William Noyes - "Handwork in Wood"

George Sumner Weaver - "Aims and Aids for Girls and Young Women"

Various - "Scientific American Supplement, No. 303"

Arthur Elson - "Woman's Work in Music"

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




OPEN-WORK INSERTION IN FOUR COLOURS (fig. 81).--Draw out, from
twenty-five to thirty threads. The outside figures are executed over six
clusters, of three threads each, in a dark and light shade alternately
of the same colour. Each of the middle figures combines three clusters
of the two figures above it, and may be executed, either in a different
colour altogether, or in a lighter shade of the one employed in the top
row. The little star in the centre should be worked in dark red, or
black.

[Illustration: FIG. 81. OPEN-WORK INSERTION IN FOUR COLOURS.

MATERIALS: Coton a broder D.M.C No. 20, or Cordonnet 6 fils D.M.C Nos.
15 to 30.[A]

COLOURS: Rouge-Turc 321, Bleu-Indigo 312, 334, Noir grand Teint 310.[A]]

OPEN-WORK INSERTIONS (figs. 82, 83, 84).--For each of these draw out
forty threads. Fig. 82 worked in white, and Rouge-Grenat clair 309,
comprises fourteen clusters, of four threads each. Begin at the top of
the big pyramid, so that the threads which you run in, can be more
closely crowded together.

[Illustration: FIG. 82. OPEN-WORK INSERTION.]

In fig. 83, the two rows of short clusters are worked in Gris-Tilleul
moyen, and, Gris-Tilleul clair, 392 and 330;[A] the pyramid of steps,
in Brun-Chamois moyen, 324;[A] the three inner clusters in Brim-Chamois
tres clair, 418. One figure consists of fourteen clusters, of three
threads each.

[Illustration: FIG. 83. OPEN-WORK INSERTION.]

Fig. 84 also is to be worked in three colours; the light squares in
unbleached cotton, the middle figure in Bleu-Indigo tres clair, 334, the
large squares on either side in Brun-Cuir clair 432. Each figure
contains eighteen clusters, of three threads each.

[Illustration: FIG. 84. OPEN-WORK INSERTION.]

OPEN-WORK INSERTION WITH SPIDERS (fig. 85).--The edges are to be
herring-boned, as described in fig. 39. In the middle, the so-called
spiders are made, over every group of four clusters. The thread that
runs out from the spider, passes over two clusters and under one, and
then three or four times, over and under the clusters, as in darning,
and so back, under the spider, at the place at which it was drawn in,
and then on, to the next four strands of thread.

[Illustration: FIG 85. OPEN-WORK INSERTION WITH SPIDERS.]

THREE-ROWED OPEN-WORK (fig. 86).--Draw out five threads for the narrow
stripe, and from fourteen to sixteen for the wide one. Each cluster
should consist of four threads. The narrow bands between, are to be
herring-boned on either side. The dotted line shows the course of the
thread, on the wrong side. Then unite each separate cluster in the
middle, with a back-stitch, as shown in the illustration, and finally,
join every group of four clusters together, with three stitches, and
make a spider in the middle of the open-work, at the point where the
threads intersect each other.

[Illustration: FIG 86. THREE-ROWED OPEN-WORK.]

OPEN-WORK INSERTION WITH RINGS (fig. 87).--Bind the edges on both
sides, with straight, two-sided, stitches. Take, for this, Coton a
broder D.M.C, No. 30, (embroidery cotton), using it double. Draw out,
from twenty-four to thirty threads. Wind your thread six or seven times
round the middle of each cluster of nine threads, and then make
darning-stitches, above and below, to a length of 3 m/m. When you have
completed two clusters, join them together, by four interlocked
stitches; wind your thread three times round the single thread, and sew
it over with close stitches.

[Illustration: FIG 87. OPEN-WORK INSERTION WITH RINGS.]

OPEN-WORK INSERTION WITH SPIDERS (fig. 88).--Draw out twenty-four
threads. Ornament the two edges with half-spiders. You begin these over
two threads, and go on taking in others, to the number of eight. The
whole spider in the middle, is made as above described.

[Illustration: FIG. 88. OPEN-WORK INSERTION WITH SPIDERS.]

