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AVIS

On trouvera dans les Comptoirs de la Maison Th. de Dillmont, dont les adresses
sont indiquées ci-dessous, toutes les fournitures nécessaires pour exécuter les ouvrages
décrits dans l'Album de Broderies au Point de Croix, telles que tissus, cotons de toutes
couleurs et grosseurs^ aiguilles, crochets, miroirs, métiers à broder, etc., etc.

Envoi franco du tarif à toute persomie qui en fera la demande.

PARIS

Comptoir Alsacien de Broderie

25, Faubourg St-Honoré

VIENNE

Comptoir Alsacien de Broderie

I, Stefansplatz, 6

All rights are reserved.

ââoX/rj

ALBUM DE BRODERIES AU POINT DE CROIX

(Album of Cross-stiïch Embroidery).
32 Plates with 278 Figures and artistic boards. Price : Sh. 1.6

The Text of the above Album consists, for the most part, of extracts from tlie

Encyclop.edia of Needlework, by Th. de Dillmomt.

I vol. 8°, 55o pp., with about 900 woodcuts. English bound, gilt edges and case.

The above work is in the press and will be published in three languages. — Price : Sh. 3.

D.M.C — déposé

Planche N° i

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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D.M.C — déposé

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ALBUM DE BRODERIES AU POINT DE CROIX

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DOLLFUS-MIEG & C'% MULHOUSE-BELFORT-PARIS

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D.M.C — déposé

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DOLLFUS-MIEG & 0% MULHOUSE- BELFORT- PARIS

D.M.C — déposé

Planche N° 4

ALBUM DE BRODERIES AU POINT DE CROIX

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cotons à broder, les cotons à tricoter, les cotons

cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & 0\ MULHOUSE -BELFORT- PARIS

D.M.C — déposé

Planche N° 5

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & G'% MULHOUSE-BELFORT-PARIS

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D.M.C — déposé

Planche N° 6

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & 0\ MULHOUSE-BELFORT-PARIS

déposé

Planche N"' 7

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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D.M.C — déposé

Planche N° 9

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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DOLLFUS-MIEG & 0% MULHOUSE-BELFORT-PARIS

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons

à marquer, les cotons pour crochet, les cordonnets et les fiis d'Alsace D.M.C

DOLLFUS-MIEG & C'% MULHOUSE-BELFORT-PARIS

D.M.C — déposé

Planche N° 1 1

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C'% MULHOUSE-BELFORT-PARIS

D.M.C — déposé

Planche N° 12

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C'% MULHOUSE -BIXFORT- PARIS

,M.G — déposé

Planche N° i3

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

1 64.

Patrons de broderies de couleur à exécuter avec les cotons
à marquer, les cotons pour crochet, les cordonn

I(J0.

à broder, les cotons à tricoter, les cotons
ets et les fiis d'Alsace D.M.C

DOLLFUS-MIEG & G", MULHOUSE-BELFORT-PARIS

D.M.C — déposé

Planche N° 14

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder^ les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C% MULHOUSE-BELFORT-PARIS

D.M.C — déposé Planche N° 1 5

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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DOLLFUS-MIEG & C'% MULHOUSE-BELFORT- PARIS

D.M.C — déposé

Planche N° i6

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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DOLLFUS-MIEG & C'% MULH0/JS^:-BELFORT-PARIS

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D.M.C — déposé

Planche N" 17

ALBUM DE BRODERIES AU POINT DE CROIX

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DOLLFUS-MIEG & C'% MULHOUSE-BELFORT-PARIS

M.C — déposé

Planche N° il

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLP^US-MIEG & C'% MULHOUSE-BELFORT-PARIS

D.M.C — déposé

Planche N** 19

ALBUM DE BRODERIES AU POINT DE CROIX

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à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C'% MULHOUSE BELFORT-PARIS

D.M.C — déposé

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ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

Planche N° 20

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & G'% MULHOUSE-BELFORT-PARIS

D.M.C — déposé

Planche N° 21

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C'% MULHOUSE-BELFORT-PARIS

D.M.C — déposé

Planche N° 22

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fîis d'Alsace D.M.C

DOLLFUS-MIEG & C% MULHOUSE-BELFORT-PARIS

D.M.C — déposé Planche N° 23

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons

à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C'% MULHOUSE-BELFORT-PARIS

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D.M.C — déposé

Planche N° 24

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à
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tricoter, les cotons
D.M.C

DOLLFUS-MIEG & C'% MULHO USE -BELFORT- PARIS

).M.G — déposé

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Pla/nche N° 2 5

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exc'cuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C'% MULHOUSE -BELFORT-PARIS

D.M.C — déposé

Planche N" 26

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C'% MULHOUSE-BELFORT-PARIS

D.M.C — déposé

Planche N° 27

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les liis d'Alsace D.M.C

DOLLFUS-MIEG & 0\ MULHOUSE -BELFORT- PARIS

D.M.C — déposé

Planche N° 28

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C% MULHOUSE-BELFORT-PARIS

La petite bordure est à placer des deux côtés de la bande, la ligne A B sur la ligne A' B'. — La bordure verticale ne représente que la moitié
du dessin ; pour obtenir le rapport complet, il faut doubler la longueur comtirise entre les deux astérisûues i»i et olacer Dour la seconde moitié.

D.M.C — déposé

Planche N° 29

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ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C'% MULHOUSE-BELFORT-PARIS

D.M.C — déposé

Planche N° 3o

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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ys- y-».- y-^r y^- 'Y^r Y^r -y-;- i4

Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS MIEG & C'% MULHOUSE-BELFORT-PARIS

D.M.C — déposé

Planche N° 3i

ALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

'■rv^ î? .^ H •? H

"3^il.,'3„a. an aj! njx a

244.

Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
à marquer, les cotons pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C'% MULHOUSE -BELFORT- PARIS

D.M.C — déposé

ALBUM DE BRODERIES AU POINT DE CROIX

Planche N° 32

Par Th. de DILLMONT

PAGE DES ENFANTS

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3o petits sujets à exécuter avec les cotons à broder, les cotons à tricoter, les cotons à marquer, les cotons

pour crochet, les cordonnets et les fils d'Alsace D.M.C

DOLLFUS-MIEG & C% MULHOUSE-BELFORT-PARIS

TREATISE

ON CROSS-STITCH EMBROIDERY

INTRODUCTION.

Visitors to the Vienna Exhibition of iSyS may hâve noticed, amongst the various kinds of
needlework exhibited there, some imitations of old embroidery executed in cross-stitch on white
stuffs.

The revival of this kind of embroidery, once carried to such perfection, was eagerly welcomed,
and the taste for it has now become so universal that it is to be met with in ahiiost every house.

As a natural conséquence the publication of various collections of patterns, suitable for cross-
stitch work, followed, but thèse collections, ail hitherto drawn from the same sources, belong to one
period only, and are therefore of a local and circumscribed character.

In order to make the "Album of Cross-Stitch Embroidery" more varied and comprehensive
every design with any originality or beauty to recommend it has been included. It contains no
less than 278 patterns, systematically arranged, and likely to satisfy ail tastes and requirements.

By means of the accompanying directions they can be copied by the most unskilled and un-
practised hand.

The patterns will be found applicable to many other kinds of needlework and can be worked
in almost any stitch.

For this reason it was thought advisable to add some directions as to the choice of stuff, and
the kind of cotton and the colours best suited to the stuflf, the adaptation of the pattern to the re-
quired size, and finally a description of various kinds of embroidery-stitches.

STUFFS.

' ' Most of the old Italian and Persian embroidery is done on very fine linen. Such fine work as
this requires more time and patience than people in thèse days are as a rule able to give to work
that is done merely for pleasure or pastime. To meet the présent needs therefore, besides the fine
linens, stuffs with stout round distinct threads that can be easily counted are now made. On the
Cuba, Ceylon and Batavia Linens the Cross-stitch will be large and coarse, on the Linen-canvas,
Russian Linen, Twisted Tammy, and Rhodes Linen it will be small and fine.

— 4 —

Besides thèse there are any number of fancy-materials, not to mention cloth, satin, velvet and
plush, ail available for cross-stitch embroidery.

Most of the linens are either white, unbleached (') or cream-coloured {'). Ail three make good
grounds, but the coloured cottons look softest on the cream-coloured ; on white they are apt to look
hard and violent, and on the unbleached dull and faded.

COTTONS AND COLOURS.

The choice of the cottons and the colours is quite as important as that of the stuff. Before
beginning a pièce of embroidery its intended use and ultimate setting, as well as the colour of the
grounding should be considered.

