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+The Project Gutenberg EBook of Handicraft for Girls, by Idabelle McGlauflin
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Handicraft for Girls
+       A Tentative Course in Needlework, Basketry, Designing,
+       Paper and Cardboard Construction, Textile Fibers and Fabrics
+       and Home Decoration and Care
+
+Author: Idabelle McGlauflin
+
+Release Date: January 5, 2011 [EBook #34854]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HANDICRAFT FOR GIRLS ***
+
+
+
+
+Produced by Chris Curnow, Emmy and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+
+
+
+[Transcriber's Note: Bold face type is surrounded by =equal signs= and
+italic type by _underscores_.]
+
+
+HANDICRAFT FOR GIRLS
+
+A TENTATIVE COURSE
+
+IN
+
+          NEEDLEWORK, BASKETRY, DESIGNING, PAPER AND CARD-BOARD
+          CONSTRUCTION, TEXTILE FIBERS AND FABRICS
+          AND HOME DECORATION AND CARE
+
+DESIGNED FOR USE IN SCHOOLS AND HOMES
+
+_Prepared by_
+
+IDABELLE MCGLAUFLIN
+
+_Supervisor of the Girls' Handwork in the Denver Public Schools_
+
+[Illustration]
+
+          Published by
+          THE MANUAL ARTS PRESS
+          PEORIA, ILLINOIS
+
+
+
+
+          COPYRIGHT
+          IDABELLE MCGLAUFLIN
+          1910
+
+
+
+
+EXPLANATORY NOTE.
+
+
+The exercises in this five-year course are based upon an estimated time
+of one hour per week in the first two years, and one and one-half hours
+in the last three, the school year consisting of thirty-eight weeks.
+
+All materials, with the exception of that used for the full-sized
+garments and some of the Christmas gifts, are supposed to be furnished
+by the Board of Education. In many instances the pupils are allowed the
+privilege of supplying themselves with a better grade of material if
+they wish. In every case a substitute is given for the full-sized
+garment if the home cannot furnish the material. All supplies can be
+purchased by the class collectively or individually, if the Board of
+Education so desires.
+
+Every exercise in handicraft should embody an educational principle,
+making sure the training of the judgment, the eye, or the memory, and
+tending to develop skill, patience, accuracy, perseverance, dexterity or
+artistic appreciation.
+
+
+
+
+CONTENTS.
+
+
+    CHAPTER I.--SUGGESTIONS TO TEACHERS                     7
+      General Directions for Pupils of Sewing
+        Classes. Drills for Beginners.
+
+
+    CHAPTER II--COURSE OF INSTRUCTION                      11
+      First Year--Third Grade. Detailed Description
+        of Exercises.
+
+    CHAPTER III.--COURSE OF INSTRUCTION                    19
+      Second Year--Fourth Grade. Detailed Description
+        of Exercises.
+
+    CHAPTER IV.--COURSE OF INSTRUCTION                     28
+      Third Year--Fifth Grade. Detailed Description
+        of Exercises.
+
+    CHAPTER V.--COURSE OF INSTRUCTION                      39
+      Fourth Year--Sixth Grade. Detailed Description
+        of Exercises.
+
+    CHAPTER VI.--COURSE OF INSTRUCTION                     50
+      Fifth Year--Seventh Grade. Detailed Description
+        of Exercises.
+
+    CHAPTER VII.--DESCRIPTION OF STITCHES                  62
+      Stitches Used in Plain Sewing. Ornamental
+        Stitches. Miscellaneous.
+
+    CHAPTER VIII.--TEXTILE FIBERS AND FABRICS              90
+      Silk. Cotton. Flax. Wool.
+
+    CHAPTER IX.--DRESS AND ITS RELATION TO ART             98
+
+    CHAPTER X.--PAPER, CLOTH AND CARDBOARD CONSTRUCTION   101
+
+    CHAPTER XI.--HOME FURNISHING, DECORATION AND CARE     112
+
+    CHAPTER XII.--BASKETRY                                114
+      General Directions for making the Coil Basket.
+        The Sewed Baskets.
+
+
+
+
+CHAPTER I.
+
+SUGGESTIONS TO TEACHERS.
+
+
+The teacher's preparation for the lesson consists in doing each exercise
+before presenting the lesson to the class. It will take some of your
+time to do so, but it will save hours of time and much worry in the end,
+and you will thus discover how best to present the difficult points of
+the lesson. A well finished piece gives to the child a complete mental
+picture of what she is undertaking, and acts as an inspiration; she will
+work quicker, easier, and better because of it. This impulse and a clear
+demonstration of the method of doing, will enable her to work far more
+independently of the teacher than would otherwise be possible, and will
+give more satisfactory results.
+
+What are designated as "electives" in this book are designed to meet the
+needs of classes or individuals doing the work a second time or of
+teachers who find the regular work too difficult.
+
+Large classes can be handled with less wasted energy by dividing the
+class into groups that are doing the same work. This saves endless
+repetition and enables the teacher to give better general supervision.
+This is the most vulnerable point in class work. A teacher may work
+laboriously and still waste her own and the children's time by too close
+an adherence to the individual method of instruction. Those children
+whose turn comes toward the end of the line will have lost much of the
+value of the lesson. Children require constant supervision. It is not
+teaching to examine the work when finished and order it ripped out. The
+fault is then with the teacher and not with the child. Each successive
+step should be inspected and corrected before the next one is taken. I
+would go still farther and have every pupil, even in the advanced
+grades, submit a sample of her work on every stitch to be used in each
+exercise. Children are always eager to begin a new piece, and if
+required to practice until the result is satisfactory will very soon do
+good work. You then have this to refer to and can hold them to their
+best.
+
+There is absolutely no value in poor, careless, puttering work. Unless
+the child has a high ideal and strives to reach it, the time of the
+lesson is wasted. Encourage self-criticism. Work should be done to
+one's own satisfaction whether it is to be seen by others or not.
+
+Do not allow pupils to take their work home unless it is some required
+practice work. It is not the object to cover a certain amount of ground,
+but to inculcate high standards of excellence and some technical skill.
+They cannot accomplish this by themselves. I would prefer that classes
+do not complete the entire course rather than have good work sacrificed
+to quantity. There is a difference between careful, painstaking effort,
+and the puttering away of valuable time.
+
+Avoid delay in distributing supplies.
+
+Be sure that every member of the class understands clearly the object of
+the lesson.
+
+Do not encourage waste by a too liberal supply of material.
+
+Too much stress cannot be laid upon the careful preparation of the cloth
+to be used. Trim all edges neatly before hemming, facing, gathering,
+etc. _Do not allow children to sew without basting._ The time required
+for careful basting is well spent.
+
+It is not expected that the various pupils of the class will advance
+with the same degree of proficiency. Some will require a much longer
+time on an exercise than others. As it is greatly to the advantage of
+the class in the end, and saves time and tiresome repetition to give
+each new exercise or stitch as a class lesson, the average pupils should
+regulate the time for taking up new work. A teacher of resources will
+find ways and means of bringing up the work of slow pupils, and
+profitable 'busy work' for those who work more rapidly. For the former,
+a little extra time each day--not as a punishment, but as an opportunity
+to catch up--would be all that is necessary. For the latter, there is a
+great variety of interesting, useful work.
+
+It is a pedagogic truism that every teacher, consciously or
+unconsciously, imparts to her class her own inclinations. An
+enthusiastic class indicates an ardent interest on the part of the
+teacher, and a distaste for work and a lack of zeal on the part of the
+pupils are equally indicative of the teacher's attitude. Bear in mind
+that an unprepared teacher or a poorly presented lesson can make almost
+any exercise difficult and distasteful to the class. Do not blame pupils
+for poor work for which you are yourself responsible.
+
+
+
+
+SUGGESTIONS FOR TEACHERS
+
+GENERAL DIRECTIONS FOR PUPILS OF SEWING CLASSES.
+
+
+1. Be sure that the hands are clean.
+
+2. Always sit erect--well back in the seat--with the light coming over
+the left shoulder, both feet upon the floor, because the body will not
+become as tired, the hand will not shade the work and it is easier to
+see the stitches. Do not fasten the work to the knee, because a stooping
+position easily becomes a habit.
+
+3. Place the thimble upon the second finger of the right hand. Either
+the side or end of the thimble can be used. Never sew without one.
+
+4. Measure the thread either from shoulder to shoulder or from the end
+of the finger to the elbow. A long thread becomes soiled and worn before
+being used up and is more liable to knot.
+
+5. Wind the thread once around the forefinger and break from the spool,
+because the broken thread twists more easily to a point than when cut.
+Cut the thread from the work when finished to avoid drawing the stitches
+or breaking at the wrong place.
+
+6. Thread the needle from the end that hangs from the spool. In this way
+you are working with the twist of the thread and there is less danger of
+knotting and kinking.
+
+7. Do not wet the thread in the mouth. Roll the end of the thread
+between the thumb and forefinger and place through the eye of the
+needle.
+
+8. To tie a knot wind the thread around the forefinger once and a little
+over, and twist by rubbing the finger down the side of the thumb. With
+the nail of the second finger bring the knot thus formed to the end of
+the thread.
+
+9. Hold the unfinished work in the left hand.
+
+10. Do not bite the threads.
+
+11. Trim the selvedge, as it is hard to sew through and draws up when
+washed.
+
+12. The knot is always buried except in the basting which is to be
+removed.
+
+
+DRILLS FOR BEGINNERS.
+
+DRILL 1. Threading the needle with cotton. Needle No. 8; colored thread.
+
+          a. Prepare the cotton by twisting between thumb
+          and forefinger.
+
+          b. Place the thread in the eye of the needle.
+
+          c. Draw the thread through with the right hand.
+
+DRILL 2. Making the knot.
+
+          a. Hold the needle in the right hand and the end
+          of the thread in the left.
+
+          b. Wind the thread around the forefinger once and
+          a little over, and twist the threads together by
+          rubbing the finger down the side of the thumb. Do
+          not accept careless knots.
+
+DRILL 3. Use of the thimble.
+
+          a. Push the needle with the thimble.
+
+          b. Push the needle back with the finger of the
+          left hand.
+
+          _Never allow a pupil to sew without a thimble._
+
+DRILL 4. Threading the yarn needle.
+
+          a. Prepare the yarn by loosening the end with the
+          needle.
+
+          b. Place the yarn over the point of the needle and
+          draw into a smooth loop.
+
+          c. Draw the needle out and thread into the loop.
+
+  Needles No. 10 will carry      thread No. 100 90 80
+  Needles No.  9 will carry      thread No. 90 80 70 60
+  Needles No.  8 will carry      thread No. 70 60 50 40
+  Needles No.  7 will carry      thread No. 50 40 30 20
+  Needles No.  6 will carry      thread No. 20 10
+  Needles No.  5 will carry      Linen thread--Luster cotton
+
+
+
+
+CHAPTER II.
+
+COURSE OF INSTRUCTION.
+
+
+FIRST YEAR--THIRD GRADE.
+
+          EQUIPMENT.
+
+          Sewing box.
+          Pin cushion--20 pins.
+          Thimble.
+          Needles.
+          Scissors.
+          Thread cards.
+          Practice Piece--Unbleached muslin, 9" × 6".
+
+
+ORDER OF EXERCISES.
+
+Prepare Thread Cards--Cardboard 4" × 4", designed and cut for four kinds
+of thread.
+
+Exercise No. 1--Basting Design.
+
+Exercise No. 2--Running Design No. 1.
+
+Exercise No. 3--Overhanding on Practice Piece.
+
+Exercise No. 4--Pot Holder--Weaving--Christmas Piece.[4]
+
+Exercise No. 5--Running Design--No. 2.
+
+Exercise No. 6--Overhanding--Running Designs 1 and 2 together.
+
+Exercise No. 7--Running Design No. 3.[1]
+
+Exercise No. 8--Hemming a Towel.[3]
+
+Exercise No. 9--Running Design No. 4[1]
+
+Exercise No. 10--Overhanding--Running Designs 3 and 4 together.
+Overhanding Nos. 1 and 2 to 3 and 4.[1][2]
+
+FOOTNOTES:
+
+[1] See Electives, page 18.
+
+[2] See Electives, page 18.
+
+[3] See Electives, page 18.
+
+[4] See Electives, page 18.
+
+[Illustration: NO. 1-4.
+
+  CHILDREN IN NATIVE COSTUME.
+  SUGGESTIVE DESIGNS IN OUTLINE FOR THE RUNNING STITCH.]
+
+
+DETAILED DESCRIPTION OF EXERCISES.
+
+_Teach:_ One inch, one-half inch, one-fourth inch.
+
+_Practice:_ "Drills for Beginners," page 10.
+
+
+EXERCISE NO. 1--BASTING.
+
+_Materials:_ Unbleached muslin 5" × 8" stamped with the three basting
+stitches, No. 1, page 64; colored thread No. 50; needle No. 7.
+
+Make pupils perfectly familiar with the _name_ and _use_ of this stitch.
+See "Description of Stitches Used in Plain Sewing," page 63.
+
+Beginning at the right hand follow the lines of the design with the
+thread, placing the knots over the dots on the right hand side and
+fastening over the dots at the left. Under each stamped row of stitches
+put in one, two, three or more rows, depending upon the rapidity with
+which each individual works. This will help to keep the class uniform.
+
+
+EXERCISE NO. 2--RUNNING.
+
+_Materials:_ Stamped running design No. 1, page 12. Unbleached muslin
+6" × 8"; colored thread No. 50; needle No. 7.
+
+Make pupils perfectly familiar with the _name_ and _use_ of this stitch.
+See "Description of Stitches Used in Plain Sewing," page 63.
+
+The object of this model is to give the pupils practice in the running
+stitch. These designs are more interesting than practicing on plain
+cloth, so if the work is not satisfactory, cut the knot, pull out the
+thread, and try again. Give special attention to the knots and the
+fastening of the threads and the general neatness of the work. Place the
+knot on the wrong side and follow the lines of the design with the
+running stitch.
+
+
+EXERCISE NO. 3--OVERHANDING.
+
+_Materials:_ Practice piece; colored thread No. 50; needle No. 7. Teach
+the Overhanding Stitch on the Practice Piece. See "Description of
+Stitches Used in Plain Sewing," page 63. Change the color of the thread
+once or twice and teach the joining of the thread. Baste two folded
+edges together and insist upon neat, careful work.
+
+
+EXERCISE NO. 4--POT HOLDER--WEAVING--CHRISTMAS PIECE.[8]
+
+_Materials:_ Weaving frame; netting needles; candle wicking in two
+colors; brass rings.
+
+[Illustration: THE WOVEN POT HOLDER MADE OF CANDLE WICKING.]
+
+Teach the principles of cloth weaving and the terms warp, woof and
+selvedge.
+
+The weaving frames are made from one-inch board, 8" × 8". Three-fourths
+of an inch from and parallel to the top and bottom drive a row of
+nails, having very small heads, one-half inch apart, leaving an inch
+margin at both sides.
+
+Tie a slip knot in the end of the wicking and slip it over one of the
+corner nails. Pass the wicking back and forth around the nails first on
+one side and then the other. This forms the warp. Draw the threads
+fairly tight and tie around the last nail. Thread the other color of
+wicking into the netting needles, weave across the warp threads
+alternately taking up and passing over them. In alternate rows take up
+the threads passed over in the preceding row. Do not draw the woof
+threads tight enough to draw the holder in at the sides. Slip from the
+frame and fasten the loose ends by weaving them back into the holder.
+Work a brass ring with the blanket stitch, using a strand of the wicking
+and sew it to one of the corners.
+
+
+EXERCISE NO. 5--RUNNING.
+
+_Materials:_ Running design No. 2, page 12, 6" × 8"; colored thread No.
+50; needle No. 7.
+
+Follow the lines of the design with the running stitch.
+
+
+EXERCISE NO. 6--OVERHANDING.
+
+_Materials:_ White thread No. 50; needle No. 7. Running designs 1 and 2
+are to be overhanded together. Turn a quarter-inch fold on the long side
+of both pieces. Baste the folded edges together and overhand.
+
+
+EXERCISE NO. 7--RUNNING.[5]
+
+_Materials:_ Running design No. 3, page 12, 6" × 8"; colored thread No.
+50; needle No. 7.
+
+Follow the lines of the design with the running stitch.
+
+
+EXERCISE NO. 8--HEMMING--PAPER FOLDING FOR A HEM.[7]
+
+_Materials:_ Paper 4-1/2" × 7".
+
+Fold the long way of the paper. First fold of the hem, one-fourth of an
+inch. Turn half an inch hem on one side and an inch hem on the other.
+Have each child cut from a card a gauge for measuring the hems and
+insist that the hems be turned evenly.
+
+Teach the hemming stitch on the Practice Piece with colored thread. Trim
+the edge neatly, fold the hem accurately and baste in place. Bad habits,
+that are hard to correct later, can so easily be formed in making this
+stitch that I wish to caution teachers in regard to the position of the
+needle in relation to the hem, the amount of cloth taken on the needle
+and the tendency toward making the blind stitch or the damask hem
+instead of the plain hemming stitch.
+
+
+HEMMING A TOWEL.
+
+_Materials:_ Crash, 9" woof, 6" warp; white thread No. 50; needle No. 7;
+tape 4-1/2 inches.
+
+Turn one-fourth inch fold on each side and across the bottom and baste.
+Turn the second fold one-fourth of an inch on the sides and baste. Hem
+the sides. Turn an inch hem at the bottom, baste and hem, giving special
+attention to the corners where the bottom hem is turned over the side
+hems. Hem the top with a quarter-inch hem if there is no selvedge. Sew a
+loop in the middle of the top on the selvedge edge as follows: Turn in
+one-fourth of an inch at both ends of the tape. Place the ends of the
+tape side by side and down one-fourth of an inch from the edge of the
+towel. Hem around the ends of the tape and back-stitch across the tape
+just at the edge of the towel.
+
+
+EXERCISE NO. 9--RUNNING.[5]
+
+_Materials:_ Running design No. 4, page 12, 6" × 8"; colored thread No.
+50; needle No. 7.
+
+Follow the lines of the design with the running stitch.
+
+
+EXERCISE NO. 10--OVERHANDING.[5][6]
+
+_Materials:_ White thread No. 50; needle No. 7.
+
+Running designs 3 and 4 are to be overhanded together. Turn a
+quarter-inch fold on the long sides of both pieces. Baste the folded
+edges together and overhand. Running designs 1 and 2 are to be
+overhanded to 3 and 4. Turn a quarter-inch fold at the top of one piece
+and the bottom of the other, baste the folded edges together and
+overhand.
+
+[Illustration: DOLL'S QUILT--ELECTIVE.]
+
+
+ELECTIVES.
+
+[5] Running designs No. 3 and 4 may be omitted, (this will also cut out
+Exercise No. 10) and selections from the following substituted to fill
+in the time, pupils furnishing their own materials and teachers planning
+their own designs:
+
+Pen wipers. Pin disks. Needle books. Small pin cushions for the sewing
+box. A wiper for eye-glasses.
+
+[6] The four running designs in Exercise No. 10 may be made into a
+doll's quilt by basting to a lining, turning in and overhanding the
+edges together and tacking. Pupils will furnish their own materials for
+the lining.
+
+[7] Instead of the small towel encourage children to ask their mothers
+for a dish towel which they can bring from home to hem. Some
+house-keeper of the neighborhood might be glad to have her dish-towels
+hemmed for her by the class.
+
+[8] Instead of the pot holder a child's picture-book may be substituted.
+See "Paper, Cloth and Cardboard Construction," page 101.
+
+
+
+
+CHAPTER III.
+
+COURSE OF INSTRUCTION.
+
+
+SECOND YEAR--FOURTH GRADE.
+
+
+EQUIPMENT.
+
+          Sewing box.
+          Pin cushion--20 pins.
+          Thimble.
+          Needles.
+          Scissors.
+          Thread cards.
+          Practice Piece--Unbleached muslin 9" × 12".
+
+
+ORDER OF EXERCISES.
+
+Prepare Thread Cards--Cardboard 4" × 4", designed and cut for four kinds
+of thread.
+
+Exercise No. 11--Seam Sampler--Seam A--Combination Stitch.
+
+Exercise No. 12--Emery Balls.[9]
+
+Exercise No. 13--Seam Sampler--Seam B--Stitching.
+
+Exercise No. 14--Bags--Christmas Piece.[10]
+
+Exercise No. 15--Seam Sampler--Seam C--Half-Back Stitching.
+
+Exercise No. 16--Doily--Blanket Stitch--Outline Stitch.[11]
+
+Exercise No. 17--Seam Sampler--Seam D--French Seam.
+
+Exercise No. 18--A Pair of Dolls' Pillow Cases.[12]
+
+Exercise No. 19--Seam Sampler--Seam E--French Fell.
+
+Exercise No. 20--Textile Fibers and Fabrics--Silk.
+
+FOOTNOTES:
+
+[9] See Electives, page 27.
+
+[10] See Electives, page 27.
+
+[11] See Electives, page 27.
+
+[12] See Electives, page 27.
+
+
+DETAILED DESCRIPTION OF EXERCISES.
+
+_Review:_ One inch, one-half inch, one-fourth inch.
+
+_Teach:_ One-eighth inch, three-eighths inch, seven-eighths inch.
+
+
+SEAM SAMPLER.
+
+_Materials:_ Plain percale 10" warp, 12" woof; white thread No. 50;
+needle No. 7.