OPEN-WORK INSERTION (figs. 89 and 90).--The beauty of this otherwise
simple pattern, lies in the peculiar knot, with which the edges of the
stuff are ornamented.

[Illustration: FIG. 89. OPEN-WORK INSERTION.]

Carry the working thread, as shown in fig. 90, from right to left, (see
the description of the right side) over and under four threads; then
bring the needle back, under the thread which lies slanting, form a loop
with the forefinger of the left hand, slip it on to the needle, and draw
it up close to the first stitch; pull the needle through the knot, and
proceed to the next stitch.

The illustration explains how the open-work in the middle should be
carried out.

[Illustration: FIG. 90. EXPLANATION OF THE STITCH FOR FIG. 89.]

OPEN-WORK WITH WINDING STITCH (fig. 91).--For this pattern, which is a
very laborious one to work, draw out twenty-eight threads. Bind the
edges with two-sided stitches, over two, three, four and five threads,
respectively. For the middle figures, you must reckon four threads for
the clusters, round which the working thread is tightly twisted, eight
for the darned clusters, ornamented with picots (see fig. 165), and
sixteen for the rectangular rosettes, in two colours.

Make a loose spider over the threads, as a background for the rosette.
Work the picots in a different colour from the cluster, and the
rosettes, likewise, in two colours. The connecting loops between the
figures should be made as you go along, the thread being always carried
back into the loop just made.

[Illustration: FIG. 91. OPEN-WORK WITH WINDING STITCH.]

CUTTING OUT THREADS AT THE CORNERS (figs. 92, 93, 94, 95). If you want
to carry a latticed-hem or a simple open-work pattern, round a corner,
you must cut and loosen the threads, on both sides, about one c/m. from
the edge of the hem, as seen in fig. 92. The loose threads can be pushed
into the turning, and the edge button-holed, as in fig. 93.

If however, on the other hand, the stitching be continued without
interruption, as indicated in the upper part of fig. 94, the loose
threads must be brought to the wrong side, and as represented in the
lower part of fig. 94, fastened down with a few stitches.

[Illustration: FIG. 92. THE CUTTING AND LOOSENING OF THE THREADS AT THE
CORNERS.]

[Illustration: FIG. 93. THE OVER CASTING OF THE DISENGAGED EDGE AT THE
CORNER, THE THREADS BEING TURNED IN WITHIN THE HEM.]

[Illustration: FIG. 94. BORDERING THE DISENGAGED EDGE WITH
HEM-STITCHING, THE THREADS BEING TURNED OVER]

[Illustration: FIG. 95. FILLING IN THE CORNER WITH A SPIDER, AND
CONTINUATION OF THE LATTICE-WORK THENCE.]

CUT OPEN-WORK (PUNTO TAGLIATO).--For cut open-work, threads have to be
drawn out both ways, the number of course to depend on the pattern.
Threads, left between others that have been cut out, serve as a
foundation on which a great variety of stitches can be worked. Stuffs,
equally coarse in the warp and woof, should be chosen for all cut
open-work, for then the empty spaces that remain, where threads have
been drawn out both ways, will be perfectly square.

DRAWING OUT THREADS BOTH WAYS (fig. 96).--The same number of threads
must be drawn out each way; most patterns require the same number of
threads to be left as are drawn out. In fig. 96, three threads have been
drawn out and three left.

[Illustration: FIG. 96. DRAWING OUT THREADS BOTH WAYS, WITHOUT REGARD TO
THE EDGES.]

CUTTING OUT THREADS (fig. 97).--We often meet with cut open-work
patterns, set in another kind of embroidery. In such cases, the threads
that are to be cut out, must be cut a few millimetres within the edge,
and then drawn out, so that there may be a frame of the stuff left
intact outside.

[Illustration: FIG. 97. CUTTING OUT THREADS, IN THE MIDDLE OF THE
STUFF.]

BUTTON-HOLING THE RAW EDGES (fig. 98).--In very fine linen textures,
the threads can simply be cut out, but in the case of coarser stuffs,
and when a pattern ends in steps as in figs. 103, 104, 105, the raw
edges must be button-holed as in fig. 98, or 99.

[Illustration: FIG. 98. BUTTON-HOLING THE RAW EDGES OF CUT OPEN-WORK.]