If the stuff selected be coarse, a coarse cotton should be chosen, such as Knitting cotton (Coton
à tricoter D.M.C) N°' 6, 8, lo, 12, 14 (,') which is a good substitute for wool, or else Six-cord crochet
cotton (Cordonnet 6 fils D.M.C) N"^ 3, 4, 5, 10 and i5 (*) which gives quite as fuU and brillant a
stitch as silk-twist. For the finer stuffs, finer cotton should be used, such as Embroidery cotton
(Coton à broder D.M.C) N"' 16 to 200 (') or Lace-thread (Fil à dentelle D.M.C) N"" 3o to i5o («).
Darning cotton (Coton à repriser D.M.C) N° 25 can also be used, as like the Algerian siik, it can be
split or doubled to suit the material. When the kind of cotton has been decided upon, the colour is
next to be considered. Red is without doubt the most durable. Almost ail the old embroidery
that has been preserved is in red, very little in blue, less still in yellow or black. This lack of
variety in the colours cannot be ascribed to want of taste or to ignorance of the laws of colour, but
simply to the fact that in those days so few fast dyes had been discovered. In the présent century
the secret of how to obtain perfectly fast dyes even in thèse few colours was temporarily lost, and
probably on that account this kind of coloured embroidery on linen went out of favour for a time.
When the taste for it revived, the demand for cottons that would not fade in the washing created a
supply of ail kinds, but as regards both quality and dye the D.M.C cottons are undoubtedly the
best. They are to be had in 36o différent colours and shades, including the brightest and the gayest,
as well as the most subdued and faded for imitating the old embroideries.

For patterns that are left blank and outlined by the grounding, for patterns in stripes, and for
those which do not look well worked in several colours, the médium shades only should be used,
such as Bleu-Indigo 32oor322, Rouge-Cardinal 347, Brun-Caroubier 356, Jaune-Rouille 364, Gris-
Tilleul 393, and so forth.

Thus one colour only should be used for patterns N°^ 7, 8, 9, i3 to 24, 28 to 33, 46 to 5i, 80,
81, 83, 84, 85, 87, 88, 89, 91, 92, 143, 144, 145, i52, i58, 191, 197, 207, 208, 212, 2i3, 216, 217,
210, 227, 240, 242, 243, 244.

When on the contrary a pattern is to be worked in two colours in contrast to each other, as
for instance blue and red, blue and brown, brown and yellow, two shades which hâve the same
value of tone in each scale of colour should be taken ; for example Bleu de France 339 with Rouge-
Cardinal 347, Brun-Caroubier 356 with Gris-Tilleul 393, or Violet-Mauve 375 with Jaune vieil-Or
680, and so on.

(') Unbleached answers to Gris-Ficelle N° 462 on the colour chart D.M.C. — (») Cream-coloured answers to Gris-Amadou
N" 386 on the colour chart D.M.C. — {') (♦) (») («) See p. 18 the table of the sizes of the D.M.C cottons.

— 6 —

The deepest shade of a colour combines very well with the lightest, and produces the effect of
two différent colours : thus Rouge-Grenat 358 and 335 will be found to liarmonise well together,
Jaune-Rouille 363 and 366, Gris-Noisette 420 and 423, Vert-Mousse 468 and 472, etc.

Quite a peculiar effect is obtained by working a pattern in 4 or 5 graduated shades of the same
colour. Take for instance the border N° 241, Plate 29, and 5 shades of one colour, and work the
fîrst four rows in the darkest shade, and so on with the second, third, fourth and fîfth shades; the
effect will be found to be very soft and harmonious, much more so than if a single shade of one
colour, or several différent colours combined, were used.

By varying the stuff, the stitch, the grounding and the distribution of the colours, one and the
same pattern is capable of many différent treatments, in proof of which 100 ways of working out
pattern N^ 129, Plate 9, are appended to this treatise.

GENERAL DIRECTIONS.

Before beginning a pièce of embroidery of any importance it is advisable to lay in a larger
stock of cotton than you are likely even to require to avoid the danger of running short, and having
either to leave the work unfînished or finish it with cotton that does not exactly match, there
being generally a slight différence of shade between cottons bought at différent times, or, as may
easily happen, considering the large number of colours (*), the buyer or seller may mistake the
number.

In order to ascertain that the colour is fast, loosen the skeins, pour boiling water over them
and leave them in the water for about a quarter of an hour, then soap and rub them gently with
the hand from end to end, and rinse them out thoroughly in several changes of cold water until the
water remains perfectly clear, when they should be squeezed and dried without exposure to the sun.
In the case of the fast dyes(^) the washing only removes the supertluous colouring matter which
the fibres were not able to absorb, and does not in the least affect the beauty of the colour.

Should a pièce of work happen to hâve been donc with cottons not previously washed, and the
colour run in the fîrst washing, ail that is necessary to restore the stuff to its original freshness
is to rinse it out thoroughly in several changes of luke-warm water.

(') The D.M.C colour-chart numbers 36o shades, half of them fast. — See the list of colours p. ig.

{') The colours whose numbers begin with 3 and 4 are the fastest. By fast is meant Cottons that will stand repeated ordi-
nary washing. The only really permanent ones, unafl'ected by any chemical agency whatever, are those which are underlined
in the colour-chart : amongst thèse black will be found to be absolutely indestructible.

— 6

PREPARATORY WORK.

Stuffs, the threads of
which cannot be counted,
and which hâve to be cover-
ed with canvas or some
other auxiUary fabric, to fa-
cihtate the counting of the
stitches, should be mounted
on an embroider3^frame. To
do this take the middle of
the pièce of stuff and the
middle of the webbing of
the frame, and pin them
together, stretch the stuff
equally, right and left and

If moreover, there are
- ■ corners to be worked, or if
a pattern has to be rever-
sed in the angle of a pièce
of embroidery,it isadvisable
to trace a diagonal line, as
well, from the corner to
the centre.

The number of stitches
in a pattern seldom corres-
ponds with the number con-
tained in the pièce of stuff
^ to be embroidered so that
-^ patterns hâve frequently to

sew it firmly (overcasting) Fig. i. Marking out of the stitches to facilitate be reduced, eut, or length-

to the webbing of the frame
and fasten the other
side in the same way.
Before sewing the
canvas on to the stuff,
mark it out with a
coloured thread into
spaces of ten threads
each, along two sides
at least, in the length
and breadth. Count ^^
the number of stit-
ches both ways, di-
vide them in two
and starting, in both
cases from the middle
stitch, trace two lines,
one horizontal, the other
vertical, right across the
canvas. The point of
intersection will déter-
mine the centre. This
frame-work or scale of
nieasurement will great-
ly facilitate the working
out of the pattern and
should on no account
be puUed out until half
the pattern at least be
finished.

THE WORKING OUT OF THE PATTERN.

FiG. 2. Conversion of a pattern for a stripe into a square

PATTERN BY THE AID OF TWO MIRRORS.

3. Conversion of a narrow stripe into a grounding
See pattern N" i8o of the album.

ened as the case may be,
and straight lines con-
verted into broken
ones and so forth.

Thèse altérations,
sometimes sodifficult
^^^ as to need the help of
a designer, are greatly
facilitated by the use
of unframed looking-
glasses, called Péné-
lope mirrors, which
carefuUy placed, as
shown in Fig. i, pro-
duce wonderful re-
sults.

If you wish to use
only one part of a pat-
tern, or to magnify it,
or to adapt it to a centre
or a corner, you place
the mirror, in the first
two cases, in a straight
line, or in the latter case
diagonally across the
pattern at the point from
which it is to be either
repeated or reversed,
and 3'^ou will hâve it
reflected in the mirror

as it is to be work-
ed.

To compose a
square you must
use two mirrors,
joiningthem where
the diagonal lines
meet, and you hâve
your square , as
seen in Fig. 2.

Ail parts of a
pattern are not e-
qually suitable for
répétition and you
will hâve to pick
out the part best
adapted for form-
ing a centre or
corners.

The mirrors will
further be found
useful in the case
ofpatterns that are
either too wide or
too narrow , and
hâve to be either
made narrower or
doubied ortrebled,
as the case may be.
Fig' 3 and 4 show
pattern N"' 189
and 197 repeated
three times, in the
latter case it will
be observed that
the small tree-bor-
der is only repeat-
ed once.

Fig. 4. Conversion of a narrow stripe into a wide strire.

The INNER SUBJECT IS TRIPLED, THE OUTER BORDER IS DOUBLED.
SeE pattern N° 197 OF THE ALBUM.

STÎTCHES.

Cross-stitch on auxiliary canvas.

Plain cross-stitch, commonly cal-
led marking stitch, is so familiar to
every one that it seems almost need-
less to describe it hère. Yet it is as
well to observe that, where an auxi-
liary material is used, it should be
most carefully tacked — following
the Une of the thread — to the stuff

Fig. 5. Cross-stitch on
auxiliary canvas.

beneath, and a sufficient margin left
to facilitate the drawing out of the
threads of the canvas when the work
is finished.

Gare should also be taken in form-
ing the stitch to pass the needle in
and draw it out at the point where it
first pierces a hole in the stuff.

Two-sided cross-stitch, worked in four rows of stitches.

(Fig' 6 to 8.)

