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  • I Album de Broderies Au Point de Croix Par Theresa de Dillmont PDF

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    22 vues96 pages

    I Album de Broderies Au Point de Croix Par Theresa de Dillmont PDF

    Transféré par

    Daniela Mihai

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF, TXT ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    sur 96

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    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 VIENNE
    Comptoir Alsacien de Broderie Comptoir Alsacien de Broderie
    25, Faubourg St-Honoré 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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    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

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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


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    D.M.C — déposé Planche N° 3

    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

    DOLLFUS-MIEG & 0% MULHOUSE- BELFORT- PARIS


    D.M.C — déposé Planche N° 4

    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

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


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    D.M.C — déposé Planche N° 6

    ALBUM DE BRODERIES AU POINT DE CROIX


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    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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    Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
    à marquer, les cotons pour crochet, 1 es cordonnets et les fils d'Alsace D.M.C

    DOLLFUS-MIEG & 0% MULHOUSE-BELFORT-PARIS


    D.M.C — déposé Planche N» 8

    ALBUM DE BRODERIES AU POINT DE CROIX


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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

    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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    ,M.G — déposé Planche N° i3

    ALBUM DE BRODERIES AU POINT DE CROIX


    Par Th. de DILLMONT

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    D.M.C — déposé Planche N° 14

    ALBUM DE BRODERIES AU POINT DE CROIX


    Par Th. de DILLMONT

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    D.M.C — déposé Planche N° 1

    ALBUM DE BRODERIES AU POINT DE CROIX


    Par Th. de DILLMONT
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    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'% 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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    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° 20

    ALBUM DE BRODERIES AU POINT DE CROIX


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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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    Zlb.

    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


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    Patrons de broderies de couleur à exécuter avec les cotons à broder, les cotons à tricoter, les cotons
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    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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    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 tricoter, les cotons
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    DOLLFUS-MIEG & C'% MULHO USE -BELFORT- PARIS


    ).M.G — déposé ^ Pla/nche N° 25

    ALBUM DE BRODERIES AU POINT DE CROIX


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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
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    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

    ALBUM DE BRODERIES AU POINT DE CROIX


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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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    24;

    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^ H
    î?
    "3^il.,'3„a.
    .^
    anHaj! •?
    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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    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
    for example Bleu de France 339 with Rouge-
    value of tone in each scale of colour should be taken ;

    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 If moreover, there are

    which cannot be counted, - corners to be worked, or if

    and which hâve to be cover- a pattern has to be rever-


    ed with canvas or some sed in the angle of a pièce
    other auxiUary fabric, to fa- of embroidery,it isadvisable

    cihtate the counting of the to trace a diagonal line, as


    stitches, should be mounted well, from the corner to
    on an embroider3^frame. To the centre.

    do this take the middle of The number of stitches

    the pièce of stuff and the in a pattern seldom corres-


    middle of the webbing of ponds with the number con-
    the frame, and pin them tained in the pièce of stuff
    together, stretch the stuff ^ to be embroidered so that
    equally, right and left and -^ patterns hâve frequently to
    sew it firmly (overcasting) Fig. i. Marking out of the stitches to facilitate be reduced, eut, or length-
    THE WORKING OUT OF THE PATTERN.
    to the webbing of the frame ened as the case may be,
    and fasten the other and straight lines con-
    side in the same way. verted into broken
    Before sewing the ones and so forth.
    canvas on to the stuff, Thèse altérations,
    mark it out with a sometimes sodifficult
    coloured thread into ^^^ as to need the help of
    spaces of ten threads a designer, are greatly
    each, along two sides facilitated by the use
    at least, in the length of unframed looking-
    and breadth. Count ^^ glasses, called Péné-
    the number of stit- lope mirrors, which
    ches both ways, di- carefuUy placed, as

    vide them in two shown in Fig. i, pro-

    and starting, in both duce wonderful re-

    cases from the middle FiG. 2. Conversion of a pattern for a stripe into a square
    sults.
    PATTERN BY THE AID OF TWO MIRRORS.
    stitch, trace two lines, If you wish to use
    one horizontal, the other only one part of a pat-
    vertical, right across the tern, or to magnify it,

    canvas. The point of or to adapt it to a centre


    intersection will déter- or a corner, you place
    mine the centre. This the mirror, in the first

    frame-work or scale of two cases, in a straight


    nieasurement will great- line, or in the latter case
    ly facilitate the working diagonally across the
    out of the pattern and pattern at the point from
    should on no account which it is to be either
    be puUed out until half repeated or reversed,
    the pattern at least be and 3'^ou will hâve it
    3. Conversion of a narrow stripe into a grounding
    finished. reflected in the mirror
    See pattern N" i8o of the album.
    as it is to be work- The mirrors will

    ed. further be found


    To compose a useful in the case

    square you must ofpatterns that are


    use two mirrors, either too wide or

    joiningthem where too narrow , and


    the diagonal lines hâve to be either
    meet, and you hâve made narrower or
    your square , as doubied ortrebled,
    seen in Fig. 2. as the case may be.

    Ail parts of a Fig' 3 and 4 show


    pattern are not e- pattern N"' 189
    qually suitable for and 197 repeated
    répétition and you three times, in the
    will hâve to pick latter case it will

    out the part best be observed that

    adapted for form- the small tree-bor-


    ing a centre or der is only repeat-
    corners. 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- beneath, and a sufficient margin left

    led marking stitch, is so familiar to to facilitate the drawing out of the

    every one that it seems almost need- threads of the canvas when the work
    less to describe it hère. Yet it is as is finished.

    well to observe that, where an auxi- Gare should also be taken in form-
    liary material is used, it should be ing the stitch to pass the needle in
    most carefully tacked — following and draw it out at the point where it
    Fig. 5. Cross-stitch on
    the Une of the thread — to the stuff auxiliary canvas. 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
    w
    înMBSîŒnaEaBEnŒBTaHaï

    "-!li'i_Lli|J-'i_L'l_'l_l l_i| -'- I-' _

    F'iG. 6. First half of the first journey and auxiliary FjG. 7. One journey and first half of the second finished.
    STITCH FOR RETURNING. Auxiliary stitch for the second return.

    stitch downwards to the two first rows of stitches.

