É ^ P^^^ ^m S 1 Purchased by the ^^ 1 Mary Stuart ^& s book fund r ^^H 1 1 III ^^ In Pounded A.D. my-d gr ^y Cooper Union Library ^^ "Hnim ^^':fc^5s^ff;e^^^&^t^^=^^^:^^^sS^5^^^^^^^^(^^^^^fe^ *i:îs,:: i 22H il: BW ii: yissiii MM;,5!M,i;i;iM;„ MJtsSÎXi::!;:;;:.. , 5«5i;::5gï:i;::|:: .i„.5(^;:,;:::i::-:::::,: :^3 .3 ,-7 : 3 m: rn.n ^-z^atas . .. n. nji n , -^ o ^ î^ 3 24 S 3 ^^ i ^«^« sa as a ^aaa g a a a aaa aa a S H « a aaa fi^a la ^r aâa »". a3a :< n aga a^ Kga W"l h3m _aaa a^ ' -t^ ' '&1 a2a ; .?»3?î. '1 a;^ 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 5! 'J M t. M. 5! .\ " 1 ' i -g'' VI ' !1 "TVVi -. \:.. :■..:. ga ;* H iî ►^ 6. , N^BK li-^ ^ «^ ( . ^-,. jiHi ii iSS^^s^^ :.,.\ iinnpp :;;>'t 1 w M 8. i 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° 2 ALBUM DE BRODERIES AU POINT DE CROIX Par Th. de DILLMONT .nn.v:». n'a. nf}. jnnnn" ^ n/ ■ •av^ î^? c ^_ »75 ,ra ^■<2 /-'S '^n ■>7^^ >?<; '!':> /"'«^^VÎÎ^V„'7'J " in ^^ n ^ ^ 'î^ HH t^n ' '7'7 t-u î'-? 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HR RA an.R 'AXX 'A 'A x 'A 'A'A'A RtiR gaa^^ «Ha^! 'A'A 'A 'A 'AX fimiR RRniîaail6&ÏRRRRtl.-i 'A'A'A'A'A X'A'AX'A RRRRR Jt'AX'A'A'A .^ -Sfi.'iR'AXX'AX S ^Ji R^ in 'AXXX /'A'A'A'A'A'A'A'A'A 1 y /X-AXX'AXXXXyU kttRr)''l'in."xxyCX'A x/UxS pUta.tn tnjSAXxXXXSUXtUSÙSitatttttÙiSX^^ '67. Patrons de broderies de couleur à exécuter avec les à marquer, les cotons pour crochet, les yyy y y'AX / / ^ , XX y y ' ' y ^ y'A'Ayyy /y /'Axy y y 'y y yy.yyXM.y X yxxy yyy y y y yyTOacxxX'Ayy y yy yyyy y 'axx'A'a -y -yyyy/y y xxxxxx'A y y yyy y-y u XXXXX y y y yyy y y yyxxxx'AXXyy / yy yyyi/XXf XyXXyy/y /y V / JX'A / 'y yy 'X'Ày y / /yyy 'A'Ayyy y /y'X'Ayyyyy iy yy'yX / / y'j;tUyy yyyXXyyy IC/U y y y yyyxx y X yxxyyyy y y -yy ïtc/. / yyxxx'joàxyy y y ■'/yyy y XXXXX y yyJ-yy-y yyAyyU y XX'A'A'AXX y , y y y y y y y XXXXX y yy / // / ^yyyUUU y y yX'AX'A'AX'A y y y y /y y/yy'A'Ay X yXXyyyy yy V/ liM, y yXX y yy / /yZ*X /y y . 