Straight rows of cross-stitch, alike on both the proper place for the first cross-stitch. Direct-
sides, can be worked in two journeys to and fro. ing your needle to the right, you pass it diago-
Working from left to right , and beginning by nally across four threads of the canvas, (four
fasteningyourthread,notwithaknot, butbymak- threads, that is, counted each way upwards from
ing two or three little stitches in the stuff in the the hole your needle cornes out of, and horizon-
direction of the first stitch, you bring it out at tally to the hole where you insert it again) then

inthe same way underfour threads and so on, as right to left, which complètes the stitches begun

shown in Fig. 6, to the end of your row. by the first row. After making the last stitch you

Having corne to the last stitch, you bring the again bring the thread back to the right, and start

thread back to the middle of the same, and draw- on your second journey from left to right, filling

ing it out there you make an auxiliary diagonal up with half-crosses the empty spaces left by the

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STITCH FOR RETURNING.

stitch downwards to the
right, bring your needle
up again in the middle
of the last stitch, and
thence, carrying it up-
wards to the left across
two threads, you begin
the return-journey, from

FjG. 7. One journey and first half of the second finished.
Auxiliary stitch for the second return.

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Fig. 8.
The two journeys to and fro, completing one row
OF cross-stitch, both sides alike.

two first rows of stitches.
In the auxiliary stitch
with which you begin the
second journey back, the
thread will be double on
both sides. Fig. 8 shows
how you pass to the next
row beneath.

Two-sided marking- stitch.

(F]g= 9 and 10.)

The above manner of working cross-stitch gun at B and the position of the needle for a se-

alike on both sides is not applicable either to cond stitch to the right ; D, one cross-stitch finish-

letters, or patterns in broken lines, consisting ed, and another begun immediately beneath A.

chiefly of isolated stitches. Fig' 9 and 10 show Letter E, Fig. 10, shows how to make stitches

how to form the ,^ to the left; F, an

stitches in embroi- [d J ' rJ-^^Ap^^h^^^ auxiliary stitch to

^-'l-V4

■MJ

dery of this kind. t#:gbMgptt^^tap|fc the right ; G, auxi

Letter A, Fig. g pœpfppfe^^W liary stitches be-

shows the intro-
duction of the ittLiiry^L
thread and the po-
sition of the needle

for the first and se- Pl^UpIppSjdîJlj^^Œyiîdidl^pIlpp
cond stitches-, B, |g!pLK'=''=''=''-''=''='=''-'--''-'-''-^

the first two stit- |p||i|
ches as corapleted, iplpl

uii-iQpi-iipppTZ! ' or'*^

1;
A B G D

Fig. 9. Various positions of the needle in marking.

laïf

with an auxihary feMîSidHsfeîSSSSSlb^

E F G H

lBîlMffl!3?J5pSi7!!Sifl=nll

lîddddP

Fig. 10. Various positions oi' the needle in marking.

tween two isolated
cross-stitches and
H, a second and
last auxiliary stitch
to complète the
cross.

It is only by
practise and care-
ful calculation, be-
forebeginningeach
cross-stitch, that

stitch to the right,

the thread as it

should come out on the right, and the position of this two-sided marking can be done without the

the needle for the fifth stitch that complètes the stuff being disfigured by unnecessary auxiliary

cross ; G shows the completion of the stitch be- stitches.

Cross-stitch forming a square at the back.

(Fig^ 1 1 and 12).

We find many beautiful alphabets in the old cross-stitch on the right side, and the second

samplers worked in a cross-stitch that forms a side of the square on the wrong, as shown in

square or check on the reverse side. It is not Fig. 12, letter A. Letter B, Fig. 11, shows the

difficult to do and each cross-stitch is completed cross-stitch finished, and the position of the

before the next is begun. If you follow care- needle for the third side of the square at the back,

fully the course of
the stitches and
compare Fig^ 1 1
and 12, whichre-
presenting the
two sides, you
soon master the
secret of this way
ofmarking. Letter
A, Fig. 1 1, shows
the introduction
of the thread,
and the position
of the needle for
forming half the

ABC D

FiG. II. Right side of the cross-stitch showing a square at the back.

'fp^

ABC D

Fig. 12. Square stitch forming the back of the cross-stitch.

as seen in Fig.
12, B. Letter C,
in both Fig= 1 1
and 12, shows a
stitch which is
double on the
right side, and
at the back com-
plètes the fourth
side of the square,
whilst letter D,
also in both Fig%
shows how to
pass on to the
next stitch.

Two-sided Italian stitch.

(Fig^ i3 to 16).

The Italian stitch consists of cross-stitches right to left, for the first stitch ; F'ig. 14, the posi-
alike on both sides, separated from each other by tion of the needle from left to right to form the

horizontal and ver-
tical stitches. The

rJft

^pigm

cross at the back and the ver-
tical stitch to the left at the

Fig. l'i. Introduction ok the
thread and position of the
needle for the first stitch.

rlKMiTjJtfj

iJdEŒbidbdBdsdsi

Fig. 14. Position oI'-

the needle for tue

2. and ?. stitches.

Hi^É

iHifflUii

Fig. i(). Return journ'f.v

whlch completes tuf.

cross-stitch.

Fig. i5.
Position of the needle for tiii;

4. and 5. STITCHES.

upper and underneath stitches must ail lean the right side; Fig. i5, the position of the needle

same way as in plain cross-stitch. for making the lower horizontal two-sided stitch,

The Italian stitch is worked in one journey at the bottom of the cross, after which _\-ou

to and fro. Fig. i3 shows the introduction of proceed as shown in Fig. ili. Fig. i(>, cxplains

the thread and the position of the needle, from the return-journey completing the double-crosses

10

and the lines between. The horizontal lines before passing it under the vertical stitch indica-

omitted on the first journey are filled in on the ted in Fig. i6. On the thinner kinds of stuff this

way back. To make a final row you pass the stitch, if the thread be tightly drawn in the wor-

needle from left to right over and under the bot- king, produces a transparent effect which is ex-

tom threads, beginning at the last cross-stitch, ceedingly pretty.

Two-sided Slavonic or Monténégrin Stitch.

(Fig' 17 to 19).

The Slavonic tribes of the southern countries (in height and breadth), of the material, then

of E. Europe, and especially the inhabitants of bringing your needle back from right to left,

Monténégro, hâve a great prédilection for the underneath four threads, you draw it out and

stitch represented in Fig. ig, and which, as far carrying it over the first long slanting stitch, you

as we know, has not yet been described in any insert it again from left to right underneath the

ffl^^i^^^

LHLfJ

A B

Fig. 17. I., 2., 3., 4. and 5. stitches

AND TRANSVERSAL STITCH.

Fig. 18.
Back of the stitches.

book on needle-
work. It is com-
posed of cross-
stitches, separa-
ted , as in the
Italian stitch we
just described,
by vertical stit-
ches, but hère
the cross -stit-
ches are worked on the right
side, over two oblique threads,
whilst the back présents only
ordinary cross-stitches with ver-
tical stitches between.

Coarse cotton should be used for this kind of ways opposed to each other, the resuit being that
embroidery ; it produces a richer effect, covers the one cross leans to the right, the other to the left,
threads of the stuff better, as also the underneath as seen in Fig. 18.

stitch, which in the Slavonic embroideriesiscom- The regular change of inclination of the

pletely hidden by the cross-stitches. threads, counted a fault in the plain cross-stitch,

You begin, as shown in letter A, Fig. 17, by is a merit in this stitch, giving as it does a par-
one long slanting stitch across 4 and 8 threads, ticular charm to the reverse side.

Fig. 19. Stitches finished.

firstfourthreads
of the canvas.

Thèse four
stitches finish-
ed, you pass
on to the fifth
and sixth, (ver-
tical ones, back
and front) see
letter B, which

cross the first four, after which

you begin again at the first

stitch.

The threads forming the stit

ches on the wrong side are al-

Greek Stitch.

The stitch, known by this name, differs from needle back from right to left underneath the ver-

the common cross-stitch in the oblique inclina- tical threads counted for the first stitch, carry it

tion of the threads and in the manner of begin- downwards, and then from right to left, to a

ning it. distance of four threads beyond the first stitch.

Instead of taking on your needle the two The next stitch is like the first.
threads that follow the first stitch, you bring the You can join each succeeding row to the fore-

1 1

going one, either by the short
or by the long stitches; but one
way must be followed through-
out. In many Slavonic districts
this stitch is used for the décora-
tion of linen garments, and there

BMIlfflPlSBRHpflfflRflRflffllli we usually find the short stitches
lljiâTii±-Aiiiiiiiiai±-«f^-'iiiiii niade to encounter the lon« ones.

FiG. 20. Greek Stitch.

Coarse cotton should be used,
for this stitch, and for the Mon-
ténégrin, as the effect is poor if
the stuff be not well covered.

Plaited Algerian Stitch.

