John Carr - "The Stranger in France"

Washington Irving - "The Crayon Papers"

Laura Lee Hope - "The Moving Picture Girls at Rocky Ranch"

Frank R. Stockton - "A Jolly Fellowship"

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. 179. POST STITCH.]

To work, bring the needle up from the back and twist the thread round it
as many times as the length of the stitch requires, hold the left thumb
on the species of curl thus formed, and passing the needle and thread
through it, insert it at the end of the leaf where it first came out,
and draw it out at the right place for the next stitch.

BUTTON-HOLE BARS (fig. 180).--When a pattern is ornamented with
open-work bars, begin by tracing the outside parallel lines. Then
button-hole the whole lower line and the upper one, till you come to the
place where the first bar is to be; then you carry your thread across
and bring up the needle from below through one of the loops, as, shown
in the figure; lay three threads in this manner, inserting your needle
the third time one loop further on. Then cover the three threads thickly
with button-holing.

[Illustration: FIG. 180. BUTTON-HOLE BARS.]

DIFFERENT KINDS OF SCALLOPS (figs. 181, 182, 183).--The outlining,
padding and button-holing of these scallops is executed in the manner
already described. Be careful to adapt the length of the stitches to the
shape and size of the scallops. If they are pointed (figs. 182, 183),
the stitches will have to be set very closely together on the inner
line, and a little play allowed them on the outer, to come exactly to
the point, which should be very sharply defined.

[Illustration: FIG. 181. ROUND, BUTTON-HOLED SCALLOPS.]

[Illustration: FIG. 182. LARGE, POINTED, BUTTON-HOLED SCALLOPS.]

[Illustration: FIG. 183. SMALL, POINTED, BUTTON-HOLED SCALLOPS.]

ROSE SCALLOPS (figs. 184 and 185).--These are, large button-holed
scallops with indented edges, in the one case, rounded at the top and
sharply pointed at the join; in the other, pointed at the top, and
joined at the bottom by a straight bar of button-holing.

[Illustration: FIG. 184. ROUNDED ROSE SCALLOPS.]

[Illustration: FIG. 185. POINTED ROSE SCALLOPS.]

EYELET HOLES (figs. 186, 187, 188).--Outline the eyelet holes very
carefully first by running a thread round them, then cut out the
enclosed stuff with a sharp pair of finely pointed scissors, and edge
the hole with plain overcasting stitches, worked from left to right.

[Illustration: FIG. 186. OVERCAST EYELET HOLES.]

When you have a long row of eyelet holes to make, outline the upper and
lower halves alternately, first on one side and then on the other, using
two threads, and then overcast them in the same way. The double crossing
of the working threads between the eyelet holes makes them much
stronger, than if each hole were finished off separately, and the thread
passed underneath from one to the other.

[Illustration: FIG. 187. BUTTON-HOLED SHADED EYELET HOLES.]

[Illustration: FIG. 188. SHADED EYELET HOLES HALF OVERCAST, HALF
BUTTON-HOLED.]

The lower halves of shaded eyelet holes, (see figs. 187 and 188), are
worked with very short stitches, and the upper halves with long ones;
they may be edged entirely, either with button-holing or overcasting, or
half with one and half with the other.

SIX LEAVES IN RAISED SATIN STITCH (fig. 189).--Raised satin stitch is
chiefly used for working flowers, leaves, petals, dots, initials and
monograms. After tracing the outline of the design, fill in the centres
with a padding of long, close stitches for which you can again take
Coton a repriser D.M.C[A] and then, beginning always at the point of the
leaf, see letter A, cover it with flat, perfectly even stitches, worked
from right-to-left. B illustrates a leaf, divided through the middle by
a line of overcasting; C, one with a corded vein; D, a divided leaf
worked in sloping satin stitch; E, a leaf, with a corded vein and framed
in sloping satin stitch; F, a leaf worked half in satin stitch, half in
back-stitch and straight stem stitch.

[Illustration: FIG. 189. SIX LEAVES IN RAISED SATIN STITCH.]

Leaves and flowers of all descriptions, can be executed in any of these
stitches, and in different combinations of the same.

