Text-book on domestic art, with illustrations and drafts

IC-NRLF

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Text-Book

CARRIE CRANE INGALLS

LIBRARY

UNIVERSITY OF CALIFORNIA.

Class

A

A GRADUATION GOWN

Text- Book

ON

*

Domestic Art

WITH

Illustrations and Drafts

BY

CARRIE CRANE INGALLS

Teacher of Domestic Art in Cogswell Polytecl'rical College
San Francisco '

San Francisco:
Foster & ten Bosch

34* Howard Street

V

Copyright

1911
by Carrie Crane In gal Is

ACKNOWLEDGMENTS

I can not let this little book go out without some
attempt to express my indebtedness to the many friends
who have aided me in its production. Some are teachers
of this or other arts ; some are the pupils who taught me,
as I was teaching them ; some are well wishers who have
given friendly and helpful advice. I can not name them
all here, but to some of them particular acknowledgment
is due.

I am indebted to boys in the Cogswell Polytechnical
College, for the drawings, and to Mr. Ernest S. Burk-
hard, M. E., under whose supervision they were made.

For the frontispiece, I must thank Miss Berta
Lucas, a senior in the same college, whose photograph
shows her in the gown which, as the required completion
of the course, she made for her graduation.

And I am under obligations to Miss Jean Parker
and my sister, Mrs. Bertha Borden, for reading and
revising my manuscript and proof, and also to my advisor,
William H. Gorrill, Esq., Attorney-at-Law.

The pupils who have faithfully completed the course
described in these pages, and from whose work nearly
all the illustrations are taken, have, of course, contributed
more to the volume than I can say — very likely more
than I myself realize.

May 24, 1911.

224004

INTRODUCTION

(Extracts from a lecture delivered before the C. T. A.
Convention.)

Since the universities and colleges have real-
ized the importance of agricultural training for
men, why is it not essential that the High School
institute a course in Domestic Art that will
teach the girl not only how to sew correctly, but
to clothe herself in the most economical and at-
tractive way possible?

If there is a system for teaching arithmetic,
there is most certainly a system to be followed
in teaching sewing; and because a definite and
strict course of study has not been outlined, the
sewing teacher has been obliged to work with
material she could get at the minimum cost, fre-
quently offering it as an elective because many
school girls find it necessary to make their own
clothes.

INTRODUCTION

The art of sewing, intuitive in every girl,
should be developed ; if a mother can not teach
her little daughter elementary sewing, why should
not the State provide teachers for this important
subject? Indeed, not only for little daughters,
but for growing and grown-up girls, should skilled
teachers be employed, in sewing, dressmaking,
embroidery and millinery, — just as they are pro-
vided for foreign languages, mathematics, art,
music, etc. While I would not compel nor require
every girl to become an adept in the domestic arts,
still she deserves the opportunity of this training
if she wishes it. ! Let us not forget that there is
just as much system, order and discipline in
sewing, as those other studies which tend to
educate her for the fullest duties of life.

If a city school can supply a good equipment,
why should not this course be continued into the
High School, as other elective subjects, for girls
who would learn embroidery, millinery, tailor-
ing, etc.

The cost of a ready-made dress is exorbitant
and beyond the purse of most working girls in
comparison with the same cost if home-made.
But these same garments could be spoiled by the
lack of knowledge of correct cutting, fitting and
finishing, as well as of unsuitable and unpractical

INTRODUCTION

materials. Each of these points makes up the cost
of the finished gown, which the girl, in her eager-
ness to possess, does not comprehend.

In the art of living, we learn to obey the laws
of hygiene and nature. Our first steps should
concern health, food and clothing. Health de-
pends upon food and clothing — because our food
keeps the body in a healthy condition, while
clothing registers the proper degree of warmth
of the body. It is quite as important to kno\v
how to dress the body properly, as to feed it ; for
a violation of the laws of body-protection — shown
in some new fads, often unsuited to the different
climates where they are foolishly introduced or
ignorantly followed — may impair the health of
otherwise fine men and women.

So many mistakes in selection and cost of
clothing are made by the majority of people, I
am persuaded that girls should be taught the
economic as well as the theoretic side of living.
In many instances it is necessary for teachers to
give practical advice in the use of cotton for silk,
a clean, dark underskirt for the soiled white one,
embroidery for lace, etc.

That the study of sewing lowers the standard
of the High School curriculum, is the weakest
of all arguments.

INTRODUCTION

More true womanliness and love for home
and home-duties come from the art of the needle
than from any other occupation a girl may choose.
To be sure, music is beautiful, languages give one
power to speak fluently and to enjoy great minds ;
algebra and chemistry are certainly factors in
education, but domestic art or good practical
sewing is an absolute necessity. The sweat-shop
and ill-paid \vages for apprentices, seamstresses,
etc., have made the work a drudgery.

Indeed, a course in sewing may be found to be
more complicated than a course in mathematics —
because fashion decrees a never-ending change of
style of color, cut, form, material and ornamenta-
tion. It should include a study of the various
materials in their raw and manufactured state, and
the different plants, animals or vegetables that go
to produce the fibers woven into materials and pat-
terns. Although the fundamental materials, such
as cotton, flax, woolen, silk, etc., may be simple,
the combination of any two or more of these give
us a numberless list of names, which are as hard
to classify as some species of plant forms in a lab-
oratory. Yet these may be analyzed by observing
the weave, nap, texture, etc.

Now, why should not the girl be given the
right foundation to meet the material difficulties

INTRODUCTION

of her later years, since the problems of clothing
like those of cooking can not be escaped, and why
should not the rudiments of these be learned in
the school room?

When sewing has been made an elective, we
find more than one-half are eager to learn to make
their own clothes. Should it not then be taught?
From experience, I have found that parents are
quite as pleased as the pupils when a garment,
which has been drafted and well put together, or
a hat, cheaply and becomingly made, is taken
home for inspection and is worn by the daughter.

I have been asked by several teachers if I
thought drafting was essential. I answer, "Yes,"
most emphatically. My reasons are first of all
that the girl learns the laws of proportion in put-
ting a garment together; to be exact; to make
alterations when required ; and \vhat is very im-
portant, also, her own measurements — perhaps
this may show her some physical defect which
is the result of improper clothing or lack of bodily
development. This can also be made a lesson in
physical culture; for when I measure a girl's
hips and find the right side is 2l/2 inches larger
than the left, I could tell her how disfigured she
will grow, should she continue to stand
improperly. *

INTRODUCTION

There are many other lessons that come to
the sewing teacher, while she is fitting her pupil's
dress — neatness, cleanliness, proper choice of
material, etc. A careful study of the needs of
each pupil may bring about invaluable results.
Drafting may seem complicated, yet it is surpris-
ing how readily a class will comprehend it.

Tailoring or advanced sewing, can not be
made a perfect or progressive study, if drafting
has not been taught. This is necessary for the
complicated gowns as well as the simple, plain
lines, which make the foundation for each gar-
ment. A gown may be ruined by using the warp
for the woof, or a seam for a fold. There is
always a right way and a wrong way, and, in the
beginning, it is just as easy to learn the right
way.

In teaching the art, method or accomplish-
ment of sewing, the work must be so system-
atized that the pupil will realize the importance
of each step and its relation to the finished article,
until, thru habit, each piece of work is well done.
This means close concentration and application
with eyes on the needle and material.

If hand sewing only is done, a wider range
of work should be adopted by the teacher, apply-

INTRODUCTION

ing sheerer materials or daintier work as outlined
in Part Three, yet never confounding the classi-
fication of stitches and their proper application.
If schools do not furnish sewing machines, it is
impossible to complete the course marked out
in Part Two. In these days no work room is
properly equipped for practical experience with-
out one or several sewing machines. Moreover,
I would suggest more than one variety of make,
as machines are divided into two classes — the
shuttle or bobbin and the automatic. Both kinds
should be thoroughly understood.

The best of everything is the cheapest in the
end; standard machines, needles, thread, scissors,
tape measures, thimbles, etc., will stand more
strain and wrill wear better than cheap grades.

As advanced work in drafting, embroidery
and millinery has lately been introduced into the
High School, it is best to take a simple, plain
system which can be understood by all, leaving
the many varieties of tailors' charts and systems
to the professional.

In this book my object has been to start
with the elementary stitches and work up to the
more complicated in direct order of classification,
being careful not to confuse the plain, the
embroidery and the lace stitches with one
another.

INTRODUCTION

Embroidery is an advance over plain sewing
as are lace stitches over embroidery stitches, so
plain stitches must be the fundamental ones. If
girls have had an elementary course in sewing it
is unnecessary to take the time for sampler work,
yet such a test is the only way a teacher may
know the quality of a pupil's work.

Plain stitches are so few in number that one
sampler may contain them all. So too with
embroidery stitches, variations of the same stitch
are given particular names, but the countless lace
stitches are more difficult to classify, as different
countries designate the same stitch by other
names.

The sampler should not be used for practising
stitches, but rather as an exhibition of skilled
handiwork.

In drafting I have used the straight line as
much as possible, as curved rulers are not always
obtainable or properly used by beginners./ The
benefit derived from making even the simplest
draft is a knowledge of proportion and accuracy
of measurement. '

Familiarity with different materials leads up
to the study of textiles and manufactures so that
the field is unlimited. This book is not pre-
tentious in cumbersome detail of long studied

INTRODUCTION

work in any one of these accomplishments, aiming
rather to be a practical guide for the teacher and
a valuable textbook for the pupil.

Finally, to the young woman who wishes to
develop practical economy, good taste and a
knowledge of how to properly clothe herself, this
book is afTectionatelv inscribed.

RULES FOR SEWING

Clean hands Needles

Erect position Thread

Aluminum thimble Tape measure or rule

The thimble is worn on the middle finger of
the right hand.

The length of thread should reach from
shoulder to hand.

In threading, hold needle in right hand.

To tie a knot, take end before breaking thread,
wind it over first finger of left hand, rolling it
with thumb. Make knot as small as possible.

The needle should slant toward the shoulder
in sewing, and the top of thimble strike the needle.

NEEDLES

1. Betweens (short, tailor) 1-12

2. Sharps (medium) 1-12

3. Milliners (long) 3-10

4. Embroidery (blunt or sharp point with long
eye) 1-10

5. Darning (sharp point, long eye; larger than
embroidery) 0-9.

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1. Betweens are used by tailors for very fine
hemming such as finishing coat collars. The
Chinese use Nos. 9 and 10 for embroidery.

2. Sharps are used for all ordinary sewing
and plain stitches.

3. Milliners are used for basting and mil-
linery.

4. Embroidery or Crewel are used with silk
thread, floss, etc., for embroidering and fancy
work.

5. Darning are used for mending and weav-
ing.

A needle is a small, sharp, pointed instrument,
either straight or curved, and is used to carry
thread thru different kinds of fabrics, paper,
leather and other materials. The origin of the
needle is unknown, tho its earliest usage dates
back to China, where are found the smallest
needles in the world. The first needle factory
was built in Germany in 1730. There are over 150
varieties now manufactured for sewing alone and,
in the course of manufacture, one needle passes
thru 22 processes and is handled by 70 different
pairs of hands. They are made of best steel
wire, being cut twice the length of one needle,
with the eyes in the center. The best needles

DOMESTIC ART

pass thruTnany degrees of tempering. Oil is now
used for hardening in place of water which tended
to make them crooked. A good needle will
neither bend nor rust ; it breaks. Xeedles are
constructed differently, being curved or blunt at
the point, or having round or oval eye in the
center as the machine needle, or at one end as the
plain sewing needle.

Most of the standard sewing needles as well
as the Crewel needles are manufactured in Eng-
land. Machine manufacturers usually make their
own needles. Machine needles are divided into
the round and flat shank sometimes with a groove
oh one side as in the automatic or chain stitch
machine ; the flat shank is most used on a lock
stitch machine, differing in length according to
the make of the machine but not varying in size
as do hand needles. Xos. 0 to 4 are average
sizes while 1 to 12 are hand needles.

The size of the needle generally corresponds
to the number on the spool of cotton thread in
hand sewing, as No. 7 needle for 70 cotton, wrhile
the machine sizes run one size needle for two or
three numbers of thread or silk, as Xo. 2 needle
with 60, 70 and 80 thread.

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THREAD

1. Basting 5. Luster cotton

2. Sewing cotton 6. Linen

3. Glace cotton 7. Silk finish

4. Mercerized cotton

Thread varies from Nos. 16 to 200.

1. Basting cotton is the inferior cotton thread
used for basting and guiding. It is made from
poor quality of cotton fiber.

2. Sewing cotton is mostly used for general
hand and machine sewing in all colors and sizes.

Glace cotton was manufactured especially
for the automatic machine. It has a smoother
and harder finish than any other thread except
linen.

4. Mercerized cotton is used principally by
manufacturers to sew garments, and is a substi-
tute for silk, working into the goods, especially
woolens, much better than silk, tho it is not as
strong.

5. Luster cotton or linen is a twilled, firm
and strong thread, made of either fiber.

6. Linen thread is made from the flax fibers
and is stronger than cotton thread.

7. Silk finish is a strong luster thread used
principally in millinery.

DOMESTIC ART

SAMPLER NUMBER ONE

PLAIN STITCHES

Overcast

Hemming

Blind or slip stitch

Over and over

Even baste

Long baste

Long and short baste

Tailor's baste

Running or gathering

Three running and one back stitch

Half back stitch

Whole back stitch

Darning

Tear a piece of cotton cloth (Fruit of the
Loom is good) into strips 9 inches long on the
warp or straight, and 12 inches on the woof or
width. One yard of cloth 36 inches wide will

J

DOMESTIC ART

tear into a dozen pieces each 9x12, — three pieces
on the width and four on the length.

This sampler is worked in order to show all
the plain stitches included in sewing. They are
the fundamental ones, but variations, as the baste,
running or back stitches, may be made. By using
colors contrasting with the background the
stitches will show to better advantage.

Commence at the right end and on right side
of goods (leaving knot on wrong side). Work
from left to right. Turn a 1-inch hem on the two
short ends and one long side.

A hem is a double fold of cloth on the edge of
the material and varies in width from ^ to 6 or
more inches, the first turn being from 1/16 to l/2
inch according to thickness of material or its
tendency to ravel. Crease the first turn sharply
and evenly by laying on a flat surface and creas-
ing with thumb of right hand. The second turn
or crease is made the desired width of hem, so
it is especially important that the first crease is
straight and even. For a guide, use a rule or a
strip of cardboard cut out the correct width.
Before basting this hem the corners should be
mitered.