+
+Five exercises of the Second Year Sewing will consist of seam work on
+the Seam Sampler. _Each stitch will be first taught on the Practice
+Piece._ Make pupils perfectly familiar with the names and uses of the
+different stitches as they are taught. As the year's work progresses
+compare the different seams and teach when, where and why these various
+seams are used in garment making. See "Description of Seams," page 85.
+That the pupils may not lose interest in their sewing the seam work is
+alternated with miscellaneous exercises.
+
+Fold the percale with the warp into three equal pieces. Cut off one
+piece. Have each pupil label her large piece with her name. Collect and
+put them away until ready for Seam B. Do not leave them in the boxes or
+they will be lost, or soiled with too much handling.
+
+
+EXERCISE NO. 11--SEAM A--COMBINATION STITCH.
+
+See description of "Seam Sampler" given above.
+
+_Materials:_ First section of Seam Sampler.
+
+Fold with the warp through the center, and cut on the fold. Baste these
+two edges together one-fourth of an inch from the edge. Sew with the
+Combination Stitch three-eighths of an inch from the edge.
+
+
+EXERCISE NO. 12--EMERY BALLS.[13]
+
+_Materials:_ Unbleached muslin, 6-1/2" × 6-1/2"; red cashmere 6-1/2" ×
+6-1/2" (this amount provides for four); thread, yellow, white and red;
+emery powder; needles No. 7 and No. 3; green luster cotton.
+
+To cut the pattern of the strawberry emery ball: Draw a circle three
+inches in radius, and cut on the line.
+
+Cut a circle from the unbleached muslin for the lining and one a quarter
+of an inch larger from the cashmere for the outside; cut both into
+quarters.
+
+To make the case: Fold the two edges of the muslin together and sew in a
+seam with the combination stitch, rounding the point to give the
+strawberry shape. Turn in a good seam at the top and gather. Fill with
+the powdered emery and fasten the gathering thread by overhanding over
+the top.
+
+[Illustration: THE COMPLETED SEAM SAMPLER ILLUSTRATING EXERCISES NOS.
+11, 13, 15, 17, AND 19.]
+
+Before sewing up the outside put in the stitches, with yellow thread, to
+represent the seeds of the strawberry as follows: Hold the wrong side of
+the cloth toward you and put in a row of tiny stitches half an inch
+apart. One-fourth of an inch above these put in another row with the
+stitches midway between those of the last row, and so continue. If
+desired these may be omitted and the seeds represented by French knots
+when the strawberry is finished.
+
+Seam up the outside, slip it over the case, arranging the seams on
+opposite sides to avoid the possibility of powder sifting through.
+Overhand the top and cover with the green luster cotton to represent the
+calyx, leaving a loop for the stem.
+
+
+EXERCISE NO. 13--SEAM B--STITCHING.
+
+_Materials:_ Second section of Seam Sampler.
+
+Fold with the warp through the center and cut on the fold. Baste these
+two edges together one-fourth of an inch from the edge. Stitch
+three-eighths of an inch from the edge.
+
+
+EXERCISE NO. 14--BAGS--CHRISTMAS PIECE.[14]
+
+The Christmas Piece will consist of bags of any size, shape or style for
+which the pupils wish to furnish their own materials. This gives the
+teacher an opportunity to exercise her own ingenuity and taste and to
+have some individuality in her work. There is a great variety, from the
+utility bag made of cheap, pretty material, costing only a few pennies,
+to the more elaborate ones made of dainty silk or ribbon. A little tact
+will easily adapt the style of bag to the home into which it is to go,
+for the purpose for which it is to be used, and the purse of the donor.
+
+Following are the directions for a simple button-bag:
+
+_Materials:_ A soft washable fabric, 14" warp, 6" woof; thread; needles;
+narrow tape 26 inches.
+
+[Illustration: BAGS TO ILLUSTRATE EXERCISE NO. 14.]
+
+Crease an inch hem at each end. Fold the cloth with the two hems right
+sides together and baste from the lower edge of the hems to the bottom
+of the bag. Stitch a quarter-inch seam. Turn in the ends of the hems
+even with the sides of the bag and overhand from the top five-eighths of
+an inch, leaving an opening for the tapes three-eighths of an inch wide
+at the bottom of the hem. Baste and hem the hems, fastening securely
+at each side of the tape openings, as there is considerable strain when
+the tapes are drawn. Put in a row of running stitches parallel to and
+five-eighths of an inch from the top of the bag, for the tape opening.
+With a tape needle draw in the two tapes, sew the ends of each together
+and draw out of opposite openings so that the place of joining will not
+show. Overcast the seams.
+
+
+EXERCISE NO. 15--HALF-BACK STITCHING.
+
+_Materials:_ First and second sections of the Seam Sampler.
+
+Baste the two sections together one-fourth of an inch from the edge. Sew
+with the half-back stitch three-eighths of an inch from the edge.
+
+
+EXERCISE NO. 16--A DOILY--BLANKET STITCH AND THE KENSINGTON OUTLINE
+STITCH.[15]
+
+_Materials:_ Imitation Butchers' Linen 9" × 9"; white luster cotton;
+needle No. 5.
+
+An exercise in paper cutting for the doily design. Have pupils provide
+themselves with ten or twelve pieces of paper eight inches square for
+practice cutting. Fold the first paper three times and cut a convex,
+concave or compound curve from corner to corner. Open and study these
+curved lines and select the most graceful. Cut again making corrections.
+Cut a design in straight lines. Cut one composed of both straight and
+curved lines. Do not work haphazard, but criticise, compare and reject.
+The surface requires little decoration if the doily is pleasing in
+outline. That which is placed upon it should have some relation to the
+outline. Study the space to be decorated and how it can be divided or
+ornamented by lines, curved or straight, that may serve as a real
+decoration, but avoid too elaborate designs. Before beginning the doily
+have a finished pattern. The pattern may be transferred to the cloth by
+tracing the pattern with a hard pencil, using carbon paper between
+pattern and cloth, or the pattern may be pinned on and the outline drawn
+and the design put on freehand.
+
+[Illustration: ORIGINAL DESIGNS FOR THE DOILY BY FOURTH GRADE GIRLS.]
+
+To work the Doily. Finish the edge with the blanket stitch. See "Blanket
+Stitch," page 73. Work the lines of the design with the Kensington
+Outline Stitch.
+
+
+EXERCISE NO. 17--FRENCH SEAM.
+
+_Materials:_ Third section of the Seam Sampler.
+
+Fold with the warp through the center and cut on the fold. Follow the
+directions for the French Seam.
+
+
+EXERCISE NO. 18--A PAIR OF MINIATURE PILLOW CASES.[16]
+
+_Materials:_ Two pieces bleached muslin 7-1/2" warp, 8-1/2" woof; white
+thread No. 50; needle No. 7.
+
+In a pillow case the warp threads should run lengthwise of the pillow.
+Crease a quarter-inch fold across one end and on both sides. Fold with
+the warp through the center so that the seam just turned comes on the
+inside, baste the folded edges together on the right side. Overhand on
+the right side, using no knot, but sewing over the end of the thread.
+Turn a three-quarter inch hem, baste and hem. Trim the seam and
+overcast.
+
+
+EXERCISE NO. 19--FRENCH FELL.
+
+_Materials:_ Seam Sampler.
+
+Sew Section Three of the Seam Sampler to the others with the French
+Fell. Follow directions for the French Fell.
+
+
+EXERCISE NO. 20--TEXTILE FIBERS AND FABRICS--SILK.
+
+Under the heading "Textile Fibers and Fabrics," page 90, will be found
+subject matter which can be used in correlation with the geography,
+language and history work. The fourth grade subject is silk. Secure if
+possible the silk cocoon and make a collection of silk fabrics. Language
+papers on the subject can be illustrated with pictures cut from papers
+and magazines.
+
+
+ELECTIVES.
+
+[13] A choice may be had between the strawberry and the tomato emery
+ball.
+
+TOMATO EMERY BALL--_Materials:_ Unbleached muslin 6" × 3"; red cashmere
+6" × 3"; emery powder; red thread No. 50; green luster cotton.
+
+To cut the pattern: Draw a circle one and one-fourth inches in radius
+and cut on the line.
+
+Cut the two pieces for the lining and the two for the outside of the
+same size. Place the right sides of the two pieces of cashmere together
+between the two pieces of lining. Baste all together. Sew with the back
+stitch one-fourth of an inch from the edge, leaving an opening for
+turning and filling. Turn in a seam at the opening, fill with powder and
+close by overhanding the edges together. Flatten as much as possible and
+make the creases seen in the tomato by tightly drawing the thread of
+luster cotton from the center around the outside and back to the center,
+repeating several times. Make a little tuft of the luster cotton in the
+middle at the top.
+
+[14] The order of the doily and the bag may be reversed, using the doily
+for the Christmas piece instead of the bag, or the paper box may be
+substituted. See "Cloth and Cardboard Construction," page 102.
+
+[15] Simple toilet articles in white, such as a handkerchief case, may
+be substituted for the doily, teachers planning their own designs.
+
+[16] One pillow-case may be omitted and a pillow for the other case made
+instead. This may be stuffed with crumpled bits of paper. Use unbleached
+muslin for the pillow.
+
+
+
+
+CHAPTER IV.
+
+COURSE OF INSTRUCTION.
+
+
+THIRD YEAR--FIFTH GRADE.
+
+
+EQUIPMENT.
+
+          Sewing box.
+          Pin cushion--30 pins.
+          Thimble.
+          Needles.
+          Scissors.
+          Thread cards.
+          Practice Piece--Unbleached muslin 9" × 12".
+
+
+ORDER OF EXERCISES.
+
+Prepare Thread Cards--Cardboard 4" × 4" designed and cut for four kinds
+of thread.
+
+Exercise No. 21--Patching Sampler--Hemmed Patch.
+
+Exercise No. 22--Mitered Corner.
+
+Exercise No. 23--Patching Sampler--Overhand Patch.
+
+Exercise No. 24--Basketry--Christmas Piece.[17][18]
+
+Exercise No. 25--Napkin--Damask Hem.[19]
+
+Exercise No. 26--Flannel Patch.
+
+Exercise No. 27--A Pair of Sleeve Protectors.
+
+Exercise No. 28--A Garment Brought from Home to be Repaired.
+
+Exercise No. 29--A Pin Cushion.[20]
+
+Exercise No. 30--Textile Fibers and Fabrics--Cotton.
+
+FOOTNOTES:
+
+[17] See Electives, page 36.
+
+[18] See Electives, page 36.
+
+[19] See Electives, page 36.
+
+[20] See Electives, page 36.
+
+
+
+DETAILED DESCRIPTION OF EXERCISES.
+
+Review the divisions of the inch.
+
+
+PATCHING SAMPLER.
+
+_Materials:_ Gingham 8" warp, 13" woof; white thread No. 60; needle No.
+8.
+
+It is desirable that each girl cut the two patches and the two pieces to
+be patched from the same piece of cloth, that there may be no difficulty
+in matching the pattern, when patching or when later sewing the two
+patched pieces together.
+
+Fold the piece of gingham, eight inches by thirteen inches woof, with
+the warp into three sections, two of them eight inches warp by five
+inches woof, and the third eight inches warp by three inches woof. Fold
+the three-inch piece across the warp in the center for the two patches.
+Cut on the creases. Pin one patch to one of the large pieces, label with
+the girl's name and put it away for Exercise No. 23.
+
+
+EXERCISE NO. 21--HEMMED PATCH.
+
+_Materials:_ First section of Patching Sampler.
+
+The hemmed patch is the strongest and the one most commonly used for
+repairing garments. The patch will not be noticeable if the pattern is
+skilfully matched. When matching stripes or plaids always turn on the
+line where the color changes, never through the middle of a stripe. Ten
+minutes spent on a paper pattern will prevent the mistakes beginners
+usually make in this exercise.
+
+Trim the patch and crease a quarter-inch fold on the four sides. Place
+the patch in the center of the large piece (which we will imagine to be
+worn) and baste around it, matching the pattern carefully. Do not allow
+pupils to go any farther until the patch is basted on exactly right.
+Turn to the right side and cut out the part supposed to be worn by the
+following successive steps:
+
+          1. Measure one-half inch (or as near it as the
+          pattern will permit) from the edge of the patch,
+          using pins for marking the line where it is to be
+          cut.
+
+          2. Cut out the center, leaving about one-half inch
+          extending over the patch.
+
+          3. Clip the corners diagonally the _exact_ width
+          of the fold to be turned in. _Take great care and
+          do not cut in too far_, as this will spoil the
+          patch.
+
+          4. Turn in the edge, baste and hem.
+
+          5. Hem the patch on the wrong side.
+
+[Illustration: THE MITERED CORNER.]
+
+
+EXERCISE NO. 22--MITERED CORNER.
+
+_Materials:_ Paper.
+
+Teach the mitered corner on paper only. Have it done over and over until
+every pupil understands how it is done, and can do it alone, rapidly and
+perfectly. Ask pupils to bring paper from home, as almost any kind will
+do for this practice work. Have it made in hems of several widths. See
+description of "Miscellaneous" exercises, page 79.
+
+
+EXERCISE NO. 23--OVERHAND PATCH.
+
+_Materials:_ Second section of the Patching Sampler.
+
+The overhand patch is used on very thin material, such as lawn, dimity
+or organdy, where strength is not required and where the two thicknesses
+of cloth around the edge of the hemmed patch would be too noticeable.
+The pattern should be as carefully matched as in the hemmed patch and
+equal care given to the corners. A paper pattern will assist beginners.
+
+Fold the large piece of gingham with the four corners together and clip
+off the point from the center. The following are the successive steps
+for making the overhand patch:
+
+          1. Measure on each side of the center, with the
+          warp, one and one-fourth inches and with the woof
+          three-fourths of an inch. Mark with pins.
+
+          2. Cut out the oblong at these points (or as near
+          as the pattern permits, observing also the pattern
+          of the patch to be used.)
+
+          3. Clip the corners diagonally the _exact_ width
+          of the fold to be turned in.
+
+          4. Turn in the fold on the four sides of the hole.
+
+          5. Crease the folds on the four sides of the patch
+          so that it will fit exactly into the hole,
+          matching patterns.
+
+          6. Beginning near the middle of one side overhand
+          the patch in, matching as you overhand. Do not
+          baste.
+
+The two patched pieces are to be overhanded together. Turn a
+quarter-inch fold on each with the warp, matching the pattern, baste
+together and overhand.
+
+Teach the Overcasting on the Practice Piece and overcast all raw edges
+on the Patching Sampler.
+
+
+EXERCISE NO. 24--BASKETRY--CHRISTMAS PIECE.[21][22]
+
+This subject has such limitless possibilities and its success or failure
+rests so entirely with the teacher that it will be necessary for each
+teacher to prepare herself to teach it and decide upon the style, size
+and general character of the design of the baskets to be made by her
+class, allowing the pupils as far as possible to work out their
+individual tastes.
+
+See chapter on "Basketry," page 114.
+
+
+EXERCISE NO. 25--NAPKIN--DAMASK HEM.[23]
+
+_Materials:_ Damask 8-1/2" × 8-1/2"; white thread No. 60; needle No. 8.
+
+See Description of the Damask Hem, page 70.
+
+Trim the napkin square. Crease a half-inch hem on the four sides. The
+corners are to be mitered, and this is more easily done by basting the
+side hems in place, skipping across the corners when basting. Turn out
+the corners and miter them. Hem the corners with the flat hem and the
+sides with the damask hem.
+
+
+EXERCISE NO. 26--FLANNEL PATCH.
+
+_Materials:_ Flannel 6-1/2" × 6-1/2", patch 3" × 3"; sewing silk; needle
+No. 8.
+
+See description of the Herringbone Stitch, page 77.
+
+Cut from the center of the large piece of flannel a two-inch square.
+Trim the patch square and place it over this hole. Baste at both edges.
+Teach the herringbone stitch on the practice piece, and herringbone over
+the raw edges of the patch. Turn one fold three-eighths of an inch wide
+on the four sides of the large piece, baste and herringbone stitch the
+raw edge. _Keep the raw edges trimmed._
+
+
+EXERCISE NO. 27--A PAIR OF SLEEVE PROTECTORS.
+
+_Materials:_ Cotton twill 8-1/2" × 11"; tape 36"; ribbon elastic 4";
+white thread No. 60; needle No. 8.
+
+[Illustration: A COOKING SET, CONSISTING OF AN APRON (EXERCISE NO. 33),
+SLEEVE PROTECTORS (EXERCISE NO. 27), AND A HOLDER AND CASE (AN ELECTIVE
+FOR EXERCISE NO. 24).]
+
+To cut the pattern of a sleeve protector: Cut an oblong eight inches by
+ten and one-half inches. Fold through the center the long way. Mark the
+top of the folded edge A, the bottom B, the upper right hand corner C
+and the lower D. Measure down on the folded edge from A four inches
+and mark E. Measure down from C four inches and mark F. Measure up from
+D five inches and mark G. Measure on the line B D three and one fourth
+inches from B and mark H. Connect G and H with a straight line. With E
+as the center and E A as the radius draw a quarter of a circle
+connecting A and F. Cut on the lines H G, and A F.
+
+Cut the sleeve protectors from the pattern. Beginning at the center of
+the bottom and holding the wrong side of the cloth next to you, baste
+the edge of the sleeve protector to the line running through the middle
+of the tape. Make a tiny pleat in the tape at each corner so that when
+doubled over it will round the corners smoothly. Join the ends of the
+tape by folding back both ends and overhanding them together on the
+wrong side. Hem the tape down on the right side. Before basting the tape
+down on the wrong side, fasten the elastic in place on one side of the
+sleeve protector. The elastic is in two pieces, two inches in length.
+Place the first piece one inch from the bottom and the second piece
+three inches above the first. Baste the tape down on the wrong side and
+hem, leaving the opening for the other end of the elastic, which is
+fastened in place after the hemming is done. Lay the binding smooth over
+the elastic and stitch along the edge of the tape, through the elastic,
+to hold in place.
+
+
+EXERCISE NO. 28--A GARMENT BROUGHT FROM HOME TO BE MENDED.
+
+Ask every pupil to bring some article from home, in preference a
+garment, to be mended. There is no home that cannot furnish a garment
+that needs repairing. This is a practical application of Exercises 21,
+23 or 26, and is a valuable experience for the children.
+
+
+EXERCISE NO. 29--A PIN CUSHION.[24]
+
+_Materials:_ These will be furnished by the pupils.
+
+Pupils and teachers will plan their own designs, adapting them to the
+material furnished. The cushions may be of any size, shape or kind. Do
+not have the children incur expense, as small pieces of ribbon, silk or
+bright bits of many kinds of cloth can be made into attractive cushions.
+Hardwood sawdust, sifted, makes an excellent filling.
+
+
+EXERCISE NO. 30--TEXTILE FIBERS AND FABRICS--COTTON.
+
+Under the heading "Textile Fibers and Fabrics," page 92, will be found
+subject matter which can be used in correlation with the geography,
+language and history work. The fifth grade subject is cotton. Many
+interesting collections can be made that will be instructive for the
+children.
+
+[Illustration: PIN CUSHIONS TO ILLUSTRATE EXERCISE NO. 29.]
+
+          a. Cotton fabrics with their names and uses.
+
+          b. Pictures.
+
+          c. Cotton fiber in the various stages of
+          manufacture.
+
+          d. Maps upon which can be located the countries
+          producing cotton and cities noted for the
+          manufacture of cotton cloth.
+
+          e. Compositions on cotton and allied subjects.
+
+
+ELECTIVES.
+
+[21] The round holder and case may be substituted for the basketry, or a
+blank book with paper cover or the folding envelope case may be made
+instead. See "Paper, Cloth and Cardboard Construction," page 104.
+
+[22] The pin cushion may be substituted for the basketry and the book
+cover, or the book bag, or the round holder given for Exercise No. 29.
+
+[23] A book cover or a book bag for carrying books may be substituted
+for the pin cushion.
+
+
+A ROUND HOLDER AND CASE.
+
+_Materials:_ Unbleached muslin, 14" × 7"; bleached muslin 15" × 7-3/4";
+strap 18" × 1-1/2"; bias binding 25" × 1"; wadding.
+
+To cut the Circular Pattern: Cut a square of paper eight inches by eight
+inches and fold it three times. Measure three and five-eighth inches
+from the point on each folded edge and once between these edges. Draw a
+curved line connecting these points and cut on the line. The case is cut
+from this pattern, a circle having a radius of three and five-eighth
+inches and the holder from a pattern one-fourth of an inch smaller with
+a radius of three and three-eighth inches.
+
+The Holder: Cut from the unbleached muslin two circular pieces. Turn in
+one-fourth of an inch around both pieces. Place the wadding between
+them; pin and baste together. Overhand the folded edges. Quilt the
+holder in a simple pattern with the running stitch.
+
+The Case: Cut from the bleached muslin two circular pieces. Fold one
+piece with the warp through the center and cut on the fold. Turn an
+eighth of an inch hem on each of the straight edges just cut, and hem.
+The pupils who work rapidly could design a simple decoration for the
+front of the case. This could be traced, or drawn with a hard pencil and
+worked with a coarse, colored thread in any decorative stitch, before
+making the case. Place the half circles on the large circle and baste
+around the edge. This will leave an opening of about half an inch into
+which the holder will easily slip. Make the strap by which the holder
+case is hung from the belt, by folding in the edges at the sides and
+across one end and overhanding together. The raw end of the strap is
+then fastened at one end of the case-opening, so that it will come under
+the binding. See description of the Bias, page 79. Teach the cutting and
+joining of bias pieces, first with paper and then with the cloth. In
+order to give the pupil this valuable experience cut the binding in
+three pieces and join them together. Stitch along the edge of the
+binding where it folds back against the strap. Slip the holder into the
+case.