SIX WAYS OF MAKING DOTS (fig. 190).--Dots, when they are well made,
are exceedingly effective in white embroidery, particularly if they are
worked in a variety of stitches. Dot A is worked in raised satin stitch;
B, in raised satin stitch, framed in back stitch; C, in raised satin
stitch, framed in twisted knot stitch; D is composed of several post
stitches of different lengths, set in a frame of stem stitches; E is
worked in back-stitch, and F consists of a small eyelet hole, with a
corded setting, which forms the centre.

[Illustration: FIG. 190. SIX WAYS OF MAKING DOTS.]

VENETIAN EMBROIDERY (fig. 191).--Scallops, worked in very high relief,
called Venetian embroidery, are an imitation on stuff of Venetian lace.

Real Venetian point is entirely needle-made; in the embroidered
imitations of it, the stuff takes the place of the needle-made lace
foundation. To make it more like the original however, the ground is
seldom left plain, but is covered with fancy stitches, such as are
represented in the illustration, or with one or other of the damask
stitches in figs. 146 to 170. The button-hole bars may be made with or
without picots. A full description of the latter will be found in the
chapters on net embroidery, and Irish lace. The space to be buttonholed,
must be well padded, for thereon depends the roundness of the
embroidery. For this purpose take 6 or 8 threads of Coton a repriser
D.M.C No. 25,[A] and fasten them down on to the pattern with loose
stitches, laying on extra threads, and cutting them gradually away,
according to the width the line is to be. The stuff underneath the
bars should only be cut away when the embroidery is quite finished.

[Illustration: FIG. 191. VENETIAN EMBROIDERY.]

RENAISSANCE EMBROIDERY (figs. 192 and 193).--This is the term applied,
more especially in France, to embroidery patterns, which are worked
entirely in button-holing, and connected by button-hole bars without
picots, as shewn in the two accompanying figures. The outside edge in
fig. 193, is embellished with picots, described in the chapters just
referred to.

[Illustration: FIG. 192. RENAISSANCE EMBROIDERY.]

[Illustration: FIG. 193. RENAISSANCE EMBROIDERY.]

RICHELIEU EMBROIDERY (fig. 194).--The name given to embroidery of a
similar kind to the former, but in which the connecting bars, instead of
being left plain as they are in the Renaissance embroidery, are
ornamented with picots.

[Illustration: FIG. 194. RICHELIEU EMBROIDERY.]

MADEIRA WORK (figs. 195, 196, 197).--This kind of embroidery, which
consists chiefly of eyelet holes, and is distinguished for the
excellence of its workmanship used to be known as English, but is now
generally called Madeira work, from the island where it originated. The
scallops in figs. 195 and 197, are bordered with shaded eyelet holes,
worked half in button-hole stitch, half in overcasting; the finely
scalloped edge, in fig. 196, is entirely button-holed. In working eyelet
holes, the material must always be turned in, up to the inside line, and
completely worked in, underneath the in order that no loose threads may
be visible on the wrong side.

[Illustration: FIG. 195. MADEIRA WORK.]

[Illustration: FIG. 196. MADEIRA WORK. MATERIALS: Coton Madeira D.M.C
No. 40, 50 or 60. (Special cotton for Madeira work)[A]]

[Illustration: FIG. 197. MADEIRA-WORK. MATERIALS: Coton Madeira D.M.C
No. 40, 50 or 60. (Special cotton for Madeira-work).]

SWISS EMBROIDERY FRAME (fig. 198).--Letters, monograms, coronets and
the like, require extreme care in the working, and can only be really
well done in a frame. The round Swiss frame, or tambour frame, is the
one most commonly used. It consists of two wooden hoops, fitting loosely
into each other; the inner one, fastened to a support with a wooden
screw let into the lower part of it, with which to fasten the frame to
the table. The outside hoop is loose.

Place the fabric to be embroidered over the smaller hoop, the pattern in
the middle, and press the other down over it so that it is tightly
stretched and fixed between the two hoops.

A leathern strap with holes and a buckle, sometimes takes the place of
the second hoop.

[Illustration: FIG. 198. SWISS EMBROIDERY FRAME.]