This stitch is of the samc ge- ^^^jUJ^^^^p^pp

nus as the preceding one, its ir|l|l|l{lf J|l|l|^J^lï{^^

distinguishing characteristic be- l^ffl^^^^^^^^Pttl^^Wï^

ing that you never advance . ^Jj^^^^^^^^pf^HH

more than one thread at a time, |]ï^iri^^p^^^^^^]^^^^Mi

so that it is best to begin your AWjîfi^^^
rows with an uneven number f,g. 2.. Plmted Algerian St.tch.

of vertical threads. For this
stitch likewise coarse cotton is
to be preferred and the rows
may touch each other, either at
the top or at the bottom of the
stitch, but the same system must
be followed throughout.

Two-sided Plaited Spanish Stitch.

(Fig' 22 and 23).

This stitch has the advantage of being very itselfconsists ofslanting stitches, 3 threads apart,

effective and very quickly done. It is worked in alike on both sides, and it advances three threads

two rows forward and backward. AU the cross- at a time, as shown in Fig' 22 and 23. We find

stitch patterns can be worked in the Spanish the same kind of stitch, alike on both sides, em-

stitch.Thespa-
ces left by the
long stitches
must be filled
in with shorter
ones.

The stitch

ll_!Li±l±|JL|^
'i|J_|J_:|_L|_L;,

FlG. 2

lp3i±p3EEpL

œJïnïUzrpLïga

FiG. 2?. Second row.

ployed in cer-
tain oriental
carpets , only
the threads are
much doser
than in the
Spanish stitch.

The four-sided
stitch, the Hol-
bein- Stitch, the
two-sided stroke-
stitch, and the set-
ting-stitch, are ail
worked upon the rh
same principles. |]iT|mfI|T|^^^
Although ail thèse

«^ l'IG. 24.

two-sided stitches Forward row.

Two-sided Line-Stitch.

(Fig" 24 and 25).

Lil il I I II il I

FiG. 25.

Backward row.

are of the same
genus and easy of
exécution, yct a
novice to the kind
of work will re-
quire a little prac-
tise to master the
course of the stit-
ches.

Fig. 24cxplains

12 —

how the needle passes alternately, step by step,
over and under the threads of the stuff; Fig. 25,
shows how the threads first left blank on both
sides are covered in returning.

The great difficulty in the line-stitch is so to
place your first stitches as to insure an unbro-
ken course back. It is best on undertaking a

work of this kind, to begin by studying the course
the thread should take, so as to avoid double or
slanting stitches on the wrong side. When you
pass obliquely across the stuff, as you hâve to
do in patterns N°^ 82, 96, i53, 232, 233, 237,
240 and 243, you take the same course as in
covering the straight threads of a fabric.

Triangular Turkish Stitch,

(Fig^ 26 to 29).

Amongst the many pretty stitches for which
the Turkish embroideries are distinguished,there
is one in particular, which, though apparently
puzzling, is in reality extremely easy of exécution.

Itresembles immmE

BfflBrJ

nŒnQjaBa

the line-stitch oidbdqp^^

upon straight ||ijlj||±iJïJT^^^
threads, only torWltt

. i_ _ ^ ■ 1 . Lll illillJXŒQOJdSH

m

^tiMi^M™

FiG. 26. First journey to and fro, for-

MING A HALF ROW OF STITCHES.

the Orientais
generally work
it in diagonal
Unes, each row
requiring two
journeystoand
fro to complète
it.At first start-
ing,toworkout
Fig. 26 carry
the needle first
over, then un-
derneath two
threads in dia-
gonal line, and
so on to the
end ofthe row.

Corning back, you pass the needle under
the stuff and the stitch, on the right side, and
out at the bottom of the stitch ; then you make
a back-stitch over two horizontal and two verti-
cal threads, lay the thread across the two verti-

ikŒ

ffiœmmifflmfflB

jaSEEESEEEHl
Fig. 28.
First half of the first journey for
the triangular turklsh stitch.

cal threads, insert the needle behind them, and
backwards under the two vertical and the two
horizontal threads, bringing it out again at the
upper vertical stitch and inserting it once more

at the lower
vertical stitch ;
pass it under
the same and
out to begin
again with the
back-stitch up-
wards. Four
threads should
meet in every
hole the need-
le makes. Fig.
27 exhibitstwo
such rows of
stitches work-
ed in two co-
lours that are a
good contrast ;
ail cross-stitch-
patterns can be
worked in this
way, but in straight not diagonal rows of stitches.
The darker shade in Fig 29. shows the first
row of stitches, the lighter, the second, or rather
the 3*^ and 4^^, as four rows of stitches are re-
quired to make one row of cross-stitch.

'HxMtiflflTif^^^^

Fig. 27. Two journeys two and fro,
forming the complete row.

raa^BPSpi

|HNrl^iflfl^l-^l]^lfl-|l|l^l-[:1fpf;ifl

FiG. 29. First journey to and fro and

FIRST HALF OF THE SECOND COMPLETED. ThE
second RETURN in COURSE OF EXECUTION.

— i3 —

Smyrna Stitch worked with a crochet-needle.

(Fig= 3o to 33).

Î&OE

''-Il— "-II— ri

— iiLiidI

aaaitwc

^m.

FiG. 3o. Introduction of the

LENGTHS OF THREAD BY MEANS OF
THE CROCHET-NEEDLE.

Should an}^ of
the patterns in this
album be chosen for
the making of a car-
pet or mat they can
be worked with a
crochet needle in-
. stead of a needle.
Take a very coarse
cotton, for instance
N° 6, 8, or 10 of
Knitting cotton (Co-
ton àtricoterD. M. C)
eut it into lengths
of 8 cm., fold
two lengths to-
gether in half,
for each tassel,
stick the crdchet-
needle in up-
wards under
two threads of
the canvas, take
hold of the loop f""^- 32.

The knots are seen from beneath.

With the hook,

see Fig. 3o, and draw it in; then push out the

_iilLi

Fig. 3i.

KnOTTING of THE THREADS.

iimuuniyLiiJLiJL

hook, seize the ends
ot the cotton and
draw it through the
loop which is on the
needle, as indicated
by the little arrow in
Fig. 3i. The tassels
should be two or
three threads apart.
As each rowis finish-
ed, you comb the
ends of the tassels
carefuUy out with a
fine métal comb.
Whenthe whole
is finished you
shear the entire
surface with a
pair of sharp
scissors. Fig. 33
shows a square
of the work com-
pleted, present-
ing that warm
velvety appear-
ance which distinguishes the Smyrna carpets.

FiG. 33. ApPEARANCE of the WORK
WHEN FINISHED.

Chain-Stitch.

Generally speaking, this
stitch is only used for the
ornamentation of under-linen
or small articles of fancy-
work , but it can perfectly
well be cmployed in the re-
production of cross -stitch
patterns. In many old collect-
ions we meet with most
original pièces of needlework,
such as hangings and screens
with figure-subjects, executed
in chain-stitch.

FiG.. 34. Chain-Stitch.

Many-coloured patterns
gain immensely by being
worked in this stitch , the
colours blend better and even
the shapc of the stitch con-
tributes to soften a contrast
of colours.

Chain-stitch cannot be
worked forwards and back-
wards as other stitchcs can,
nor can you tinish ail the
stitchcs that are to be in one
colour first, as you generally

14 —

can in cross-stitch work; you must begin every
row separately, and always from the same side,
and you must hâve a needle for every colour as
the cotton has often to be changed. The stitch is
worked as foUows : after fixing your thread,
draw the needle out and insert it again at the
same hole and bring it out again two threads

lower down. The loop formed by the thread
must remain under the point of the needle.
The thread must not be drawn tightly, as it
should form a round and rather loose loop. For
the second stitch you must insert your needle
at the side of the thread that cornes out of
the loop.

Two-sided Insertion

'J3p pEpa

FiG. 35.

i . 2. and 3. stitches.

Position of the needle

FOR THE 4.

FiG. 36.

4. STITCHES FINISHED

AND POSITION OF THE

NEEDLE FOR THE 6.

We conclude
this séries of stit-
ches by the descrip-
tion of an extreme-
ly pretty insertion
that can be used to
connect broad pat-
terns with narrow.
The old handsome
many-coloured patterns
are ôften intersected by a
band of stitching or open-
work , and for such ,
this insertion supplies a
worthy and suitable sub-
stitute.

Fig. 35. explains the
first stitch and the course

of ,he second, from ^Hft^Ulffllî^g

left to right, under-

neath three vertical

and three horizontal

threads, likewise the

third stitch to the

left, over 6 threads,

and the position of the

needle for the fourth stitch.

Fig' 36 and 37 show the

fourth stitch completed,

the course of the fifth and

the sixth and the position

Fig 37.

6. stitch finished and

position of the needle

for the 7. and 8.

Fig.
s. Stitch finished and

POSITION OFTHE NEEDLE
FOR THE g. AND 10.

