Album de Broderies 01

7/30/2019 Album de Broderies 01

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AVISOn trouvera dans les Comptoirs de la Maison Th. de Dillmont, dont les adresses

sont indiques ci-dessous, toutes les fournitures ncessaires pour excuter les ouvragesdcrits dans l'Album de Broderies au Point de Croix, telles que tissus, cotons de toutescouleurs et grosseurs^ aiguilles, crochets, miroirs, mtiers broder, etc., etc.

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

Comptoir Alsacien de Broderie25, Faubourg St-Honor

VIENNEComptoir Alsacien de Broderie

I, Stefansplatz, 6

All rights are reserved.

oX/rjALBUM DE BRODERIES AU POINT DE CROIX

(Album of Cross-stich 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 tlieEncyclop.edia of Needlework, by Th. de Dillmomt.

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


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32/96


33/96


Par Th. de DILLMONT

1 64.Patrons de broderies de couleur excuter avec les cotons

marquer, les cotons pour crochet, les cordonnI(J0.

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


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35/96


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37/96


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39/96


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41/96


Par Th. de DILLMONT

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43/96

M.C dpos PlancheALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT

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45/96


' ;/ Par Th. de DILLMONT / .n^./l^ \^,t/Wt/^ f^v^'^^^vy^K^^'^^/^f-/- A^A^//



46/96


47/96

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49/96


Par Th. de DILLMONT

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51/96


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dpos PlanchALBUM DE BRODERIES AU POINT DE CROIX

Par Th. de DILLMONT'rv^ ? .^ H ? H"3^il.,'3a. an aj! njx a

244.Patrons de broderies de couleur excuter avec les cotons broder, les cotons tricoter, les cotons

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


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71/96

dpos ALBUM DE BRODERIES AU POINT DE CROIX PlanchPar Th. de DILLMONT

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a,333^333333JS241 a 274


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TREATISEON CROSS-STITCH EMBROIDERY

INTRODUCTION.Visitors to the Vienna Exhibition of iSyS may hve noticed, amongst the various kinds ofneedlework 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 consquence the publication of various collections of patterns, suitable for cross-

stitch work, followed, but thse collections, ail hitherto drawn from the same sources, belong to oneperiod only, and are therefore of a local and circumscribed character.

In order to make the "Album of Cross-Stitch Embroidery" more varied and comprehensiveevery design with any originality or beauty to recommend it has been included. It contains noless 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 workedin almost any stitch.

For this reason it was thought advisable to add some directions as to the choice of stuff, andthe 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 asthis requires more time and patience than people in thse days are as a rule able to give to workthat is done merely for pleasure or pastime. To meet the prsent needs therefore, besides the finelinens, stuffs with stout round distinct threads that can be easily counted are now made. On theCuba, 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.


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4 Besides thse 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 lookhard 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 pice of embroidery its intended use and ultimate setting, as well as the colour of thegrounding should be considered.

If the stuff selected be coarse, a coarse cotton should be chosen, such as Knitting cotton (Coton tricoter D.M.C) N' 6, 8, lo, 12, 14 (,') which is a good substitute for wool, or else Six-cord crochetcotton (Cordonnet 6 fils D.M.C) N"^ 3, 4, 5, 10 and i5 (*) which gives quite as fuU and brillant astitch as silk-twist. For the finer stuffs, finer cotton should be used, such as Embroidery cotton(Coton broder D.M.C) N"' 16 to 200 (') or Lace-thread (Fil dentelle D.M.C) N"" 3o to i5o ().Darning cotton (Coton repriser D.M.C) N 25 can also be used, as like the Algerian siik, it can besplit or doubled to suit the material. When the kind of cotton has been decided upon, the colour isnext to be considered. Red is without doubt the most durable. Almost ail the old embroiderythat has been preserved is in red, very little in blue, less still in yellow or black. This lack ofvariety in the colours cannot be ascribed to want of taste or to ignorance of the laws of colour, butsimply to the fact that in those days so few fast dyes had been discovered. In the prsent centurythe secret of how to obtain perfectly fast dyes even in thse few colours was temporarily lost, andprobably 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 asupply of ail kinds, but as regards both quality and dye the D.M.C cottons are undoubtedly thebest. They are to be had in 36o diffrent 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 forthose which do not look well worked in several colours, the mdium 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, asfor instance blue and red, blue and brown, brown and yellow, two shades which hve the samevalue 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-Or680, and so on.