ORDINARY EMBROIDERY FRAME (fig. 199).--Tambour frames can only be used
for embroidering pocket-handkerchiefs and other small articles; all
larger work has to be done in an ordinary frame. Sew a piece of strong
stuff into the frame, stretch it as tightly and evenly as possible, and
cut out a square in the middle to the size of the pattern. Then tack
your work in underneath, straight to the thread, dividing it out
carefully with pins first, to ensure its being set in perfectly evenly.
Roll or fold up the rest of the stuff over the edges of the frame,
and secure it with a few stitches or pins, to keep it out of the way of
your hand as you work.

[Illustration: FIG. 199. ORDINARY EMBROIDERY FRAME.]

ALPHABETS FOR MONOGRAMS (figs. 200 to 205).--On account of the
difficulty of devising a good monogram for marking under-linen, we
subjoin two alphabets, by the aid of which our workers will be able to
compose their own.

The letters are of a good medium size, which can be magnified or reduced
according to the worker's own taste.

For any such modifications, we would again draw our reader's attention
to the directions given in the concluding chapter. The three first
plates represent large wide letters, intended to contain or encompass
the more elongated ones, represented in the fourth and fifth plates,
figs. 203 and 204.

The interlacing of the letters requires to be carefully done, and our
workers should study the following specimens, so as to learn the
stitches also, which are most suitable for this branch of embroidery.

[Illustration: FIG. 200. ALPHABETS FOR MONOGRAMS. Outside letters A to
H.]

[Illustration: FIG. 201. ALPHABETS FOR MONOGRAMS. Outside letters J to
Q.]

[Illustration: FIG. 202. ALPHABETS FOR MONOGRAMS. Outside letters R to
Y.]

[Illustration: FIG. 203. ALPHABETS FOR MONOGRAMS. Inside letters A to
L.]

[Illustration: FIG. 204. ALPHABETS FOR MONOGRAMS. Inside letters M to
X.]

[Illustration: FIG. 205. ALPHABETS FOR MONOGRAMS. Last inside and
outside letters.]

MONOGRAM COMPOSED OF LETTERS A AND D (fig. 206).--Here, letter A is
worked in flat satin stitch, in Bleu-Indigo 312, and set in stem stitch,
worked in Rouge-Turc 321. D as a contrast to A, is embroidered in
transverse bars, the left part in pale blue and white, the right in pale
blue and dark blue. The little ornaments may be worked according to
fancy, either in white, or in one of the given colours.

[Illustration: FIG. 206. MONOGRAM COMPOSED OF LETTERS A AND D DRAWN FROM
THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton a broder D.M.C Nos. 100 to
150. COLOURS: Bleu-Indigo 334, Rouge-Turc 321 and white.[A]]

MONOGRAM COMPOSED OF LETTERS V AND S (fig. 207).--The flat satin
stitch in both letters is worked in white; the setting, is in red, in
short stem stitch, or if preferred, in knotted back stitch.

[Illustration: FIG. 207. MONOGRAM COMPOSED OF LETTERS V AND S DRAWN FROM
THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton a broder D.M.C No. 120.
COLOURS: White and Rouge-Cardinal 305.[A]]

MONOGRAM COMPOSED OF LETTERS R AND C (fig. 208).--These are worked in
black and grey, for mourning; the way C is divided, admits of a variety
in the stitch; for instance, the back-stitches, in the illustration, may
be replaced by very small eyelet holes.

[Illustration: FIG. 208. MONOGRAM COMPOSED OF LETTERS R AND C DRAWN FROM
THE ALPHABETS OF MONOGRAMS. MATERIALS: Fil a dentelle D.M.C No. 150.
COLOURS: Gris-Cendre 318 and Noir grand Teint 310.]

MONOGRAM COMPOSED OF LETTERS G AND E (fig. 209).--The flat satin
stitching and back-stitching in E, and the stem-stitched edges of G are
worked in white Coton a broder D.M.C; the inside of G in ivory white
Coton surfin D.M.C.

[Illustration: FIG. 209. MONOGRAM COMPOSED OF LETTERS G AND E DRAWN FROM
THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton a broder D.M.C No. 120
white and Coton surfin D.M.C No. 120, unbleached.]