+
+
+A BOOK COVER.
+
+_Materials:_ Grass linen or Holland 15" woof by 10" warp; white thread
+No. 60; needles Nos. 8 and 5; luster cotton.
+
+The Design: Start several weeks before the class is ready to make it,
+arouse an interest, and study designs for book covers. Ask pupils to
+bring from home books having good designs on the covers. Have them tell
+why they like certain ones and do not favor others. In a word, educate
+their tastes in this line before expecting them to originate designs. Do
+not attempt anything elaborate. Many artistic effects can be obtained by
+interlacing straight lines and these have the advantage of being easily
+worked. Paper cutting is an excellent medium for experimenting, if a
+unit is to be repeated or if curves are desired in the outline. For
+example, fold an oblong, four and one-half by seven inches, through the
+center both ways, and cut on a slightly curving line from the folded
+edges to the corner. Quite a variety of simple, graceful outlines can be
+made by slightly varying these curves, which, with a simple unit
+repeated around the center or in each corner makes an effective design.
+Have the finished pattern before starting the book cover. Trace on the
+cloth by means of the carbon paper. It will be necessary to crease the
+cover over the book before putting on the design, so that it may be
+placed just right.
+
+To Make the Book Cover: Work the design with the outline stitch before
+sewing up the seams. Overcast the raw edges at the top and bottom of the
+cover and hem with a quarter-inch hem the two ends that fold into the
+book. The raw-edged hem, finished with the herringbone stitch, could be
+used in place of the plain hem, if desired. Turn in the top and bottom
+of the cover so that the book will slip in easily. Overhand that part
+which folds into the books to the outside, at top and bottom, thus
+forming the pockets into which the covers of the book slip. Do the
+overhanding on the wrong side and then turn it to the right side.
+
+
+A BOOK BAG.
+
+_Materials:_ Galatea, kaiki or burlap 15" woof, 13" warp; two strips for
+handles 14" warp by 3" woof; thread No. 40; needle No. 7.
+
+The decoration of the bag should be done before sewing up the ends. Very
+artistic effects can be obtained in the applique. See directions for the
+design of the book cover, page 37.
+
+Cut a three-inch strip from the length of the piece for the end pieces.
+Divide this into two pieces seven and one-half by three inches. Find the
+middle of one end of both end pieces and notch them. Fold the large
+piece with the warp through the center and notch at both ends of the
+fold. Turn in a quarter of an inch around the large piece and baste.
+Turn in a quarter of an inch across the notched end and sides of the end
+pieces. Place the notch at the end of one side piece to one in the large
+piece, right sides together, and pin in place. Overhand on the wrong
+side the two together across the end and up both sides. Put in the other
+end piece in the same way. Trim the end pieces even with the top of the
+case. Turn a three-quarter inch hem at the top. Before hemming make the
+straps for the handles by turning in and overhanding the edges. Insert
+both ends of one strap under the hem of the right side of the bag, two
+inches from the middle or four inches apart and the other strap on the
+left side. Hem, and fasten the handles to the edge of the hem by
+backstitching.
+
+[24] A cover for a pin cushion affords a good application for the
+mitered corner. This can be made any size, square or oblong. Ornament
+with fine feather stitching and the star stitch.
+
+
+
+
+CHAPTER V.
+
+COURSE OF INSTRUCTION.
+
+FOURTH YEAR--SIXTH GRADE.
+
+
+EQUIPMENT.
+
+          Sewing box.
+          Pin cushion--30 pins.
+          Thimble.
+          Needles.
+          Scissors.
+          Thread cards.
+          Practice Piece--unbleached muslin 9" × 12".
+
+
+ORDER OF EXERCISES.
+
+Prepare Thread Cards--Cardboard 4" × 4"--designed and cut for four kinds
+of thread.
+
+Exercise No. 31--Stocking Darning.
+
+Exercise No. 32--Placket Sampler--A Placket.
+
+Exercise No. 33--An Apron--Christmas Piece.[25]
+
+Exercise No. 34--Placket Sampler--The Gusset.[26]
+
+Exercise No. 35--Buttonholes.
+
+Exercise No. 36--Placket Sampler--The Nightgown Opening.
+
+Exercise No. 37--Hemstitched Collar or Handkerchief.[27]
+
+Exercise No. 38--Placket Sampler--Bands.
+
+Exercise No. 39--An Underskirt.
+
+Exercise No. 40--Textile Fibers and Fabrics--Flax.
+
+FOOTNOTES:
+
+[25] See Electives, page 48.
+
+[26] See Electives, page 48.
+
+[27] See Electives, page 48.
+
+
+DETAILED DESCRIPTION OF EXERCISES.
+
+Teach the yard measure and its divisions.
+
+See note under Exercise No. 35--Buttonholes.
+
+[Illustration: STOCKINET DARNING.]
+
+
+EXERCISE NO. 31--STOCKING DARNING.
+
+_Materials:_ Stockinet 4" × 4"; cardboard 3" × 3"; darning cotton;
+darning needle; a pair of worn stockings.
+
+See description of Stocking Darning, page 67.
+
+Pupils will furnish their own cardboard and have it cut and ready for
+the lesson, also a pair of worn stockings.
+
+The cardboard is a substitute for the darning ball. Do not stretch the
+cloth too tightly over the card, nor put in a needless number of
+stitches at the back to hold it on, five or six being sufficient to hold
+it temporarily in place. The darning cotton winds from the spool in
+several strands loosely twisted together. Separate and use two, three or
+more strands, depending upon the texture of the cloth to be darned. Take
+care not to split the threads when weaving across them, and also avoid
+putting the threads so far apart that holes are left between them. In
+fact, try to have pupils understand that they are supplying a piece of
+cloth that has been worn away, and that when finished should match as
+nearly as possible in color and texture the cloth that is being
+repaired. Stockinet, like stockings, is a knitted, not a woven fabric,
+and as every stitch is drawn through the one below it, it is very
+necessary that the loops be caught before they ravel back. Prepare the
+hole for darning by whipping the edge with fine thread, catching up all
+the severed loops. Either a round or an oblong hole may be cut in the
+stockinet, the round hole being three-fourths of an inch across, and the
+oblong three-fourths of an inch by one inch.
+
+Follow the exercise in stockinet darning, in which the principles of
+darning have been taught, with the darning of a pair of worn stockings
+that the pupils have brought from home. Every child in the class must be
+given this practical and useful experience. If there is difficulty in
+securing these stockings, members of the class or the teacher can
+readily supply the deficiency.
+
+
+EXERCISE NO. 32--PLACKET SAMPLER--A PLACKET.
+
+_Materials:_ Calico 12" woof, 14" warp; facings and bands 58" × 2";
+white thread No. 60; needle No. 8.
+
+See description of Plackets, page 81.
+
+Upon this sampler is taught the placket, the gusset, the nightgown
+opening and two different methods of putting on bands, and in addition a
+review of the French seam and the French fell. It is made in sections
+which are combined later. These lessons are interspersed with other
+exercises that the pupils may not become tired of this piece. Teach the
+placket and the nightgown opening first on paper. It will save time and
+trouble in the end. Fold the large piece of calico across the warp
+through the center and cut on the fold. Fold one of these pieces with
+the warp, through the center and cut. The first exercise of the "Placket
+Sampler" is done on one of these quarters. As these sections are to be
+sewed together later each girl must have her own pieces. To avoid the
+possibility of their being lost or soiled, those not in use should be
+wrapped in paper, labeled and collected by the teacher and kept until
+ready for Exercise No. 34.
+
+[Illustration: PLACKET SAMPLER (FRONT VIEW).]
+
+First section of the Placket Sampler: Fold the piece of calico with the
+warp, through the center and cut an opening on this fold five inches in
+length. Then follow the directions for making Placket B. Facing eleven
+inches by two inches.
+
+
+EXERCISE NO. 33--AN APRON--THE CHRISTMAS PIECE.[28][31]
+
+_Materials:_ Pupils will select and furnish their own materials for an
+apron. This may be of any style or kind, and will afford an excellent
+opportunity for carrying out their individual tastes. This may
+necessitate the teaching of the principles of bands which can be done
+with the practice piece. See description of Bands, page 79.
+
+[Illustration: PLACKET SAMPLER (BACK VIEW).]
+
+[Illustration: APRONS--EXERCISE NO. 33.]
+
+
+EXERCISE NO. 34--PLACKET SAMPLER--THE GUSSET.[29]
+
+Second section of the Placket Sampler.
+
+_Materials:_ The second quarter of the large piece of calico; a two-inch
+square of calico for the gusset.
+
+Fold with the warp through the center, and cut an opening on this fold
+five inches in length. Then follow the directions for making the gusset.
+Sew the two sections together with the French fell. Hem the sides with a
+quarter-inch hem.
+
+
+EXERCISE NO. 35--BUTTONHOLES.
+
+_Materials:_ Blue Percale 9" woof by 4" warp; scraps of calico for
+practice pieces; white thread No. 40 and No. 80; needles No. 7 and No.
+8.
+
+Remember the old adage _Practice Makes Perfect_.
+
+See description of the Buttonhole, page 63.
+
+_Note:_ Scraps and odd pieces of calico can be used for the practice
+work on buttonholes. As the buttonhole requires a great deal of practice
+it is well to keep these pieces in the sewing box and work at it at odd
+times during the progress of the years' work. Encourage the girls, too,
+to practice on the buttonhole for home work. In this way they will
+gradually acquire the skill which only comes with practice. Fold the
+cloth, wrong side out, with the woof and through the center, and baste
+the edges together. Begin with the blind buttonhole.
+
+The buttonhole model is intended to show how much skill has been
+acquired. Fold the percale through the center, with the _woof_, and
+baste the edges together. Make the buttonholes three-fourths of an inch
+long and one inch apart.
+
+
+EXERCISE NO. 36--PLACKET SAMPLER--THE SHIRT SLEEVE OR NIGHTGOWN OPENING.
+
+_Materials:_ Half of the large piece of calico; facing 18" × 2".
+
+Fold with the warp through the center and cut an opening on this fold
+five inches in length. Then follow the directions for the Nightgown
+Opening. Hem the side of the narrower part with a quarter-inch hem.
+
+
+EXERCISE NO. 37--A HEMSTITCHED COLLAR.[29][30]
+
+_Materials:_ Butcher's linen, collar 15-1/2" warp by 3" woof, India
+linen band 15-1/2" warp by 1-1/2" woof; practice piece 6" warp by 4"
+woof; white thread No. 80; needle No. 8.
+
+Measure the neck and decide upon the length of collar and width of hem
+before trimming.
+
+See directions for Hemstitching, page 76.
+
+Put the collar band on the collar. The collars may be still further
+ornamented with fine feather stitching, the star stitch or French knots.
+
+
+EXERCISE NO. 38--PLACKET SAMPLER--BANDS--HEMMED AND OVERHANDED.
+
+See description of Bands and Gathering, pages 68 and 79.
+
+To avoid soiling the cloth put the bands on before seaming the halves of
+the Placket Sampler together. This can be done with the exception of the
+band on the long side of the nightgown opening, which will have to be
+done after this side is basted to the other section, cut off and hemmed,
+and will therefore be the last thing to be done on the Sampler. Put the
+hemmed bands on the side having the placket and the gusset, and the
+overhand bands on the side of the nightgown opening.
+
+Length of bands: On the first half, short bands cut two inches, one and
+one-half inches finished; long band cut four inches, three and one-half
+inches finished; on the last half, bands cut three and three quarters
+inches, three and one-quarter inches finished.
+
+Sew the two sections of the Sampler together with the French seam. The
+section having the two openings is a little narrower than the other.
+Baste the two sections together, basting the little pleats at the end of
+the placket and the nightgown opening, and sew them into the seam. Do
+not cut off the long side until basted nearly across, then cut off and
+hem the side. Finish with the last band.
+
+
+EXERCISE NO. 39--AN UNDERSKIRT.
+
+_Materials:_ Pupils will furnish their own material for an underskirt
+for themselves. The patterns which their mothers use can be secured from
+the home, or one pattern used by all the members of the class. These
+skirts may be made plain or trimmed with tucked ruffles of cloth or with
+embroidery, depending upon the wishes of the mothers, the skill and
+taste of the individuals and the material furnished. Should there be
+difficulty in securing material for the garment, a small model on the
+half-inch scale or one of the electives can be substituted. Insist that
+the work be well done, neatly finished and first class throughout. Use
+sewing machines when available.
+
+Points to emphasize in the making of a skirt:
+
+          1. Cut a correct pattern before beginning the
+          skirt. Do not trust to making corrections when
+          cutting out.
+
+          2. Baste the straight edge of one gore to the bias
+          edge of another when making a gored skirt. This
+          prevents the sagging which would occur if two bias
+          edges were sewed together.
+
+          3. Allow plenty in hem and tucks for letting down
+          when making garments for growing girls.
+
+
+EXERCISE NO. 40--TEXTILE FIBERS AND FABRICS--FLAX.
+
+Under the heading "Textile Fibers and Fabrics," page 94, will be found
+subject matter which can be used in correlation with the geography,
+language and history work. The sixth grade subject is Flax. Make a
+collection of the flax products, fabrics, etc. A class set of
+compositions, each member of the class taking different subdivisions of
+the subject, would make an interesting collection which could be put
+together in a simple binding done by members of the class.
+
+See "Paper and Cardboard Construction," page 101.
+
+
+ELECTIVES.
+
+[28] Placket A may be substituted for the gusset, if desired.
+
+[29] A pin cushion cover may be hemstitched in place of the collar. Make
+this a square seven inches by seven inches, or an oblong five inches by
+nine inches, or any size to fit a particular cushion that can be cut
+from these pieces, or any size for which the pupils furnish their own
+material.
+
+[Illustration: ROUND BOTTOM BAG WITH RAFFIA COVERING.]
+
+[30] Pupils who desire to furnish their own materials for a linen
+handkerchief may substitute this for the hemstitched collar.
+
+[31] Basketry may be substituted for the apron, or a clipping case or a
+postal-card album may be made instead.
+
+See "Paper, Cloth and Cardboard Construction," page 107.
+
+
+THE ROUND BOTTOM BAG WITH A FANCY RAFFIA COVERING.
+
+Make the bag any size desired; a circle of three or four inches in
+diameter makes a practical one. Draw the pattern for the raffia covering
+on paper, the circle for the bottom being the same size as that of the
+bottom of the bag. The design for the sides may be in as many sections
+as desired. The tops of these sections may be shaped to suit one's
+taste--round, pointed or fancy. When the pattern is completed baste a
+strand of raffia on the pattern, following the lines of the design. Then
+closely blanket stitch with raffia on both sides of these strands. The
+spaces may then be filled with fancy lace stitches.
+
+
+
+
+CHAPTER VI.
+
+COURSE OF INSTRUCTION.
+
+FIFTH YEAR--SEVENTH GRADE.
+
+
+EQUIPMENT.
+
+          Sewing box.
+          Pin cushion--30 pins.
+          Thimble.
+          Needles.
+          Scissors.
+          Thread cards.
+          Practice Piece--Unbleached muslin 12" × 9".
+
+
+ORDER OF EXERCISES.
+
+Prepare Thread Cards--Cardboard 4" × 4", designed and cut for four kinds
+of thread.
+
+Exercise No. 41--A Trial Piece for Finishing the Bottom of Drawers.
+
+Exercise No. 42--An Underwaist or Corset Cover.
+
+Exercise No. 43--Collars, Jabots, Bows, etc.--Christmas Piece.[32]
+
+Exercise No. 44--A Study of Home Furnishing, Decoration and Care.[33]
+
+Exercise No. 45--Twist Buttonholes.
+
+Exercise No. 46--A Pair of Drawers.
+
+Exercise No. 47--Cloth Darning.
+
+Exercise No. 48--Textile Fibers and Fabrics--Wool.
+
+FOOTNOTES:
+
+[32] See Electives, page 61.
+
+[33] See Electives, page 61.
+
+
+DETAILED DESCRIPTION OF EXERCISES.
+
+Review Divisions of the Foot and Yard Measure.
+
+
+EXERCISE NO. 41--A TRIAL PIECE FOR FINISHING THE BOTTOM OF A PAIR OF
+DRAWERS.
+
+_Materials:_ India linen 8" × 8", ruffle 12" woof, 2" warp; white thread
+No. 70; needle No. 8.
+
+[Illustration: A TRIAL PIECE, GIVING PRACTICE ON THE HEMMED SEAM,
+TUCKING, AND PUTTING A RUFFLE INTO A HEM-TUCK.]
+
+Hemmed Seam: One inch and a quarter from the top crease a fold with the
+warp. Cut on this crease.
+
+See description of the Hemmed Seam, page 86.
+
+Putting a ruffle into a hem-tuck and tucking: Measure up from the bottom
+two and one-fourth inches--or twice the width of the hem-tuck plus
+one-fourth inch for the seam--and crease with the warp, across the
+piece. Stitch, or run by hand an inch tuck, taking care to measure and
+make perfectly even. Measure up three-eighths of an inch from this
+stitching and crease for another tuck. Stitch, or run by hand an eighth
+of an inch tuck. Measure up three-eighths of an inch for another tuck.
+Put in a cluster of three tucks. Hem the ruffle with an eighth of an
+inch hem, gather and stroke the gathers.
+
+See description of gathering and sewing a ruffle to a straight edge,
+page 69.
+
+Place the wrong sides of the cloth and ruffle together and baste to the
+edge extending below the hem-tuck, bringing the seam exactly to the edge
+of the tuck. Baste and stitch the edge of the hem-tuck over the seam of
+the ruffle.
+
+
+EXERCISE NO. 42--AN UNDERWAIST OR CORSET COVER.
+
+_Materials:_ Pupils may furnish their own materials for an underwaist
+such as they wear. This may be of any style. Patterns can be secured
+from the mothers. If there is any difficulty in securing supplies from
+the home, a child's waist on a small scale may be substituted.
+
+
+THE SMALL WAIST.
+
+_Materials:_ Bleached muslin 24" woof by 10" warp, bias facings 54" by
+1"; white thread No. 70; needle No. 8.
+
+See the draft for the pattern of the small underwaist, page 53.
+
+Patterns: Multiply all dimensions by four. Each girl can draft her
+pattern from the teacher's dictation, or one pattern can be drafted
+before the lesson and the members of the class cut their patterns from
+this one. Insist that the patterns be exact. Have the patterns pinned
+on, and submitted for inspection before the cutting is done, to avoid
+blunders and waste of material. Cut the front double. One inch has been
+allowed for the hem on the backs.
+
+[Illustration: DRAFT FOR PATTERN OF UNDERWAIST.
+
+_This draft can be used for an underwaist of any size. Determine the
+length of the under arm seam in the garment required and divide this by
+1-1/4. Multiply all dimensions by this quotient. As a small fraction
+complicates the process and makes very little difference, use the whole
+number which is nearest the quotient obtained. The slight alterations
+necessary can be made in the fitting._]
+
+[Illustration: FRONT OF CORSET COVER AND BACK OF GIRL'S UNDERWAIST.]
+
+Baste, half-back stitch and fell the seams. Turn the hems at the back,
+baste and hem. See description of the Bias, page 79. Put the bias
+facing on the bottom first, then around the neck, and last around the
+armholes. Teach the joining of the bias facing by having the bottom
+facing in two pieces and then insist that the ends of the armhole facing
+be joined in the same way. Overhand neatly the ends of the bottom and
+neck facings. Make four quarter-inch buttonholes and sew on the buttons.
+
+
+EXERCISE NO. 43--COLLARS, JABOTS, BOWS, ETC.--CHRISTMAS PIECE.[34]
+
+The styles of dressing the neck vary greatly from season to season. This
+is also modified by the taste of individuals. Pupils may furnish their
+own material for any kind of collar desired, after thoughtful
+consideration of the prevailing styles. It is possible to make a great
+variety of useful and dainty articles at a trifling expense which will
+be most acceptable Christmas gifts. If so intended, lead the pupils to
+study the appropriateness of their gifts. Those pupils who find it
+difficult to furnish their own material may substitute a collar made
+from an imitation of linen which will afford the same experience in
+making, but will not be quite as desirable an article to wear.
+
+_Materials:_ Imitation linen 15" woof, 8" warp. This amount will cut
+either the Dutch collar by piecing the band, or the ordinary stiff
+collar. The patterns for both, or the collars from which patterns can be
+cut, can be brought from home by some member of the class. Be absolutely
+sure of the size before cutting out the collar, as a quarter of an inch
+will make a difference in the comfort and fit. It is an excellent plan
+to have collars of different sizes--12, 12-1/2, 13, 13-1/2--in the
+class, try them on, and mark the buttonholes on the bands from the right
+sized collars. The "Dutch" collar can be made with a plain hem and
+finished with the fine featherstitching or any of the ornamental
+stitches, or it can be embroidered in a simple pattern with the eyelet
+embroidery. This gives an excellent opportunity for an original design,
+or if so desired a pattern can be transferred by the use of the carbon
+paper. The stiff collar, if made double, is first sewed up on the wrong
+side and then turned and stitched along the edge on the right. It is
+then put into the double band, which has been made in the same way. If
+so desired the collar can be made of a single embroidered piece with the
+worked edge, or finished with the hemstitched edge and ornamented with
+fancy stitches.