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


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6 The deepest shade of a colour combines very well with the lightest, and produces the effect of

two diffrent 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 samecolour. Take for instance the border N 241, Plate 29, and 5 shades of one colour, and work thefrst four rows in the darkest shade, and so on with the second, third, fourth and ffth shades; theeffect will be found to be very soft and harmonious, much more so than if a single shade of onecolour, or several diffrent colours combined, were used.

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

GENERAL DIRECTIONS.Before beginning a pice 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 havingeither to leave the work unfnished or finish it with cotton that does not exactly match, therebeing generally a slight diffrence of shade between cottons bought at diffrent times, or, as mayeasily happen, considering the large number of colours (*), the buyer or seller may mistake thenumber.

In order to ascertain that the colour is fast, loosen the skeins, pour boiling water over themand leave them in the water for about a quarter of an hour, then soap and rub them gently withthe hand from end to end, and rinse them out thoroughly in several changes of cold water until thewater 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 whichthe fibres were not able to absorb, and does not in the least affect the beauty of the colour.

Should a pice of work happen to hve been donc with cottons not previously washed, and thecolour run in the frst washing, ail that is necessary to restore the stuff to its original freshnessis 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 underlinedin the colour-chart : amongst thse black will be found to be absolutely indestructible.


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6PREPARATORY WORK.

Stuffs, the threads ofwhich cannot be counted,and which hve to be cover-ed with canvas or someother auxiUary fabric, to fa-cihtate the counting of thestitches, should be mountedon an embroider3^frame. Todo this take the middle ofthe pice of stuff and themiddle of the webbing ofthe frame, and pin themtogether, stretch the stuffequally, 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 piceof embroidery,it isadvisableto trace a diagonal line, aswell, from the corner tothe centre.

The number of stitchesin a pattern seldom corres-ponds with the number con-tained in the pice of stuff

^ to be embroidered so that-^ patterns hve 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 frameand fasten the otherside in the same way.

Before sewing thecanvas on to the stuff,mark it out with acoloured thread intospaces of ten threadseach, along two sidesat least, in the lengthand breadth. Count ^^the number of stit-ches both ways, di-vide them in twoand starting, in bothcases from the middlestitch, trace two lines,one horizontal, the othervertical, right across thecanvas. The point ofintersection will dter-mine the centre. Thisframe-work or scale ofnieasurement will great-ly facilitate the workingout of the pattern andshould on no accountbe puUed out until halfthe pattern at least befinished.

THE WORKING OUT OF THE PATTERN.

FiG. 2. Conversion of a pattern for a stripe into a squarePATTERN BY THE AID OF TWO MIRRORS.

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

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

Thse altrations,sometimes sodifficult^^^ as to need the help ofa designer, are greatlyfacilitated by the useof unframed looking-glasses, called Pn-lope mirrors, whichcarefuUy placed, asshown in Fig. i, pro-duce wonderful re-sults.

If you wish to useonly one part of a pat-tern, or to magnify it,or to adapt it to a centreor a corner, you placethe mirror, in the firsttwo cases, in a straightline, or in the latter casediagonally across thepattern at the point fromwhich it is to be eitherrepeated or reversed,and 3'^ou will hve itreflected in the mirror


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as it is to be work-ed.

To compose asquare you mustuse two mirrors,joiningthem wherethe diagonal linesmeet, and you hveyour square , asseen in Fig. 2.

Ail parts of apattern are not e-qually suitable forrptition and youwill hve to pickout the part bestadapted for form-ing a centre orcorners.

The mirrors willfurther be founduseful in the caseofpatterns that areeither too wide ortoo narrow , andhve to be eithermade narrower ordoubied ortrebled,as the case may be.Fig' 3 and 4 showpattern N"' 189and 197 repeatedthree times, in thelatter case it willbe observed thatthe 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.

