Bjoernstjerne Bjoernson - "Captain Mansana and Mother's Hands"

Hamlin Garland - "Other Main Travelled Roads"

Roy Rockwood - "The Wizard of the Sea"

Alfred Ollivant - "The Gentleman"

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 horizontal lines, not made on the first journey, are added on the
way back. In conclusion, pass the needle back, horizontally, from left
to right, to make the final stitch over the cross, and then make the
stitch between, as shown in fig. 303. On a thin stuff, this stitch
produces an extremely pretty effect, resembling lattice-work, provided
the thread be tightly drawn in the working.

[Illustration: FIG. 300. TWO-SIDED ITALIAN STITCH. INTRODUCTION OF THE
THREAD AND POSITION OF THE NEEDLE FOR THE FIRST STITCH.]

[Illustration: FIG. 301. TWO-SIDED ITALIAN STITCH. POSITION OF THE
NEEDLE FOR THE 2ND AND 3RD STITCHES.]

[Illustration: FIG. 302. TWO-SIDED ITALIAN STITCH. POSITION OF THE
NEEDLE FOR THE 4TH AND 5TH STITCHES.]

[Illustration: FIG. 303. TWO-SIDED ITALIAN STITCH. RETURN JOURNEY, WHICH
COMPLETES THE CROSS STITCH.]

MONTENEGRIN CROSS STITCH (figs. 304, 305, 306).--The Slavonic tribes
of the southern districts of E. Europe, especially the Montenegrins,
have a great partiality for this stitch, which has been rarely noticed,
hitherto, in books on needlework. The right side shows cross stitches
with a double thread underneath, and divided by vertical stitches; the
wrong side, regular cross stitches, also divided by vertical stitches.
Coarse cotton should be used for this stitch; it produces a richer
effect and not only covers the stuff better, but also the underneath
stitch which in the Slavonic work, is entirely hidden by the cross
stitches.

Begin, as letter A indicates, with a long, slanting stitch, across 4 and
8 threads, then, bringing your needle back from right to left, under
four threads, draw it out, carry it over the first long stitch, and
insert it again from left to right, under the first four threads of the
canvas. These four stitches finished, proceed to the fifth and sixth,
which as B shows, cross the first four, then repeat the first stitch.

The threads that form the stitches on the wrong side, should always be
opposed to each other, that is, one cross should lean to the right, the
other to the left, as shown in fig. 305. This variation in the
inclination of the stitches, which is regarded as a fault in plain cross
stitch, is indispensable here, and produces a charming effect on the
wrong side.

[Illustration: A B FIG. 304. MONTENEGRIN CROSS STITCH. 1ST, 2ND, 3RD,
4TH AND 5TH STITCH AND TRANSVERSAL STITCH]

[Illustration: A B FIG. 305. MONTENEGRIN CROSS STITCH. POSITION OF THE
STITCHES ON THE WRONG SIDE.]

[Illustration: FIG. 306. MONTENEGRIN CROSS STITCH. A ROW OF STITCHES
FINISHED.]

PLAITED ALGERIAN STITCH (fig. 307).--The distinguishing feature of
this stitch is, that it only advances one thread at a time. It should be
begun on an uneven number of threads, and like the Montenegrin stitch,
should be worked with coarse cotton. The rows may touch, either at the
top or at the bottom of the stitch, so long as you keep to one plan
throughout.

[Illustration: FIG. 307. PLAITED ALGERIAN STITCH.]

TWO-SIDED SPANISH PLAITED STITCH (figs. 308 and 309).--This stitch has
the advantage of being, not only very effective, but also very quickly
executed. It is worked in two rows, forwards and backwards. All cross
stitch patterns can be worked in Spanish stitch. The gaps, which are
occasioned by the long stitches, have to be filled in with short ones.
In itself, the stitch consists of slanting stitches, three threads a
part, alike on both sides, and advances three threads at a time, as
shown in figs. 308 and 309.

[Illustration: FIG. 308. TWO-SIDED PLAITED SPANISH STITCH.]

[Illustration: FIG. 309. TWO-SIDED PLAITED SPANISH STITCH.]