+
+
+EXERCISE NO. 44--A STUDY OF HOME FURNISHING, DECORATION AND CARE.[35]
+
+The success of this exercise will depend entirely upon the interest and
+ingenuity of the teacher.
+
+See "Home Furnishing, Decoration and Care," page 112.
+
+
+EXERCISE NO. 45--TWIST BUTTONHOLES.
+
+_Materials:_ French flannel 3-1/2" warp by 6-1/2" woof; twist; sewing
+silk; needle No. 7 and No. 8.
+
+See description of the Buttonhole, page 63.
+
+Pupils will furnish their own twist and flannel for the practice work.
+It is not necessary that these should match in color. Double the flannel
+through the center the long way, baste along the folded edge and around
+the piece. Overcast the raw edges. Begin one-half inch from the top and
+make the buttonholes three-fourths of an inch long and three-fourths of
+an inch apart. Strand, overcast and finish with the bar.
+
+
+EXERCISE NO. 46--A PAIR OF DRAWERS.
+
+_Materials:_ Pupils may furnish their own materials for a full-sized
+garment. This may be made in any style. Patterns can be secured from the
+mothers or exchanged among the members of the class, or a pattern may be
+drafted from the diagram. Secure the pattern first and have the girls
+measure it to determine the amount of material needed. If there is any
+difficulty in securing supplies from the home, a pair of child's drawers
+on a smaller scale may be substituted. The directions for making the
+small drawers will assist in making the full-sized garment.
+
+
+THE SMALL DRAWERS.
+
+_Materials:_ Bleached muslin 36" woof, 11" warp; ruffling, India linen
+36" woof, 1-1/2" warp; white thread No. 70; needle No. 8.
+
+[Illustration: DRAFT FOR A PATTERN OF A PAIR OF DRAWERS.
+
+_This draft can be used for a pattern of any size. Determine the length
+at the side of the garment required, and divide this by 2-1/2 and
+multiply all dimensions by this figure. As a small fraction complicates
+the process and will make very little difference in this garment, use
+the whole number which is nearest the quotient obtained. Fold a large
+piece of paper, the fold of which will represent the fold at the side of
+the drawers. Draw the diagram enlarged upon one side of this. The lines
+for both the front and back are the same, except the two inside lines at
+the top, which will cut the front a little smaller than the back. It is
+for this reason that it is drawn on the double paper._]
+
+Patterns: See the draft for the drawers pattern, page 57. Multiply the
+dimensions by four. Each girl can draft a pattern from the teacher's
+dictation, or one pattern can be drafted and cut before class time, and
+the members of the class cut their patterns from this one.
+
+A strip of muslin thirty-six inches by eleven inches will cut the
+drawers by careful management. The lesson in economy and the experience
+of cutting from a close pattern is a valuable one for the girls, as it
+is a problem which will confront them many times in life. Fold the cloth
+the short way through the center, and pin the selvedge edges together.
+Allow three and one-half inches from the fold for the placket facings
+and bands, thus keeping the extra cloth in one large piece. Pin the
+pattern in position, and cut the two lengths, at the same time taking
+care that the lengthwise fold of the pattern is straight with the warp
+threads. If the pattern does not allow for hem and tucks, provide the
+extra length when cutting. The right sides are now together; mark them
+before separating, and avoid the chance of making both pieces for the
+same leg, a mistake easily made by more experienced needlewomen.
+
+Finish the bottom of the drawer legs with one-eighth inch tucks,
+one-half inch hem-tuck and the ruffle as in Exercise No. 41. One-half
+inch in front of the side fold cut an opening, with the warp, four
+inches in length. This may be made in both legs or in the right one
+only, and may be finished with the gusset, placket A or placket B,
+keeping in mind that the back buttons over the front. Finish all seams
+with the French seam except where the ends of the ruffle are joined with
+the hemmed seam. Gather the fullness at the top on both sides of the
+front and the back seams, and draw up to the desired length of band. If
+two openings have been cut at the sides make the back band one inch
+longer than the front. Place buttons and make buttonholes where desired.
+
+
+EXERCISE NO. 47--CLOTH DARNING.
+
+_Materials:_ Albatros 4" × 5"; sewing silk; needle No. 8; beeswax.
+
+See description of Cloth Darning, page 68.
+
+Four holes, cut as follows, are to be darned on this piece of cloth:
+
+No. 1. In the lower left hand corner one inch from the bottom and the
+side, cut one inch straight with the warp. Darn with split sewing silk
+on the wrong side.
+
+No. 2. In the upper left hand corner, one inch from the top and side,
+cut one inch with the warp and one inch with the woof. This will serve
+for a three-cornered tear. Darn on the right side with ravelings. Spread
+the stitches at the corner like the sticks of a fan.
+
+No. 3. In the lower right-hand corner, one inch from the bottom and the
+side cut one inch on the bias. Darn with split sewing silk on the wrong
+side.
+
+No. 4. In the upper right-hand corner, one inch from the top and the
+side cut one inch across the warp. This will serve for a worn place in
+the cloth. Place the patch under it and baste around the edge. Darn with
+ravelings on the right side. Trim the edges of the patch smooth and
+herringbone stitch with ravelings around it.
+
+Finish the edge of the piece with the blanket stitch.
+
+Follow this exercise with the repairing of some article brought from
+home that will give a practical experience in cloth darning. Should
+there be any difficulty in securing these articles there are plenty of
+homes that will supply enough for the entire class. _This must be done
+under the teacher's supervision._
+
+
+EXERCISE NO. 48--TEXTILE FIBERS AND FABRICS--WOOL.
+
+Under the heading "Textile Fibers and Fabrics," page 95, will be found
+subject matter which can be used in correlation with the geography,
+language and history work. The seventh grade subject is Wool.
+
+[Illustration: A SET OF UNDERWEAR.
+
+EXERCISES 39, 42, 46, AND AN ELECTIVE.]
+
+
+ELECTIVES.
+
+[34] An exercise in paper and cardboard construction, adapted to the
+skill of the class, may be substituted for the Christmas Exercise. See
+chapter on "Paper and Cardboard Construction," page 101.
+
+[35] In connection with the study of home furnishing and decoration an
+exercise in passepartout or the making of lamp shades would be
+excellent.
+
+
+
+
+CHAPTER VII.
+
+DESCRIPTION OF STITCHES.
+
+
+STITCHES USED IN PLAIN SEWING.
+
+          1. Basting.
+          2. Blind Stitch.
+          3. Buttonholes.
+          4. Combination Stitch.
+          5. Darning.
+          6. Gathering.
+          7. Half-back Stitch.
+          8. Hemming.
+          9. Overcasting.
+          10. Overhanding.
+          11. Running.
+          12. Slip Stitch.
+          13. Stitching.
+
+
+ORNAMENTAL STITCHES.
+
+          1. Bands.
+          2. Blanket Stitch.
+          3. Chain Stitch.
+          4. Couching.
+          5. Feather Stitch.
+          6. French Knots.
+          7. Hemstitching.
+          8. Herringbone Stitch.
+          9. Kensington Outline.
+          10. Lazy Daisy or Star Stitch.
+
+
+MISCELLANEOUS.
+
+          1. Bias.
+          2. Cloth.
+          3. Eyelets and Loops.
+          4. Joining and Fastening Threads.
+          5. Mitered Corner.
+          6. Patterns.
+          7. Plackets.
+          8. Putting in Sleeves.
+          9. Seams.
+              A. Bound Seam.
+              B. Flannel Seam.
+              C. French Fell.
+              D. French Seam.
+              E. Hemmed Seam.
+          10. Sewing on Buttons.
+          11. Sewing on Hooks and Eyes.
+          12. Sewing on Lace.
+          13. Tucking.
+
+
+STITCHES USED IN PLAIN SEWING.
+
+=Basting.=--Basting is temporary sewing used to hold the cloth in place
+while putting in permanent stitches. As the basting threads are to be
+removed, place the knot on the right side. Fasten the threads securely
+by taking two or three backstitches. In removing basting threads clip
+the threads at short intervals that they may be taken out easily. Much
+of the success of the work depends upon careful basting. The extra time
+required will be repaid ten-fold. One stitch at a time for beginners,
+later two or three stitches may be taken. In basting hems, baste not on
+the edge, but very near it. Do not baste on the line where you expect to
+stitch, but as near it as possible.
+
+A. An even basting is used on hems, seams of garments, or wherever two
+pieces of cloth are to be held firmly together. Take up one-fourth of an
+inch and skip one-fourth.
+
+B. Uneven basting is used where very careful basting is unnecessary, as
+in the seams of skirts, or in working on a material that clings
+together, as a guide for stitching. Take up an eighth of an inch and
+skip three-eighths. When only loose basting is required, as when holding
+the lining and outside together, a long stitch and two short ones may be
+used.
+
+=Blind Stitch.=--The blind stitch and slip stitch are used to fasten a
+hem lightly where it is desired to conceal the stitches. To blind stitch
+a hem, turn back the edge of the hem to the basting and, holding the
+cloth along the edge of the finger, catch first cloth and then hem with
+a single stitch that does not show on either side. A slip stitch is a
+long stitch on the wrong side and a blind stitch on the hem. It is used
+on the milliner's fold.
+
+=Buttonholes.=--A buttonhole is a slit cut and worked to admit a button
+for fastening purposes. It is much easier for beginners to commence on
+the blind buttonhole. This is made by working around a line instead of
+cutting the hole. The stitch, the fan, and the finishing can thus be
+learned without the care of the raw edge. The directions for making the
+buttonhole are as follows:
+
+[Illustration: STITCHES USED ON PLAIN SEWING.
+
+          1--Three styles of basting.
+          2--The running stitch.
+          3--The gathering.
+          4--The backstitch.
+          5--The half-back stitch.
+          6--The combination stitch.
+          7--The overcasting.]
+
+          A. PREPARATION OF THE HOLE.
+
+          a. _Cutting_--With the buttonhole scissors cut the
+          hole one-fourth of an inch from the folded edge
+          and straight with the threads of the cloth.
+
+          b. _Stranding_--The strand consists of carrying
+          the thread along the edge of the buttonhole near
+          enough to be easily covered by the buttonhole
+          stitch, for the purpose of adding strength to the
+          buttonhole. Thread two needles, one with fine
+          thread or sewing silk and the other with coarser
+          thread or twist, depending upon the kind of
+          buttonhole to be made. Place a knot in the coarse
+          thread or twist, and with the folded edge of the
+          cloth toward the left hand, bring the needle out
+          just below the lower right hand end of the
+          buttonhole, which is the end farthest from the
+          folded edge. At the other end put the needle into
+          the cloth just below the end of the cut and bring
+          it out just above, which will carry the thread
+          along the edge of the buttonhole. Repeat the same
+          on the other side bringing the thread out at the
+          point of starting. Do not cut this thread, as this
+          is ready to begin the buttonhole stitch after the
+          overcasting.
+
+          c. _Overcasting_--With the fine thread or sewing
+          silk begin at the lower right-hand end. The object
+          of the overcasting is to prevent raveling while
+          working the buttonhole and the fewer stitches
+          which will accomplish this purpose the better. As
+          the overcasting must be covered by the buttonhole
+          stitch do not take over two or three threads deep
+          and just as few stitches on each side as is
+          absolutely necessary to prevent the loosening of
+          the threads. Some materials do not require
+          overcasting.
+
+
+          B. WORKING THE BUTTONHOLE.
+
+          a. _The Stitch_--Determine how deep a stitch is
+          necessary so that the threads will not pull out,
+          always keeping in mind that _the shorter the
+          stitch the better the buttonhole will look_. This
+          depends upon the kind of material in use. The
+          first stitch begins one thread beyond the end of
+          the slit. Holding the buttonhole along the cushion
+          of the left forefinger with the folded edge of the
+          cloth toward the left, place the needle into the
+          slit under the lower edge of the buttonhole and
+          draw the needle half way through. With the needle
+          still pointing toward the chest take up the
+          double thread at the eye of the needle and place
+          it under the point, passing _from right to left_.
+          Draw the needle and thread out, and from you, so
+          that the purl or twist comes to the edge of the
+          slit. (This makes a firmer edge than when the
+          thread is carried around the needle from left to
+          right.) Each stitch is a repetition of the above.
+          Place the stitches about the width of a thread
+          apart, as this will avoid a crowded appearance and
+          makes a firm, hard edge. Do not jerk the thread,
+          but draw steadily and tight; otherwise the edge
+          will be rough. Avoid stretching the buttonhole;
+          the edges should touch when finished.
+
+          b. _The Fan_--At the end near the folded edge--the
+          round end--spread the stitches like the sticks of
+          a fan, drawing them closer at the top and
+          spreading at the bottom. Five stitches will work
+          nicely around the end, the third stitch being
+          straight with the buttonhole.
+
+          C. METHOD OF FINISHING THE BUTTONHOLE.
+
+          a. The simplest manner of finishing is as follows:
+          The buttonhole stitches at this end are at right
+          angles to the slit, and not rounding as at the
+          other end. After finishing the last buttonhole
+          stitch, pass the needle down between the first and
+          second stitch, and bring it out between the last
+          and next to the last stitch. Draw the thread tight
+          so as to bring the edges of the buttonhole
+          together. Put in several stitches in the same
+          place. Pass the needle to the under side and
+          fasten the thread.
+
+          [Illustration: METHOD OF BUTTONHOLING.]
+
+          b. _The Bar_--The thread being at the top of the
+          last stitch, pass the needle down between the
+          first and second stitch and out at the bottom of
+          the last stitch. Put in three threads across the
+          width of the buttonhole, bringing the thread out
+          at the bottom of the last buttonhole stitch. Turn
+          the cloth so that the thumb covers the thread and
+          the buttonhole, and work the bar by bringing the
+          needle out each time over the thread, as in the
+          blanket stitch. Draw the purl edge toward the
+          buttonhole. Do not put in too many stitches, as it
+          makes the loop stand away from the buttonhole.
+          Near the middle of the bar take one stitch through
+          the cloth to hold it down.
+
+          c. _Caution_--Be sure that the thread is long
+          enough to work the buttonhole, but not over-long,
+          as the thread wears and is more liable to break.
+          Use care and not break the thread, but in case
+          this happens, take out the last few stitches,
+          thread the needle on this short end, pass through
+          the last purl, and fasten the thread on the under
+          side. With the new thread fasten without a knot on
+          the wrong side, bring through the last purl at the
+          edge of the buttonhole and continue.
+
+          On cloth that ravels badly put in two parallel
+          rows of running stitches and then cut the
+          buttonhole between the rows.
+
+=Combination Stitch.=--The Combination stitch consists of three little
+running stitches and a backstitch over the last running stitch. Take
+three running stitches on the needle and pull it through. Take up the
+last running stitch for the first of the next group of three. It is a
+little stronger than the running stitch.
+
+=Darning.=--The object in darning is to repair a rent, if possible so
+that it cannot be perceived. The warp and woof threads that have been
+worn away are to be rewoven into the cloth. No knots are needed. Leave a
+short end of thread to be clipped when the darn is finished.
+
+
+A. STOCKING DARNING.
+
+Stockings should be darned on the wrong side. A square hole makes a more
+symmetrical darn than a round one, and should be used wherever there is
+no widening or narrowing in the knitting, as on the leg of a stocking. A
+round hole is better for the heel and toe. Cut away the part that is
+badly worn. First put in the warp threads, taking care to take up on the
+needle all the little loops around the hole and making the darn
+symmetrical in shape. Then put in the woof threads, weaving carefully
+across the warp over the hole, passing over the threads that were taken
+up on the preceding row. _Give special attention to the edge of the
+hole, passing first over and then under the edge, that there may be no
+ridge._ If the hole is large or stretched out of shape, draw up the
+edges by whipping with fine thread. The darning stitches should extend
+only as far as the worn part. If the warp threads have strengthened the
+worn part sufficiently the woof threads may be extended only far enough
+over the edge to fasten securely. In darning a large hole it is
+sometimes wise to begin putting in the warp threads at the center first
+to prevent stretching. Do not draw the threads too tight, as they will
+shrink when washed.
+
+
+B. CLOTH DARNING.
+
+This may be done with thread, ravelings or hair. In darning with thread
+darn on the wrong side, with ravelings or hair on the right. Darn at
+right angles to the tear or cut. Continue the darning stitches on each
+side of the tear only far enough to strengthen the worn part, usually a
+quarter, sometimes an eighth of an inch, is sufficient. Continue the
+darn an eighth of an inch beyond the end of the tear. The repairing
+shows less if the rows of darning stitches are of unequal length. In
+darning take up the threads of cloth passed over in the preceding row,
+slipping the needle over one edge of the tear and under the other going
+one way and reversing this order going the other way. This makes the
+edge smooth and does not throw it up in a ridge. If the material to be
+darned is thin or stretches easily, place the rent over a piece of
+glazed paper and baste around it before darning. If the cloth is worn
+and thin, place a piece of cloth under and darn through the two
+thicknesses. Take great care not to stretch the hole or to draw the
+threads tight enough to pucker.
+
+=Gathering.=--Gathering is an uneven stitch made by passing over twice
+as much as is taken on the needle. When the thread is drawn up this
+gives the appearance of fine gathering on the right side and admits of
+considerable cloth being gathered into a small space.
+
+Gathering is used in joining a full part to a straight piece, as the
+skirt to the band, etc. Gather with a strong single thread a little
+longer than than the space to be gathered. _Never use a double thread._
+If the thread becomes knotted a new thread must be put in from the
+beginning. Hold the cloth, as in the running stitch, with the right
+side toward you, using the wrist motion. Make a large knot in the thread
+so that it cannot slip through the cloth, and place the knot on the
+_wrong_ side. At the end of the gathering slip the needle off and make a
+knot in the thread, that it may not pull out.
+
+
+A. STROKING GATHERS.
+
+For stroking or placing gathers use a coarse needle or a pin. Draw up
+the gathering thread just tightly enough so that the pin can be easily
+inserted between the gathers and fasten by winding over a pin placed at
+right angles to the last stitch. Begin at the left hand, placing the pin
+in the fold of the first stitch and stroke gently downward, holding the
+pin obliquely. After each successive stroke press the pleat under the
+thumb of the left hand. Continue the same with every stitch.
+
+
+B. SEWING THE GATHERED PART TO THE STRAIGHT PIECE.
+
+Divide both into halves, quarters or eighths, depending upon the length,
+and pin the points of division together. Draw up the gathering thread to
+the proper length and fasten by winding over a pin. Arrange the gathers
+even before basting. Baste just above the gathers, holding the gathered
+piece next to you. _Stitch just below the gathering thread._
+
+
+C. GAUGING.
+
+Gauging or double gathering is done by having a second row of gathering
+stitches of equal length and directly below those of the first (so that
+when both threads are drawn up the cloth lies in pleats). In heavy
+material three or four threads may be put in. Gauging is usually used on
+heavy material or on a folded edge that is to be overhanded to a band.
+
+
+D. GATHERING BY WHIPPING A ROLLED EDGE.
+
+Ruffles of lawn, linen or embroidery are sometimes put upon the edge
+instead of into a facing or seam, and when so placed it is desirable to
+avoid the raw edge on the under side. Hold the work over the left
+forefinger and roll the edge toward you between the thumb and
+forefinger. Place the needle under the roll on the right side, passing
+out at the top of the roll. Whip about one inch and draw up the thread.
+It is necessary to use a strong thread for whipping and gathering the
+edge of a ruffle.
+
+=Half-Back Stitch.=--Half-back stitching is similar to the stitching.
+The long forward stitch on the under side is three times the length of
+the backstitch on the upper side, and a space the length of the
+backstitch is left between the stitches. See Stitching, page 63.
+
+=Hemming.=--A hem is a fold made by twice turning over the edge of a
+piece of cloth, and then sewing it down. The first fold is most
+important; if that is turned even there will be little trouble with the
+second. _Trim the edge of the cloth before turning the hem._ It is well
+to make and use a gauge of the required width. If a wide hem is turned,
+baste along the second fold or bottom of the hem first, and then at the
+top. On woolen goods or material that does not crease easily it is
+necessary to baste the first fold. Either bury the knot between the
+folds of the hem or leave one-half inch of thread and hem over it.
+
+
+A. HEMMING STITCH.
+
+Hold the hem across the cushion of the left forefinger and point the
+needle a little to the left across the middle of the thumb. Take up a
+few threads of the cloth and a few threads of the fold and draw the
+needle through. Take care that the stitches are regular, of equal length
+and of equal distance apart. _Do not confuse the hemming stitch with the
+blind stitch, or the damask hem._ Join the threads by leaving a
+half-inch of the old thread and a half-inch of the new to be tucked
+under the edge of the hem and be hemmed over.
+
+Teachers will find the following suggestions helpful in teaching the
+hemming stitch:
+
+Put the needle in _almost_ straight with the hem, not at right angles to
+it. Take up as little cloth on the needle as possible; bring the needle
+directly through the hem, making one stitch of it instead of dividing
+the stitch as in the blind stitch. Crowd the point of the needle under
+the edge of the hem. Do not insert the needle a distance from the hem,
+trusting to puckering it up.
+
+
+B. DAMASK HEM.
+
+Damask is a heavy fabric woven of heavy threads of one color in which
+the pattern is brought out by a change in the direction of the threads,
+and when new is stiff with much dressing. From the very nature of the
+cloth it is impossible to hem well with the flat hem. The two folds of
+the hem are turned the desired width and the hem is then turned back
+flat to the cloth and creased. The edge of the hem and the crease thus
+formed are overhanded together with fine even stitches. When laundered
+this irons perfectly smooth and the stitches do not show on the right
+side. Do not confuse this method of hemming with the flat hem, as each
+has its own use.
