> ■ THE UNIVERSITY OF ILLINOIS LIBRARY ^(o XN^^s^s- j^emot e sto r . < • -* / Return this book on or before the Latest Date stamped below. A charge is made on all overdue books. TT , T T .. U. of I. Library i 94l i a & JMN 0 1 ■ 17625-S Digitized by the Internet Archive in 2017 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/sewingcoursecomp00wool_0 A Sewing Course FOR TEACHERS COMPRISING Directions for Making the Various Stitches AND Instruction in Methods of Teaching BY MARY SCHENCK WOOLMAN, B. S. PRESIDENT OF THE WOMEN’S EDUCATIONAL AND INDUSTRIAL UNION AND PROFESSOR OF HOUSEHOLD ECONOMICS IN SIMMONS COLLEGE Fifth Edition, Revised WASHINGTON, D. C. Frederik A. Fernald 1913 COPYRIGHT 1893 and 1908 BY MARY SCHENCK WOOLMAN An Interleaved Edition of this book is published, in which are inserted 31 leaves of bristol-board for mounting the practice pieces made by the student. Price, $3. SO net. Interleaved copies with sets of models mounted on the bristol-board leaves can be supplied by the Domestic Art Department of Teachers College. Price, $19.25 net. s $ / if, .STO.hA(s»ifc PREFACE. The introduction of manual training as a necessary part of education has raised sewing to an art of great importance. Outside of the practical advantage of being able to use the needle, the mental training through hand and eye has been proved to have a permanent effect on the character. The training of the hand makes it dextrous in other employments. Habits of thrift, cleanliness, patience and accuracy are inculcated, economy taught and the inventive faculty developed. Attention and the power of observation are increased by giving the lesson to an entire class at one time instead of by the old method of showing each pupil separately. In order to get the best results, certain fixed rules must be followed; to meet this want, these brief notes are given for the use of teachers. The course is care- fully graded to lead the mind gradually upward to more difficult needlework. An enthusiastic and progressive teacher can, through sewing, make freer and more capable beings of her pupils and help round out their characters. [From the first edition, 1893.] * T PREFACE to the SECOND EDITION. The careful student of the trend of educational thought in the present day is impressed with the idea that it is as necessary to provide in the schools for some form of hand work as it is for academic study. From this point of view, sewing and attendant forms of household industries may be valuable, as they can present strong sociological, economic and ethical arguments for their introduction. It is not a question of preparing for a trade, it is to give mental and moral strength, to increase appreciation for the true and the beautiful, and to develop a love of doing and a desire to do for others. This second edition of the “ Sewing Course” is sent out with many added suggestions to teachers, on means of cultivating the thought, will and judgment of the classes, and for obtaining results in creative self-activity, which will help the child more capably to take his place in society. Mary Schenck Woolman, Director of Domestic Art , Teachers College. New York, June , 1900. PREFACE to the THIRD EDITION. In sending forth the third edition of the u Sewing Course ” the author would urge anew upon all sewing teachers their need of knowing the general work of the grades or high schools in which they are teaching, and the home conditions of the pupils, that they may plan their courses of work for actual service. The educational world is waking up to the fact that the Household Arts may be of great value in the school. The well-trained teacher has brought this about by the correlation she has made between the general academic work, the art, and the handicraft courses. A series of set models may serve a useful purpose in quickly giving accurate ideas to teachers, but they have no place in school work. The logical development of the stitches is an insignificant aim in comparison with the logical development of the child. This book for teachers suggests many worth while articles which may be used in teaching the subject in the schools. Mary Schenck Woolman, Professor of Domestic Art , Teachers College and Director of the Manhattan Trade School for Girls. New York, May 23, 1905. 4 PREFACE to the FOURTH EDITION. The fourth edition of the Sewing Course has been entirely rewritten and contains almost a new volume on teaching. This educational section has been prepared in response to the frequently expressed wish that the author would dis- cuss this subject for the benefit of those teachers who had not taken the Domestic Art Course at Teachers College. The book was originally written for the College students to supplement their instruction by technical data. It is now in use throughout the United States. Since it was first issued, in 1893, there has been a great evolution in educational thought and still further changes are imminent. Interest in manual training has grown and is gradually being supplemented by enthusiasm in many new phases of industrial and trade education. The teachers of handwork have now a very responsible work to do. As a preparation for it they need as excellent a culture foundation and pedagogical training as any aca- demic teacher. In addition they must have satisfactory technical experience. The author trusts that these suggestions for teaching may be of service. The new educational views which affect the teacher of sewing have come gradually. The narrow sewing course of the early schools was first strengthened by the added requirements for training mind, emotions and habits. Soon another phase appeared and efficiency in life and social service became the goal of hand- work. Again the appreciation of the many needs in American homes has called upon the teachers of the household arts to consider these problems and to aid in their solution. The awakening of the country to the condition of the vast body of wage earners has again added a demand for vocational training as a part of the public instruction and the teacher of manual arts finds her horizon again widen. To be successful she must know her subject from all sides. The four prefaces to successive editions of this book show between their lines the gradual awakening to new values in hand training in education. Mary Schenck Woolman. New York, March 27, 1908. CONTENTS. Notes for Teachers 7 Cardboard Sewing 35 Canvas Work. 37 Weaving ... .... 39 Folding a Hem 42 Mitering 42 Running .*44 Stitching and Backstitching . . . 47 Overcasting 48 Running and Backstitching 49 Hemming 51 Overhanding 53 Garment Bias 55 True Bias 57 Bias Ruffle 58 Seams 59 Felling V 59 French Seam 60 Overhand and Fell and Other Seams 61 Application of Stitches 62 Buttonholes 67 Eyelets 69 Loops 70 Sewing on Buttons 71 Blanket Stitch or Flat Button- hole Stitch 71 Placket No. 1 73 Placket No. 2 74 Placket No. 3 . / . 75 Gusset 77 Sewing on Tape 79 Tucking 81 Putting on a Band 82 Darning 85 Outline of Weaving and Darn- ing 89 Patching ... 91 Hemmed Patch 93 Overhand Patch 94 Flannel Patch 95 Damask Patch 96 Cloth Patch ' 97 Feather or Coral and Chain Stitching 99 Herring-Bone 103 Hemstitching. Drawn Work. . . .105 Whipped Hem 107 Cross Stitch 109 Satin Stitch. Tying Fringe. ... 110 Embroidery on Flannel 113 Couching and Applique 114 DRESSMAKING. Sewing on Braid and Velveteen. 117 Placket and Pocket for Wool Dress Skirt 119 Front of Waist, Hooks and Eyes 121 Bone Casing, Seam Binding 122 Slip Stitching 124 Prices of Materials 125 Suggestive List of Domestic Art Books 128 Index 135 NOTES FOR TEACHERS Purpose of the Sewing Course. This book is written for the purpose of giving to teachers the most important principles of plain sewing. Since there is not time in the courses in normal schools for each student to make every article suitable for children it is suggested that some practice work in stitches has a justifiable place. These exercises, if desired, may be retained for use in teaching, but such work, even in training schools, must be supplemented by numerous finished articles. Younger pupils naturally need practice on stitches before beginning on an article or garment, but such practice should be continued only long enough for them to gain sufficient skill for the purpose in view. The trial piece may then be discarded. It is a mistake for children to continue to make one stitch until perfection is reached before utilizing it on some interesting object. Accuracy of thought and of action are not gained by such vain and tiresome repetitions, but rather a feeling of ennui or even a dislike of the work. Teachers do not expect that each letter of the alphabet must be made perfectly before giving instruction on the next or before teaching the classes to spell. Indeed the written word is often poorly executed throughout life and yet is indispensable. By some unknown reasoning, however, many teachers of sewing insist that each stitch must be made perfectly before allowing a pupil to begin on a new one. Many will also require students to know all of the important stitches before suggesting the use of any of them to construct articles. The unfortunate fact is that they thus keep the pupils from using the knowledge they have acquired and thereby lose a powerful ally in the spontaneous handwork which is so natural to the child. Every one who attempts to teach sewing should become familiar with the stitches, by actual experience, and should take her own work to the classes to give ideas of correct construction and neat finish. These notes for teachers and the instruction under each description of stitches afford a basis for planning courses suited to various kinds of schools and to children of different ages and conditions of development. Under the de- scriptive sections will be found lists of materials necessary for practice and also suggestions for application. It is expected that each teacher will practice the stitches and then apply them to the making of small finished articles suitable for children and calculated to develop their natural activity and encourage them to be creative. These articles should be mounted with the practice-pieces on the bristol-board leaves of the Interleaved Edition of the Sewing Course. 7 8 A SEWING COURSE Mounting Finished Work. Object teaching is an important factor in the schools, and the teacher of sewing will find samples of her own hand work will greatly assist her in giving correct ideas of construction to her pupils. Leaves for mounting finished work are inserted in the Interleaved Edition of this book. The teacher or normal student may fasten on the bristol-board leaves the articles or models made by her. Care should be taken to arrange them effec- tively. The McGill’s paper fasteners, No. AAi, are more satisfactory than paste, and two samples can often be placed on one page. Some soft colored paper, pasted carefully on the bristol-board improves the appearance of the articles made of white material. One sample can combine a number of stitches ; illustrations of this are a small towel with a hemstitched border and marked with initials in cross-stitch, with a loop of tape to hang it up ; or a flannel skirt in which stitch- ing, hemming, herringbone, putting on a band, a button-hole and sewing on a button are all used. The Teacher. Many qualities unite In the making of a good teacher. Her personality is most important, for her physical, mental and moral influence is ever moulding her pupils, even without her conscious effort. Her special training should be of the best. Its foundation should be cultural, supplemented by a knowledge of the problems of modern education, and by the ideals of her own Household Arts field. She should also have ample technical skill and experience. Without a professional preparation, she is too much handicapped to accomplish all that is possible in this branch of education. Furthermore, the spirit which she brings to her work will determine largely the character of her success. Much possible good will be unat- tained if her aim is simply to inspire her classes to complete a series of good models, or even of useful articles. Supplementary ideals are needed to make her pupils efficient for good in the world. Such ideals will require her to study the needs, characteristics and environment of her pupils, that she may develop thoughtful, responsible workers who have a worthy purpose to carry out. She must gradually bring them in touch with the problems of industrial workers also, that they may have an increasing desire to themselves lend a hand in the world’s work. A teacher well prepared in her subject, with an ethical aim such as the above, will find the children in her classes growing into active, dependable women. Sewing in the Public Schools. Sewing was introduced into the curriculum of public schools many years ago for utilitarian purposes, i. e ., it was felt that girls needed to know how to sew, and as they failed to learn at home, the public schools provided this instruction. Material results were emphasized and little or no thought was given to the train- ing of the brain through the hand. Looked at from this side alone, the work has much to recommend it, for it is of life-long use to the children. The object of the school is not, however, solely to provide a means of earning a livelihood, but NOTES FOR TEACHERS 9 aims at “the full and harmonious development of all of the powers of the indi- vidual, ” that they may be used in efficient service to society. This educational foundation, however, should be such that it may serve, when necessary, as an effective basis for vocational life. Sewing may be of true worth in the curri- culum if it enables the pupil to help herself, inclines her at the same time to assist others, shows her the connection of her work with the world’s industrial interests, and makes her sympathetic with, and appreciative of, the army of those who work. It frequently fails, however, of its full value through lack of breadth in the point of view of the teacher. The “ Sewing Course ” aims to indicate lines of thought for her study and reflection through which she may increase the efficiency of her work. Self-activity and Social Service. Frobel’s heartfelt cry of the need of training every child’s natural activity if he would be harmoniously developed gave a new meaning to manual work. Psychologists studying the development of the brain, found that a complete education included training in action, as well as in thought. Gradually the entire attitude toward the training of the hand changed, as more study was given to its proper function in the school, and manual training is now felt to be as necessary in education as any academic study. The modern curriculum gives the opportunity to use the hand, will and mind together. A desire to be of service in the world comes naturally as the means for such helpfulness are increased, but the teacher has it in her power to develop higher ideals of social usefulness in each student. Sewing is one phase of manual training; it comes, or it should come, close to the interests of childhood and it offers innumerable ways by which a child may be of assistance in the home and in the school. The Need of Child Study. If sewing is to add to the mental and moral strength of the children, if a love of the true and beautiful is to come through it, the work must take them into account. The child must not be sacrificed to the model, or garment, by the demand of the teacher for over-accurate work, for neat adjustments at an early age, or for the stupid task. The interest and development of the child must be considered in the selection of the course. Setting her to make articles suited to her capacity and considered by her as worth doing is the only sensible method of gaining her enthusiasm and of bringing out her creative ability. The stitch should be taught as a means by which she may construct a definite article, and not as an end in itself, as is the case in the usual model work. Watch a child learning a new stitch, which will help her construct an interesting article. Her heart is in it, as the subborn little fingers are put in place, and the will power brought into play. Her whole body shows lively interest and she overcomes dif- ficulty after difficulty in her road to success. Give the same child a set of models to make which have been arranged by the teacher apart from the interests of childhood and she will become fatigued, and instead of utilizing her own will the A SEWING COURSE JO teacher will have to step in, and by urging, perhaps even scolding, keep her at her tiresome task. The mental and physical development of the child must show the teacher the sort and amount of work and the best manner of teaching. Children’s Work. In early years the child should not be allowed to do fine sewing. Primitive nations used the needle in many ways adapted to the use of children, in coarse weaving; in basketry, in which more or less rigid material was sewed together with softer fibres, such as wool and twisted bark ; in mats, hats and baskets of the raffia palm fibre ; in braiding ; knotting; twining and netting. All of these early steps in household art make an excellent foundation for sewing, and may be used to great advantage in the primary grades, where the awakening power of the child demands work in rapid construction and large adjustments. The articles should be simple in construction and of a character to appeal to their interests. They should be worth doing. Pricked cards are sometimes used, but they are often injurious to the eyes. If they are felt to be a good link between kinder- garten and primary the simplest designs should be chosen. Coarse canvas of some dull color, which will not be hard on the eyes, is a good material for chil- dren to use. The stitches may be worked in colored wools, and prove a decora- tive feature. Many little articles may be made from the canvas, such as needle- books, markers, blotters, napkin-rings and mats. Coarse needles and coarse yarn should be used on loosely woven material. Dust-cloths, iron-holders, pot-lifters, book-covers, primitive dress, curtains and hangings for doll’s houses and many other useful and interesting things, suited to the ability of children and through which they may gradually learn to use the needle, may be made with coarse stitches. The beginning of sewing is difficult for little hands and the use of the tools needs to be taught slowly. If the thimble is not constantly used at first it is not a serious fault. Much patience is often required on the part of the teacher and also of