OVERCASTING THE RAW EDGES (fig. 99).--Cording the raw edges, is even
better than button-holing them. Count the number of threads carefully
that have to be cut out, run in a thread to mark the pattern, and then
only, cut the threads through, at least two threads within the line.

[Illustration: FIG. 99. OVERCASTING THE RAW EDGES OF CUT OPEN-WORK.]

OVERCASTING THE TRELLISED GROUND (fig. 100).--If you only have a small
surface to embroider, you can draw out all the threads at once. But in
the case of a large piece of work it is better to begin by removing the
threads in one direction only, and completing all the little bars, one
way first; after which you draw out the threads the other way and
embroider those you leave. In this way you will secure greater equality
and finish in your work.

[Illustration: FIG. 100.--OVERCASTING THE TRELLISED GROUND.]

GROUND FOR SQUARE, FIG. 105 (figs. 101 and 102).--Finish the first row
of bars along the edge completely, to begin with. In the second row,
overcast the bar, down to half its length, then carry your thread over
two empty spaces, see the letter _a_, come back to the bar, overcasting
the thread which you threw across first, and passing the needle under
the bars of the stuff. In the second rows that intersect the first,
marked by letter _b_, the threads meet in the middle of the empty space.

In fig. 102, finish the bars, overcast both ways first, and then fill in
the ground with interlaced threads, worked row by row, throwing the
thread from one square to the other as you go, and doubling it, as you
return. For the bars, see the chapters on net embroidery, and Irish
lace.

[Illustration: FIG. 101. LATTICE-GROUND FOR SQUARE IN FIG. 105, SHOWING
THE COURSE OF THE STITCHES.]

[Illustration: FIG. 102. LATTICE-GROUND FOR SQUARE IN FIG. 105.]

LATTICE-GROUND AND DAMASK STITCH FOR SQUARE, FIG. 105 (fig. 103).--Our
illustration shows a third kind of openwork ground with one corner in
damask stitch, of the square represented in fig. 105. The little bars
which intersect each square crossways, are made in two divisions, by
carrying the thread to the opposite bar and back. In the same way, the
second thread is carried over the first. The damask stitches are
described in the next chapter, in figs. 143 and 144.

[Illustration: FIG. 103. LATTICE-GROUND WITH A PORTION OF SQUARE, FIG.
105.]

LATTICE-GROUND AND DAMASK STITCHES FOR SQUARE, FIG. 105 (fig.
104).--Damask, or gobelin stitches, are given in figs. 152, 153, 154.
The ground of this part of the square (fig. 104) is adorned with narrow
bars, worked in darning stitch. From the centre of one bar, proceed
three bars made on three foundation-threads, and a fourth made on two,
on account of the passage to the next bar.

[Illustration: FIG. 104. LATTICE-GROUND AND DAMASK STITCH FOR SQUARE,
FIG. 105.]

QUARTER OF THE SQUARE IN SINGLE AND CUT OPEN-WORK, AND DAMASK-STITCH
(fig. 105).--Original size 48 c/m. square. This handsome square is
worked in unbleached cotton on a white ground; it may also be worked in
colours. A very good effect is produced by using Chine d'or D.M.C[A]
red, blue, or green for the gobelin stitch, and a uniform pale tint for
the cut open-work.

Figs. 101, 102, 103, 104 illustrate in detail, one quarter of the
square, which is represented here one third of the original size. The
centre piece (fig. 104) is bordered by four stripes, two long and two
short; the former containing two lozenge-shaped open-work figures
separated and finished off by damask stitches; the latter, only one such
figure. For the insertion in single open-work, that recurs three times,
you will find a variety of designs in figs. 81, 82, 83, 84, 87, 88.

[Illustration: FIG. 105.--QUARTER OF THE SQUARE IN SINGLE AND CUT
OPEN-WORK, AND DAMASK STITCH.

Original size 48 c/m. square.

