Roswell Field - "The Romance of an Old Fool"

Thomas Carson - "Ranching, Sport and Travel"

Burton Egbert Stevenson - "The Home Book of Verse, Volume 2"

Arnold Bennett - "How to Live on 24 Hours a Day"

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. 253. CROSS STITCH.]

HALF CROSS STITCH (fig. 254).--If the cotton is too coarse, or the
canvas too fine, to make the double stitch, carry the thread back along
the whole line and make the half-stitches across it, from left to
right; the same in the case of a piece of work, which you buy with
a part of the pattern ready-worked.

[Illustration: FIG. 254. HALF CROSS STITCH.]

GOBELIN STITCH ON PLAIN CANVAS (fig. 255).--This is worked over two
horizontal threads and one perpendicular. In a frame, you can work the
second row, from right to left, otherwise, you must turn the work round,
and bring out your needle behind the last-made stitch.

[Illustration: FIG. 255. GOBELIN STITCH.]

GOBELIN STITCH ON PENELOPE CANVAS (fig. 256).--For the same stitch on
Penelope canvas, you need rather a coarse needle, which will make its
way easily between the threads of the canvas.

[Illustration: FIG. 256. GOBELIN STITCH ON PENELOPE CANVAS.]

REPS STITCH (fig. 257).--Contrary to Gobelin stitch, this stitch which
is an imitation of reps, is worked in vertical lines, over two vertical
threads and one horizontal one.

[Illustration: FIG. 257. REPS STITCH.]

TENT STITCH (fig. 258).--This stitch is simply the first half of a
cross or marking stitch, worked over a single thread each way. The
illustration shows the working of a row, from right to left, the thread
being carried forward, underneath the vertical threads. Tent stitch is
used for the most part, in conjunction with cross stitch, for the more
delicate lines and the shaded parts of flowers and figures.

[Illustration: FIG. 258. TENT STITCH.]

WIDE GOBELIN STITCH (fig. 259).--This stitch covers two vertical and
two horizontal threads, and advances one thread at a time.

[Illustration: FIG. 259. WIDE GOBELIN STITCH.]

BROAD CROSS STITCH (fig. 260).--Worked over two vertical and four
horizontal threads, and very useful for filling in large surfaces as it
can be done twice as quickly as the ordinary cross stitch. It may be
varied by turning the crosses first one way and then the other.

[Illustration: FIG. 260. BROAD CROSS STITCH.]

DOUBLE STITCH (fig. 261).--Begin with a simple cross stitch over every
alternate intersection of the threads then make a second row of stitches
between those of the first, but in this case, over two and six threads,
so that they extend beyond the first each way. In the subsequent rows, a
square stitch should be opposed to a long one and a long stitch to a
square one.

[Illustration: FIG. 261. DOUBLE STITCH.]

RICE STITCH (fig. 262).--Fill in the whole ground first, with large
cross stitches, over four threads each way, then upon these, make the
so-called rice stitches. These cross the four points of the large cross
stitches, and meet in the space between, where they form another cross.
The large cross stitches should be worked in rather coarse cotton, the
rice stitches in one of a finer quality.

[Illustration: FIG. 262. RICE STITCH.]

DOUBLE STITCH, SET TWO WAYS (fig. 263).--This consists of diagonal and
upright cross stitches, alternately. Work from left to right, and carry
the thread over four vertical threads and downwards, under two
horizontal ones, then diagonally upwards, over four threads and
downwards under two, then again over four vertical threads, and so on.
Coming back, you cross the first threads, and pass the working thread
each time in a straight line, underneath the two threads of the canvas.
The stitches of the third and fourth rows are set, as the illustration
shows, the opposite way to those of the two first, the thread being laid
the contrary way. Gold thread is generally used for this second set of
stitches; Or fin D.M.C pour la broderie, or Chine d'or D.M.C will be
found to be the most suitable for the purpose.[A]

[Illustration: FIG. 263. DOUBLE STITCH SET TWO WAYS.]

PLAIT STITCH (fig. 264).--It requires great attention to work this
stitch, to and fro; the easier way is to carry the thread back each
time, to the starting point.

