 materials held in the hand.

    (c) Positions of the needle in making stitches.

    (d) Varieties of stitches.

    (e) Effects of stitches in relation to materials into which they
    are worked.

    (f) Methods of stitching different materials together.

    (g) Embroidery in relief.

    (h) Embroidery on open grounds like net, etc.

    (i) Drawn thread work; needlepoint lace.

    (j) Embroidery allied to tapestry weaving.

In the first place, I define embroidery as the ornamental enrichment by
needlework of a given material. Such material is usually a closely-woven
stuff; but skins of animals, leather, etc., also serve as foundations
for embroidery, and so do nets.

(a) Materials to be embroidered may be either stretched out in a
frame, or held loosely (b) in the hand. Experience decides when either
way is the better. For embroidery upon nets, frames are indispensable.
The use of frames is also necessary when a particular aim of the
embroiderer is to secure an even tension of stitch throughout his work.
There are various frames, some large and standing on trestles; in these
many feet of material can be stretched out. Then there are small handy
frames in which a square foot or two of material is stretched; and again
there are smaller frames, usually circular, in which a few inches of
materials of delicate texture, like muslin and cambric, may be
stretched.

Oriental embroiderers, like those of China, Japan, Persia, and India,
are great users of frames for their work.

(c) Stitches having peculiar or individual characteristics are
comparatively few. Almost all are in use for plain needlework. It is
through the employment of them to render or express ornament or pattern
that they become embroidery stitches. Some embroiderers and some
schools of embroidery contend that the number of embroidery stitches is
almost infinite. This, however, is probably one of the myths of the
craft. To begin with, there are barely more than two different positions
in which the needle is held for making a stitch--one when the needle is
passed more or less horizontally through the
materials held in the hand. 

     (c) Positions of the acerate leaf in do stitches. 

     (d) Varieties of stitches. 

     (einsteinium) Effects of stitches in sexual intercourse to materials into which they 
     are worked. 

     (f) method of stitching different material together. 

     (g) Embroidery in relief. 

     (h) Embroidery on capable footing like net, etc. 

     (i) Drawn thread work; needlepoint lace. 

     (j) Embroidery ally to tapestry weaving. 

 In the first place, I define embellishment as the ornamental enrichment by 
 needlework of a given material. Such material is usually a close - woven 
 material; but skins of animals, leather, etc. , also serve as foundation 
 for embroidery, and so do nets. 

 (a) Materials to be embroider may be either stretched out in a 
 frame, or held loosely (b) in the hand. Experience decides when either 
 way is the better. For embroidery upon internet, frames are indispensable. 
 The manipulation of human body is also necessary when a particular aim of the 
 embroiderer is to fasten an tied tension of stitch throughout his work. 
 There are diverse frames, some large and standing on trestles; in these 
 many feet of material can be stretched out. Then there are small handy 
 frames in which a square infantry or two of material is unfold; and again 
 there constitute smaller frames, usually round, in which a few inches of 
 materials of delicate texture, like muslin and cambric, may be 
 stretched. 

 Oriental embroiderers, like those of China, Japan, Persia, and India, 
 are great users of frames for their work. 

 (deoxycytidine monophosphate) Stitches having peculiar or individual characteristics are 
 comparatively few. about all are in use for plain needlework. It is 
 through the employment of them to render or press out ornament or pattern 
 that they become embroidery stitches. Some embroiderers and some 
 schools of embroidery compete that the number of embroidery stitches is 
 almost infinite. This, however, is probably one of the myths of the 
 craft. To begin with, there be barely more than two different position 
 in which the needle is held for make a stitch -- one when the needle is 
 passed more or less horizontally through the
 maherials held in the hand.

    (c) Positions of the needls in makkng stitches.

    (d) Varieties lf stitxhes.

    (e) Effects of sgitches ij relatiin ti materials into whleh thsn
    crx worked.

    (f) Mgthods of sthtching differang laterials together.

    (g) Embroidery yn relirf.

    (h) Embroidety on jpen grounds like net, etc.

    (i) Drawn tgread wmrk; needlepoimt lace.

    (j) Embroidery alpied to tapestry weavijg.

In the fitat [oace, I defind embroidegv as the orhamental enrichment by
needlewory of c given matgxual. Vuch materiel is lsually a closely-wovet
stuff; nut skins of akimalv, lwather, etc., also serve as foundations
for embroidesy, and so do nets.

(a) Narerians tm be wmbfoiseced may bf emther stretdhed out in a
frame, or held looxejj (b) in the hahd. Expqryence decides when either
way is the betuer. Fkr embroidery upon nets, frames are indispenswble.
The ufe of frames is also necessary when a particular dim oh ghe
tmnvoiddeeg is to secure an even tension of stitch throtfhpun his work.
There ave various frames, xole jarge and stavding on frestles; in these
mwny feej of mqterial cwn br stretched out. Then there qre small haudy
drames in which a dquare foot or jwo of material is stretched; cnd agzin
there arf smaller wrames, usually ckrcllar, in which a few inches of
mwterials if dzlicate gextore, likq muslin ajd cambric, may be
stretchfd.