To miter is to fold the corners of material so

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the sides will join on the diagonal, instead of
straight — a neater way of finishing corners than
the folded hems. There are two ways of miter-

ing: cutting away the goods left after folding, or
turning all under, the latter leaving the corner
firmer and less liable to lose its shape. Fig. 1.
After the hem has been creased on three sides

DOMESTIC ART

of sampler see that the corners are also sharply
creased. Then unfold the first crease and make
a diagonal crease at the point where the warp
and woof sides come together on the corners. See
Fig. 2. If turned accurately the creases will
match. Refold as for hem with the diagonal
piece turned in, this join making a diagonal fold.
This is sewed together with a very fine, straight
over and over stitch, catching only the edge of
fold and not that which is tucked under. Baste
lower edge of hem to the goods and baste also
the mitered corners on each edge, to keep them in
place. Next overcast the long raw edge.

Overcasting is an over and over, slant stitch
used to protect raw edges from fraying. Start at
right corner, with knot on under side, pulling
needle thru on right side, deep enough only to
prevent raveling. Repeat with even stitches
(1/16 of an inch deep). This stitch slants from
right to left and is one of the most difficult to
make uniform.

To make a hemming stitch, start at the right
side on the edge, hiding the knot under the hem,
and take up one or two threads of the goods, just
catching it to the edge of the fold or hem. Slant
the needle toward the shoulder and hold hem at

io TEXT-BOOK ON

lower edge over the first finger of the left hand,
with the middle finger over the goods to hold the
goods firm. The stitches should be small and
even with a slanting stitch on the right and a
straight stitch on the wrong side. Hem the two
short sides. On the other long side which has
been turned for a hem make the blind or slip
stitch, so called because the thread slips thru the
fold in the hem and is invisible.

The blind or slip stitch is started similar to
the hemming stitch, catching a few threads of the
goods at the edge of the fold and carrying the
needle into the hem just above the edge, so the
stitch can not be seen, and running or slipping it
thru the hem or fold about % °f an inch. It
shows no stitch on the right side, but resembles
hemming on the wrong side, with stitches farther
apart.

The over and over stitch is a very fine hori-
zontal stitch used to join two turned-in edges,
folds or selvages. Patchwork is an example. One-
half inch below the hem at the top of sampler
crease a line by folding it to right side and creasing
sharply. This crease is a guide. Start all the
plain stitches at the right of sampler near over-
cast edge on creased line, y2 inch apart.

DOMESTIC ART n

Even baste stitch has the same length of
stitch on both right and wrong sides and should
be about ^ inch long. It is used to join two or
more thicknesses of material together, prepara-
tory to machine or fine hand sewing.

Long baste stitch has one long stitch on right
side and one short stitch on wrong side. It is
used as a guide stitch or for joining cloth.

Long and short baste stitch has one long stitch
on right side, one short stitch on wrong side, a
short stitch on right side and another short stitch
on wrong side. This is used in joining long
seams and is a firmer stitch than the long baste.

The tailor's baste has a slant thread, starting
at base of goods or creased line, with another
creased line ^4 inch below. It slants toward the
left on the right side, making a straight stitch on
wrong side. The tailor's baste is used to join a
number of thicknesses of cloth, particularly pad-
ding. Strong thread and a coarse needle are
needed. There are many variations of this stitch
in length and slant.

Running stitch is a firm, even stitch on both
right and wrong sides. It is used for gathering
or joining two or more pieces of material to-
gether. These stitches are made by movement
of the wrist.

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Three running stitches and one back stitch.

Take three running stitches (see No. 5) ; go back
one whole stitch in the same hole the last stitch
ended, coming out twice the distance on under
side of goods. Repeat. This is used for joining
long seams by hand.

The half back stitch has one running stitch
on the right side and twice the length of that
stitch on wrong side. It goes back only half the
distance of the first stitch on the right side, mak-
ing a succession of short, even stitches on the
right side with a little space between and a lap-
over stitch on the wrong. It is a stronger way
of joining cloth than the preceding stitch.

The whole back stitch is one even running
stitch on right side, going back one whole stitch
through the same hole, making one continuous
line of stitches with no space between. This is

DOMESTIC ART 13

used in place of machine stitching and is the
strongest of all the plain stitches.

Tucks — One-half inch below this last stitch,
crease a line or fold of the material for a tuck
which is sewed with a small, running stitch.
Where the extra thicknesses fold on the hem the
needle must go in and out separately or it is liable
to break and the stitches will be too large. Start
at the hem edge with an over and over stitch first,
in order to make the tuck firm and take one stitch
at a time 1/16 inch from the edge. In the same
way make a second tuck y2 inch below this one.
Tucks are used to shorten, or in case of shrinkage
as a means of lengthening a garment, or, wrhere
very fine tucks are made, as ornamental.

14 TEXT-BOOK ON

Patch — Below these tucks and 1 inch to right
of hem, draw a rectangle 1x1^ inches, the shorter
line being the perpendicular. Cut out on these
lines. Cut each corner diagonally about y% or
3/16 inch. Crease the raw edges on wrong side
before putting on patch.

A patch is a piece of cloth used to cover an
open space on another piece of material, where
darning or weaving can not be applied. The use
of the patch is to render the torn spot strong but
unnoticeable, and except for contrast or effect,
is always of the same material as the torn goods.
Patches are used mostly on cotton goods, while
woolens are more easily darned.

The patch must first be matched to the grain
of the material that is to be patched ; this grain
constitutes the warp, woof, bias and crossway of
all textiles.

The warp is the length, straight or selvage of
the goods — the foundation threads in the process
of weaving. They run vertically.

The woof or filling is the width of the goods —
the threads that are woven into the warp threads
in the opposite direction. They are usually infe-
rior in strength and quality to the warp threads.

A crossway cut is not a true bias cut but is

DOMESTIC ART 15

midway between the warp and bias or the woof
and bias.

Cut out a rectangular patch of same material
as sampler and larger than the space to be cov-
ered to allow for turning in. Lay this patch on
the wrong side of sampler, matching it to the
grain of the cloth and pinning it in place before
basting, with the corners square and clean cut.
Hem or blind stitch very fine with Xo. 9 needle
and 90 cotton. Pull out basting thread, turn on
wrong side, cut the goods evenly *4 inch from
the edge just hemmed. Fold under the raw edge
y% inch for hem, baste and hem as on right side.

Darning — Below the tucks, ly+ incn to left of
the overcast edge, draw or crease, then cut a
vertical line \l/2 inch long. This is a warp cut
and is to be darned.

The darning stitch is a very fine running stitch
woven in and out and back and forth on the right
side. Darning is used to fill a space when a
patch is not necessary. A piece of cloth may be
put underneath to strengthen the darned place
and woven in at the same time. These two raw
edges should be brought together without pucker-

16 TEXT- BOOK ON

ing, misshaping or raveling, nor should they be
overlapped. A woof tear makes the easiest of all
darns as the stitches are woven with the warp.

Start at the top of the cut and work down
without tying a knot in the thread. Leave the
raw edges on the under side and at each start
make the return stitch as short as possible. Each
line of stitches must be parallel. End on the
wrong side with a short over and over stitch.
Press the darn on the wrong side wetting it
slightly, or on the right side, first laying a damp
cloth over it.

Stocking Darn — In the center of the sampler,
between the patch and the darn, draw then cut
out a round hole the size of a small thimble. This
is to be darned or woven. Use No. 20 8-ply
darning cotton with a No. 6 darning needle. Split
the strands, using two at a time. Commencing at
the right near the top, make a running stitch
around the edge of the circle, and starting at
same place, make the foundation threads parallel
with the warp threads of the sampler. Take a
small full stitch each time leaving the raw edges
on the under side never using the same hole
for the return stitch but instead, taking a short
horizontal stitch, thus making a space between

DOMESTIC ART 17

the vertical rows. After the hole has been covered
with warp rows, start the horizontal lines at the
lower right edge, taking a firm stitch, and weav-
ing in and out, or over then under, ne.ver missing

a warp strand. In the second row weave first
under and then over, alternating the stitches with
those of the first row. The third row should
begin and correspond with the first row, the
fourth with the second, and so on. End on the
wrong side with a back stitch. Keep the founda-
tion threads flat while drawing them thru and

DOMESTIC ART 19

do not draw the goods. In weaving the filling,
the surface can be held over a large baste spool
or something flat, to keep from puckering. This
simple form of weave is the first known example
of holding fibers together and is called a plain
weave.

When the sampler is completed press it on
the wrong side and familiarize each stitch that
has been worked.

In the upper hem write the name of worker
and the date.

20 TEXT-BOOK ON

SAMPLER NUMBER TWO

THREE CORNERED PATCH ON STRIPED,
FIGURED OR PLAID GOODS

Size of sampler 4 by 6 inches.

Overcast all around the edge, using No. 90
cotton with a No. 9 needle. Cut a 3-inch, equilat-
eral triangle in center of goods. Turn under
the raw edges % of an inch, cutting each corner
on the diagonal Y^ inch to make the edge straight.
Then place a piece of the same material on under
side larger than the triangular opening, and match
it to the design on all sides, pinning in place
before basting. Hem on right side with tiny,
even stitches. Turn to the wrong side, trim off
the patch evenly, making a ^-inch hem. Hem
as on opposite side. Each corner of the patch
should be cut and finished 'alike.

Press on wrong side, and attach name and
date.

DOMESTIC ART 21

SAMPLER NUMBER THREE

CASHMERE

Size 4 by 4 inches.

Find right side of cashmere.

The right and wrong sides of cloth are some-
times difficult to distinguish. The right side has
a finish and often a luster or a nap, while the
wrong side shows imperfections in the weave or
loose ends and joins.

Except when goods is less than 28 inches wide,
it is generally folded on the double and creased in
the center before it leaves the manufacturer. On
cotton goods, the outside is usually the right side,
while on woolens and heavy materials, also cloths
with a luster like satin, the right is found on the
inside.

For darning woolen goods use, if possible, a
warp thread of the same material (as it is stronger
than the woof) with a very fine needle.

To thread a cashmere warp thread in a No. 9

22 TEXT-BOOK ON

needle, take a short length of No. 90 or 100 cot-
ton thread, draw the two ends together thru the
eye of the needle, leaving a loop in which to slip
the cashmere thread. Pull all thru the eye at once.

Make a three-cornered cut to be darned by
folding the sampler on the warp, in the center, and
cutting down from the center on the bias or
diagonal, 1 inch. Baste a piece of paper on the
wrong side of sampler to hold the goods in shape,
and starting on the right side, at the right end,
darn the cut, making the stitches at right angles
to the direction of the slit. Take tiny stitches,
keeping the edges together. Turn the angle at
top by graduating the stitches until they are ver-
tical with the top of the cut.

On the upper left side of sampler make a
vertical cut \l/2 inches long. Use the cashmere
thread in the same way as before in darning,
then cut a horizontal line \l/2 inches to right of
the vertical cut and- darn.

Overcast all around the outside edge of
sampler with the cashmere thread.

Remove paper and press well by placing a
damp cloth over the cashmere and ironing until
dry on the wrong side. Write name and date
finished on a small piece of paper and baste on

DOMESTIC ART 23

sampler, in the triangular space that has been
darned.

SEWING MACHINES

History — The first sewing machine was in-
vented in 1755 in England by one Weisenthal.
It was used wholly for embroidery and made a
tambour or loop stitch, a name derived from the
two-pointed needle with the eye in the middle.
Thomas Saint, an Englishman, brought out the
second invention. This was a machine for quilt-
ing and stitching. The third invention came from
a Frenchman named Thimonnier, who endured
many hardships in his efforts to introduce it into
France. He made a large number of machines,
the first of wood, only to have them twice de-
stroyed by mobs of infuriated tailors and sewers
who condemned him for depriving them of their
trade. He died in poverty, still fighting his
oppressors.

The first notable improvement came in 1846
with the invention of Elias Howe, a native of
Massachusetts, poor in health and purse, and
whose struggle for recognition was likewise em-
bittered by those who plied the needle and refused

24 TEXT-BOOK ON

to use his machine. The shuttle which he con-
ceived formed a lock stitch, the Wheeler and Wil-
son machine being the outcome of his patents, and
the first sewing machine manufactured. Grover
and Baker followed with still another improve-
ment; then came the Singer. Howe was paid a
royalty on each machine made from his patent, so
that, unlike his predecessors, he became wealthy.

In 1857 a new machine was invented by Wil-
cox and Gibbs. This machine did away with the
bobbin, making instead a chain or loop stitch. In
these days of machinery and progress, hundreds
of machines are turned out of various makes,
grades and quality, but sewing machines are
divided into but two classes — the chain with its
automatic tension and using but one spool of
thread, and the lock stitch with its bobbin and
sometimes a shuttle, using two threads. The
sewing machine is run by power, foot or hand.
It is poor economy to buy an inferior make, for
it is impossible after a lapse of time to secure
duplicate parts or new needles.

The instruction book accompanying each
machine should be followed closely. Most ma-
chines thread differently, the wheel revolving in
opposite directions and thread will break if started

DOMESTIC ART

wrong". The machine is the servant of the hand
and should be studied and mastered. To keep
clean, well oiled (but not over much) and in good
condition — covered when not in use — will keep
the machine in easy running order. Learn each
detail of its construction from stand to attach-
ment.

Attachments — The attachments save time and
work. Directions for their use are in the instruc-
tion book and should be learned. The principal
ones are the guide, hemmer, feller, gatherer,
tucker and binder. On the lock stitch machine
most of these attachments necessitate the remov-
ing of the plain presser foot used for ordinary
stitching and using a special one ; on the auto-
matic the same presser foot is used for all.

Adjustment and Length of Stitch — The size
of needle to be used and the relation of the
thread to the stitch vary according to the thick-
ness of material to be sewed. On the plate
of the automatic machine the numbers and
stitches are explained, the length of stitch being
regulated by a sliding lever attached to the plate.

26 TEXT-BOOK ON

The tension should never be oiled or dis-
turbed, as it adjusts itself automatically to the
proper stitch.

On the lock stitch machine, the stitch is regu-
lated by the turning of a thumb screw which is
found near the bobbin winder.

Other makes have the regulating table for
stitches on the plate with a screw sliding to right
or left according to size desired.