'y:£i lyJyyyÀx'/yy'y'yyyvai'yyyy yyy y yXXyyy' y'y'yyXSL/S/ yy / yyyu\ 1CMafXXy(UfyUUUUUjt4UU.JU-JVXKXXaOtXJ^^ I I ' il I _ < ' 1 1 ■ i I l 77- 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 ^"i> ^\ ir\ ^^ \ ^"S ,* ^ "î^ y v-x ^ ^^ ^■' ^ '' >7 7 ^ nz ^ x. ^^ v,n ^ r -P t/ an Kj V » ~"J VI V~l " U y yj JJ y y y -s ^j V II ^1' 83. j&n nnn nn.i utï-i naa. atm atm rki-z »î?ra H's-3 mm "^nn ^kh nn îma tam mai mm mtn ^^ fi n nu 5 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 w^ D.M.C — déposé Planche N° 6 ALBUM DE BRODERIES AU POINT DE CROIX Par Th. de DILLMONT 'f&nrianvS'JMnTmTinri'Ariunxîx^^^ ^^y1 ■ 'aSs H "■' h^ B 'Sa '-:■ i 'An 0 xt :i..n..n rijjxxn.nn.^ a sm n n nvtn rln : s 1 n n n û : ■%- .. sdkn n 7k n wi n Tin n: - n p:a :p,j& f ■3f2 S s ii : ! i i i s sa " ■ " ..'nnr " ■ , ^^ a '^ , - - - , , -^ n n n \ g^a , , . U „:.,.;.„l,.2îg/3 i ^' i ■ ?3/3?2HS!3agÀ? ; ; v^ uâ'n ■-■- v:rJ.nvk g îmrxn ; ;■ v ; asa '■■ "■ : 333?? -fZ 7q n ,:.:,:.,:,: ;. : a ïa2?:i:fe:: : i, a H K :.„a aaa : ^ r ^ ; na a : : ^ n à ■- 'a n nn ^xns.-xn.jxs, nnn •< 4 l"^N I •i 1 I \ \ I . „ „ vr-1 II s ! ! n n „ ■ M/ in n_i 7i_^ ; 1 t 1 I /"-D ., : - 1^ t ! I ! / I . i ) '-/\ . . _,^ i ! li — o ) 1 N ) I M^_ Nii-v' K ! K~~ 1 - „ J t /'^ 1 i : : K 1 (s~~ . : /NI n n... -._N 1 il 1 n_i 7)_., Mil /-s II /--S K I fc-- . n\) \^ i f z' I il I îj r\ u_ I 1^ 3 __( rr n-n ^n^__ I f;-^. : . CN r 0 '^/i , N . 7) iTi: ; / (S RI,, /■q Sf I k:_ — y /\ ^ — _ii 1 s/ es/ n~n_u u u s u_u JJ :n i N u I . :___i^ I, , _ /l . . , r::-o , . 1/] I C I II IN ■: c~y \_/. .111 cuD _'^ ru u I M^ u u cna 94- 95. 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 n n n -^ "^ -^ Jî^ ^'^ J^^ K n >7 =3 ^ ^ T3^ ^ 7i<SX ^ ^ <? ':? 'J >2 'rJ -7 ^^ K - >- >? ' •- %'^ ^ T ^% 52 '3 n 1 'î V H ^ 'V<: >"7>? >7'9>3 3J7 >7>7 n -l <>, -^ 1 -^ n 'virx v.dn ''Virk wi 'Viv vni -^ 'î a ^ ^ <? 'î »? -7 >2 ï! ? <7 >? vïv. '^■Â'X ~xv^ -vr^ vrn 'vxa n^'i -n -^ n ^ n V, T^ -7 t >\ "^ V V ~t -l~l~i ^t^ ^^^ ^JJV. V.O^ '7^7 7 ^ V ->z -a ^ >! ^ 3 /^ 3 ï? ^ '2 ^v.'J ^nn ZPVZ '^n. Vl-Ki wv. rinn ^ a H '^ ^ ^ 3 'î ^ •S '7 g ^ P aTJ ^^^ ^''a '7'3'3 :î^a ïrgvî >? 'J ■:2 ï! »; ^ ^ ïî >3 T! 