STTCHES.Cross-stitch on auxiliary canvas.

Plain cross-stitch, commonly cal-led marking stitch, is so familiar toevery one that it seems almost need-less to describe it hre. Yet it is aswell to observe that, where an auxi-liary material is used, it should bemost carefully tacked followingthe Une of the thread to the stuff Fig. 5. Cross-stitch onauxiliary canvas.

beneath, and a sufficient margin leftto facilitate the drawing out of thethreads of the canvas when the workis finished.

Gare should also be taken in form-ing the stitch to pass the needle inand draw it out at the point where itfirst 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, (fourfasteningyourthread,notwithaknot, butbymak- threads, that is, counted each way upwards froming 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


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inthe same way underfour threads and so on, as right to left, which compltes the stitches begunshown 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 startthread back to the middle of the same, and draw- on your second journey from left to right, fillinging it out there you make an auxiliary diagonal up with half-crosses the empty spaces left by the'&wfis&ipr+m^^^^l#fm-R=!Hl: 'l-f:i4l4'l=fl4lH ffiiS nMBSnaEaBEnBTaHaw"-!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 theright, bring your needleup again in the middleof the last stitch, andthence, carrying it up-wards to the left acrosstwo threads, you beginthe return-journey, from

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

ililJLllLl: .liJiiiiiFig. 8.

The two journeys to and fro, completing one rowOF cross-stitch, both sides alike.

two first rows of stitches.In the auxiliary stitchwith which you begin thesecond journey back, thethread will be double onboth sides. Fig. 8 showshow you pass to the nextrow 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 stitcheshow to form the ,^ to the left; F, anstitches in embroi- [d J ' rJ-^Âp^^h^^^ auxiliary stitch to^-'l-V4 MJery of this kind. t#:gbMgptt^^tap|fc the right ; G, auxiLetter A, Fig. g ppfppfe^^W liary stitches be-shows the intro-duction of the ittLiiry^Lthread and the po-sition of the needlefor the first and se- PlÛpIppSjdJlj^^yididl^pIlppcond 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.

laf

with an auxihary feMSidHsfeSSSSSlbÊ F G H

lBlMffl!3?J5pSi7!!Sifl=nlllddddP

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

tween two isolatedcross-stitches andH, a second andlast auxiliary stitchto complte thecross.

It is only bypractise and care-ful calculation, be-forebeginningeachcross-stitch, that

stitch to the right,the thread as itshould come out on the right, and the position of this two-sided marking can be done without thethe needle for the fifth stitch that compltes the stuff being disfigured by unnecessary auxiliarycross ; G shows the completion of the stitch be- stitches.


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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 secondsamplers worked in a cross-stitch that forms a side of the square on the wrong, as shown insquare or check on the reverse side. It is not Fig. 12, letter A. Letter B, Fig. 11, shows thedifficult to do and each cross-stitch is completed cross-stitch finished, and the position of thebefore the next is begun. If you follow care- needle for the third side of the square at the back,fully the course ofthe stitches andcompare Fig^ 1and 12, whichre-presenting thetwo sides, yousoon master thesecret of this wayofmarking. LetterA, Fig. 1 1, showsthe introductionof the thread,and the positionof the needle forforming half the

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

'fp^ABC DFig. 12. Square stitch forming the back of the cross-stitch.

as seen in Fig.12, B. Letter C,in both Fig= 1and 12, shows astitch which isdouble on theright side, andat the back com-pltes the fourthside ofthe square,whilst letter D,also in both Fig%shows how topass on to thenext 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 thehorizontal 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 thethread and position of theneedle for the first stitch.

rlKMiTjJtfjiJdEbidbdBdsdsiFig. 14. Position oI'-the needle for tue2. and ?. stitches.

Hi^HifflUiiFig. i(). Return journ'f.vwhlch 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 needlesame 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 _\-outo and fro. Fig. i3 shows the introduction of proceed as shown in Fig. ili. Fig. i(>, cxplainsthe thread and the position of the needle, from the return-journey completing the double-crosses


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10and 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 thisway 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 Montngrin Stitch.(Fig' 17 to 19).