TWO-SIDED LINE STITCH (figs. 310 and 311).--Square stitch, Holbein
stitch, line, or stroke stitch, as it is sometimes called, and setting
stitch, are all worked on one principle. Though all these two-sided
stitches are related to each other, and by no means difficult of
execution, those new to the work will find a little practice necessary,
to make the stitches follow in their proper order. Fig. 310 explains how
the needle has to pass, alternately, step by step, over and under the
threads of the stuff, and fig. 311, how the threads, left blank the
first time, are covered on the way back. The great difficulty is how to
place your first row of stitches so as to ensure an unbroken course
back. It is as well before setting out, to ascertain clearly the most
direct course back, so that you may not come to a stand-still, or be
obliged to make unnecessary stitches on the wrong side. If you have to
pass obliquely across the stuff, as in patterns figs. 326, 327, 328,
329, 331 and 333, proceed in the same way as though you were covering
the straight threads of a fabric.

[Illustration: FIG. 310. TWO-SIDED LINE STITCH. FORWARD ROW.]

[Illustration: FIG. 311. TWO-SIDED LINE STITCH. BACKWARD ROW.]

TWO-SIDED INSERTION (figs. 312, 313, 314, 315, 316, 317, 318).--We
conclude this series of stitches with a description of a pretty,
two-sided insertion, suitable for joining stripes of work of different
widths together. In pieces of old needlework, we often find handsome,
coloured patterns, joined together by a piece of lace or some quite
different kind of work. The insertion represented in fig. 317, is a very
good substitute for either. Fig. 312 explains the first stitch and the
course of the second, from left to right, under 3 vertical and 3
horizontal threads; the 3rd stitch to the left, over 6 vertical threads,
and the beginning of the 4th stitch. Fig. 313 shows the 4th stitch
completed, and the direction the 5th and 6th stitches have to take;
fig. 314, the 6th completed, and the position of the needle for the 7th
and 8th; fig. 315, the 9th lower, horizontal stitch, over 6 vertical
threads, the 10th backward stitch, and the position of the needle for
the 11th and last stitch. Fig. 317 represents a whole series of
stitches, and fig. 318, the back of the work, which though quite a
different pattern, will combine very well with any two-sided embroidery.

[Illustration: FIG. 312. TWO-SIDED INSERTION. FIRST DETAIL.]

[Illustration: FIG. 313. TWO-SIDED INSERTION. SECOND DETAIL.]

[Illustration: FIG. 314. TWO-SIDED INSERTION. THIRD DETAIL.]

[Illustration: FIG. 315. TWO-SIDED INSERTION. FOURTH DETAIL.]

[Illustration: FIG. 316. TWO-SIDED INSERTION. FIFTH DETAIL.]

These insertions can be worked on any stuff, but the stitches, must be
done, both ways, on a number of threads, divisible by 3. Thus, the first
stitch may cover 6, 9, or 12 threads, but never 8, 10, 12 or 14.
[Transcriber's note: 12, here, appears to be an error in the original.]

[Illustration: FIG. 317. TWO-SIDED INSERTION. ROW OF STITCHES FINISHED.]

[Illustration: FIG. 318. TWO-SIDED INSERTION, SHOWING THE BACK OF FIG.
317.]

GOTHIC BORDERS IN GOBELIN AND CROSS STITCH (figs. 319 and 320).--We
are indebted for both these pretty patterns, which are quite Gothic in
their character, to a visit we paid to the national museum at Munich,
where we discovered them amongst a heap of other old valuables, lying
un-heeded in a remote corner. Their simple graceful outlines render them
peculiarly suitable for the decoration of table-cloths, counterpanes,
curtains, etc. All embroideries of this kind should be finished off with
a deep fringe, made in the stuff itself, or knotted on to it or may be
trimmed with a heavy thread lace, of a wide width, corresponding with
the work in character.

The design may be worked either in one shade, as in fig. 319, or in two,
as in fig. 320, where all the outside stitches are worked in the darker
shade of the given colours.

[Illustration: FIG. 319. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton
a tricoter D.M.C Nos. 6 to 12, Coton a broder D.M.C Nos. 16 to 35, or
Cordonnet 6 fils D.M.C Nos. 3 to 15.[A] COLOURS: Rouge-Turc 321, or two
shades of Bleu-Indigo, 311 and 334, or two shades of Rouge-Grenat, 358
and 359 or two shades of Brun-Acajou, 300 and 402.[A]]

[Illustration: FIG. 320. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton
a tricoter D.M.C Nos. 16 to 35. COLOURS: Bleu-Indigo 311 and 344, or
Rouge-Cardinal 346 and Rouge-Geranium 335, or Gris-Tilleul 391 and
331.[A]]

POWDERING AND BORDER. ALBANIAN SUBJECTS (figs. 321 and 322).--The
arrangement of colours for these charming patterns, of Albanian origin,
should be as follows; the dark-coloured crosses, red, the lighter ones,
alternately blue and green, the lightest, yellow.