BORDER IN GOBELIN STITCH (fig. 210).--Gobelin embroidery is merely
raised satin stitch, worked directly upon the pattern, without any
foundation, or padding. The effectiveness of this kind of embroidery,
which appears so complicated and is really so easy, and the many ways in
which it can be utilised, soon brought it into favour. It can be worked
on the article itself, or on stripes, laid on afterwards, with a
hem-stitch bordering. The original of fig. 210 was in blue and red;
Bleu Indigo 312 for the grounding, Rouge-Turc 321, for the setting in
stem-stitch. The herring-boning along the edges of the pattern, top and
bottom, is also in red.

[Illustration: FIG. 210. BORDER IN GOBELIN STITCH. MATERIALS: Coton a
broder D.M.C No. 35 in two different colours such as: Bleu-Indigo 312
and Rouge-Cardinal 304, Rouge-Grenat 358 and 309 or, Gris-Tilleul 393
and Rouge-Cardinal 305.[A]]

Should a different selection of colours be made, it is important to
remember that in all cases a sharp contrast is desirable.

ALPHABET AND NUMERALS, LEFT BLANK, AND OUTLINED BY THE GROUNDING,
WORKED IN GOBELIN STITCH (figs. 211 to 215).

[Illustration: FIG. 211. ALPHABET LEFT BLANK AND OUTLINED BY THE
GROUNDING. Letters A to N.]

[Illustration: FIG. 212. ALPHABET LEFT BLANK AND OUTLINED BY THE
GROUNDING. Letters O to Z.]

[Illustration: FIG. 213. LETTER O, FROM THE ALPHABET GIVEN IN FIGS. 211
AND 212.]

[Illustration: FIG. 214. NUMERALS LEFT BLANK AND OUTLINED BY THE
GROUNDING.]

The border worked in Gobelin stitch, illustrated in fig. 210, suggested
to us the idea of an alphabet and numerals, to be executed in a similar
style, left blank, that is to say, and outlined by a grounding in
Gobelin stitch, which are better suited to embroideries of the kind than
those generally used. Our limited space prevents us from giving all the
letters in the diagonal position they are intended to occupy on the
article itself. O and W only, are represented in the right position. No
difficulty will be found in copying the other letters, in giving them
the proper direction.

[Illustration: FIG. 215. LETTER W, FROM THE ALPHABET GIVEN IN FIG. 211
AND 212.]

In order to economize room, J and H are represented in one square, but
they are easily distinguishable from each other.

Fig. 214 represents the numerals, executed in the same way. We should
like to draw our readers attention to a few other ways in which letters
and numerals may be outlined by the back-ground; for example, the solid
parts can be worked either in plain or twisted knot stitch (figs. 177
and 178); in very fine chain stitch; in old German knot or bead stitch
(fig. 873), or even in pique embroidery (fig. 877).

BORDER OUTLINED BY GROUNDING, WORKED IN GOBELIN AND STEM STITCH (fig.
216). The grounding of this pattern is worked on stiff white linen, and
entirely in Rouge-Turc 321, and the outlining in Noir grand Teint 310.
The same pattern can equally well be worked on gauzes and other
transparent stuffs, but with Coton a repriser, instead of Coton a broder
D.M.C, for the solid parts. Two shades of Rouge-Grenat, one dark and one
very light, may be taken instead, or two of Jaune-Rouille, or of
Violet-Mauve, employing always the lighter shade for the grounding and
the darker for the setting.

[Illustration: FIG. 216. BORDER, OUTLINED BY THE GROUNDING WORKED IN
GOBELIN AND STEM STITCH. First part.]

[Illustration: FIG. 216. Second part. MATERIALS: Coton a broder D.M.C
No. 50.--COLOURS: Rouge-Turc 321 and Noir grand Teint 310.[A]]

Be careful, in the grounding, not to make the red stitches near the
edge, longer than they are represented in the illustration and to set
the black stem stitches as close as possible to the grounding.

The pattern, which could only be reproduced in the original size, had to
be divided in two, to fit the page. In copying it, join the A and B of
the first part to the A and B of the second; the same in fig. 217, each
time the pattern is repeated, the flowers are to droop from the + as
seen from the position of the buds in the first part, at the beginning
of the drawing.

