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diff --git a/34854-8.txt b/34854-8.txt new file mode 100644 index 0000000..44cec38 --- /dev/null +++ b/34854-8.txt @@ -0,0 +1,4695 @@ +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 + +*** END OF THIS PROJECT GUTENBERG EBOOK HANDICRAFT FOR GIRLS *** + +***** This file should be named 34854-8.txt or 34854-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/4/8/5/34854/ + +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) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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