    right, bring your needle In the auxiliary stitch

    up again in the middle with which you begin the


    of the last stitch, and second journey back, the
    thence, carrying it up- thread will be double on
    ililJLllLl: .liJiiiii

    wards to the left across


    Fig. 8.
    both sides. Fig. 8 shows
    two threads, you begin The two journeys to and fro, completing one row how you pass to the next
    OF cross-stitch, both sides alike.
    the return-journey, from 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
    stitches in embroi- [d J ' rJ-^^Ap^^h^^^
    ,^ to the left; F, an

    auxiliary stitch to
    dery of this kind. t#:gbMgptt^^tap|fc ^-'l-V4 MJ the right ; G, auxi
    Letter A, Fig. g pœpfppfe^^W uii-iQpi-iipppTZ! or'*^
    liary stitches be-
    shows the intro-
    '

    tween two isolated


    duction of the ittLiiry^L 1;
    cross-stitches and
    A B G D
    thread and the po- Fig. 9. Various positions of the needle in marking. H, a second and
    sition of the needle last auxiliary stitch
    lBîlMffl!3?J5pSi7!!Sifl=nll
    for the first and se- Pl^UpIppSjdîJlj^^Œyiîdidl^pIlpp lîddddP to complète the
    |g!pLK'=''=''=''-''=''='=''-'--''-'-''-^
    cond stitches-, B, cross.
    laïf
    the first two stit- |p||i| It is only by
    ches as corapleted, iplpl practise and care-
    with an auxihary feMîSidHsfeîSSSSSlb^ ful calculation, be-
    stitch to the right,
    E F G H forebeginningeach
    Fig. 10. Various positions oi' the needle in marking.
    the thread as it cross-stitch, that
    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 as seen in Fig.

    the stitches and 12, B. Letter C,

    compare Fig^ 1 in both Fig= 1

    ABC shows
    and 12, whichre- and 12, a

    presenting the stitch which is

    two sides, you double on the


    D
    soon master the FiG. II. Right side of the cross-stitch showing a square at the back.
    right side, and
    secret of this way at the back com-
    ofmarking. Letter plètes the fourth

    A, Fig. 1 1, shows side of the square,


    'fp^

    ABC
    the introduction whilst letter D,
    of the thread, also in both Fig%
    and the position shows how to

    of the needle for D pass on to the


    Fig. 12. Square stitch forming the back of the cross-stitch.
    forming half 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- cross at the back and the ver-

    tical stitches. The ^pigm tical stitch to the left at the

    rJft

    rlKMiTjJtfj
    iJdEŒbidbdBdsdsi
    Hi^É
    iHifflUii
    Fig. l'i. Introduction ok the Fig. 14. Position oI'- Fig. i(). Return journ'f.v Fig. i5.
    thread and position of the the needle for tue whlch completes tuf. Position of the needle for tiii;

    needle for the first stitch. 2. and ?. stitches. cross-stitch. 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

    book on needle-
    work. It is com-
    ffl^^i^^^ firstfourthreads
    of the canvas.

    posed of cross- Thèse four


    stitches, separa- stitches finish-

    ted , as in the ed, you pass


    Italian stitch we on to the fifth

    just described, and sixth, (ver-


    LHLfJ
    by vertical stit- tical ones, back
    A B Fig. 18.
    ches, but hère Fig. 17.I., 2., 3., 4. and 5. stitches Back of the stitches. and front) see
    AND TRANSVERSAL STITCH.
    the cross -stit- letter B, which
    ches are worked on the right cross the first four, after which
    side, over two oblique threads, you begin again at the first

    whilst the back présents only stitch.

    ordinary cross-stitches with ver- The threads forming the stit


    Fig. 19. Stitches finished.
    tical stitches between. ches on the wrong side are al-

    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.

    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

    going one, either by the short BMIlfflPlSBRHpflfflRflRflffllli we usually find the short stitches
    lljiâTii±-Aiiiiiiiiai±-«f^-'iiiiii niade to encounter the lon« ones.
    or by the long stitches; but one
    way must be followed through- Coarse cotton should be used,
    out. In many Slavonic districts for this stitch, and for the Mon-
    this stitch is used for the décora- ténégrin, as the effect is poor if

    tion of linen garments, and there the stuff be not well covered.
    FiG. 20. Greek Stitch.

    Plaited Algerian Stitch.

    This samc of vertical threads. For


    stitch is of the ge-
    ^^^jUJ^^^^p^pp stitch likewise coarse cotton is
    this

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


    distinguishing characteristic be- l^ffl^^^^^^^^Pttl^^Wï^ to be preferred and the rows
    ing that you never advance .

    ^Jj^^^^^^^^pf^HH may touch each other, either at

    more than one thread at a time, |]ï^iri^^p^^^^^^]^^^^Mi the top or at the bottom of the
    so that it is best to begin your AWjîfi^^^ stitch, but the same system must
    rows with an uneven number f,g. 2.. Plmted Algerian St.tch. 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- ployed in cer-
    œJïnïUzrpLïga
    ces left by the tain oriental
    lp3i±p3EEpL
    long stitches carpets , only
    must be filled ll_!Li±l±|JL|^
    'i|J_|J_:|_L|_L;,
    the threads are
    in with shorter much doser
    ones. than in the
    The stitch FlG. 2 FiG. 2?. Second row. Spanish stitch.

    Two-sided Line-Stitch.
    (Fig" 24 and 25).
    The four-sided are of the same
    stitch, the Hol- genus and easy of
    bein- Stitch, the exécution, yct a
    Lil il il
    two-sided
    I I

    stroke- I II

    novice to the kind


    stitch, and the set- of work will re-

    ting-stitch, are ail quire a little prac-

    worked upon the rh tise to master the


    same principles. |]iT|mfI|T|^^^ course of the stit-

    Although
    «^
    ail thèse ches.
    l'IG. 24. FiG. 25.
    two-sided stitches Forward row. Backward row. Fig. 24cxplains
    12 —
    how the needle passes alternately, step by step, work of this kind, to begin by studying the course
    over and under the threads of the stuff; Fig. 25, the thread should take, so as to avoid double or
    shows how the threads first left blank on both slanting stitches on the wrong side. When you
    sides are covered in returning. pass obliquely across the stuff, as you hâve to
    The great difficulty in the line-stitch is so to do in patterns N°^ 82, 96, i53, 232, 233, 237,
    place your first stitches as to insure an unbro- 240 and 243, you take the same course as in
    ken course back. It is best on undertaking a covering the straight threads of a fabric.

    Triangular Turkish Stitch,


    (Fig^ 26 to 29).