MATERIALS suitable for Holbein linen: Fil a pointer D.M.C No. 15 or 20,
and Coton a repriser D.M.C No. 25.[A]

For antique linen: Fil a dentelle D.M.C No. 25 or 30, or Cordonnet 6
fils D.M.C No. 50, 60, or 70, and Coton a repriser D.M.C No. 50 or, in
place of the latter, Coton a broder surfin D.M.C No. 190.[A]]

DRAWING IN THE PATTERN (fig. 106).--Darning in the threads, as you do
into a net foundation is a slower process and one that requires greater
skill than drawing them in. The illustration shows the proper order and
direction of stitches for Fig. 108. In this case likewise, the little
bars must be finished, before the actual pattern is filled in.

[Illustration: FIG. 106. DRAWING IN THE PATTERN. (Explanation of fig.
108)]

DARNING IN THE THREADS (fig. 107)--In old needle-work we often find
the pattern reserved, that is, left blank and outlined by the grounding.
As it is difficult, especially in executing minute, and delicate
figures, to withdraw the threads partially, without injuring the linen
foundation, they are withdrawn throughout, and new ones drawn in, to
form the pattern. To explain this more clearly, the original threads of
the material are represented in a lighter shade than the new ones that
are drawn in; the course of the stitches is indicated in a darker shade.

[Illustration: FIG 107. DARNING IN THE THREADS. (Explanation of fig.
109).]

BROAD INSERTION IN CUT OPEN-WORK, WITH THE PATTERN DRAWN IN (fig.
108).--This insertion, suitable according to the foundation it is worked
on, for the decoration either of curtains, table-covers, bed-linen or
underclothing, is made as shown in fig. 106. If intended for the
decoration of any article made of white linen, we recommend unbleached
materials for the lattice-work, and bleached for the pattern, to bring
it out in strong relief.

[Illustration: FIG. 108. BROAD INSERTION IN CUT OPEN-WORK, WITH PATTERN
DRAWN IN.]

INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED IN (fig. 109).--This
insertion can be introduced into any kind of linen material, and used
for ornamenting towels, aprons, bed-linen and table-linen. When it is
used to connect bands of cross-stitch embroidery, the open-work should
be of the same colour as the embroidery, and the pattern worked in white
or unbleached cotton, to correspond with the foundation. In fig. 109,
the pattern is half as large again as in the original.

[Illustration: FIG. 109. INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED
IN.

MATERIALS--For Holbein linen: Fil a pointer D.M.C No. 15 or 20,
Cordonnet 6 fils D.M.C No. 8, 10 or 15 for the bars.--Coton a tricoter
D.M.C No. 16 or Coton a repriser D.M.C No. 12 or 25 for darning or
drawing in the pattern.

For finer linens: Fil a dentelle D.M.C Nos. 25 to 30, or Cordonnet 6
fils D.M.C Nos. 25 to 40 for the bars and Coton a repriser D.M.C No. 50
for darning or drawing in the pattern.]

CUT OPEN-WORK PATTERN (figs. 110 and 111).--This pattern, more of the
nature of lace than any of the former, is well adapted for trimming, not
only household articles but also church furniture, altar-cloths and the
like, which are required to wash, as it can be worked in any width.

Fig. 110, a magnified representation of the work in process of
execution, shows alternately, ten threads withdrawn each way and six
left, with open spaces between. The arcs are worked over three
carefully laid threads, carried across from the middle of one bar to the
middle of the bar at right angles to it, the wheels on the other hand
are begun and finished at the same corner. Overcast the cut edges, and
hem-stitch the outside layer of stuff (figs. 61 and 62).

[Illustration: FIG. 110. CUT OPEN-WORK PATTERN. Fig. 111 in process of
execution.]

[Illustration: FIG. 111. CUT OPEN-WORK PATTERN. MATERIALS: Fil a pointer
D.M.C No. 20 or 30, Cordonnet 6 fils D.M.C Nos. 15 to 50 or Fil a
dentelle D.M.C Nos. 25 to 50.]

GREEK CUT OPEN-WORK PATTERN (fig. 112).--After the foregoing
explanations, no difficulty will be found in copying the beautiful Greek
cut open-work pattern, illustrated in fig. 112. Here, we have in the
original, 48 threads drawn out in the middle, both ways, from one
straight bar to another, (these bars being darned) with open spaces
between; and in the lower and narrower division, 21 threads drawn out
each way. The cut edges, from bar to bar, are hem-stitched on both
sides, leaving four threads of the stuff between.