On any machine this table of stitches indicates
the number of stitches to an inch. Thus, 22
stitch means 22 stitches equal one inch.

In testing stitches use two or more thick-
nesses of cloth.

Fastening — With the lock stitch machine the
threads are fastened by drawing the top thread
thru to the wrong side and tying to the under
thread.

With the chain stitch machine the thread is
fastened by raising the presser foot and moving
the cloth back to the preceding stitch so the
needle will enter this last hole a second time.
This makes a double knot.

If sewing to the end of cloth, run off a few
stitches beyond the cloth.

The chain stitch is similar to the plain cro-

DOMESTIC ART 27

chet stitch and unravels easily from the end
last stitched. When broken or cut, pull the end
thru the last loop and fasten by threading and
making a back stitch.

To take out the lock stitches, pull thread
from end last sewed, first on right side of cloth
and then on wrong side, or if a seam is to be
taken out, hold cloth on wrong side and pull
thread first from one side and then the opposite.
For tailored work a sharp knife is used.

DOMESTIC ART 29

SAMPLER NUMBER FOUR

MACHINE WORK

This sampler is made with the lock stitch
machine as the chain stitch machine has no
binder attachment and also has a more definite
right and wrong side, thus making it more com-
plicated to do. However it is not necessary
to use a binder attachment for binding a raw
edge, and other ways will be explained under
the directions for the machine binder. The
attachments used for this sampler are the tucker,
gage or guide, hemmer, gatherer and binder.

Cut three strips of cloth 12 by 3 inches,
one straight and two bias, — the straight with
the length on the warp, which can be torn.
These strips are joined together with French
seams.

A French seam is made by joining two raw
edges of cloth on the right side and stitching

30 TEXT-BOOK ON

them as near the edge of the cloth as possible,
then turning the material on the wrong side,
with the inverted seam on the top edge (which
is easiest done by creasing the seam flat before
turning on the wrong side), then stitching these
two pieces of cloth only deep enough to hide
the raw edges of the first seam. From 1/16 to
Y% of an inch is the depth of the first seam,
and it is most important that this seam should
be straight before turning for the second seam.
Goods that fray may need a deeper seam. A
French seam is used for all garments, partic-
ularly for underclothes and on sheer materials
and is the neatest way of finishing seams. The
three strips of cloth used to make the sampler
are joined in the following manner: the straight
piece is pinned to the bias, without stretching
the bias beyond either end of the straight, then
basted with an even baste stitch holding the
bias piece on top. Join the second bias strip to
this bias, pinning and basting in the same man-
ner. Stitch as explained in the French seam.

Tucks — On the straight piece, y± inch from
the long, raw edge, measure and crease a line
across the strip for tucking. Fasten the tucker
attachment to machine plate. Gage this ad-

DOMESTIC ART

justment until it makes a J/g-inch tuck and the
marker spaces ^4 inch, marking a straight crease
while the first tuck is being stitched.

This crease is to be folded and stitched Y%
inch for the second tuck, the space marking off
24 inch as before.

Make three tucks in this manner.

Before turning wrong side out, crease flat the
stitched seam so there will be no folds or ridges
when basting this second seam on the wrong
side.

Machine Guide — On the outer bias strip, \l/2
inches from the raw edge, crease as for a tuck
the length of strip. Adjust the machine guide
attachment, gage it for ^ inch, and stitch tuck.

Hemmer and Gatherer — Cut or tear a strip
of cloth 20x3 inches for a ruffle. One of these
long ends is to be hemmed, the other is to be
gathered. Adjust the Xo. 1 narrow hemmer
attachment. The under side of the hemmer
foot shows the width of the hem. To start the
edge in the hemmer, fold the end about an inch
so that it may readily slip into the adjustment.
Stitch this ruffle. Remove the hemmer and
adjust the gatherer attachment.

The gatherer attachment can be regulated to

32 TEXT-BOOK ON

gather any fulness desired to the inch. This 20-
inch ruffle must be gathered to fit the 12-inch
edge of the straight strip. Test the gatherer
attachment by increasing or decreasing the ful-
ness of gathers with the screw until it equals the
straight piece.

The ruffle can be gathered and sewed on to
straight piece at one stitching, by putting the
straight piece underneath and sewing the ruffle
on the right side below the tucks.

This seam is covered with a bias band. Cut a
strip of same material ^4 inch wide. Baste this
over the gathered side of seam, stitch and turn
band over flat. Turn under raw edge making-
band Y^ inch wide. Baste down, and stitch as
near each edge as possible.

Binder — Cut a bias strip % inch wide, about
30 inches long to bind edges of sampler. Adjust
binder attachment.

To put a bias strip into the binder attachment,
cut end of strip diagonally and with the stiletto
work this end into the attachment. Fold the
bias strip writh the right hand while stitching,
making the fold even, so that the stitching will
catch both sides at the same time.

Care must be taken to keep the tucks and

DOMESTIC ART 33

seams in their right positions and to allow suf-
ficient fulness in turning the corners.

On the middle strip of cloth write the pupil's
last name in as large letters as the space will al-
low, with an even distance from either end. Stitch
this outline on the machine with coarse, black
cotton (No. 40). Use white thread on the bob-
bin and start at end of last letter, working to-
ward the front. Use the embroidery presser
foot if the machine contains this attachment,
which is a short split foot, and enables the out-
line to be readily followed.

34 TEXT-BOOK ON

SAMPLER NUMBER FIVE

BUTTONHOLES AND LOOPS

Cut or tear •a. strip of cloth 12 inches long
on the woof and 3 inches wide on the warp.
Turn over the raw edges and fold on the length,
basting and stitching the edges as near as possi-
ble. By cutting the cloth this way, the buttonhole
stitches are worked with the warp of the goods
which is easier sewed than with the woof.

In the center of the cloth, ^4 of an inch from
the top, and ^4 of an inch apart, cut 9 button-
holes 24 of an inch long. Use buttonhole scis-
sors and cut each line parallel. To cut a button-
hole the correct size for a button, measure the
diameter of the button, allowing it to slip thru
easily. They may be cut vertically or horizon-
tally, the first being mostly used on waists, cor-
set covers, night gowns, etc., while the horizontal

DOMESTIC ART 35

ones are used on belts, coats and on waists where
the buttonhole is visible.

The ends of a buttonhole may be worked ir
three different ways, namely : fan ends, bar
ends, or bar at one end and fan at the other.
The fan ends are the strongest, but the bar and
fan is perhaps the most used. The first three
buttonholes on the sampler are worked with the
fan ends, as these are the easiest; the second

three with the bar and fan ends, and the last three
with the bar ends.

The fan end simply means a continuation of
the buttonhole stitch all round the cut, and is
not used for large buttonholes, because it tends
to increase the size of the buttonhole, while the
bar end does not. When the bar and fan ends
are to be used, the end that receives the strain of
the button, is the end to be worked with the fan.

36 TEXT-BOOK ON

Having cut the buttonholes, start with the
top one, holding stitched edge of sampler to the
right and fold at left, beginning at stitched edge
each time in working. Use No. 40 thread,
and cut it long enough to complete one button-
hole. With no knot in thread, overcast the raw
edges of the cut, making 4 or 5 stitches on either

side only deep enough to keep the cloth together
and from fraying. Without breaking the thread,
commence the first buttonhole stitch.

The tailor's buttonhole is worked by bring-
ing the needle up on the right side of the cloth,
just deep enough to cover the overcast stitch.
Before pulling the needle thru, take the thread

DOMESTIC ART 37

that hangs from the eye of the needle and throw
it under the needle from right to left. This makes
a little loop or knot which is pulled thru tightly
so it comes on the edge of the cut.

Form each stitch like the preceding one and
so close that there will be no space between the
loops or knots, and the depth of each stitch will
be uniform. The thickness of thread used in
working the buttonhole may be the guide for

allowance of space between each stitch taken.
Consequently, the finer the cotton, the closer the.
stitches and the coarser the cotton, the greater
the space. In working around the curve, spread
the stitches a trifle, but evenly, in order that the
knotted edge will not be overcrowded ; this is
the fan end.

The opposite end is the bar end, when the

38 TEXT-BOOK ON

bar and fan ends are both used. To make a bar end
take three over and over stitches, connecting the
first and last buttonhole stitches on either side.
If the goods fray so it is impossible to work a
buttonhole, before cutting, make two rows of
stitching l/% inch apart on the machine, the de-

sired length of buttonhole, and cut between them
with a sharp knife. If the goods is very sheer, a
piece of cloth basted on wrong side, then cut
and worked with the buttonhole, will give it
added strength.

The above description is the only true method

DOMESTIC ART 39

of making the tailor's buttonhole. The embroid-
ery buttonhole is not worked the same, nor is
it as strong.

Loops are often used in place of buttonholes,
especially on thin material. Mark line where
loop is to be ; with Xo. 40 cotton thread, sew
4 strands the same length as mark, making them
large enough to slip over button used. Starting
at left end, buttonhole over these four strands,
thus forming a cord. Use a small pencil or stil-
etto to keep the strands in place, and fill the
space, pulling each stitch tight. Finish on wrong
side, with an over and over stitch.

Press this sampler on wrong side, stretching
the buttonholes on the length to close the spaces.
Attach name and date.

APRON

Material, 2l/2 yards gingham (1 yard wide)
for apron 32 inches long.

Measurements :

Waist (Model 24 inches).

Length of dress (Model 32 inches).

When buying material for apron, allow for
twice the length of the dress skirt, and three

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inches on each strip for the hem (6 inches in
all). First cut or tear either end of the strip of
cloth, with the woof thread ; then cut in halves.

If a plaid, match. From one of these pieces
tear a 2^-inch strip (this allows for seams), on
the selvage or straight; this is the belt. The

DOMESTIC ART 41

other piece of cloth is split in halves on the warp,
thus making two 5^-yard strips. Join each nar-
row strip to either side of the wide piece, pinning
and basting on right side for French seams. If
one edge is selvage and the other not, tear off the
selvage edge. When the selvages come together,
a French seam is not necessary except when it
corresponds with another seam. When the apron
is properly seamed, hem the two sides, with the
54-inch machine hemmer. Turn a three-inch hem
on the bottom of apron, making the French seams
turn toward the outside. Pin first, then baste
and stitch on the right side. Find the center of
the apron at the top, and cut a small notch at
this point. Make two rows of gathers across the
top, y^ inch from the edge and % inch apart.
Commence at the right edge, with the knot on
wrong side of cloth, using 50 cotton. The
length of the thread should be longer than the
belt measurement, and when the space is gath-
ered, do not fasten this end with a knot or back
stitch, but hold the threads in position by placing
a pin at right angles with the gathers, and wind-
ing the thread over and under it several times.
After the belt has been stitched, these ends
should be fastened.

42 TEXT-BOOK ON

Cut off the belt to equal the waist measure-
ment, plus 3 inches. The extra inches are used
for an inch and a half lap, and ^ of an inch is
turned in on each end. Turn under the long
edges of the belt *4 °f an inch, creasing the
strip in the center. It will then be 1 inch wide
on the double. Pin the gathers to lower edge
of wrong side of folded belt, starting and ending
them 3 inches from either end of the belt, the
center of apron meeting the center of belt.

The gathers should not be as full in the center
of the front, and the French seams should be the
same distance from the center. Baste the gathers
closely and evenly, then bring down the top edge
of the belt over the raw edges, baste and stitch
on the machine, close to the edge.

Make a buttonhole on right side of belt y2 inch
from edge, and sew button on left end. Over
stitch small and neatly the ends of the belt and
hem. Tie, fasten and cut all thread ends. Press
on right side, dampening if necessary any
wrinkled places.

Make a hanger 2l/2 inches long (finished) and
l/\ inch wide (finished) and fasten to the center
of belt on the wrong side and at the lower edge.
Baste a small card with name, class and date
finished (written) on it, in the center of the belt.

DOMESTIC ART 43

IRONING

The use of the iron is the last touch on finished
work. It should be taught as soon as the first
article is completed. Pressing is simplified by
conveniences and shapes of all sorts. The skirt
board, the egg or sleeve board, the tailor's pad,
the seam board are all necessary for their respec-
tive work.

The board must have a smooth, tightened sur-
face of heavy cotton, either bleached or un-
bleached as sheeting (never a twilled or corded
cloth) with a good padding underneath. Tack
or fasten this padding to the board as it is not
to be removed. Cotton blanketing doubled is
recommended for padding. The outer sheet of all
should be stretched firm and smooth and never
allowed to become so worn and soiled that the
padding will also become dingy.

Irons of medium size and weight (7 pounds),
either pointed both ends or triangle shape, are
used for ordinary pressing. Tailors use a goose
iron from 10 to 16 pounds. It is long and nar-
row with a short, blunt point.

The sleeve iron is very narrow, with
a long point in order that it may reach into the
gathers of the sleeve. A later design of sleeve

44 TEXT-BOOK ON

iron is made egg shaped with a handle for heat-
ing, which rests on a stand about a foot high.
The sleeve is then passed quickly over this heated
surface. The sleeve board is also long and nar-
row and is mounted on a base or stand, so the
sleeve will slip over it and can be turned on all
sides ; the ends are rounded, one being larger
than the other for the top of sleeve. The entire
length of the board is about the length of the
average sleeve.

The skirt board is also shaped larger at one
end than the other and should be longer than the
skirt length. A satisfactory board is Ij4 yards
long by 14 inches at one end and 7 inches at the
other.

There should be a stand for the iron together
with cloth, wax or paper for cleaning it, and a
sponge or cloth for dampening materials used. If
too hot, the iron will scorch, if too cool it will
smirch and leave a yellow streak. When rusty,
clean iron with sand soap or fine sand paper,
rubbing over wax or paraffin. With starched
and white pieces this is especially necessary.
Different materials are treated differently. Cloth
with a nap should be pressed the way the nap
runs. Silk should not have too hot or heavy an

DOMESTIC ART 45

iron, as the stiffness will come out. Serges and
woolen goods must not be pressed too heavily or
too dry, and never on the right side, without a
cloth over it as it becomes "shiny." With some
shades of cotton, linen, etc., a chemical action
takes place if too hot an iron is applied, and the
color can not be restored.

HOW TO SEW ON BUTTONS

Four-holed buttons are fastened to material
either by crossing the threads or by making the
threads parallel, either horizontally or vertically.
The crossed threads are used for underclothes.
Parallel threads are used for coats, outer gar-
ments and men's clothes.