[Illustration: FIG. 321. POWDERING. ALBANIAN SUBJECT. MATERIALS: Coton a
tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or
Coton a repriser D.M.C No. 12, 25 or 50.[A]

COLOURS: Rouge-Cardinal 347, Bleu-Indigo 322, Vert metallique 465,
Jaune-Orange 444, Gris-Brun 409.[A]]

In fig. 321, most of the stitches in every other diagonal row, are
worked in red, the others in green or blue; in the intermediate rows the
flowers are worked alternately, in green and red, or blue and red, and
throughout, the centre of each figure should consist of 4 stitches in
yellow.

[Illustration: FIG. 322. ALBANIAN SUBJECT. MATERIALS: Coton a tricoter
D.M.C Nos. 6 to 12, Coton a broder D.M.C Nos. 16 to 35 or Cordonnet 6
fils D.M.C Nos. 3 to 25.[A] COLOURS: Rouge-Cardinal 347, Bleu-Indigo
312, Jaune-Orange 444, Vert metallique 465, Gris-Brun 409.[A]]

In fig. 321, which serves as a border to the above, only the stalks of
the 4 conventional pinks, which, with the cross in their middle, form a
square, are in brown.

These squares are separated from the bottom border by an insertion, in
Gobelin stitch, worked over 6 threads, in red, blue, green and yellow,
from 20 to 25 stitches of each. This band is edged on both sides with a
row of stem stitches, worked in yellow over 4 threads. The Holbein
stitches that border the band, can be made in whichever colour the
worker prefers, or else in red and gold thread.

BORDERS IN STROKE STITCH (figs. 323, 324, 325).--These three patterns
will give our readers an opportunity of perfecting themselves in
two-sided, square stitch (see figs. 310 and 311), also called stroke, or
line stitch, according as it is worked, in oblique, or straight rows.

[Illustration: FIG. 323. BORDER IN STROKE STITCH. MATERIALS: Coton a
marquer D.M.C Nos. 5 to 200.[A] COLOURS: Rouge-Turc 321 or Bleu-Indigo
312.[A]]

[Illustration: FIG. 324. BORDER IN STROKE STITCH. MATERIALS: Coton a
repriser D.M.C No. 50.[A] COLOURS: Vert-Pistache 319, or Vert-Mousse
470.[A]]

[Illustration: FIG. 325. INSERTION IN STROKE STITCH. MATERIALS: Coton a
broder D.M.C Nos. 16 to 60.[A] COLOURS: Rouge-Turc 321, or Rouge-Grenat
309, or Bleu-Indigo 311.[A]]

We again recommend our readers, to begin by ascertaining the course the
stitches should take, in order to avoid all unnecessary stitches and be
sure of finding their way back according to the prescribed rule.

CORNERS IN STROKE STITCH (figs. 326 and 327).--These pretty little
patterns are suitable for the decoration of ladies' and children's
collars, fine pocket-handkerchiefs and finger napkins, and can be worked
in one or two colours, as preferred. If two colours be used, the darker
should be taken for the interior, the lighter for the narrow outside
edge.

[Illustration: FIG. 326. & FIG. 327. CORNERS IN LINE STITCH. MATERIALS:
Coton a broder D.M.C Nos 35 to 200 or Fil a dentelle D.M.C Nos. 25 to
70.[A] COLOURS: Bleu-Indigo, or Rouge-Cardinal, or Brun-Caroubier, or
Violet-Lie-de-vin.[A]]

STRIPE IN STROKE STITCH (fig. 328).--This is copied from a piece of
Italian work, though from a resemblance in the different subjects to the
rose, thistle and shamrock, if might have been supposed to be of English
origin. The original work was executed in a most brilliant purple red
which time has toned down to the colour of Jaune-Rouille 308, or
Brun-Cuir 432, one or other of which we recommend, as being the only
colours with which any thing approaching the refined distinguished look
of the old embroidery, can be given to the new.