Fig. 40. Row of stitches finished.

iEDii y^i I J.I li li ijJd li li li Uj I J_ li li i±^ i± I il I A! iJd I J?^
Fig. 41. Back view of insertion fig. 40.

of the needle for
the seventh and
the eighth; Fig. 38
shows the ninth
and lower horizon-
tal stitch across
6 threads, as also
the return- stitch
under 3 threads;
Fig. 39, the tenth stitch
finished, and the next step
to the eleventh and the
twelfth sthches. Fig. 40
shows a row of stitches
completed and Fig. 41 , the
back of the work which
présents quite a différent
pattern from the right side.
Thèse insertions
can be worked on
any sort of stuff,
but the stitches
must be done both
ways on a number
of threads which is

TÏTTTSSŒlirai divisible by 3. Thus you

may make your stitch to
M cover 6, 9 or 12 threads,

_,|-Jlp'

^ but you will never succeed
if you attempt it over 8,
10 or 14.

FiG. 39
i o. stitch finished

AND POSITION OF THE NEEDLE FOR
THE I I. AND 12.

i>t^H^«fcta«iJ3f

■5 —

Hundred différent ways of working one pattern of the Album and
directions as to the materials, cottons and colours to be used.

(Pattern N° 129, Sheet 9).

ON TOILE D'ESPAGNE (Spanish Linen) : W° I. Cross-stitch
over 2 threads. Fil à dentelle D.M.C (Lace thread) N» 5o.
Rouge-Turc 32 1. — N° 2. Cross-stitch over 2 threads.
Coton à broder D.M.C (Embroidery Cotton) N° 40. Rouge-
Turc 321 and Bleu-Indigo 3 12. One horizontal row of
palms in blue, one in red. — W" 3. Cross-stitch over 2
threads. Coton a broder D.M.C (Embroidery Cotton) N°4o.
Brun-Caroubier 3o3 and Rouge-Géranium 352. Every dia-
gonal row of palms in one colour. — N° 4. Cross-stitch
over 2 threads. Coton à broder D.M.C (Embroidery Cotton)
N° 40. Gris-Tilleul Sgi and 33o. — N° 5. Half cross-stitch
over 3 threads. Coton à repriser D.M.C (Darning Cotton)
N° 25. Violet-Mauve 376. — N° 6. Half cross-stitch over 3
threads. Coton à repriser D.M.C (Darning Cotton). Brun-
Havane 456 and Bleu cendré 448, Or fin D.M.C pour la
broderie (Washing Gold) N" 3o. You count from the top
down-wards 8 horizontal rows of stitches in Brun-Havane,
the five lower rows in washing gold ; the 4 stitches between
the eighth and the twelfth row in Bleu cendré.

ON GAZE DE LIN (Linen Gauze): N" 7. Two-sided cross-
stitch over 3 threads. Coton à repriser D.M.C (Darning
Cotton) N» 25. Jaune-Rouille 365 and Or fin D.M.C pour
la broderie (Washing gold) N° 3o. The pattern left blank
and outlined with gold. — N° 8. Cross-stitch and stroke-
stitch over 3 threads. Coton à broder D.M.C (Embroidery
Cotton) N° 25 and 100. Bleu-Indigo 322. The palms in
cross-stitch in N" 25, the grounding in N° 100.

ON TOILE DE RHODES N» i (Rhodes Linen): N° 9. Plaited
Slavonic stitch over 2 threads. Cordonnet 6 fils D.M.C
(Six cord crochet-cotton) N° 20 Rouge-Géranium 340. —
N° 10. Plaited Slavonic stitch, the pattern is left blank,
outlined by the grounding ; Cordonnet 6 fils D.M.C (Six
cord crochet cotton) N° 20. Violet-Evêque 451. — M° 1 1.
Straight Gobelin stitch (*) over 3 threads ; Cordonnet 6
fils D.M.C (Six cord crochet-cotton) N° 25. Rouge-Cor-
nouille 449. — N° 12. Greek stitch over 3 threads. Coton à
broder D.M.C (Embroidery Cotton) N" 16. Rouge-Grenat 326.
•N TOILE ALGÉRIENNE (Algerian Linen) : N" 13. Cross-
stitch and setting-stitch over 3 threads. Draw out every
fourth thread of the material both ways, to make it more
transparent. Coton à broder D.M.C (Embroidery Cotton)
N° 16 and 40. N° 16 for the cross-stitches in Jaune-Rouille
3o8, N° 40 in white for the setting-stitch. — W° U. Trian-
gular Turkish stitch, over 4 threads. Chiné d'or D.M.C
(Coloured gold) N" 3o; Rouge et or and Vert et or. The ho-
rizontal rows are alternately green and red. — N° (5. Tri-
angular Turkish stitch. Chiné d'or D.M.C (Coloured gold)
N°3o; Rouge et or and Vert et or. The pattern is left blank,
outlined by the grounding. — N° 16. Draw out every fourth
thread as in N° i3. Cross-stitch and cut-work-stitch.
Fil à pointer D.M.C (Knotting Cotton) N" 3o, white for the
palms and Fil à dentelle D.M.C (Lace thread) N° 60 white,
for the cut-work.

ON TOILE DE RHODES N" 2 (Rhodes Linen): N° 17. Cross-
stitch and darning-stitch. Coton à broder D.M.C (Embroi-
dery Cotton) N° 16 for the cross-stitch, and N" 40 for the
darning stitch. Rouge-Cardinal 3o5. — N° 18. Cross-stitch.
Coton à broder D.M.C (Embroidery Cotton) N° 16 for the
palms, and Fil à dentelle D.M.C (Lace thread) N» 70 for
the grounding. Rouge-Cardinal 346. — N° 19. Cross-siitch

and stroke-stitch. Coton à broder D.M.C (Embroidery
Cotton) N» i6 for the palms, and Fil à dentelle D.M.C
(Lace thread) N" 70 for the grounding. Bleu cendré 448.
■ — N° 20. Cross-stitch and Sand-stitch. Coton à repriser
D.M.C (Darning Cotton) N° 25 for the palms in cross-stitch,
and Fil à dentelle D.M.C (Lace thread) N" 60 for the
grounding. Jaune-Rouille 363.

ON TOILE COLBERT, (Colbert Linen): W''2L and N" 22.
Stroke-stitch over 2 threads. Coton à broder D.M.C (Em-
broidery Cotton) N" 16. Violet-Mauve 376 forN° 21, Bronze
doré 585 for N" 22. — N° 23 Cross-stitch and stroke-stitch.
Coton à broder D.M.C (Embroidery Cotton) N° 16. Brun-
Cachou 435 for the cross-stitch and Jaune-vieil-Or 680 for
the stroke stitch. — N° 24. Cross-stitch. Coton à broder
D.M.C (Embroidery Cotton) N° 16. Bleu-Indigo 334 and
Jaune d'Or 667.

ON TOILE RUSSE (Russian Linen) : N° 25. Cross-stitch.
Coton à broder D.M.C (Embroidery Cotton) N» 16. Rouge-
Grenat 326 and 335, a dark and a Hght stitch alternately.
— N° 26. Cross-stitch. Coton à broder D.M.C (Embroidery
Cotton) N° 16, and Fil à dentelle D.M.C (Lace thread)
N" 80. Brun-Cachou 435. The palm with the Lace thread,
the grounding with the Embroidery Cotton. — N° 27. Cross-
stitch; Coton à broder D.M.C (Embroidery Cotton) N° 16.
Vert métallique 465 and 467. Four palms light and four
dark green. — N° 28. Cross-stitch. Cordonnet 6 fils D.M.C
(Six cord crochet cotton) N" i5. Rouge-Grenat 326 and
Bleu-Indigo 3i2. One diagonal row of palms light and
one dark blue.

ON TOILE BATAVIA (Batavian Linen) : N° 29. Point au passé
(Satin stitch) Soutache D.M.C N" 2. Rouge-Turc 32 1 and
Bleu-Indigo 3 12. One horizontal row red and the next
blue and so on. — N° 30. Point au passé (Satin-stitch) ;
Soutache D.M.C N" 2. Bleu-Indigo 3i2.— N° 3LHalfCross-
stitch. Coton à repriser D.M.C (Darning Cotton) N" 25.
Bleu-Indigo 334. — M" 32. Half Cross-stitch. Coton à repri-
ser D.M.C (Darning Cotton) N" 25. Vert-Pistache 320.

ON TOILE DES VOSGES (Vosges Linen) : N° 33. Point coupé
(Cut Work, Punto tirato). Fil à dentelle D.M.C (Lace thread)
N» 60. Rouge-Turc 32i for the little bars. Coton à repri-
ser D.M.C (Darning Cotton) N» 80, white for the centre of
the palms. — N° 34. Bar-stitch. Fil à dentelle D.M.C (Lace
thread) N° 60. Rouge-Grenat 326. — N° 35. Cross-stitch on
auxiliary canvas N» 3o. Coton à broder D.M.C (Embroidery
Cotton N° 35). Rouge-Turc 32 i. — N° 36- Cut-stitch (Punto
tagliato). Cordonnet 6 fils D.M.C (Six cord crochet cotton)
N° 5o. Bleu pâle 668.