    Amongst the many pretty stitches for which cal threads, insert the needle behind them, and
    the Turkish embroideries are distinguished,there backwards under the two vertical and the two
    is one in particular, which, though apparently horizontal threads, bringing it out again at the
    puzzling, is in reality extremely easy of exécution. upper vertical stitch and inserting it once more
    Itresembles
    the line-stitch
    immmE
    BfflBrJ
    oidbdqp^^
    nŒnQjaBa
    m
    ^tiMi^M™ at the lower
    vertical stitch ;

    upon straight ||ijlj||±iJïJT^^^ pass it under


    threads, only torWltt the same and
    .

    the
    i_ _ ^
    Orientais
    1 . Lll illillJXŒQOJdSH
    out to begin
    generally work again with the
    it in diagonal back-stitch up-
    Unes, each row wards. Four
    requiring two threads should
    journeystoand ikŒffiœmmifflmfflB meet in every
    'HxMtiflflTif^^^^
    fro to complète FiG. 26. First journey to and fro, for- Fig. 27. Two journeys two and fro, hole the need-
    MING A HALF ROW OF STITCHES. forming the complete row.
    it.At first start- le makes. Fig.
    ing,toworkout raa^BPSpi 27 exhibitstwo
    |HNrl^iflfl^l-^l]^lfl-|l|l^l-[:1fpf;ifl
    Fig. 26 carry such rows of
    the needle first stitches work-
    over, then un- ed in two co-
    derneath two lours that are a
    threads in dia- good contrast ;

    jaSEEESEEEHl
    gonal line, and ail cross-stitch-
    Fig. 28. FiG. 29. First journey to and fro and
    so on to the First half of the first journey for FIRST HALF OF THE SECOND COMPLETED. ThE patterns can be
    the triangular turklsh stitch. second RETURN in COURSE OF EXECUTION.
    end ofthe row. worked in this

    Corning back, you pass the needle under way, but in straight not diagonal rows of stitches.
    the stuff and the stitch, on the right side, and The darker shade in Fig 29. shows the first
    out at the bottom of the stitch then you make
    ; row of stitches, the lighter, the second, or rather
    a back-stitch over two horizontal and two verti- the 3*^ and 4^^, as four rows of stitches are re-
    cal threads, lay the thread across the two verti- quired to make one row of cross-stitch.
    — i3 —
    Smyrna Stitch worked with a crochet-needle.

    (Fig= 3o to 33).

    Should an}^ of hook, seize the ends


    the patterns in this ot the cotton and
    _iilLi
    album be chosen for draw it through the
    the making of a car- loop which is on the
    pet or mat they can needle, as indicated
    be worked with a by the little arrow in

    crochet needle in- Fig. 3i. The tassels

    . stead of a needle. —iiLiidI Î&OE


    ''-
    Il—"-II— ri
    should be two or
    Take a very coarse aaaitwc three threads apart.
    cotton, for instance As each rowis finish-
    N° 6, 8, or 10 of
    ^m. ed, you comb the
    Knitting cotton (Co- FiG. 3o. Introduction of the Fig. 3i. ends of the tassels
    LENGTHS OF THREAD BY MEANS OF KnOTTING of THE THREADS.
    ton àtricoterD. M. C) THE CROCHET-NEEDLE. carefuUy out with a
    eut it into lengths fine métal comb.
    of 8 cm., fold Whenthe whole
    two lengths to- iimuuniyLiiJLiJL is finished you
    gether in half, shear the entire
    for each tassel, surface with a

    stick the crdchet- pair of sharp


    needle in up- scissors. Fig. 33
    wards under shows a square
    two threads of of the work com-
    the canvas, take pleted, present-
    hold of the loop f""^- 32. FiG. 33. ApPEARANCE of the WORK ing that warm
    The knots are seen from beneath. WHEN FINISHED.
    With the hook, velvety appear-
    see Fig. 3o, and draw it in; then push out the ance which distinguishes the Smyrna carpets.

    Chain-Stitch.

    Generally speaking, this Many-coloured patterns


    stitch is only used for the gain immensely by being
    ornamentation of under-linen worked in this stitch , the
    or small articles of fancy- colours blend better and even
    work , but it can perfectly the shapc of the stitch con-
    well be cmployed in the re- tributes to soften a contrast
    production of cross -stitch of colours.
    patterns. In many old collect- Chain-stitch cannot be
    ions we meet with most worked forwards and back-
    original pièces of needlework, wards as other stitchcs can,
    such as hangings and screens nor can you tinish ail the
    with figure-subjects, executed stitchcs that are to be in one
    in chain-stitch. colour first, as you generally
    FiG.. 34. Chain-Stitch.
    14 —
    can in cross-stitch work; you must begin every lower down. The loop formed by the thread
    row separately, and always from the same side, must remain under the point of the needle.
    and you must hâve a needle for every colour as The thread must not be drawn tightly, as it

    the cotton has often to be changed. The stitch is should form a round and rather loose loop. For
    worked as foUows : after fixing your thread, the second stitch you must insert your needle
    draw the needle out and insert it again at the at the side of the thread that cornes out of
    same hole and bring it out again two threads the loop.

    Two-sided Insertion

    We conclude of the needle for


    this séries of stit- the seventh and
    ches by the descrip- the eighth; Fig. 38
    'J3p pEpa
    tion of an extreme- shows the ninth
    ly pretty insertion and lower horizon-
    that can be used to tal stitch across
    FiG. 35. FiG. 36. Fig
    connect broad pat- 37. 6 threads, as also
    i . and 3. stitches.
    2. 4. STITCHES FINISHED 6. stitch finished and
    terns with narrow. Position of the needle AND POSITION OF THE position of the needle the return- stitch
    FOR THE 4. NEEDLE FOR THE 6. for the and
    The old handsome 7. 8.
    under 3 threads;
    many-coloured patterns Fig. 39, the tenth stitch

    are ôften intersected by a finished, and the next step


    band of stitching or open- to the eleventh and the
    work , and for such twelfth sthches. Fig. 40

    this insertion supplies a shows a row of stitches

    worthy and suitable sub- completed and Fig. 41 the ,

    stitute. Fig. FiG. 39 back of the work which


    s. Stitch finished and i o. stitch finished
    Fig. 35. explains the POSITION OFTHE NEEDLE AND POSITION OF THE NEEDLE FOR présents quite a différent
    FOR THE g. AND 10. THE I. AND 12.
    first stitch and the course I
    pattern from the right side.
    Thèse insertions
    of ,he second, from
    left to right, under-
    ^Hft^Ulffllî^g can be worked on
    neath three vertical any sort of stuff,

    and three horizontal but the stitches

    threads, likewise the must be done both


    third stitch to the ways on a number
    Fig. 40. Row of stitches finished.
    which
    left, over 6 threads, of threads is

    and the position of the divisible by 3. Thus you


    TÏTTTSSŒlirai
    i>t^H^«fcta«iJ3f
    needle for the fourth stitch. may make your stitch to

    Fig' 36 and 37 show the M cover 6, 9 or 12 threads,


    ^
    _,|-Jlp'

    fourth stitch completed, but you will never succeed


    the course of the fifth and if you attempt it over 8,
    iEDii y^i I li li ijJd li li li Uj J_ li li i±^ i± il A! iJd J?^
    J.I I I I I

    the sixth and the position Fig. 41. Back view of insertion fig. 40. 10 or 14.
    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