The Slavonic tribes of the southern countries (in height and breadth), of the material, thenof E. Europe, and especially the inhabitants of bringing your needle back from right to left,Montngro, hve a great prdilection for the underneath four threads, you draw it out andstitch represented in Fig. ig, and which, as far carrying it over the first long slanting stitch, youas we know, has not yet been described in any insert it again from left to right underneath the

ffl^^i^^^LHLfJ

A BFig. 17. I., 2., 3., 4. and 5. stitchesAND TRANSVERSAL STITCH.

Fig. 18.Back of the stitches.

book on needle-work. It is com-posed of cross-stitches, separa-ted , as in theItalian stitch wejust described,by vertical stit-ches, but hrethe cross -stit-ches are worked on the rightside, over two oblique threads,whilst the back prsents onlyordinary cross-stitches with ver-tical stitches between.

Coarse cotton should be used for this kind of ways opposed to each other, the resuit being thatembroidery ; 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 thepletely 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.

firstfourthreadsof the canvas.

Thse fourstitches finish-ed, you passon to the fifthand sixth, (ver-tical ones, backand front) seeletter B, which

cross the first four, after whichyou begin again at the firststitch.

The threads forming the stitches 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 ittion of the threads and in the manner of begin- downwards, and then from right to left, to aning 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-


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1

going one, either by the shortor by the long stitches; but oneway must be followed through-out. In many Slavonic districtsthis stitch is used for the dcora-tion of linen garments, and there

BMIlfflPlSBRHpflfflRflRflffllli we usually find the short stitcheslljiTii-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-tngrin, as the effect is poor ifthe stuff be not well covered.

Plaited Algerian Stitch.This stitch is of the samc ge- ^^^jUJ^^^^p^ppnus as the preceding one, its ir|l|l|l{lfJ|l|l|^J^l{^^

distinguishing characteristic be- l^ffl^^^^^^^^Pttl^^Wîng that you never advance . ^Jj^^^^^^^^pf^HHmore than one thread at a time, |]îri^^p^^^^^^]^^^^Miso that it is best to begin your AWjfi^^^rows with an uneven number f,g. 2.. Plmted Algerian St.tch.

of vertical threads. For thisstitch likewise coarse cotton isto be preferred and the rowsmay touch each other, either atthe top or at the bottom of thestitch, but the same system mustbe 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 threadstwo rows forward and backward. AU the cross- at a time, as shown in Fig' 22 and 23. We findstitch patterns can be worked in the Spanish the same kind of stitch, alike on both sides, em-stitch.Thespa-ces left by thelong stitchesmust be filledin with shorterones.

The stitch

ll_!Lil|JL|^'i|J_|J_:|_L|_L;,

FlG. 2

lp3ip3EEpLJnUzrpLga

FiG. 2?. Second row.

ployed in cer-tain orientalcarpets , onlythe threads aremuch doserthan in theSpanish stitch.

The four-sidedstitch, the Hol-bein- Stitch, thetwo-sided stroke-stitch, and the set-ting-stitch, are ailworked upon the rhsame principles. |]iT|mfI|T|^^Âlthough ail thse^ l'IG. 24.two-sided stitches Forward row.

Two-sided Line-Stitch.(Fig" 24 and 25).

Lil ilI

III il I

FiG. 25.Backward row.

are of the samegenus and easy ofexcution, yct anovice to the kindof work will re-quire a little prac-tise to master thecourse of the stit-ches.

Fig. 24cxplains


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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 bothsides are covered in returning.

The great difficulty in the line-stitch is so toplace 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 coursethe thread should take, so as to avoid double orslanting stitches on the wrong side. When youpass obliquely across the stuff, as you hve todo in patterns N^ 82, 96, i53, 232, 233, 237,240 and 243, you take the same course as incovering the straight threads of a fabric.

Triangular Turkish Stitch,(Fig^ 26 to 29).

Amongst the many pretty stitches for whichthe Turkish embroideries are distinguished,thereis one in particular, which, though apparentlypuzzling, is in reality extremely easy of excution.