+
+=Overcasting.=--Overcasting is done by taking loose stitches over the
+raw edge of cloth from right to left to keep it from raveling. The depth
+of the stitch depends upon the material to be overcast, usually an
+eighth of an inch is sufficient. The stitches should be twice as far
+apart as they are deep. The needle is inserted from the under side of
+the cloth and points a little to the left, making a slanting stitch.
+Keep the spaces even and the stitches of equal length. _Always trim the
+edges before overcasting._ Do not overcast a selvedge edge. Take only
+one stitch at a time and be careful not to draw the edge of the cloth.
+
+=Overhanding.=--Overhanding is done by sewing closely over two edges of
+cloth from right to left. The cloth may have a folded or selvedge edge.
+Careful basting is necessary to good overhanding. The needle is placed
+at a right angle to the seam and should point to the chest. No knot is
+used; a short end of the thread is left and overhanded under. Hold the
+work horizontally along the edge of the cushion of the left forefinger
+and the thumb. Do not wind the cloth over the end of the finger. The
+stitches are straight on the under side and slanting on the top. Do not
+draw the threads tight enough to make a hard seam and also avoid a loose
+stitch that will not hold the edges together when the seam is opened. A
+deep stitch is not necessary for strength and will not look well on the
+right side when opened. To join the threads leave a half-inch of the old
+and a half-inch of the new, lay them along the edge and overhand over
+them.
+
+=Running.=--Running is done by taking up and slipping over an equal
+amount of cloth.
+
+Running is used for seams that do not require great strength, and also
+for tucking. Care should be taken not to draw the thread tight enough
+to pucker. Make a small knot in the thread and conceal it on the wrong
+side or in the folds of the cloth. Hold the work in the left hand
+between the thumb and cushion of the forefinger; hold the needle in the
+work between the thumb and forefinger of the right hand. Use the wrist
+motion.
+
+Fasten the thread by passing the needle through to the wrong side and
+taking two backstitches.
+
+=Slip Stitch.=--See Blind Stitch, page 63.
+
+=Stitching.=--Stitching is so called because it resembles machine
+stitching. It is also known as backstitching. Stitching is done by
+taking a stitch backward on the upper side of the cloth and a long
+stitch forward on the underside, making the stitches meet on the top as
+in machine stitching. Use a small knot in beginning. Hold the work over
+the cushion of the left forefinger.
+
+Fasten the threads on the wrong side by taking several backstitches, one
+over the other, through one thickness of the cloth. To join threads in
+stitching fasten securely on the wrong side and begin with a small knot,
+bringing the thread through at the proper place for beginning the new
+stitch. It is used where strength is required, or on garments too small
+to go into a machine conveniently.
+
+
+ORNAMENTAL STITCHES.
+
+=Applique.=--This is an ornamentation produced by cutting a design from
+one kind or color of cloth and placing it upon another. Very beautiful
+effects can be obtained, with perfect harmony of color and the proper
+combinations of textiles. The edge can be finished with the blanket,
+couching, Kensington or chain stitch.
+
+=Blanket Stitch.=--The blanket stitch, often erroneously called the
+buttonhole stitch, is used for finishing raw edges. It is worked from
+_left to right_, and the buttonhole stitch from _right to left_. The
+depth of the stitch and the space between stitches may be varied and
+will depend upon its use. If the thread is not fastened and joined
+carefully the symmetry of the stitches will be broken. A new thread must
+come up through the loop of the last stitch.
+
+
+A. TO FINISH THE EDGE OF FLANNEL OR HEAVY CLOTH:
+
+Insert the needle at a point the desired depth of the blanket stitch and
+take one or two running stitches to the edge of the cloth, which will
+bring the thread in position for the first stitch. Make the first
+blanket stitch over these running stitches. Holding the edge of the
+cloth toward you insert the needle at the same point as before and bring
+the needle out over the thread and draw the loop thus made to the edge
+of the cloth. Repeat for successive stitches. For a simple finish for a
+flannel edge the stitches should not be placed too close together. As
+far apart as the depth of the stitch is a good rule, unless greater
+ornamentation is desired, when three, five or seven stitches may radiate
+from one point.
+
+
+B. FOR EMBROIDERING AN EDGE--STRAIGHT, SCALLOPED OR IRREGULAR.
+
+[Illustration: ORNAMENTAL STITCHES.
+
+          1--The chain stitch.
+          2--The Kensington stitch.
+          3--Two styles of feather stitching.
+          4--The herringbone stitch.
+          5--Three styles of blanket stitch.]
+
+The stitches are the same as in "A" but should be placed close enough
+together so that the threads touch, making a firm edge. The embroidery
+should be done before the edge is cut. It can then be finished in
+various ways. The narrow edge can be turned back and whipped down on the
+wrong side, or blanket stitched just over the edge with fine cotton
+thread. On lingerie pieces the edge is not cut until after the first
+laundering. If desired the edge can be padded before working with the
+blanket stitch. The padding is done with a soft, coarse thread by
+working along the edge with either the Kensington or chain stitch, or it
+may be heavily "padded" by filling the space.
+
+
+C. The blanket stitch is also used for working the loop and the
+buttonhole bar.
+
+
+D. See Couching, below.
+
+
+E. See Lazy Daisy or Star Stitch, page 78.
+
+
+=Chain Stitch.=--The chain stitch is used for outlining a design,
+marking garments, etc. Insert the needle on the line and draw the thread
+through to the knot. Insert again at the same point and take up on the
+needle cloth for the desired length of stitch and draw the needle out
+_over_ the thread. In placing the needle for succeeding stitches begin
+inside the preceding stitch. The Half-Chain Stitch is very effective for
+stems of flowers, or wherever a fine outline stitch can be used. This is
+made the same as the chain stitch, except that the needle is inserted
+just outside and to the right of the loop instead of in the end of the
+loop.
+
+=Couching.=--Couching is a coarse blanket stitch done over two or three
+strands of silk, linen or cotton floss. It makes an attractive finish
+for a hem line and also for finishing the edge in applique.
+
+=Feather Stitch.=--The principal use of the feather stitch being that of
+ornamentation requires that it shall be evenly and carefully done, or it
+fails in its purpose. The feather stitch consists of alternating
+stitches, or groups of stitches, slanting toward a center line. The
+stitch may be varied greatly by the length of the stitch, the slant of
+the stitch, and the number of stitches on each side. The tendency is to
+gradually increase the length of the stitch which must be carefully
+avoided, as well as a change in the slant. Do not make too long a
+stitch, as there is danger of catching and breaking the thread. The
+feather stitch can be used very effectively in scroll designs for the
+ornamentation of sofa pillows, cushion covers, collars, underwear, etc.
+
+
+A. SINGLE FEATHER STITCHING.
+
+Work toward you, holding the cloth over the left forefinger. With a knot
+in the thread insert the needle from the under side a short distance to
+the right or left of the line the feather stitching is to follow (which
+may be designated the center line) and draw the thread through. Place
+the left thumb over the thread to hold it down, and on the opposite side
+take up a slanting stitch, the top of which is as far from the center
+line as the length of the stitch, and the bottom touching the center
+line. Draw the needle out over the thread which will thus form a loop of
+the thread from the first stitch. On the opposite side take up another
+slanting stitch the top of which is an equal distance from the center
+line and even with the bottom of the last stitch. Repeat for successive
+stitches. At the end of a thread fasten by passing the needle down where
+the thread last came through the cloth, thus holding the loop from the
+last stitch in place. Begin a new thread by passing the needle up
+through this loop.
+
+
+B. DOUBLE FEATHER STITCHING.
+
+This consists of alternating groups of two, three or more stitches
+instead of single stitches. The successive stitches of each group must
+be placed directly under the first stitch of the group.
+
+
+=French Knot.=--Bring the needle through from the under side. With the
+needle in the right hand, take hold of the thread with the left hand
+about an inch from the cloth and, holding it taut, wind it several times
+around the point of the needle. Return the needle to the same hole
+through which it came out, and draw it back to the under side.
+
+
+=Hemstitching.=--Hemstitching is a method of hemming in which a few
+parallel threads are drawn, the hem turned to the line thus formed, and
+hemmed down with the same stitch that separates the cross threads in
+successive clusters. There are several modifications of the hemstitch.
+The following methods have been selected as being the best for four
+reasons: (1) The thread is thrown under the edge of the hem, and
+consequently wears longer and shows less. (2) The only part of the
+thread showing on the right side is the loop around the cross threads.
+(3) It is readily taught to children, as it is simple, easy to remember,
+and can be given as two distinct parts. (4) It is the natural way to
+hold the hem.
+
+          a. _Drawing the threads_--Measuring from the edge
+          of the cloth, allow twice the width of the desired
+          hem when finished, plus the first fold, and draw
+          several threads, the exact number depending upon
+          the texture of the fabric. Draw the first thread
+          the entire length before starting the second, as
+          it is liable to break where the first one did. The
+          first thread being drawn, the second will come
+          more readily. Beginners are inclined to draw too
+          many threads. Unless both edges are to be
+          hemstitched the opening should be narrow enough so
+          that the threads at the top will not loosen.
+
+          b. _The Hem_--Turn the first fold of the hem and
+          baste to the exact line of the opening. Careful
+          basting is indispensable to good hemstitching, and
+          especially so at a corner where two hems cross.
+          Miter all corners of hems that are more than
+          one-fourth of an inch in width.
+
+          c. _The Stitch_--Hold the cloth over the left
+          forefinger as in ordinary hemming. Bury the knot
+          by inserting the needle under the edge of the hem
+          and drawing it through. The stitch consists of two
+          distinct parts, (1) forming the loop around the
+          cross threads, and (2) catching down to the edge
+          of the hem:
+
+          (1) Pointing the needle toward you and holding the
+          thread under the left thumb, take up on the needle
+          three or four of the cross threads. Draw the
+          needle out over the thread, thus forming the loop,
+          and tight enough to separate the cross threads.
+
+          (2) Insert the needle under the edge of the _hem_
+          only and take an ordinary hemming stitch. Repeat 1
+          and 2 for the next stitch.
+
+=Herringbone Stitch.=--The herringbone or catch stitch is a cross stitch
+used to finish the raw edges of flannel or heavy material. It serves
+both the purpose of overcasting over a raw edge and that of hemming. It
+is used on raw edged hems to avoid the ridge formed by the first fold of
+a hem, on the flannel patch and for finishing the flannel seam, which
+may be pressed open and both single edges herringbone stitched, or both
+folded to one side and finished over the double edge. In most cases the
+open seam looks better.
+
+The stitch consists of single, alternating running stitches made first
+to the right and then to the left, working from you instead of toward
+you as in ordinary running. The thread being carried across from one
+stitch to another, gives the appearance of a cross stitch. The stitches
+on each side must be in straight rows, with the outer row just over the
+edge of the flannel. The stitch should be no deeper than necessary to
+prevent pulling out. A good rule for beginners is to make the top of
+each stitch even with the bottom of the last stitch. _Point the needle
+toward you in making the stitch, but work away from you._ The edge of
+the flannel must be kept smooth. This being a cross stitch the thread of
+one part of the stitch is on top and the other underneath. Be sure that
+this is regular, those slanting in the same direction should be always
+either to the top or to the bottom.
+
+=Kensington Outline Stitch.=--This stitch is used to follow the line of
+a design for ornamentation. To avoid the knot, when starting begin half
+an inch from the end of the line to be followed, and put in three or
+four running stitches, bringing the thread out at the proper place for
+starting. Turn the cloth around, holding it over the left forefinger,
+and work from you. Pointing the needle toward you, take a short running
+stitch directly on the line keeping the thread always on the right side
+of the needle, except on a line curving sharply to the left when the
+thread will fall more naturally to the left side. The thread being
+carried from one stitch to another gives the effect of a long diagonal
+stitch on the right side and running stitches on the wrong. The length
+of the stitch will be determined by the size of the thread, and the
+character of the line to be covered, a curved line requiring a shorter
+stitch than a straight one.
+
+=Lazy Daisy or Star Stitch.=--This is a variation of the blanket stitch.
+Insert the needle at the point desired for the center of the flower and
+draw the thread through. Insert again at the same place and take up the
+desired length of stitch on the needle, drawing the needle out over the
+thread. Pass the needle down through the cloth at the point where it
+came out, but on the other side of the loop, thus forming a second loop
+at the end of the petal to hold it in place, and return the needle again
+to the center of the flower. Make as many petals as desired and finish
+with the French knot in the center of the flower. This stitch also makes
+a pretty star, using six points and finishing without the French knot.
+
+
+MISCELLANEOUS.
+
+=Bands=.--A band is a straight piece of cloth used to finish garments at
+the neck, wrist or waist. It may be sewed to a straight, gathered or
+pleated edge. A band cut with the warp is stronger than one cut with the
+woof.
+
+A. HEMMED BAND.
+
+See description of the Gathering, page 68. Gather as desired. Place the
+right sides of the cloth and band together and baste just above the
+gathering thread, taking care that the gathers are arranged perfectly
+even. Stitch just below the gathering thread. Turn in a fourth of an
+inch at the ends and along the other side of the band. Fold the band
+over just covering the gathers, and baste. Hem or stitch along the edge,
+overhanding the ends of the band.
+
+
+B. OVERHAND BAND.
+
+See description of Gauging, page 69. Make the band by turning in
+one-fourth of an inch all around, folding and basting the edges
+together. Overhand the ends of the band. The whipping of the full part
+to the band will be sufficient to hold the two sides of the band
+together. Turn back the raw edges of the piece to be gathered one-half
+inch and gather once, twice or three times as desired. Pin to the band
+and overhand, taking a stitch for each pleat of the gathers. Fasten all
+bands very securely.
+
+
+=Bias.=--A bias is a diagonal cut. To cut a true bias, fold over the
+corner of the cloth so that the warp and woof threads are parallel. A
+choice bias is a true bias, having the twill of the cloth at right
+angles to the cut. Great care should be taken in measuring and cutting
+bias strips to have them the same width throughout the length. Also
+avoid stretching after cutting.
+
+          a. To cut a bias facing, bias binding or fold,
+          measure in the desired width on the true bias at a
+          number of points. Draw a line, crease in a fold or
+          baste where the facing is to be cut off.
+
+          b. To put on a bias facing, place the edge of the
+          strip, right sides together, even with the edge of
+          the cloth to be faced, baste and stitch. Turn the
+          facing back _exactly_ in the seam and baste along
+          the edge so that the facing will not show on the
+          right side. Turn the fold at the top, baste and
+          hem.
+
+          A bias facing for a curve should be cut narrow
+          enough so that by stretching one edge of the
+          facing it will lie perfectly smooth when finished.
+
+          c. To join two bias strips--Cut the ends to be
+          joined straight with the threads of the cloth and
+          place the right sides together, slipping the top
+          piece past the under piece the width of a seam,
+          but having the top edges even. Stitch where the
+          facings cross, open the seam and crease; or, after
+          trimming, a seam may be turned back at the end of
+          each piece and the folded edges overhanded
+          together.
+
+=Cloth.=--A fabric woven of fibers, either animal or vegetable. The
+edges of cloth are known as the selvedge, the threads running lengthwise
+the warp, and those crossing the warp from selvedge to selvedge the
+woof. The selvedge should be trimmed off, as it is hard to sew through
+and draws up when wet.
+
+=Eyelets and Loops.=--An eyelet is a small hole made and worked in a
+garment to receive a cord, stud or loop of a button. Punch the hole with
+a stiletto, pushing the threads apart rather than breaking them.
+Overhand closely from right to left with short even stitches. A large
+eyelet may be cut out and worked around with the buttonhole stitch. A
+blind loop is made in place of the eye to receive a hook. Put three or
+four long stitches in the same place beginning at the left, so that the
+thread will be at the proper place for working the loop with the blanket
+stitch.
+
+=Joining and Fastening Thread.=--When sewing, care should be taken in
+joining threads. The manner in which it is done depends upon the stitch
+in use. In hemming, leave a half-inch of the old and a half-inch of the
+new thread, tuck both under the hem and continue hemming over the
+threads. The same plan is followed in overhanding. In the blanket
+stitch, feather stitch, herringbone, chain and buttonhole stitch the new
+thread must come out through the last stitch. Thoughtful attention
+should be given to the fastening of threads, as careful, painstaking
+work may soon be rendered useless by the loosening of the thread from
+the end. After fastening securely clip off all threads that the work
+may be not only strong, but neat. The usual fastening consists of
+several backstitches taken in the same place.
+
+=Mitered Corner.=--Two hems crossing at right angles may be finished
+either with the square or the mitered corner. To miter a corner, turn
+and crease a quarter-inch fold on both sides. Turn the second fold of
+the hem the desired width on both sides and crease. Open out the corner
+and place a dot where the inner creases cross. Place a second dot a
+quarter of an inch from the first toward the corner. Through this second
+point draw a line passing from side to side, across the corner, being
+careful that the line is an equal distance from the corner on both
+sides. Cut off the corner on this line. Fold both hems again on the
+creases before made and pin the hem on one side in place. Make a pin
+hole as near the exact point where the hems cross as possible, passing
+through both hems. Fold in the bias edge on the hem that is not pinned
+down, _exactly from the pin hole to the corner_, causing the edges of
+the two hems to meet at an angle of forty-five degrees.
+
+=Patterns.=--With the varied, complex and ever-changing styles of
+fashion, individual pattern drafting (except for a very simple article)
+is impracticable, usually resulting in commonplace garments and
+involving useless time and labor. For the trifling sum of ten or fifteen
+cents reliable, up-to-date patterns can be secured which are cut to
+established measurements by a fashion expert. A good needlewoman
+supplies herself with a good pattern and then cuts accurately, bastes
+carefully, and finishes neatly, and in nearly all cases, results will be
+satisfactory.
+
+=Plackets.=--A placket is an opening made in a garment. There are
+several ways of finishing an opening, but in all cases, except when the
+gusset is used, the underside should extend some distance under the top
+to prevent gaping.
+
+
+A. A PLACKET WITH A CONTINUOUS BINDING.
+
+This is the placket used on children's drawers, night shirts, under
+garments, etc.
+
+Cut the opening the desired length. Cut the facing with the warp a
+little more than twice the length of the opening and twice the desired
+width when finished, plus one-fourth inch, or more, allowed for seams.
+The following are the successive steps for making the placket:
+
+          a. Fold the cloth, right sides together, in a line
+          with the opening.
+
+          b. Double the facing across the warp, through the
+          center, wrong sides together.
+
+          c. Slip this between the folds of the cloth so
+          that the fold of the facing will just come to the
+          end of the opening. This will bring the right side
+          of facing to the right side of the cloth.
+
+          d. Baste the facing to the cloth down one side and
+          up the other side of the opening.
+
+          e. Stitch with an eighth of an inch seam, which
+          will render unavoidable a small pleat at the end
+          of the opening the width of the seam.
+
+          f. Crease the facing back over the opening exactly
+          in the seam.
+
+          g. Turn an eighth of an inch fold the length of
+          the facing down the other side.
+
+          h. Fold this over the seam to the stitching,
+          baste, and hem.
+
+          i. At the top of the opening fold the right-hand
+          facing back and stitch along the edge to hold in
+          place.
+
+B. A PLACKET WITH AN EXTENSION HEM ON ONE SIDE AND A FLAT FACING ON THE
+OTHER.
+
+This is the placket used on dress skirts, petticoats and carefully
+tailored garments.
+
+Follow the directions for the successive steps for making Placket A
+through "g," as the two plackets are the same to this point.
+
+The left side of the facing will consist of an extension hem the same as
+in Placket A, the only difference in the plackets being the manner of
+finishing the right side or top facing.
+
+          h. After turning the fold the length of the
+          facing, place the edge of this fold to the
+          stitching on the other side of the seam, and
+          crease the facing through the center the long way,
+          as in Placket A.
+
+          i. As the right side is to be hemmed down as a
+          facing, it is desirable to cut out one thickness
+          of the cloth, leaving, of course, the quarter-inch
+          inside the long crease, and also at the cross
+          fold, at the end of the opening as the first fold
+          on the facing.
+
+          j. Baste this facing flat to the cloth, and hem.
+
+          k. Stitch once across the _top facing only_, just
+          at the bottom end of the opening.
+
+
+C. A FINISH FOR A SHIRT SLEEVE OR NIGHTGOWN OPENING.
+
+As this consists of an extra piece which extends over the opening, it is
+necessary to allow for this in cutting, so that the middle of this piece
+will come in the center when finished. When cutting this opening in a
+nightgown, cut to the right of the center one-half the width the facing
+is to be when finished. The following are the successive steps for
+making the nightgown opening:
+
+          a. Cut the opening the desired length. Cut the
+          facing in two pieces, one a little more than twice
+          the length of the opening, and the other the
+          length of the opening plus the width of the
+          facing, both pieces to be the desired width plus
+          the allowance for seams. (These two pieces will be
+          designated the long and the short facings.)
+
+          b. Place the short facing to the right-hand side
+          of the opening, right sides of cloth together and
+          even at the top. Pin in place.
+
+          c. Place the long facing to the back of this same
+          side with the right side of facing to the wrong
+          side of the cloth, thus having the three
+          thicknesses of cloth together. Pin in place and
+          baste a quarter of an inch from the edge. Stitch
+          an eighth of an inch seam.
+
+          d. The long facing is a continuous facing, the
+          same as in Plackets A and B. Baste up the other
+          side and stitch, the seam being on the right side
+          of the cloth.