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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 / /juy^^J-yJ^yJJJJjJ^J^y j^^jj jy y y / jy 'yy yy yyyjJiPJ^ M /7<^»î ^>?rîî' ^ >> yt >f -i y} ^ ^ '»?VVSf y 'A ^ „ „ v^ lyi-d, ■'in^x ^JV^ rKKtri T%ny} >t-,':1 '^-iv '-^'- '--A nvn y 'A 'A 'A ^ 7 V V ^ «■^aïîfSî3 ..5ÎO iîH.. ^ ^yy j'y y jyj/j yy j y /y yijy yyyy / y ^ Jy y j/jyj "^V! u g!0«ll>L. î* «mm 'aa'a 'jcaa ; ^ :hm Sm 'A y •A'A X 'A X , . , , _y M ^V^ -/ W ^V^ ^ ^ y / y y ' *A A A ^ y^y^y'^ yyy^ yy j j y y y. y '^'^ ^ 'jaâ'& \ ^ii ^/ ^ -, ^-^ ^^ ,,^ ^-^'^ ^. >( ^ '-^•5 V yyy >îî- -^ ^ y -^ ^^>7 9mm j?»? ^ a'7-s _yy^yv y y >--'' , -v /~n x / yy y J ^ y ^ xiji ■>i>t7^,->z yj y y y 'A 'A X 77 ;»• yy /^ ' yy y ^ 3„^,. y i y ' K M M M,tK5ii«5KMî'KÎ?M>IÎ<>'WM5»5î "K/ y^ yy ^ A3i ^„ ^ y^ yyy y'À'AXA'AA T- y '- 5! 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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 M.C — déposé Planche N° il ALBUM DE BRODERIES AU POINT DE CROIX Par Th. de DILLMONT if Tmntm v^^?? n -"•y vv. ^ '■' Kiin n vn:\ ,,;„:. n. n... j -^, ■ ~d n a^a n. p. p.. liliïiit'iluiiiiiî iuiiiiiiiiîiiiï iiilii li iiiiiiiJMi'"-'*ii'iiiiii8ii^ 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 DOLLP^US-MIEG & C'% MULHOUSE-BELFORT-PARIS D.M.C — déposé Planche N** 19 ALBUM DE BRODERIES AU POINT DE CROIX ' ;/ Par Th. de DILLMONT / .n^./l^ \^, t/Wt /^ f^v^'^^^vy^K^^'^^/^f-/- A^A^// 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 Par Th. de DILLMONT Planche N° 20 1 ■>- i >7>^ ->- JS^SÎK ^^ HSS|>Z ^^^ V. 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' „ n nnnnn nnnnn n n nnnnn nnnnn n n nnnnn nnnnn n n nnnnn msnnn n n nnnnn nnnnn nnn n nnnn ■i7knn n n'i'mmn n nnnn nymn n n'mnnnn n nn^nn nnnn n nnnnnnn n nnnn n'nnn n nnnnnnn n nnn^n nnnn H Ha nn^ .%in .'^■^j'j n n nnvtn n n nmi TkAn n n >knnnn g n nnn ^nn n n nnnnn tk n npin nnn n 7k, nnnnn n n nnn !?aK n S nn n nn 'm n nn nnn nn n nn 'an n yin nfkn ~ — " — — "" " ~— '-'-*" - ^ -nnn nnnn 'nnn -n nnn n n n n as?3 n S ^333 ^ ^ ^ mil n n T^im -inn rmm n n S»î H s H' S ■A H H R nnn 'nnnnn nnnnn nnn nnnnn nnn nnnn nnn n nnn nnnn nnn n ' ?