[Illustration: FIG. 328. STRIPE IN STROKE STITCH. MATERIALS: Cordonnet 6
fils D.M.C Nos. 15 to 50, Coton a broder D.M.C Nos. 16 to 35, or Coton a
repriser D.M.C No. 12, 25 or 50.[A] COLOURS: Jaune-Rouille 308, or
Jaune-vieil-Or 680.[A]]

GROUNDING IN DIAGONAL LINES (fig. 329).--This pattern can be worked,
in any of the previous stitches, or in back-stitch. It is only suitable
for large surfaces, on account of the diagonal lines, and should be
worked, all in one colour. It can be varied by adding sprays to the
upper sides of the slanting stalks, like those on the lower sides,
turned either the same way, or upwards. Skilled workers will readily
contrive the middles for themselves, by combining the different subjects
and putting them together in various positions, either diagonally or at
right angles to each other, with the help of the Penelope mirror.[2]

[Illustration: FIG. 329. GROUNDING IN DIAGONAL LINES. MATERIALS: Coton a
tricoter D.M.C Nos. 6 to 16, or Coton a broder D.M.C Nos. 16 to 100.
COLOURS: Bleu-Indigo 322, or Rouge-Cardinal 347.]

POWDERING IN CROSS, STROKE AND STAR STITCH (fig. 330).--This charming
combination of cross, stroke and star stitches, can be made use of
wherever embroidery is available as a means of decoration.

The cross stitches, in which the solid parts of the pattern are worked,
should be in one colour only, the stroke and star stitches, in Chine
d'or D.M.C.[A]

[Illustration: FIG. 330. POWDERING IN CROSS, STROKE AND STAR STITCH.
MATERIALS: Coton a repriser D.M.C No. 50 and Chine d'or D.M.C.[A]
COLOURS--For the Cotton: Rouge-Grenat 326.--For the Chine: Bleu-Indigo
and gold.[A]]

BORDER IN GREEK STITCH (fig. 331).--All the darker lines here, should
be worked in black, colour 473, the leaves in the form of steps,
alternately in light and dark red up to the stalks, the line of
demarcation being indicated by the different direction of the stitches,
so that two light leaves, and two dark leaves, should always face each
other.

[Illustration: FIG. 331. BORDER IN GREEK STITCH. MATERIALS: Coton a
broder D.M.C Nos. 16 to 25, or Coton a repriser D.M.C Nos. 12 to 50.
COLOURS: Rouge-Geranium 349 and 351, Jaune-Rouille 364, Bleu de France
341, Bleu pale 668, Noir-Vert 473, Or fin D.M.C pour la broderie No. 30
and Chine d'or D.M.C No. 30.]

In the original, the cross bars that unite the leaves, are in yellow,
whilst the detached figures that separate them, are worked, those that
come between the light red leaves, in pale blue, and those between the
dark red ones, in gold thread. The exterior part of the figure is filled
in with the different colours, indicated above; with the exception of
the small squares in Gobelin stitch, which should all be worked in plain
gold, or Chine d'or D.M.C, green and gold. The SS in the narrow outside
border, should be worked in two shades of blue; the outside stitches in
colour 341 and the solid parts in colour 668. The little figures with
the transverse bars that unite the SS, should be set in black, and
filled in, alternately, in light and dark red, and in yellow.

GROUNDING (fig. 332).--This grounding was copied from a beautiful old
cushion-cover and will be found particularly useful in the confection of
small embroidered articles, because the pattern will always form a
centre point in itself. A light, brilliant red, such as either of the
two colours indicated beneath the figure, will best reproduce the tone
of the original.

[Illustration: FIG. 332. GROUNDING. MATERIALS: Coton a tricoter D.M.C
Nos. 6 to 10, or Coton a broder D.M.C Nos. 16 to 100.[A] COLOURS:
Rouge-Cardinal 804, or Rouge-Cornouille 450.[A]]

In making the little stars that connect the different squares, the mode
we recommended for working stroke stitch should be adopted, that is,
beginning, by bringing the needle out in the middle, making 7 stitches,
and at the eighth, carrying the needle back under the first, to the spot
whence you started. The stitches will then be alike on both sides.