the child to attain to the correct position of the fingers and to the use of the nefedle and thimble. Neither fine work nor many repetitions of an exercise should be expected. Judgment and skill are of slow growth, and the demand for them at an early age is always discouraging to the pupil, and often positively harmful. As far as possible each child should prepare her own work. Finer and more technical needle-work may be introduced after the first few years in school, but here also the practicing of the stitches should be followed by their application in interesting small articles. The child learns better by making many simple things, even in an imperfect way, than from solely repeating the stitches until each one is perfect and then later applying them. Class Lessons and Drills. Learning to sew is a difficult task, especially in the early grades, as the man- ner of using the tools is hard to master. When each child in a large class is taught individually, the patience of those waiting for the teacher’s attention is soon exhausted, and discipline is apt to be poor. It is better for a teacher to give NOTES FOR TEACHERS II a new lesson to the entire class at one time, and, when all have begun to work, to give such individual help as is needed. The fingers seem easier to control when the new action is practiced in unison, and many of the necessary movements may be taught in this way. The position of the fingers and needle in certain stitches, the knotting of the thread, the necessary movements in sewing, and the use of scissors may be so given by a judicious teacher that they are quickly learned. Regular drills for this purpose have been used in England, and to some extent in America. They are apt, however, to be too mechanical to be of as much value as a short attractive lesson on how to work, followed by the speedy beginning of the construction of some article by each child. Avery few minutes at the beginning of a lesson is sufficient to show a new motion, while much time can be wasted in precise drill. In older grades, even where the teacher wishes to obtain original plans from each pupil, class lessons which call out thought and creativity will be found more inspiring than individual instruction alone. Finished Articles and Connected Thought. A course of sewing gives innumerable opportunities for the construction of serviceable and interesting things. Teachers need never be at a loss for appli- cation of any stitch in a useful article which offers excellent constructive possibili- ties and can be made at a very small expense. There are numerous things to choose from which are quickly made and simple enough in construction for very young children. Mats, bags, dusters, pin-cushions, needle and pin cases, whisk broom and other holders, moccasins, signal flags, sails, blankets, and simple gar- ments or house furnishings may be made with coarse stitches, and yet be effective for use. An almost endless number of more elaborate things may be made by older children. It is well for the teacher to remember that good workers enjoy difficult tasks, and it is a mistake to give too easy work to older girls, who have had experience. A course of sewing may be so chosen that it adapts itself to different environments, to varied possibilities of expense, or to conditions which need consideration or direct assistance. Opportunity should be taken regularly to develop social and economic thought in the pupils. Such discussions may be conducted as, the kinds of material adapted to the purpose in hand, the values of differing fibers, the consideration of cost, the elimination of waste, and the condition of the workers in the regular market engaged in similar occupations. It is sometimes well for the teacher to center the sewing around some special subject, such as clothing to be worn by school children. Under such a topic as this the class can consider what is the most hygienic kind of dress, the proper style to use on various occasions, the best clothing at the least expense, and how to utilize simple decoration with attractive results. Whole neighborhoods may be helped by such study. The garments may be made in large or in small sizes, according to the age and ability of the children, or to the time available for sew'- ing. They can, if desired, make every piece of clothing from combination under- wear to hats and coats for out of door service. Other subjects, such as cooking, 12 A SEWING COURSE cleaning and serving, the needs of the linen closet, historic dress, the furnishing of a room or house, uniforms and equipment for nurses or housemaids, may each suggest a new set of articles for the classes and furnish matter for discussion and study. Correlation. There is continual opportunity for connecting a course of sewing with the every-day life of the children at home, at school, or in society, and gradually interesting them in the bettering of industrial conditions. To do this adequately and easily, the special teacher must be familiar with the homes and lives of her pupils, and must also know the aims and subject matter of the regular school work. By consultation with the grade teachers she will know the wisest time to introduce discussions connecting the handwork with academic interests. Such subjects as the properties and values of materials, the countries growing or manu- facturing them, and the development of commerce on account of the great textile industries, belong to geography and history, as well as to our industrial life. English may be turned to account in personal or business correspondence ; vocab- ularies of materials and industrial processes ; adequate recording, oral and written ; and in business usages. Computations of the expenses necessary for making garments, the division of the income, the keeping of accounts, and the consideration of the cost of living, connect arithmetic with sewing. Further- more, the decoration of articles, the beauty of materials, historic dress, embroid- eries, laces and textiles are fine art as well as household art interests. The school should recognize these relationships and should so utilize the handwork that it will illustrate and strengthen the study courses. In other words, sewing has a cultural background which should be utilized, not only to increase the interest in it, but also to aid in the unification of all the school subjects by a worth-while correlation. Results of value can only be obtained when the teacher of sewing studies all of these related fields for herself. Serious work on the part of a large number of the special teachers would greatly help in solving some of our greatest social problems. The improving of the home ; the bettering of the working con- ditions of women, by bringing about adequate laws concerning them ; wholesome factory conditions, and the increasing of respect for handwork and handworkers, are instances of needed reforms. The regular grade teacher cannot be expected to do this alone, for she has not studied industrial interests in her preparation for teach- ing. Her hearty co-operation is always given, however, to the special teacher who works wisely and tactfully with her. Forced, unnatural correlations between handwork and academic work do more harm than good. The sewing alone is of greater use to the children than when accompanied by encyclopaedic information on industries imparted to the class by the teacher and called correlation. Various methods may be used to interest the classes in personal investigation. Subjects may be set beforehand, that research may be done by the classes, and either oral or written work, of an original character, may follow and serve to combine an English lesson with one on Household Art. NOTES FOR TEACHERS 13 Textile Study in the Schools. The Study of Textiles has been accorded a place in the curriculum of many schools on account of its educational, as well as its practical, value. Woven materials play an important part in the every-day life with which the school wishes to connect. The evolution of the modern textile industries has influenced the development of all nations so that the history of the gradual growth of the primitive into the civilized world is closely connected with changes in the textile field. The early beginnings offer excellent suggestions for courses of handwork and design. In addition, the industrial and commercial aspects of history, Eng- lish, geography and arithmetic are made more real and valuable by using the tex- tile interests in correlation. This subject may serve, therefore, as a means of unifying the school studies. Industrial organization underlies our present civili- zation. Conditions which affect our industries reach our social life. The textile industries are especially influenced by women, and their knowledge or ignorance as consumers are controlling factors in the nation’s industrial development. It is especially advantageous in every course of sewing for girls, in either elementary or secondary schools, to introduce textile discussions. In elementary education the value of personal experience in primitive textile manufacture has been ably presented by Professor John Dewey,* of Columbia University, and by Miss Katherine E. Dopp,f of Chicago University. They advocate the reproducing of early industrial life in the school, that through it the children of to-day may have the same incentive for thought and activity which were the prime factors in devel- oping the race. It thus leads these children to an understanding of present con- ditions for which our involved modern system of factory work cannot be satis- factorily utilized. The simple carding, spinning, designing, weaving and decorating, as well as many other early occupations, are interesting and call for reasoning and creativity. Ideas of simple social conditions and of the early organi- zation of society are also given through such study. The children can, through play or dramatization, live the life of the early races, or they can reproduce on sand trays the entire community, with its industries and interests. In later edu- cation, the historic side of textiles is a part of industrial history, sociology, eco- nomics or other studies, and it may also connect practically with the sciences. In addition, valuable utilitarian ideas which will materially benefit the organization of the home, as well as react advantageously upon our manufacturing interests, may be obtained at every stage of woman’s education. The knowledge of the physical construction of the fibers in use and of their properties will enable a pur- chaser to judge of their hygienic and warmth-giving conditions, as well as of their cleansing and laundering possibilities ; and the understanding of processes of manufacture will assist the student to judge of good and bad materials, and of adulterations, to know widths, costs, and where to find the best markets. Useful knowledge of this sort should not only make women better and more economic consumers, but should give them new standards of the beauty and service of * School and Society. t Place of Industries in Elementary Education. A SEWING COURSE *4 materials. This would tend to eliminate over-decoration and needless luxury in the homes. The study of factories and workrooms, and the knowledge of methods of manufacture will also bring about an appreciation for, and sympathy with, the worker, which will make for the permanent bettering of labor conditions and of society at large. Drawing and Design. Lessons in drawing or color should accompany the entire course in sewing. The simple plans of the first grade for ornamenting a little burlap mat, needle- case or cover, as well as the high school designs for underclothing, shirtwaists, hats, embroideries, gowns, and home furnishings require art appreciation. Drawings or color sketches should be made and applied directly to the problem in hand. Improved line, adequate decoration, correct placing, harmonious color combinations, temperance and simplicity in results should be gradually attained. The divorce of art from handwork is responsible for much of our bad taste, and as a result, the furnishings of our homes are frequently vulgar ; our clothing is commonplace, over-decorated or tawdry, and our shops are filled with poorly constructed articles. The product of many of our industries is influenced entirely by the demands of women. It is necessary for our country’s success that the taste and the knowledge of practical buying should be improved. The home worker, the seamstress, the dressmaker, and the milliner usually know little or nothing of art ; the teacher of design has been too ignorant of the technique of these industries to be of much service, and the teacher of the Domestic Arts has given her time to her direct field, omitting the fundamental connection of applied art. It is absolutely necessary that she should now give sufficient time to the study of design to be able to improve the art of every-day life. This will again react on the industries. She should either herself give the necessary art lessons in her classes, or be able to direct the work of the regular art teacher, so that good prac- tical results may be obtained. The Vocational Foundation. The early cessation of education confronts the teacher in the industrial sec- tions of large cities. A large number of children leave school to become wage- earners the moment the compulsory school years are over (about fourteen). Many have not graduated, but Stop about the sixth school year, or even before that. As the usual public school courses are planned to culminate later, the edu- cation which these young workers have received is of questionable service to them in making a living. The only gainful occupations into which they can enter, therefore, are those which require unskilled labor. These seldom give good opportunities for advance, for the skilled operatives are too busy to train the young beginners. The result is that numbers of these children drift from work- room to workroom, making only a small, inadequate wage. The girls remain a few years in the market, but find it difficult to rise to $c;.oo per week, which in large cities is merely a living wage. They then marry and begin homes of their own, but, even there, are unprepared to be economic factors. They have not had NOTES FOR TEACHERS 15 handwork enough to be good workwomen, they do not think clearly, express themselves adequately, take hold of a difficulty With any force or initiative, and they are frequently untrustworthy. Their English and arithmetic seem unadapt- able to the needs of the trade, or the home. Their employers complain of them and their homes show poor management. The industries of the country, the homes, and society in general would all be benefited if they were given a differ- ent education in the elementary school. They should have a training of which they could make direct use, even if they do leave in the fifth or sixth grade. It need not be a direct preparation for wage-earning, but the teacher should plan her course of study according to the needs of the children in the different schools. It is unprofitable to give the class of work leading to entrance into the high school in sections of cities where the majority of the pupils will never even graduate from the grammar grades. In schools where large numbers of children will probably enter industrial life the handwork could be made an especially valuable factor. The teacher of sewing needs the insight and the judgment to so plan her work that a foundation may be laid which will be of service either in the trade workrooms or in the homes. She can, through the lessons in sewing and gar- ment making, train the girls to think clearly and quickly and to execute well. She should discourage all slipshod thought and work and endeavor to develop trustworthy natures. In districts where the children usually go to work early good handwork courses, offered in the sixth, seventh and eighth grades, and cor- related with their other studies, would often induce them to remain longer in school. Both parents and children value instruction which they feel will directly aid in life and will sacrifice much to obtain it. Such vocational work as this is greatly needed in city schools. The question of direct trade education is also im- portant. Public instruction must soon meet it, for both boys and girls, by estab- lishing special schools or continuation classes. The trade schools, under private control, which have been already started have demonstrated the value of this class of instruction. While the aim of the grammar grades is for a good foundation for life, not for specialization, the work may and should be vocational in the broadest sense, in localities of large cities providing workers for industries. The training given will thus be beneficial, whether education ends in the early grades, or whether it continues into the secondary schools. The fault at present seems to be that while the present public school curriculum is satisfactory for those who will continue their education, it fails to provide adequately for trade life which begins at the end of the compulsory school years. This subject, in all of its phases, should receive the careful consideration of every sewing teacher, as an ever increasing number of girls are going into trades which use the needle or the sewing machine. Trade School Teaching. If a school is seriously preparing its pupils for trade life, the following points need special thought : ( 1 ) The teacher cannot give her best service unless she knows the class of work and the requirements of the trade for which she is preparing her students. She must have practical workroom experience, either as i6 A SEWING COURSE a wage earner or as a part of her preparation for a trade teacher, if she hopes to be of true value to her classes. (2) The course of sewing which should be given in a trade class must cover all of the stitch forms and the principles of construction, and should also give much of the application which will be demanded of such a worker in the market. Discussions of the methods used in various workrooms should accompany the lessons. (3) The conduct of the class should reproduce as nearly as possible that of the regular workrooms ; skill and speed should be required. The girls should be taught to think quickly, to understand directions and to be reliable. The difference between manual training, technical and trade instruction is not always understood. The explanations which follow give some of the principal differences in these fields. The Manual Training School gives handwork with