Itresembles immmEBfflBrJ nnQjaBathe line-stitch oidbdqp^^upon straight ||ijlj||iJJT^^^threads, only torWltt. i_ _ ^ 1 . LllillillJXQOJdSH

m ^tiMi^M

FiG. 26. First journey to and fro, for-MING A HALF ROW OF STITCHES.

the Orientaisgenerally workit in diagonalUnes, each rowrequiring twojourneystoandfro to complteit.At first start-ing,toworkoutFig. 26 carrythe needle firstover, then un-derneath twothreads in dia-gonal line, andso on to theend ofthe row.

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

ikffimmifflmfflB

jaSEEESEEEHlFig. 28.

First half of the first journey forthe triangular turklsh stitch.

cal threads, insert the needle behind them, andbackwards under the two vertical and the twohorizontal threads, bringing it out again at theupper vertical stitch and inserting it once more

at the lowervertical stitch ;pass it underthe same andout to beginagain with theback-stitch up-wards. Fourthreads shouldmeet in everyhole the need-le makes. Fig.27 exhibitstwosuch rows ofstitches work-ed in two co-lours that are agood contrast ;ail cross-stitch-patterns can beworked 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 ratherthe 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 andFIRST HALF OF THE SECOND COMPLETED. ThEsecond RETURN in COURSE OF EXECUTION.


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i3 Smyrna Stitch worked with a crochet-needle.

(Fig= 3o to 33).

&OE'-Il"-IIriiiLiidIaaaitwc^m.FiG. 3o. Introduction of theLENGTHS OF THREAD BY MEANS OFTHE CROCHET-NEEDLE.

Should an}^ ofthe patterns in thisalbum be chosen forthe making of a car-pet or mat they canbe worked with acrochet needle in-

. stead of a needle.Take a very coarsecotton, for instanceN 6, 8, or 10 ofKnitting cotton (Co-ton tricoterD. M.C)eut it into lengthsof 8 cm., foldtwo lengths to-gether in half,for each tassel,stick the crdchet-needle in up-wards undertwo threads ofthe canvas, takehold 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 endsot the cotton anddraw it through theloop which is on theneedle, as indicatedby the little arrow inFig. 3i. The tasselsshould be two orthree threads apart.As each rowis finish-ed, you comb theends of the tasselscarefuUy out with a

fine mtal comb.Whenthe wholeis finished youshear the entiresurface with apair of sharpscissors. Fig. 33shows a squareofthe work com-pleted, present-ing that warmvelvety appear-

ance which distinguishes the Smyrna carpets.FiG. 33. ApPEARANCE of the WORKWHEN FINISHED.

Chain-Stitch.Generally speaking, this

stitch is only used for theornamentation of under-linenor small articles of fancy-work , but it can perfectlywell be cmployed in the re-production of cross -stitchpatterns. In many old collect-ions we meet with mostoriginal pices of needlework,such as hangings and screenswith figure-subjects, executedin chain-stitch. FiG.. 34. Chain-Stitch.

Many-coloured patternsgain immensely by beingworked in this stitch , thecolours blend better and eventhe shapc of the stitch con-tributes to soften a contrastof colours.

Chain-stitch cannot beworked forwards and back-wards as other stitchcs can,nor can you tinish ail thestitchcs that are to be in onecolour first, as you generally


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

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

Two-sided Insertion

'J3p pEpa

FiG. 35.i . 2. and 3. stitches.

Position of the needleFOR THE 4.

FiG. 36.4. STITCHES FINISHEDAND POSITION OF THENEEDLE FOR THE 6.

We concludethis sries of stit-ches by the descrip-tion of an extreme-ly pretty insertionthat can be used toconnect broad pat-terns with narrow.The old handsomemany-coloured patternsare ften intersected by aband of stitching or open-work , and for suchthis insertion supplies aworthy and suitable sub-stitute.

Fig. 35. explains thefirst stitch and the courseof ,he second, from ^HftÛlffll^gleft to right, under-neath three verticaland three horizontalthreads, likewise thethird stitch to theleft, over 6 threads,and the position of theneedle for the fourth stitch.Fig' 36 and 37 show thefourth stitch completed,the course of the fifth andthe sixth and the position

Fig 37.6. stitch finished andposition of the needle

for the 7. and 8.