ON CANEVAS PÉNÉLOPE (Pénélope Canevas) N" 5o or 60.
N° 37. Cross-stitch. Coton à tricoter D.M.C (Knitting Cotton)
N» 14. Bleu cendré 448 for the grounding; Gris-Amadou
329 for the palm ; Jaune d'Ocre 676 for the four stitches
between the eighth and the twelfth rows.' — N" 38. Cross-
stitch, Coton à tricoter D.M.C (Knitting Cotton) N" 14.
Vert-Pistache 319 for the grounding ; Jaune-Rouille 364
for the palm and Rouge-Cardinal 347 for the four inside
stitches. — N" 39. Cross-stitch. Coton à tricoter D.M.C (Knit-
ting Cotton) N- 14. Rouge-Cornouille 449 for the palm
and Vert-Mousse 46g for the grounding. — N" 40.Cross-stitch.
Coton à tricoter D.M.C (Knitting Cotton) N" 14. Rouge-
Turc 32 r for one row of palms and Jaune-Rnuille 3oS for

(*) For the stitches not described in this treatisc sec „Encyclopœdia of \ecdlcu'ork'' by Tii. dic Dii.i.mont.

i6 —

the next and so on alternately. Bleu-Indigo 3ii for the
grounding. — N° 41. Minute-stitch and Cross-stitch. Coton à
tricoter D.M.C (Knitting Cotton) N" 16. Jaune d'Ocre 677
for the palm in minute-stitch and Brun-Caroubier 3o3 for
the grounding in cross-stitch. — N° 42. Spanish plaited
and cross-stitch. Coton à repriser D.M.C (Darning Cotton)
N° 25. Rouge-Groseille 606 for the palm and Gris-Amadou
3o5 for the grounding. — W° 43. Chain-stitch. Coton à tri-
coter D.M.C (Knitting Cotton") N° 14. Rouge-Cardinal 346
and 3o5 for the palm ; Gris-Tilleul 33o for the grounding.

— N" 44. Oblique chain-stitch. Cordonnet 6 fils D.M.C
(Six cord crochet cotton) N° 10. Bleu pâle 668 and Rouge-
Géranium 352 for the palms, Jaune-vieil-Or 680 for the
grounding.

ON CANEVAS UNI (Plain canvas) : W° 45. Spanish plaited
stitch over 2 threads. Coton à repriser D.M.C (Darning
Cotton) N° 25. Rouge-Cardinal 347, Violet-Lie-de-Vin 873,
Jaune-vieil-Or 680 for the palms, one slanting row in each
colour, and Bronze doré 585 for the grounding. — W° 46.
Oblique Gobelin-stitch over 3 threads. Coton à repriser
D.M.C (Darning Cotton) N" 25. Gris-Tilleul 33o for the
palms, Vert-Mousse 468 for the grounding. ■ — N° 47. Smyr-
na-stitch. Coton à repriser D.M.C (Darning Cotton) N" 25.
Rouge-Grenat 359 for the palms, Gris-Tilleul 33o for the
inside stitches. Bronze doré 586 for the grounding. —
W° 48. Star and cross-stitch. Coton à tricoter D.M.C (Knitt-
ing Cotton) N° 14. Rouge-Cornouille 450. Bleu-Indigo 3i i
and 322 for the palms worked in star-stitch in 3 colours
alternately. Brun-Havane 458 for the grounding in cross-
stitch.

ON CANEVAS FICELLE (Hemp Canvas) : N° 49. Montenegrin-
stitch. Coton à tricoter D.M.C (Knitting Cotton) N° 8. Rouge-
Turc 321. — N° 50. Astrachan or plush-stitch. Coton à tri-
coter D.M.C (Knitting Cotton) N° 6. Rouge-Grenat 358. —
W° 51. Plush-stitch (called also Cut-Smyrna-stitch). Coton
à tricoter D.M.C (Knitting Cotton) N° 6. Rouge-Grenat 358.

— N° 52. Plush-stitch. Coton à tricoter D.M.C (Knitting
Cotton) N" 6. Bronze doré 585 and Rouge-Turc 32i in
alternate horizontal Unes.

ON CANEVAS DE LIN (Flax Canvas) : N° 53. Star-stitch.
Coton à repriser D.M.C (Darning Cotton) N° 25. Gris-
Tilleul 392. — N° 54. Damask-stitch. Cotonà repriser D.M.C
(Darning Cotton) N° 25. Gris-Tilleul 392. — N° 55. Long
cross-stitch over 2 threads in width and 4 threads in
height. Coton à repriser D.M.C (Darning Cotton) N» 25.
Rouge-Cardinal 847. The pattern is left blank and outlined
by the grounding. — N° 56 Long cross-stitch over 2 threads
in width and 4 in height. Coton à repriser D.M.C (Darning
Cotton) N" 25. Rouge-Géranium 35 1.

ON CANEVAS FILET (Net Canvas): N° 57. Darning-stitch.
Coton à broder D.M.C (Embroidery Cotton) N» 25. Brun-
Caroubier 356. — l\l° 58. Two-sided cross-stitch. Coton à
repriser D.M.C (Darning Cotton) N» 25. Brun-Caroubier.
The pattern is left blank outlined by the grounding. —
N° 59. Cross-stitch. Coton à repriser D.M.C (Darning-Cotton)
N" 25. Rouge-Cornouille 449. The palm is embroidered.

— N° 60. Two-sided Italian-stitch. Coton à broder D.M.C
(Embroidery Cotton) N» 16. Brun-Caroubier 357.

ON TOILE CEYLAN (Ceylon Linen) : l\l° 6L Square or Hol-
bein-stitch. Coton à tricoter D.M.C (Knitting Cotton) N° 12.
Vert-de-Gris 474. — N" 62. Square-stitch. Coton à tricoter
D.M.C (Knitting Cotton) N" 12. Brun-Acajou 3oi. — N" 63.
Setting-stitch and cross-stitch. Coton à tricoter D.M.C
(Knitting Cotton) N" 12. Bleu de France 338 and 341. The
palm in 338 set with 841 . — N" 64. Cross-stitch and setting
stitch. Coton à tricoter D.M.C (Knitting Cotton) N° 12.
Bleu de France 338 and 341. The pattern is left blank and
outlined with Bleu 338.

ON TOILE MATELAS (Java Linen) : W 65. Chenille-stitch.
Coton à tricoter D.M.C (Knitting Cotton) N" 6. Brun-Ca-
roubier 356 and Jaune-Rouille 364 for the palms. Gris-
Coutil 323 for the grounding. — M" 66. Coton à tricoter

D.M.C (Knitting Cotton) N° 8. Smyrna-stitch for the palms
and cross-stitch for the grounding. Brun-Caroubier 3o3.

ON TRICOT (Stocking net) ; N° 67. Plain Knitting and Cross-
stitch. Fil à pointer D.M.C (Knotting Cotton) N" 3o. Bleu-
Indigo 3ii and Rouge-Géranium 34g. The palms are to
be knitted in the blue grounding in red. — N° 68. Plain
knitting and cross-stitch. Fil à pointer D.M.C (Knotting
Cotton) N» 3o. Brun-Havane 455 for the knitting and Brun-
Cuir 325 for the palm in cross-stitch.

ON CROCHET GROUND : N" 69. Tunisian Crochet and Cross-
stitch. Coton à tricoter D.M.C (Knitting Cotton) N" 8. White
cotton for the crochet. Bleu-Indigo 334 ^^r the palms in
cross-stitch. — N° 70. Tunisian crochet and cross-stitch.
Coton à tricoter D.M.C (Knitting Cotton) N° 8. Bleu-Indigo
334 for the grounding and white for the palms. — N° 7L
Tunisian Crochet. Fil à pointer D.M.C (Knotting Cotton)
N" 3o. Bleu-cendré 448 for the grounding and Jaune-vieil-
Or 679 for the palms which work in crochet. — N° 72.
Tunisian Crochet. Fil à pointer D.M.C (Knotting Cotton)
N° 36. Gris-Ficelle 461 for the grounding and Rouge-Turc
321 for the palms in cross-stitch.

ON FILET (Net) : N° 73. For the net. Fil à dentelle D.M.C
(Lace thread) N° 60. Rouge-Cardinal 347; Cordonnet 6 fils
D.M.C (Six cord crochet Cotton) N» 25. Jaune-vieil-Or 680
for the palms in point d'esprit. — N° 74. Fil à dentelle
D.M.C (Lace thread) N° 60. Rouge-Cardinal 347 for the
net ; Cordonnet 6 fils D.M.C (Six cord crochet cotton) N°. 3o
Bronze doré 588 for the palms in the Spider-stitch. —
N° 75. Fil à dentelle D.M.C (Lace thread) N° 5o, white, for
the net. Cordonnet 6 fils D.M.C N° 25. (Six cord crochet
Cotton) Ecru, for the palms in double point d'esprit. —
W° 76. Fil à dentelle D.M.C N» 5o. white for the net. Or fin
D.M.C pour la broderie (Washing gold) N° 3o for the
palms in cross-stitch.