înn nnn: nmn n n n nnnn n n nnnn nnn nnnn n n nnnn nnn nnnnn nnn nnnnn n nnnnn nnn 'nnnnn n nnnnn n n n^. nn nnnn nn nn nnnn -nn ni ^ 'fl n n nn ,-,, nn ^ nn n n nn nn nn nn n n nn nn nn nn h n nn ■nn n? n nm n n ■nnn n nnn n nu n n nnn n nnn n nnn n n nn^n n nnn nnnm 3 n 'rmnn nnnn nnnn g g nnnn nnnn nnnn n n nnnn nnnn nnnn n n nnym. n n rf. n nnnn -. \ n nnn n n nnn n nnn n ■nnn n n nnn n nnn n nnn n n nnn n nin n nnn n n n:in n nnn n nnn n nn ?zn n n nn nn nn nn n n ■nn nn nn nn n g nn nn nn nn n n nn nn nn nn n n_n_H _ nn nn n n n 'n nn nn nnnn nn nn n n n n nn nn n n ^ nnnnn n n n nnrmn n n-tmim nnn nnnnn K nnnn nnn nnnn n n nnnn nnn nnnm ti n n nn nn n 'nn nnn nri n nn nn n nn n nn^^ nnn n n nnnnn, n a nm nnn n n nnn un nnnn n'nnn n nnnnnnn n nnnn nnni n 1 n nân'nn ■nnnnn n .1 Tmrinn ■nnnnn n n nnnnnn nnnnnn nrmnnnn nmnnn ^nnnn 7 n nnnnn n ■n n nnnni n n nnnn nnn nni" n nnn nnn 7i n\ ■.nnn ■nn n nn nn n ■ 3«S3B « n nnn nnn n nimnnnn n nnnn nnnn ■ n nnnnn nnn nnnnn n n n nnnn n n n nnnn n n nnn n jn n n nnn . n n n nm nSn . n. nnnnn n n n^ nnn n s : S H n»- n n nnn . ., ,- .,- . n nnnnnnn n nnnn ntma n nn . . - n 'nnnnn nnnnn n n nn^nnrk nn^vin n n nnnn nnnnnnn . nnnnnn nnnnnn nnnniznn . nmvéin. mânnn, .nmsmwi , téinnh] 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 7.X% ^ïî^ ''^T VP^ 'A « '- ^ ^ i' >x '/ '-^ ' -Kl -i •- - y \y '• t '--;'" Tt 1 -<>? 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VI aaga ^ al^r a^ |a ^l^ill^ " . ^^a "^ la ggg :a aagaaaaaa^aa a a gaagaaaagaa aa gggagag ag g?a ^a^ag 1 aa g>-^ ■ aa ag aa ^a a a aaa aaa aaagtja>a>a: aagagaa aaaaa aga a , a aa , !a aaa a a aa --ag. - a^ , ,>??7>?>a'aaagaaaga'a'aa :aa aaa aaa aaa a a: ..aaaaa. aaaaaaa :ga aa" -^aa gga gga gag aaa iaaaa'aaa ^^ aaggaaaaaaaaaaaaa; iaai !SagaHagHHHaH.aagi!OTB§mwï^J a a aa aaa aa a aaa: - ^ga ggga irji|a --_. aga gaa , 241 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 - _ T L "IL n ^/■•\i „y'\n _/''\-i _/"N-) /■'N N ^ \ \ /•^\ M /-5\ -M . . 