Fig.s. Stitch finished andPOSITION OFTHE NEEDLEFOR THE g. AND 10.

Fig. 40. Row of stitches finished.

iEDii yî IJ.Ilili ijJdlililiUj IJ_ liliiî Iil IA!iJd IJ?^Fig. 41. Back view of insertion fig. 40.

of the needle forthe seventh andthe eighth; Fig. 38shows the ninthand lower horizon-tal stitch across6 threads, as alsothe return- stitchunder 3 threads;

Fig. 39, the tenth stitchfinished, and the next stepto the eleventh and thetwelfth sthches. Fig. 40shows a row of stitchescompleted and Fig. 41 , theback of the work whichprsents quite a diffrentpattern from the right side.

Thse insertionscan be worked onany sort of stuff,but the stitchesmust be done bothways on a numberof threads which isTTTTSSlirai divisible by 3. Thus youmay make your stitch toM cover 6, 9 or 12 threads,

_,|-Jlp'^ but you will never succeedif you attempt it over 8,10 or 14.

FiG. 39i o. stitch finished

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

i>t^H^fctaiJ3f


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5 Hundred diffrent 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-stitchover 2 threads. Fil dentelle D.M.C (Lace thread) N 5o.Rouge-Turc 32 1. N 2. Cross-stitch over 2 threads.Coton broder D.M.C (Embroidery Cotton) N 40. Rouge-Turc 321 and Bleu-Indigo 3 12. One horizontal row ofpalms in blue, one in red. W" 3. Cross-stitch over 2threads. Coton a broder D.M.C (Embroidery Cotton) N4o.Brun-Caroubier 3o3 and Rouge-Granium 352. Every dia-gonal row of palms in one colour. N 4. Cross-stitchover 2 threads. Coton broder D.M.C (Embroidery Cotton)N 40. Gris-Tilleul Sgi and 33o. N 5. Half cross-stitchover 3 threads. Coton repriser D.M.C (Darning Cotton)N 25. Violet-Mauve 376. N 6. Half cross-stitch over 3threads. Coton repriser D.M.C (Darning Cotton). Brun-Havane 456 and Bleu cendr 448, Or fin D.M.C pour labroderie (Washing Gold) N" 3o. You count from the topdown-wards 8 horizontal rows of stitches in Brun-Havane,the five lower rows in washing gold ; the 4 stitches betweenthe eighth and the twelfth row in Bleu cendr.ON GAZE DE LIN (Linen Gauze): N" 7. Two-sided cross-stitch over 3 threads. Coton repriser D.M.C (DarningCotton) N 25. Jaune-Rouille 365 and Or fin D.M.C pourla broderie (Washing gold) N 3o. The pattern left blankand outlined with gold. N 8. Cross-stitch and stroke-stitch over 3 threads. Coton broder D.M.C (EmbroideryCotton) N 25 and 100. Bleu-Indigo 322. The palms incross-stitch in N" 25, the grounding in N 100.ON TOILE DE RHODES N i (Rhodes Linen): N 9. PlaitedSlavonic stitch over 2 threads. Cordonnet 6 fils D.M.C(Six cord crochet-cotton) N 20 Rouge-Granium 340. N 10. Plaited Slavonic stitch, the pattern is left blank,outlined by the grounding ; Cordonnet 6 fils D.M.C (Sixcord crochet cotton) N 20. Violet-Evque 451. M 1 1.Straight Gobelin stitch (*) over 3 threads ; Cordonnet 6fils D.M.C (Six cord crochet-cotton) N 25. Rouge-Cor-nouille 449. N 12. Greek stitch over 3 threads. Coton broder D.M.C (Embroidery Cotton) N" 16. Rouge-Grenat 326.