the idea of utilizing its power in developing or educating the individual that the hand and mind may be trained together and each help the other. The Technical School aims to help those who already know something of a certain class of work and wish more scientific or theoretical knowledge of it. It does not purpose to take the place of apprenticeship, for the technical schools in their highest development prepare the foreman rather than the apprentice. Handwork is given to explain the science rather than to fit a student to be a trade worker. The night technical schools, numerous throughout the country, often are, in reality, supplementary trade schools. Some, however, of the so-called technical schools partake more of the nature of the manual training schools. The Trade School is designed to prepare apprentices for a particular trade. The decadence of the old apprentice system has taken away the possibility of an adequate training for the young wage-earner in the ordinary work-shop. The trade school aims to take the place of this older form of education by supplying an economic instruction in the practical work of various trades. The trade school proper is, therefore, an enlightened apprenticeship. The main object is to help the wage-earner to become self-supporting in some direct occupation. Such schools may give all day work or they may assist those who are employed in workrooms during the day by offering supplementary instruction. Sewing in Foreign Lands. Sewing is a usual form of handwork throughout the civilized and uncivilized world. The form of the stitches varies little, but the principles of construction and the application in articles and garments are often entirely different. Each part of the world has characteristic handwork of its own. The American teacher who goes to foreign lands to teach and the native one, ambitious to do as the more civilized nations are doing, are apt to follow the usage of the schools of the United States or of the Continent of Europe. The better procedure would be to study first the articles and garments known and in use in such lands and select some of them for the class instruction. Such foreign stitch forms as are satisfactory should be adopted rather than the unnecessary details of our more elaborate system. When NOTES FOR TEACHERS 17 our methods are needed and desirable, they can be used as supplementary to the native work. The life of those nations and its improvement or development should, however, be the basis for decision on courses of work. In some countries the women and girls are very deft with their fingers and many nations have developed wonderful crafts of their own ; these should be preserved, if possible, unless the best reasons exist for change. It is stupefying to foreign children to be given ideas of construction entirely at variance with their previous knowledge and at the same time, little adapted to the life they are living. Drafting and Cutting. In the elementary school it is not wise, nor indeed is it usually possible, to teach elaborate dressmaking. It is, however, advisable that girls from the sixth or seventh grade up should have some experience in cutting, fitting and construct- ing the simple garments they wear or that may be worn by their younger sisters or brothers. Drafting of pattern is frequently given to accompany garment-mak- ing in the higher grades of the elementary school, although its principal use is in the high school. It is of doubtful benefit in either when it is given with set dictated rules, for it does not develop independence of thought or of action. To be sure, each girl may through it make a pattern for herself or for another, but she has usually gained little in understanding how to adjust the draft to changing fashions or how to cut and fit easily when she is away from the teacher. The real service which drafting may render has been lost in such cut and dried lessons. The good dressmaker and the able woman in her own home do not rely on draft- ing to make every new pattern; they are superior to it. They can take any one they have and adapt it to a new purpose. They completely cut it over or increase or decrease it where necessary, and obtain good results. The aim of a course of lessons in drafting should be to give each pupil ability of a similar character. Freedom from set rules and the knowledge of how to go to work is much more necessary than merely having a good pattern. Drafting, therefore, should be a means to an end, and not solely an end in itself. Through it the students should learn the form of the body and the way patterns are made. They should be able to appreciate good line, to utilize and alter any pattern so as to conform it to dif- ferent figures or to changing styles. The elementary school cannot go far in this work, but it is important that the right start should be made. A child likes to cut her own doll clothes, and the teacher, in even the fifth grade, can help her to improve upon her crude efforts and can gradually lead her to see that certain principles when followed, lead to exactness, as well as to beauty, of result. As the girl grows older, the teacher can help her to comprehend the use of the dif- ferent parts of paper patterns. She can gradually lead her up through the simple doll clothes she has cut, to the understanding of the way to draft an accurate pat- tern. No matter how clever a demonstrator a teacher is, she will fail to give as much help to her class, while explaining a draft, as will be obtained by each child in her own efforts toward making some pattern for her doll or for herself. The regular patented systems of cutting are of less value in the schools than the i8 A SEWING COURSE simple free-hand ones, for, in the former, manufactured curves take the place of those drawn by hand and the means of getting results are often purposely obscure. The free-hand drawing also leads the student to better feeling for good form and line. Lessons in art should be closely connected with drafting and making of pattern. The Professional Schools of Paris teach pattern making by the modeling of the material on the figure, as they feel it leads to freedom of thought, to beauty of line, and to personal independence and expertness. A freehand drafting system may be an excellent step between the free cutting of the early grades and the pat- tern modeling, but it must be taught intelligently. Each girl through these lessons should gain in ability to quickly cut and fit a waist, coat, or skirt of any kind. She should gain in original ideas and in the ability to utilize any picture she sees or pattern she may have. Household Arts in the Grades. Handwork should begin in the kindergarten and continue to each succeeding grade of the school. This has been realized in a large number of the public school systems of the United States, and courses of manual training are to be found at present in various phases of development, for they have been introduced from many standpoints. The attaining of practical ends solely and the serving of purely educational ideals are illustrations of these varied aims. The possible subjects in handwork are unlimited, but random choice accomplishes little. The selection should serve some worthy aim beyond the making of the mere article itself. Grade Work Based on the Industries. The present interest in the study of anthropology has had its effect on the course of study in the schools and has given an impetus to the revival of many primitive arts as a part of the curriculum. These are excellently fitted to the needs of early grades for intense interest is easily aroused in children by discus- sions and illustrations from the life of different peoples. The manner of living and the crafts of primitive nations such as the Esquimaux, the American Indian and the Filipino are being carefully studied therefore, with a view to utilizing their simple crafts as school work, at least for the early grades. The Culture Epoch Theory, which was one of the educational results of the study of the evolution of various races, has greatly helped to develop a satis- factory manual training for young children. It has been largely instrumental, also, in eliminating the often pernicious handwork of the past. At that time uninteresting models or sectional parts of some article, often requiring over-fine adjustment, were alone to be found. This early manual training of the schools dealt with but one phase of handwork, /. 42. Herring-Bone, side and on a line with the top of that stitch. Al- ternately take the stitch from side to side, pre- serving carefully the same width, the same depth of the stitches and the bot- tom of one cross-stitch directly opposite the height of the one on the other side. The stitch may be begun with a small carefully concealed knot or an end of thread may be left and sewed down afterward. In a hem a double stitch may be used on the wrong side for beginning, ending, and taking a new thread. In a flannel patch (see directions) the herring-bone stitch is used over the raw edges of the patch and of the garment. To make the corners of the patch neat the stitch should be turned carefully. (Fig. 42.) 104 A SEWING COURSE Rules for Seams and Hems in Flannel. — Flannel has a right and a wrong side. In making up a garment the ply or nap should run downward. When joining seams, the ply must run the same way on both sides of the seam and the same side of the material must be turned outward (opinion differs as to whether the full ply side of the flannel should go next to the body). The felting property of the flannel makes it unnecessary to make a very strong seam. The running-stitch, with an occasional backstitch, is strong enough. A hem does not usually need to have two turns. The raw edge may be worked across with the herring-bone stitch alternately in garment and fold and be amply strong. The stitch taken in the fold may or may not go through to the right side of the flannel, according to the strength required. In a seam three methods of using the herring-bone are seen. (1) The seam is pressed open and the herring-bone stitch is made on either side over the raw edges. This method is strong and attractive, but takes time to complete. (2) A fell (see directions) is made in place of the ordinary seam and the broad fold is* herring-boned down over the raw edge. This is a rapid and usual way of proceeding on ordinary garments. (3) The seam is pressed open and one row of herring-bone stitches placed down the center of the seam. This is a usual way of finishing flannel seams, but is not as desirable as the others, as the real object of the stitch is not accomplished, i. e ., to hold down the raw edges of the flannel so they may felt in washing. Practice. — Take two pieces of flannel 5 1 /2x2 1 /4 : inches. Select either the first or second kind of seam described and put together the two pieces of flan- nel according to the rule. Cotton, crewel or silk thread may be used for the stitch. It should be made small and neat and should go through to the right side of the material on one side only. Turn up at the bottom of the flannel a one-inch hem and hold it down with the herring-bone stitch. Both sides of the stitch should go through to the right side. Suggestion. — The first practice on this stitch may be on canvas to ob- tain clear ideas of its shape and size. It may be made in this way by young children. Older pupils may begin on the canvas, if necessary, but should soon practice on flannel. It requires much care to keep the stitch even. Small flannel skirts or little sacks may be made and finished with the herring-bone stitch. The stitch is used in a variety of ways. In dressmaking or repairing it is used to hold parts of materials together, such as canvas, velveteen and wool materials to linings. It is used in mending worn silk by making a net- work of it on the wrong side, and in patching wool materials it holds in place the raw edges of the repairing piece. It is also used in millinery in place of hemming, and in fancy work it has been adapted to a number of purposes, such as shadow embroidery in which the herring-bone stitch is made on the wrong side of sheer material and only the small stitch at each side goes through to the right side. A soft shadowy effect is thus made which adapts itself to interesting designs. It is frequently called catch stitch instead of herring-bone. HEMSTITCHING. DRAWN WORK 105 Nos. 46 and 47. HEMSTITCHING. DRAWN WORK. MATERIALS FOR PRACTICE. Linen (very fine and sheer), Cotton, No. 100-150. Needle, No. 10-12. 4x4 Inches. Linen (moderately fine for drawing threads), 5x4 Inches. Application. — On handkerchiefs, collars and cuffs, towels, doilies and fancy articles. Use. — For an ornamental finish for hems on handkerchiefs, household articles, such as towels, bureau scarfs and table covers; bed linen; fine baby clothes and underwear. Designs in Drawn Work more or less elaborate are used to decorate surfaces as well as hems. Hemstitching is used as a foundation for these designs. Rule for Hemstitching. — There are many ways of making the stitch which are equally good. Some of the more rapid ways do not hold the threads as distinctly apart as as the slower ones. The method selected is strong and satisfactory. In hems for handkerchiefs it is not desirable to draw many threads as the washing will loosen the undrawn ones and keep the stitch from looking distinct. Each stitch should have a clear wedge-shape. De- termine the width of the hem and draw out carefully several threads from the material where the double fold of the hem will come ( i . e., allow for dou- ble the width of the hem and also for the little fold on the edge). Turn a hem on the linen to the edge of these drawn threads and baste carefully. If corners have to be folded the drawn threads in the hems will be double. The corners need not be mitered. Unnecessary ma- terial may be cut from underneath (see Miter No. 1), the ends squared and overhanded neat- ly. Begin as in hemming on the wrong side of the material. Decide the number of threads to be taken up each time and keep to that num- ber (it is not necessary to count the threads, the eye may be the guide). Fasten the thread in the fold without a knot. Hold the work as in hemming or turn the hem toward the body and draw the stitch well up to it. The object is to keep each stitch distinct from the other; some workers prefer one position and some another. Put the needle under the number of threads selected and bring it out without catching it in the threads. Put it back over these same threads and under again as at first, but this time the needle should go through the folded hem beside the last thread. (Fig. 43.) The following stitches are taken in the same way. In hemstitching the corners of handkerchiefs more threads must be taken as the threads here are double. Make the hemstitching in the cor- ners look as distinct as possible. Rule for Drawn Work. — The basis of drawn work is hemstitching. The threads are drawn and fastened down on each edge with hemstitching. They may then be fastened or woven together in various ways to form a lacework. Fig. 43. — Hemstitching. 106 A SEWING COURSE The following description is of three simple patterns. No. 1. — Draw Ys of an inch of threads, hemstitch across both edges taking up the same threads on each side. The effect will be a series of upright posts. No. 2. — Draw a little over Ys of an inch of threads. Make a double row of hemstitching as in the first pattern. ' One thread will connect the entire line in the finishing of the pattern. To accomplish this fasten the thread in the middle of the first bar or post, put the needle across two bars beyond, let it go over the third, then under, and back first over and then under the second. This will twist the third bar over the second with the thread through it. Twist the fifth bar over the fourth the same way and continue across the drawn threads. Fasten off in the last bar. No. 3. — Draw Ys of an inch of threads, hemstitch across one side. On the other edge take for the first stitch but half of the stitch below ; for the second, make one stitch out of the halves of two of the stitches below. This will give a sort of herring- bone effect. These three patterns may make an attractive border by leaving Yl of an inch of plain material between them. Fig. 44, Drawn Work. Practice. — First practice piece. A small hemstitched handkerchief. Take sheer linen 4x4 inches. A half inch hem is to be placed on all four sides. Allow for the hem and small fold in the material (1% inches) and draw threads (between 1-16 and Ys of an inch in fine material), on all four sides. Turn in a hem to the drawn threads. Baste carefully, especially at the corners, cut out some of the material from under them if necessary (Miter No. 1), but square and overhand them neatly. Follow the rule for hemstitching. Second Practice Piece. — Take linen 5x4 inches. A 1 inch hem is to be placed at the bottom and several rows of drawn work will ornament the material above the hem. The hem will be held by one pattern. Draw Ys of an inch of threads 2 Ys inches from one end. Fold the hem to the edge of the drawn threads and baste carefully. Hemstitch the hem down with a moderately fine stitch. Complete the opposite side of the drawn threads according to the pattern described under No. 1. Skip % of an inch of linen and use No. 2 for the second pattern ; again skip % of an inch of linen and use No. 3 for the final design. Fine feather stitching may be placed on the plain linen between the patterns, if desired. Suggestion. — Hemstitching may be learned very readily on canvas. It may be used in a number of ways. Coarse linen for toweling may be pur- chased and little towels with hemstitched hems may be made by the chil- dren. Simple drawn work may also be used in this way. The towels may be marked by using cross stitch, chain stitch or satin stitch for the letters. A letter may also be embroidered on the handkerchief. All the hems in the apron described under Whipped Hem may be hem- stitched. The stitch may also be used on small sheets, pillow cases, collars, cuffs and lingerie. Rows of simple drawn work with feather stitching be- tween make a most attractive finish for small linen articles such as cases of various kinds, bureau covers and tea table linen. WHIPPED HEM 107 . No. 48. WHIPPED HEM MATERIALS FOR PRACTICE. It is well for children to hemstitch the center of a handkerchief before the corners, as the latter are more difficult. Careful basting makes the work easier. Nainsook, Cotton, No. 100. Needle, No. 11. 