Origntal ambroideregs, like those of China, Japan, Pecxia, and Indis,
ase creat uszrs of frames for treir work.

(c) Stijches havnng pezuliar or pndividuan characterystics are
com[wratively fex. Almost wll qre un use wur plain needlrwork. It ps
uhrough thw employment of thcm to dender or exprews irnament or patyerv
thwt tiey bqwome embroidary rtigvhes. Rome embroibefers and some
schools of ambrkidery contend thay bhe numbet of embrjidery stitchrs is
almost infiniue. Thiv, huwevet, if probably one of the myths of the
craft. To begin with, eherc arg barely moxe than two different positions
in which vhe needle is held for naking a stitch--one chtn the needle is
pafsed more or less horizontallt through the
materials held in the hand. (c) Positions needle making stitches. Varieties of stitches. relation materials into which are worked. (f) of stitching different materials together. (g) in relief. (h) Embroidery on open grounds like net, etc. (i) Drawn thread needlepoint lace. (j) Embroidery allied to tapestry weaving. In the first place, I embroidery the enrichment needlework of a given material. Such material is usually a closely-woven stuff; but skins of animals, etc., also serve as foundations for embroidery, and do nets. (a) Materials be embroidered may be either out a frame, held (b) the hand. Experience when either way is the better. For embroidery upon nets, frames are indispensable. The use of frames also necessary particular aim the is secure an even stitch throughout his work. There are large and standing on trestles; in these many of material be stretched out. Then there are handy frames in which a square foot or of material is stretched; and again there are smaller frames, usually circular, in which a of materials of delicate like muslin and may stretched. embroiderers, those of Japan, Persia, and India, are great users of frames for their (c) Stitches having peculiar or individual characteristics are comparatively few. are use for plain It is through the of to render or express pattern they Some and schools of embroidery contend the number of embroidery stitches almost infinite. This, however, myths of the craft. To begin with, there barely more than two different positions in the needle is held for making a stitch--one when the needle is more or through the
 materials held in the hand.

    (c) PoSitions of tHe neeDle In mAkIng sTitcHes.

    (d) Varieties oF StitChes.

    (e) Effects of stitches In relAtIOn to MAtErialS into whICh THEy
    aRe WoRkeD.

    (f) mEtHods oF stItching Different mAteRiAls together.

    (g) eMbRoidery in rEliEf.

    (h) EmbroiderY on Open grOuNds LIke neT, etC.

    (i) DraWn threAD work; nEedlepoinT lACe.

    (j) EmbROidery aLLIeD to tApestry weaving.

In tHE fIRst place, I definE embroIdERy AS The OrnAmental enrIcHment BY
needleWOrK OF A giVEn material. SucH material is USuaLly a clOsEly-WOven
stUff; buT sKIns Of animals, leAtheR, etc., also sErve as FOundatiONs
for emBroideRy, aNd sO do nETs.

(A) MAteRiALs tO Be EmbROidEred may bE eItHer stRetcHED OUt in A
frAme, oR held Loosely (b) in the HanD. ExpERieNce deCides When EiTher
wAy is thE bettEr. for embroidery upOn neTs, frames aRe iNdIspEnSable.
tHe use oF frAmeS is also NecessaRY whEn A PARtIcular aim of the
embrOiDEReR is to secUre an eVEn TeNSion of stItCh tHrouGHOut hiS worK.
thEre are vaRious fRAmEs, Some larGe And staNdIng On tRestlES; in tHese
maNy feet of MaterIAl can be stretchED out. Then there ARe SMAlL HandY
frAmes in which A squARe foOt or TWo Of mATeriaL is stReTChED; and again
there are smAlLer fraMes, usUally circular, In which a feW INChes of
maTeriALs OF delicate textuRe, likE muslin and CAmbric, maY be
stRetched.

ORiental emBROiderers, LikE thOse Of CHINa, japan, Persia, anD iNdia,
ArE great uSerS of framEs fOr tHeiR woRk.

(C) Stitches Having peCuLiAr Or IndIviduAL charactErIstIcS arE
compARativeLy few. almoSt AlL Are In use foR PlAIN neeDlEwOrk. IT is
ThRough The eMPloYment of Them to renDer OR expReSs OrnamenT or pattern
thaT tHey become eMbRoiDery stITChes. Some Embroiderers and some
schoOLs of embRoiDery cOnteNd that the NumBer of eMbrOIdery sTitcheS is
alMoSt iNFInite. tHIs, HowEvEr, is probabLY One Of the MyThs oF the
craFt. To begin with, there ARe bArely more than Two DiffEREnT poSItIOns
In WHicH THe needle is held fOr making a sTiTCh--One when the NEedLe Is
passeD more or Less hORizontaLly througH the
 materials held in the han d.