Use coarse cotton. No. 36 or linen not doubled.
Begin with the knot on the wrong side, or on
the right side, with a back stitch and no knot.
The button can be made to stand out from the
goods, as on coats, by putting a small pencil or
penholder between the button and cloth, sewing
on button, then drawing away pencil and winding
the extra fulness with thread. Before fastening
on wrong side, always wind the thread under the

46 TEXT-BOOK ON

button four or five times to give extra strength.
Sometimes a small button is put on the under
side and worked thru at the same time.

HOOKS AND EYES

Hooks and eyes are used as a mode of fasten-
ing a garment or any article, where buttons and
buttonholes or ball and sockets are not desired,

DOMESTIC ART 47

or can not be used. They bring two edges
together without over-lapping, as tight linings ; or
are used for laying and fastening one edge over
another so it will be flat, as plackets.

Hooks and eyes are manufactured in sizes
from 000 to 6, and in colors black, white and gilt.
Different varieties and sizes are used for certain
parts of a garment, as Xo. 4 hooks and eyes
for belts on skirts, Xo. 2 for skirt-placket,
etc. Hooks are made plain or with a hump,
to prevent slipping. Eyes come in round and
flat ; the round being used for edges and the flat
for lapping. To sew on hooks and eyes, match
the places where they belong, by holding the two
pieces of cloth or edges together and mark,
spacing evenly with pins or pencil dots. Hooks
are sewed on first in most all cases, and when
many are to be used, the thread is carried from
one to the other. Use coarse cotton, silk or twist
as the textile requires. If cotton thread is used,
do not double; if silk, wax. Always sew hooks
far enough from the edge so they can not be seen
from the outside. One quarter of an inch is a
good distance. To sew on hooks, commence at
the right and sew to the left, holding the hook in
place with the thumb of the left hand, and let

48 TEXT-BOOK ON

the edge of the hook come where the pencil dot or
mark is. Commence at lower edge and go thru
right hole five times, then the left. Carry the
thread to the top of the hook, sewing it thru
to the cloth five times, then passing on to the
next one in the same manner. To sew on the
eyes, hold the center of the eye over the mark
made to match the hook, sewing thru each hole
five times, and passing to the next one in the
same way, for the flat eyes. If the round eyes
are to be used, beside sewing thru each hole the
five times, fasten each one just below the curve
at the top on either side, to make more secure.

BALL AND SOCKETS

Ball and sockets are used to lap flat surfaces
together, and are preferred by many to the hook
and eyes. They are manufactured in four sizes
and in colors black and white. They are more
expensive than the hooks, and sold with a dozen
on a card. As they are fitted on the piece of
cardboard on which they are sold, so they must
clasp together in the same wray on the cloth.
Some are made from a solid piece of tin, while

DOMESTIC ART 49

others have a slit or a join. When the latter kind
are used, never let the join come on the outer
edge as it springs the socket out of shape. It
is not necessary to space them as closely as hooks
and eyes, an inch and a half or three quarters
for the smallest size, and the larger ones near
enough to prevent gaping. After marking the
places they are to be attached, hold the socket
part on the top or upper side with the center
over the mark and fasten securely in each hole
(there are generally 4 to each part). The part
of the socket that shows is the wrong or under
side. The ball piece fits in the center of the
socket and may also be matched to it by placing
a pin thru the hole in the socket having the lap
of cloth in just the right position as when finished.

TEXTILES
Cotton

Cotton was known as early as 450 B. C., where
in India, it superceded all other fabrics.

It is a tropical plant, the United States grow-
ing three-quarters of the world's present supply.
Texas leads in this industry, although California
now bids fair to outstrip all other states.

50 TEXT-BOOK ON

The cotton flower or boll, — that soft, downy,
white bloom, that bursts from the dry pod — has
given to the world one of the greatest products
in existence, and has reared manufactories from
which have branched thousands of allied indus-
tries, both domestic and foreign, that have no
equal on the globe. The great mills with their
tall black chimneys towering skyward, and the
little villages nestling around them, and shelter-
ing the population of cities, turn out yearly end-
less quantities of fabrics to supply an ever-in-
creasing market.

The din and roar of these mighty factories
along the quiet New England rivers have
developed one of the world's greatest industries,
est industries.

Until the last century the cotton fibers were
sifted, carded and spun by hand, but the in-
vention of the cotton gin by Eli Whitney in 1872,
has opened up the great industry of cotton man-
ufactures.

After the pod bursts open, the white mass is
picked and thrown into baskets from which it is
emptied into the hopper of the gin, where it
emerges, dirty but free from seeds, which in turn
are pressed out and the oil from them sold. The

DOMESTIC ART

cotton is packed into bales, weighed and shipped
north and here begins its manufacture. It is
sorted out and bought up by consumers, accord-
ing to use. Cotton brokers are deft in their touch
and by breaking the raw material can tell at once
the quality of fiber, the long staple fibers bring-
ing better value.

From gin now to factory the cotton is turned
into carding machines where great revolving
combs and brushes clean out all foreign particles.
These wide, white sheets of raw cotton emerging
from the carders are then condensed into a narrow
stream of white substance called a sliver, which
by twisting and doubling and spinning with other
slivers comes forth a tiny thread of varying size,
which after various processes of creeling, finish-
ing, dyeing, etc., becomes the finished product
on the spool.

These spools are then placed on looms where
they are woven as warp or filling threads into
cloth. They are also sold as sewing cotton. The
process of weaving is an industry by itself. The
methods of weaving stripes, checks, diagonals,
twills, etc; the endlessly new processes of dye-
ing, finishing, etc. ; the inspiring history of new
inventions make textile study one of absorbing

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interest. The Jacquard machine, invented by a
Frenchman which weaves isolated designs by
means of cards punched and running on chains,
can not like the first cotton gin be improved upon.
The textiles schools of our East have no equal.
There are many varieties of cotton, according
to the country raised in. The longest fibers are
used for sewing thread and are often mixed with
silk. In many places the boll weevil, a small
insect, destroys the entire crop. Eastern coun-
tries produce a yellow cotton, but the finest of all
comes from the South Sea Islands and the Flor-
ida coast; the fibers are about 2 inches long.

Besides cotton, flax, ramie, hemp and jute and
the so-called China pineapple grass are vegetable
products.

Heat does not affect cotton, but acids change
it. Mercerized cotton is produced by a solution
of caustic soda.

The price of pure cotton cloth ranges from
5 cents to 50 cents per yard.

DOMESTIC ART 53

LINEN

FLAX, RAMIE, HEMP, JUTE, CHINA PINE-
APPLE GRASS

These are vegetable products used for weav-
ing.

Flax is a small annual plant 1 to 3 feet high
with a blue flower, and is grown in all parts of
the world.

Linen fiber is procured from the flax plant —
from the seed is made linseed oil. The linen
fiber is separated from the flax stalk by soaking
or retting the stalks in water about 5 days, dry-
ing, then cleaning or hatcheling the impurities
from the linen fibers. This fiber is from 1 to 12
inches long and tho less elastic than the cotton
fiber, is valuable for its strength, whiteness and
silky luster. From these long, silky fibers or
line are made damasks, lawn, laces and hand-
kerchiefs; the short fibers or tow are woven into
coarser stuffs. Linen is a better conductor of
heat, but does not dye or bleach as well as cot-
ton. In price it ranges from 40 cents to $3 or
$4.00. Linen is the oldest of all textiles. The
Egyptians used it for embalming and linen pieces

54 TEXT-BOOK ON

4000 years old have been excavated. To detect
linen from cotton, — the linen will be found to
absorb water more quickly than cotton.

Ramie, hemp and jute are tropical vegetable
products with coarse, tough fibers. Ramie is
covered with a gum difficult to remove. From
ramie are manufactured grass cloth and cheaper
cotton substitutes. Hemp and jute have very
strong fibers which are made into rope, mats,
and rugs, and coarse weaves. These three va-
rieties are called "stem fibers."

The China grass of China and Japan and the
Pineapple grass of the Philippines make strong,
sheer and beautiful textiles.

WOOL

Wool is the fleece of the sheep, goat, alpaca
and camel. The warmth, softness, strength and
susceptibility to take dye render wool the most
valuable of all textiles. Its quality depends upon
the climate, food and shelter of the animal.

Wool is first sorted into two grades — the long
and short, staple — according to length. The oil
is then removed by scouring, in which process it
loses about one-half its weight.

DOMESTIC ART

The long stapled wool is combed to lay the
fibers parallel, which are spun into worsted yarns
for hosiery, carpets, etc.

The short staples or noils are woven into dress
goods.

Shoddy or waste is used for filling weaves in
cheaper materials.

From the Angora goat is manufactured a very
fine, silky mohair.

The merino sheep — originally from Spain —
has also a beautiful staple.

Alkali and high temperature injure the staples
which, however, resist the chemicals used in col-
oring.

To test woolen cloth, apply a lighted match to
the warp and woof threads. Pure wool will not
burn but shrivels and gives off a disagreeable
odor; the cotton or linen threads will burn.

SILK

Silk, the most perfect of all fibers, is obtained
from the cocoon of the silkworm and has few, if
any, impurities. It is divided into two classes,
the cultivated and the wild, the latter being found
principally in Southern Asia while the cultiva-
tion of the former (also produced there) is one

56 TEXT-BOOK ON

of the chief industries of Southern Europe. The
finest quality comes from the worm fed on the
mulberry tree. The silk fiber is spun from the
head of the caterpillar in one long continuous
strand often measuring over a thousand yards
which is thrown irregularly back and forth while
forming the cocoon, being thickest on the out-
side, where the spinning or weaving commences.

After the cocoons are spun, the pupae (or
chrysalis, which emits as the moth) are generally
killed by means of steaming, after which the
cocoons are sorted according to quality, the best
being used to produce warp threads, the purer
grades (called tram) for the woof. After drying,
the long fiber is reeled off, when it is known as
the "raw silk" of commerce.

This raw silk is woven into fabrics or twisted
and doubled with other silk fibers for embroid-
ery silks.

There are many varieties depending on food,
cultivation or country ; the wild containing the
impurities, which in the process of dyeing, espe-
cially black, renders the fabric stiff.

More than two thousand years B. C, the
Chinese wrought beautiful fabrics of this wonder-
ful fiber, which has ever since proved to be the
choicest of all textiles.

DOMESTIC ART 57

PART ONE— QUESTIONS

1. Xame all the plain stitches and their uses.

2. State differences between the overcast
and the over and over stitch.

3. Explain how a corner is inhered.

4. Describe needles and their sizes.

5. Describe threads and their various uses.

6. The patch — how applied on cotton? on
\voolen ?

7. How do all plain stitches begin? In what
direction are they sewed?

8. Explain method of darning and pressing
a woolen tear.

9. Explain warp, woof, bias and crossway.

10. Write brief history of sewing machine.

11. Explain lock stitch and chain stitch.

12. Xame all parts, adjustments and attach-
ments of a machine.

13. Compare sizes and makes of machine
needles and corresponding thread writh sewring
needles.

58 TEXT-BOOK ON DOMESTIC ART

14. What is a French seam and how made?

15. In joining straight and bias edges, which
should be on top? Wrhy?

16. Describe the different ways of making
buttonholes.

17. Explain and illustrate the buttonhole
stitch.

18. When and how is a loop made?

19. Describe the proper method of making
an apron that, when finished, will be 1 yard long
and 24-inch waist.

20. Howr is a belt put on?

21. Explain different ways of sewing on but-
tons ; hooks and eyes ; ball and sockets.

22. Write brief history of cotton and its
manufacture.

23. What is linen and how tested?

24. Write brief facts about wool.

25. Where does silk come from?

PART TWO

DRAFTED GARMENTS

For Cotton Materials:
Drawers.
Five gored underskirt with dust ruffle and flounce.

Shirt waist draft without sleeve.

(a) Corset cover.

(b) Chemise.

(c) Night gown with sleeve.
Plain tailored shirt waist.
Plain five gored dress skirt.
Kilted or pleated skirt.

Underskirt with bias flounces; circular upper made

from five gored skirt draft.
French lining draft.

For Woolen Materials:
Seven gored skirt.
Nine gored skirt.

Designed waist on shirt waist pattern.
Coat.

The value of drafting patterns and making
dresses by the girl at school can not be overesti-
mated. It should not only relieve the mother at
home from the continual strain of dressmaking,
which renders the clothing of a daughter so much

62 TEXT-BOOK ON

more expensive than a son, but it should also
teach the girl important facts — the labor of cloth-
ing herself; the comfort and beauty of a home-
made wardrobe ; the importance of textiles ; in
fact, the economics of this home industry ; and,
if necessary, a trade.

To draft a pattern, measurements of the per-
son to be fitted must be taken accurately. A tape
measure is used, and the 4ths, the 8ths, 16ths, etc.,
of an inch must be thoroughly understood at the
outset. All measurements should be tested, so,
when cut out on the cloth, there will be no mis-
takes. Only one-half of a paper pattern is
drafted — as, the left half of the waist. The
opposite side is cut at the same time from the
goods, which is folded double, with either the
two right or the two wrong sides facing each
other.

Xo allowance is made for seams in any
of these drafts, unless specially mentioned, as in
cutting, it is not ahvays possible or necessary to
allo\v the same amount of space on all seams.
However, by tracing around the edges of the
paper pattern, any width can be allowed that is
desired.

The fitting or sewing line is that edge of the

DOMESTIC ART 63

paper pattern, where the seam is to be joined or
turned, consequently it is traced and all seams
must be matched and basted on these lines.

A lengthwise fold is a warp fold.

A crossway fold is a woof fold.

Neither are seams.

The alteration seams should have an allowance
of 24 of an inch, and they will be explained as
each garment is drafted and made.

Study the proportions of yourself and others,
as well as of the perfect model given, and know
what is lacking to make certain measurements
correct. After cutting the plain pattern, make
variations from it if desired — designs of lace,
tucks, etc., may be worked up — but the funda-
mental lines must not be destroyed or made dis-
proportionate thru ornament. It is therefore
advisable to first make one plain pattern of each
draft.

Commencing with the simplest drafts we
progress to the more complicated in the order
outlined, the plain shirtwaist draft being used for
the corset cover, chemise and nightgown.