+
+          e. Crease both facings open in the seams. Turn in
+          a fold on the other side of the short facing and
+          turn the end to a square point.
+
+          f. Turn a fold the length of the long facing so
+          that it matches the width of the short piece.
+
+          g. Baste the two facings together and the flat
+          facing to the cloth.
+
+          h. Stitch around the short facing and twice across
+          it at the end of the opening. Stitch or hem the
+          under side of the flat facing.
+
+
+D. THE GUSSET.
+
+This method of finishing an opening is sometimes used on drawers and
+night-shirts instead of Placket A. The following are the successive
+steps for making the gusset:
+
+          a. Cut the opening the desired length.
+
+          b. Hem both sides with a very narrow hem running
+          to a point at the end of the opening.
+
+          c. Cut a piece of cloth one and one-half inches
+          square. On this square fold down one corner
+          three-fourths of an inch on the sides and cut it
+          off. Turn a fold one-eighth of an inch all around
+          this piece. Place the corner which is opposite the
+          diagonal cut to the middle of this cut and crease.
+
+          d. To sew the gusset in, place the apex of the
+          triangle to the end of the opening and overhand on
+          the wrong side to the crease before made.
+
+          e. Fold over the remaining part to the wrong side,
+          baste and hem. Stitch along the fold of the gusset
+          to strengthen it.
+
+[Illustration: FORMATION OF GUSSET.]
+
+=Putting in Sleeves.=--After trimming the arm hole, measure one inch
+back from the shoulder seam and mark with a pin. Fold the garment at the
+arm hole with this pin at the top of the fold and place another directly
+opposite it. Call this point A. Remove the first pin to avoid confusion.
+For a sleeve for an adult, measure from the shoulder seam five inches on
+the front and mark with a pin. Call this point B. Measure from the
+shoulder seam three inches on the back and mark with a pin. Call this
+point C. With the sleeve right side out place the under seam of the
+sleeve at A and pin together at this point. The gathers are to come at
+the top of the sleeve between B and C. For misses and children the
+measurements should be decreased proportionately. Measure the sleeve on
+the arm-hole and cut small notches at B and C. Gather the sleeve between
+these notches one-fourth of an inch from the edge, with a strong thread
+a little longer than the distance to be gathered. Put in a second
+gathering one-eighth of an inch from the first. Put in place at points A
+B and C; draw up the gathering threads to the proper length and fasten
+by winding around a pin. Arrange the gathers between B and C, pushing
+them a little closer together in front of the shoulder seam. Hold the
+inside of the sleeve next to you and, beginning at B, baste first around
+the plain part, then the gathered part. Stitch inside the basting and
+bind the seam.
+
+=Seams.=--A seam is formed by sewing together two pieces of cloth. There
+are several different methods of joining them. Those known as the raw
+seams may be joined by stitching, half-back stitching, overhanding or
+the combination stitch. The closed or finished seams are known as the
+French Fell, French Seam, Hemmed Seam, Flannel Seam and the Bound Seam.
+No garment should be finished with a raw seam, which is only properly
+used when covered with a lining, or as the first step in one of the
+finished seams.
+
+
+A. FRENCH FELL.
+
+Place the two pieces to be joined, right sides together, edges even and
+baste one-fourth of an inch from the edge. Sew with the combination
+stitch (or machine stitching) three-eighths of an inch from the edge.
+Trim three-sixteenths of an inch from the _under_ side of the seam and
+crease the _upper_ side of the seam over this. (In hand sewing there is
+a long stitch on the under side. Be sure to trim from this side so that
+the short stitch comes on the top.) On the right side of the garment
+crease carefully and baste along the edge of the seam to prevent the
+fullness which beginners are so liable to have over the French Fell on
+the right side. Turn to the wrong side, baste the seam flat to the
+cloth, and hem.
+
+
+B. FRENCH SEAM.
+
+Place together the wrong sides of the pieces to be joined, and baste
+one-fourth of an inch from the edge. With the running stitch sew
+one-eighth of an inch from the edge. Carefully trim off the ravelings,
+fold the right sides together and crease exactly in the seam, baste and
+stitch the seam, taking care that no ravelings can be seen and that the
+seam is perfectly smooth on the right side.
+
+
+C. HEMMED SEAM:
+
+This is used for joining thin material, lace, etc. On one piece fold an
+eighth of an inch seam (or more, if necessary) to the right side of the
+cloth, and on the other piece fold an eighth of an inch seam to the
+wrong side. Place the right sides of the two pieces together with the
+raw edge of one piece under and to the folded edge of the other. Baste
+this fold down over the raw edge sewing through the three thicknesses of
+cloth. Fold over in the crease and baste through the four thicknesses.
+Stitch, or hem by hand, along the edge of the seam on both sides of the
+cloth.
+
+
+D. FLANNEL SEAM:
+
+The flannel seam is used on material so thick that it is necessary to
+finish over a raw edge, instead of with a seam involving several
+thicknesses of cloth. Place together the right sides of the two pieces
+to be joined and baste one-eighth of an inch from the edge. Stitch
+one-fourth of an inch from the edge and remove the bastings. Trim the
+seams smooth, open and baste flat to the cloth. Herringbone stitch over
+the raw edge of both sides of the seam. One side of the herringbone
+stitch should come just over the raw edge of the flannel. The edges must
+be kept smooth, and unless the flannel ravels easily, the herringbone
+stitch should be not over one-eighth of an inch deep and close together.
+This stitch is used also on the flannel patch.
+
+
+E. BOUND SEAM:
+
+Seams may be bound with the two parts of the seam together, or they may
+be pressed open and bound separately. This may be done with a bias
+strip, binding ribbon or tape.
+
+          a. _Binding the entire seam_--Place together the
+          two right sides of the pieces to be joined and
+          baste one-eighth of an inch from the edge. Place
+          the bias binding (three-fourths of an inch wide)
+          with the wrong side of the cloth up and the edge
+          of the binding one-eighth of an inch from the edge
+          of the seam, and baste in place. Stitch through
+          the three thicknesses of cloth a quarter of an
+          inch from the edge. Turn in one-eighth of an inch
+          on the other side of the binding and hem it down
+          just above the stitching on the other side of the
+          seam. This method of binding is used on the
+          arm-holes of garments or wherever it is not
+          feasible to open the seam and bind separately.
+
+          b. _The Open Bound Seam_--Prepare the seam as
+          above without the bias binding. Trim and press the
+          seam open. Double the binding ribbon through the
+          center and crease. Place the raw edge of the seam
+          to the fold of the ribbon and run along the edge,
+          catching through to the under fold. Tape may be
+          used for binding, but must be basted on first and
+          hemmed down.
+
+=Sewing on Buttons.=--There are two important requirements for sewing on
+buttons--to put in sufficient thread, and to fasten this thread securely
+that it may not loosen from the end. In sewing flat buttons on coats,
+jackets, etc., place a small button on the under side and sew through it
+to avoid having the stitches show on the under side.
+
+          a. _The Loop or Shank Button_--Place the button in
+          position with the loop at right angles to the edge
+          of the cloth. Hold the button with the left hand
+          and overhand the loop to the cloth. Pass the
+          thread to the under side and fasten.
+
+          b. _Four-Hole Button_--In sewing on flat buttons
+          insert the needle from the right side and back in
+          order to hide the knot under the button. Place the
+          button in position and hold a pin across the
+          button for the purpose of lengthening the
+          stitches. Put in five or six stitches diagonally
+          across the button and over the pin. Change the
+          position of the pin and repeat. Slip the pin out,
+          pass the needle through the cloth only, and wind
+          the thread around the threads between the button
+          and the cloth. Pass the needle through the cloth
+          and fasten securely.
+
+          c. _Two-Hole Button_--Place the button so that the
+          stitches will come at right angles to the edge of
+          the cloth, with the pin across the button. Proceed
+          as with the four-hole button.
+
+=Sewing on Hooks and Eyes.=--In sewing hooks and eyes on a garment it is
+best, where practicable, to cover the ends with the lining of the
+garment or with a piece of tape. In sewing them on the edge of a hem or
+facing turn the edge of the hem back over the ends of the hooks and eyes
+and hem it down. Where they are to be covered they should be strongly
+overhanded to the garment first. When covering is not feasible place the
+hook or eye in position and buttonhole around the top, beginning at the
+right-hand side and inserting the needle under and up through the hole,
+throwing the thread around the needle as in the buttonhole stitch. The
+hook should be sewed down at the point before breaking the thread. The
+worked loop is often used in place of the metal eye. For this purpose
+cut a stiff pointed piece of cardboard the length of the desired loop
+and work the loop over this, when the cardboard can be easily slipped
+out. The loop is worked from left to right with the blanket stitch the
+same as the bar of the buttonhole.
+
+=Sewing on Lace.=--When sewing lace to an edge always hold the lace next
+to you. Lace may be put on straight or gathered. At the top of most
+laces will be found a coarse thread woven into the lace for the purpose
+of gathering. Before drawing this up divide the lace and the edge upon
+which it is to be placed into halves, quarters or eighths, depending
+upon the length, and pin, with right sides together, at points of
+division. Then draw up the thread, arrange the gathers even, and
+overhand to the edge with fine even stitches. If the gathering thread is
+not in the lace, put it in and proceed as above. If the lace is to be
+put on plain hold it loosely to the edge and overhand.
+
+
+A. SEWING LACE AROUND A CORNER:
+
+When sewing the lace on plain to round a corner, overhand to a point as
+far from the corner as the width of the lace. (This point may be
+designated A, and a point an equal distance from the corner on the other
+side B.) From A measure on the lace twice its width and pin at the
+corner. Allow the same fullness on the other side and pin at B. Continue
+overhanding from B, leaving the corner until later, when the gathering
+thread will be put in, gathers arranged and the lace overhanded to the
+edge. If the lace is wide baste it in place at the corners before
+overhanding.
+
+When sewing gathered lace to an edge, to round a corner proceed as above
+with this exception: The same fullness must be allowed on the corner
+that is allowed on the straight edge, in addition to that required to
+carry the lace around the corner without drawing. For example: If
+one-half the length of the lace is allowed for fullness on the straight
+edge, at the corner allow two and one-half times the width of the lace
+instead of twice its width.
+
+
+B. SEWING TWO ENDS OF LACE TOGETHER:
+
+The manner of sewing two ends of lace together will depend upon the kind
+of lace to be joined, the pattern, strength, etc. The first aim to be
+considered is to have the joining strong enough so that it will not pull
+apart. The second is to join it so that it will show as little as
+possible. Several methods are suggested:
+
+          a. Lace made up of units can be easily joined by
+          overhanding these units together.
+
+          b. If the pattern permits, cut the lace with the
+          pattern, lay one edge over the other and
+          buttonhole over each raw edge with fine thread.
+
+          c. Sew the lace right sides together, in a narrow
+          seam. Lay the seam flat and buttonhole over the
+          raw edge and at the same time down to the lace.
+
+          d. Turn a narrow fold on one piece to the right
+          side and on the other piece to the wrong side,
+          slip one under the other and hem down the two
+          edges as in the hemmed seam.
+
+=Tucking.=--Crease the first tuck where desired. For the second tuck
+measure from the first and allow twice the width of the tuck plus the
+desired space between. Repeat for the successive tucks.
+
+
+PUTTING A RUFFLE INTO A HEM-TUCK.
+
+This makes an excellent finish for the bottom of underskirts, petticoats
+and drawers. Measure up from the bottom twice the width of the desired
+hem plus one-fourth of an inch for the seam and crease for a tuck.
+Stitch the tuck. This will leave the raw edge extending one-fourth of an
+inch below the edge of the tuck. Place the ruffle along this edge, wrong
+sides together, and baste in a quarter-inch seam. Baste the tuck over
+the seam and stitch along the edge.
+
+
+
+
+CHAPTER VIII.
+
+TEXTILE FIBERS AND FABRICS.
+
+
+The fibers used in the manufacture of cloth are of two different
+natures, vegetable and animal.
+
+The vegetable fibers may be divided into three distinct classes:
+
+          1. The cotton, having soft, lint-like fibers,
+          one-half to two inches in length, is obtained from
+          the seed-pods, called "bolls."
+
+          2. The fibers from flax, hemp and jute are
+          flexible and of soft texture, ten to one hundred
+          inches in length.
+
+          3. The hard or leaf fibers, including manila,
+          sisal, istle and the New Zealand fibers, all
+          having rather stiff woody fibers, one to ten feet
+          long, are obtained from the leaf or the leaf stem.
+
+The animal fibers are obtained from the wool bearing animals such as
+common sheep, Angora and Cashmere goats and the hair of the camel.
+
+The silk fiber is obtained from the cocoon of a caterpillar.
+
+
+SILK.
+
+Silk is the most beautiful of all fabrics. It is made from the fiber
+produced by the silk-worm which is a species of caterpillar. So
+perfectly does this little worm do its work that no spinning is
+required. This fiber, placed under a microscope, looks like a glass
+thread. It is the light playing along this smooth surface that gives to
+silk its beautiful luster.
+
+Silk first came to Europe from China where the industry had been
+cultivated for many centuries. It is said this was begun by a woman, the
+wife of an Emperor, in the year 2600 B. C., and the culture of the
+mulberry, upon the leaves of which the silk-worm feeds and thrives,
+forty years later.
+
+Several unsuccessful attempts have been made to introduce the
+cultivation of the silk industry into the United States. As the business
+requires a large amount of cheap labor for a short time during the
+year, it has not as yet been found profitable. Machines are of little
+use, except in reeling the silk.
+
+The moth lays its eggs, about five hundred in number, in August or
+September, and they hatch the following May, just at the time the
+mulberry comes into leaf. These little caterpillars are hatched and fed
+in-doors, and they eat like hungry school-boys for a month or more,
+until they are about three inches long. At this period they sicken and
+cast their skins, after which they begin eating as eagerly as ever. In
+about a month, however, the worms stop eating altogether, crawl up on
+the twigs which are placed on large trays, and begin to spin their
+cocoons. There are two little openings in the head of the worm, from
+which comes two thread-like substances resembling glue, from which the
+silk is made. These stick close together and form a flat thread. The
+silk-worm by moving its head about, wraps this thread around its body,
+wrapping from the outside inward, until it has completely inclosed
+itself in this silken blanket. Then it goes to sleep. If left to itself
+it would in two or three weeks bore its way out of this silky covering
+and come forth a feeble white moth. But as the cutting of this hole in
+the cocoon injures the fibers, only just enough for the next year's crop
+are allowed to come out. The rest are stifled in a hot oven.
+
+After the outsides of the cocoons are removed they are placed in hot
+water which softens the gum that is in the silk so that it can be wound
+off on reels. The silk fiber is all in one piece, and about one thousand
+feet long. There is always a portion of the cocoon which is too tangled
+to be wound, and it is made into what is called spun silk. Spun silk is
+carded like wool. The removal of the natural gum, by boiling in strong
+soap suds, effects a considerable loss in weight, the cleansing process,
+however, causing it to take on very beautiful tints. This loss has led
+to the weighting of silk by mixing cheaper materials with it.
+
+An artificial silk is made from the fiber of the ramie plant which grows
+in China and Malay. This is sometimes known as China silk. Mercerized
+cotton has also been treated so as to very successfully imitate silk.
+
+
+COTTON.
+
+=The Plant.=--Cotton is one of the most important vegetable fibers,
+distinguished from all other fibers by the peculiar twist it possesses
+which makes it especially adapted to spinning. It is cultivated between
+the twentieth and thirty-fifth parallels north of the equator. This is
+known as the cotton belt. Within this belt lie the cotton districts of
+the United States, Northern Mexico, Egypt, Northern Africa, Asia and
+India.
+
+Although cotton is cultivated mainly for the fiber surrounding the
+seeds, its by-products, the seeds and stalks, are of great commercial
+importance, being manufactured into oil-meal, oil cakes, cottolene, etc.
+There are about fifty species of the cotton plant but only a few are
+cultivated, the best known and most commonly used being the "American
+Upland," which is now cultivated in many parts of the world. The two
+varieties grown in the United States are the "Sea Island" and the
+"Upland." The former is much more valuable because its fiber is longer.
+It is cultivated on the islands and low-lying coasts of South Carolina,
+Georgia and Florida. The latter, while not so valuable, furnishes most
+of the crop and is grown over a wide area.
+
+The plant grows from seven to ten feet high. The leaves are sprinkled
+with small black dots. The hollyhock-like flowers are white and yellow
+when they first open, but two days later they turn a dull red.
+Surrounding the flowers are three or four cup-shaped green leaves which
+together are called squares. These remain after the petals have dropped,
+to serve as a protection to the bolls.
+
+Cotton thrives best in a rich, deep soil with a hot, steamy atmosphere.
+It should have plenty of moisture while growing and a dryer period
+during the ripening and gathering of the crop. The most of the cotton
+crop is planted by the twentieth of May. Six weeks after it begins
+blossoming the first bolls are ready for picking. This is done by hand,
+and as the bolls do not all ripen at the same time, it is necessary to
+go over the field many times, and the picking often lasts until the
+middle of December. The cotton is gathered into baskets hung from the
+shoulders of the pickers.
+
+=The Preparation of the Fiber.=--After the cotton is picked it is taken
+to the gin which separates the fiber from the seed. Until the cotton
+gin was invented in 1793, by a Connecticut teacher, then living in
+Georgia, the cultivation of cotton was not profitable, as one person
+could only clear the seeds from five or six pounds a day. This machine
+has revolving teeth which drag the cotton between parallel wires,
+leaving the seeds behind. With this machine a slave could clean about a
+thousand pounds in a day. This gave a wonderful impetus to the cotton
+industry, and its cultivation increased enormously.
+
+After the seeds are removed the cotton is put up into bales weighing
+about five hundred pounds each, and is then ready for shipping. When
+these bales are received at the factory the cotton is so closely matted
+together that it must be broken up or loosened. This is done in the
+blending room where it is first run through heavily weighted and spiked
+rollers which pull the cotton apart. It is then blended or mixed to make
+it of uniform quality. After this it is taken to the carding room. Here
+the fibers are drawn parallel to one another and bits of leaves and
+unripe fibers removed, when it is put through the drawing frame,
+consisting of a pair of rollers. These parallel, untwisted fibers are
+now called "slivers." From the drawing frame these "slivers" go to the
+slubbing machines where it is lightly twisted and wound on bobbins. This
+process is repeated on similar machines each one drawing the thread out
+and twisting it a little more, until it is finally ready for spinning.
+
+=Spinning.=--Two systems of spinning are in use at the present time,
+ring spinning and self-acting mule spinning. The former is done mostly
+by women and children, and produces a hard, round irregular yarn. The
+latter machines, operated only by men and very strong women, are
+complicated, but produce an exceedingly soft and fine yarn.
+
+The thread used for sewing and for the manufacture of lace is made by
+twisting several fine threads together. Sewing thread is usually
+composed of from six to nine threads spun separately and then twisted
+into one. Thread is sometimes passed very rapidly through a flame which
+burns off the fuzz making it very smooth.
+
+=Weaving.=--Three operations are necessary in the manufacture of cloth;
+First, the separation of the warp threads on the loom, so that the
+shuttle containing the woof can pass through. Second, the movement of
+the shuttle, back and forth, among the warp threads. Third, the beating
+up the woof.
+
+
+FLAX.
+
+The fibers of flax are spun and woven into a fabric called linen. This
+is one of the most ancient industries known to man. Linen is often
+mentioned in the Bible and the ancient Egyptians wrapped their mummies
+in this fabric. It is said that the finest linen of the present day
+looks coarse beside that from the Egyptian looms in the days of the
+Pharaohs. The Hebrew and Egyptian priests wore garments made of this
+fine linen.
+
+=The Plant.=--Flax grows from two to three feet high, and has a blue
+flower. A field of flax in blossom is very beautiful.
+
+While it is grown extensively in many parts of Europe, Asia and America,
+the soil and climate of Ireland, France and the Netherlands are
+especially adapted to its growth, and it is in these countries that it
+reaches its greatest perfection.
+
+The fiber of the bark is the part of the plant used in the manufacture
+of cloth. Linseed oil is expressed from the seed.
+
+=The Preparation of the Fiber.=--When the plant is ripe it is pulled up
+by the roots and beaten to loosen the seeds which are then shaken out.
+Next the stems are steeped in soft water and afterward allowed to
+ferment. They are then dried and passed between fluted rollers which
+breaks the woody part of the stems which are again beaten to remove this
+woody part from the fiber. The fiber is then made into bundles and sent
+to the mill to be spun, where it is first roughly sorted, the longest
+and best portions being separated from the short raveled ones. These
+inferior portions are called "tow."
+
+The treatment of the flax fiber for spinning is similar to that of the
+cotton (page 92), being drawn and twisted and drawn out again, repeating
+this process several times.
+
+=Spinning.=--Coarse and heavy yarns are spun dry, but fine yarn must be
+spun wet. Some varieties of velvet and velveteen are made from linen.
+Much of the so-called linen cloth of the present day is mixed with
+cotton or jute. The principles of weaving are the same as that of the
+cotton. See page 93.
+
+For many centuries the weaving of linen was conducted as a household
+industry. The first attempt to manufacture it on a large scale was in
+England in 1253. It is now one of the national industries. Linen is
+bleached after it is woven. In the olden times it was spread upon the
+grass, or lawn, and the action of the sun, air and moisture whitened it,
+and for this reason it was called "lawn," and it is still so designated.
