The twist of the ribbon where it turns gives interest to the surface of the embroidery, which is always more or less in relief upon the stuff, easy to crush, and of limited use therefore. An effect of ribbon work, but of a harder kind, was produced by onlaying narrow strips of card or parchment upon a silken ground, twisted about after the fashion of ribbon.
Yet another practice, and one more strictly in keeping with the onlaying of cord, was to onlay the solid also, applying, that is to say, the surface colour also in the form of pieces of silk cut to shape. Couched cord or filoselle is useful in covering the raw edge of the onlay, not so much masking the joints as making them sightly.
Something of the kind was done also in Morocco, which points to leather work as the possible origin of this method. A step beyond the process of onlaying is INLAY, where one material is not laid on to the other, but into it, both being perhaps backed by a common material.