N TOILE ALGRIENNE (Algerian Linen) : N" 13. Cross-stitch and setting-stitch over 3 threads. Draw out everyfourth thread of the material both ways, to make it moretransparent. Coton broder D.M.C (Embroidery Cotton)N 16 and 40. N 16 for the cross-stitches in Jaune-Rouille3o8, N 40 in white for the setting-stitch. W U. Trian-gular Turkish stitch, over 4 threads. Chin 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. Chin d'or D.M.C (Coloured gold)N3o; Rouge et or and Vert et or. The pattern is left blank,outlined by the grounding. N 16. Draw out every fourththread as in N i3. Cross-stitch and cut-work-stitch.Fil pointer D.M.C (Knotting Cotton) N" 3o, white for thepalms and Fil 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 broder D.M.C (Embroi-dery Cotton) N 16 for the cross-stitch, and N" 40 for thedarning stitch. Rouge-Cardinal 3o5. N 18. Cross-stitch.Coton broder D.M.C (Embroidery Cotton) N 16 for thepalms, and Fil dentelle D.M.C (Lace thread) N 70 forthe grounding. Rouge-Cardinal 346. N 19. Cross-siitch

and stroke-stitch. Coton broder D.M.C (EmbroideryCotton) N i6 for the palms, and Fil dentelle D.M.C(Lace thread) N" 70 for the grounding. Bleu cendr 448. N 20. Cross-stitch and Sand-stitch. Coton repriserD.M.C (Darning Cotton) N 25 for the palms in cross-stitch,and Fil dentelle D.M.C (Lace thread) N" 60 for thegrounding. Jaune-Rouille 363.ON TOILE COLBERT, (Colbert Linen): W''2L and N" 22.Stroke-stitch over 2 threads. Coton broder D.M.C (Em-broidery Cotton) N" 16. Violet-Mauve 376 forN 21, Bronzedor 585 for N" 22. N 23 Cross-stitch and stroke-stitch.Coton broder D.M.C (Embroidery Cotton) N 16. Brun-Cachou 435 for the cross-stitch and Jaune-vieil-Or 680 forthe stroke stitch. N 24. Cross-stitch. Coton broderD.M.C (Embroidery Cotton) N 16. Bleu-Indigo 334 andJaune d'Or 667.ON TOILE RUSSE (Russian Linen) : N 25. Cross-stitch.Coton 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 broder D.M.C (EmbroideryCotton) N 16, and Fil 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 broder D.M.C (Embroidery Cotton) N 16.Vert mtallique 465 and 467. Four palms light and fourdark green. N 28. Cross-stitch. Cordonnet 6 fils D.M.C(Six cord crochet cotton) N" i5. Rouge-Grenat 326 andBleu-Indigo 3i2. One diagonal row of palms light andone dark blue.ON TOILE BATAVIA (Batavian Linen) : N 29. Point au pass(Satin stitch) Soutache D.M.C N" 2. Rouge-Turc 32 1 andBleu-Indigo 3 12. One horizontal row red and the nextblue and so on. N 30. Point au pass (Satin-stitch) ;Soutache D.M.C N" 2. Bleu-Indigo 3i2. N 3L HalfCross-stitch. Coton repriser D.M.C (Darning Cotton) N" 25.Bleu-Indigo 334. M" 32. Half Cross-stitch. Coton repri-ser D.M.C (Darning Cotton) N" 25. Vert-Pistache 320.ON TOILE DES VOSGES (Vosges Linen) : N 33. Point coup(Cut Work, Punto tirato). Fil dentelle D.M.C (Lace thread)N 60. Rouge-Turc 32i for the little bars. Coton repri-ser D.M.C (Darning Cotton) N 80, white for the centre ofthe palms. N 34. Bar-stitch. Fil dentelle D.M.C (Lacethread) N 60. Rouge-Grenat 326. N 35. Cross-stitch onauxiliary canvas N 3o. Coton broder D.M.C (EmbroideryCotton N 35). Rouge-Turc 32 i. N 36- Cut-stitch (Puntotagliato). Cordonnet 6 fils D.M.C (Six cord crochet cotton)N 5o. Bleu ple 668.ON CANEVAS PNLOPE (Pnlope Canevas) N" 5o or 60.N 37. Cross-stitch. Coton tricoter D.M.C (Knitting Cotton)N 14. Bleu cendr 448 for the grounding; Gris-Amadou329 for the palm ; Jaune d'Ocre 676 for the four stitchesbetween the eighth and the twelfth rows.' N" 38. Cross-stitch, Coton tricoter D.M.C (Knitting Cotton) N" 14.Vert-Pistache 319 for the grounding ; Jaune-Rouille 364for the palm and Rouge-Cardinal 347 for the four insidestitches. N" 39. Cross-stitch. Coton tricoter D.M.C (Knit-ting Cotton) N- 14. Rouge-Cornouille 449 for the palmand Vert-Mousse46g for the grounding. N" 40. Cross-stitch.Coton 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 Encyclopdia of \ecdlcu'ork'' by Tii. dic Dii.i.mont.