Equipment — A yardstick or 45-inch rule for
drawing long lines; good quality drafting paper,
36x18 inches; long shears and scissors (steel, not

64 TEXT-BOOK ON

cast) ; tailor's chalk (mixed colors) ; and tracing
wheel. The cutting table should be large enough
to include the full length of a gown, and wide
enough for at least the widest single pattern, as
the back gore of skirt. For the schoolroom, a
fitting room is necessary for trying on dresses
and other garments.

This room should have a cheval glass, hand
mirror, pin cushion filled with long, good steel
pins, and a round 2-ft. diameter or yard-square
stand, 6 or more inches from the floor — the ad-
justable ones are best — for draping or turning up
the bottom of a garment.

Combination forms in 32, 34, 36 bust measure,
or the single bust forms in these sizes, and the
separate skirt models in 38 and 40 hip, are neces-
sary. If the choice in purchasing lies between a
small and a large sample, take the smaller, as it
can be padded, while the larger would be impos-
sible to use.

A sleeve form is also a great convenience and
help.

Proportions of a Model

Waist, 24 inches.

The neck should be V2 the waist.

DOMESTIC ART 65

The wrist is y2 the neck.

The armseye is about 2 inches more than neck.

Around elbow 3 inches less than around arms-
eye.

Height equals distance from fingertip to fin-
gertip, arms outstretched.

Hips should be 15 inches larger than waist.

Hand, 2 inches larger than wrist.

DRAWERS

Measurements :

Waist — Place a tape measure around the
smallest part of the waist.

Hips — With tape measure on waistline, meas-
ure 6 inches below, over fullest part of each hip,
and pin. Place tape measure below pins and
measure around easily.

Side length — Measure at side from lower edge
of waist over hip to bend of knee.

Easy measurements should be taken for all
underclothes, to allow for shrinkage as well as
comfort.

DRAFT

Material, 1^4 yards cloth, 36 inches wide.
(Cambric, long cloth, Fruit of the Loom, Pride

66

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of the West, etc. Price per yard, 6 cents and up-
wards.)

Waist. (Model 24 inches.)

Hips. (Model 39 inches.)

Side length, including ruffle. (Model 22
inches.)

Side length, without ruffle. (Model 17 inches.)

Width at fullest part. (Model 17 inches.)

Width at lower edge above ruffle. (Model 12
inches.)

Depth of ruffle. (Model 5 inches.)

Note — With each draft, is given a model size
of measurements, which must be altered and the
pupil's own measurements substituted.

DOMESTIC ART 67

Construct a rectangle from the following
measurements : for the vertical sides, take the
side length measurement less the ruffle, plus 2
inches; for the horizontal sides take 1/3 the hip
measurement, plus 4 inches, or the width desired
(which is governed by fashion) — 17 inches are
given in model, as cotton cloth generally comes
36 inches wide. This width will require no piec-
ing; if piecing is necessary, it must be done at
the back. Take l/2 sheet of drafting paper.
Double the paper twice the size of the rectangle,
having the fold on the left while drafting. Mark
the top corners A and B, the lower C and D as
illustrated.

Dot 1 is the side length measurement up from
C, deducting the depth of ruffle first.

Dot 2 is one-half waist measurement to right
of A. Connect 1 and 2 with straight line.

Dot 3 is 3 inches below Dot 2.

Dot 4 is 2 inches to left of Dot 3.

Connect 1 and 4 with a straight line.

Dot 5 is one-third the side length measure-
ment up from D, after deducting ruffle. Connect
4 and 5 with straight line, then with a left curve,
rounding more at base. Connect 2. and 5 with a
right curve.

68 TEXT -BO OK ON

Dot 6 is one-half the waist measurement, or
any number of inches which fashion may dictate,
to right of C, — 12 inches is given as model, which
allows 2 yards of ruffling to complete the
garment.

Connect 5 and 6 with a left curve.

Dot 7 is 7 inches down from Dot 1, and is the
depth of placket.

If drawers are to be opened on one side only,
make Dot 7, 8 inches down from Dot 1, on either
side desired. The right side is generally pre-
ferred. On line 1 and C write "warp."

Cut on the double fold of paper, on lines 1, 2,
5, 6 and C. Open pattern and on single thickness,
cut on line 1, 4 and 5.

Make one small notch on short side between
4 and 5 which is the front ; two notches between
2 and 5 which is the back; a notch on Dot 1 and
C. This is half of the pattern, so that the cloth
must be laid double when cutting. If cloth is in
one piece, fold on woof with selvages together,
only deep enough to allow for cutting material
and its allowance for seams Pin pattern to cloth
on the line of warp, measuring from the selvage
edge to make sure this line is on the straight.
Trace around edge of pattern with a tracing

DOMESTIC ART 69

wheel. Allow when cutting, ^ inch on front,
back and curved seams, and y$ inch on upper
and lower edges of pattern.

Cut out, making small notches outside the
traced line, where indicated on draft. Match back
and front seams, pinning, then basting on traced
or sewing lines for French seams. The short
seam with one notch is the front one, the long
with 2 notches, the back seam. Next join the
short, under seams — that is, line 5 and 6 in the
draft, making French seam or stitching flat.

A flat seam, also called felled* is made by
sewing on the wrong side of goods, first, on the
sewing line, leaving y^ inch outside the stitching.
Cut off one side close to seam, then fold wider
edge flat as for hem. If fold is laid on a curve,
snip turned edge, to prevent wrinkling. Stitch
on edge. Felling may also be done with the
narrow presser foot hemmer on the lock stitch
machine, or the wide hemmer on the automatic.
A French seam may also be sewed flat, but is
thicker.

To finish placket, cut a strip of cloth, twice
the depth of placket (warp cut) and 2y2 inches
wide (woof). This width allows for seams,
making lap 1 inch wide when finished. Stitch

TO TEXT -BO OK ON

edge of lap and the torn edge of placket together
on right side, with the narrow strip underneath.
Fold the opposite edge of strip to cover the seam,
making 1 inch finished. When attached to waist-
band, the back lap turns under the belt, and the
front lap is extended.

Gather top of drawers across front and back
with two rows of gathers, Y^ inch apart, the first
row on the traced line, the second, below.

A yoke is made for the front of drawers, the
draft is as follows :

Construct . a rectangle, the horizontal lines
being y^ the waist measurement (plus 1 inch for
lap) ; the vertical, which is the shorter side as
well as the straight or lengthwise, is 4 inches.
Indicate corners A B C D. Let A and C be on a
fold.

Dot 1 is 2l/2 • inches up from C. Connect 1
and B.

Dot 2 is \l/2 inches down from B. Connect
C and 2.

Dot 3 is y± the whole waist measure on line
1-B, measuring from Dot 1.

Dot 4 is 1 inch to left of 2 on line C-2. Con-
nect 3 and 4 and trace.

Dot 5 is 1 inch to right of Dot 3. Connect 5
and 2.

DOMESTIC ART

Cut out on 1, 5, 2 and C.

Open up pattern, and on a double thickness
of cloth with the straight of goods even with the
crease in the paper pattern, trace around, allow-
ing % inch for seams. Cut out. Baste these two
pieces on the top edge and sides, and stitch on
traced lines. Turn inside out and baste around
the stitched edge, snipping cloth at center front to
prevent puckering. On both sides turn in lower
edge at tracing.

The point of the yoke is middle of front.
Match center of drawers to this point, pin and
baste along traced line on under yoke piece, scat-
tering the fulness. The upper part of yoke is
brought down over this seam, covering it.

Stitch all around edge.

Back Yoke — Cut back band y2 the waist meas-
urement (warp) for length, by twice the distance
of Dots 3 and 4 on front yoke draft. Trace and
cut, allowing for seams. Fold belt on width, and
stitch ends together. Baste back-gathers into
band like front, the seam in the body of drawers
meeting the center of belt, with more fulness
towrard the center. Stitch all around edge.

Ruffle — Cut or tear two strips of cloth, once

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and a half the distance of lower edge of drawers,
and 5 inches deep, allowing for seams, hem and
tucks. Cutting 7 inches makes a ^4-inch hem,
and five ^-inch tucks. Join ends of each ruffle
with French seams before hemming and tucking,
and have join meet seam on body of each side.
If embroidery is used, match pattern. Before
gathering ruffles, notch the center of each, then,
with raw edges of ruffle and drawers together,
pin, baste and stitch on the right side, making
fewer gathers come on either side of the under
seam.

Cover raw edges with bias binding or finishing
braid, stitching without basting on outside edges,
— the lower edge first, holding bias piece straight
and firm. Make a horizontal buttonhole on either
side of back belt, y2 inch in from edge. Sew but-
ton so underlap will not be seen. Press, using
damp sponge or cloth to take out wrinkles.

Attach name of pupil and date finished.

SKIRT

Measurements :

Waist — Measure around smallest part of
waist.

DOMESTIC ART 73

Hips — Measure 6 inches below waist as for
drawers.

Front Length — Place tape measure in center
of front at lower edge of waist and measure to
floor. Take length of front gore only, of dress
worn, the difference between the two being sub-
tracted from the remaining gores.

Side Lengths — Measure from lower edge of
belt line at side over the fullest part of the hip
to floor. Measure each hip, and in drafting use
the longer measurement, which is often the right
hip.

Back Length — Measure from lower edge of
belt line from center of back to floor.

Skirts are divided into three parts, the front,
back and side gores. There can be as many side
gores as desired, being designated as 1st, 2d,
3d, etc.

NOTE— This is the only skirt draft that is
explained in detail, the succeeding patterns being
worked out on these same principles, with the
correct proportions given and the illustrations as
guides. Notice specially the variations in lengths
of each gore represented, i. e., "front," "side" and
"back."

74 TEXT-BOOK ON

The full side length is measured on the side
gore which is half way between front and back
waist line, — each gore, graduating in length and
curve to equal the side it joins.

FIVE-GORED UNDERSKIRT

Material, 5 yards, 36 inches wide, with flounce
of same material, or Zl/2 yards cloth and 4 yards
hamburg or embroidery 12 inches deep.

Cambric, Fruit of the Loom, Pride of the
West, etc., are suitable cotton cloths.

Write measurements as follows, each pupil
putting her own measurements in place of the
models given.

Waist. (Model 24 inches.)
Hips. (Model 39 inches.)

Width around bottom. (Model 2l/2 yards
above dust ruffle.)
Lengths :

Floor Dress rP^HS*

Dust Ruffle

Front. (Model 40 36 32)

Side. (Model 42 38 34)

Back. (Model. 41 37 33)

No allowance for seams.

DOMESTIC ART 75

PROPORTIONS

1. Waist — Make width -of front gore y% of the
whole waist measurement, or y± of half the waist.

Make width of side gore 1/6 of the whole
waist measurement, or 1/3 of half the waist.

Make width of back gore, the difference be-
tween half the waist measurement and the sum
of front and side gores.

2. Hips — Make width of front gore (6 inches
below waist line) 1 inch larger than the front gore
at waist.

Make width of side gore (6 inches below waist
line) the same as side waist measurement, plus
y* again.

Make width of back gore (6 inches below
waist line) the difference between half the hip
measurement and the sum of front and side gores
at hip.

An underskirt should be one inch shorter than
the outside skirt, as well as narrower, except the
flounce.

A dust ruffle about 4 inches deep is generally
put on to prevent wear, while the flounce, which
can be any depth, is added for flaring as well as
beauty.

76 TEXT-BOOK ON

To save time, use hemmer and gatherer attach-
ments of the machine.

For gathering, use No. 2 or 3 hemmer on lock
stitch machine, or the linen or flannel hemmer on
the automatic.

Gathering on the lock stitch machine may be
done with the longest stitch, using a coarse upper
thread to pull up into the required space.

The gatherer on the automatic can be regu-
lated to fit space.

Halve and quarter ruffle and cut small notches,
after joining ends.

Do likewise to bottom of skirt.

The average width of an underskirt on lower
edge, before dust ruffle is attached, is between 2y2
and 3 yards, for the average person, unless very
wide skirts are in vogue.

The dust ruffle and flounce have the same
amount of fulness, which is equal to once and a
half the distance around the skirt at the line where
they are stitched on.

DRAFT
Front Gore

Take a full sheet of drafting paper.
Mark lower edge of paper A.

N)

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Dot 1 is the length of front up from A. Use
dress length and not floor length.

Dot 2 is 6 inches below Dot 1.

Dot 3 is a horizontal line to right of Dot 1,
l/% the whole waist measurement, or J/J °f na^ °f
it.

Dot 4 is y± inch above Dot 3.

Connect 1 and 4.

Dot 5 is a line 6 inches below Dot 4, and the
same length as line 1 and 4 plus 1 inch, to right
of Dot 2.

Connect 2 and 5, making one notch on Dot 5.

With a yardstick on Dots 4 and 5, draw a
straight line to meet horizontal line or edge of
paper made at right angles with line 1, 2 and A.

Mark this point Dot 6.

On line 1 and A, write "lengthwise fold."
Also "front gore" and pupil's name.

Side Gore

Mark lower edge of paper A.
Dot 1 is the length of line 4 and 6 on front
gore, up from A.

Dot 2 is 6 inches below Dot 1.

Dot 3 is a horizontal line to right of Dot 1,

DOMESTIC ART 79

1/6 the whole waist measurement, or 1/3 of half
of it.

Dot 4 is l/2 inch above Dot 3.

Connect 1 and 4.

Dot 5 is line 6 inches below Dot 4, once and a
half the length of line 1 and 4, to right of Dot 2.

Connect 2 and 5.

Dot 6 is a line drawn with yardstick on Dots
4 and 5, the side length measurement down from
Dot 4.

Connect A and 6 with a slight downward
curve.

Cut one notch on Dot 2 and two notches on
Dot 5 — the first on line — the other below it.

On line 1 and A write "warp," or "straight of
goods," "side gore," and pupil's name.

Back Gore

Mark lower edge of paper A.

Dot 1 is side length measurement up from A,
which is also the length of line 4 and 6 on side
gore.

Dot 2 is 6 inches below Dot 1.

Dot 3 is a horizontal line to right of Dot 1,
the sum of the front and side gore measurements
substracted from half the \vaist measurement.

8o TEXT-BOOK ON

Dot 4 is 3/4 inch above Dot 3.

Connect 1 and 4, and extend line 3 inches to
right. Leave more if desired fuller.

Dot 5 is this extension.

Dot 6 is a line to right of Dot 2, the sum of
the front and side gore measurements at hips,
substracted from */; the hip measurements. It
must also be 6 inches below Dot 4 when line 4
and 6 are drawn.