+In the modern process of bleaching, the linen is first singed by being
+passed rapidly over hot cylinders which makes the cloth smooth. It is
+then boiled in lime water, washed and afterwards scoured in a solution
+of sulphuric acid, exposed to the air for a time and again scoured.
+Lastly, it is boiled in soda-lye water and dried over hot tin rollers.
+The gloss on linen is made by first mangling, then starching, and
+finally running it between heavy rollers.
+
+Linen is chiefly manufactured in France, Belgium, Germany, England and
+the United States. France is noted for the finest kinds of lawn and
+cambric, while Ireland excels in the production of table linen. The
+largest portion of the sheeting and toweling is made in Scotland. The
+linen manufactures of the United States consist principally of toweling
+and twine.
+
+
+WOOL.
+
+Wool is the fleecy covering of sheep. It is distinguished by its
+waviness and the scaly covering of the fibers. The scales are more
+pointed and protrude more than those of hair. This gives it a tendency
+to mat or felt. The waviness of wool is due to the spiral structure of
+the fibers. Next to cotton, wool is the most extensively used of all the
+textile fibers.
+
+The Romans developed a breed of sheep having wool of exceeding fineness,
+and later introduced their sheep into Spain. Here they were still
+further improved, and it was not many years until Spain led the world in
+the production of wool. The fine wooled Merino sheep originated here.
+Australia and the United States are also great wool-producing
+countries.
+
+=Classification.=--There are three classes of wool, classified according
+to the length, fineness and felting qualities:
+
+          1. The carding or clothing wool.
+          2. The combing or worsted wool.
+          3. The blanket or carpet wool.
+
+Wool on different parts of the same animal varies greatly, that on the
+shoulders being the finest and most even. All unwashed wool contains a
+fatty or greasy matter called yolk or suint. This keeps the fiber from
+matting together and also protects the fleece from injury. The yolk must
+be removed before the wool is manufactured into cloth. When the fleece
+is cut from the body of the sheep it sticks together so that it can be
+spread out like the hide of an animal, and each fleece is tied in a
+separate bundle. A few years ago sheep shearing was done by hand. This
+was a busy time, especially on large ranches where thousands of sheep
+were to be sheared and it required a large crew to do the work. It is
+now accomplished with much less time, labor and expense by machinery.
+
+Alpaca and Mohair are classed as wools, but the former is produced by
+the Alpaca goat and the latter by the Angora goat. Cashmere wool comes
+from the Cashmere goat, found in Thibet, and is very costly, as only the
+finest parts of the fleece are used. In the far eastern countries
+beautiful, costly fabrics are made from the long hair of the camel.
+
+=Preparation.=--When wool comes to the factory in the raw state it must
+be scoured. This is done by passing it through machines containing
+strong soap suds, and afterwards rinsing it. After the wool is dry it is
+mixed or blended. Mixing is an operation of great importance and is done
+to make the wool of uniform quality. Portions of wool from different
+lots, qualities and colors are placed in alternate layers and blended.
+If it is desired to mix other materials with the wool, such as silk,
+cotton or shoddy, it is added at this time.
+
+The wool is harsh to the touch after it has been scoured, owing to the
+removal of the yolk. To restore its natural softness it is slightly
+sprinkled with oil during the process of mixing.
+
+=Carding and Spinning.=--The process of carding produces a thread having
+fibers projecting loosely from the main thread in little ends which
+form the nap of the finished cloth. After it is carded it is wound on
+spools and is ready for the spinning. In spinning the threads are held
+together by their scales and the waviness of the fiber which prevents
+them from untwisting. Another valuable feature of wool is its
+elasticity, which makes it soft to the touch and this is retained in the
+manufactured goods.
+
+=Woolens.=--There are two classes of woolen textiles, woolens and
+worsteds, depending upon the character of the fiber used, and the
+treatment to which it is subjected. The shorter varieties of wool are
+used in woolens, while the long fibers are combed out and used for the
+worsteds. In making woolen yarns the wool is simply carded and very
+loosely spun, but in making worsted thread the wool is combed out and
+hard twisted. Owing to the nap of the woolen goods the weaving is
+scarcely visible, but in the manufacture of worsteds the weave is
+evident and a great variety of designs is possible.
+
+A variety of effects can also be produced by the character of the
+finish. Among the principal varieties are:
+
+  1. The dress face finish, such as broadcloth and beaver.
+  2. The velvet finish.
+  3. The Scotch or Melton finish.
+  4. The bare face finish, which has the nap completely sheared off.
+
+While the finish may differ, the general treatment of the cloth is
+practically the same. The first step is called pulling, when the cloth
+is soaked in hot water and pulled by a pulling machine. It is soaked,
+pulled and beaten until it is only half its original length and breadth.
+It is then rinsed and stretched on a frame where it will dry without a
+wrinkle. At this time the nap is raised by beating the cloth with the
+spike head of the teasel plant or its substitute. The pile or nap is
+then trimmed so as to present a uniform surface, when it is wound
+tightly around a huge drum and immersed in hot water. Finally it is
+pressed in a hydraulic press, during which time steam is forced through
+it. This is to give solidity and smoothness to the cloth and also to add
+luster to the finished fabric.
+
+
+
+
+CHAPTER IX.
+
+DRESS, AND ITS RELATION TO ART.
+
+
+Art education should bring to every girl a greater appreciation of
+beauty and a sufficient knowledge to enable her to beautify her home and
+to dress herself becomingly. This is the real "applied art" or "applied
+design" of which we have heard much but seen little.
+
+The power and skill necessary to originate an intricate and artistic
+design, and a technical knowledge of color-blending are worth something
+to the individual, but the ability to apply this knowledge later to the
+decoration of her home and to the selection of her own wardrobe is of
+vastly greater importance.
+
+An artist who paints the human figure, draws and erases and draws again,
+and yet again, that the contour of the form he creates may be right in
+proportion and graceful in line. He studies his coloring, he compares,
+rejects and blends for a particular shade or tint that makes for
+complete harmony. No discordant note of color nor turn of line that
+detracts from the beauty of the whole is allowed. And there are artistic
+makers-of-garments who put into the costumes they create the same
+thought and care that the artist spends upon his canvas, but the prices
+of both are within the reach of very few. Nearly every woman must plan
+her own wardrobe and choose the furnishings for her home and this is
+what "Art" and "Domestic Art" in the public schools should train the
+girl of to-day--the woman of the future--to do.
+
+Art on paper is the preparation for a journey--packing the suitcase, as
+it were, necessary but toilsome; the application of art principles to
+the problems of real life, the delightful excursion, opening the eyes to
+real beauty and its possibilities. May the children in our schools have
+something more than the drudgery of preparation.
+
+Clothing was first designed in the early ages, no doubt, as a covering
+and protection to the body; it has come, however, to mean something more
+than this. It is an expression of the character, the nicety of taste--or
+lack of it--the discrimination and judgment of the individual. In the
+selection of one's garments there are a number of points which must be
+taken into consideration, such as health and comfort, cost, fitness,
+color and style, as well as beauty. And above all, the average woman
+must pause and consider last season's garments, that are too good to be
+discarded and must form a part of this year's wardrobe. It is quite
+disastrous to plunge ahead and buy a blue dress, because blue happens to
+be stylish, if the hat to be worn with it is a green or brown "left
+over."
+
+While a due regard to the opinions of others demands a certain
+conformity to the customs of the time and place in which one lives,
+there is always a latitude allowed which enables one to exercise
+individual needs, taste and preference.
+
+Health and comfort should take rank before everything else. A style
+which interferes with either is an absurdity which anyone of good sense
+will avoid.
+
+Neatness should be considered above beauty or style. A soiled collar,
+hooks, eyes and buttons missing, gloves out at finger ends, shoes dusty
+and unpolished, braid hanging from the skirt, the waist and skirt
+separated are all accidents which may befall anyone, but are most
+deplorable when they become chronic.
+
+It has been wisely said that the best dressed woman is she of whose
+clothing one is unconscious, whose dress is neither conspicuous from
+extreme style nor too noticeable from a total disregard of the custom of
+the times. Good taste demands that one be not overdressed. Street and
+business suits and young girls' school dresses should be plain, well
+made and neat, of subdued and becoming color.
+
+"Costly thy habit as thy purse can buy," wrote Shakespeare, and the
+advice still holds good. Economy does not consist, however, of buying
+cheap, shoddy material. Trimming can be dispensed with to the
+improvement of the average garment, but a dress made of good cloth will
+out-wear, look better, give greater self-respect, and in the end cost
+less than several dresses made of cheap stuff, as the cost of making is
+no more for the one than the other. This is a principle that applies as
+well to underwear. Simple garments, well made of firm fine cambric are
+much to be preferred to those overtrimmed with cheap lace and sleazy
+embroidery.
+
+Some colors and styles are becoming to certain complexions and forms
+and are quite the reverse to others. A short stout person should avoid
+plaids, while one overly tall should never select stripes. The lines of
+the garment are equally important--any method of trimming that gives
+length, the long lines of the "princess" and the "empire" styles are a
+boon to the short figure, while the overskirt, the deep flounce, and the
+bands of trimming running around the skirt, all help to break the long
+lines for the tall woman. Belts that by contrast divide the figure are
+not good unless one wishes to shorten the height. Waists and skirts of
+the same color usually have more style and give better form.
+
+Give careful heed to the selection of color, not only to the dress but
+to the accessories, hat, gloves, collar, belt and shoes, as well. In
+fact, consider the costume as a whole made up of parts, each one of
+which must harmonize with every other.
+
+Before sewing machines were to be found in every home and ready made
+clothing in the stores styles did not change so rapidly. Commercial
+conditions now make it to the advantage of a great army of people that
+the styles in dress change often and radically. The manufacturers of
+cloth, the wholesale merchants with their agents, the retailers and
+their numerous clerks, wholesale garment-makers and their many employes,
+pattern-makers, dress-makers, milliners and the manufacturers of all
+minor articles of clothing are all benefitted by this oft recurring
+change in style. This condition has come about so gradually that we
+hardly realize to what extent we are victims of trade-tricks. It is not
+necessary nor desirable that woman should enslave herself to follow all
+the vagaries of style.
+
+[Illustration: CHILD'S PICTURE BOOK.]
+
+
+
+
+CHAPTER X.
+
+PAPER, CLOTH AND CARDBOARD CONSTRUCTION.
+
+
+A CHILD'S PICTURE BOOK.
+
+_Materials:_ Pink, blue or yellow paper cambric 27 inches; coarse
+thread; coarse needle; bright, pretty pictures which the children have
+cut from papers, magazines, cards, etc.; paste.
+
+Fold the cloth through the center with the warp and cut on the fold.
+Fold both strips into three equal pieces with the woof, and cut. Fold
+each piece through the center parallel to the selvedge. Place two
+pieces together and pin at the fold, and "pink" through the four
+thicknesses, around the edges with a "pinking iron." Do the same with
+the other pieces. When finished place them all together and stitch at
+the fold at follows:
+
+          1. Mark three holes on the fold with the needle,
+          one in the middle and one two inches above it, and
+          another two inches below it.
+
+          2. Tie a large knot two inches from the end of the
+          thread.
+
+          3. Insert the needle at the lowest hole, from the
+          inside, and draw it through leaving two inches of
+          the thread to tie.
+
+          4. Pass over the middle hole and down through the
+          upper one, out through the middle hole on one side
+          of the long thread, and back through the same hole
+          on the other side of the thread, and tie the two
+          ends of the thread together.
+
+Paste a pretty card or large picture on the outside for the cover. Page
+the book with neat figures and write the name of the child for whom the
+book is designed on the inside of the cover. Arrange and paste in the
+pictures neatly.
+
+
+A BOX WITH COVER.
+
+_Materials:_ Cardboard for foundation 9" × 9"; cover 7" × 7"; colored
+paper for covering; strips of cloth or glue-tape for staying corners;
+glue. Use tooth-picks in applying the glue.
+
+[Illustration: NO. 1 AND NO. 2--ONE-PIECE BOXES.
+
+NO. 3.--TWO-PIECE BOX. BOX AND COVER ALIKE.]
+
+[Illustration: GROUP OF BOXES.]
+
+Find the center of the card by drawing both diagonals. Measure two and
+one-half inches from the center toward the sides. Draw straight lines
+passing through these points connecting opposite edges, thus forming a
+five-inch square in the center. Cut out the corners on these lines. Hold
+the edge of a ruler firmly to the lines of the square and bend the
+cardboard. Fold the strip of cloth or tape through the center and put
+the glue on this, using very little, and taking care to keep it back
+from the edge. Cover the corners with the cloth. Cut a strip of the
+colored paper twenty-one inches by two and three-fourth inches. Put a
+very little glue on the outside of the box and cover with the colored
+paper. Turn over the edges and glue them down. Follow the same
+directions for making the cover, measuring two and five-eighth inches
+from the center of the seven-inch square of cardboard. Cover the sides
+and top with the colored paper, the strip for the sides being twenty-two
+inches by one and one-half inches, and the top a five-inch square. This
+box can be made in any size or shape, the same general plan being
+followed.
+
+
+A BLANK BOOK WITH PAPER COVER RE-INFORCED WITH CLOTH.
+
+_Materials:_ Strong felt paper 9" × 10"; book cloth for back 10" ×
+3-1/4", for corners 4 pieces 2" × 1-3/4"; lining paper for covers, 2
+sheets 4-1/4" × 9-1/2"; number of sheets of paper desired for the book
+8-1/2" × 9-1/2"; coarse thread; coarse needle; glue. Use tooth-picks in
+applying the glue.
+
+Draw a line on the felt paper through the middle the long way and fold
+on the line. Measure on the outside one and one-fourth inches from the
+corners along both edges, and place points. Connect these points with
+straight lines. Place the long edge of the cloth corner to this line,
+and fold it over the corner and crease. Remove and trim it even before
+gluing on. Put the glue always on the cloth and use as little as
+possible. Crease the strip of book-cloth for the back, through the
+center, but do not glue in place until after the leaves are sewed in.
+Fold the sheets of paper through the center of the book. Follow the same
+directions for sewing the leaves together as given in the description of
+"A Child's Picture Book," page 101. Finish by gluing the paper lining on
+the inside of the cover and the strip of book-cloth down the back.
+
+[Illustration: A BLANK BOOK.]
+
+This book could be made any size or shape, and decorated as desired.
+
+
+A FOLDING ENVELOPE CASE FOR PAPERS.
+
+_Materials:_ Strong felt paper, or its substitute; (a sheet 20" × 30"
+cut through the center the short way will make two cases. If two
+harmonious colors be selected, the corners cut from one case can be
+used to decorate another); book cloth in one-inch strips for binding;
+glue. Use tooth-picks in applying the glue.
+
+[Illustration: BACK AND FRONT VIEWS OF A FOLDING ENVELOPE CASE FOR
+PAPERS.]
+
+On the wrong side, find the center of the paper twenty inches by fifteen
+inches by drawing both diagonals. Measure four and one-fourth inches
+from the center toward the sides. Draw straight lines passing through
+these points connecting opposite sides, thus forming an eight-and-a-half
+inch square in the center. Cut out the four corners on these lines. Fold
+in the four sides on the lines of the square. A strap, which will fasten
+the case by slipping through a slit cut in the opposite side, is to be
+made on one of the long flaps as follows:
+
+          Place a point at the middle on the edge of the
+          flap, and measure an inch along the edge on both
+          sides of this point. Measure down two inches from
+          these last points and place dots. Connect these
+          dots by straight lines with the top and sides. Cut
+          the corners out on these lines. Trim the end of
+          the strap to a point beginning one-half inch from
+          the corners and cutting to the center point.
+
+It is necessary to trim the edges of the flaps that there may be no
+difficulty in folding one over another. Measure one-half inch from the
+corners of the flaps and connect this point with the corner of the
+square, and cut on these lines. Fold the half-inch strip of book-cloth
+through the center; place the glue on the cloth and glue it for a
+binding around the raw edges of the case. Finish the corners of the
+binding with the square or mitered corner. Fold the fastening strap over
+the opposite side, and place a point at the corners to locate the place
+where the slit is to be cut. Connect these two points by a straight line
+and draw another parallel to, and three-fourths of an inch from it. Cut
+on these lines with a knife. This slit must be strengthened by the
+book-cloth. Cut a piece two and three-fourths inches by one and
+one-fourth inches and glue over the strip on the wrong side; clip the
+edges at the ends of the slit, and bring through to the right side, and
+glue them down. The piece for the covering of the right side may be cut
+the exact width of the slit, and the ends cut in some fancy shape. This
+may be cut from the cloth, or the paper used in the design. The front of
+the case can be decorated as desired. Very beautiful effects can be
+obtained by cutting out the design from paper that harmonizes in color
+and gluing it on. This makes a very useful case for holding school
+papers, and if neatly and carefully done, is an excellent exercise.
+
+
+CLIPPING CASE.
+
+_Materials:_ 4 envelopes, 4-1/8" × 9-1/2"; 4 strips of book-cloth 9-1/2"
+× 1"; 1 strip of book-cloth 10" × 3-1/2"; 4 pieces of book-cloth 2" ×
+1-1/4"; heavy felt paper 9" x 10"; 2 sheets lining paper 4-1/4" x
+9-1/2"; glue. Put the glue on the _cloth_ each time with tooth-picks.
+
+[Illustration: CLIPPING CASE.]
+
+Follow the directions for making the cover of the "Blank Book with Paper
+Cover Re-inforced with Cloth," page 104. The envelopes take the place of
+the sheets of paper and are fastened in place as follows:
+
+          1. On the back and front of the envelopes draw a
+          line parallel to and one-half inch from the
+          bottom.
+
+          2. Fold a strip of book-cloth one inch by nine and
+          one-half inches through the center the long way.
+
+          3. Glue one-half of this folded strip to the
+          half-inch below the line on the back of one
+          envelope and the other half to the half-inch below
+          the line on the front of another envelope.
+          Continue thus until the four envelopes are
+          fastened together.
+
+          4. Glue half of a strip of the cloth to the front
+          of the first envelope and the other half to the
+          front of the cover to hold in the desired
+          position. Do the same at the back.
+
+          5. Glue in the lining papers on the covers.
+
+The outside may be decorated as desired.
+
+
+A POSTAL CARD ALBUM.
+
+_Materials:_ Paper for leaves of book; pulp board in three pieces, 5" ×
+8", 5" × 6-3/4", 5" × 1"; book-cloth in two pieces 6" × 9"; lining paper
+in two pieces 4-3/4" × 7-3/4"; glue; eyelet punch and eyelets.
+
+[Illustration: TWO VIEWS OF A POST CARD ALBUM--CLOSED AND OPEN.]
+
+To be of value the work in this exercise must be exact, with
+measurements perfectly accurate. The glue is to be used sparingly and
+spread upon the cloth and not on the pulp board.
+
+Draw on the book-cloth an oblong five by eight inches, which will leave
+a margin of one-half inch. Put the glue on the cloth and place the pulp
+board five by eight inches over the oblong. Turn over the edges and
+finish. Glue the lining paper in place. Place under weight as soon as
+finished. The front cover is made the same with the exception of a joint
+in the pulp board. Draw on the second piece of book-cloth an oblong
+five by eight inches. Draw a line one inch from and parallel to one end
+of the oblong. Draw a second line one-fourth of an inch from this.
+Spread the glue on the cloth and place the two pieces of pulp board on
+the oblong with a quarter-inch space between them, and proceed as
+before. Both covers can be made with the joint if desired. Punch with
+the eyelet tool two holes in each cover three inches apart and one-half
+inch from the edge, and put in the eyelets. _Take care that these holes
+are directly opposite._ Cut the paper for the book into sheets four and
+one-half by seven and three-fourths inches (or four and one-half by
+fifteen and one-half inches), and fold. Punch the eyelets _exactly even_
+with those in the cover. Place a postal-card three and one-half by five
+and one-half inches on the sheets with a half-inch margin at top, bottom
+and end, and make two points on each of the four sides, one one-half
+inch from the corner, and the other one inch. Connect corresponding
+points by slant lines and cut with a knife on these lines. The outside
+cover can be decorated in any way desired. This style of cover can be
+used for a book of any size or shape.
+
+
+PICTURE FRAMING.
+
+Select a mount of the proper color for the picture to be used, and
+passepartout paper to harmonize. Cut to the desired size and shape. Cut
+a piece of cardboard to the same size. Have a glass cut to the size of
+the mount, also a mat for the picture, if desired. Place the picture in
+position on the mount, and draw guide lines to aid in pasting the
+picture in place. Put the two rings used for the purpose of hanging the
+picture, into the cardboard back before putting the parts together. The
+rings should be placed exactly even, measuring down from the top about
+one-third of the width of the picture, and in at the sides one inch.
+Clean the glass carefully, and place it over the picture. Between the
+cardboard back and the picture place two or three layers of newspaper.
+Be sure that the back is placed with the rings toward the top. Tie all
+together very tightly with a strong cord, passing the cord only around
+one way of the picture. Cut the passepartout paper the length of the
+picture and crease it over the edges. Moisten the paper and stick it
+first to the glass and then draw it firmly over the edge and down on
+the cardboard back. It is necessary _to work rapidly after the paper is
+moistened_. Finish the other edge in the same manner. Before removing
+the cord, tie another around the other way. Finish the two ends in the
+same manner as the sides, with the exception of the corners. Cut the
+passe-partout paper an inch longer than the side to be covered, and do
+not fasten down quite to the corner. Trim for a mitered corner on the
+glass side and cut a narrow strip the thickness of the glass, and stick
+it down along the other edge. Tie a cord into the rings for hanging.