[Illustration: FIG. 264. PLAIT STITCH.]

Carry the thread from left to right, over two horizontal threads, and
downwards under four perpendicular ones, then under two threads, from
right to left, as the figure indicates.

STEM STITCH (fig. 265).--Here, the stitches are worked in separate
rows, over four threads each way. The working thread passes first under
the two middle threads, from right to left, and then under the two upper
ones.

[Illustration: FIG. 265. STEM STITCH.]

LEAF STITCH (fig. 266).--Carry the thread diagonally over two double
threads each way, and back under one double thread, to the row whence
the stitch started. Make rows of back-stitches in a different colour
between the rows of long ones.

[Illustration: FIG. 266. LEAF STITCH.]

FISH-BONE STITCH (fig. 267).--The difference between this and the
preceding stitch is, that the working thread after passing over three
perpendicular and three horizontal threads, is secured by a back-stitch
over the last intersection of the canvas threads. These back-stitches
lean to the right or left, according to the direction of the long
stitches.

[Illustration: FIG. 267. FISH-BONE STITCH.]

DIAGONAL WEB STITCH (fig. 268).--Stretch diagonal threads across the
whole surface you are going to embroider, and secure them with rows of
overcasting stitches, set, if you are working on Penelope canvas,
between the double threads of the canvas. In the next rows the stitches
must be set the opposite way, which produces the effect of diagonal or
twilled cloth.

[Illustration: FIG. 268. DIAGONAL WEB STITCH.]

CASHMERE STITCH (fig. 269).--To imitate this texture in needlework
first make one stitch over one crossing of the canvas threads, and then
two stitches over two crossings.

[Illustration: FIG. 269. CASHMERE STITCH.]

FLORENTINE STITCH (fig. 270).--Florentine stitch is worked in slanting
lines, the thread being carried, diagonally first over one and then over
two double threads of the canvas.

[Illustration: FIG. 270. FLORENTINE STITCH.]

MOSAIC STITCH (fig. 271).--The first row consists of one short and one
long stitch, alternately; the second, of short stitches only, set
between the long stitches of the first row; the third row is a
repetition of the first, and so on.

[Illustration: FIG. 271. MOSAIC STITCH.]

KNOTTED STITCH (fig. 272).--Carry the working thread over two threads
in width and six in height, bring the needle back, four threads lower
down, in front of the double threads, and insert it behind the preceding
stitch, and over the middle threads, and then carry it down to the line
of the stitches. In the subsequent rows, the stitches extend over four
threads and encroach on two of the previous row, so that the stitches of
the second row lie between those of the first.

[Illustration: FIG. 272. KNOTTED STITCH.]

STAR, OR SMYRNA STITCH (fig. 273).--- Make a plain cross stitch over
four threads, each way, and then over that, another cross stitch,
standing upright. The same stitch can be made over six or seven threads;
if you work over more than four threads, it follows that you increase
the number of stitches accordingly.

[Illustration: FIG. 273. STAR, OR SMYRNA STITCH.]

ROCOCO STITCH (figs. 274, 275, 276).--After fastening in your thread,
lay it over four single or two double threads, as the case may be, and
carry the needle through to the left, under one double thread; then, as
fig. 274 shows, bring it back over the first stitch, put it in by the
side of it, and bring it out below, under half the horizontal threads
covered by the first stitch. Then make a stitch to the right, similar to
the one just made to the left.

[Illustration: FIG. 274. ROCOCO STITCH. FIRST STITCHES ON THE WRONG
SIDE.]

When you have finished one stitch, carry the needle under one thread, in
an oblique line, to the next stitch, see fig. 273. The whole pattern is
worked in diagonal lines.

[Illustration: FIG. 275. ROCOCO STITCH. STITCHES ON THE RIGHT SIDE.]

[Illustration: FIG. 276. ROCOCO STITCH. COMPLETED.]

PARISIAN STITCH (fig. 277).--This stitch, though it is generally
worked on silk canvas, can also be worked on the different cotton and
linen materials already referred to more than once in this Encyclopedia.
It makes a very good grounding in cases where the material is not
intended to be completely hidden. It consists of a long stitch over
three threads, and a short stitch over one thread, alternately.

