACK.]

PATTERN WORKED IN TRIANGULAR TURKISH STITCH AND GOBELIN STITCH (fig.
860).--The diagonal lines are all worked with Chine gold and blue, and
gold and red. The stitch we have just described is most effective in
conjunction with other kinds of embroidery, as illustrated in fig. 860,
where it is combined with Gobelin stitch.

[Illustration: FIG. 859. TRIANGULAR TURKISH STITCH WORKED HORIZONTALLY.
SECOND JOURNEY BACK.]

The running foundation is divided into slanting squares; the diagonal
lines are all worked in gold and red. The squares number 9 stitches
inside, these are followed by a tenth which is covered by the first
stitch of the next square. Where two kinds of coloured gold thread are
used, one square will be framed on all sides by one kind, say, gold and
blue for instance, the next by the other, gold and red.

[Illustration: FIG. 860. PATTERN WORKED IN TRIANGULAR TURKISH STITCH.
MATERIALS: Chine d'or D.M.C. COLOURS: Gold and red, gold and dark blue,
gold and light blue, gold and green.]

The stalk that divides the two little leaves and has a small lozenge at
the top, is begun above the fifth of the 9 stitches; you make 5
stitches, but in such a manner as to end at the top of these 5 with the
stitch that runs in a diagonal direction over the threads, turned to the
inside of the stalk, so that the last stitch of the first row may form
with the first stitch of the second row, a triangle at the top of the
stalk, which is surmounted by the aforesaid lozenge.

The lozenges in Chine gold and light blue, of which there are three in
each of the half squares, besides those that terminate the stalk,
consist of 9 stitches, the first, extending over 3 threads, the second
over 5, the third over 7, the fourth over 9 and the fifth over 11; the
four next decreasing in a similar manner. The leaves in Chine gold and
green, on either side of the stalk, also begin with a stitch over 3
threads of the stuff, followed by 8, each increasing in length by one
thread on the side of the stalk, but all equal on the other, the last
extending over 12 threads of the stuff. After these 9, the subsequent 8
must decrease in the same manner by one thread on the opposite side;
then you make 4 more extending over only 3 threads and set the contrary
way to the others.

The zig-zag border and the small squares of 5 stitches within it are
worked entirely in Chine gold and red.

[Illustration: FIG. 861. TURKISH EMBROIDERY. MATERIALS: Chine d'or D.M.C
No. 30 and Coton a broder D.M.C No. 40.[A] COLOURS--For the Chine: Gold
and red, gold and dark blue and gold and green. For the Coton a broder:
Noir grand-teint 310.[A]]

TURKISH EMBROIDERY (fig. 861).--The powdering of flowers and also the
border are worked like the preceding pattern in two-sided Gobelin
stitch. Embroidery of this kind looks best on Algerian linen, which is
exactly like the Turkish stuff. It is not absolutely necessary to count
the threads for the little flowers and stalks, but it is as well to do
so for the border, that you may be sure to get the zig-zags perfectly
regular.

The petals of the flowers are worked alternately in Chine gold and red,
and gold and blue, the centre in Or fin D.M.C pour la broderie and the
leaves and stalks in Chine gold and green. The petals are set with stem
stitch in fine black Coton a broder and if the embroidery is to be the
same on both sides this setting must be repeated at the back.

The distribution of colours in the border is left to the taste of the
worker, but we should recommend for the zig-zags Chine gold and red, as
being the most effective.

APPLIQUE WORK (fig. 862).--Applique work means the laying on of pieces
of one kind of stuff on to a foundation of a different kind, so as to
form a pattern--these pieces of stuff of various shapes and sizes,
taking the place of solid needlemade embroidery.

Applique work may be done on linen, silk, velvet, plush and leather. The
stuff out of which the pattern is cut has, in most cases, to be backed
first with very fine tissue paper.

This is done in the following manner with starch paste, which dries
quicker than any other. Spread the paste on the paper with a brush,
carefully removing all the little lumps; it should only be just liquid
enough to make the stuff and the paper adhere perfectly together and
above all must never penetrate to the right side of the stuff. When the
paper has been evenly spread with the paste, lay your stuff upon it and
smooth and press it down with a clean cloth, stroking it out carefully
in the line of the thread to prevent its becoming in the least dragged
or puckered, or any air remaining between it and the paper.

You next lay several sheets of paper without a mark or a fold in them,
on a perfectly smooth flat board, and upon these, your paper-lined
stuff, covered in its turn with several loose sheets of paper, all being
kept in their place by another board with several stones or heavy
weights laid upon it to act as a press. Leave the stuff in the press
until it be quite dry. You will find that any kind of fabric, even the
slightest, can be rendered available in this manner for applique work,
not even plush or velvet being in the least injured by the process.

You then transfer the whole pattern on to the foundation, whatever it
happen to be, but only the detached figures on to the paper-lined stuff,
carefully cutting out the latter with a very sharp pair of scissors so
as to avoid unravelling the threads along the edges.

The foundation, stretched in a frame, as described on page 115, fig.
236, is to be placed on a board or table in such a manner that only the
stuff rests upon it, whilst the frame projects on all four sides.

Then cover the cut-out figures with paste on the wrong side and fit them
into their proper places upon the foundation. In larger pieces of work
especially, this should be done as quickly as possible so that a board
with weights upon it, to serve as a press, may be laid over them all at
once.

The board must not be removed until the paste be dry; then you can begin
the needlework, fastening down the applique figures and finishing them
off round the edges by laying down a fine round, cord, or by flat
stitches.