WALLACHIAN BORDER (fig. 333).--A piece of Wallachian needlework,
executed on rough linen, and uncommon, both in colour and design,
suggested the charming embroidery, here represented. In place of the
somewhat violent colours, which indicate an undeveloped taste, we have
substituted softer and more refined ones. All the stroke stitches of the
middle stripe and of the two border stripes, top and bottom, as well as
the darker portions of the small dice, subdivided into eight, in the
bottom border, and of the small diagonal squares in the top border,
worked in Gobelin stitch, are in red, colour 346. The setting of upright
stroke stitches round the large centre figures, as well as the straight
lines that divide these same figures into four, are worked in yellow,
colour 680.

[Illustration: FIG. 333. WALLACHIAN BORDER. GOBELIN STITCH, STROKE
STITCH AND SPANISH HALF-STITCH. MATERIALS.--For Rhodes linen No. 1:
Cordonnet 6 fils D.M.C No. 15, and Or fin D.M.C pour la broderie No.
30.--For other stuffs: Coton a tricoter D.M.C Nos. 6 to 16, or Coton a
repriser D.M.C No. 12, 25 or 50 and Or fin D.M.C.[A]

COLOURS: Rouge-Cardinal 346, Rouge-Geranium 326, Vert-Pistache 319 and
Jaune-vieil-Or 680.[A]]

The squares and the half-squares are worked in colour 326, green 319,
and gold thread; colour 326 is indicated in the illustration by the
darkest shade, green 319, by the medium shade, and the gold thread by
the lightest shade.

The stitches in the right bottom quarter and top left one, incline
upwards from left to right, in the two other quarters they incline the
contrary way. The Spanish half-stitch as shown in fig. 309, can only be
done over 4 and 2 threads and worked one way, not to and fro.

The general effect is very much heightened by the introduction of one or
two rows of stitches, worked in gold thread, into the straight lines on
either side of the stripes; all the light parts of the design moreover,
should be worked in gold thread.

BORDERS IN SEVERAL SHADES OF ONE COLOUR (figs. 334 and 335). In some
beautifully embroidered Chinese hangings, that latterly came under our
notice, the principal subject was the figure of a mandarin, in a very
richly decorated dress. The pretty pattern, given in fig. 334, was
copied from the collar and cuffs of this dress. We should advise working
it in several shades of pink or red, or in a single one of the colours
indicated above.

[Illustration: FIG. 334. BORDER IN SEVERAL SHADES OF ONE COLOUR.
MATERIALS: Coton a tricoter D.M.C Nos. 12 to 20, Coton a broder D.M.C
Nos.. 16 to 35 or Coton a repriser No. 12, 25 or 50. COLOURS: Three
shades of either Bleu-Indigo, Rouge-Grenat, or Violet-Mauve etc. etc.]

[Illustration: FIG. 335. BORDER IN SEVERAL SHADES OF ONE COLOUR.]

The border of these hangings furnished us with pattern 335, which will
be found to look best, worked in three very distinct shades of blue.

The grotesque heads of animals, and the flowers and branches which break
the running pattern, and are a Chinese speciality, distinguish this
design from the more conventional patterns of the present day.

We recommend these two pretty patterns, to our readers notice, as
likewise adaptable by transposition, to centres, or by repetition, to
broad stripes. With very little trouble they can be converted, into a
variety of subjects, such as it is often difficult to find ready made,
and exactly suited to the purpose in hand.

BORDER IN GREEK STITCH WITH A FOOTING, COMPOSED OF BRANCHES (fig.
336).--This design can be worked in Greek, Slavonic, Montenegrin, or
plaited Algerian stitch. Our illustration worked in Greek stitch, shows
how one stitch encroaches upon another, and how the thread is carried
from one isolated stitch, to another.

[Illustration: FIG. 336. BORDER IN GREEK STITCH WITH A FOOTING, COMPOSED
OF BRANCHES.]

It will be found to be an improvement if the stitches are so made as to
follow the direction of the lines. The central subject may be repeated
two or three times, according to the width of border required. The
edging is the same throughout. The use of the 'Penelope mirror' for
repeating patterns is described in the concluding chapter of the book.

