If the linen is loosely woven and the thread is tightly drawn in the working, the mesh is pulled apart, giving the effect of an open lattice of the kind shown at B, on Illustration [10], in which the threads of the linen are not drawn out but drawn together.

canvas-stitch E.

The way of working the stitch at E is described on page [51], under the name of "fish-bone." Worked on canvas it has somewhat the effect of plaiting, and goes by the name of "plait-stitch." It is worked in horizontal rows alternately from left to right and from right to left.

canvas-stitch F.

The stitch at F is a sort of couching (see page [124]). Diagonal lines of thread are first laid from edge to edge of the ground space, and these are sewn down by short overcasting stitches in the cross direction.

Admirable canvas stitch work has been done upon linen in silk of one colour—red, green, or blue—and it was a common practice to work the background leaving the pattern in the bare stuff. It prevailed in countries lying far apart, though probably not without inter-communication. In fact, the influence of Oriental work upon European has been so great that even experts hesitate sometimes to say whether a particular piece of work is Turkish or Italian. In Italian work, at least, it was usual to get over the angularity of silhouette inherent in canvas stitches by working an outline separately. When that is thin, the effect is proportionately feeble. The broader outline (shown at A, Illustration [10]) justifies itself, and in the case of a stitch which falls into horizontal lines, it appears to be necessary. This is plait stitch, known also by the name of Spanish stitch—not that it is in any way peculiar to Spain. It is allied to herring-bone-stitch, to which a special chapter is devoted.

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10. PLAIT AND OPEN CANVAS STITCHES.