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( — D /■^g'^'^'iS'Jlïî'-S r~ — I -7^^ )>^î^^â3'î23^3'îi 1 1 )-^^' N^ ' ' — l "n\^agLr_t ;'5M_j»?'7( i g2LJ3y( J , ■^ — ( J ya jgggïî^'aa'^asa^^i^a^^" 133233^ igg^g'^âaa''/' "^^3^3'a^^j jgg -^ V LJ L_D L„J y ygg'^aa^/'! I ^ N/' . y^j'j^Tssav u I ) y's"T5'^g-îî>3'3( l 1 la^aaas^a'^s' ' i ■ — ^feg^g^îîVi t !2333\ I -viK~~-cz--:s. Kisr\ /■ — 1 ) nw/'/'-^j ^ - /■ \ /■ N I )'Î3\, nT9^->Â( /^/ y n — n~ V\ /•"/■ / i„u„jj„yr •)"/■ rAnm — — _ N^^' _ , 13L ninri^Xn^,,/'^ J ii^?i j'^'VPi-m. — L_j l'^âaaBsaaasaa^^'^-i V/HHHBHgHBgg^ l ) y rN?3ï?^L~L .1 1 NÏÎ'Xi ) nc^^/i ) /~;>ig>!3M 1 ) ) 1 ! n ) 1 1 1 ) ) [/ y^gv \! ( I 1 1 i t I t 1 I t I 1 i/â iP1^333H-'Hr,^H^r,-^H^<- ^33ïis-ii^^ L^t-PLLLLLLyàfe "vii-^)^/-\ u ) 1 ) 1 1 1 n 1 1 1 ■ L„J ^, , L„J,^/Si! ^-'TÎ^i L3i Ljgî^; y3nag I, r n ~-7'3>'^^H?^'î^N s 3 r i'-3'7'?2>23^>?3i L., I ) )^îJ- Il 1)1 N-n l/l /\ )M I I t I l l I I 1^1 />^':î\ )N ) ) ) ) 1 ) ) ) L' L' l !_' 1^' y'S'^^'^'SN INj ) ) ) I 1 ) ) „cr !_ ^«i -3531 1^ y^>33c~ i^^îjs \3^>2>a>2/-rrr )^5/- y^>3>-^l rS^g^g^v. Nîî^t - 32/- •»2HHH'3?2C:: i'Jgggg^S, N^r — .tJSSSS^SS' 'SSStsBgHv - nii^aa/ nS^p'^pi — )'3gRgC_/g?3t l^av^D'S'Sg^L 1^5'3^%'3'3§l liTiNg'^i^^tei „ 1)1) ig'Bg'avygv. ' * " nilil^^lLJàJi 1 ) 1 ) ) )/i'5î3^"^as .'aîdsi [/•rrn .. ;u u I m " " » I /) /-33ri^V II il 1^33! \n\./-vi vhin' y^U,^, ,l33g233LLL_JJJ^3gte'3llg^32! 133M%^I U LU333S! 1 )^L \ T2L. ^^? 3S \/^N, -^33^1 yga»!;! )^3't/'NJ ) " " Vt/" /) N J ) J 1 ( >^l^, I \/v: ^i /^^^\ I I y33>ît /^33i /g'^^t /'^g^i /':î^>?i yS^^Vi y52/S^i / ^3y V las^z-Nj '?^i-^v '^aV'^-J iv3^/-Nj )îi-t3/-Nj ).^33Aj 13 -1 I 24; "iiJSi Si^Sb, ^■'li^ '-\/%\ Ny§\ \ygs sygs /^P»^ yga^i y'^i^i /'sgpi ya^Rt /3g'si yg,3Ki 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 nnnymnTmvn^'mn^'mnnnnnnm^!x^^pz^^xtp^n^^^ -Kit ^ >2>3 ^S'ï ^'KS V>!^ n^^ >sî^ nriv, 't. i V. -^f, >? '? a ^ ^ ■:? ^ »! ^ ^ ï? ^ V 3 3 3 'A X'A'A'A •A'A'A 'A'A^'A 'AX'A'A'A •AVt'A VPi 'AXX-A 'A'A a '^s 'KPWAwn 'l'Thvcvivn / 3%Î<M3^^'3 ^ 5 3y^2 y ^ J Ajyj JJ~7jJyJ'Zy '^J jyV^j-^ yy y j^ j jj yy"j ^yyy'Zy'Ktyy 'Kf,yjy'Ay''A r Î33^ »3^1 'ï î? 'ï n MX HS< MX MX '1 MM MMMMM M MMM MMM»M X'A'A Xyi'A'A'A'AXi'A'A MMMMMMMMMMMM MM MMMMMMMMMMM ^ =2 MMMMMMMMMMMMM ^ MM «M MM 'î 'VA MM MM MM MM ^Mxa'î?