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i6 the next and so on alternately. Bleu-Indigo 3ii for thegrounding. N 41. Minute-stitch and Cross-stitch. Coton tricoter D.M.C (Knitting Cotton) N" 16. Jaune d'Ocre 677for the palm in minute-stitch and Brun-Caroubier 3o3 forthe grounding in cross-stitch. N 42. Spanish plaitedand cross-stitch. Coton repriser D.M.C (Darning Cotton)N 25. Rouge-Groseille 606 for the palm and Gris-Amadou3o5 for the grounding. W 43. Chain-stitch. Coton tri-coter D.M.C (Knitting Cotton") N 14. Rouge-Cardinal 346and 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 ple 668 and Rouge-Granium 352 for the palms, Jaune-vieil-Or 680 for thegrounding.ON CANEVAS UNI (Plain canvas) : W 45. Spanish plaitedstitch over 2 threads. Coton repriser D.M.C (DarningCotton) N 25. Rouge-Cardinal 347, Violet-Lie-de-Vin 873,Jaune-vieil-Or 680 for the palms, one slanting row in eachcolour, and Bronze dor 585 for the grounding. W 46.Oblique Gobelin-stitch over 3 threads. Coton repriserD.M.C (Darning Cotton) N" 25. Gris-Tilleul 33o for thepalms, Vert-Mousse 468 for the grounding. N 47. Smyr-na-stitch. Coton repriser D.M.C (Darning Cotton) N" 25.Rouge-Grenat 359 for the palms, Gris-Tilleul 33o for theinside stitches. Bronze dor 586 for the grounding. W 48. Star and cross-stitch. Coton tricoter D.M.C (Knitt-ing Cotton) N 14. Rouge-Cornouille 450. Bleu-Indigo 3i iand 322 for the palms worked in star-stitch in 3 coloursalternately. Brun-Havane 458 for the grounding in cross-stitch.ON CANEVAS FICELLE (Hemp Canvas) : N 49. Montenegrin-stitch. Coton tricoter D.M.C (Knitting Cotton) N 8. Rouge-Turc 321. N 50. Astrachan or plush-stitch. Coton tri-coter D.M.C (Knitting Cotton) N 6. Rouge-Grenat 358. W 51. Plush-stitch (called also Cut-Smyrna-stitch). Coton tricoter D.M.C (Knitting Cotton) N 6. Rouge-Grenat 358. N 52. Plush-stitch. Coton tricoter D.M.C (KnittingCotton) N" 6. Bronze dor 585 and Rouge-Turc 32i inalternate horizontal Unes.ON CANEVAS DE LIN (Flax Canvas) : N 53. Star-stitch.Coton repriser D.M.C (Darning Cotton) N 25. Gris-Tilleul 392. N 54. Damask-stitch. Coton repriser D.M.C(Darning Cotton) N 25. Gris-Tilleul 392. N 55. Longcross-stitch over 2 threads in width and 4 threads inheight. Coton repriser D.M.C (Darning Cotton) N 25.Rouge-Cardinal 847. The pattern is left blank and outlinedby the grounding. N 56 Long cross-stitch over 2 threadsin width and 4 in height. Coton repriser D.M.C (DarningCotton) N" 25. Rouge-Granium 35 1.ON CANEVAS FILET (Net Canvas): N 57. Darning-stitc

Album de Broderies 01

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Transcript of Album de Broderies 01