[Illustration: FIG. 277. PARISIAN STITCH.]

GREEK STITCH (fig. 278).--This differs from the ordinary cross stitch,
in the oblique inclination given to the threads, and the manner in which
it is begun. Instead of taking up the two threads that follow the first
stitch, you bring your needle back from right to left, under the
vertical threads of the first stitch, carry it downwards, and then from
right to left, to a distance of four threads beyond the first stitch.
The next stitch is made like the first. The rows may be joined together,
either by the short or the long stitches, but you must follow one rule
throughout. This stitch is much used in Slavonic countries, for the
adornment of linen garments, and there we have observed that the short
stitches are generally made to encounter the long ones. A coarse
material that covers the ground well, such as, Coton a tricoter D.M.C
Nos. 6 to 12, is the best one to use for this stitch.

[Illustration: FIG. 278. GREEK STITCH.]

SCOTCH STITCH (fig. 279).--Squares, composed of slanting stitches,
made over one, three, five, three threads respectively, and then again
over one thread, and separated from each other by rows of Gobelin
stitches, constitute what is ordinarily known by the name of Scotch
stitch.

[Illustration: FIG. 279. SCOTCH STITCH.]

MOORISH STITCH (fig. 280).--For this stitch, instead of surrounding
squares of stitches, made in the way we have just described, with
Gobelin stitch, the squares are made to touch, rising like steps one
above the other, and bordered only at the sides by Gobelin stitch.

[Illustration: FIG. 280. MOORISH STITCH.]

ORIENTAL STITCH (fig. 281).--Here, you make four diagonal stitches
over one, two, three and four double threads respectively; which four
stitches form so many triangles, one above the other. The empty spaces
between are filled up with Gobelin stitches covering two threads.

[Illustration: FIG. 281. ORIENTAL STITCH.]

SHELL STITCH (fig. 282).--Carry your thread upwards over six
horizontal threads, then from right to left, under one vertical thread
and downwards over six horizontal ones. When you have made four vertical
stitches in this way, bring the needle out behind the third double
thread, counted lengthways, and between the third and fourth, counted
across, and fasten the four long stitches together with a back-stitch,
to the middle thread of the canvas. Draw a thread of a different colour
twice through these back-stitches, so as to form small knots like
shells, and then fill in the ground between the rows of long stitches,
with back-stitches.

[Illustration: FIG. 282. SHELL STITCH.]

JACQUARD STITCH (fig. 283).--If you have a large plain surface to
cover, you should choose a stitch that forms a pattern in itself.
Jacquard stitch and others which we shall describe later on, will be
found to produce the effect of brocaded stuff. To work Jacquard stitch,
make six stitches underneath one another, over two double threads, and
six by the side of one another, from left to right, over two double
threads. The second row consists of the same number of stitches,
similarly worked downwards and to the side, but over one double thread
only.

[Illustration: FIG. 283. JACQUARD STITCH.]

BYZANTINE STITCH (fig. 284).--Here, you make the same number of
stitches as in the preceding figure but with this difference, that the
two rows of stitches are made either over two, or four threads.

[Illustration: FIG. 284. BYZANTINE STITCH.]

MILANESE STITCH (fig. 285).--In the first row, the back-stitch is made
alternately, first over four diagonal crosses and then over one; in the
second row, over three and two; in the third, over two and three, in the
fourth, over one and four. The last long stitches should come under the
last short ones and the short ones, in the middle of the last long ones.

[Illustration: FIG. 285. MILANESE STITCH.]

PLUSH STITCH (fig. 286).--This stitch, also called Astrachan stitch,
by means of which a very good imitation of an Oriental rug can be
produced, consists of loops, each secured by a cross stitch; the best
way to ensure these loops being even and regular is to make them over a
narrow wooden ruler, or a piece of whalebone.

The effect can be varied by cutting the loops, which gives the surface
the appearance of velvet.

[Illustration: FIG. 286. PLUSH STITCH.]