TABLE-COVER IN GOBELIN AND STROKE STITCH (figs. 337, 338, 339,
340).--This tasteful little table-cover provides excellent practice in
working two sided, square stitch. The square represented in fig. 339,
forms the middle of the cloth. The Gobelin stitches, set very closely,
unite and form a star in the centre of the principal subject. They begin
in the corners, in red and continue in green, violet and blue,
successively; the little branches in stroke stitch, on each side of the
Gobelin stitches, correspond with them in colour, and the small figures,
that form the border of the square, may be worked, indiscriminately, in
any of the colours used for the Gobelin stitches of the centre. Four
branches run inwards from the corners of the square, and four more
advance to meet, and pass them, from the inner angles of the wide
border. Four figures, copied from the outside border, fig. 339, and
worked in yellow, and the little star, fig. 337, besides the little
subjects, borrowed from the outside border, fig. 338, are strewn lightly
over the foundation, interspersed between the branches. In fig. 340,
nevertheless, which represents the whole table-cover, the edge is formed
of the small subjects contained in the wide border and not of the
little stars. The Gobelin stitches in the centre of fig. 337, are in
dark green, the star stitches and the stroke stitches on the outside in
red. The wide border consists of stars, every other row of which, is
worked in red; the intermediate rows, successively, in blue, green, and
yellow. The corners are composed of four detached stars, framed by a row
of stroke stitches, one red and one blue, alternately. This line skirts
both sides of the border, and forms the base to the quaint figures, that
terminate the design and which can be worked in all the colours used for
the inside.

[Illustration: FIG. 337. SMALL DETACHED SUBJECT OF FIG. 340.]

[Illustration: FIG. 338. OUTER BORDER OF FIG. 340.]

[Illustration: FIG. 339. MIDDLE OF FIG. 340.]

The original of our illustration, which is on fine Rhodes linen, in
Coton a broder D.M.C No. 25, is only a small table-cover; for a larger
one, if you wish strictly to adhere to the pattern, Java or Ceylon linen
will be the best material to select, with Coton a tricoter D.M.C No. 12,
for the stroke stitches and Coton a repriser No. 25 for the Gobelin
stitches.

[Illustration: FIG. 340. TABLE-COVER IN GOBELIN AND STROKE STITCH.
MATERIALS.--According to the stuff: Coton a tricoter D.M.C Nos. 6 to 16,
Coton a broder D.M.C Nos. 16 to 35, Coton a repriser D.M.C Nos. 12, 25,
50, Fil a pointer D.M.C Nos. 10 to 30, or Cordonnet 6 fils D.M.C Nos. 3
to 20.[A] COLOURS: Rouge-Cornouille 450, Vert-Pistache 319,
Violet-Lie-de-vin 372, Jaune-Rouille 364, Bleu-Indigo 322.[A]]

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: INSERTION--PLAIN STITCHES AND OVERS]




Knitting.


Knitting is one of the earliest forms of needlework, and one, which has
been carried to the highest perfection. It would be difficult to invent
new stitches or patterns and, we shall therefore confine ourselves to
describing the stitches in general use, and reproducing those of the old
patterns we consider the most useful, that our readers may make their
own selection.

In former days, knitting served mainly for the manufacture of stockings,
and even now, in spite of machines, handknit stockings, and numberless
other useful and ornamental articles, such as shawls, counterpanes,
cradle-coverings, gloves, laces etc. are in great request.

Besides its practical use, knitting is an easy and pleasant pastime that
can be taken up at odd minutes and even carried on, whilst talking, or
reading.

Knitting consists of loops, or stitches, as they are generally called,
formed by means of a thread and two needles.

In round knitting, four, or five needles are necessary for the better
handling of the work.

Through the loops formed in knitting, being connected together in
unbroken continuity, a very elastic fabric is produced, which is
specially suitable for making warm, and closely-fitting
wearing-apparel.

MATERIALS.--Threads with a slight twist, such as Coton a tricoter
D.M.C, are the best. With regard to the thickness of the needles,
whether they be of steel, wood, or bone, your choice must be determined
by the quality of the thread used.

The accompanying table is intended to help inexperienced knitters to
match their needles and thread, we advisedly say, help, as it is
impossible exactly to determine the numbers that will correspond,
because every hand knits differently, and a loose knitter has to use
finer needles than a tight knitter.

Other materials are enumerated here, besides, what is properly speaking,
called knitting-cotton, as for caps, lace edgings, insertions and so
forth, finer kinds of thread and threads with a stronger twist which
show up the pattern better, should be used.

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