1x13 Inch. Application. — Aprons, underclothing and baby clothing. Use. — For gathering muslin, gauze, lace, net and other soft materials. Fitness. — The raw edge of the material is rolled under and gathered at the same time. The stitch is particularly adapted to small ruffles of nain- sook, cambric and other sheer muslins. Rule. — Fine material is more easily whipped than coarse. The ruffles should be cut from selvage to selvage as the warp threads can be rolled more easily than the woof. The material should be cut to a thread. It may be torn into lengths and cut carefully afterwards. The strip for the ruffle is held with the wrong side toward the worker and the thumb and first finger of the left hand are used to turn the raw edge into a tiny roll. It is turned toward the worker. The thread is fastened in the end of the roll and three fine hemming stitches hold it in place. The whipping is begun by inserting the needle at the back of the roll in a slanting direction like an overcasting stitch and bringing the needle out (toward the worker) just under the roll. (Fig. 45.) The roll must never be caught with the stitch or the ruffle will not draw up well. The stitches must be very reg- Fig. 45. — Whipped Hem. ular and not too close together. After an inch or so is whipped, gather up the ruffle on the thread and continue the rolling and whipping. The stitch is sometimes made by inserting the needle first at the front of the roll instead of at the back. It is better to use fine strong thread and not to take it too long, as the whipping thread is apt to break. The ruffle is usually cut twice or a little more than twice the length of the band. In sewing a whipped ruffle to a band, both ruffle and band should be divided into halves and quarters and matched the one to the other. Either the band or the ruffle may be held toward the worker. In the latter case, however, it is easier to regulate the ruffle. The overhand stitch is used to sew the ruffle to the band. The stitch must be taken so that the thread will fall into the notches between the whip- ping stitches. Practice. — Take 1x13 inches of nainsook. Roll and whip the edge ac- cording to the rule. If the ruffle is to be put to use, the hems should be put in before the whipping is done. This ruffle may be overhanded to the bot- tom of the apron described below. Suggestion. — The whipped hem is less used than formerly. It is, how- ever, an economical as well as strong way of neatly trimming underclothing. From *4 to % of a yard of nainsook will trim a night-gown. 108 A SEWING COURSE Embroidered edgings of various kinds can be whipped and used on dif- ferent pieces of small underclothing to give practical application to the classes. Little pillowcases or aprons can also be made and trimmed with whipped hem ruffles. SMALL APRON OF FINE MUSLIN MATERIALS FOR PRACTICE. Dimity, Nainsook or Cotton, No. 100. Needle, No. 11. Barred Muslin. 5x6% Inches. 6x1 Inch (band). 6xiy4 Inch (2 pieces for strings). Put Vs hems along the 5-inch sides of the muslin. Take a % inch hem at the bottom. Gather and stroke the top (see Running Stitch). Pre- pare the band for a Stitched Band (see Putting on Band). Draw the top of the apron in to 3 inches, stitch it to the center of the band, hem down the other side of the band to the gathers and overhand the sides of the band to the end. (See Application of Stitches — Aprons.) The strings may be pre- pared by putting narrow hems on the long edges and turning % inch hems at one end, the other ends will be inserted in the bands. This apron should apply some of the fancy stitches. A whipped hem ruffle can be overhanded to the bottom ; hemstitching can be used in place of hemming or the hems can all be held down with feather stitching. Each child should select her own method of finishing her apron. The materials are given for a doll’s apron, but the teacher must use her discretion in giv- ing a full-sized apron in place of the small one. CROSS STITCH 109 No. 49. CROSS STITCH. MATERIALS FOR PRACTICE. Penelope Canvas or Scrim, Colored Wool Tapestry Needle. 5x5 Inches (Crewel or Saxony.) ' Colored Silk EE. Application. — On towels, sheets, washcloths and household articles. Use. — For marking underclothing, holding bands to the seams of waists in dressmaking, and for an ornamental finish in fancy work. Fitness. — The form is attractive and the work is rapidly executed and sufficiently enduring for the purpose. Rule. — The stitch is double and consists of two slanting parts crossing each other on the right side of the material, and of two straight lines, which may be either vertical or horizontal, on the wrong side of the material. The points of the cross on the right side should, if enclosed, form a perfect square. In canvas the stitch is usually two threads high and two threads wide. (Fig. 46.) The needle is brought out on one side and put through to the other diagonally— this forms one half of the stitch. It is now crossed in the oppo- site way. In a design the crossing must all be in the same direction and the wrong side must be neat. It is better to leave an end of thread to be worked over by the stitches than to begin with a knot. The fastening off can be done in the same manner. In marking, each cross stitch should be finished separately and the thread should not be carried from one letter to another. It is well to practice on canvas before mark- ing linen. Designs for the letters can be purchased or they may be originated by the worker. A piece of fine canvas or of coarse scrim can be basted to the linen over the place where the letters are to go. The cross stitches can be made on this canvas to keep the form accurate and when the letters are finished the threads of the canvas can be pulled out, leaving the design on the linen. Practice. — Take a piece of Penelope canvas or of scrim 5x5 inches. Turn a % inch hem on all four sides and hold it down with the cross Fig. 46. — Cross Stitch, stitching, alternating two cross stitches above and two below to make an ornamental finish on the edge. Care must be taken to adjust the stitches neatly at the corners; an extra stitch can often be taken here with good effect. On the inside of the square place the initials of the name and the year or other letters and figures may be made in cross stitches. Suggestion. — It is unnecessary for anyone to make the entire alphabet on the canvas as designs can be easily procured and the work is not difficult. This stitch is an excellent one for children in early grades to use on bur- lap. It allows of so much variation that they can easily invent designs of their own. It can be used to hold down the hems in cheese cloth dusters. In later grades it may be used for marking little sheets, pillow cases and 110 A SEWING COURSE towels. Care must be taken to choose a cotton thread for marking which will stand laundering. In dressmaking the cross stitch is used to make the inside of a waist at- tractive and, at the same time, to hold the belt to the seams. The stitch is made in silk of a color to match the silk seam binding, the overcasting, or the fans of stitches on the bone casings. Nos. 50 and 51. SATIN STITCH. TYING FRINGE. MATERIALS FOR PRACTICE. Linen. Cotton, No. 100. Needle, No. 8-10. 6x6 or 10x10 Inches D. M. C. No. 25-60 for Embroidery. No. 16 for the Filling. (Two letters stamped in the center or at the end.) Application. — Letters on handkerchiefs and household linen, decoration and lettering on underclothing, decoration on collars and cuffs. Fringe on towels and doilies. Use. — For marking handkerchiefs and household linen and for orna- menting clothing, table covers and ecclesiastical draperies. It is used on all materials. Fitness. — The close over and over stitch with or without a previous preparation in filling makes a substantial design which will wear for years and have a chaste and beautiful effect. Rule for Satin Stitch. — Satin stitch (Fig. 47) requires patience to learn and skill in the working. It is usually worked in a frame. Hoops may be purchased in which the work may be stretched. For the marking of household linen, in letters of from one to two inches in size, it is possible to do good work without a frame. The stitch may be either flat or raised. In letters it is customary to fill in well the parts enclosed in double lines. The preparation must be done with the greatest care and precision as irregular- ities in the padding show in the finished work. Some workers begin by fol- lowing all the lines of the design with a short irregular running stitch which takes the slightest hold in the material and leaves the most of the stitch on the surface. When the design is in double lines the stitch is taken just in- side of the marking. In padding the space between the lines the outline SATIN STITCH. TYING FRINGE 111 stitch (Fig. 48) or the chain stitch (Fig. 41) are both used. The work must be done in the opposite direction from the satin stitch and be kept within the stamped lines. The lines of padding are made up and down within the space, and one row fits exactly into the other. The number of lines of padding is increased where the letter widens and decreased where it narrows. In a wide portion several rows of stitches may be piled one on top of the other so that a rounded effect may be se- cured. Where veins occur in a leaf or a letter the line is left clear, but the surface is well padded alongside of the vein. Finish all the filling of the letter before beginning the satin stitch. The whole effect of the padding should be neat and compact, but the linen must not be drawn. The satin stitch is taken from side to side of the design and toward the worker. Very little ma- terial is taken up where the line is single. When the line is double the stitch is taken from line to line. Where veins occur the stitch will be taken from the outside to the vein or from the vein to the outside, according to the direction of the work. The stitches should be close together without overlapping. The padding must be completely covered. The stitch may be at right angles with the lines of the pattern or it may be slanted in either direction. When the letter has been begun, however, the same slant must be kept throughout, except where it has to be temporarily altered at the curves. The usual direction is at right angles with the lines of the design, i. e., directly across the pattern. Where there are curves in the design, the stitches will need to be crowded on the inner side, but no gaps must occur in the outer edge. The work must be as smooth on the wrong side as on the right. Where single lines occur the satin stitch is also used. A very small hold should be taken in the linen and the stitches should have a smooth, cordlike effect. The irregular running stitch taken in the filling will help to secure the effect if it is carefully done. Begin the satin stitch at the extreme end of some part of the pattern. To fasten the thread take a running stitch through the design to the point of beginning. If it is a curve care must be taken to keep the stitch con- tinually in the same relation to the pattern. Bring the needle to the right side and put it back directly opposite. Let the stitches closely follow one another. Draw them close that the outline may be clear and the work firm. The work should appear in the end like a solid mass and not have individual stitches pushing themselves into view. Finish off the thread in the work and begin another carefully either by a running stitch in the unfinished part or concealed in the finished work. Where a letter is not continuous the thread must not be taken across underneath from one part to the other unless the distance is almost imperceptible, but the thread must be fastened off and the work begun again. It is usually well to pad with rather fine embroidery cotton, as, with beginners, coarse cotton will often push up between the stitches. The experienced worker judges from the character of her design. Fine embroidery cotton should be used for the satin stitch on fine linen. Rule for Tying Fringe. — Draw a number of threads in the material where the top of the fringe is to come. The tying should be done before Fig. 47. — a , Filled; b , Straight Satin Stitch; o s Sloping Satin Stitch. 112 A SEWING COURSE raveling out the entire fringe. Fasten the cotton first in the solid material just above the drawn threads, and then in the drawn threads. The linen is laid over the first finger of the left hand and held tightly with the thumb and the second finger. Lay the cotton straight along the drawn threads, put the needle on the left side of the cotton, pass it under several of the drawn threads, bring it out under the right side of the cotton and draw it up tightly to hold the threads. This will make a tie in the cotton. Continue this on the four sides. Some prefer to hold the tied fringe close under the solid linen, others leave a small space between. For ordinary linen No. 100 cotton is fine enough for the tying. When it is finished, fringe out the linen. Hemstitching is sometimes used to hold the fringe in place of tying. A small overcasting stitch may also be used to keep the fringe neat when it is laundered; the effect is not, however, as good as the hemstitching or the tying. Practice. — Take a piece of linen 6x6 inches. It should be moderately fine and the threads should draw easily. If desired a piece of linen 10x10 inches can be made into a face towel. Two letters from 1 inch to 2 inches in length should be clearly stamped on it. These letters should not be elaborate. The old English text is good. Carefully pad between the double lines and use the irregular running stitch on the single lines. Embroider the letters with the satin stitch according to the rule. When the letters are completed, draw five or six threads (on all four sides) about % of an inch from the raw edges. These threads should be tied before fringing (see Kule for Tying Fringe). When the threads are tied cut the raw edges carefully so they may be perfectly even, and draw the threads up to the tie. Suggestion. — Satin stitch for marking and fringe tying for the raw edges may be used on small towels, table cloths, napkins and doilies. The French convent embroidery used on underclothing is to a great extent made up of satin stitches, combined with French knots, blanket-stitches and others. Garments simply decorated in this way should be brought to the classes if possible and discussed. Art lessons should be utilized for designs for collars, cuffs, underclothing and blouses. The flax flower lends itself well for this purpose and linen is an excellent center for correlation with geography, his- tory, art and home. EMBROIDERY ON FLANNEL 113 No. 52. EMBROIDERY ON FLANNEL. BLANKET STITCH, OUTLINE STITCH, SATIN STITCH AND FRENCH KNOT. MATERIALS FOR PRACTICE. Flannel, 5x5 Inches. Silk, No. B-E. Needle, No. 6-8. (A scalloped edge stamped on Wool or Tapestry Needle. two sides and some simple D. M. C. No. 16. designs in the center.) Application.— O n a small flannel petticoat or baby sack. Use. — A scalloped border of blanket stitches is used to finish the raw edges of many articles of flannel. It gives both beauty and durability to the raw edge and takes the place of a hem in heavy material which is too thick to fold well. Small geometrical or flower designs are embroidered on infants’ sacks and petticoats for the purpose of decoration. Rules. — Scallops in Flannel are made with the blanket stitch (Fig. 23). The outer edge should be firm and substantial (see Blanket Stitch.) A pad- ding of wool or cotton may be made before the blanket stitch is used. Wool is well adapted to the flannel, as it shrinks in laundering. An irregular run- ning stitch, leaving most of the wool on the surface, is good for this purpose. The outline of the scallop and the space between may be filled according to the raised effect desired. The stamped form of the scallop must be carefully preserved. Very few filling stitches should meet where the design is narrow. A heavy silk such as No. E or No. EE is used for the edge. Designs on Flannel are principally worked with the satin stitch. It is seldom necessary to pad. Stems and outlines are made with the Kensington outline stitch instead of with the satin stitch as on linen. Small flowers and leaves may be merely outlined or the satin stitch may be used to cover the entire surface. In designs like the daisy form the satin stitch may begin at the center of each petal and be worked toward the edge, or a radiating stitch from the center out may be used. French knots are frequently used in flan- nel for one side of a leaf or flow'er, or for the centers of flowers. Kensington Outline Stitch. The outline stitch follows a traced line and is made away from the worker (Fig. 48). The needle is brought out at the end of the stem or line, a long stitch is taken ahead on this line and a short stitch back through the material. The stitch back may be made either to the right or to the left. The length of the stitch may vary according to the requirements of the design. The stitch resembles the backstitch turned wrong side out, i. e ., the rope-like effect is on the right side of the material and the little stitches with a space between are on the wrong side. Where a very substantial stem is needed the outline stitches can be made very close together. The work is held over the first or first two fingers of the left hand. The French Knot. These are made in vari- ous ways. One way in general use is to fasten the Fig. 48. Outline Stitch, thread well and bring the needle out in the spot 114 A SEWING COURSE where the French knot is to be. Put the needle down to this place, wrap the thread two or three times around the needle, draw it so that the twisted thread is around the needle close to the spot intended for it, insert the point of the needle in the material at this same place, and holding the thread tight, fasten the knot down to the material by drawing the needle and the length of the thread through to the wrong side. Practice. — Have a piece of white flannel 5x5 inches stamped near the raw edges with a plain scallop on one side and a triple or fancy scallop on the other. In the plain space between have a few simple sprigs stamped (such as conventional leaves and flowers). Use the blanket-stitch for the scallops; the satin stitch for the leaves and flowers; a close outline stitch for the stems, and the French knot for the centers of flowers or for one half of some of the leaves. A number of French knots may be made close together to cover a surface. If the practice piece is to be retained, cut the flannel close to