The illustration represents the middle loops only, as cut, for the cut
and the uncut stitch can both be introduced into the same piece of
embroidery. For example, the borders in figs. 290, and 291, are worked
in open or cut plush stitch, whilst in the centres, the stitch is left
uncut. Two stitches of a similar kind, called Smyrna and Malta stitch,
suitable for making rugs or carpets, are described in the last chapter
but one in the book.

CHAIN STITCH (fig. 287).--Generally speaking, this stitch is only used
for the adornment of under-linen or small articles of fancy-work but it
can also be employed in copying cross stitch patterns. In old
collections we often meet with very interesting pieces of needlework,
which were used for hangings or screens, where the figure-subjects, are
executed in chain stitch. Patterns in many colours, gain immensely by
being worked in this stitch, the colours blend together better than in
any other, and even the shape of the stitch contributes to soften the
contrasts of colour.

Chain stitch cannot, like other stitches, be worked to and fro, nor can
all the stitches of one row be finished first, as is generally possible
in cross stitch work, each row must be begun separately, and always from
the same side, and a different needle should be used for each colour, as
the material has often to be changed.

[Illustration: FIG. 287. CHAIN STITCH.]

The stitch is worked as follows; after fastening in your thread, insert
the needle at the same hole it came out of, and bring it out two threads
lower down. Keep the loop, formed by the working thread, under the point
of the needle. The thread should not be drawn up tightly but left to
form a rather loose, round loop. For the next stitches, insert the
needle close to the thread that issues from the last loop.

PATTERN FOR BORDERS OR GROUNDING (fig. 288).--This simple but most
effective design, copied from one of the most beautiful of Oriental
carpets, can be executed in, either cross stitch, plush stitch, or chain
stitch. To make a wider border still, the diagonal lines that divide the
figures shaped like an S, have only to be prolonged, and the figures
repeated.

The colours have been chosen with the view of reproducing as nearly as
possible the subdued and faded tones, which time has imparted to the
original.

[Illustration: FIG. 288. PATTERN FOR BORDERS OR GROUNDINGS. MATERIALS:
Coton a broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15,
Fil a pointer D.M.C Nos. 10 to 30, or Coton a repriser D.M.C No. 25.
EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol])
Rouge-Cardinal 346, ([symbol]) Rouge-Cornouille 449, ([symbol])
Bleu-Indigo 311, and ([symbol]) Bleu-Indigo 322, ([symbol]) Gris-Cendre
414, ([symbol]) Bronze dore 585 and ([symbol]) Vert-Mousse 470.[A]]


PATTERN FOR GROUNDING (fig. 289).--Diagonal lines, intersected by
balls, serve here as a setting for quaintly shaped flowers and leaves.
The outlines are all worked in cross stitch, and the solid parts, in
either tent stitch or Gobelin stitch.

[Illustration: FIG. 289. PATTERN FOR GROUNDING. MATERIALS: Coton a
tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C Nos. 5 to 15 or
Coton a broder D.M.C No. 16.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE
COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Jaune d'Ocre 676,
([symbol]) Violet-Mauve 315, ([symbol]) Rouge-Geranium 349, ([symbol])
Rouge-Aurore 360, ([symbol]) Bleu-Indigo 312, ([symbol]) Bleu pale 668,
([symbol]) Rouge-Cornouille 449, ([symbol]) Vert-de-gris 474, ([symbol])
Vert-de-gris 475, ([symbol]) Grounding.[A]]

PART OF A DESIGN, SUITABLE FOR CARPETS (figs. 290 and 291). Our space
will not admit of our reproducing more than a quarter of this design.
Colours of the softest shades should be selected for it. A black line
divides the pattern into four quarters. The upper quarter on the right,
and the lower one, on the left, should be worked in blue, and the upper
one on the left, copied from fig. 290.

[Illustration: FIG. 290. PART OF A DESIGN SUITABLE FOR CARPETS.

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 10, or Coton a repriser
D.M.C No. 12.

EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand
Teint 310, Rouge-Grenat 358, ([symbol]) Rouge-Cornouille 450, ([symbol])
Bleu-Indigo 311 and ([symbol]) Bleu-Indigo 322, ([symbol]) Vert
metallique 465, ([symbol]) Gris-Noisette 424.]

The narrow border, in red, blue and green, is to be repeated after the
broad band, which is represented in fig. 291, has been added to the
grounding. A very good effect is obtained, if in the broad border, fig.
291, you vary the background of the different subjects.

[Illustration: FIG. 291. OUTER BORDER OF THE DESIGN FOR CARPETS FIG.
290. 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 15, or Coton a
repriser D.M.C No. 12.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE
COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Rouge-Grenat 358,
([symbol]) Bleu-Indigo 311, ([symbol]) Vert metallique 465, ([symbol])
Jaune-vieil-Or 679, ([symbol]) Gris-Noisette 424, ([symbol])
Rouge-Cornouille 450.[A]]

LINEN EMBROIDERY.--The stitches used in linen embroidery are very
similar to those used in canvas work. The ordinary cross stitch, as
represented in fig. 253, is the one most commonly used, but it is not so
effective as the two-sided stitches, which in the beautiful old
needlework of the 15th, 16th and 17th centuries, have always excited our
wonder and admiration.

STUFFS SUITABLE FOR LINEN EMBROIDERY.--Most embroidery of this kind,
and more especially the Italian, is done on very fine linen. Such fine
work however, requires more time and patience than people, in these
days, are as a rule disposed to bestow on work intended merely for
pleasure and recreation. To meet the requirements of the day, therefore,
in addition to the finer kinds of linen, a great variety of textures,
are now manufactured, the threads of which, being thick and round, can
be easily counted. The cross stitches that are worked on Cuba, Ceylon or
Batavia linen, are large and coarse, those on linen-canvas, Russian
linen, twisted tammy, and Rhodes linen, small and fine.

Linen fabrics are either white, unbleached or cream-coloured. All three
are used for embroidery, but the coloured cottons show up best on the
cream ground; on the white, they look hard and crude, and on the
unbleached, dull and faded.

MATERIALS SUITABLE FOR LINEN EMBROIDERY--As most linen embroidery is
executed on articles that are subjected to frequent washing, the D.M.C
cottons, which are to be had in every shade and colour, are the best for
the purpose. For coarse stuffs, coarse cotton should be used, such as
knitting cotton, Coton a tricoter D.M.C Nos. 6, 8, 10, 12 and 14,[A]
which will be found a very good substitute for wool; or six-cord crochet
cotton (Cordonnet 6 fils D.M.C) Nos. 3, 4, 5, 10 and 15,[A] which gives
quite as full and brilliant a stitch, as silk-twist. Finer cottons
should be used for the finer stuffs, such as embroidery cotton (Coton a
broder D.M.C) Nos. 6 to 200,[A] and lace thread (Fil a dentelle D.M.C)
Nos. 30 to 150.[A] In many cases, even darning cotton (Coton a repriser
D.M.C) can be used, as like Algerian silk, it can be split or taken
double, to suit the stuff.

PLAIN CROSS STITCH ON AUXILIARY CANVAS (fig. 292).--Plain cross
stitch, commonly called marking stitch, has already been described in
fig. 253. But it may be well to observe, that when an auxiliary material
is used, it should be most carefully tacked upon the stuff following the
thread of the same, and a sufficient margin left to allow of the drawing
out of the canvas threads, when the work is finished.

[Illustration: FIG. 292. PLAIN CROSS STITCH ON AUXILIARY CANVAS.]

TWO-SIDED CROSS STITCH, WORKED IN FOUR ROWS OF STITCHES (figs. 293,
294, 295).--Straight lines of cross stitch, alike on both sides, can be
worked in two journeys to and fro. Working from left to right, begin by
fastening in your thread, never with a knot, but by two or three little
running stitches, which are hidden afterwards by your first cross
stitch. Directing your needle to the right, pass it diagonally over a
double cross of the warp and woof of the canvas, and so on to the end of
the line.