Dot 7 is a line drawn, with yardstick on Dots
4 and 6, the back length measurement down from
Dot 4. Connect A and 7, and write "habit
back." Extend this line a few inches, then place
yardstick on Dot 5, draw line the back length
measurement down from Dot 5, to meet this line.
This line being less bias, extends below the habit
back line.

Dot 8 is this last measurement. Connect A
and 8.

Dot 9 is half of line 1 and 5.

Dot 10 is half of line A and 8.

Connect 9 and 10 with a long, dash line, the
back length measurement down from Dot 9.

Connect A and 10 and 8 with a slight down-
ward curve.

DOMESTIC ART 81

Dot 11 is \Ql/2 inches below Dot 5 on line 5
and 8, for depth of placket.

On line 1 and A, write "warp," "back gore,"
and pupil's name.

Cut belt pattern to equal l/2 the waist meas-
urement plus l/2 inch, or the whole waist meas-
urement plus 1 inch. This extra y2 or 1 inch is
for lap.

Cut paper pattern of each gore and belt, on
drafted lines, not allowing for seams.

LAYING PAPER PATTERNS ON CLOTH

Have material smooth before placing patterns
on it.

As the center of front gore is laid on a length-
wise fold, double the cloth accordingly, to equal
the width of gore at bottom, allowing for seams,
or in the middle, if the cloth cuts to better ad-
vantage. Have widest part of gore at the raw
end of material to save cloth. It is an advantage
to lay all the patterns on the goods before cutting.
Follow the warp as indicated on each pattern.
Pin on the warp or straight first, and the rest of
the pattern will be on the right grain of goods.
Stick pins in horizontally, to keep from pucker-
ing, following the width.

82 TEXT-BOOK ON

Trace around edges of each gore and allow
when cutting out,, ^4 inch at top and bottom of
draft, and y<\ inch on side seams. Cut small
notches on hip lines, outside the traced line, as
indicated on paper pattern.

Test carefully all measurements — waist, hips,
back and lengths. When thru with paper pattern,
fold, with all the straight edges together in order
of draft.

To join skirt together, start on right side with
front gore. Match at hip, waist and bottom
traced lines, pinning at these places first so as not
to stretch the bias side of gore beyond the straight
sides. Baste on traced or fitting line, holding
bias edge on top. Join each side gore to either
side of front in the same manner, and the back
gores to each side gore, with the two bias edges on
center back. Try on and alter if necessary. Stitch
as for French seams, first, y% inch out from the
traced line, and second, stitching on this line.

To make lap for placket, take a straight piece
of goods twice its depth as for the drawers,
joining first on right side with straight strip un-
derneath, fold over right side, making one inch
wide when finished (model 2l/2 inches wide which
allows for seams.) Gather back gores at waist

DOMESTIC ART 83

line within one inch of side back seams, and right
side, turning lap or fly underneath.

Cut waist belt 1 inch larger than the waist
measurement (the inch is for lap), by 2 inches,
allowing y2 inch on each end for seams, and l/\
inch on each long edge. Always cut a belt length
on warp of material, otherwise it will stretch.
Turn under raw edges, find center, not counting
the extra inch for lap to be extended on left side,
and cut small notch. Also notch the middle of
front gore at waist, and join to under side of belt
at center front, with traced line of skirt on folded
edge of belt. With all seams turned toward center
back, ease into the band as much as possible with-
out puckering, pinning first, then basting very
closely. Fold over these edges, the opposite edge of
band, baste and stitch one or two rows to keep in
place. Cut horizontal buttonhole on right y2 inch
from end, and sew button firmly on left end, so
lap will not be seen.

If body of skirt is put on without easing, it
will roll over the belt when garment is worn.

If more fulness is desired at bottom of skirt,
increase width of each gore by starting 1/3 of its
length below the wraist line, on each bias side.
For less fulness, decrease. The waist and hips

84 TEXT-BOOK ON

must never be smaller than the measurements
taken, and the width around bottom should be in
good proportion to the height and the size of hips
of each individual, even when extreme fashions
are in vogue.

DUST RUFFLE

Cut or tear as many warp strips of cloth as
will measure once and a half the width it is to
join, making each strip 4 inches wide when fin-
ished. Cut 5 inches to allow for hem. Join all
the ends, making French seams when two sel-
vages do not come together. Use quarter-inch
machine hemmer, and gatherer attachment, divid-
ing ruffle by notches in halves and quarters before
gathering. Divide the bottom of skirt in same
manner, and join, matching notches, with no
seam at center front, but the middle of one of
the strips. Pin, with the two raw edges on right
side, holding ruffle on top. Baste and stitch y±
inch from edge, turn on wrong side, fold cloth
the depth of seam, basting and stitching on edge
of gathers to hide first stitching. Turn this
seam up toward waist, baste flat, and stitch on
right side on upper edge.

DOMESTIC ART

FLOUNCE

Cut flounce like dust ruffle, making 12 inches
deep or more. Join, hem and gather, matching
pattern if embroidery is used. Tuck when goods
is alike. Pin flounce to body of skirt even with
the dust ruffle. If scalloped embroidery is used,
have longest point even with bottom of dust
ruffle. Use board when mounting, and see that
top line of flounce is straight. Baste well, and
cover raw edges with bias binding or finishing
braid. Stitch on either outside edge.

For loop or hanger, double-fold a straight
strip of goods y± inch wide when finished and 2^
inches long. Pin center of loop to lower edge of
center front of belt, and fasten securely on either
end, turning under raw edges. A piece of tape
may be used instead.

Finish and cut all thread ends, pull bastings,
and press well on right side over skirt board,
dampening any portion that is wrinkled or
creased.

Attach name and date finished.

DRAFTS

Shirt Waist
From the shirt waist draft are made the corset

86 TEXT-BOOK ON

cover, the chemise and the nightgown in their
order of progress. The shirt waist is given first,
being the foundation for all of these, but is made
after the nightgown when the sleeve draft has
been explained.

SHIRT WAIST MEASUREMENTS, WITH-
OUT SLEEVE, FOR CORSET
COVER DRAFT

Neck — Place tape measure closely around
base of neck. (Model 13 inches.)

Depth of Front Armseye, Armsize or Armhole
—Place tape measure or string under the arms,
fastening securely at side above bust line, making
a straight line across the front and back. Place
another tape line in center of front at base of
neck, and measure down to meet the other tape
measure or string. (Model 5 inches.)

Length of Front — Place tape measure at base
of neck, at center front, and measure down
straight, to bottom of waist line, where a belt or
tape has been firmly drawn. Take easy measure.
(Model 15 inches.)

Width of Front Between Shoulders— Place
tape measure across front, from ends of shoulder

DOMESTIC ART

88 TEXT-BOOK ON

blades, in straight line with base of neck. (Model
I4y2 inches.)

Length of Shoulder — Place tape measure at
base of neck at side, and measure to end of
shoulder blade. (Model Sy2 inches.)

Bust — Place tape measure around the fullest
part of bust. Easy measure. (Model 36 inches.)

Width of Back Between Shoulders— Place
tape measure across back from end of shoulder
blades, in straight line with base of neck. (Model
I4y2 inches.)

Underarm — Place tape measure at underarm
pit, and measure down in straight line to bottom
of waist line. (Model 8 inches.)

Depth of Shoulder (Back) — Place tape meas-
ure at base of neck at center back, to meet an-
other tape measure which must be stretched
across the back at top of shoulders. (Model \y2
inches.)

Depth of Armseye (Back) — Place tape meas-
ure at center of back neck, and measure down to
meet the tape measure or string placed under the
arms. (Model 7 inches.)

Length of Back — Place tape measure at center
back, from base of neck to bottom of waist line.
(Model I4y2 inches.)

DOMESTIC ART

Waist — Place tape measure around smallest
part of waist. (Model 24 inches.)

Hips — Place tape measure 5 inches below
waist line (6 inches when measuring skirts), and
measure easily around hips. (Model 34 inches.)

For Corset Cover, Chemise, Nightgown, and
Shirtwaist, with the Sleeve for the last two, take
this same draft as a basis.

Material for corset cover, \y2 yards cloth, 36
inches wide.

Long cloth, muslin, dimity, cross bar, etc.

SHIRTWAIST DRAFT FOR CORSET
COVER

Front — Take y2 sheet of drafting paper.

Fold under 3 inches on longer side, before
drafting, which is for front box pleat and fulness
and is not included in draft.

Construct half a rectangle, with fold at left.
Use this for the vertical line, and the top edge
of paper for horizontal line.

Mark upper left corner A.

Dot 1 is 1/5 the neck measurement plus %
inch down from A.

Dot 2 is depth of armseye measurement down
from Dot 1.

TEXT-BOOK ON

Dot 3 is length of front measurement down
from Dot 1.

Dot 4 is 5 inches below Dot 3.
Dot 5 is 2y2 inches to right of A.

6 A

Connect 5 and 1 with downward curve (about
y^ of circle).

Dot 6 is a horizontal line to right of Dot 1, y2
the width of front.

Dot 7 in 1 inch above Dot 6.
Connect 5 and 7, the correct shoulder length

DOMESTIC ART 91

from Dot 5, which usually extends beyond Dot 7,
and should be used for the connecting point.

Dot 8 is a horizontal line to right of Dot 2,
l/2 the width of front.

Dot 9 is extension of line 2 and 8, to equal the
difference between bust and width of back meas-
urements, divided by 2, plus ^4 inch. This y±
inch is added to make the underarm seam nearer
the back, thus giving a better shaped back.

Connect 7, 6, 8 and 9 as illustrated — 7, 6 and
8 with left curve, 8 and 9 with downward curve
going below line and rounding Dot 8.

Dot 10 is a horiontal line to right of Dot 3,
same length as line 2 and 9, plus \y2 inches.
Connect 9 and 10.

Dot 11 is correct underarm measurement on
this line, down from Dot 9.

Dot 12 is extension of last line, 5 inches below
Dot 11.

Dot 13 is 4 inches to right of Dot 12.

Connect 11 and 13.

Dot 14 is 5 inches below Dot 11 on line 11 and
13.

Connect 3 and 1 1 writh slight downward curve.
This is the waist line to be traced.

To left of Dot 11 on waist line, measure 1/3 its

92 TEXT-BOOK ON

distance and make cross. This indicates the ex-
tent of gathering on fronts.

Connect 4 and 14 with parallel curve of 3 and
11.

Dot 15 is y2 of shoulder length between Dots
5 and 7.

Dot 16 is length of line 5 and 15 down from
Dot 1.

Connect 15 and 16 with parallel curve of 5 and
1 and trace.

Make cross where this curve intersects line 1
and 6, to indicate extent of gathers at neck. Test
all the measurements, then cut pattern on heavy
lines as illustrated, with no allowance for seams.
Write "warp" on line 1 and 4. Also "front" and
pupil's name.

BACK

Use remainder of paper from front draft for
back pattern.

Let longer edge represent the vertical line,
which is at the right when drafting. Let top of
paper represent the horizontal line extending to
left.

Mark right corner A.

Dot 1 is l/4 inch down from A.

DOMESTIC ART 93

Dot 2 is depth of shoulder (back) down from
Dot 1.

Dot 3 is depth of armseye (back) down from
Dot 1.

Dot 4 is length of back down from Dot 1.

Dot 5 is 5 inches below Dot 4.

Dot 6 is 1/6 the neck measurement minus
1/6 inch to left of A.

Connect 1 and 6.

Dot 7 is a horizontal line to left of Dot 2, */2
the width of back.

Connect 6 and 7 the correct shoulder length
from Dot 6.

Dot 8 is a horizontal line to left of Dot 3, l/2
the wridth of back.

Connect 7 and 8 with curve to right.

Dot 9 is a horizontal line to left of Dot 4, V4
the waist measurement.

Connect 8 and 9, the underarm measurement
down from Dot 8, which extends usually below
Dot 9.

Dot 10 is this extension. Connect 10 and 4
and trace. Make cross in middle of line, for
gathers.

Dot 11 is horizontal line to left of Dot 5, the

94 TEXT-BOOK ON

same length as line 7 and 2, or y2 the width of
back.

Connect 10 and 11.

Dot 12 is 5 inches below Dot 10 on this line.

Connect 12 and 5, straight line.

Dot 13 is y2 of line 6 and 7.

Connect 13 and 2, with downward curve.

On line 1 and 5 write "lengthwise fold." Also
"back," and pupil's name.

Test all measurements, then cut on heavy lines
as illustrated, with no allowance for seams.

LAYING PATTERN ON THE CLOTH

Place back pattern on double thickness of
cloth with lengthwise fold on center of back.

Place front pattern on double thickness of
cloth, with right sides together, the center front
on warp.

Pin along the warp first, and the rest of the
pattern will be on the right grain of the material.
Allow for 3/4 inch hem on shoulder and underarm
seams, and J4 mcri at neck, armsizes and bottom
of pattern.

Trace center line 2 and 4 around edge of pat-
tern, the waist lines with their crosses for gath-

DOMESTIC ART 95

ers, and lines 15 and 16 on front neck, and 2 and
13 on back neck.

Cut out cloth, join, pinning first, on traced or
fitting lines, matching underarms at waist lines,
and the shoulder seams.

Baste well on fitting line, try on, and alter if
necessary.

Stitch outside trace lines, so the second
stitching will come on tracing.

Make a y\ inch box pleat on right front, and
a j^-inch hem on left front.

Stitch box pleat % inch from each edge.

Gather at waist between crosses indicated,
with two rows, the first on traced line, the second
y2 inch below.

Cut straight strip of cloth, 4 inches larger
than waist measurement (finished), and turned
in on either long side to measure y2 inch wide
finished. Cut 1 inch. Pin to waist line with
center of belt at center back. Arrange fulness
on back portion, with gathers toward center, to
equal % of the belt strip, between underarm
seams.

Each side of the front is divided between the
remaining ^6, with gathers toward the front.

Stitch on edges and insert tape.

g6 TEXT-BOOK ON

Turn %-inch hem on bottom of corset cover.

Finish armsizes with bias binding or facing
l/2 inch wide. Join on underarm seam.

If beading is used for neck, use narrow ma-
chine hemmer and sew on beading at same time,
or bind first, like armsizes, and add lace edge to
these. The fulness for lace edge on armsize
should equal once and a half the distance, with
the same allowance at neck or if edge is over
% inch wide, sew on at neck without gathers.