+
+[Illustration]
+
+
+A FOUR SIDED, COLLAPSIBLE CANDLE OR LAMP SHADE.
+
+_Materials:_ Cardboard; book-cloth or Japanese tissue paper;
+passe-partout paper.
+
+Cut a pattern of one section of the shade in the form of a trapezoid
+having the longer parallel five and seven-eighth inches, the shorter
+parallel one and three-eighth inches and the altitude four and one-half
+inches. Candle shadeholders are uniform in size being six and one-half
+inches in circumference. To fit this circular holder, the shade may be
+rounded out at the top, although it can be used with the straight edge.
+Cut a strip of cardboard five inches wide, and from this cut the four
+sides of the shade.
+
+The decoration of the shade may be varied greatly. The design may be
+drawn upon the back of the cardboard and cut out the same as a stencil,
+care being taken that the proper bridges are in place. The book-cloth is
+then pasted on the back. If the cardboard is intended as a framework
+only, construct a second trapezoid one-half inch inside the other, and
+cut on the lines. The possibilities for decoration are limitless. A
+design may be stenciled, embroidered, or worked with any of the fancy
+stitches upon any thin material through which the light will shine, and
+then pasted over the back of the frame-work. Fancy silks are also very
+effective.
+
+When the sections are finished, fasten them together with the
+passe-partout paper. Lay them all face downward with the sides to be
+joined placed as closely together as possible, and stick the moistened
+paper over adjoining edges. Book-cloth or any firm material can be used
+instead of the passe-partout paper.
+
+[Illustration]
+
+
+
+
+CHAPTER XI.
+
+HOME FURNISHING, DECORATION AND CARE.
+
+
+Bright, clean, tasteful and well regulated homes will add more to the
+sum of human happiness than anything else in life. A happy home does not
+always mean a costly one. The simple, tidy home of the day laborer may
+have the home-atmosphere that the mansion may lack. A home can be
+tastefully, even if cheaply, furnished.
+
+A thoughtful teacher can impart to her class a love of home and a
+respect and honor for the labor that keeps that home clean, attractive
+and wholesome, and instill womanly traits that may add greatly to the
+happiness of the individuals and the betterment of all with whom they
+come in contact. A familiarity with the conditions of an ideal home and
+the aroused interest of the girls who will be the home-makers in a few
+years will have an influence and value that is limitless. The parents,
+also, may receive suggestions through their children that will react on
+the present home conditions.
+
+Every teacher will invent her own method of reaching her particular
+class, depending upon their needs and environment, using all necessary
+tact. An outline is given below which will suggest a few topics and one
+method of conducting the lessons. There are many kindred subjects, such
+as good ventilation, plenty of sunlight, good house-keeping, etc., that
+can be brought into the discussions, but the enthusiasm which is aroused
+is really the vital point of the lesson.
+
+
+AN IMAGINARY HOME.
+
+When furnishing a home take into consideration sanitary conditions, use,
+convenience, economy and artistic effects.
+
+          1. Ask pupils to make clippings of house plans
+          from papers, magazines, etc. Study and compare
+          them.
+
+          2. Decide upon a plan for a simple house, and have
+          some member of the class draw the floor plans upon
+          the blackboard where it can remain for a time.
+
+3. Several points must be considered in conjunction, that there may may
+be harmony throughout the house as the rooms open into each other.
+
+  a. The color scheme and design for each room. Some samples of cloth
+     or paper to show the exact colors and combinations of colors
+     decided upon.
+  b. Decoration of the walls.
+  c. The floor finish or covering.
+  d. Color of shades and curtains that the outside may present a
+     favorable appearance.
+
+4. Divide the class into sections and assign a room to each section to
+suggest detail in style of furnishing and decorating.
+
+          a. Living Room.
+          b. Dining Room.
+          c. Kitchen.
+          d. Pantry.
+          e. Hall.
+          f. Sleeping Rooms.
+          g. Bath.
+          h. Laundry.
+
+5. Avoid over-crowding the rooms with furniture and cluttering with too
+many pictures and useless and inartistic bric-a-brac, and
+dust-collectors.
+
+6. The Care of the Home: This topic will enable the teacher to give many
+helpful suggestions. Assign sub-divisions of the subject to different
+members of the class:
+
+          a. Sweeping.
+          b. Dusting.
+          c. Care of bare floors.
+          d. Window washing.
+          e. Dish washing.
+          f. Care of cupboards.
+          g. Care of book-shelves, daily papers, magazines, etc.
+          h. Care of sleeping rooms, beds, etc.
+          i. Care of bath rooms.
+
+
+
+
+CHAPTER XII.
+
+BASKETRY.
+
+
+Basketry is one of the oldest handicrafts known to man, but it reached
+its greatest excellence with the tribes of American Indians who wove
+baskets from the grasses, reeds and rushes which they gathered as they
+wandered from place to place in their nomadic life. These materials were
+colored with dyes made by cooking the bark of certain trees and the
+roots and bulbs of plants, a knowledge of which was handed down from
+mother to daughter.
+
+The designs were not meaningless, but represented by symbols their
+prayers to the Deity for rain, success to a war party, or a petition for
+favorable crops. Or it might be they chronicled the victory over a
+hostile tribe, a maiden's love for a stalwart brave, or a thousand other
+events of their lives in conventionalized symbolic form. The shape, size
+and use varied as much as the design.
+
+The material used by the Indians is not available for us but imported
+raffia, rattan and rushes form excellent substitutes. Raffia, a product
+of the Island of Madagascar, is a soft, pliable, yellowish fiber growing
+next to the bark of a species of palm tree. Rattan is the product of a
+kind of palm which grows in India. It is stripped of leaves and split
+into round or flat strips of different sizes.
+
+A more instructive occupation cannot be found for children than basketry
+and its allied subjects. It not only is fascinating in itself, but
+develops patience, judgment, dexterity and skill, and embodies the
+satisfaction of making a beautiful and useful article. It is not only an
+educative occupation for school, but for the home as well.
+
+Baskets are known as the woven baskets made of the round or flat rattan
+and the sewed baskets made from the raffia and reeds.
+
+
+GENERAL DIRECTIONS FOR MAKING THE COIL BASKET.
+
+=Preparation of Materials.=--Round reeds are sold in sizes from the very
+fine Number 0 to the coarse Number 8. Hemp cord of different sizes may
+be substituted for the reeds of a flexible basket if desired.
+
+[Illustration: BEGINNING A BASKET IN ANY WEAVE.
+
+1 2 3 4
+
+1--The reed sharpened to a flat point.
+
+2--The end of the sharpened reed wound with raffia.
+
+3--The end of the reed curled into a small "button."
+
+4--Splicing reeds by cutting both to a flat point.]
+
+Beginning about two inches from one end of the reed, sharpen to a flat
+point. Coil the other end, leaving ten or fifteen inches uncoiled, and
+tie with raffia two or three times. Soak the reeds in water until very
+pliable, then remove and wipe dry before using. The raffia may be used
+wet or dry as one prefers. It may be used in coarse strands for the
+large baskets or split to any size desired for the finer stitches, but
+should be kept uniform. The basket sewing requires either the sharp or
+blunt tapestry needle, varying in size between Number 18 and Number 22.
+Thread the end of the raffia that has been cut from the tree into the
+needle, thus working with the fiber, as it is less liable to split. Much
+of the beauty of the basket will depend upon the smoothness and neatness
+of the work.
+
+
+=Beginning the Basket.=--Baskets may be classified as round or oval.
+
+
+A. THE ROUND BASKET.
+
+Draw the sharpened end of the pliable reed between the thumb and finger
+into the smallest possible coil. Lay the end of the raffia to the point
+and along the sharpened end of the reed and hold it in place with the
+left hand. By a sharp turn in the thread begin winding over the reed and
+raffia to the point. Then shape into the coil by sewing through the
+center, thus forming the "button" as in the illustration.
+
+[Illustration: BASKETS BEGUN IN THREE DIFFERENT WEAVES.
+
+1 2 3
+
+1--Round basket in the Navajo weave.
+
+2--Oval basket in the Lazy Squaw weave.
+
+3--Round basket in the Mariposa weave]
+
+
+B. THE OVAL BASKET:
+
+[Illustration: GROUP OF BASKETS SHOWING VARIETY IN SIZE, SHAPE AND
+DESIGN.]
+
+The end of the reed is not sharpened, and must be very soft and pliable,
+or it cannot be bent together at the desired length, two, three, four,
+five or more inches from the end, without breaking. It will do no
+special harm if it splits, however, as it is to be covered with the
+raffia. Lay the end of the raffia to the end of the reed, along the reed
+and around the bend, and by a sharp turn in the thread wind four or
+five times over the raffia, covering the bend in the reed. The two reeds
+may then be caught together by the stitch selected for the basket, or
+the "Navajo" or "figure eight stitch" may be used and the other stitch
+introduced on the second round.
+
+=Splicing the Reed.=--As the reed naturally coils somewhat take care to
+splice it so that the coil in the two pieces remains the same, otherwise
+it would draw apart. Sharpen the top side of one reed and the underside
+of the other to a long flat point and slip one past the other until the
+two together form the uniform size of the reed. It is sometimes
+advisable for a novice to wind the spliced reeds with fine thread, but
+experience will teach one to do the splicing with the sewing of the
+basket.
+
+=Splicing the Thread.=--When a new thread is needed lay the end of the
+old thread along the reed and place the new thread over it, and by a
+sharp turn in the thread, wind once or twice over both, and continue the
+stitch as before. When the ends are firmly fastened clip them off.
+
+=Shaping the Basket.=--Coiled basketry admits of the greatest variety in
+shape and size, from the simple table mat to the exquisitely beautiful
+jar and vase forms, while the stitches lend themselves to an endless
+variety of design ranging from the simplest to the most intricate
+patterns.
+
+It is well to have in mind the shape and design before beginning the
+basket, as haphazard work is not apt to be satisfactory. Baskets can be
+easily shaped to any desired form, as this depends entirely upon the
+position of each succeeding reed upon the one below it.
+
+=Introduction of Color.=--All reeds in the coiled basket are wound twice
+with the raffia. It is important to keep this in mind when putting in
+designs. The colored raffia is introduced in the same manner that the
+thread is spliced, by laying it along the reed and sewing over it. When
+working out designs in color do not cut the thread when changing from
+one to another, but lay the thread not in use along the reed and sew
+over it, bringing it out when ready to use it again.
+
+As an aid in dividing the space for a design a piece of paper may be cut
+and folded into the desired number of sections, and these marked on the
+basket. These spaces are then filled in without regard to the exact
+number of stitches required to cover the reeds.
+
+Beginners should make a study of Indian baskets and their designs.
+
+
+=Finishing the Basket.=--Cut the end of the reed to a flat point two
+inches in length, and gradually taper the stitching off so that it shows
+where it ends as little as possible. The last two rows of the basket
+might be stitched with colored raffia unless it detracts from the
+design.
+
+[Illustration: BASKET SHOWING THE NAVAJO WEAVE.]
+
+
+DESCRIPTION OF BASKET STITCHES.
+
+The stitching proceeds along a continuous coil, so that each stitch is
+passed beneath the stitches of the coil beneath.
+
+For convenience in analyzing these stitches the two reeds may be
+designated as the loose reed and the fastened reed.
+
+
+=The Navajo Stitch (Figure Eight).=--Hold the commenced coil in the left
+hand which will cause the work to proceed from the right toward the
+left.
+
+(a) Pass the thread between the two reeds _toward_ you, (b) over the
+loose reed _from_ you, (c) between the two reeds _toward_ you, (d) down
+between the stitches of the fastened reed _from_ you, and beginning
+again at (a) pass the thread between the two reeds toward you completing
+the figure eight. Draw the two reeds firmly together.
+
+[Illustration: BASKET SHOWING THE LAZY SQUAW WEAVE.]
+
+This is the stitch used by the Indians in making the baskets which they
+ornamented with feathers, wampum, shells and beads.
+
+
+=The Lazy Squaw Stitch=.--This stitch is made up of two parts, a long
+and a short stitch.
+
+Hold the commenced coil in the left hand and work from right to left.
+(a) Wrap the thread toward you _over_ and _around_ the loose reed once,
+(b) then _over_ the loose reed again, (c) and down _from_ you between
+the stitches of the fastened reed and back to (a). This completes the
+long-and-short stitch.
+
+The story of the origin of the name "Lazy-Squaw" stitch is interesting.
+If the squaw was inclined to slight her work she would wrap the loose
+reed several times before taking the long and more difficult stitch
+which bound the two reeds together. She would then receive from her
+companions the ignominious title of "lazy-squaw."
+
+As a modification of this stitch the wrapping of the loose reed is
+omitted, and the long stitch only is used. This passes each time between
+the stitches of the coil beneath.
+
+[Illustration: BASKET SHOWING THE MARIPOSA WEAVE.]
+
+=The Mariposa Stitch (Knotted).=--In analyzing this stitch we find that
+it is made up of three parts. It is the same as the Lazy Squaw Stitch
+with the addition of the knotted effect obtained by passing the thread
+around the long stitch.
+
+Hold the commenced coil in the left hand and work from right to left,
+(a) Wrap the thread toward you over and around the loose reed once, (b)
+then over the loose reed again, (c) and down _from_ you between the
+stitches of the fastened reed, thus binding the two reeds together, (d)
+bring the needle up _between_ the two reeds at the left side of the long
+stitch, (e) cross over this stitch, going down between the two reeds at
+the right of the long stitch. Bring the thread over the loose reed and
+begin wrapping again as at (a).
+
+=The Samoan Stitch (Lace Effect).=--Baskets that are to be lined are
+very pretty made of this stitch. It is also very effective combined with
+other stitches, or as the finishing coil of a basket.
+
+The Samoan Stitch is a modification of the Mariposa Stitch, the only
+difference being in the space between the reeds and the passing of the
+thread around the long stitch two, three or more times, which gives the
+lace effect. The reeds _must_ be held firmly, however, and the thread
+passed around the long stitch times enough to make the basket firm.
+
+
+
+
+Books on the Manual Arts
+
+
+=CLAY WORK.= By KATHERINE MORRIS LESTER.
+
+          This book has been written by a grade teacher and
+          art worker to help teachers in acquiring the
+          technique of clay working, and to give them
+          suggestions concerning the teaching of the several
+          types of clay work suited to pupils in the
+          elementary schools. It covers the study of natural
+          forms, the human figure in relief and the round,
+          animal forms, story illustration, architectural
+          ornament, tiles, hand-built pottery and pottery
+          decoration. The book is richly illustrated with
+          more than fifty half-tone and line cuts showing
+          processes, designs, and the work of children from
+          ten to twelve years of age. Price, $1.00.
+
+
+=CLASSROOM PRACTICE IN DESIGN.= By JAMES PARTON HANEY.
+
+          A concise up-to-date, richly illustrated brochure
+          on the teaching of applied design. Price, 50
+          cents.
+
+
+=THE WASH METHOD OF HANDLING WATER COLOUR.= By FRANK FORREST FREDERICK.
+
+          A brief, clear, comprehensive text printed in
+          sepia and illustrated with wash drawings and a
+          water-color painting by the author. Price, 50
+          cents.
+
+
+=SIMPLIFIED MECHANICAL PERSPECTIVE.= By FRANK FORREST FREDERICK.
+
+          A book of simple problems covering the essentials
+          of mechanical perspective. It is planned for
+          pupils of high school age who have already
+          received some elementary training in mechanical
+          drawing. It is simple, direct and practical.
+          Price, 75 cents.
+
+
+=THE CONSTRUCTION AND FLYING OF KITES.= BY CHARLES M. MILLER.
+
+          This contains seven full-page plates of drawings
+          of kites and fifteen figures--over forty kites
+          shown. Details of construction given; a kite
+          tournament is described. Full of interesting
+          suggestions. Price, 20 cents.
+
+
+=COPING SAW WORK.= By BEN W. JOHNSON.
+
+          Contains working drawings and suggestions for
+          teaching a course of work in thin wood that is
+          full of fun for the children, and affords ample
+          means for training in form study, construction,
+          invention and careful work. Has been called
+          "applied mechanics for the fourth grade." Price,
+          20 cents.
+
+
+=SELECTED SHOP PROBLEMS.= By GEORGE A. SEATON.
+
+          A collection of sixteen problems in woodworking
+          made to meet the needs of busy teachers of manual
+          training. Each problem has been put to the test
+          and has proven satisfactory to the teacher who
+          designed it and the pupil who made it. Price, 20
+          cents.
+
+
+=BEGINNING WOODWORK.= At home and in school. By CLINTON S. VAN DEUSEN;
+illustrated by Edwin V. Lawrence.
+
+          A full and clear description in detail of the
+          fundamental processes of elementary benchwork in
+          wood. This description is given through directions
+          for making a few simple, useful articles suitable
+          either for school or home problems. Price, $1.00.
+
+
+=HANDWORK IN WOOD.= By WILLIAM NOYES.
+
+          A notable book on woodworking. It is the result of
+          extensive research and long experience in teaching
+          and in training teachers. It is a comprehensive
+          and scholarly treatment of the subject and is the
+          one book of reference which teachers of
+          woodworking feel that they must always have at
+          hand. Price, $2.00.
+
+
+=ESSENTIALS OF WOODWORKING.= By IRA S. GRIFFITH, illustrated by Edwin V.
+Lawrence.
+
+          A text book on woodworking tools, materials and
+          processes to supplement the instruction given by
+          the teacher. Very fully illustrated. Price, $1.25.
+
+
+=WOODWORK FOR SCHOOLS ON SCIENTIFIC LINES.= By JAMES THOMAS BAILY and S.
+POLLITT.
+
+          This is the American edition of an English book
+          containing 120 practical problems, many of which
+          have been designed to correlate mathematics and
+          physical science with manual training. Price, 75
+          cents.
+
+
+=PROBLEMS IN WOODWORKING.= By M. W. MURRAY.
+
+          A convenient collection of good problems ready to
+          place in the hands of the pupil. Price, 75 cents.
+
+
+=PROBLEMS IN FURNITURE MAKING.= By FRED D. CRAWSHAW.
+
+          Thirty-two plates of working drawings of simple,
+          artistic furniture, with notes on construction,
+          finish and design. Price, $1.00.
+
+
+=PROBLEMS IN MECHANICAL DRAWING.= By CHARLES A. BENNETT, with drawings
+made by Fred D. Crawshaw.
+
+          The purpose of this book is to furnish teachers of
+          classes beginning mechanical drawing with a large
+          number of simple, practical problems in convenient
+          form for immediate use. Price, $1.00.
+
+
+=PROBLEMS IN WOOD-TURNING.= By FRED D. CRAWSHAW.
+
+          A collection of problems presented in the form of
+          25 plates excellent in draftsmanship. Contains a
+          brief, clear text on the science and art of
+          wood-turning; also a chapter on "Form and
+          Proportion," which shows how accepted principles
+          of art may be applied in designing objects to be
+          turned in wood. Price, 80 cents.
+
+
+=MANUAL TRAINING MAGAZINE.= Edited by CHARLES A. BENNETT.
+
+          Published bi-monthly. Price, $1.50 a year.
+
+       *       *       *       *       *
+
+In addition to the above, we keep in stock the best books on the Manual
+Arts issued by other publishers.
+
+          THE MANUAL ARTS PRESS :: PEORIA, ILL.
+
+       *       *       *       *       *
+
+Transcriber's Notes:
+
+Obvious punctuation errors repaired. Unless an obvious majority
+appeared, varied hyphenation was retained.
+
+Page 15, "stich" changed to "stitch" (with the running stitch)
+
+Page 28, "carboard" changed to "cardboard" (Cardboard 4" × 4")
+
+Page 28, the anchor for footnote 18 was missing from the page. It was
+added. (Christmas Piece [17][18])
+
+Pages 31 and 36, there once reference but two different notes for the
+basketry substitute project. To make this easier, the second reference
+was changed to 21 which necessitated changing the third reference to 22.
+
+Page 38, "kaiki" is a little used but actual variant of "khaki" and was
+retained.
+
+Page 44, anchor missing for footnote 31. Added. (CHRISTMAS
+PIECE.[28][31]
+
+Pages 46 and 48, same issue as above with double note references. Edited
+as above.
+
+Page 55, "button holes" changed to "buttonholes" to match rest of usage
+(quarter-inch buttonholes and sew)
+
+Page 66, "sitch" changed to "stitch" (next to the last stitch)
+
+Page 71, "No" changed to "Do" (Do not confuse this)
+
+Page 76, "lop" changed to "loop" (side is the loop)
+
+Page 79, "Guaging" changed to "Gauging" (description of Gauging)
+
+Page 81, "of" changed to "or" (ten or fifteen cents)
+
+Page 92, "especialy" changed to "especially" (makes it especially)
+
+Page 92, "weeeks" changed to "weeks" (Six weeks after it)
+
+Page 94, "Pharoahs" changed to "Pharaohs" (days of the Pharaohs)
+
+Page 95, "in" changed to "is" (blossom is very)
+
+Page 98, "detacts" changed to "detracts" (line that detracts)
+
+Page 98, "indiviual" changed to "individual" (judgment of the
+individual)
+
+Page 116, double word "the" removed. Original read (end of the the
+pliable)
+
+Page 118, "baseket" changed to "basket" (in the coiled basket are)
+
+
+
+
+
+End of Project Gutenberg's Handicraft for Girls, by Idabelle McGlauflin
+
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