FLOWER GARLAND IN DIFFERENT KINDS OF STITCHES (figs. 217 and
218).--Most of the stitches, described at the beginning of this chapter,
will be found in this graceful garland, in the execution of which a
considerable variety of colours can be introduced. The rose-buds may be
worked in two shades of Vert-Pistache and of Rouge-Grenat, in the
stitches described in figs. 173, 177, 189 A; the forget-me-nots, in two
or even three shades of Bleu-Indigo, in raised satin stitch and knotted
stitch; the slender green leaves in Vert-de-gris, or Gris-Tilleul, the
stamens in Jaune-Citron, and the stalks of the roses in Brun-Acajou.

[Illustration: FIG. 217. FLOWER-GARLAND IN DIFFERENT KINDS OF STITCHES.
First part.]

[Illustration: FIG. 217. Second part. MATERIALS: Coton a broder D.M.C
No. 40. COLOURS: Rouge-Grenat 326 and 335, Bleu-Indigo 312 and 334,
Vert-Pistache 319 and 320, Vert-de-gris 474 and 475, Brun-Acajou 301,
Jaune-citron 446.]

[Illustration: FIG. 218. SHOWING THE WORKING OF THE OUTSIDE STITCHES IN
FIG. 217.]

The border that completes this charming pattern, consists of four rows
of button holing, worked in four colours. The first row in our
illustration is worked in pale pink, followed by three shades of green,
the palest of which is used for the second row of stitches.

When these rows are worked upon a satine or cambric foundation, it is
advisable to begin by making a small drawing, in which the height of the
stitches and the distance between them is accurately marked out, then
prick the pattern through and pounce it upon the material beneath.

When they are worked on a material, the threads of which can be counted
no such precaution is necessary.

INSERTION IN GOBELIN AND STEM STITCH (fig. 219).--Owing to the
shortness of the stitches, this pattern is easier to work than the
foregoing ones. The little flowers are embroidered alternately in dark
and light red; the setting varies to correspond, the light red flower
being set in dark red, and vice versa. The interior of the leaves is in
light green and the setting, as well as the connecting bars, in dark
green.

[Illustration: FIG. 219. INSERTION IN GOBELIN AND STEM STITCH.
MATERIALS: Coton a broder D.M.C No. 35--COLOURS: Rouge-Cardinal 347 and
Rouge-Geranium 352 with Gris-Tilleul 392 and 331, or Bleu-Indigo 312 and
334 with Vert-Mousse 469 and 471, or Violet-Mauve 375 and 376 with
Jaune-Rouille 364 365.[A]]

STRIPES OF EMBROIDERY WITH LACE INSERTION BETWEEN (fig. 220).--We
conclude this chapter, by showing how stripes of embroidery can be used
alone, or in conjunction, either with bands of open-work, or lace,
crochet, or net insertion. Such combinations are useful for ornamenting
aprons, table-cloths, curtains etc., every description in short of
household linen and of children's garments. One great advantage,
moreover, which stripes of this kind, have over larger pieces of
embroidery is that they require neither frame nor pillow, nor wearisome
counting of stitches, but can be worked in the hand, at all times and
places.

[Illustration: FIG. 220. STRIPES OF EMBROIDERY WITH INSERTION BETWEEN.]

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: STRIPE OF GOLD EMBROIDERY IN GOLD THREAD, PURL, AND
FLATTENED GOLD WIRE.]




Flat stitch and Gold embroidery.


The terms, flat stitch and gold embroidery, suggest as a rule,
needle-work upon rich materials, such as velvet, brocade, plush and the
like.

Nevertheless, a great deal of beautiful embroidery is to be met with, in
silk and gold thread upon quite common stuffs; Persian and Moorish
embroidery for instance, both remarkable for their delicacy and
minuteness, and executed upon ordinary linen, or cotton fabrics.

As a fact, the material is quite a secondary matter; almost any will do
equally well as a foundation, for the stitches described in these pages.
Flat stitch, and some of the other stitches used in gold embroidery, can
be worked with any kind of thread, but best of all with the D.M.C
cottons.