ON PIQUÉ (Piquet) : N° 77. Cross-stitch on auxiliary canvas
(plain canvas N° 3o) ; Coton à broder D.M.C (Embroidery
cotton) N° 16. Rouge-Turc 32i. Setting of the palms with
Soutache D.M.C N" 2. — N° 78. Cross-stitch on auxiliary
canvas (plain canvas N° 3o) ; Coton à broder D.M.C (Em-
broidery cotton) N° 16; Rouge-Turc 32i. When the palms
are finished the rows of stitches are to be edged with Sou-
tache D.M.C N" 1V2. Vert-Mousse 470.

ON ETAMINE MAILLÉE (Stitch-Tammy): W 79. Tuft-stitch.
Coton à repriser D.M.C (Darning cotton) N° 25. Violet-
Mauve 376, Jaune d'Ocre 676. One diagonal row in one
colour and the other in the other and so on. — N° 80. Gobe-
lin-stitch. Coton à repriser D.M.C (Darning Cotton) N° 25.
Vert-de-Gris 474. The pattern is left blank and outlined
by the grounding.

ON ETAMINE CÂBLÉE (Twisted Tammy) : N° 81. Two-sided
Bulgarian-stitch. Coton à repriser D.M.C (Darning Cotton)
N" 25. Rouge-Grenat 335. — N° 82. Castilian-stitch. Coton
à broder D.M.C (Embroidery Cotton) N" 25; Rouge-Cor-
nouille 45o and Vert-Pistache 320. — W° 83. Athenian-stitch
forming a square at the back. Fil à dentelle D.M.C (Lace
thread) N° 3o. Bleu-Indigo 322.

ON SATIN ANGLAIS (English cotton-backed satin): N° 84. On
Satin Bleu-Indigo 322. Cross-stitch on auxiliary canvas
(Plain canvas N" 3o) ; Coton à broder D.M.C (Embroidery
Cotton) N» 3o. Bleu pâle 668. — N° 85. On Black satin.
Cross-stitch on auxiliary canvas (Pénélope canvas N° 60) ;
Coton à broder D.M.C (Embroidery Cotton) N" 3o. Gris-
Ficelle 462. — W° 86. On violet satin 452. Cross-stitch on
auxiliary canvas. (Double twisted Tammy) Or fin D.M.C
pour la broderie (Washing gold) N° 3o. — N° 87. On red
satin 346. Star and setting-stitch on auxiliary canvas
(Twisted-Tammy). The stitch is done on 3 threads; Coton
à broder D.M.C. (Embroidery Cotton) N° 40. Bleu-Indigo
334 for the palms in star-stitch and Jaune-Citron 307 for
the setting of each star. — N" 88. On black satin. Cross-
and setting-stitch on auxiliary canvas (Plain canvas N" 3o)
Coton à broder D.M.C (Embroidery Cotton) N° 25. Rouge-

— 17

Grenat 326 for the palms in cross-stitch and Or fin D.M.C
pour la broderie (Washing gold) N° 40 for the outline in
setting-stitch. — N° 89. On Red satin 32 1. Cross- and
setting-stitch on auxiliary canvas (Linen gauze). The stitch
is done on 2 threads. Coton à broder D.M C (Embroidery
Cotton) N" 35. Bronze doré 586 for the palms in cross-stitch
and Noir 3 10 for the outlining in setting-stitch. — N° 90-
On Gold-coloured satin. Cross-stitch on atixillary canvas
(Plain canvas N" 3o); Coton à broder D.M.C (Embroidery
cotton) N» 16. Rouge-Cardinal 347. — N° 91- Olive-green
satin 3g3. Holbein-stitch on auxiliary canvas (Plain canvas
N" 3o). Coton à broder D.M.C (Embroidery Cotton) N° 20.
Rouge-Grenat 359. — N° 92. On Ivory-white satin. Cross-
stitch on auxiliary canvas (Plain canvas N° 3o). Coton à
broder D.M.C (Embroidery Cotton) N" 20. Bleu-Indigo 334
for the palms and Rouge-Cardinal 347 for the four inside
stitches. — N° 93. On grey satin 393. Cross-stitch on auxi-
liary canvas (Double -tvs^isted Tammy) ; Ganse turque
D.M.C (Turkish gold cord) N° 12. — N° 94. On Blue satin
322. Minute-stitch on auxiliary canvas (Twisted-Tammy) ;
Coton à broder D.M.C (Embroidery Cotton) N° 3o. Jaune-

vieil-Or 680 — N° 95. On Yellow satin. Cross-stitch on auxi-
liary canvas (Twisted-Tammy) ; Coton à broder D.M.C
(Embroidery Cotton) N" 3o. Bleu-Indigo 3 12. — N° 96. On
white satin. Cross-stitch on auxiliary canvas. Coton à
broder D.M.C (Embroidery Cotton) N° 35. Rouge-Turc 32i.

ON SATIN DE SOIE (Silk-satin): N° 97. Pium-coloured silk-
' satin. Cross-stitch on auxiliary canvas (Twisted-Tanimy)
Coton à broder D.M.C (Embroidery Cotton) N° 35. Vert-
Pistache 369.

ON DRAP (Cloth) : W 98- Black cloth. Gobelin-stitch on auxi-
liary canvas (Double-twisted-Tammy). Cordonnet 6 fils
D.M.C (Six cord crochet cotton) N° 2 and N" 3o ; the first
for stuffing, the second for the stitches. Jaune-vieil-Or 680

ON VELOURS (Velvet) : N° 99- On black velvet. Cross-stitch
on auxiliary canvas (Twisted-Tammy). Cordonnet 6 fils
D.M.C (Six cord crochet cotton) N° i5. Gris-Cendre 40.

ON PELUCHE (Plush): W 100- On red plush. Weaving stitch
on auxiliary canvas (Double-twisted-Tammy). Cordonnet
6 fils D.M.C (Six cord crochet cotton) N° i5 and Chiné d'or
D.M.C (Coloured gold) N° 3o. The first thread Vert-Mousse
472, the second Bleu et or.

Table giving the length of lo stitches of embroidery on stufïs,
named below, the threads of which can be counted.

NAMES OF THE STUFFS

Toile d'Espagne

Toile algérienne

Gaze de lin

Toile de Rhodes N° i . .

Toile Colbert

Toile de Rhodes N° 2 . .

Etamine câblée ,

Toile Batavia

Toile russe

Canevas Pénélope N° 60

Toile matelas

Canevas de lin ,

Etamine renforcée

Etamine maillée

Canevas uni

Canevas Pénélope N° 50.

Toile Ceylan

Toile Cuba

Canevas filet

Canevas ficelle

(Spanish or Antique Linen)

(Algerian Linen)

(Linen Gauze)

(Rhodes Linen N° i)

(Colbert Linen)

(Rhodes Linen N° 2)

(Twisted Tammy)

(Batavia n Linen)

(Russian Linen)

(Pénélope Canvas N° 60) . .

(Java Linen)

(Flax Canvas)

(Double Twisted Tammy) .

(Stitch Tammy)

(Plain Canvas)

(Pénélope Canvas N° 50) . . .

(Ceylon Linen)

(Cuba Linen)

(Net Canvas)

(Hemp Canvas)

Pattern in the Album of Cross-stitch Embroidery

Length of lo Stitches

10
12
16
16
18
20
21
21
23
24
26
28
28
28
28
29

33
33
42
43

i5 7- I-

92
84
62
61

57
5o
5o
48
43
41
37
37
34
36
35
34

o

0 1
29
24

23

67

30

36

40

50

60

70

80

90

100

I 10

120

130

140

150

160

180

200

250

300

400

500

600

700

25

30

35

40

50

60

70

80

90

100

120

150

200

Table of the Sizes of the D-M-C Cottons and the Widths of the Braids and Soutaches
Thèse articles will be found useful in the exécution of every kind of fancy-work

r3 cB

150

DMC

SO MET.

FIL D'ALSACE

200
DMC

FIL A DENTELLE
(Lace Thread)

» ^ o '^

■ IJ P aj S _

•r 5-2 c

<u^ M " c

.id •—

■ i:.SZ 2 c

E_ o s ><

■ I :^^i

■ .53 ï*

t" il

^ ~

QJ (U o

OJ c
jD_t.--

CORDONNET 6 FILS
(Six-Cord Crochet cotton)

2

2 'A
3
4
5

10

15

20

25

30

40

50

60

70

80

90

100

120

150

200

DMC

40 mètres.