The long bars, in the second figure, are button holed on both sides,
those with the picots, on one side only.

[Illustration: FIG. 112. GREEK CUT OPEN-WORK PATTERN. MATERIALS:
Cordonnet 6 fils D.M.C Nos. 25 to 50, Fil d'Alsace D.M.C Nos. 20 to 100
or Fil a dentelle D.M.C Nos. 25 to 50.]

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: NET STRIPE, IN IMITATION OF BRUSSELS LACE.]




Net and damask stitches.


Many net embroidery patterns and damask stitches consist of a
combination of ordinary running and darning, others of chain, stem and
cross stitch.

NET EMBROIDERY.--All these kinds of stitches can be worked on the
coarse Greek net, as it is called, as well as on the finest quality of
real Brussels net.

Stripes of net, finished off with button-hole edging, and ornamented
with one or other of the following patterns, make very pretty washing
laces and the like; net laid upon Irish point and converted by
needlework into a lace ground, makes an excellent substitute for a
hand-made ground, which demands much labour and time.

MATERIALS SUITABLE FOR NET EMBROIDERY.--The choice of material must be
determined by the quality of the net and the effect to be produced. For
a coarse make of net and a very marked pattern, the lowest numbers of
D.M.C cottons, or the narrowest braids, such as Soutache D.M.C Nos. 1,
2, 3 should be used; if the net be fine and the pattern a delicate one,
then the higher numbers of the following are preferable: Coton a
tricoter D.M.C Nos. 8 to 20, Coton a repriser D.M.C Nos. 25 to 70, Coton
a broder D.M.C Nos. 16 to 50, Fil a dentelle D.M.C Nos. 25 to 50, Coton
a broder surfin D.M.C Nos. 100, 120, 150. The latter must be adjusted to
the required size before being used, that is to say as many strands of
it removed, as is necessary in order to reduce it to the proper
thickness.

TRACING WITH RUNNING STITCHES (fig. 113).--Have your pattern traced on
linen or paper; tack the net upon it, and copy it carefully on the net
with running stitches. As in darning, the stitches must run first above
and then beneath, alternating in each succeeding row. At the turn of the
lines, the stitches cross each other, as shown in the illustration.

[Illustration: FIG. 113. TRACING WITH RUNNING STITCHES.]

NET PATTERN (fig. 114).--Here too the pattern is traced with running
stitches, which are run in on both sides of each row of meshes. The
thread is carried first to the right, and then to the left, under every
alternate bar of the net and out again. Between the first and second
rows, one thread of the foundation must be left uncovered. In the next
row, the thread is carried back again, so that it encircles each mesh.
In the third row, the thread passes under the same bar of net as in the
second, the threads touching each other. The fourth row is a repetition
of the first.

[Illustration: FIG. 114. NET PATTERN.]

NET PATTERN (fig. 115).--This consists of two rows of stitches. In the
first, the single stitches run diagonally from left to right, over and
under a mesh; in the second row the triple stitches, also carried
diagonally across a mesh, lie from right to left.

[Illustration: FIG. 115. NET PATTERN.]

NET PATTERN (fig. 116).--Begin with a double row, as in fig. 114; this
is followed by a row of cross-stitch, touching the others, for which the
thread has to be carried, first under one of the straight bars of the
mesh and then diagonally, across it. A second, similar row of stitches
backwards, completes the crosses. This can be further varied by the
introduction of a row of triple stitches, after the double row, as in
fig. 115, and the repetition of the two first only.

[Illustration: FIG. 116. NET PATTERN.]

These rows can also be worked in two colours, or in white thread and
washing gold.

NET PATTERN (fig. 117).--Begin at the top, carrying the thread, first
under and then over two bars and a mesh, and then underneath as before.
In the second as in the first row, the threads must be drawn in, so that
4 threads always meet in one mesh, and two run parallel to each other
through the same mesh.

[Illustration: FIG. 117. NET PATTERN.]

NET PATTERN (fig. 118).--This pattern, which resembles fig. 117 in the
execution, is thickened by triple stitches. Above, where in the
preceding row three threads were laid, the thread should be single.

[Illustration: FIG. 118. NET PATTERN.]