    : and stroke-stitch. Coton à broder D.M.C (Embroidery
    over 2 D.M.C (Lace thread) N» 5o.
    threads. Fil à dentelle Cotton) N» i6 for the palms, and Fil à dentelle D.M.C
    Rouge-Turc 32 1. —
    N° 2. Cross-stitch over 2 threads. (Lace thread) N" 70 for the grounding. Bleu cendré 448.
    Coton à broder D.M.C (Embroidery Cotton) N° 40. Rouge- — N° 20. Cross-stitch and Sand-stitch. Coton à repriser
    Turc 321 and Bleu-Indigo 3 12. One horizontal row of D.M.C (Darning Cotton) N° 25 for the palms in cross-stitch,
    palms in blue, one in red. —
    W" 3. Cross-stitch over 2 and Fil à dentelle D.M.C (Lace thread) N" 60 for the
    threads. Coton a broder D.M.C (Embroidery Cotton) N°4o. grounding. Jaune-Rouille 363.
    Brun-Caroubier 3o3 and Rouge-Géranium 352. Every dia- ON TOILE COLBERT, Linen): W''2L and N" 22.
    (Colbert
    gonal row of palms in one colour. —
    N° 4. Cross-stitch Stroke-stitch over Coton à broder D.M.C (Em-
    2 threads.
    over 2 threads. Coton à broder D.M.C (Embroidery Cotton) broidery Cotton) N" 16. Violet-Mauve 376 forN° 21, Bronze
    N° 40. Gris-Tilleul Sgi and 33o. —
    N° 5. Half cross-stitch doré 585 for N" 22. —
    N° 23 Cross-stitch and stroke-stitch.
    over 3 threads. Coton à repriser D.M.C (Darning Cotton) Coton à broder D.M.C (Embroidery Cotton) N° 16. Brun-
    N° 25. Violet-Mauve 376. —
    N° 6. Half cross-stitch over 3 Cachou 435 for the cross-stitch and Jaune-vieil-Or 680 for
    threads. Coton à repriser D.M.C (Darning Cotton). Brun- the stroke stitch. —
    N° 24. Cross-stitch. Coton à broder
    Havane 456 and Bleu cendré 448, Or fin D.M.C pour la D.M.C (Embroidery Cotton) N° 16. Bleu-Indigo 334 and
    broderie (Washing Gold) N" 3o. You count from the top Jaune d'Or 667.
    down-wards 8 horizontal rows of stitches in Brun-Havane, ON TOILE RUSSE (Russian Linen) : N° 25. Cross-stitch.
    the five lower rows in washing gold the 4 stitches between
    ; Coton à broder D.M.C (Embroidery Cotton) N» 16. Rouge-
    the eighth and the twelfth row in Bleu cendré. Grenat 326 and 335, a dark and a Hght stitch alternately.
    ON GAZE DE LIN (Linen Gauze): N" 7. Two-sided cross- — N° 26. Cross-stitch. Coton à broder D.M.C (Embroidery
    stitch over 3 threads. Coton à repriser D.M.C (Darning Cotton) N° 16, and Fil à dentelle D.M.C (Lace thread)
    Cotton) N» 25. Jaune-Rouille 365 and Or fin D.M.C pour N" 80. Brun-Cachou 435. The palm with the Lace thread,
    la broderie (Washing gold) N° 3o. The pattern left blank the grounding with the Embroidery Cotton. N° 27. Cross- —
    and outlined with gold. —
    N° 8. Cross-stitch and stroke- stitch; Coton à broder D.M.C (Embroidery Cotton) N° 16.
    stitch over 3 threads. Coton à broder D.M.C (Embroidery Vert métallique 465 and 467. Four palms light and four
    Cotton) N° 25 and 100. Bleu-Indigo 322. The palms in dark green. —
    N° 28. Cross-stitch. Cordonnet 6 fils D.M.C
    cross-stitch in N" 25, the grounding in N° 100. (Six cord crochet cotton) N" i5. Rouge-Grenat 326 and
    ON TOILE DE RHODES N» (Rhodes Linen): N° 9. Plaited
    i Bleu-Indigo 3i2. One diagonal row of palms light and
    Slavonic stitch over 2 threads. Cordonnet 6 fils D.M.C one dark blue.
    (Six cord crochet-cotton) N° 20 Rouge-Géranium 340. — ON TOILE BATAVIA (Batavian Linen) : N° 29. Point au passé
    N° 10. Plaited Slavonic stitch, the pattern is left blank, (Satin stitch) Soutache Rouge-Turc 32 and
    D.M.C N" 2. 1

    outlined by the grounding ; Cordonnet 6 fils D.M.C (Six Bleu-Indigo 3 12. One horizontal row red and the next
    cord crochet cotton) N° 20. Violet-Evêque 451. M° 1. — 1 blue and so on. — N° 30. Point au passé (Satin-stitch) ;

    Straight Gobelin stitch (*) over 3 threads Cordonnet 6 ; Soutache D.M.C N" Bleu-Indigo 3i2.— N° 3L HalfCross-
    2.

    fils D.M.C (Six cord crochet-cotton) N° 25. Rouge-Cor- stitch. Coton à repriser D.M.C (Darning Cotton) N" 25.
    nouille 449. —
    N° 12. Greek stitch over 3 threads. Coton à Bleu-Indigo 334. —
    M" 32. Half Cross-stitch. Coton à repri-
    broder D.M.C (Embroidery Cotton) N" 16. Rouge-Grenat 326. ser D.M.C (Darning Cotton) N" 25. Vert-Pistache 320.
    •N TOILE ALGÉRIENNE (Algerian Linen) N" 13. Cross-:
    ON TOILE DES VOSGES (Vosges Linen) N° 33. Point coupé :

    stitch and setting-stitch over 3 threads. Draw out every (Cut Work, Punto tirato). Fil à dentelle D.M.C (Lace thread)
    fourth thread of the material both ways, to make it more N» 60. Rouge-Turc 32i for the little bars. Coton à repri-
    transparent. Coton à broder D.M.C (Embroidery Cotton) ser D.M.C (Darning Cotton) N» 80, white for the centre of
    N° 16 and 40. N° 16 for the cross-stitches in Jaune-Rouille the palms. —
    N° 34. Bar-stitch. Fil à dentelle D.M.C (Lace
    3o8, N° 40 in white for the setting-stitch. W° U. Trian- — thread) N° 60. Rouge-Grenat 326. N° 35. Cross-stitch on —
    gular Turkish stitch, over 4 threads. Chiné d'or D.M.C auxiliary canvas N» 3o. Coton à broder D.M.C (Embroidery
    (Coloured gold) N" 3o; Rouge et or and Vert et or. The ho- Cotton N° 35). Rouge-Turc 32 i. — N° 36- Cut-stitch (Punto
    rizontal rows are alternately green and red. N° (5. Tri- — tagliato). Cordonnet 6 fils D.M.C (Six cord crochet cotton)
    angular Turkish stitch. Chiné d'or D.M.C (Coloured gold) N° 5o. Bleu pâle 668.
    N°3o; Rouge et or and Vert et or. The pattern is left blank, ON CANEVAS PÉNÉLOPE (Pénélope Canevas) N" 5o or 60.
    outlined by the grounding. —
    N° 16. Draw out every fourth N° 37. Cross-stitch.Coton à tricoter D.M.C (Knitting Cotton)
    thread as in N° i3. Cross-stitch and cut-work-stitch. N» 14. Bleu cendré 448 for the grounding; Gris-Amadou
    Fil à pointer D.M.C (Knotting Cotton) N" 3o, white for the 329 for the palm Jaune d'Ocre 676 for the four stitches
    ;