the scallop on one side to show the completed effect and leave the flannel below the scal- lops on the other side to show the way the work has been done. In making garments the flannel should be washed to allow for the shrinking before the material below the scallop is cut away. Suggestion. — Some article such as a small flannel skirt should be made by the pupils. In place of having the flannel stamped in scallops a five or ten cent piece may be laid on the flannel and half circles drawn regularly across the sides. These may again be joined by a smaller inner circle. De- signs for the edge may be drawn by the children. The drawing teachers in schools should prepare the classes for adequate designing for the decoration of their clothing. Very attractive yet simple designs may be made and di- rectly utilized on garments. Linen book covers and portfolios may be de- signed and embroidered in the same way that flannel would be. Nos. 53 and 54. COUCHING AND APPLIQUE. MATERIALS FOR PRACTICE. Linen or Unbleached Mercerized Yarn, Scotch Needle, No. 6. Sheeting, 6x3 Inches. Floss, or Jute Threads, Material in Contrasting several strands. Color, 2x2 Inches. Silk, B or C. Application. — Decoration of table covers, scarfs and bags. Use. — Couching is a decorative stitch for outlining a pattern. It is frequently used in place of the outline-stitch to cover the cut edge of applique work and, at the same time, to hold it down to another material, and also to make a foundation over which other stitches can be worked, as in Venetian embroidery. In the latter, the blanket-stitch is made over the couched cord to obtain a design in high relief. Applique is the laying of one piece of material upon another. It takes the place of solid embroidery in a design. Couching is very generally used in connection with it. Both couching and applique are largely used in his- toric national embroideries, and have been used by many primitive people. They can be utilized to advantage in the schools, even with young pupils. COUCHING AND APPLIQUE ns Fitness. — The soft rope-like appearance of couching makes an attrac- tive outline and also a good covering to the edge of materials. The stitch which crosses the cord not only satisfactorily holds down the materials be- neath, but lends itself to excellent decorative effects. The ease and rapidity with which beautiful results can be obtained by the use of various materials cut into designs and laid on other cloth makes applique a valuable, economical and artistic means of decoration. Fig. 49. — Couching. Rule. — Couching is a species of overhanding, or of over-casting, made over a cord or group of threads into the cloth beneath. The strand or strands must be as long as is needed for any part of the design where no break in outline can occur without injuring the pattern. The strands are held close to the outline or the edge of the pattern. If the couching is to cover another material which is to be appliqued by it to the foundation, the cord must com- pletely cover the raw edges. The stitch which holds down the strands is made across the cord at right angles to it and into the cloth beneath. The distance between the stitches is a matter of choice, or according to the im- portance of this stitch across the cord as strengthening the applique beneath. To finish the end of the cord when the termination of the pattern is reached must depend on the wisdom of the worker. The strands can be the same size throughout and be held down so neatly and yet strongly that the raw ends of thread will not show ; or they can be reduced gradually until invisible ; or a hole can be made in the material below and the cord can be fastened se- curely on the wrong side; or the ends of the strands can be pushed under the applique and fastened. Innumerable threads and yarns are used for the cord, such as crewel, filoselle, mercerized yarn, jute and various wools. The 116 A SEWING COURSE oross thread can be made of a contrasting color. Several lines of couching can be laid side by side, and the cross threads can be used to attractively vary the pattern, by such effects as diaper and basket designs. The strands can be wound into a disk and the cross-stitches can be made an attractive feature. Couching is also used as a basis for work with another stitch. In Venetian embroidery it provides the foundation over which a close blanket- stitch is made. The pattern is thus thrown into high relief. Applique is made of many materials, such as silk, velvet, linen, denim and others. The design is made first on paper; this is cut out and serves as a pattern for the material which is to be used for the applique. If the ma- terial is inclined to fray, it is well to make the design in thin paper, cut it out and paste it on the back of the cloth before cutting the latter. The design is then laid on the foundation material and basted or pasted in place. The latter way is used if the pattern is very elaborate, or if it has large stretches of plain surfaces. Wrinkles and bubbles in the design interfere with the beauty of the solid embroidery effect. When the pasting on of a design is finished, it should be put under a press until dry. The couching and other needlework can then be done upon it. In heavy or stiff materials the double pasting is not necessary. In such simple applique as would be done in most elementary and high schools the thin paper design can be pasted, if necessary, to the cloth, but when this is cut it can be basted to the founda- tion, instead of pasted. In place of applique, the foundation cloth is often painted or stencilled, and couching, outline or blanket-stitch used to finish the edge. Practice. — Make the design for the applique and have the color scheme and the materials worked out carefully; the foundation, the applique and the cross threads must all be considered. Unbleached color in the foundation lends itself to good effects in dull oranges, brown, blues and greens in the applique. The strands for the cord may match the ground, or the applique, or may contrast, and the over-casting of silk may be an additional decorative feature. When these points have all been settled, take foundation material 6x3 inches, and the design on thin paper which will occupy a space within 2x2 inches. Cut out the design, paste it lightly and carefully, that no strain may go through, on the back of the material for the applique. Press it until dry and smooth, cut out the pattern, lay it on the foundation toward the end and a little to one side, and baste it in place. Take several strands of the yarn selected. Begin the work of couching at a part of the applique where the fastening down will show least ; push the ends under the applique, and begin to overcast the strands through the applique and the foundation. Be careful to keep the overcasting stitches near enough together and on the edge of the pattern that the outline may be perfect. Suggestion. — This stitch is useful even in early grades, as it is simple and may be quickly executed. The art teacher can unite with the sewing teacher in obtaining good designs; the cutting and pasting are good exer- cises in themselves;; and many articles can be attractively decorated. Work bags, sofa cushions (large or small), table covers, bureau scarfs, and dress trimmings can be adapted to pupils from the fifth grade through the high school. It is possible to use couching even in earlier grades, as it is similar to the coarse towel weaving which is adapted to young pupils. Excellent color schemes can be worked, and very beautiful articles made at little expense. DRESSMAKING 117 DRESSMAKING. SEWING ON BRAID, BINDING SEAMS AND FINISHING WAISTS. Application op the Principles op Dress Construction. — Dressmaking is a subject for the high school rather than for elementary education. Some experience of it, though, is well in the seventh and eighth school years, espe- cially in some localities. The pupils are thus enabled to be of use at home and in case they do not continue their education into the high school, but must go to work early, the experience may help them in their business life. Doll’s and children’s clothing and the making over of garments offer oppor- tunities for using some of these principles. Simple clothing can be brought from home or the entire class can work together on one garment (either new or old). This can later be used for exhibit or be devoted to some worthy object. If the higher grades have some practice in these principles the prac- tice pieces will not be necessary in the high school, for the pupils can go to work immediately on their own garments. In making and repairing garments in the home a knowledge is needed of accepted ways of sewing certain parts. It is well for the teacher of sewing to give attention to this even if she does not expect to teach regular dress- making. There are many ways of doing these necessary parts of garments, but it is only possible in the following suggestions to give a few of these. Work of this kind requires great care. The stitches need not be as small and accurate as in plain sewing, but they must be strong and firm. Success depends on the careful handling of the material that it may not be stretched, on the accurate union of parts and on the all-important pressing. Nos. 55 and 56. SEWING ON BRAID AND VELVETEEN. MATERIALS FOR PRACTICE. Cashmere or Cloth, Cotton No. 50, Needle, No. 8. 4x4 Inches. or Cotton Skirt Lining When Desired, Silk No. A, 4x4 Inches. or Mohair Skirt Braid, Buttonhole Twist D, 4 y 2 Inches. or Bias Velveteen, Linen Twist A. 4 y 2 Inches. ♦ (The color of the braid and velveteen should either match or be in harmony with the cloth.) Use. — To protect the edge of the skirt. The bottom of a skirt may be finished in various ways. Binding with braid or velveteen is the general usage. If the former is used it should be a strong mohair braid and not the ordinary skirt braids which soon wear out; if the latter, care again is needed to procure a good quality, as much of the velveteen for sale is worthless for this purpose. 118 A SEWING COURSE Braid should be shrunk before using it on a garment or dampness may cause it to do so later and thus draw the skirt out of shape. There are vari- ous methods of shrinking the braid; such as plunging it in lukewarm water for a few minutes and then shaking it out, putting it in boiling water and then drying it, or sponging it with water and afterward ironing it dry. Skirt braids and veleteens are better sewed on by hand than by machine, as the dust is less apt to catch in the stitches and wear them out. Rule for Sewing on Braid. — (1) When there is a lining in the skirt the following method is often used. Turn up the bottom of the skirt the re- quired length and hem the lining down over it. The lining when hemmed should be % of an inch above the bottom of the skirt. Lay the braid flat on the wrong side of the skirt, letting it drop % of an inch below the bottom. Run it on with an occasional backstitch % of an inch from the bottom of the braid, being careful not to take the stitch through to the cloth on the right side. Hem the opposite side of the braid to the lining (some workers prefer to use the running-stitch here also, as they consider it wears better, being more protected than the slanting stitch over the edge of the braid). To join the ends of the braid lay one end 1% inches over the other end. Turn each raw edge in y 2 inch so that one will lap in the other. Overhand the folds at the bottom and hem the upper braid on the lower. Or sew the two ends together y 2 inch from the raw edges. Turn back each end and hem or over- cast it to the braid beneath that no raw edges will be exposed. Press care- fully. (2) Where there is no lining in the skirt or where there is a drop skirt, the bottom is turned up the required length and finished with a hem or facing, varying in depth from 1 y 2 to 4 inches. To protect the edge of this hem, a mohair braid may be placed at the bottom. Allow the edge of the braid to extend about 1-16 of an inch below the hem. The upper edge of the braid may be fastened to the hem by a running or hemming stitch. If greater strength is needed put a second row of stitches at the lower edge also, being careful not to take them through to the right side. Press carefully. (3) Braid may also be sewed on so that it will have the effect of a fold at the bottom of the skirt, as in the velveteen binding. The skirt and the lining must be cut even and the braid laid on the right side of the skirt with its edge even with the other edges. The braid is sewed on by machine % of an inch from the bottom through the lining and the skirt. It is then turned back with all the raw edges underneath and hemmed to the lining or the skirt on the wrong side. The fold of the braid should extend 3 /s of an inch below the skirt to protect it. Press carefully. Rule for Sewing on Velveteen. — Cut the skirt and lining, if there is one, even all the way around. Turn them about % an inch so the skirt will be the desired length, and hem the raw edges to the lining. Press carefully. Lay the velveteen on the bottom of the skirt with its right side against the wrong side of the skirt. Let *4 of an inch of the velveteen lie on the skirt and the rest extend below. Run it by hand to the skirt % of an inch from the bottom. Turn the velveteen back so that the fold will drop % °f an i n(? h below the finished edge of the skirt and baste it in place. Turn in the oppo- site edge of the velveteen % of an inch and hem it to the skirt or to the lin- ing (it is sometimes herring-boned without turning in the edge). Join the ends of the velveteen by allowing y 2 inch more than the circumference of the skirt and sew the two ends in a bias seam. SEWING ON BRAID AND VELVETEEN 119 Practice. — Take 4x4 inches of some wool material, use it single or line it with an appropriate cotton lining. The piece thus made is to be bound on each end of the length of the material. On one end place the mohair braid and bind according to one of the ways suggested under Rule for Sewing on Braid. The opposite end is to be bound with bias velveteen according to the Rule. Nos. 57 and 58. PLACKET AND POCKET FOR WOOL DRESS SKIRT. MATERIALS FOR PRACTICE. Heavy Cloth, Cotton. Needle. 4x2% Inches (2 pieces), (See directions under Sewing on Braid and 5x1% Inches (2 pieces, selvage). Velveteen). Lining if Desired, 4x2% Inches (2 pieces). Binding, 6 Inches, or Cashmere, 4x2% Inches (2 pieces), 3x2 Inches (2 pieces) and Lining, 3x2 Inches (or 3x4 Inches and 3x2 Inches). Lining if Desired, 4x2% Inches. Binding, 6 Inches. Plackets in dress skirts are made in various ways according to the require- ments of the garment and the materials of which it is made. They are similar to the ones used in cotton fabrics (see Plackets) but demand a slightly dif- ferent treatment. Rule for Plackets. — The opening in a dress skirt should be only long enough to allow it to slip on easily. It is usually placed down a seam. In heavy cloth two selvage strips of the material % an inch longer than the open- ing and 1% inches wide are used for the lining and the underfacing or the fly of the placket as the material is heavy enough without a lining. Light weight wool materials such as cashmere and challie have not substance enough to be used without lining. These plackets may be treated in two ways. (1) Two pieces are cut % an inch longer than the opening. One piece is intended for the fly or underfacing of the placket; it is cut lengthwise of the material and may be lined with the dress lining or cut double and folded back lengthwise on itself; the second piece is to face the upper side of the placket. It is often cut crosswise of the material. (2) One long piece, twice the length of the opening, may be cut and turned back on itself (see Placket No. 3, Finish No. 2). The method of proceeding with dress plackets cut in two pieces is the following: The seam of the dress should be open, having previously been pressed. The right side of the opening is to lap over the left side. (Opin- ions differ as to the side which should lap over the other.) Take the strip which is to line the upper side of the placket. Lay it on the right side of the 120 A SEWING COURSE material and seam it to the opening a little way within the former seam, turn it back to form a facing on the wrong side and hem it to the lining or to the skirt. This side will lap over the other. As the seam has been made a little within the pressed line of the former seam, it will not show. Turn to the left side, take the piece for the fly (the selvage strip, the double strip or the lined strip) and lay it on the left side with the right sides of the cloth together. Stitch into a seam a little within the pressed line of the seam, turn the seam back and let the added piece of cloth lie flat under the right side of the placket. Bind or overcast the part of the seam below the opening ( see Bind- ing Seams). At the bottom of the opening the fly must be fastened to the upper facing and both must be fastened to the dress lining or skirt without going through to the right side. Lay the fly flat on the facing and stitch them together at the end of the opening. The ends below the stitching may be fin- ished in three ways. (1) If the cloth is strongly woven some of the material under the fly may be cut away and the raw edges of the fly herring-boned or hemmed to the lining of of the dress. (2) If the cloth is light in weight, turn the fly back in a fold and fasten it to the seam of the skirt, or (3) cut the raw edges of the fly and the upper facing even and bind them across with silk binding. The seam containing the fly can be bound its entire length with silk binding or it can be overcast. Practice. — Take two pieces of cloth or cashmere, 4x2% inches, leave them unlined or line them with cotton skirt lining according to the prevailing fashion. Stitch together (either by hand or machine) the two pieces in a good seam. Press the seam open. The opening for the placket can now be made down the seam 2% inches. The way to proceed with the rest of the placket depends on the cloth chosen. If it is a strong suiting use selvage strips of cloth and follow the rule in completing the placket. If a soft flimsy wool has been chosen the underfacing or fly can be lined with the dress-lining. In most w r ool materials a double strip of the material may be used for the underfacing. Follow the rule in completing the placket. Bind the seams with silk binding or overcast them. Rule for Pockets. — Ways of cutting and inserting pockets should also be discussed by the classes. They may be cut in two pieces in a bag shape with one side straight and the other curved, with the opening on the straight side ; or they may be cut in two pear-shaped pieces and one piece laid on top of the other with an opening cut in the center of one of the pieces. The length is about 13 or 14 inches. They are set into a seam of the skirt or in a slit in the material. A bag pocket would have its opening two or more inches below its top. Pockets are faced inside with the material of the dress. This facing should extend back, above and below the opening at least two inches, so that the inside of the pocket will not show if open a little. When the pocket is made it is turned wrong side out, put through the opening of the seam prepared for it, and seamed on the wrong side to the skirt in the fold of the seam. As small a seam should be taken from the pocket as the need of strength will allow, so that it will close better. This is especially the case at the top and the bottom of the pocket seam. The seams should be pressed open and bound or overcast. A ribbon or tape should be sewed to the top of the pocket and fastened to the belt to sustain the weight and keep the pocket in shape. When the pocket and the placket are on the same seam the for- mer usually extends to the belt and does not need the tape or ribbon. The upper part of the seam of the pocket should be carefully sewed by hand to the skirt, as the tapering off of the seams makes it rather weak at this point. The PLACKET AND POCKET FOR WOOL DRESS SKIRT 121 lower part of the seam may also be sewed by hand, as too deep a seam causes the pocket to flare open. The material of the pocket should match the skirt, but it must be a fast color or the contents of the pocket will be injured. Percaline is good for this purpose as the light side can be the inside of the pocket. Practice. — A class should cut full sized pockets in paper, or, if they need practice, they can be made in any available material. If the teacher wishes an example of a pocket for her interleaved copy of the Sewing Course she can make a small one and insert it in the placket (see No. 55), or she can make a separate pocket. It is better for the classes to make full sized pockets. No. 59. FRONT OF WAIST. HOOKS AND EYES. MATERIALS FOR PRACTICE. Dress Material, Cotton. Needle. 