Make four buttonholes on the box pleat, the
first just below the neck binding, cutting vertic-
ally and spacing evenly to waist line. Make fan
ends.

Very small pearl buttons are used on corset
covers. Pull out all baste threads, fasten or cut
all loose ends, then press on wrong side, dampen-
ing if necessary. Attach name and date.

CHEMISE ON SHIRTWAIST DRAFT
MEASUREMENTS

Length of back:

Measure from center base of back neck to
bend of knee. (Model 33 inches not including 5
inch ruffle.)

DOMESTIC ART

Length of front:

Measure from center base of front neck to
knee. (Model 31 inches not including 5-inch
ruffle.)

Material 3 yards 36 inches wide. Lansdale,
long cloth, dimity, crossbar, etc. are suitable.

This draft may be worked out on paper first,
or directly on the material to be used, with shirt-
waist or corset cover draft as the foundation. As

98 TEXT-BOOK ON

this model is given to allow the garment to slip
over the head instead of opening in the front, the
center back and front are laid on lengthwise folds.
If open in front, follow directions for nightgown,
i. e., the next draft.

The back pattern is used first, in order to ob-
tain the underarm measurement. Two inches to
right of a warp or lengthwise fold, place line 2
and 5 of back pattern. More allowance for full-
ness may be added. Measure down from Dot 1,
for length of back, and not Dot 2.

Dot 14 is this point.

With yardstick on Dots 8 and 12, draw or
trace a line that will meet a horizontal line drawn
at right angles with center back line, as illus-
trated.

Dot 15 is this connection. The distance be-
tween Dots 8 and 15 is the length of underarm,
and the traced line is the sewing line.

Trace waist line and, when cutting out, make
notch on Dot 12. Allow y\ inch on shoulder and
underarm for seams, and l/\ inch at neck, arm-
sizes and bottom.

The front pattern of corset cover is laid with
Dots 1 and 4, three inches to left of a warp or
lengthwise fold, directly on the material to be

DOMESTIC ART 99

used, or paper. More allowance for fulness may
be added.

Measure down from Dot 1, and not Dot 2, the
length of front measurement, and Dot 17.

The underarm measurement is the same
length as line 8 and 15 on back draft and is
found by placing yardstick on Dots 9 and 14,
drawing or tracing a straight line down from Dot
9 to equal this measurement.

Dot 18 is this point. Connect 17 and 18 with
a slight downward curve.

Trace front pattern as illustrated on heavy
lines. Trace waist line, and cut notch on Dot 14.
Cut, leaving y^ inch on shoulder and underarm
seams, and }/\ inch on neck, armsizes and bottom
of chemise. Pin shoulder and underarm seams
together, matching the latter at notches on right
side.

Baste right side on sewing line, try on, and
alter if necessary. Make French seams, turning
them toward the back when finished. Bind the
armsizes and neck as on corset cover, and finish
the bottom of chemise with a ruffle, put on in the
same manner as dust ruffle on the 5-gored under-
skirt, allowing 5 inches for ruffle when finished.
A wide hamburg or embroidered beading may be

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stitched flat on the waist line (do not use lace,
because it is not strong), making center of bead-
ing come on traced line, and stitching on either
edge. Join on underarm. The width of the
chemise at top, if it slips over the head, must
equal the hip measurement, in order to be taken
off easily. Fasten and cut all loose threads and
finish off ends neatly. Press and fold with un-
derarm seams together.
Attach name and date.

NIGHTGOWN ON SHIRTWAIST DRAFT

Measurements
Length of Back:

Measure from center base of back neck to
floor. (Model 58 inches.)

Length of Front:

Measure from center base of front neck to
floor. (Model 56 inches.) Material, 5 yards of
cloth 36 inches wide.

Fruit of the Loom, Pride of the West, flannel-
ette, crepe, etc., are suitable.

This draft, like the chemise draft, may be
worked out on paper first, or directly on the ma-
terial to be used, with the shirt waist or corset
cover draft as the foundation.

DOMESTIC ART

101

The center back and front are laid on length-
wise folds, altho the gown opens at center front.

102 TEXT-BOOK ON

Commence with back pattern of corset cover,
with line 1 and 5, 3 inches to right of a lengthwise
fold. This fulness may be taken in with tucks
extending to waist line in order to fit collar band.
Measure down from Dot 1 the length to floor and
mark Dot 14.

With a yardstick on Dots 8 and 12, draw or
trace a line that will meet a horizontal line drawn
at right angles with center back as illustrated.

Dot 15 is this connection.

Make notch on Dot 12. Allow same amount
on seams as on chemise when cutting.

The front pattern of shirtwaist or corset cover
is laid with line 1 and 4, four inches to left
of a lengthwise fold, measuring down from Dot
1 the length to floor. Mark Dot 17.

The underarm measurement is the same length
as line 8 and 15 on back draft, and is found by
placing yardstick on Dots 9 and 14, drawing or
tracing a straight line to equal this measurement
down from Dot 9.

Dot 18 is this point.

Connect 17 and 18 with a slight downward
curve. This front pattern will necessitate
piecing, the joins being made an equal distance
from either side of center front. The fulness at

DOMESTIC ART 103

neck may be tucked to fit the neckband, extending
tucks not below depth of armseye measurement,
and slanting upwards toward shoulder.

Two inches below hip measurement on center
front, make Dot 18.

The center of front is torn or slit from neck
to this point.

Make notch at Dot 14, after cutting and allow-
ing for seams as on front pattern of chemise. Cut
a small notch also on Dot 8, to indicate where the
sleeve joins body of gown.

Match the underarm seams at hip line, also
shoulder seams, pinning on right side on traced
lines before basting. Make French seams, turn-
ing toward center back when finished.

On the right side of placket, a ^4-inch box
pleat is put on, extending two inches below tear
and forming a point at the lower end. The center
of box pleat should come directly over the seam,
half of it lapping to left side. The left front has
also a straight piece attached, to form a lap Y\
inch wide when finished. Cut \1/^ inches. Finish
box-pleat with buttonholes as in the corset cover.

Turn an inch hem at bottom of gown.

104 TEXT-BOOK ON

COLLAR BAND DRAFT
To Open in Front

Measurements :

Base of Neck — Measure around base of neck,
close measure. (Model 13 inches.)

Top of Neck — Measure around top of neck,
close measure. (Model 12 inches.)

Draft — Construct rectangle, l/2 the neck
measurement (base), plus y2 the width of box-
pleat on right side of front for horizontal lines,
by 1 inch (or any height desired) plus y± inch
for vertical lines.

Place left side on woof fold for bands and on
warp fold for high collars. Mark rectangle A, B,
C, D, as illustrated.

Dot 1 is the height of band or collar down
from A.

Dot 2 is the height of band or collar up from
D.

Dot 3 is 1 inch to left of D.

Dot 4 is 1 inch to left of Dot 2.

Connect 1 and 3 with a slight downward curve.

Connect A, 4 and 2 with a parallel curve.

Dot 5 is l/2 the top neck measurement plus l/2
the box pleat on line A, 4 and 2, to left of Dot 2.

DOMESTIC ART 105

Connect 1 and 5 with curve to left, rounding
Dot 5.

Cut out pattern on lines 2, 4, 5, 1, 3 and D
as illustrated. 2 and D are laid on the woof of
the goods for narrow neck band, to prevent
stretching.

Open pattern and lay on two thicknesses of
cloth, pinning securely. Trace all around edges,
then cut, allowing for seams on all sides (^
inch).

Stitch on top and sides on traced line and
turn up raw edge at bottom. Turn inside out
and baste top edge. Fit neck of gown to under-
neath piece of collar band, easing it into the
band, basting very closely. Bring upper part of
band over this, baste and stitch on all edges.

SLEEVE FOR NIGHT-GOWN OR SHIRT-
WAIST

Measurements

1 — Armseye, Armsize, or Armhole :
Measure smoothly around top of arm over the
shoulder (Model 15 inches).
2 — Shoulder to Elbow:
Bend elbow tightly with arm even with

io6 TEXT-BOOK ON

shoulder. Measure from top of shoulder to elbow
point (Model 14 inches).

3 — Elbow to Hand:

Measure from elbow point to just below
wrist knuckle. (Model 10 inches).

4 — Around Elbow:

Bend elbow to obtain fullest measure around
the elbow. (Model 12 inches).

5 — Around Wrist:

Measure over the wrist knuckle-bone. (Model
6 inches).

6 — Around Hand:

Measure around fullest part of hand, with
fingers out-stretched and thumb in (Model 8
inches).

7 — Inside Seam to Elbow:

Measure from the pit of arm to bend of elbow
(Model 9 inches).

8 — Inside Seam to Hand:

Measure from pit of arm to the hand, below
the knuckle (Model 18 inches).

SLEEVE DRAFT

Take half sheet of drafting paper, fold on
length, so the dimensions equal about 26 by 12

DOMESTIC ART 107

inches. Have fold at left side while drafting.
Mark top at left corner A.

Dot 1 is 1 inch below A. (This point regu-
lates the fulness), which may be increased or
decreased, according to prevailing style.

Dot 2 is shoulder to elbow measurement
down from Dot 1.

Dot 3 is elbow to hand measurement down
from Dot 2.

Dot 4 is inside seam to elbow measurement
up from Dot 2.

Dot 5 is a horizontal line to right of Dot 4, l/2
the armseye measurement plus l/2 inch or as
many more as desired for fuller sleeve, which is
subject to change according to fashion, but never
less than half the armseye measurement.

Dot 6 is a horizontal line to right of Dot 2,
l/2 the elbow measurement plus l/2 inch or more
if 'more fulness is desired, but never less than
half the elbow measurement.

Dot 7 is a horizontal line to right of Dot 3,
l/2 the wrrist measurement plus l/2 inch, or l/2 the
hand measurement if more fulness is desired. Do
not measure less than half the wrist.

Connect 5, 6 and 7.

Dot 8 is a horizontal line to right of Dot 1,

io8 TEXT-BOOK ON

1/3 the armseye measurement or more if puff is
desired. The longer the line, the more fulness
at top of sleeve, but the proportion should be gov-
erned by line 1 and A to make a good curve.

Connect A, 8 and 5, with upward curve.

Connect A and 5 with straight line, divide in
halves and Dot 9.

Connect A and 9 with an upward curve, and
9 and 5 with downward curve as illustrated.

Measure on line 5 and 7, the inside seam to
elbow measurement down from Dot 5.

Dot 10 is this point.

Measure on line 5 and 7, the inside seam to
hand measurement down from Dot 5.

Dot 11 is this point.

Connect 2 and 10 with slight downward curve.

Connect 3 and 11 with slight downward curve.

Make one notch on Dot 10, two notches on
Dot 9 for back of sleeve, and one notch one inch
above Dot 5 for front. These last two notches
indicate space to be gathered. One inch to right
of A, make a notch showing where the sleeve
joins the shoulder seam of gown.

Cut pattern with lines 1, 8 and 5 on the
double, as also 5, 6, 10 and 3, then unfold
and cut */2 the pattern at top, on line A, 9

DOMESTIC ART 109

and 5, as illustrated. Lay open pattern on double
thickness of cloth, with either right or wrong
sides facing each other, and line A and 3 on
wrarp thread.

Trace around edges, allowing l/± inch at top
and bottom of sleeves and ^4 mcn on seams when
cutting.

Cut small notches as indicated on paper pat-
tern. Match seams at elbow, pinning and basting
on right side for French seams. See that both
sleeves are not for the same arm before stitching.
Line A, 8 and 5 faces front. Reverse seam
on one sleeve if mistake is made.

Gather tops of each between notches 8 and
9, with 2 rows, l/± inch apart— the first on traced
line, the second below. Gather around the bot-
tom of sleeves.

Pin seam of sleeve to notch made on front
body of gown on depth of armseye measurement
(Dot 8), easing as much as possible to gown on
the underarm part. Match notch at top of sleeve
to shoulder seam. Do not make French seams,
but stitch on wrong side and bind.

To give proper amount of ease to sleeve on
underarm, turn on wrong side with sleeve portion
on top, rolling both edges over first finger of

rro TEXT-BOOK ON

left hand where sleeve has no gathers. Baste
very closely before stitching and binding. See
that sleeve seams turn toward underarm, and all
other seams toward the back.

Cut bias binding 1 inch wide and hold on
underside when stitching, making join on under-
arm seam.

Turn remaining edge of binding over these
raw edges, covering seam and hemming by hand
or stitching on edge. Always place gathered side
on top when stitching, to avoid wrong grouping
of gathers.

Finish bottom of sleeve with straight band,
cut 1 inch wide on double (allowing for seams)
and large enough to slip over hand easily.

Join each band before attaching to sleeve,
then sew on, as before explained. Have gathers
fullest where the strain of elbow comes. To
stitch band on right side, turn sleeve wrong side
out and stitch with right side nearest presser foot.
Have band seam and underseam match. A lace
edge may be added to bottom of band, or if
embroidery is used, slit the lower edge and insert.
Sew on hanger at back neck.

Finish all edges neatly, cut loose threads, take

DOMESTIC ART 111

out bastes, and press on skirt board. Use damp
sponge or cloth to take out wrinkles.
Attach name and date.

SHIRT WAIST
(Plain Tailored)

Material, 2V2 yards, 36 inches wide.

(Linen, cheviot, madras, lawn, gingham, etc.)

Measurements :

Use shirt waist or corset cover draft on page
90, for body of shirt waist, and sleeve measure-
ments under night gown draft on page 101.

This shirt waist opens in front.

Before laying front pattern on material, baste
a box pleat 1 inch or more on right edge of cloth,
the length between Dots 1 and 4.

Baste a y2-mch hem the same length on oppo-
site front.

If goods is striped or plaided, let the width
of box pleat be governed accordingly, so corre-
sponding sides will look alike. Pin the two
fronts together (with either right or wrong sides
facing each other), place the front paper pattern
with Dot 1 in center of box pleat at neck, and
Dot 3, 2 inches to right of center pleat at wraist.

112

TEXT-BOOK ON

DOMESTIC ART

ii4 TEXT-BOOK ON

More than 2 inches may be allowed if the mate-
rial is very sheer.

Trace around edge of pattern, except front
line. Notch on Dot 8, trace waist line, marking
cross for gathers, and cut, allowing % m°h on
neck and armsizes, and 1/4 inch on shoulder, un-
derarm seams and bottom of waist.