Very pretty varieties are to be obtained by the introduction of several
colours. Take white, for instance, for the first row, and different
shades of the same colour for the second, third, fourth and fifth rows;
such as, Bleu-Lapis 345, 344, 343, 333, 342, ([A]) or Rouge-Cardinal
348, 305, 304, 347, 346, ([A]) or Rouge-Geranium, Brun-Caroubier or any
other colour that is absolutely fast.

NET PATTERN (fig. 119).--After one row of cross-stitch, such as was
described in fig. 116, add a second, carrying the thread under the bar
that lies between the first stitches, so that the two rows only cover
three threads of the net. The close bands of cross-stitch must be
divided from each other by one row of net bars.

[Illustration: FIG. 119. NET PATTERN.]

NET PATTERN (fig. 120).--Draw the thread twice backwards and forwards,
as in darning, through one row of meshes. In the next, make four
stitches over one mesh and two bars. After the fourth stitch, the thread
is carried forward under two bars to the next group. The meshes filled
in thus are divided from each other by two double rows of darning
stitches. Here you may introduce a variety in the colour, using either
white and unbleached, or unbleached and pale blue, or some other
combination of the kind.

[Illustration: FIG. 120. NET PATTERN.]

NET PATTERN (fig. 121).--Make three diagonal stitches over three bars
and two meshes, then returning to the mesh out of which the first
stitches come, make three more in the opposite direction. In the second
row, the stitches meet in the same mesh as those of the first.

[Illustration: FIG. 121. NET PATTERN.]

NET PATTERN (fig. 122).--Carry the thread upwards from below, over a
bar of the net, then pass it horizontally under another bar and carrying
it downwards, pass it under a diagonal bar and cover the other three. In
the second row, your loops must be turned the opposite way. When the
whole foundation is finished, run a thread over the whole surface and
overcast it. A good effect is produced by using white and unbleached
cottons, in alternate rows.

[Illustration: FIG. 122. NET PATTERN.]

NET PATTERN (fig. 123).--This pattern consists of one row of
overcasting, one of stitches like those described in fig. 114, and one
of cross-stitch, as in fig. 39, running diagonally across the stuff.
Besides the cottons already mentioned, washing gold thread (Or fin D.M.C
pour la broderie), may be used for the overcasting. Dead gold introduced
into simple needlework of this kind enlivens it extremely.

[Illustration: FIG. 123. NET PATTERN.]

NET PATTERN (fig. 124).--Three kinds of stitches are required for this
pattern. In the first row the stitch lies crossed underneath the net; in
the second, 3 stitches are made over one mesh, the first and the last of
which are carried across three meshes. In the third row, button-hole
stitches are carried from right to left over two diagonal bars, in such
a manner that the thread is drawn through the mesh facing the loops, and
the next stitch comes out under the loop of the preceding one.

[Illustration: FIG. 124. NET PATTERN.]

NET PATTERN (fig. 125).--Fill in every other diagonal row of meshes
with chain stitch, inserting the needle into the same mesh it came out
of, so that the thread lies in front of the needle, in a loop. The rows
of chain stitch may be made with two or three rows of meshes between
them. Even the diagonal lines by themselves, make a very pretty
foundation for other stitches.

[Illustration: FIG. 125. NET PATTERN.]

NET PATTERN (fig. 126).--The first row worked from left to right,
consists of three loop stitches upwards and three downwards, each over
one bar. In the second row, divided from the first by one row of
stitches, the inner loops must be turned towards each other; in the
third, the outer ones. Any of the stitches, already described, can be
introduced into this pattern to enliven it.

[Illustration: FIG. 126. NET PATTERN.]

NET INSERTIONS (figs. 127 and 128).--These two, as well as the
subsequent patterns, are most of them worked in darning stitch and
simple overcasting.

The scallops in fig. 127 are formed of darning stitches, over 4, 3, 2
and 1 mesh, respectively. In the intervening space, which is five meshes
wide, the stitch shown in fig. 118, may be introduced.

[Illustration: FIG. 127. NET INSERTION.]

In repeating the pattern, the stitches forming the scallops, must be
made to run in the opposite direction. Instead of the thread, simply
drawn through the middle, little stars like those described in fig. 134,
have a very pretty effect.

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