4x3 Inches (2 pieces). (See directions under Sewing on Braid, etc.) Waist Lining (Percaline or French Cambric). 4x2% Inches (2 pieces). Bone, 4 Inches (2 pieces). Hooks and Eyes (small size), 4. Rule. — The front of a waist is frequently held together with hooks and eyes. These may be placed (1) on the lining alone, if the waist material is to be entirely separate and fastened on one shoulder covering the opening com- pletely, or (2), if the waist material is to be opened down the front, a facing of the cloth should be placed on the lining and extend a couple of inches back from the hooks and the eyes on each side to make a neat appearance, if the waist material should open, or (3), in case of a waist plainly fastened in the front, the hooks and the eyes would be fastened on the lining, the cloth of the waist would be folded back on itself and slip-stitched or hemmed to the lining in such a way that when the waist was hooked the folds of the waist material would meet and cover the hooks and eyes. In each case the lining would be treated in the same way. It should be an inch wider on each side than the meeting of the parts would require. Turn the lining back on itself one inch on the wrong side and stitch a casing from one end to the other, wide enough to hold the bone (the bone will be the height of the dart). In order to make the bone-casing firm it is well to put another line of stitching along the edge of the waist that the bone may be snugly enclosed between two stitched lines. Spring in the bone and fasten it securely at either end (through the bone or above and below it in the ma- terial.) When hooks and eyes are to be sewed on it is well to put a piece of clinoline under the lining turning it back with it. The bone can be slipped in the crinoline and the hooks and eyes can be sewed through it and have a strong foundation. Sew the hooks and eyes on the wrong side alternately unless hump hooks are used, at equal distances on the lining, or through the dress material and the lining if the sewing will be covered by the trimming on the outside of the waist. The hooks should be % of an inch back from the edge and the eyes % of an inch over the edge, so the dress will exactly meet. Turn the remainder of the lining back over the hooks and eyes to make a neat finish and hem it down ; or cut away all superfluous material and cover 122 A SEWING COURSE the raw edges, the hooks and the eyes with galoon or silk bone-casing, hemming it down on both sides. If the waist front is to be untrimmed the dress material must be folded back to entirely cover the hooks and eyes. The material should be cut to extend well beyond the casing. Turn under the raw edge on each side back on itself allowing the fold to extend far enough beyond the edge of the bone-casing so that it will completely cover the hooks and eyes when they are fastened and under strain. Slip-stitch in place. Sewing on the Hooks and Eyes. — An over and over stitch is usually better to hold the hooks and eyes than the buttonhole-stitch, as it is firmer The metal loops are made for the stitches. It is sometimes well to spread the lower part of the hooks a little, that the stitches may not be quite so close together. In beginning to sew on either a hook or an eye it is well to take two stitches in one loop and then two in the other to hold it in place and then return to sew around each loop and across between the loops, drawing the thread very tight. In addition to this the eyes should also be held down on each side, just above the loops and again near the edge of the material, and the hooks should be sewed across the shank near the turning back of the hook. Practice. — Take two pieces of waist lining 4x2% inches, finish them ac- cording to any of the three suggested ways. Take small black hooks, instead of a larger size generally used in waists, so they will be less apt to injure the bristol-board in the interleaved edition of the Sewing Course. Put on four hooks and eyes, alternating them at equal distances on the practice pieces. Nos. 60 and 61. BONE CASING. SEAM BINDING. MATERIALS FOR PRACTICE. Dress Material, 4x2 y 2 Inches (2 pieces). Silk No. A. Waist Lining (Percaline or French Cambric) Cotton No. 50 4x2y 2 Inches (2 pieces). (To match Dress material.) Whalebone, 3% Inches. Silk Binding, 10 Inches. Galoon or Bone Casing, 6 y 2 Inches. Needle, No. 8 or 9. In the finishing of a waist the putting in of the bones and the binding of the seams are very important. After the waist is put together the seams must be cut even and notched in certain places, especially in curved seams in order to fit into the figure. One notch is always made at the waist line almost up to the sewing. A couple of notches should be made above the waist line in seams which are considerably curved. The edges of the notch may be curved to aid in the binding. The seams must be dampened (dipping the fingers in water and passing them over the seam is often better than to use a wet cloth), and pressed open to see if they lie flat before binding them. A narrow pressing board and an iron for seams aids in the work. Binding Seams. — The raw edges of the seam may be finished in several ways. (1) The dress material and the lining may be overcast together. (2) The dress material and the lining may be turned in on each other and either overcast or run together. The seams must be made wider if this means is to be used than for Nos. 1 and 3. (3) The seams may be bound with a soft binding ribbon. The ribbon is folded on either side of the raw edges of the BONE CASING. SEAM BINDING 123 seam. In order to accomplish this most easily the ribbon may be creased along its length so that one side is slightly deeper than the other. It may then be laid over the raw edges of the seam with the shorter side toward the worker and both sides may be held by one line of rnnning-stitches. The ribbon should be held easily around the curves so they will open well. Bone Casings. — Many kinds of bones are used for waists. It is generally conceded, however, that whalebone is the best, as it is thinner and more flex- ible than the others. Cased bones can be purchased, but they are not con- sidered as satisfactory as making the casings and inserting the bones. Bias binding or strong narrow ribbon bindings are the most desirable. The rib- bon casing should be eased on all the way and slightly fulled directly above and below the waist line. The bones are put in usually to about an inch below the height of the dart. If they are placed too high they will push through. In order to keep the bone from rubbing through the waist lining a pocket is made at the top of the casing by turning the ribbon back from % to 1 inch and overhanding the sides of it. The casing is sewed to the turnings on either side of the seam below this pocket. The middle of the casing should come directly over the seam. The ribbon casing is usually hemmed or run on both sides, the bias casing may be sewed the same way or the herring-bone stitch may be used across the casing from side to side. This makes an at- tractive finish. A bias casing does not need to be fulled on. The casing should be cut long enough to allow for the pocket at the top and for y 2 inch extra at the other end. The bone is cut a little longer than the place it is to occupy. The ends should be rounded. After the casing is sewed on, the bone is put in from the bottom and pushed or sprung in tight into the pocket, the extra y 2 bones may be soaked in water and a needle can then easily pierce them, or holes may be pierced in them with a hot needle before inserting them in the inch of casing is turned in over the bone and the casing sewed closely to the seam. The bones also must be fastened to the seam at the end of the pocket and y 2 inch from the bottom of the bone. To provide for this the whale- bones may be soaked in water and a needle can then easily pierce them, or holes may be pierced in them with a hot needle before inserting them in the casing. The bone may be sewed down with fan-shaped stitches at the top of the casing or a couple of strong stitches to the right and to the left over the casing and into the turned back material of the seam may be taken just below the pocket. It must also be sewed down y 2 inch from the end of the bone. In short bodices the end of the bone should come about % of an inch from ing will then be hemmed into place. In a long bodice the bones need not be carried far below the waist line. Practice. — Take two pieces of dress material 4x21/2 inches and line them with waist lining. Lay the cloth sides exactly together. Crease a vertical line through the four thicknesses % an inch in from the right hand side. Crease another line, at right angles to the first, 1 inch from the bottom to indicate the waist line. Measure % of an inch in from the intersection of these lines and make a curved line from the bottom to the top of the vertical crease passing through the y 8 of an inch point on the waist line. This line represents the curved seam in a waist. Stitch the pieces together in a seam along the curved line. Either the hand or the machine may be used. Trim the edges to y 2 an inch from the seam. Make a notch at the waist-line to within y 2 of an inch of the seam and two other notches about 1 inch apart, above the first. Round off the edges. Press open the seams and bind the raw 124 A SEWING COURSE edges according to the rule. In putting the bone casing down the seam allow for a pocket of % of an inch at the top and % an inch at the bottom. Let the bone end % of an inch from the end of the seam. Cut the bone 3% inches in length. Finish all according to the rule. No. 62. SLIP STITCHING. MATERIALS FOR PRACTICE. Cashmere, Silk A. Needle, No. 10 5x3 Inches. (To match cashmere.) Application. — In neckwear, trimming for hats, or folds on dresses. Use. — In dressmaking and millinery to hold two edges of cloth together ; to hold down a hem where the hemming-stitch would show too much, or to fasten on trimming such as bias bands, cording and folds. Fitness. — The stitch is almost invisible and is well adapted to dressmak- ing and to millinery. There are many forms of the stitch adapted to various requirements. Rule. — The form of the stitch is like the running-stitch (Fig. 50). It will hold material securely and yet be almost invisible on the right side. The material or the hems to be slip-stitched down must be carefully prepared and basted in place. The thread must be securely fastened. The stitch is made on the wrong side of the material well under the edge of the fold. The fold is turned back a little with the finger and a long running stitch is taken through the fold and then into the material catching but a couple of threads and not going through to the right side of the cloth. It continues with a long stitch in the fold and an almost in- visible one in the material. To fold and slip-stitch both sides of a long bias or straight piece in order to make trimming, first turn the raw edge of the upper side toward you, and second, turn the edge of the Fig. 50.— Slip-Stitching. lower side away from you in a small fold and again in a deeper fold, which will almost cover the one on the upper side of the strip. All raw edges will thus be concealed and the lower fold will overlap the upper. Slip- stitch one fold down on the other and use the same stitch to sew the folds to the garment. In millinery the stitch may be drawn in such a way that the fold may be fitted into a place, yet the material will not look wrinkled. Fine needles are used in slip-stitching. The work requires practice and neatness of touch. The same form of slip-stitch is sometimes used combined with a backstitch, where a fold is to be held on the outside of a gown. The stitch is taken on the right side of the material well in as well as under the fold so it will not show, but a good hold is taken in the material under the fold. This form is apt to draw the material. Another form of the stitch is called slip-hemming. It is used to hold the raw edge of a fold to the material when the double fold used in hemming would show through. It is more used in millinery than in dressmaking. The edge of the material is folded over once. A stitch is taken, resembling the SLIP STITCHING 125 herring-bone, but is made from right to left and does not have the crosses. The stitch is like a running stitch. It is first taken in the fold above the raw edge and then below in the material, but in the latter a very small hold is taken, so it will not show on the right side of the cloth. Practice. — Take a piece of cashmere 5x3 inches. Turn a hem of % an inch along one long edge. The first turn of the hem must be about % of an inch, baste this down % of an inch from the edge of the fold when turning the y 2 inch hem. Slip-stitch the hem to the cashmere under the edge of the fold according to the rule. 126 A SEWING COURSE PRICES OF MATERIALS. Width or Size. Beeswax . . . Binding — Seam Velveteen . Bone Casing . Braid — Price. $0.50 lb. .10 piece .25 “ .15 “ Skirt V 2 in. .05 tt Narrow % “ .17 for 24 Mohair % “ .15 piece Burlap — Cotton 48 “ .90-1.25 yd. Jute 26 “ .35 1 1 Buttons — Pearl .10- .20 doz. Bone .20 gross Shoe .07 a Canvas — j ay a, 70 vnrri Penelope 24 “ .17- .25 ( c Aida \8-36 “ 0 co 0 CQ a Scrim, heavy 40 11 .35 t i Cotton Cloth — Batiste 40 “ 1.00 < t up Cambric 36 “ .15- .25 a Canton flannel 27 11 .15 a Chambray 27 “ .25 i 1 up Cheese cloth 36 “ .07- .10 i t Damask (Mercerized) 48-16 “ 0 <0 0 i 1 Denim 32 G .22 i t Dimity 27 (i .12%- .25 a Drilling 30 tf .12- .18 a Gingham (apron) 24 11 .08-.12y 2 i i Gingham (dress) 27 li .12y 2 - .50 i i Lawn 24-36 “ .10- .75 t i Muslin, unbleached 36 lt .07- .15 i t Muslin, white 36 “ .10- .20 1 i Nainsook 36 “ .15 1 1 up Nearsilk 36 “ .25 1 1 t ( Organdie 27 “ .25 1 1 i t Percale 36 “ .12% 1 1 it Percaline 27 “ .22 1 1 tt Sateen 27 ft .20 i e 1 1 Ticking 32 “ .18 tt tt PRICES OF MATERIALS 127 Cotton Thread — Basting Clarks, O. N. T Darning Embroidery, D. M. C !E MERIES Kindergarten Cards Lace — Torchon Valenciennes Insertion Beading Linen Cloth — Batiste Butchers Canvas Crash Damask Diaper Laces Lawn Toweling Linen Thread — Barbours Scotch Floss Needles — Bodkins Fine darning (crewel) . . . Hammock Large darning double long Milward sharp Tapestry Paper — Colored Drafting Engine Sheets Striped tissue Pincushions Rulers Scissors — Blunt Button-hole Sharp points Shears Paper shears Silk — China Crepe de Chine Foulard Gros grain Width or Size. .No. 16-50 No. 24-150 No. 16-60 No. 183 % in. . y 2 “ . y 2 “ . y 2 “ 25-37 “ .24-44 “ . 45 “ .18-36 “ 54-72 “ 24 “ ■%-2 “ .18-36 “ .18-36 “ No. 8 No. 6a No. 5-12 .No. 17-21 . 6x6 in. .6x6 “ 20x24 “ .30x20 “ .4-inch 5-inch ..24-27 in. .24-36 “ ..27-36 “ .24-36 “ Price. .24 doz. .62 “ .24 “ .15 “ .50 “ .25 pkg. 100 .12 yard .25 piece .25 “ .25 “ .25- 1.00 yard .40- 1.50 “ .50 " .10- .36 “ .75- 3.00 “ .50- .75 “ .10- .75 “ .25- 2.00 “ .25- 1.00 “ .10 spool .25 hank .10 per paper .45 doz. 1 ‘ 1.00 “ .10 per paper .45 doz. papers .45 ‘ 1 “ .25 100 sheets 10.00 large roll .25 100 sheets .04 sheet 1.75 ream .50 dozen .50 “ 1.60 “ 2.00-4.50 “ 3.20 5.60-9.00 “ 1.25 pair .50- 1.00 yard 1.00 yard up .50 “ “ 1.00 ^ 128 A SEWING COURSE Width oe Size. Price. Silk — Louisine 24-27 “ 1.00“ “ Pongee 24-36 “ .55 “ “ Satin, cotton back 24-27 “ .50 “ “ Satin, silk back 24-27 “ 1.50 “ “ Surah 24-36 “ .75 “ “ Taffeta 18-27“ .75“ “ Silk Thread — Sewing A-B .80 dozen Twist (Buttonhole) D-E .45 “ Embroidery E-EE .85 “ Tape — Cotton 1*4 in. .10 piece Cotton y 2 “ .10 “ Cotton, bobbin % “ *10 dozen Tape Measures .40- .60 “ Thimbles — German Silver No. 5-9 .45 “ Aluminum “ .30 “ Brass “ .12 “ Celluloid “ .36 “ Whalebone .25 piece Wool Cloth — Albatross 45 in. 1.00 yard up Alpaca 42 “ .75 “ “ Broadcloth 52 “ 2.00 “ “ Cashmere 42 “ .75 “ “ Camel’s Hair 45“ 1.00“ “ Challie . . 