^^ MM^î?a" MM5Î2 _ ,. M^g^g; MMMî'^^'T':?; SligM 3'3'3Î?^ MM 333MM 353MM3^îî'3 MMM ivA-Pinnvi 33 3 ^ MM MM 3 ^ 'K 3 ^^3 ^-33 3^3 3 3-3 '3 >3 ?3'3'3 ~"3>3 >j ^ ^ ^ ?3ïî'3îî'35ï'?3 *'333 33^3î333ïî3 '39>3^^a>s3^^3^3^3^^ MMM 33MMMMM3^^^33'33"7>3'3'3^ MMM.33M^^îlM^î?33?3â33^3Mîî'3ïî^ MM?33M3?3M,'33333^333.3^M3'3'32^ 1 ^^ — ^3MX?3M3î3?33^?2'33M33^^3333 - ï'MMî'3M^=îg^a?33MM33^^'S»3=3>35 ï!^MM'33MM^^M33'335§^î3<ÎM3ï''3'32?>3?3gîî ^3M3333,3^J3î7>3333îî3!3?3-cî3>;îîî?3>33ïrs >pl 3333^îS33g'333'333^^33»3^%^«î33^^^3 33^33'«333?33^3'23^'33^33333/23'3'33 ^'3M?J33^33M'?^3îî'3'3'l>3333233%33333 M33'3MM^^^3M?3>3-2>3^'3^M^3M3333'^3!3333 M3MM M3'33'3-3'3^MM'35iM M33^33'3^ Max M M ^ M ^ M ^V* 'AKiri M£3 M '33M M^^ïîï!'3M Mïï^^M M^îîM M 3'3 ^^^3 MM^î?<''3 «S'y MM23>3 33 Mî?aH,3 .„5?3g »^?3^ _a '32'3Sfe»3.33^3' V,ViV?iVPm: — 3<333 a3r' ,^.33 tmfmmiR 333.3 3Z3H yyV! y y nnv Î33 'y yy yy ^'S3233a33'îJ ;h M M.'5M.3 MMMMMMM MMMMMMM 3 ,3 ,'3 3.33.'3.3 . >J»fe3^-3>?i5 V'aÛ'A X'A'A M W3 > MMMMMMM MMMMMMM M M M M M M ;m M 3 ^3 '^ M MM 3 3 MM MM 3 MM MM MM MMM 'AVX M3H'7M. MïîMîiM^M SIMMMMMMMM ?3 ,^ .î; 3 .3 ?3 ?3 ,^ ,3 ,^333 .'3 3 3 W.ï? ,?3 3 -^3 S,Î3 S3 .î3 ,^«3 ,3 a3 a 3.'3.?3a3 .'3?3,>3 a.^3 ,^3333 .Ï!,ÎS3 ."5 .33 .'3.ïî,=i3 .3.33 3 .ï!3.^ K SSS Su n .3 .33 n,% .^.^,33 S 3 3 3,^3.^.'3,3.^,>3 33,ï?,îî3.^.3,3.33 g .3 33 .3.3.33,^3533.3.^.3.î3,5,>?a3^S3^33.^fe 3 .3.^3.33a3.33.3333.3,?3.5S<3 33.3333.3,î!,33,3,3g3,33 3.5g33!3.^.333,^.?3a3 nnnnnn .m 33 .33,?3 . . 33 3 M 3M 333 >7?3M 3'3333'3?3M Î3ÎÎ3M3>3'5M ^333^3aM ?3>?'3:3'3.33a3 -1 ^ < «.«.«,«.< ,<.3.3g.^.3 3>;'3 3.3.333.3,^=3.3,3,^^.3.3.33 ^^33.3,33,^3,3S.3.3,3,3.?333,=23.^ 333.3,3,3,%3.3.333,333,3,3,3,3333 " '^■3333333a33S^3g' a,333^333333JS 241 a 274 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 'Œ&wfis&ipr+m™^^^^ l#fm-R=!Hl: 'l-f:i4l4'l=fl4lH «ffiiS înMBSîŒnaEaBEnŒBTaHaï w "-!li'i_Lli|J-'i_L'l_'l_l l_i| -'- I-' _ F'iG. 6. First half of the first journey and auxiliary 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. ililJLllLl: .liJiiiii 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 IJ' ië»i;iiM^«:v- « ,« „ «.ja „ H ^ ■ »s g» JK^1