It must not be supposed that sailmaking is merely a matter of stitching together a certain number of pieces of canvas of a certain shape. Far from that being the case, the strength of the sail lies in its borders. These are first "tabled," _i.e._ a broad piece is turned over and stitched down all round the sail. Then a tarred rope, technically "bolt rope," of the very best make, is carefully stretched, having a number of turns taken out of it to prevent its cockling up the sail when it is wet. It varies in thickness, not only on each sail, but on different parts of the same sail, according to the strain that it may be expected to bear. When duly prepared it is stitched on to the tabling with several parts of stout twine (roping twine) well tarred. This work demands considerable skill, for the canvas must be gathered up in the process, so that the strain shall come on the rope, yet not so much as to leave wrinkles in the sail. And at intervals small loops of rope (technically "cringles") must be worked on the rope, from which they stand out at right angles. They have grooved iron rings fitted into them, so they be not chafed through by wear, and they serve to secure the sail by "sheet," "tack," or "earing" (although the earing cringles are seldom iron-lined). Of late years the fine hemp bolt-rope has been much discarded in favour of flexible wire rope, neatly covered with canvas and spun-yarn to prevent rust. This is stronger and more durable in itself, but it makes the sail far more refractory to handle, and cannot be stitched on to the canvas as of old by pushing the big needle in between the strands of the rope. It has to be "marled" on, a method of securing it that always looks clumsy and insecure.