    palms and Fil à dentelle D.M.C (Lace thread) N° 60 white, between the eighth and the twelfth rows.' N" 38. Cross- —
    for the cut-work. stitch, Coton à tricoter D.M.C (Knitting Cotton) N" 14.
    ON TOILE DE RHODES N" 2 (Rhodes Linen): N° 17. Cross- Vert-Pistache 319 for the grounding Jaune-Rouille 364 ;

    stitchand darning-stitch. Coton à broder D.M.C (Embroi- for the palm and Rouge-Cardinal 347 for the four inside
    dery Cotton) N° 16 for the cross-stitch, and N" 40 for the stitches. —
    N" 39. Cross-stitch. Coton à tricoter D.M.C (Knit-
    darning stitch. Rouge-Cardinal 3o5. —
    N° 18. Cross-stitch. ting Cotton) N- 14. Rouge-Cornouille 449 for the palm
    Coton à broder D.M.C (Embroidery Cotton) N° 16 for the and Vert-Mousse 46g for the grounding. — N" 40. Cross-stitch.
    palms, and Fil à dentelle D.M.C (Lace thread) N» 70 for Coton à tricoter D.M.C (Knitting Cotton) N" 14. Rouge-
    the grounding. Rouge-Cardinal 346. —
    N° 19. Cross-siitch Turc 32 for one row of palms and Jaune-Rnuille 3oS for
    r

    (*) 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 D.M.C (Knitting Cotton) N° 8. Smyrna-stitch for the palms
    grounding. — N° 41. Minute-stitch and Cross-stitch. Coton à and cross-stitch for the grounding. Brun-Caroubier 3o3.
    tricoter D.M.C (Knitting Cotton) N" 16. Jaune d'Ocre 677 ON TRICOT (Stocking net) N° 67. Plain Knitting and Cross-
    ;

    for the palm in minute-stitch and Brun-Caroubier 3o3 for stitch. Fil à pointer D.M.C (Knotting Cotton) N" 3o. Bleu-
    the grounding in cross-stitch. —
    N° 42. Spanish plaited Indigo 3ii and Rouge-Géranium 34g. The palms are to
    and Coton à repriser D.M.C (Darning Cotton)
    cross-stitch. be knitted in the blue grounding in red. N° 68. Plain —
    N° 25. Rouge-Groseille 606 for the palm and Gris-Amadou knitting and cross-stitch. Fil à pointer D.M.C (Knotting
    3o5 for the grounding. —
    W° 43. Chain-stitch. Coton à tri- Cotton) N» 3o. Brun-Havane 455 for the knitting and Brun-
    coter D.M.C (Knitting Cotton") N° 14. Rouge-Cardinal 346 Cuir 325 for the palm in cross-stitch.
    and 3o5 for the palm Gris-Tilleul 33o for the grounding.
    ;
    ON CROCHET GROUND N" 69. Tunisian Crochet and Cross-
    :

    — N" 44. Oblique chain-stitch. Cordonnet 6 fils D.M.C stitch. Coton à tricoter D.M.C (Knitting Cotton) N" 8. White
    (Six cord crochet cotton) N° 10. Bleu pâle 668 and Rouge- cotton for the crochet. Bleu-Indigo 334 ^^r the palms in
    Géranium 352 for the palms, Jaune-vieil-Or 680 for the cross-stitch. —
    N° 70. Tunisian crochet and cross-stitch.
    grounding. Coton à tricoter D.M.C (Knitting Cotton) N° 8. Bleu-Indigo
    ON CANEVAS UNI canvas) W° 45. Spanish plaited
    (Plain : 334 for the grounding and white for the palms. N° 7L —
    stitch over 2 Coton à repriser D.M.C (Darning
    threads. Tunisian Crochet. Fil à pointer D.M.C (Knotting Cotton)
    Cotton) N° 25. Rouge-Cardinal 347, Violet-Lie-de-Vin 873, N" 3o. Bleu-cendré 448 for the grounding and Jaune-vieil-
    Jaune-vieil-Or 680 for the palms, one slanting row in each Or 679 for the palms which work in crochet. N° 72. —
    colour, and Bronze doré 585 for the grounding. W° 46. — Tunisian Crochet. Fil à pointer D.M.C (Knotting Cotton)
    Oblique Gobelin-stitch over 3 threads. Coton à repriser N° 36. Gris-Ficelle 461 for the grounding and Rouge-Turc
    D.M.C (Darning Cotton) N" 25. Gris-Tilleul 33o for the 321 for the palms in cross-stitch.
    palms, Vert-Mousse 468 for the grounding. N° 47. Smyr- — ON FILET (Net) N° 73. For the net. Fil à dentelle D.M.C
    :

    na-stitch. Coton à repriser D.M.C (Darning Cotton) N" 25. (Lace thread) N° 60. Rouge-Cardinal 347; Cordonnet 6 fils
    Rouge-Grenat 359 for the palms, Gris-Tilleul 33o for the D.M.C (Six cord crochet Cotton) N» 25. Jaune-vieil-Or 680
    inside stitches. Bronze doré 586 for the grounding. — for the palms in point d'esprit. —
    N° 74. Fil à dentelle
    W° 48. Star and cross-stitch. Coton à tricoter D.M.C (Knitt- D.M.C (Lace thread) N° 60. Rouge-Cardinal 347 for the
    ing Cotton) N° 14. Rouge-Cornouille 450. Bleu-Indigo 3i i net Cordonnet 6 fils D.M.C (Six cord crochet cotton) N°. 3o
    ;

    and 322 for the palms worked in star-stitch in 3 colours Bronze doré 588 for the palms in the Spider-stitch. —
    alternately. Brun-Havane 458 for the grounding in cross- N° 75. Fil à dentelle D.M.C (Lace thread) N° 5o, white, for
    stitch. the net. Cordonnet 6 fils D.M.C N° 25. (Six cord crochet
    ON CANEVAS FICELLE (Hemp Montenegrin-
    Canvas) : N° 49. Cotton) Ecru, for the palms in double point d'esprit. —
    stitch. Coton à tricoter D.M.C (Knitting Cotton) N° 8. Rouge- W° 76. Fil à dentelle D.M.C N» 5o. white for the net. Or fin
    Turc 321. —
    N° 50. Astrachan or plush-stitch. Coton à tri- D.M.C pour la broderie (Washing gold) N° 3o for the
    coter D.M.C (Knitting Cotton) N° 6. Rouge-Grenat 358. — palms in cross-stitch.
    W° 51. Plush-stitch (called also Cut-Smyrna-stitch). Coton ON PIQUÉ (Piquet) : on auxiliary canvas
    N° 77. Cross-stitch
    à tricoter D.M.C (Knitting Cotton) N° 6. Rouge-Grenat 358. (plain canvas N° 3o) Coton à broder D.M.C (Embroidery
    ;