[Illustration: FIG. 862. APPLIQUE WORK.]

You either sew on the cord with invisible stitches, opening it a little
at each stitch so as to slip the needle and thread in between the twist,
or else with ordinary overcasting stitches.

[Illustration: FIG. 863. MOROCCO EMBROIDERY. MATERIALS--According to the
stuff: Fil a pointer D.M.C, Cordonnet 6 fils D.M.C, Coton a broder D.M.C
or Coton a repriser D.M.C[A]. COLOUR: Rouge-Cardinal 346[A].]

In either case it must be so laid on as completely to hide the cut edges
and keep them from fraying.

Should you wish to frame the applique figures with flat embroidery, you
must bring your needle out close to the cut edge and enter it, 1 or 2
m/m. within the edge from above.

Both, cord and flat stitch setting, should be of a subdued shade and if
possible, of a colour to match the foundation.

MOROCCO EMBROIDERY (figs. 863, 864, 865, 866).--This work named after
the country where it was originated, belongs both to the class of darned
and damask embroidery.

[Illustration: FIG. 864. MOROCCO EMBROIDERY. QUARTER OF THE SUBJECTS OF
FIG. 863.]

In fig. 864, the stitches are formed by passing over 5 threads and
taking up the sixth. Coming back you take up the third of the 5 threads
first missed and proceed in the same manner over the whole surface of
the work, unless the lines of the pattern require you to depart from
this rule; as, for instance, in certain parts of fig. 864, where you
will notice stitches, carried over 7 or 8 threads; also in the borders,
fig. 865 and 866, where the stitches are arranged in a rather arbitrary
manner, in order to bring out the pattern more clearly.

Fig. 864 represents the fourth part of one of the subjects that make up
the design fig. 863; that is, four such, joined together, form one of
the squares of fig. 863.

[Illustration: FIG. 865. MOROCCO EMBROIDERY. SMALL OUTER BORDER OF FIG.
863.]

Figs. 865 and 866 are patterns of two little borders and an insertion,
suitable as a finish to fig. 863, which can be enlarged to any size by
the addition of other squares to those that are represented here.

[Illustration: FIG. 866. MOROCCO EMBROIDERY. BORDER AND INSERTION
SUITABLE FOR FIG. 863.]

Most of the stuffs, already so frequently alluded to in this work, can
be used as a foundation for this kind of embroidery, provided the right
working materials to go with it are chosen; Coton a tricoter or Fil a
pointer should only be used for the coarser stuffs, such as Rhodes linen
No. 1, or Russian linen and the different kinds of tammy cloth, whereas
the other kinds of D.M.C threads and cottons and especially the finer
numbers, are best adapted for embroidery on fine stuffs, such as Rhodes
linen No. 2, and Spanish or Algerian linen.

SPANISH EMBROIDERY (figs. 867 and 868).--Spanish embroidery consists
almost exclusively of buttonhole stitch, fig. 171, and flat stitch, fig.
221.

[Illustration: FIG. 867. SQUARE OF SPANISH EMBROIDERY. MATERIALS: Or fin
D.M.C pour la broderie No. 40, Coton a broder D.M.C Nos. 50 and 100, or
Fil a dentelle D.M.C No. 80.[A] COLOURS: Bleu-Indigo 312, 322, 334 and
Bleu pale 668.[A]]

The buttonhole stitches, for which the more subdued shade of the colours
indicated should always be taken, or else yellow, dark or pale, to match
the gold thread, are made over two threads of gold and follow the
outlines of the pattern, which should be more or less appropriate to
this style of embroidery. One of the gold threads always keeps the
inside of the line and follows it throughout in an unbroken course,
whilst with the second, the outside one, you form picots, folding the
gold thread over from right to left and catching down the loop by a
buttonhole stitch, which is introduced into the loop itself and carried
over the combined gold threads, as shown in the left corner of fig. 868,
representing one quarter of the whole design, where the position of the
needle and the way in which the picot is secured are plainly indicated.

For the scallops, a round material with rather a strong twist should be
used, such as Soie de coton D.M.C No. 100[A] or Fil a dentelle D.M.C
Nos. 70 to 100[A], wound on reels.

[Illustration: FIG. 868. QUARTER OF THE PATTERN FOR FIG. 867, IN THE
NATURAL SIZE.]

Where the picots have to fill up empty spaces of a larger size, you can
join several together by connecting them each in turn with the first.

When you have bordered all the outlines with buttonhole stitches and
picots, fill up the spaces enclosed within the lines, which properly
speaking form the pattern, with flat stitch embroidery, worked in Coton
a broder or Coton a repriser; after which the whole surface is sewn over
with fine little spangles which give the sparkling look that constitutes
the peculiar charm of this kind of embroidery. The flowers are covered
with a fancy stitch that forms regular little lozenges, and every second
row of stitches is hidden under a spangle.

With regard to the colours indicated at the foot of fig. 867, this is
how they were distributed in the original, from which our engraving was
taken; all the outlines in buttonhole stitch, in Bleu pale 668; the tops
of the flowers in Bleu-Indigo 334; the bottom parts in Bleu-Indigo 332,
and all three shades of blue so blended together in the solid parts of
the design as to be undistinguishable from each other. It is not
absolutely necessary to keep to the colours here indicated; there is no
reason whatever why a greater variety should not be introduced, but in
every case the more subdued shades should be selected; a pale red, for
instance, for the flowers, a green and a brown for the arabesques, will
always be found to produce a very pretty and harmonious effect.

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