FLAT STITCH EMBROIDERY.--Decorative designs, and conventional flowers,
are the most suitable for flat stitch embroidery; a faithful
representation of natural flowers should not be attempted, unless it be
so well executed, as to produce the effect of a painting and thus
possess real artistic merit.

ENCROACHING FLAT STITCH (fig. 221).--Small delicate flowers, leaves,
and arabesques, should in preference, be worked either in straight flat
stitch (figs. 189 and 190) or in encroaching flat stitch. The stitches
should all be of equal length, the length to be determined by the
quality of the thread; a fine thread necessitating short, and a coarse
one, long stitches. The stitches should run, one into the other, as
shown in the illustration. They are worked in rows, those of the second
row encroaching on those of the first, and fitting into one another.

[Illustration: FIG. 221. ENCROACHING SATIN STITCH.]

Work your flowers and leaves from the point, never from the calyx or
stalk. If they are to be shaded, begin by choosing the right shade for
the outside edge, varying the depth according to the light in which the
object is supposed to be placed. The stitches should always follow the
direction of the drawing.

ORIENTAL STITCH (figs. 222, 223, 224).--The three following stitches,
which we have grouped under one heading, are known also, under the name
of Renaissance or Arabic stitches. We have used the term Oriental,
because they are to be met with in almost all Oriental needlework and
probably derive their origin from Asia, whose inhabitants have, at all
times, been renowned for the beauty of their embroideries.

[Illustration: FIG. 222. ORIENTAL STITCH.]

[Illustration: FIG. 223. ORIENTAL STITCH.]

These kind of stitches are only suitable for large, bold designs. Draw
in the vertical threads first; in working with a soft, silky material,
to economise thread, and prevent the embroidery from becoming too heavy,
you can begin your second stitch close to where the first ended.

[Illustration: FIG. 224. ORIENTAL STITCH.]

But if the thread be one that is liable to twist, take it back
underneath the stuff and begin your next stitch in a line with the
first, so that all the stitches of the first layer, which form the
grounding, are carried from the top to the bottom. The same directions
apply to figs. 223, 224 and 226.

When you have laid your vertical threads, stretch threads horizontally
across, and fasten them down with isolated stitches, set six vertical
threads apart. The position of these fastening stitches on the
transverse threads must alternate in each row, as indicated in fig. 222.

For fig. 223, make a similar grounding to the one above described,
laying the horizontal threads a little closer together, and making the
fastening stitches over two threads.

In fig. 224, the second threads are carried diagonally across the
foundation-threads, and the fastening stitches are given a similar
direction.

For these stitches, use either one material only, a fleecy thread like
Coton a repriser D.M.C for instance, or else two, such as Coton a
repriser D.M.C for the grounding, and a material with a strong twist
like Cordonnet 6 fils D.M.C or Fil a pointer D.M.C for the stem stitch.

PLAITED STITCH (fig. 225).--When the vertical stitches are laid, a
kind of plait is formed in the following way. Pass the thread three
times, alternately under and over three foundation threads. To do this
very accurately, you must take the thread back, underneath, to its
starting-point; and consequently, always make your stitch from right to
left.

[Illustration: FIG. 225. PLAITED STITCH.]

If you have chosen a washing material, and D.M.C cottons to work with,
use one colour of cotton for the foundation, and Chine d'or D.M.C No.
30, for the plaited stitch.

MOSAIC STITCH (fig. 226).--In old embroideries we often find this
stitch, employed as a substitute for plush or other costly stuffs,
appliqued on to the foundation. It is executed in the same manner as the
four preceding stitches, but can only be done in thick twist, such as
Cordonnet 6 fils D.M.C or Ganse turque D.M.C.

[Illustration: FIG. 226. MOSAIC STITCH.]

Each stitch should be made separately, and must pass underneath the
foundation, so that the threads which form the pattern are not flat, as
they are in the preceding examples, but slightly rounded.

BORDER IN PERSIAN STITCH (fig. 227).--This stitch, of Persian origin,
resembles the one represented in fig. 175. Instead of bringing the
needle out, however, as indicated in fig. 176, take it back as you see
in the illustration, to the space between the outlines of the drawing,
and behind the thread that forms the next stitch. Before filling in the
pattern, outline it with short stem stitches, or a fine cord, laid on,
and secured with invisible stitches.

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