    — N° 52. Plush-stitch. Coton à tricoter D.M.C (Knitting cotton) N° 16. Rouge-Turc 32i. Setting of the palms with
    Cotton) N" 6. Bronze doré 585 and Rouge-Turc 32i in Soutache D.M.C N" 2. —
    N° 78. Cross-stitch on auxiliary
    alternate horizontal Unes. canvas (plain canvas N° 3o) Coton à broder D.M.C (Em-
    ;

    ON CANEVAS DE LIN (Flax Canvas) : N° 53. Star-stitch. broidery cotton) N° 16; Rouge-Turc 32i. When the palms
    Coton à repriser D.M.C (Darning Cotton) N° 25. Gris- are finished the rows of stitches are to be edged with Sou-
    Tilleul 392. — N° 54. Damask-stitch. Cotonà repriser D.M.C tache D.M.C N" 1V2. Vert-Mousse 470.
    (Darning Cotton) N° 25. Gris-Tilleul 392. N° 55. Long — ON ETAMINE MAILLÉE (Stitch-Tammy): W 79. Tuft-stitch.
    cross-stitch over 2 threads in width and 4 threads in Coton à repriser D.M.C (Darning cotton) N° 25. Violet-
    height. Coton à repriser D.M.C (Darning Cotton) N» 25. Mauve 376, Jaune d'Ocre 676. One diagonal row in one
    Rouge-Cardinal 847. The pattern is left blank and outlined colour and the other in the other and so on. N° 80. Gobe- —
    by the grounding. —
    N° 56 Long cross-stitch over 2 threads lin-stitch. Coton à repriser D.M.C (Darning Cotton) N° 25.
    in width and 4 in height. Coton à repriser D.M.C (Darning Vert-de-Gris 474. The pattern is left blank and outlined
    Cotton) N" 25. Rouge-Géranium 35 1. by the grounding.
    ON CANEVAS FILET (Net Canvas): N° 57. Darning-stitch. ON ETAMINE CÂBLÉE (Twisted Tammy) N° 81. Two-sided :

    Coton à broder D.M.C (Embroidery Cotton) N» 25. Brun- Bulgarian-stitch. Coton à repriser D.M.C (Darning Cotton)
    Caroubier 356. — 58. Two-sided cross-stitch. Coton à
    l\l° N" 25. Rouge-Grenat 335. —
    N° 82. Castilian-stitch. Coton
    repriser D.M.C (Darning Cotton) N» 25. Brun-Caroubier. à broder D.M.C (Embroidery Cotton) N" 25; Rouge-Cor-
    The pattern is left blank outlined by the grounding. — nouille 45o and Vert-Pistache 320. —
    W° 83. Athenian-stitch
    N° 59. Cross-stitch. Coton à repriser D.M.C (Darning-Cotton) forming a square at the back. Fil à dentelle D.M.C (Lace
    N" 25. Rouge-Cornouille 449. The palm is embroidered. thread) N° 3o. Bleu-Indigo 322.
    — N° 60. Two-sided Italian-stitch. Coton à broder D.M.C ON SATIN ANGLAIS (English cotton-backed satin): N° 84. On
    (Embroidery Cotton) N» 16. Brun-Caroubier 357. Satin Bleu-Indigo 322. Cross-stitch on auxiliary canvas
    ON TOILE CEYLAN (Ceylon Linen) 6L Square or Hol-
    : l\l° (Plain canvas N" 3o) Coton à broder D.M.C (Embroidery
    ;

    bein-stitch. Coton à tricoter D.M.C (Knitting Cotton) N° 12. Cotton) N» 3o. Bleu pâle 668. —
    N° 85. On Black satin.
    Vert-de-Gris 474. — N" 62. Square-stitch. Coton à tricoter Cross-stitch on auxiliary canvas (Pénélope canvas N° 60) ;
    D.M.C (Knitting Cotton) N" 12. Brun-Acajou 3oi. — N" 63. Coton à broder D.M.C (Embroidery Cotton) N" 3o. Gris-
    Setting-stitch and cross-stitch. Coton à tricoter D.M.C Ficelle 462. — W° 86. On violet satin 452. Cross-stitch on
    (Knitting Cotton) N" 12. Bleu de France 338 and 341. The auxiliary canvas. (Double twisted Tammy) Or fin D.M.C
    palm in 338 set with 841 — N" 64. Cross-stitch and setting
    . pour broderie (Washing gold) N° 3o.
    la N° 87. On red —
    stitch.Coton à tricoter D.M.C (Knitting Cotton) N° 12. satin 346. Star and setting-stitch on auxiliary canvas
    Bleu de France 338 and 341. The pattern is left blank and (Twisted-Tammy). The stitch is done on 3 threads; Coton
    outlined with Bleu 338. à broder D.M.C. (Embroidery Cotton) N° 40. Bleu-Indigo
    ON TOILE MATELAS (Java Linen) W 65. Chenille-stitch. : 334 for the palms in star-stitch and Jaune-Citron 307 for
    Coton à tricoter D.M.C (Knitting Cotton) N" 6. Brun-Ca- the setting of each star. —
    N" 88. On black satin. Cross-
    roubier 356 and Jaune-Rouille 364 for the palms. Gris- and setting-stitch on auxiliary canvas (Plain canvas N" 3o)
    Coutil 323 for the grounding. — M" 66. Coton à tricoter 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 vieil-Or 680 — N° 95. On Yellow satin. Cross-stitch on auxi-
    pour la broderie (Washing gold) N° 40 for the outline in canvas (Twisted-Tammy)
    liary Coton à broder D.M.C ;

    setting-stitch. — N° 89. On Red satin 32 1. Cross- and (Embroidery Cotton) N" 3o. Bleu-Indigo 3 12. N° 96. On —
    setting-stitch on auxiliary canvas (Linen gauze). The stitch white satin. Cross-stitch on auxiliary canvas. Coton à
    is done on 2 threads. Coton à broder D.M C (Embroidery broder D.M.C (Embroidery Cotton) N° 35. Rouge-Turc 32i.
    Cotton) N" 35. Bronze doré 586 for the palms in cross-stitch ON SATIN DE SOIE (Silk-satin): N° 97. Pium-coloured silk-
    and Noir 3 10 for the outlining in setting-stitch. —
    N° 90- satin. Cross-stitch on auxiliary canvas (Twisted-Tanimy)
    '