COTON A BRODER
(Embroidery Cotton)

16
18
20
22
25
30
35
40
45
50
55
60
65
70
75
80
90
100
120
150

COTON SPÉCIAL

pour la broderie anglaise

(Madeira Embroidery Cotton)

40 '■

50

60

COTON A BRODER SURFIN
(Embroidery Cotton for Monograms
and for Cambric)

100

120

I 50

O ^

OR FIN A BRODER

3o Mètres N° 3o

OR FIN POUR LA BRODERIE
(Washing Gold)

20
30
40

-T3 13 TS T3 T3

CHINÉ D'OR POUR LA BRODERIE
(Washing Coloured Gold)

30 ~

I

GANSE TURQUE
(Washing Turkish Gold Cord)

12 a-™i^^»«a™—

T3 13 T3 T3 TJ

C C C C C

FIL A POINTER
(Knotting Thread)

lOi
15'
20.
30.

COTON A MARQUER
(Marking Cotton)

5

6

8

10

12

16

20

24

30

35

40

45

50

60

70

80

90

100

120

150

200

? T3

COTON A TRICOTER
(Kniiting Cotton)

6
8
10
12
14
16
18
20
25
30
35
40
50

o o.-
c N c

-oc

B-i

■50

_ V o

2oïï^

COTON A FEUTRER
(Felting Cotton)

3^ a~
t- u ^ w

G M SB
•«^3 l-.S

OC
C3

25

^CROCHET 4 FILS
(Four-cord Crochet Cotton)

6
8
10
12
14
16
18
20
24
30
40

Z'^c

COTON A REPRISER
(Darning Cotton)

12
14
16
18
20
25
30
35
40
45
50
60
70
80
90
100

I

l'A

2

3

4

5

6

7

8

9 I
10
12
14
16
18
20
24
28
32

LACETS SUPERFINS D'ALSACE

(Braids)

Width
in millimeters

1

l'A
l'A
2

2'/?
3

3>A
i

i'A
5 'A

6

7

9
10
U
13
16
1»
22

.S '^
'Z.b
.t: o

^;

T3 >H

ccn
"À
PU

DM

N»'

I

l'A
2

2 'A
3

SOUTACHE D.M.C
(Narrow Brald)

Width
in millimeters

1

l'/s
2

«'/.
3

T

i"

Alphabetical list of the names and the numbers of the 360 shades contained in the D.M.C colour-chart, in any of which shades
the D.M.C Alsace Thread, Sewing and Embroidery Cottons, Knitting Gotton, Soutaches and Braids etc. are to be bad.

Couleurs

Culoiu-s

Très-foncé

Very dark

Bleu cendré

Bleu de Ciel

Bleu de France-
Bleu-Indigo

Bleu -Lapis

Bleu-Marin

Bleu-Outremer •

Bleu pâle

Bleu vert

Bleu violacé

Bronze doré-

Brun-
Brun
Brun
Brun
Brun
Brun
Brun
Brun
Brun
Brun
Brun
Brun

Gris-
Gris-
Gris-
Gris-
Gris-
Gris-
Gris-
Gris-
Gris-
Gris
Gris-
Gris-
Gris
Gris-
Gris
Gris-
Gris-
Gris-
Gris-
Gris-
Gris-
Gris

•Acajou

-Cachou

-Cannelle

-Caroubier

■Chamois

■Cuir

■feuille-morte- •

-Havane

-Loutre

-Marron

-Myrthe

-Puce

Acier

Amadou

Bleu

■Bois

Brun - - •

Castor

Cendre

Coutil

Deuil

de Fer

Feutre

Ficelle

Foin

■Fumée

neutre

-Noisette

Perle

Plomb

-Poussière

■Souris

■Tilleul

verdâtre

Foncé

Dnrk

515°.
337°-
336°°
342° -
505-

525°-

585-.

300°°
433-
660 •■
354°-
416°-
430--
615 --
454°°
438°°
403 --

459 --

650 - -
329°.
590 --
610--
408--
645--
413 --
387--
655--
600 --
635-

516 -.
338-
311°°
333°°
506-.
682.-

526--.
674--.

586--.

400 -•
434-..
661 ...
355..
417°.
431 ..
616--
455°.
439..
404..

Moyen

Médium

448°°
517°.
339°.
312°°
343°°
507..
683° .

Clair

Light

520 -.
640 - ■
620 - -
420 - -
625--
378-.
630-
425-
391°°
595"

651 ..
383.-
591 --
611..
409°°
646..
317°°
388..
656--
601 --
636..
460..
521 ..
641"
621°.
421 ..
626-.
379°.
631..
426..
392°.
596--

527°
675

587

301° -•
435 .-.
662 ...
303°° .
324°.
302°.
617--
456°°
440-
405 ..
. 463 ..

518..
340..
322°°
344..
508.-

668°
528

652--
384° -
592-.
612.-
410 - -
647--
414 --
323°°
657--
602--
637°-
461°°
522-.
642..
622..
422..
627..
380..
632..
427°.
393..
597-.

588.--

401 ---
436---
663---
356---
418---
432---
618-.-
457---
441°° ■
406 -"

Très- clair

Vcry light

519-
341 -
334°°
345-.
509-

529

653--
385--
593--
613 -■
411°°
648--
318°°
389°-
658--
603 - -
638--
462°-
523--
643°°
623°-
423--
628--
381°-
633--
428--
330°°
598--

589--

402-
437--
664-
357-
419 -■
325..
619-.
458..
442 -.
407 -.

Couleurs

Coloiirs

Jaune-
Jaune-
Jaune
Jaune-
Jaune-
Jaune
Jaune-

Citron- -•
Maïs -•--
d'Ocre-.
Orange-.
■Rouille-.

d'Or

vieil-Or .

Lilas gris-

Noir grand Teint-

Noir-Jais

Noir vert

Rose-Eglantine.
Rose vif

654-
386-
594-
614-
412-
649-
415-
390-
659-
604-
639°

524
644
624
424
629
382
634
429
331
599

Rouge-Aurore —
Rouge-Cardinal- - -
Rouge-Corinthe -.
Rouge-CornouiUe
Rouge-Ecarlate . •
Rouge-Géranium -
Rouge-Grenat ----
Rouge-Groseille - -

Rouge-Turc

Rouge-Vermillon -

Très-foncé

Vory dark

575

363°° -

678---

313°° -

810°° -
681 --.
473---

570--
565-

360°°
346°°

Foncé

Dark

. . 307°°
..576..

Moyen

Médium

364

679°
398

571°.
566..

306..

347°°

Vert-Bronze —
Vert-Canard —
Vert-Corbeau • - •

Vert doré

Vert-de-gris

Vert-Emeraude-

Vert-Lierre

Vert-Malachite -
Vert métallique
Vert-Mousse - - - -
Vert-Myrthe----

Vert-Olive

Vert -Pistache- --

Violet-Evêque ----
Violet-Lie-de-vin-

Violet-Mauve

Violet-de-Parme -

Violet-Pensée

Violet-Prune

Violet-Scabieuse -

349-.

358°°
605--

669 ■■
545°°

580°°

555---
500-.-
560°--
465°° •
468 •■■
535---
510 •■-
319°° -

451°° ■
370---
375---
540---
530---
550-.
394---

449

350°-
359°-
606--

670 -.
546°-

581

474°

556

501 .--

561 ...

466°..

469...

536...

511 --

367---

452»-.
371 ...
315°--
541 .--
531 ...
551...
327°° •

.445.-
.577..

- 676 --

- 443°°

- 308° -
-667--

... 680° -

--•314 -

Clair

446
578
677
444
365

Très-clair

\cr.v li,-l,t

579

366

328"° • •■ • 399

572-..
567-

361 -

304°-
447-.
450--
464°-
351 -
326°°
607 -.
321°°
666° -

573° •
568--

332--
305°.

574
569

362

348°

671 -•

547°°
665 •-,
582°°
475° -
557 •■
502 • ■
562° -
467° -
470°°
537--
512 -.
320°°

453°°

372

376

542

532

552

395

352°

309°°

608-

672
548

583

558
503
563

471
538
513
368

373--
316°-
543 -
533-
553-.
396°°

353 ••
335°°
609 ••

673 ••
549 ••

■ 584

559 ■•
504 ••
564 ■•

472°°
539--
514 -•
369 ••

374 ■ •
377 • •
544--
534--
554--
397--

The colours whose numbers begin with 3 or 4 are the fastest.

The above names only give an approximate idea of the colours. As howewer the classification has been made with great care, orders can safely be
given by this table, and without référence to the colour-chart.

The names marked » or °° figure in the chart of 102 colours ; those marked »" figure only in the reduced chart of 54 colours appended below. It will
be found safer to choose the numbers marked", or better still, those marked ""j as thèse being in much greater request than the others, are more likely to
be kept in stock.

336
31 1
312
322
334
333
343
668
448

346
347
348
321
360
358
326
309
335

1

319

320

MM. DoLLFus-MiEG & C° agents wijl forward post-free a colour-chart containing one hundred of the colours most in demand, to any person applying
for the same by letter, postage paid. The shades are taken from D.M.C's comp'lete colour-chart, a pretty little volume elegantly bound in morocco,
Price : 10 francs.

'i

n.
1'^

ns^

JT

IMPRIMERIE BRUSTLEIN & C"

Mulhouse (AlsaceJ

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