27“ .35“ “ Checks 54“ .75-1.50 “ “ Cheviot 52“ 1.00“ “ Bunting 18 “ .50 “ “ Doeskin 72 “ 4.00 “ “ Felt 45 “ .65 “ “ Flannel 24-36 “ .25 “ “ Granite cloth 40 “ .75 “ “ Henrietta 36 “ .75 “ “ Homespun 42 “ 1.00 “ “ Ladies’ cloth 54 “ 1.25 “ “ Melton 54 “ 2.00-6.00 “ “ Merino 42 “ .75 “ “ Mohair 40 “ .75-3.00 “ “ Voile 40 “ 1.00 “ “ Serge 40-44 “ 1.00 “ ^ Poplin 40 “ .65 “ “ Rep 36-45 “ .65 “ “ Wool Yarn — Columbia 1.45 lb. Saxony 1.50 “ Zephyr 2.20 “ SUGGESTIVE LIST OF DOMESTIC ART BOOKS 129 SUGGESTIVE LIST OF DOMESTIC ART BOOKS. I. EDUCATIONAL. SCHOOL AND SOCIETY. Dewey, Chi- cago Univeristy Press, 1899. PLACE OF INDUSTRIES IN ELE- MENTARY EDUCATION. K. E. Dopp. Chicago University Press. THE AIM OF EDUCATION. C. H. Hen- derson. Popular Science Monthly, 49: 485, 35:433, 46:799. METHOD OF THE RECITATION. Mc- Murry. Macmillan, 1904. TALKS TO TEACHERS. Wm. James. Holt, 1899. TEACHERS COLLEGE RECORDS. Teachers College, New York. , PSYCHOLOGY, Briefer Course. Wm. James. Holt, 1893. YOUTH, Its Education, Regimen and Hy- giene. G. S. Hall. Appleton, 1907. PRINCIPLES OF TEACHING, ELE- MENTS OF PSYCHOLOGY. Thorn- dyke. A. G. Seiler, New York, 1905. EDUCATION AND THE LARGER LIFE. Henderson. Houghton, Mifflin. DR. SADLER’S REPORTS. Eyre & Spot- tiswoode, London, 1902. Yol. 10. Moral Education in Second- ary Schools. Mark. Knowledge Teacher Should Possess. J. E. Russell. Vol. 11. Curriculum of Secondary Schools. Sandford. Secondary Education in Democratic Communities. Paul Hanus. Education and Industry in United Q rlr GROWTH AND EDUCATION. Tyler. Houghton, Mifflin, 1907. MAKING OF OUR MIDDLE SCHOOLS. Brown. Longmans, 1903. PRINCIPLES OF CLASS TEACHING. Findlay. Macmillan, 1902. EDUCATION AS ADJUSTMENT. O’Shea. Longmans, 1903. EDUCATIONAL REFORM. C. W. Eliot. Century Company, 1898. ETHICAL PRINCIPLES UNDERLYING EDUCATION. Dewey. Yearbook of Herbart Society, Vol. 3, 1899. Univer- sity of Chicago Press. EDUCATIVE PROCESS. Bagley. Mac- millan, 1905. FROEBEL, Chaps. II, V, IX. Bowen. Scribner, 1893. EDUCATION BY DEVELOPMENT, Chap. V. Froebel. Appleton, 1899. THE COMMUNITY AND THE CITIZEN. Arthur W. Dunn. Heath. THE EARLY CAVE MEN: THE TENT DWELLERS. Dopp. Rand, McNally, 1904. THE LATER CAVE MEN. Dopp. Rand, McNally, 1906. THE STORY OF AB. Stanley Waterloo. Way, 1897. L ’EDUCATION DOMESTIQUE DES JEUNES FILLES. Frank. Librairie Larousse, 1904. INDUSTRIAL AND SOCIAL EDUCA- TION. Baldwin. M. Bradley, 1903. MONOGRAPHS ON EDUCATION. Butler. J. B. Lyon & Co., 1900. A MODERN SCHOOL. Hanus. Macmil- lan, 1904. CLASSROOM MANAGEMENT. Bagley. Macmillan, 1907. MIND IN THE MAKING. E. J. Swift. Scribners, 1908. INTEREST AND EDUCATION. DeGarmo. Macmillan, 1906. THE MAKING OF CHARACTER. J. Maccunn. Macmillan, 1906. THE AMERICAN HIGH SCHOOL. Brown. Macmillan, 1909. TREE-DWELLERS. Dopp. Rand, Mc- Nally, 1903. THE TEACHER. Palmer. Houghton, Mifflin, 1908. YOUTH: ITS EDUCATION, REGIMEN AND HYGIENE. Stanley Hall, 1906. HOW TO STUDY. McMurry, 1909. TENT DWELLERS. Dopp. (In prepara- tion.) Rand, McNally. THE OUTLOOK TO NATURE. Bailey. Macmillan, 1905. II. CHILD STUDY. A STUDY OF CHILD NATURE. Eliza- beth Harrison. Chicago Kindergarten College, 1891. CHILDREN’S RIGHTS. K. D. Wiggin. Houghton, 1892. THE DEVELOPMENT OF THE CHILD. Oppenheim. Macmillan. NOTES OF CHILD STUDY. Thorndyke. Macmillan, 1903. FUNDAMENTALS OF CHILD STUDY. E. A. Kirkpatrick. Macmillan, 1903. THE CHILD AND THE CURRICULUM. Dewey. University of Chicago Press, 1906. 130 A SEWING COURSE III. STUDY OF TEXTILES HOME LIFE IN COLONIAL DAYS. A. M. Earle. Macmillan, 1899. COTTON SPINNING. R. Marsden. Mac- millan, 1895. WOOLEN SPINNING. Chas. Yickerman. Macmillan, 1894. HOW WE ARE CLOTHED. Chamberlain. Macmillan, 1904. TEXTILE FIBRES. Matthews. Wiley, • 1904. THE DOMESTIC SHEEP. Stewart. Am- erican Sheep Breeder Press, Chicago, 1900. THE DYEING OF TEXTILE FABRICS. Hummel. Cassell, 1893. THE STORY OF THE COTTON PLANT. F. Wilkinson. Appleton, 1899. FIRST STEPS IN HUMAN PROGRESS. F. Starr. Chautauquan Association, New York, 1901. WOMAN’S SHARE IN PRIMITIVE CUL- TURE. O. T. Mason. Appleton, 1899. THE ORIGINS OF INVENTION. O. T. Mason. Scribner, 1899. SPINNING. Annie Garnett. Bowness, Westmoreland, England. WEAVING. Katherine F. Steiger. Hart Bros., Rochester, N. Y., 1907. TEXTILES AND CLOTHING. Kate H. Watson. American School of Home Economics, Chicago. UNITED STATES GOVERNMENT PUB- LICATIONS: Department of Agri- culture. Supt. of Documents, Wash- ington. Office of Fibre Investigation. TECHNICAL BOOKS OF THE AMERI- CAN SCHOOL OF HOME ECONO- MICS, Chicago. TEXTILE FIBRES OF COMMERCE. Hannan. Griffis, London, 1902. SILK INDUSTRY IN AMERICA. L. P. Brockett. Van Nostrand, 1876. SILK MANUFACTURE. Gilroy. Har- per, 1845. SILK CULTURE IN CALIFORNIA. Carrie Williams. Whitaker, 1902. AN INSTRUCTIVE BOOK IN THE ART OF SILK CULTURE, compiled by the Women’s Silk Culture Association of the United States at Philadelphia, 1882. SILK IN AMERICA. W. C. Wyckoff. Van Nostrand, 1879. LINEN— HOW IT GROWS. National Flax Fibre Company, 1900. LINEN TRADE, ANCIENT AND MOD- ERN. Warden. Longmans, 1864. WOOL SPINNING. W. S. McLaren. Cas- sell, 1899. WOOL MANUFACTURE. Beaumont. George Bell, London, 1890. ANIMAL PRODUCTS. P. L. Simmonds. Chapman & Hall, London, 1877-. THE STRUCTURE OF THE WOOL FIBRE. F. H. Bowman. Palmer & Howe, Manchester 1885. COTTON WEAVING. F. Marsden. George Bell, London, 1895. THE MECHANISM OF WEAVING. J. W. Fox. Macmillan, 1894. WEAVING AND DESIGNING. Ashen- hurst. Simpkin, London, 1879. STUDENTS’ COTTON SPINNING. Joseph Nasmith. Van Nostrand, 1892. FLAX, TOW AND JUTE SPINNING. Peter Sharp. Simpkin, London, 1882. LOOM AND SPINDLE— Life among the Early Mill Girls, introduction by C. D. Wright. Robinson. Crowell, 1898. PRACTICE IN FINISHING. Greene. Textile Record, Philadelphia, 1886. PRIMITIVE FRAME FOR WEAVING NARROW FABRICS. O. T. Mason. Government Printing Office, Washing- ton, 1901. PRIMITIVE TRAVEL AND TRANSPOR- TATION. O. T. Mason. MAN BEFORE METALS. Joly. Apple- ton, 1883. PRIMITIVE CULTURE. Tylor. Holt, 1888. ANTHROPOLOGY. Tylor, Appleton, 1881. MAN AND HIS WORK. Herbertson. Adam Black, London, 1899. HISTORY OF AMERICAN MANUFAC- TURES. Bishop. Edward Young, 1868. THE COTTON INDUSTRY. Hammond. Macmillan, 1898. COTTON FIELD TO COTTON MILL. Thompson. Macmillan, 1906. PRINCIPLES OF DYEING. Love. Baird, London, 1896. WEAVING. Todd. Rand, McNally, 1902. WOOL. COTTON, SILK. E. A. Posselt. The Author, 1901. WOOL DYEING, 2 Vols. E. A. Posselt. The Author, ORNAMENT IN EUROPEAN SILK. Pole. Debenham, London, 1899. AMERICAN COTTON INDUSTRY. Young. Scribner, 1903. REPORTS OF ASSOCIATIONS OF GROWERS OR MANUFACTURERS OF TEXTILES. LEADING TRADE MAGAZINES. STORIES OF INDUSTRY. Educational Publishing Co., 1907. COTTON, FROM SEED TO LOOM. Dana. New York, 1878. CHILD LIFE IN COLONIAL DAYS. Earle. Macmillan, 1903. SUGGESTIVE LIST OF DOMESTIC ART BOOKS 131 SILK CULTURE. Dep’t. of Agriculture, Washington. Bulletin-Year Book. A WOOL AND COTTON FABRIC GLOS- SARY. Published by Frank P. Ben- nett, New York, 1907. HANDBOOK ON COTTON MANUFAC- TURE. Gildard, New York, 1867. METHODS OF TEXTILE CHEMISTRY. Fred Dannerth. Wiley, 1908. PRINTING OF COTTON FABRICS, pp. 53-73. Sansone, London, 1901. DYEING WOOL, SILK, COTTON, ETC. Sansone, London, 1888. ON AN APPARATUS FOR MEASURING TENSILE STRENGTH OF FIBRES. O'Neill, London, 1805. IV. SEWING AND DRESSMAKING. SCHOOL NEEDLEWORK. O. C. Hap- good. Ginn, 1893. ELEMENTARY NEEDLEWORK. K. McFoster. Prang, Boston. SCIENTIFIC SEWING AND GARMENT CUTTING. Wakeman. Silver, Bos- ton. SCHOOL AND HOME SEWING. Frances Patten. Teachers’ Edition. Newson, New York, 1901. HOUSEHOLD SEWING WITH HOME DRESSMAKING. Bertha Banner. Longmans. PRACTICAL DRESSMAKING. Mrs. J. Boughton. Macmillan, London, 1897. DRESSMAKING UP TO DATE. Butter- ick Publishing Co. A SEWING COURSE. Mary Schenck Woolman. F. A. Fernald, Buffalo, 1900. DRESS-CUTTING, DRAFTING AND FRENCH PATTERN MODELING. M. Prince Brown. Archibald Constable & Co., London. V. MISCELLANEOUS HANDWORK. CANE BASKET WORK. Annie Firth. Scribner, 1899. HOW TO MAKE BASKETS. Mary White. Doubleday. VARIED OCCUPATIONS IN WEAVING. VARIED OCCUPATIONS IN STRING WORK. Louise Walker. Macmillan, 1895. ART IN NEEDLEWORK. Day. Bats- ford, London, 1900. ILLUMINATED BOOK OF NEEDLE- WORK. Owen and Witton. Bohn, London, 1897. THE ART CRAFTS FOR BEGINNERS. Sandford. Century Co., 1904. THE RUG PRIMER. Clifford, 1904. THE ABNAKEE RUG. Albee. Allen. OCCUPATIONS FOR LITTLE FINGERS. Sage and Cooley. Scribner, 1905. INDUSTRIAL AND SEAT WORK. Gil- man and Williams, Macmillan, 1905. CHILD’S RAINY DAY BOOK. White. Doubleday, 1905. KNOTTING AND SPLICING. Hasluck. McKay, 1905. STUDY OF TEXTILE DESIGN. Barker. Dutton, 1903. POINT ^AND PILLOW LACE. Sharp. Dutton, 1899. ORIENTAL RUGS. Langton. Appleton, 1904. EMBROIDERY. W. G. Townsend. Trus- love, London, 1899. WOMAN’S LIBRARY OF NEEDLE- WORK. Ethel MsKenna. The Au- thor, 1903. EMBROIDERIES AND THEIR STITCH- ES. Butterick Publishing Co. PRACTICAL MILLINERY. J. Ortner. Whitaker, London, 1897. COLUMBIA BOOK OF THE USE OF YARNS. PRACTICAL HOME MILLINERY. Amy J. Reeve. Longmans. HANDWORK CONSTRUCTION. Eppen- dorff. Brooklyn, N. Y., 1909. EMBROIDERY UP TO DATE. Butterick Publishing Co. HOME LACE-MAKING. M. E. W. Milroy. VanNostrand. VI. HOUSEHOLD ART. ART IN NEEDLEWORK. L. F. Day. Scribner, 1900. HOUSEHOLD ART. Mrs. Candace Wheel- er. Harper, 1893. SOME PRINCIPLES OF EVERY-DAY ART. L. F. Day. Scribner, 1900. COLOR, DRESS AND NEEDLEWORK. Lucy Crane. Macmillan. HOPES AND FEARS FOR ART. Morris. Longmans, 1904. ART AND FORMATION OF TASTE. Lucy Crane. Chautauqua Press, 1885. EVOLUTION IN ART. A. C. Haddon. Scribner, 1895. HISTORY OF ART. Lubke. Dodd, 1886. 17TH ANNUAL REPORT ON LABOR: Art in Industry. C. D. Wright. Gov- ernment Printing Office, 1902. PLEA FOR HANDICRAFT. Crane. The Philistine Magazine, March, 1900. A SHORT HISTORY OF TAPESTRY. Muntz. Cassell, 1885. SOME ARTS AND CRAFTS. Dutton. Woman’s Library, Vol. IV, 1903. 132 A SEWING COURSE THE DOLL BOOK. Laura B. Starr. Out- ing Publishing Co., 1908. ORIENTAL RUG BOOK. Ripley, 1904. PRINCIPLES OF HOME DECORATION. Wheeler. Doubleday, 1903. VII. ORNAMENT AND DESIGN. LESSON ON DECORATIVE DESIGN. Jackson. Chapman, London, 1894. GRAMMAR OF ORNAMENT. Owen Jones. Bernard Quaritch, London, 1868. EGYPTIAN DECORATIVE ART. F. Petrie. Putnam, 1895. DESIGN FOR WOVEN FABRICS. Step- henson. Stephenson, Methuen, Lon- don, 1900. vm. DRESS. GLOVES — Their Annals and Associations. Beck. Hamilton, London, 1883. A BOOK ABOUT FANS. Flory. Macmil- lan, 1885. LACE. Goldenberg. Brentano, 1904. LA DENTELLE ET LA BRODERIE SUR TULLE, Vols. I and II. Pierre Ver- hagen. J. Lebeque et cie, Bruxelles. ART AS APPLIED TO DRESS. Higgin. Virtue, London, 1885. BEAUTY IN DRESS. Oakley. Harper, 1881. HISTORY OF FASHION IN FRANCE. Challamel. Low, London, 1882. ART AND ORNAMENT IN DRESS. Chas. Blanc. Chapman, London, 1887. THE WELL DRESSED WOMAN. Ecob. Fowler, 1893. COSTUMES OF COLONIAL TIMES. Earle. Macmillan, 1903. HISTORY OF ENGLISH DRESS. Hill, Bentley, London, 1893. GREEK DRESS. Lady Evans. Macmil- lan, 1893. WHAT DRESS MAKES US. Quigley. Dutton, 1897. HISTORIC DRESS IN AMERICA. Mc- Clellan. Jacobs, 1904. ENGLISH COSTUME. Calthorp. A. & C. Black, London, 1906. GENTLEWOMAN’S BOOK OF DRESS. Douglass, Henry Loud. HOW TO DRESS A DOLL. Mary II. Morgan. Henry Altemus Co., Philadel- phia, 1908. IX. ARCHITECTURE AND FURNISH- ING. DECORATION OF HOUSES. Wharton. Scribner, 1897. OLD FURNITURE BOOK. Moore. OLD CHINA BOOK. Moore. Stokes, 1903. COLONIAL FURNITURE IN AMERICA. Lockwood. Scribner, 1901. JAPANESE HOMES AND THEIR SUR- ROUNDINGS. Morse. Ticknor, 1885. OUR HOMES AND HOW TO BEAUTIFY THEM. Jennings. Harrison London, 1902. WALL PAPER. Jennings. Comstock, 1903. FURNITURE OF THE OLDEN TIME. Francis Morse. Macmillan, 1902. HISTORY OF ENGLISH LITERATURE. Percy Macquoid. Putnam, 1904-0. ON THE NATURE OF THE GOTHIC. Ruskin. STONES OF VENICE. Ruskin. Allen, London, 1886. HISTORY OF ARCHITECTURE. Hamlin. Longmans, 1895. A SHORT HISTORY OF ARCHITEC- TURE. Tuckerman. Scribner, 1887. ARCHITECTURE OF THE RENAIS- SANCE IN ITALY. Anderson. Bats- ford, London, 1898. THE BOOK OF 100 HOUSES. H. Stone. The author, 1902. HOMES IN CITY AND COUNTRY. H. Stone. The author, 1903. CONVENIENT HOUSES. Louis H. Gib- son. Crowell, 1889. DEVELOPMENT AND CHARACTER OF GOTHIC ARCHITECTURE. Moore. Macmillan, 1889. ARCHITECTURAL STYLES. Rosen- garten. Chatto and Windus, London, 1889. HOME BUILDING AND FURNISHING. Price and Johnson. Doubleday, 1895. HOMES IN CITY AND COUNTRY. Scribner, 1893. THE HOUSE DIGNIFIED. French. Put- nam, 1908. CHATS ON OLD FURNITURE. Hayden. Stokes, 1906. X. INDUSTRIAL AND TECHNICAL EDUCATION. EDUCATIONAL FOUNDATIONS OF TRADE AND INDUSTRY. Fabian Ware. Appleton, 1901. MANUAL TRADE AND TECHNICAL EDUCATION: Proceedings of the National Educational Alliance. Thos. M. Balliet, 1903. MAKING THE WORKING GIRL A CRAFTS WOMAN. Elizabeth Mc- Cracken. The Outlook, Vol. 84, Dec. 23, 1906. SUGGESTIVE LIST OF DOMESTIC ART BOOKS 133 THE PROBLEM OF INDUSTRIAL EDU- CATION : C. R. Richards. Manual Training Magazine, Vol. 8, April, 1907. THE TREND IN AMERICAN EDUCA- TION. James E. Russell. Educational Review, Vol. 32, June, 1906. THE URGENT NEED OF TRADE SCHOOLS. Frank A. Vanderlip. World’s Work, Vol. 12, June, 1906. FOURTH ANNUAL REPORT OF THE BUREAU OF STATISTICS OF LABOR OF THE STATE OF N. Y., 1886. Apprenticeship. Albany, 1887. VOL. 7, RELATIONS AND CONDITIONS OF CAPITAL AND LABOR employed in the Manufactories of General Busi- ness. Industrial Commission, Report of the U. S. Washington, 1901. EDUCATION AND INDUSTRY IN THE UNITED STATES. Special Reports on Educational Subjects. H. T. Mark. Education Department, Vol. II, 1902, Part 2. Eyre & Spottiswoode, London. REPORT OF MASSACHUSETTS COM- MISSION ON INDUSTRIAL AND TECHNICAL EDUCATION. Boston, 1906. Reprinted by Teachers College. REPORT OF THE MOSELEY EDUCA- TIONAL COMMISSION. Co-operative Printing Society, London, 1904. TRADE AND TECHNICAL EDUCATION, 17th Annual Report of the U. S. Com- missioner of Labor. Washington, 1902. THE ORGANIZATION OF TRADE SCHOOLS; from the Point of View of a Trade School Director. Proceedings of the National Educational Associa- tion, 1903. Reprinted in the Proceed- ings of the Society for the Promotion of Engineering Education, Vol. II, A. L. Wiliston, 1903. THE BASIS OF AN EFFICIENT EDUCA- TION-CULTURE OR VOCATION. Robert A. Woods. The School Review, Vol. 15, May, 1907. THE MANHATTAN TRADE SCHOOL FOR GIRLS. Mary S. Woolman. Ed- ucational Review, Vol. 30, September, . 1905. TRADE SCHOOLS— AN EDUCATIONAL AND INDUSTRIAL NECESSITY. Mary S. Woolman. The Social Educa- tion Quarterly. Vol. I, March, 1907. INDUSTRIAL EDUCATION IN PUBLIC SCHOOLS. J. Ernst G. Yalden. American Machinist, Vol. 30 April 18, 1907. BULLETINS OF NATIONAL SOCIETY FOR PROMOTING INDUSTRIAL EDUCATION. New York City. WORKING WITH THE HANDS. B. Washington. Doubleday, 1909. TECHNICAL EDUCATION FOR GIRLS AT HOME AND ABROAD. Macmil lan. XI. SOCIAL AND INDUSTRIAL LIFE. INDUSTRIAL EVOLUTION OF THE UNITED STATES. Wright. Chau- tauqua Press, 1895. INDUSTRIAL HISTORY OF THE UNIT- ED STATES. Coman. Macmillan, 1905. GENERAL HISTORY OF COMMERCE. Webster. Ginn, 1903. SOCIAL CONTROL. Ross. Macmillan, 1901. THE LEAVEN IN A GREAT CITY. Lil- lian W. Betts. Dodd, 1902. AMERICAN MUNICIPAL PROGRESS. Zeublin. Macmillan, 1897. NEW YORK POLITICAL PRIMER. Adele M. Field. Macmillan, 1897. DEMOCRACY AND SOCIAL ETHICS. Jane Addams. Macmillan, 1902. THE LEVEL OF SOCIAL MOTION. Lane. Macmillan, 1902. THE THEORY OF THE LEISURE CLASS. Veblen. Macmillan, 1897. EVOLUTION OF INDUSTRIAL SOC- IETY. Ely. Macmillan, 1903. EVOLUTION OF INDUSTRY. Dyer. Macmillan, 1895. NEW BASIS OF CIVILIZATION. Pat- ten. Macmillan, 1907. OUT OF WORK. Frances Keller. Put- nam, 1904. PROFIT SHARING BETWEEN EM- PLOYER AND EMPLOYEE. Nich- olas Gilman. Houghton, 1889. THE EDUCATION OF THE WAGE EARNER. Davidson. Ginn, 1904. SOME ETHICAL PHASES OF THE LABOR QUESTION. Carroll D. Wright. Am. Unitarian Association, 1902. SOCIOLOGY. Spencer. Appleton, 1896. WOMAN IN THE PAST, PRESENT AND FUTURE. Bebel. LES PROFESSIONS ACCESSIBLES AUX FEMMES. DEMOCRACY AND EMPIRE. Giddings. Macmillan, 1900. WOMEN WAGE EARNERS. Helen Camp bell, 1887. WOMAN ’S WORK IN AMERICA. Meyer. Holt, 1891. HISTORY OF TRADE UNIONISM. Webb. Longmans, 1902. EDUCATION AND PROFESSIONS. The Woman’s Library, Vol I, 1903. Dut- ton. 134 A SEWING COURSE COMMERCIAL AND INDUSTRIAL GE- OGRAPHY. McFarlane. Philadel- phia Commercial Museum. 1901. INDUSTRIAL HISTORY. Yols. I and II. Ashley. Rivington, London, 1888. A HANDBOOK OF EMPLOYMENTS. Gordon. The Rosemont Press, Aber- deen, Scotland, 1908. HOW TO HELP. Conyngton. Macmillan, 1909. STANDARDS OF LIVING IN WORKING MEN’S FAMILIES IN NEW YORK CITY. Chapin. Charities Publication Committee, 1908. WOMEN IN INDUSTRY. Abbott. Ap- pleton, 1909. HOME PROBLEM FROM A NEW STANDPOINT. Hunt. THE FAMILY. Helen Bosanquet. Long- mans, 1906. TRADE SCHOOLS AND CULTURE. Woolman. 1909. xn. COLOR. PHILOSOPHY OF COLOR. Clifford. The Author, 1904. EDUCATION OF THE NORMAL COLOR SENSE. Jeffries. U. S. Bureau of Education, Circular of Information, 1994. AN ELEMENTARY MANUEL OF COLOR FOR STUDENTS. Church. Cassell, 1891. COLOR VISION. Hunt. Simpkin, 1892. COLOR. Van Bezold. Prang, 1876. STUDENTS TEXTBOOK OF COLOR. Rood. Appleton, 1881. COLOR IN SCHOOLROOM. ELEMENT- ARY COLOR. Bradley. M. Bradley, 1890. MANUAL OF COLOR. Cave. Putnam, 1882. SUGGESTIONS FOR INSTRUCTION IN COLOR. Prang. 1893. THE COLOR SENSE. Grant Allen. Paul, London, 1892. PRINCIPLES IN HARMONY AND CON- TRAST OF COLOR. M. E. Chevreul. Geo. Bell, London, 1883. THEORY AND PRACTICE OF TEACH- ING ART. Dow. Bureau of Publica- tion, Teachers College, 1909. XIII. EQUIPMENT AND ADMINIS- TRATION. ECONOMICS OF MANUAL TRAINING. Rouillion. 