    On Gold-coloured satin. Cross-stitch on atixillary canvas Coton à broder D.M.C (Embroidery Cotton) N° 35. Vert-
    (Plain canvas N" 3o); Coton à broder D.M.C (Embroidery Pistache 369.
    cotton) N» 16. Rouge-Cardinal 347. —
    N° 91- Olive-green ON DRAP (Cloth) W 98- Black cloth. Gobelin-stitch on auxi-
    :

    satin 3g3. Holbein-stitch on auxiliary canvas (Plain canvas canvas (Double-twisted-Tammy). Cordonnet 6 fils
    liary
    N" 3o). Coton à broder D.M.C (Embroidery Cotton) N° 20. D.M.C (Six cord crochet cotton) N° 2 and N" 3o the first ;

    Rouge-Grenat 359. — N° 92. On Ivory-white satin. Cross- for stuffing, the second for the stitches. Jaune-vieil-Or 680
    stitch on auxiliary canvas (Plain canvas N° 3o). Coton à ON VELOURS (Velvet) N° 99- On black velvet. Cross-stitch
    :

    broder D.M.C (Embroidery Cotton) N" 20. Bleu-Indigo 334 on auxiliary canvas (Twisted-Tammy). Cordonnet 6 fils
    for the palms and Rouge-Cardinal 347 for the four inside D.M.C (Six cord crochet cotton) N° i5. Gris-Cendre 40.
    stitches.— N° 93. On grey satin 393. Cross-stitch on auxi- ON PELUCHE (Plush): W 100- On red plush. Weaving stitch
    liary canvas (Double -tvs^isted Tammy) Ganse turque
    ; on auxiliary canvas (Double-twisted-Tammy). Cordonnet
    D.M.C (Turkish gold cord) N° 12. —
    N° 94. On Blue satin 6 fils D.M.C (Six cord crochet cotton) N° i5 and Chiné d'or
    322. Minute-stitch on auxiliary canvas (Twisted-Tammy) ;
    D.M.C (Coloured gold) N° 3o. The first thread Vert-Mousse
    Coton à broder D.M.C (Embroidery Cotton) N° 3o. Jaune- 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 Length of lo Stitches

    Toile d'Espagne (Spanish or Antique Linen) 10 92


    Toile algérienne (Algerian Linen) 12 84
    Gaze de lin (Linen Gauze) 16 62
    Toile de Rhodes N° i . (Rhodes Linen N° i) 16 61
    Toile Colbert (Colbert Linen) 18 57
    Toile de Rhodes N° 2 . (Rhodes Linen N° 2) 20 5o
    Etamine câblée , (Twisted Tammy) 21 5o
    Toile Batavia (Batavia n Linen) 21 48
    Toile russe (Russian Linen) 23 43
    Canevas Pénélope N° 60 (Pénélope Canvas N° 60) .
    24 41
    Toile matelas (Java Linen) 26 37
    Canevas de lin , (Flax Canvas) 28 37
    Etamine renforcée (Double Twisted Tammy) . 28 34
    Etamine maillée (Stitch Tammy) 28 36
    Canevas uni (Plain Canvas) 28 35
    Canevas Pénélope N° 50. (Pénélope Canvas N° 50) . .
    29 34
    o
    Toile Ceylan (Ceylon Linen) 33 1

    Toile Cuba (Cuba Linen) 33 29


    Canevas filet (Net Canvas) 42 24
    Canevas ficelle (Hemp Canvas) 43 23

    Pattern in the Album of Cross-stitch Embroidery i5 7- I- 67


    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.
    DMC
    40 mètres.

    FIL D'ALSACE

    30 COTON A MARQUER
    36 COTON A BRODER
    (Marking Cotton) COTON A REPRISER
    40 (Embroidery Cotton)
    50 5 (Darning Cotton)
    16
    60 6
    18
    70 8
    » ^ o '^ 20
    80 10
    22
    90 P aj S _ 12 12
    IJ
    25
    •r 5-2 c 16
    100 <u^ M " c 30 14
    10
    .id
    i:.SZ 2 c
    •—
    35 20
    I
    16
    120 40 24
    18
    130 45 30
    20
    140 35
    E_ o s 50 25
    150
    ><
    40
    55 30
    I :^^i 45
    160 60 35
    50 ? T3
    180 65 40
    200 .53 ï* 70 60 45
    250 75
    70 50
    300 t" il 80 60
    80
    400 90 90 70
    500 100 80
    ^ ~ 100
    600 120 90
    120
    700 150 100
    150
    200
    200 COTON SPÉCIAL
    DMC pour la broderie anglaise

    (Madeira Embroidery Cotton)


    '

    FIL A DENTELLE 40
    (Lace Thread) 50 O ^
    25 60 o o.-
    c N c
    30
    COTON A BRODER SURFIN COTON A TRICOTER
    35 -oc
    (Embroidery Cotton for Monograms (Kniiting Cotton)
    40
    and for Cambric) 6 LACETS SUPERFINS D'ALSACE
    50 QJ (U o
    60 8 (Braids)
    100 Width
    10
    70 120 in millimeters
    12
    80 OJ c 50
    jD_t.-- I 14 I 1
    90 16
    l'A l'A
    100 18
    OR FIN A BRODER 2 l'A
    120 20
    3o Mètres N° 3o 3 2
    150 25
    30
    B-i 4 2'/?
    200
    35 5 3
    .S '^
    OR FIN POUR LA BRODERIE
    40 6 3>A 'Z.b
    .t: o
    (Washing Gold) 50 7 i
    ^;
    8 i'A T3 >H

    20 ccn
    9 I
    5
    'A "À
    30 PU
    50 10 6
    40 2oïï^
    _ V o 12 7
    -T3 13 TS T3 T3

    CORDONNET 6 FILS
    3^u a~
    t- ^ w
    14 9
    CHINÉ D'OR POUR LA BRODERIE T3 13 T3 T3 TJ G M SB
    16 10
    (Six-Cord Crochet cotton) C C C C C •«^3 l-.S
    (Washing Coloured Gold) COTON A FEUTRER 18 U
    (Felting Cotton)
    OC C3 20 13
    30 ~

    2
    I
    25 24 16

    2 'A GANSE TURQUE 28 1»

    32 22
    3 (Washing Turkish Gold Cord)
    4
    5
    10
    12 a-™i^^»«a™—
    15
    20
    25 ^CROCHET 4 FILS
    DM
    30 (Four-cord Crochet Cotton)
    40 i"
    6
    50 8
    60 10 SOUTACHE D.M.C
    70 12 (Narrow Brald)
    80 FIL A POINTER 14 Width
    N»' in millimeters
    90 16
    100 lOi
    (Knotting Thread)
    18 I 1 T
    20 Z'^c l'A l'/s
    120 15'
    24 2 2
    150 20.
    30 2 'A «'/.
    200 30.
    40 3 3
    • -- .- . - . -

    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 Très-foncé Foncé Moyen Clair Très- clair Couleurs Très-foncé Foncé Moyen Clair Très-clair
    Very dark Dnrk Médium Light Vcry light Coloiirs Vory dark Dark Médium \cr.v li,-l,t
    Culoiu-s

    448°° Jaune- Citron- -• . 307°° .445.- 446


    Bleu cendré .