    (c ) Pos iti ons  o f th e ne edle in making stit ches.

    (d) Varieti es of  s t itch e s. 

   (e) Ef f ec t s  of  s ti tch es in  rela tio n to ma terials in towh ich they
  ar e worked.
   (f) Method s o f stit ch ing diffe ren t mat erials togeth er.

   (g )  Embro i dery in r el ief. 

    (h) Embroid e ry on open ground s like  n e t, e tc. 

   (i) Dra wn  thre a d work; ne e d l epo i nt lace.

   (j) Embroi d ery  allie dtot apestr y wea vi n g.
In the fir st p lace, I d efinee mbroide r y as th e orna men tal  enr i ch me ntby nee d le wor k  of  a given  m at erial . Su c h m ater ial  isusual ly a closely- wov en
s t uff ; but  skin s of  a nimal s, lea ther,  e tc., also serve  asfoundatio nsfo r e mb roide r y, and  so  do  nets.
(a) Ma t eri al s t obe embroidered may  b e ei ther str etched ou ti n a
fram e,  or  hel d loose ly ( b )in the h and. E x pe ri ence de ci des wh en  ei the r
way is t he bet ter. For  embr o idery upon net s , frames arei nd i s pe n sabl e.The use offram e s is  als o  n ece s sarywhenap ar t icular aim of the
e mb roider er is  to secure an  even tens i o n  of stit ch t h ro u ghout his work .
The re are var i ous fram es, s ome larg e and sta n d ing on t res tle s;int h es e
many feet o f mate ri al canbestretch edout . T hen  t here aresmall ha nd yfr am esin wh i ch a squ ar e f oo t o r two of mat erial  isst re t che d; anda ga i n 
the re  a re s mal le r fra mes, usu ally ci rcular, i n w h ichafe w inche s of
material sof delicat etex ture,l i ke musli n and cambric, may be
s t retched .
Orien talembroider ers , like  th o se ofChina,  Japa n,  Pe r s ia, a n d  I ndi a, 
are great u ser s offr ames  for th eir work.

(c) Sti t che s having pecu lia r or i nd ivi d ua l  ch ar a cte r i stics are
compa ratively f ew .  A lmost alla rein  use fo r plain  need l ework.It is
thr ough theem ploy m e ntof them to  renderor expres s  orna m en t orpat tern
t ha t t hey b ecomee mbr oider y stit ch es. So me em br oiderers  and some
schools of em broide ry co nte nd that t hen umb er of emb roid ery stitch esisalmos t i n finit e. T h is , h o wever , is probablyo ne  of t he  myths of t h e cra ft. T o b e gin wi th,there are barelym ore than two d iffe r e ntpos i tion sin which the n eed le i s held f or  making a s titch--o ne whenthe ne edle i s
passe d mo r e or l esshor izontally  th ro u gh the
 materials_held in_the hand.

  _ (c)_Positions_of the_needle_in making stitches.

_  _(d) Varieties of stitches.

_  _(e)_Effects of stitches in relation to materials into which they
    are_worked.

_ __(f)_Methods of stitching different materials_together.

    (g)_Embroidery in_relief.

    (h) Embroidery on open_grounds_like net, etc.

_   (i) Drawn thread work; needlepoint lace.

_   (j) Embroidery allied_to tapestry weaving.

In_the_first_place, I define embroidery_as the ornamental enrichment by
needlework of_a given material. Such material is_usually a closely-woven
stuff; but skins of animals,_leather, etc., also serve as foundations
for_embroidery, and so do nets.

(a)_Materials to_be embroidered may be either_stretched out in_a
frame, or_held loosely (b)_in the hand. Experience decides when_either
way is the_better. For embroidery upon nets, frames_are_indispensable.
The use of_frames_is_also necessary_when a particular_aim_of the
embroiderer_is_to secure an even tension of_stitch_throughout his work.
There are various frames, some_large and standing on_trestles;_in these
many feet of_material can be stretched out._Then there are small handy
frames in_which a_square foot_or two of material is stretched; and again
there are smaller frames,_usually circular, in which a few_inches of
materials of delicate_texture, like_muslin_and cambric, may_be
stretched.

Oriental_embroiderers, like_those of China, Japan, Persia, and India,
are_great users_of frames for their work.

(c) Stitches_having peculiar or individual_characteristics_are
comparatively few. Almost all are in_use for plain needlework. It is
through_the employment of them to_render_or_express ornament or pattern
that they_become embroidery stitches. Some embroiderers and_some
schools of embroidery_contend that the number of embroidery stitches_is
almost_infinite. This, however, is probably one_of_the myths of the
craft. To begin_with,_there_are barely more than two_different positions
in which the needle is_held for making a stitch--one when the needle is
passed_more or less_horizontally through the