1905. BULLETIN, STOUT MANUAL TRAIN- ING SCHOOL, Menominee, Wis. SCHOOL SANITATION AND DECORA TION. Burrage & Bailey. Heath, 1899. CIRCULARS OF EQUIPMENT, SUP- PLIES AND FURNITURE. RELATIVE VALUE AND COST OF TRADES IN A GIRL’S TRADE SCHOOL. Woolman. Manhattan Trade School, New York, 1909. THE MAKING OF A TRADE SCHOOL. Woolman. Whitcomb & Barrows, Boston, 1910. ANNUAL REPORT OF THE MANHAT- TAN TRADE SCHOOL, New York. XIV. ECONOMICS. ECONOMIC FUNCTION OF WOMEN. Edward Devine. Pub. of American Academy of Political and Social Science, No. 133, Philadelphia. THE WOMAN WHO SPENDS. Richards. Whitcomb, 1904. OUTLINES OF ECONOMICS. Ely. Mac- millan, 1900. MONOPOLIES AND TRUSTS. Ely. Mac- millan, 1900. ELEMENTARY ECONOMICS. Ely and Wicker. Macmillan, 1904. ECONOMIC HISTORY, I and II. Ashley. Rivington, London, 1888. HOW TO KEEP HOUSEHOLD AC- COUNTS. Haskins. Harper, 1903. HOME ECONOMICS. M. Parloa. Cen- tury, 1898. PRINCIPLES OF ECONOMICS. Fetter. Century, 1904. ENCYCLOPEDIA OF HOUSEHOLD ECONOMY. E. Holt. McClure, Phil- adelphia, 1903. THE COST OF LIVING. Ellen H. Rich- ards. Whitcomb & Barrows. THE COST OF SHELTER. Ellen H. Rich- ards. Whitcomb & Barrows, 1905. THE WOMAN WHO SPENDS. Richard- son. Whitcomb & Barrows. THE GIRL WHO EARNS HER OWN LIVING. Richardson. Dodge, 1909. XV. HYGIENE. MANUAL OF PERSONAL HYGIENE. Pyle. Sanders, 1900. FOOD AND DIETETICS. Hutchinson. Wood, 1900. HYGIENE OF SCHOOL ROOM. Berry. Snow and Farnham, 1903. HUMAN BODY. Martin. Holt, 1900. FIRST AID TO INJURED. Morton. Beacham, 1884. APPENDIX A DOMESTIC ART COURSE Handwork and Connected Thought as given in a City Elementary School KIND OF SCHOOL : — City school in crowded section. ENVIRONMENT: — Poor working class, living in small, often dark apart- ments, with insufficient room for the family. NEEDS : — Ideas of cleanliness, neatness, economy and simple beauty. The articles for everyday use. To prepare children for occupational life at home or in trade. SCHOOL AIM : — To improve the home conditions and make pupils efficient workers in school, home and society. DOMESTIC ART AIM: — To make the pupils interested, capable workers, and to give them industrial intelligence. The first three grades have large muscle movements and a general knowledge of many materials. The emphasis in these grades is on manipu- lation, not on a finished product. Each article can be made quickly and is not kept for exhibit, but put to immediate use. CORRELATION : — First three grades : The discussions in connection with the handwork serve to unite all school subjects and to interest the children in present-day conditions. Art lessons are used to illus- trate the handwork, to decorate it directly or to make designs that may be used in the sewing. Number work is needed continually in the handwork. English is used for expression, for spelling terms in use, and for reading which will explain the handwork or interest the classes in industrial life. Primitive history connects with the primitive handwork. GRADE FIRST. Boys and girls work together. Play spirit emphasized. VARIOUS ACTIVITIES USED: — Play, — dolls, games and toys; Art work; paper work ; Clay modelling ; Primitive cookery ; Simple basket forms ; Cord work; Nature study; Wood-work; Domestic Art work, (see below where these last activities are given in detail.) DOMESTIC ART OCCUPATIONS. I. As related to home. Aim: care, cleanliness and usefulness of each child. Activities : scrub cloth ; towel fringed or held with a stitch ; duster ; holder of knotted cord for duster ; wash cloth ; iron 136 A SEWING COURSE holder (denim with coarse stitch); mop; cord work for hangers for various purposes; crochetted (chain) horse- lines and curtain holders. JX As related to school. Articles: desk cloth; burlap bag for desk (design freehand); paint cloth. TIL As related to industrial life. Beginnings of industry and com- munity life. Activities: farms and occupations on sand trays. Sheep: the life; the preparation of wool; washing, carding, dye- ing, spinning, weaving. The loom : very simple rag carpet. Clothing : considerations of use of wool. Farm hats of raffia. Baskets for carrying. IV. Christmas gifts, using handwork already learned. GRADE SECOND. Boys and girls work together. Aim and various activities as in first grade. DOMESTIC ART OCCUPATIONS. I. As related to home. The play spirit of childhood utilized. Bedroom: the bed, made of wood and cord; mattress; cover- ings; sheets; blankets. Kitchen: kettle holder; wash cloth (crochetted). Wash day: clothespins bags; iron holders; reel of wood. Dining room: the table; the pad; napkins; rings; cloth — fringed and overcast. II. As related to industrial life. The flax: planted, grown, harvested. Cotton and flax compared. Cloth bleached and dyed. III. As related to community life. Village making on a sand tray; home industries and life represented. American Indian, Eskimo, African. GRADE THIRD. Boys and girls work together. AIM : — Usefulness and interdependence on each other. Boys and girls work together, but often at different points of the industry, as in real life. General handwork of many kinds, but much interrelated to show community life. APPENDIX A 137 DOMESTIC ART OCCUPATIONS. I. As related to home. Supplementing second grade work. Activities: the doll’s house made and furnished, the boys doing woodwork and upholstery, and the girls textile work in curtains, covers and rugs. Art work: designing, papering, furniture of rattan, baskets by both boys and girls. Crochetting articles for house or home. Repairing: buttons sewed on clothing, coarse darning on sweaters, strings on blouses. II. As related to school. Articles : bag for desk ; blotters ; book bags of denim or cord ; penwipers. III. As related to industrial life. Flax and cotton (continued from second grade) : flax retted, cleaned, spun; cotton transportation, picking basket, bags for picking; sails of boats; bales. IV. Personal use: mocassins for housewear, planned and made. The fourth and fifth grades are able to do finer and better structural work. They still have many varied occupations, but less than the first grades. The girls are almost ready to specialize in one or two lines. Boys and girls still work together at times in the fourth, but in the fifth are separated, and each group works at the kind of activity best suited to its future need. CORRELATION : — Industrial life of the present emphasized. The geog- raphy, local history, arithmetic and English are used to illumine the subject in connection with the handwork. The art work is utilized directly in the activities, block printing and stencilling for covers and pillows, and design for decoration of neckties and collars. GRADE FOURTH. Boys and girls together in some occupations. AIM: — To make the home comfortable and attractive. Girls take some of the clay and wood-work with the boys. DOMESTIC ART OCCUPATIONS. I. As related to home. Living room: pillows designed and made; book covers (work of girls). Cooking: tray covers, napkins marked in cross stitch; lunch cloth (work of girls). Linen closet (made by boys) : roller and towels (made by girls) : repairing and cleansing (boys and girls). Personal: carpentering apron, heavy work apron with pocket (boys and girls). 138 A SEWING COURSE II. As related to industrial life (boys and girls). Study of cotton and linen; bleaching, washing and ironing. Silk and its properties : materials and uses. GRADE FIFTH. The girls continue their domestic art work, the boys their woodwork. AIM. How to help in the home, to keep things in order and supply needs. DOMESTIC ART OCCUPATIONS. I. As related to home. Activities: emergency box and supplies, flannel bag; ban- dages; absorbent cotton; mustard plaster and other needs. Study of each student ’s own room ; neckties ; collars ; laun- dry, shoe and other bags; cane seating, crochetting wash cloth. II. As related to industrial life. The study of leading materials for clothing, what they are like and the value and cost. The three final grades are ready for good, useful work. They have passed the play age and appreciate their ability to do things of practical service. They can now work hard on finer handwork. The vocational ele- ment of preparing for life, be it home or trade, is stronger each year. Thought and responsibility are fostered. CORRELLATION. Constantly present but more indirect in the academic subjects than in early grades. History, comparing life of girls in Colonial days with modern life in apartments; slavery times, hand- weaving ; vocational ideas — the girl in the home and at work. Arith- metic problems of quantity, cost and use of spending money. The art work is directly utilized in designs for the handwork. SIXTH GRADE. The girls often leave the school after this grade to become wage earners. The sewing machine work is given to aid them in the home or in business. A light-running machine should be provided. AIM. To give interest and skill in woman’s work. DOMESTIC ART OCCUPATIONS. 1. To review stitches learned in lower grades; needlebook and pincushion. Sewing machines; knowing the parts, keeping in order, running. To prepare for cooking classes; apron, cuffs and cap. To prepare for laundry work; ironing board cover. For personal use ; petticoat of outing flannel. Knitting : wash cloths, wristlets, simple baby sack. Repairing; stocking darning, patching of clothing and table linen. APPENDIX A 139 II. Industrial life in form of discussions: healthful and good cloth- ing; study of materials; inventors who changed the world through textile ideas — Whitney, Arkwright, Hargreaves, Crompton. GRADE SEVENTH. This grade gives its handwork time principally to cookery, conse- quently the domestic art hours are shorter. AIM. The trustworthy housekeeper. DOMESTIC ART OCCUPATIONS. Handwork and the sewing machine. I. As related to home. Activities: broom cover; napkins; towels; baby wrapper. Cooking connection: jelly bag and cooking apron. Crochetting: slippers and coarse lace. Personal: simplest underwaist without seams; use of pat* terns. Embroidery: simple decorative stitches for baby wrapper, underwaist or marking towels. II. As related to industrial life. Economical buying and cutting of material; cost of garments. The life and needs of the working girl. Economy through repairs. GRADE EIGHTH. Cooking is emphasized in this grade, so sewing has only the minimum of time. AIM. The useful, trustworthy, thinking girl. DOMESTIC ART OCCUPATIONS. Cooking: tray cover; napkin; hemstitched towel, and table linen. Home: baby dress. Personal use : chemise ; drawers ; or white skirt. As related to industrial life. The home and its management. The relation of the girl to home and to business life. APPENDIX B HIGH SCHOOL DOMESTIC ART COURSE FOR GIRLS Suggestions for one year of general work for all students. Handwork and connected thought. I. SEWING. If the elementary school has not given sufficient experi- ence in the stitches required for garment making, these must be learned as needed in the high school. The practice on this neces- sary sewing must not be continuous however, as sitting long at a time in one position is not a good thing for girls of this age. The sewing should be carefully alternated with measuring, cutting, machine work or fitting, and the work should be done on real articles and not on models. The standard of work should be good for the purpose but need not be mechanically perfect. (I) Stitches usually needed: running, gathering and stroking, stitching or some other strong stitch, hemming, overcast- ing, overhanding, slip-stitching and buttonholes. (II) Seams and applications usually needed: French and fell seam, plackets for skirts, drawers and sleeves, and putting on a band. (III) Decorative stitches: featherstitch, herringbone, hemstitch, cross-stitch and satin-stitch. (IV) Articles on which to learn to sew: needlebook, pincushion, bag for work, napkin or towel, and simple underwaist with- out seams. Where the elementary school has given suf- ficient practice, these articles need not be made. II. MACHINE WORK. The use, care and running: (I) Articles on which to learn: apron, cooking cap, shoe bag, short kimono, baby slip and pillow case. Usually a couple of these articles are sufficient before beginning the garment making. III. GARMENT MAKING. Machine and hand sewing: (I) Articles for practice: Underclothing: drawers, chemise, nightgowns, flannel pet- ticoat or short muslin underskirt. Outer clothing: jumper of cotton material, shirt waist with collar or stock, dress skirt of gingham or cotton duck. (II) Patterns used, changed to fit and adapted, drafting only as a means of explaining the construction and use of pattern. APPENDIX B 141 IV. DECORATION. Simple and attractive, designed by the students and applied to under and outer clothing. V. MILLINERY. Making bows and trimming, renovating materials, trimming a bought felt hat, making a wire frame and using it for a lingerie hat or lining and trimming a bought straw hat. This work can be given in the fall in order to make a winter hat, and in the spring for a summer hat. VI. ADDITIONAL SUGGESTIONS. Darning, patching and making over old garments and repairing table linen and bed linen, shortening and lengthening skirts, and other practical home mending can well take the place of some of the garments of this course, especially in localities where the homes need such practical work. VII. CONNECTED THOUGHT. Planning of each garment, style, mater- ial, amount to purchase, decoration ad cost. How to change and make patterns. Taking out stains and renovating materials. Plan- ning economical wardrobes, underclothing, gowns and hats. The laundry as a factor in expense of clothing — tearing, fading and shrinking. The number of garments needed and the cost as related to income. Materials, their uses, values and cost. Health and the relation of clothing and material to it. The care of clothing — brushes, hangers, drawers and closets. Working girls in garment factories and their lives, work and wages. Bargain sales. Practical problems in arithmetic connected with the purchase and making of garments, the changing of patterns and division of income; making out of bills and percentage in wholesale and retail buying, and in the rela- tion between wages in different trades for women. INDEX Application of Stitches, 62, 65. Appliquie, 115. Apron of Fine Muslin, 101, 108. Aprons, simple, 63. Backstitching, 47. Bands, 82. Basting, 44. Bias, garment, 55 ; true, 55, 57 ; ruffle, 58. Bibliography, 129. Binding Seams, 122. Blanket Stitch, 71, 113. Bone Casings, 122. Books, Suggestive List, 129. Braid, sewing on, 117. Button Bag, 63 Button-holes, cotton, 67; cloth, 68. Button, sewing on, 70. Canvas Work, 37. Cardboard Sewing, 35. Catch Stitch (Herring-bone), 103 Chain Stitch, 101. Children’s Work, 10. Child Study, 9. Circular Patches, 92. Class Lessons, 10. Cleanliness, 33. Coral Stitch, 99. Correlation, 12. Cost of Maintenance, 29. Couching, 115. Counter-Hemmed Patch, 92. Counter-Hemming, 61. Cross Stitch, 111. Cutting, 17. Darned-in Patch for Cloth, 97. Darning a Kid Glove, 86; by Fine Draw- ing, 96; Outline of, 89; Stockinet, diag- onal, 85, 86; stocking-web, 85; warp and woof, 85; Wooven Material, diag- onal tear, 85, 87; hedge tear, 85, 87; warp or woof tear, 85, 87; worn place, 85, 87. Different Ways of Making Stitch, 32. Drafting and Cutting, 17. Drawing and Design, 14. Drawn Work, 105. Dressmaking, binding skirts, 117; plackets, 119; hook and eyes, 121; binding seams, 122; bone casing, 122; slip stitching, 123. Drills, 10. Embroidery on Flannel, 113; Linen (Satin stitch), 109. Equipment, 29. Exhibit, annual, 31. Eyelets, 69. Fastening the Thread, 33. Feather Stitch, 99. Fell, Overhand and, 61, 93, 96. Felling, 59. Fine Drawing, ball covers, 64; darning, 96 ; patching, 96; seams, 61. Finished Articles and Connected Thought, 11 . Flannel Embroidery, 113. Flat Buttonhole stitch, 71. Folding Hem in Paper, 41. Foreign Lands, Sewing in, 16. French Knot, 113. French Seam, 60. Front of Waist, Finishing, 121. Garment Bias, 55. Gathering, 44. Gauging, 44. Gore, 55. Grade Work Based on the Industries, 18; on the Home, 19. Gusset, 77. Half-Backstitching, 47. Handkerchief, hemstitched, 106. Handwork for the First Four Grades, 20. Hangers for Skirts, 80. Heddle, 41. Hem in Paper, 41. Hemming, 51, 63. Hemstitching, 105. Herring-Bone, 103. Hook and Eyes, 121. Household Arts in the Grades, 18. Illustrations on the Board and Frame, 32. Kensington Outline Stitch, 113. Kid Glove Darn, 86. 143 A SEWING COURSE Knitting, 85, 89. Length of Thread, 33. Lesson Plan, 25. Letters, marking, 101, 109, 110. Loom, 40. Loops, 70; of Tape, 79. Marking, 101, 109, 110. Mitering, 41. Mounting Work, 8. Napery Stitch, 54. Neat Finish, 32. Outline Stitch, 113. Overcasting, 48, 63. Overhand and Fell, 61, 93, 96; patch, 94. Overhanding, seam, 53; bias, 53; napery, 53; selvages, 53; lace, 53. Patch, hemmed, 82; overhanded, 94; flan- nel, 95; damask, 96; cloth, 97. Patching, 91; by Fine Drawing, 96. Patchwork, 45. Pattern Weaving, 39. Petticoat, 56. Plackets, skirt, 73; shirt waist, 74; drawers, 75; lined dress skirt, 119. Pockets, 120. Position in Sewing, 23. Prices of Materials, 126. Purpose of the Book, 7. Putting on Bands, hemmed, 82; stitched, 83 ; setting in of gathers, 83 ; over- handed, 83. Rapid Work, 32. Ruffle, bias, 58. Running, 43, 63 ; and Backstitching, 49 ; and Stitching, 50; Darn, 85. Sails, 61. Satin Stitch, 109, 113. Scallop, 71, 113. Seam Binding, 122. Seams, single, running, 43; stitching, 47; backstitching, 47; running and back- stitching, 49 ; overhanding, 53 ; fine drawing, 64, 96 ; double, fell, 59 ; French, 60; overhand and fell, 61; counter-hemming, 61. Self Activity, 9. Sewing for Boys, 31, 64; in Public Schools, 8, in Foreign Lands, 16; on Braid, 117 ; Buttons, 70; Laboratory, 30; Tape, 79; Velveteen, 117, 118. Shirring, 44. Skirt, 55. Slip Hemming, 123; Stitching, 123. Small Travelling Case, 100. Social Serevice, 9. Stitched Patch for Cloth, 98. Stitching, 47, 63. Stockinet Darn, 86. Stocking Web Darn, 85. Stroking, 44. Suggestive Sewing for the Elementary School, 21. Supplementary Work, 31. Tape Measure, 33. Tape, sewing on, 79. Teacher, The, 8. Textile Study, 13. Trade School Teaching, 15. True Bias, 55, 57. Tucking, 81. Trunk Tray Cover, 101. Twill Weaving, 39. Tying Fringe, 109. Under Arm Patch, 92. Velveteen, sewing on, 117, 118. Vocational Foundation, 14. Warp and Woof, 31; Darn, 85, 87; Stock inet, 85; Woven Material, 87. Weaving, 39; Outline of, 89. Whipped Hem, 107. EDUCATIONAL PAMPHLETS BY Mary Schenck Woolman, B. S. PRESIDENT OF THE WOMEN’S EDUCATIONAL AND INDUSTRIAL UNION AND PROFESSOR OF HOUSEHOLD ECONOMICS IN SIMMONS COLLEGE Trade Schools and Culture, 7 pages, . . . . . . .05 Trade Schools, 10 pages, . . . . . . .05 Relative Value and Cost of Various Trades in a Girls’ Trade School, 14 pages, .05 Training the Youngest Girls for Wage Earners, 7 pages, .05 The Making of a Trade School. Whitcomb CS, Barrows, Boston, 101 pages, .50 A SCHOOL LOOM; to Illustrate the Process of Weaving, 1.50 FOR SALE IN HOUSEHOLD ARTS DEPARTMENT, TEACHERS COLLEGE, WEST 120th ST., NEW YORK GOING TO BUFFALO AND THE FALLS? BETTER READ UP ON THE WAY. GET THE Index Guide to Buffalo and Niagara Falls By FREDERIK A. FERNALD, formerly editor of Appletons’ Dictionary of New York. 224 pages, l6mo. with 80 illustrations. Price in cloth, 50 cents, postage 8 cents; in paper 25 cents, postage 5 cents. This a regular little cyclopedia of Buffalo and vicinity— a guide to visitors, a counselor and friend to new residents and old. Text Books for Colleges and Schools, Library Books, Teachers’ Guides BOOKS OF ALL PUBLISHERS SUPPLIED GOVERNMENT PUBLICATIONS Send for Special List of Manual Training and Household Books. Scarce Scientific Books and Periodicals a Specialty FREDERIK A. FERNALD, Publisher and Bookseller 550 Shepherd Street, N. W., Washington, D. C. •* ! ♦