Having reached the last stitch, draw out your thread in the middle of
it, make an auxiliary diagonal stitch downwards to the right, bring the
needle up in the middle of the last stitch, take it thence, upwards to
the left, across two threads, and begin the return journey, from right
to left, crossing and thus completing the first row of stitches. In the
auxiliary stitch with which you begin the backward journey, the thread
lies double on both sides. Fig. 295 shows how to pass down to the next
row.

[Illustration: FIG. 293. FIRST HALF OF THE FIRST JOURNEY AND AUXILIARY
STITCH FOR RETURNING.]

[Illustration: FIG. 294. ONE JOURNEY AND FIRST HALF OF THE SECOND
FINISHED, AND AUXILIARY STITCH LEADING TO THE SECOND RETURN.]

[Illustration: FIG. 295. THE TWO JOURNEYS TO AND FRO, COMPLETING ONE ROW
OF CROSS STITCH, BOTH SIDES ALIKE.]

TWO-SIDED MARKING STITCH (figs. 296 and 297). The above mode of
working two-sided cross stitch cannot be applied to letters, or patterns
in broken lines, which both consist chiefly of isolated stitches. Figs.
296 and 297 explain the course of the stitches in embroidery of this
kind.

The working detail A, Fig. 296, indicates the spot for the thread to
enter the stuff, and the position of the needle for the first and second
stitches; B, the first two stitches completed, with an auxiliary stitch
to the right, the thread drawn out on the right, and the position of the
needle for the fifth stitch that completes the cross; G shows the
completion of the stitch begun at B and the position of the needle for a
second stitch to the right; D, one cross stitch completed and another
begun, immediately beneath A. In fig. 297, E shows how to work stitches
to the left; F, an auxiliary stitch to reach an isolated cross stitch on
the right, G, auxiliary stitches between two isolated cross stitches,
and H, a second and last auxiliary stitch to complete the cross.

It requires both practice and care to do this two-sided marking stitch,
so as not to disfigure the stuff by superfluous stitches.

[Illustration: A B C D FIG. 296. TWO-SIDED MARKING STITCH. DIFFERENT
POSITIONS OF THE NEEDLE.]

[Illustration: E F G H FIG. 297. TWO-SIDED MARKING STITCH. DIFFERENT
POSITIONS OF THE NEEDLE.]

CROSS STITCH FORMING A SQUARE AT THE BACK (figs. 298 and 299).--Many
of the alphabets we so admire in old samplers are worked in cross
stitch, that forms a square at the back. Each stitch has to be finished
off before another is begun; if you carefully examine figs. 298 and 299,
which show severally the right and the wrong sides of the stitch, you
will find no difficulty in mastering it. Letter A, fig. 296, shows the
entrance of the thread, the position of the needle for half the cross
stitch on the right side, and the second side of the square at the back,
as shown in fig. 299, A. Letter B, fig. 298, shows the cross stitch
finished, and the position of the needle for the third side of the
square on the wrong side, indicated by the same letter in fig. 299. C,
in both figures, indicates a stitch which is double on the right side,
and on the wrong side forms the fourth side of the square, whilst letter
D, explains how to continue the stitches.

[Illustration: A B C D FIG. 298. RIGHT SIDE OF THE CROSS STITCH, FORMING
A SQUARE AT THE BACK.]

[Illustration: E F G H FIG. 299. SQUARE STITCH FORMING THE BACK OF THE
CROSS STITCH.]

TWO-SIDED ITALIAN STITCH (figs. 300, 301, 302, 303).--Two-sided
Italian stitch consists of cross stitches, alike on both sides, divided
from each other by horizontal and vertical stitches. The upper and lower
stitches should all slope one way, as in plain cross stitch.

Italian stitch is worked in one journey, to and fro. Fig. 300 shows how
to fasten in the thread, and place the needle for the first stitch, from
right to left; fig. 301, the position of the needle from left to right,
to form the cross at the back, and the vertical stitch to the left, on
the right side; fig. 302, the position of the needle, for a two-sided
horizontal stitch at the bottom of the cross, where upon you proceed as
in fig. 300. Fig. 303 explains the return of the thread, which completes
the double crosses and the lines between.

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