    Bleu de Ciel 515°. 516 -. 517°. 518.. 519- Jaune- Maïs -•-- 575 ..576.. .577.. 578 579
    Bleu de France- 337°- 338- 339°. 340.. 341 -
    Jaune d'Ocre-. -676 -- 677
    Bleu-Indigo 336°° 311°° 312°° 322°° 334°° Jaune- Orange-. - 443°° 444
    342° 333°° 343°° 344.. 345-. Jaune- Rouille-. 363°° -
    364 308° 365 366
    Bleu -Lapis - -

    Bleu-Marin 505- 506-. 507.. 508.- 509- Jaune d'Or -667--


    Bleu-Outremer • 682.- 683° Jaune- vieil-Or 678--- 679° ... 680° -

    Bleu pâle 668°


    Lilas gris- 313°° -
    398 --•314 328"° • 399
    Bleu vert 525°- 526--. 527° 528 529 - • •

    674--. 675 Noir grand Teint- 810°° -

    Bleu violacé
    Noir-Jais 681 --.

    Bronze doré- 585-. 586--. 587 588.-- 589-- 473---


    Noir vert
    Brun- •Acajou 300°° 400 -• 301° -• 401 --- 402- Rose-Eglantine. 570-- 571°. 572-.. 573° • 574
    Brun -Cachou 433- 434-.. 435 .-. 436--- 437-- 565- 566.. 567- 568--
    Rose vif 569
    660 • 664-
    Brun -Cannelle
    Brun -Caroubier 354°-
    416°-
    661 ...
    355..
    417°.
    662
    303°°
    324°.
    ... 663---
    356---
    418---
    357-
    419 -
    Rouge-Aurore
    Rouge-Cardinal-
    — 360°°
    346°°
    306..
    347°°
    361
    304°-
    - 332--
    305°.
    362
    348°
    Brun Chamois - -

    Brun Cuir 430-- 431 .. 302°. 432--- 325.. Rouge-Corinthe -. 447-.


    Brun feuille-morte- 615 -- 616-- 617-- 618-.- 619-. Rouge-CornouiUe 449 450--
    Brun -Havane 454°° 455°. 456°° 457--- 458.. Rouge-Ecarlate .
    • 464°-
    Brun -Loutre 438°° 439.. 440- 441°° 442 -. Rouge-Géranium - 349-. 350°- 351 - 352° 353 ••

    Brun -Marron 403 -- 404.. 405 .. 406 -" 407 -. Rouge-Grenat ---- 358°° 359°- 326°° 309°° 335°°
    ••
    Brun -Myrthe .
    463 .. Rouge-Groseille - - 605-- 606-- 607 -. 608- 609
    Brun -Puce 459 -- Rouge-Turc 321°°
    652-- 653-- 654- Rouge-Vermillon - 666° -

    Gris- Acier 650 -


    651 ..
    Gris- Amadou
    Gris- Bleu
    329°.
    590 --
    383.-
    591 --
    384°
    592-.
    -
    385--
    593--
    386-
    594-
    Vert-Bronze
    Vert-Canard
    —
    — 669
    545°°
    670 -.
    546°-
    671
    547°°
    -• 672
    548
    673
    549
    ••

    ••

    Gris- Bois 610-- 611.. 612.- 613 - 614- Vert-Corbeau • - • 665 •-,

    Gris- Brun - - • 408-- 409°° 410 - 411°° 412- 580°° 582°° 584
    Vert doré 581 583
    Gris- Castor 645-- 646.. 647-- 648-- 649- Vert-de-gris 474° 475° -

    Gris- Cendre 413 -- 317°° 414 -- 318°° 415- 559 •


    Vert-Emeraude- 555--- 556 557 • 558
    Gris- Coutil 387-- 388.. 323°° 389°- 390- Vert-Lierre 500-.- 501 .-- 502 • 503 504 ••
    Gris- Deuil 655-- 656-- 657-- 658-- 659- 560°-- 562° 564 •
    Vert-Malachite -
    561 ... -
    563
    Gris de Fer 600 -- 601 -- 602-- 603 - 604- Vert métallique 465°° • 466°.. 467° -

    Gris- Feutre 635- 636.. 637°- 638-- 639°


    Vert-Mousse - - - - 468 • 469... 470°° 471 472°°
    Gris- Ficelle 460.. 461°° 462°-
    Vert-Myrthe---- 535--- 536... 537-- 538 539--
    Gris Foin 520 -. 521 .. 522-. 523-- 524 510 •- 514
    Vert-Olive 511 -- 512 -. 513 -•

    Gris- Fumée 640 - 641" 642.. 643°° 644 Vert -Pistache- -- 319°° - 367--- 320°° 368 369 ••

    Gris neutre 620 - 621°. 622.. 623°- 624


    Gris- -Noisette 420 -
    421 .. 422.. 423-- 424 Violet-Evêque ---- 451°° 452»-. 453°°
    Gris- Perle 625-- 626-. 627.. 628-- 629 Violet-Lie-de-vin- 370--- 371 ... 372 373-- 374 •

    Gris- Plomb 378-. 379°. 380.. 381°- 382 Violet-Mauve 375--- 315°-- 376 316°- 377 • •

    Gris- -Poussière 630- 631.. 632.. 633-- 634 Violet-de-Parme - 540--- 541 .-- 542 543 - 544--
    Gris- Souris 425- 426.. 427°. 428-- 429 Violet-Pensée 530--- 531 ... 532 533- 534--
    Gris- Tilleul 391°° 392°. 393.. 330°° 331 Violet-Prune 550-. 551... 552 553-. 554--
    Gris verdâtre 595" 596-- 597-. 598-- 599 Violet-Scabieuse - 394--- 327°° •
    395 396°° 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.

    336 346

    31 1 347

    312 348

    322 321

    334 360

    333 358

    1
    343 326

    668 309 319

    448 335 320

    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^

    IMPRIMERIE BRUSTLEIN & C"


    Mulhouse (AlsaceJ

    JT

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    JK^1

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