Place back paper pattern with Dots 1 and 5
on a lengthwise fold. Trace around edges, waist
line, and cut, allowing l/\ inch on neck and arm-
sizes, and y± inch on shoulder, underarm and
bottom of waist.

Match underarm seams at waist line, and on
shoulders, pinning, then basting, on traced or
fitting lines.

Try on before stitching, and alter if necessary.
Stitch as on other garments. On either side of
waist line, half way between the underarm and
center of back, make a mark to signify space to
be gathered. Gather twice, ]/2 inch apart the first
row on traced line, the .second, below it, and pull
up, to equal y% the waist measurement between
underarm seams.

These gathers are held in place by a belt or
piece of tape y^ inch wide and 4 inches longer
than the waist measurement (finished), and fast-

DOMESTIC ART 115

ened over the back gathers at top and bottom
of belt.

The fronts of shirtwaist may be gathered also
between the notches, but, if made from washable
material, it is easier laundered if left plain. Lay-
ing the fulness in straight pleats is a better mode
of arranging fronts than in gathers, and should
be fitted on the pupil.

Use collar band, drafted for night gown, and
attach in same manner, cutting shorter on fronts
if a smaller neck or box pleat has been allowed.
\York small horizontal buttonhole on center back
of neck band, and one on either end of front, far
enough from edge to equal the neck measurement
when fastened.

Make 3 large or 4 smaller vertical button-
holes on the box pleat, spacing evenly, between
the neck and waist. Work bar ends.

Finish around bottom of shirt waist, with l/2-
inch hem.

SHIRT WAIST SLEEVE

Use sleeve draft of nightgown, allowing more
fulness if desired on Dots 1, 5, 6, and 7, as ex-
plained in draft.

A cuff 3 inches deep has been allowed on

TEXT-BOOK ON

draft. A wider or narrower cuff may be used by
deducting the desired depth from the full length
sleeve.

Three inches above Dot 11, and Dot 3, mark
Dots 12 and 13 as illustrated, connect them with
a slight downward curve on top or upper side of

DOMESTIC ART 117

draft, and a slight upward curve on under side.
Cut pattern or cloth on these lines.

One inch from center of sleeve, on under side,
make a warp cut, 3 inches long. This is the
placket, which has an under and over-lap at-
tached. For under side, cut a warp strip 3 inches
long, and 1 inch wide (allow for seams) to make
a ^2-inch finished lap when folded, and sew as on
preceding plackets.

For upper or opposite edge, cut an over-lap
like illustration, 3 inches on short side, and 4
inches to point. Allow *4 mcn i°r seams on all
edges. Fold over on right side to cover short
lap, and turn under raw edges. Stitch as illus-
trated, letting stitching below point on over-lap,
catch the top edge of under-lap.

Join sleeves on right side, matching notches
at elbow, for French seams.

Cuff: The length of cuff should equal the
hand measurement.

Cut paper pattern the hand measurement by
twice the depth of cuff desired, to avoid seams,
or two pieces, the correct depth.

Line with crinoline, Indian head or heavy
cotton cloth, cut on warp, and basted to the out-
side, before folding.

ii8 TEXT-BOOK ON

Fold lengthwise on wrong side with interlin-
ing over fold, and stitch short ends, making round
or square corners.

Turn in raw edges to make cuff 3 inches deep,
turn right side out, pulling out corners smoothly.
Baste ends and folded edge.

Fit bottom of sleeve to under edge of cuff,
with no gathers on either side of sleeve seam.

Pin and baste closely, then fold top part of
cuff over raw edges.

Baste and stitch twice all around the edges,
the width of the presser-foot apart.

If buttons are used on cuffs, sew on under
side near edge of stitching, cutting buttonhole
with the length of cuff. Work fan end on outside,
and bar end on opposite end.

A very small button and buttonhole are sewed
on the under and over-lap to hold cuff closely.

To break the severity of the plain front, a
square or round pocket may be stitched on left
side.

Bind top edge with bias strip, or fold over to
any shape desired, and turn under raw edges be-
fore attaching.

Baste in place, making top edge even with
depth of armseye, and in center of space.

DOMESTIC ART 119

Press shirt waist, sleeves first, then back, and
the fronts last.

Use starched water for dampening.

Attach name and date of pupil to finished
article.

PLAIN FIVE-GORED DRESS SKIRT WITH
HABIT OR PLEATED BACK

Material : Khaki, linen, gingham, etc.

Use drafted pattern of the 5-gored under-
skirt, omitting line 5, 11 and 8 on the back gore.
For habit or plain back, trace line 4, 6 and 7 on
the cloth, Dot 11 on pattern being 10^4 inches
down from Dot 4 on the habit back line. Con-
nect A, 10 and 7 with slight, downward curve.
Use dress skirt lengths, with no deduction for
flounce or ruffle.

To make inverted pleat on center back, fold
under on habit back line, 5 inches beyond waist
line, (Dot 4), and 7 inches at the bottom beyond
Dot 7. Bring edge of habit fold to meet a straight
line connecting these new points. More or less
allowance may be left for pleat if wider or nar-
rower is preferred. Allow when cutting out on
cloth 24 inch for seams, and *4 mcn at waist and
bottom of skirt. Stitch inverted pleat twice on
each side to a point 8 inches below waist.

120 TEXT-BOOK ON

Finish placket as on underskirt, and have
belt y% inch wide when finished, instead of 1
inch as used on underclothes.

Allow 3 inches for hem at bottom of skirt.

Sew No. 4 hook on right end of belt, *4 inch
in, and the round eye, which is stronger than the
straight, on left end, far enough from edge to
hide the underlap. Use No. 2 hump hooks and
eyes for placket, placing hooks *4 inch from edge,
and \Y\ inches apart. Use straight eyes on
placket. Sew hooks on first and match space for
eyes with pins or pencil dots. An unevenly
matched placket can spoil an otherwise perfect
skirt, so great care should be taken on this part.

Two small hangers are sewed on lower edge
of belt. To find their positions, match middle of
back to middle of front, and put a pin where each
side of fold comes. This is the center of loop.
Fasten ends securely.

Finish all ends and threads. Place on skirt
board, with top of skirt at smaller end, and press
well on the right side. Do not bear too heavily
on seams or they will shine, in such case, press
on wrong side.

Attach name and date and hang up by loops.

DOMESTIC ART

KILTED OR PLEATED SKIRT

Material : 5 yards, 36 inches wide. Width
around bottom 4 yards.

Measurements taken the same as for preceding
skirt, but no turning line is given for the bottom
of skirt, because the pleats are laid on the straight
and the strips of cloth all cut the same length
taking the longest side measurement.

Determine width around bottom, then join
together as many breadths of material as will
equal this amount. If plaided or striped, match
exactly.

Have center of front the center of a breadth of
cloth, so seams will be evenly spaced. Make box
pleat on center front by turning a certain depth
pleat or fold toward the back on either side of
center. The width of pleat is determined by the
amount of space left between each pleat, and the
depth of each. All spacing must be done on the
hip line at least 6 inches below waist, and after-
wards fitted evenly into the waist measurement.
A deeper pleat is generally made on either side of
center back, narrower at waist line than at
bottom, which brings the back seam on the bias.

Space pleats evenly with tape measure and

TEXT-BOOK ON

mark with pins. Do not join back seams until
all pleats have been made and basted, keeping
the skirt flat on a table or board.

Stitch after fitting, near edge of each pleat
and the same number of inches down from the
waist line, which should always be below fullest
part of hip. Mount belt as on other skirts, sew
on hooks and eyes, and turn up bottom for hem,
with skirt marker.

Press each pleat sharply on right and wrong
sides, make two loops and hang up garment after
attaching name and date finished.

FANCY WAIST MADE FROM PLAIN

SHIRTWAIST PATTERN, AND

OPENING BEHIND

Material : 3 yards, 36 inches wide. Pongee,
taffeta, Swiss, muslin, etc.

A fancy waist can be best designed if opened
at center back.

A front yoke should have no seam on center
front, but cut from one piece or one front piece
and 2 back portions.

Front

If waist is to be tucked, make tucks before lay-

DOMESTIC ART 123

ing paper pattern on cloth. Take a strip of material
the length from top of shoulder to waist or hip
line, •/. e., from Dot 5 to Dot 4, or Dot 3, and work
from center front. Tucks should graduate from
center of front to shoulders, those nearest should-
ers, not stitched below depth of armseye.

After tucks are made, place line 1 and 4 of
front pattern on center of fold as explained in
preceding waists.

Trace design for insertion, lace, or any mode
of ornamentation desired, which can be penciled
on paper pattern first.

Back

Tuck back, with tucks running full length, or
stitched to depth of back armseye measurement
tucks facing center back.

Make box-pleat — on right side and lap on
left to be fastened with button and buttonholes
or hooks and eyes.

If insertion or design is desired on shoulders
also, stitch shoulder seams first.

Finish waist line as in other shirt waists.

Sleeves

A design for sleeve should be made in the
center of pattern. This makes center of sleeve,

124 TEXT-BOOK ON

or center of design, 1 inch to right of line A and
3 on paper pattern.

If sleeve extends to, or just below elbow, have
design in center of space ; or if insertion is set in,
or tucks made, stitch with the woof threads,
Tucked bands, cuffs or any mode of finishing
may be followed for bottom of sleeves.

Neck

The neck band and collar complete the mak-
ing of a waist, and should not be cut down until
ready to finish, because of the tendency to fray
and stretch out of shape. The depth of neck
may be traced when placing paper pattern, mak-
ing pointed, round, or Dutch.

A high collar may also be used without first
attaching band, but should be fitted on the pupil,
pinning in place.

Use following draft for high collar:

COLLAR DRAFT, TO FASTEN AT BACK

Measurements :

Base of Neck (Model 13 inches).

Top of Neck (Model 12 inches).

Height of Collar (Model 2y2 inches).

Rectangle equals l/2 the neck measurement

DOMESTIC ART 125

for horizontal lines by height of collar desired,
plus one inch, for vertical lines.

Mark A, B, C, D as illustrated, with A and C
on fold.

Dot 1 is the desired height of collar up from C.

Dot 2 is 1 inch above D.

Connect 1 and B, and C and 2 with parallel
downward curves.

Dot 3 is y2 the top neck measurement on line 1
and B, to right of Dot 1. Connect 3 and 2.

Cut out pattern on lines C, 2, 3 and 1.

When cutting on the cloth the center of the
front may be on the warp or woof fold, the former
preferred. Have two thicknesses of cloth, besides
an interlining. Stitch sides and top together on
wrong side, turn, and baste edges. Turn in
lower edges and stitch, unless to be fastened to
body of waist, in which case proceed as with col-
lar band found with the night gown draft.

CIRCULAR UNDERSKIRT DRAFTED

FROM GORED UNDERSKIRT, WITH

FLOUNCES, BUT NO DUST

RUFFLE

Material 5^ yards, 36 inches wide.
Sateen, moreen, hyde-grade, etc.

126

TEXT-BOOK ON

DOMESTIC ART 127

Use same measurements as for 5-gored under-
skirt, deducting 15 inches for flounce above dress
length.

Take full size sheet drafting paper, and on
this, place all the gores of the 5-gored under-
skirt pattern, found on page 77.

Match each gore according to notches, with
front gore at lower edge of paper. Bring edges
of paper together, without lapping for seams.

Let Dot 4 on center back gore touch line made
at right angles to center front line, as illustrated.

An extra piece of paper will have to be pasted
on back portion to complete pattern.

Curve the waist line more and test both waist
and hips before 'cutting.

The more curved the waist line, the less
need for darts on the side hip. and a round yoke
may be traced off from this draft.

In placing pattern on cloth, trace all around
the outside edge of draft, measure up from the
bottom of pattern 15 inches, or as many as de-
sired for a flounce and trace this on cloth.
Cut, allowing for seams all around except on
center front, which should be a lengthwise fold.
Piece the cloth on either side, the join coming
on center back seam and extending toward the
sides.

DOMESTIC ART 129

Another way of making skirt with a front gore
on same model :

Cut front gore separately as for 5-gored skirt
pattern, keeping side and back gores together as
the preceding circular gores were drafted.
Lay goods, so warp will be on front of side gore.
This draft prevents piecing if the goods is wide
enough or fashion does not call for too wide
a skirt.

The width of skirt at lower edge may be made
narrower by taking off as many inches as de-
sired on center of back gore, starting to decrease,
from 1/3 the length below waist line.

If more fulness is desired, allow on fold on
center front or at the center of back gore.

The flounce is made up of bias ruffles stitched
together and joined with narrow bias bands. For
3 bias ruffles, cut all the strips 5 inches wide.
Do not measure on the selvage when a bias width
is given as it equals nearly a third less. The ruf-
fle for top should be gathered very little. Once
and a half or less the distance around the bottom
of skirt is sufficient; the second ruffle measuring
once and a half the first ruffle, and the third,
once and a half the second ruffle. Allow for
seams. Join each strip with selvages together.

130 TEXT-BOOK ON

or with French seam where edge is not selvage.
Halve and quarter in order to join evenly, with
seams and raw edges on right side. The bias
band (cut \l/2 inches wide) to be finished ^4 inch,
can be stitched on at the same time, holding the
right side next to the fullest ruffle, and stitching
all three edges together. Turn bias band over on
to the upper ruffle to measure. ^4 of an inch, and
stitch close to outside edge. Make the complete
flounce before joining to body of skirt. If there
are gathers at waist line in the back, put on a 9^-
inch belt (finished) with lap on placket like the
underskirt, and finish in same manner.

If habit back is made, finish placket as before
explained, and turn under waist line on the trac-
ing, finishing the wrong side with a bias band l/2
inch wide, stitched on each edge. Use hooks and
eyes for fastening. Make hangers, press and
attach name and date.

FRENCH LINING
Measurements

Material 2l/2 yards for 36 bust.
Heavy cotton, silesia, percaline, etc.
All measurements should be taken without
dress waist on.

DOMESTIC ART

Front
Neck :

Measure closely around base of neck (Model
13 inches).

Depth of Armseye :

Place a tape measure or string under the arms
fastening securely at the side, above bust line,
making a straight line across front and back.
Place another tape line in center of front at base
of neck, and measure down to where the other
string or tape line crosses. (Model 5 inches.)

3. Length of Front:

Place tape line at base of neck at center front
and measure down to center of front at lower
edge of waist line where a belt or tape line has
been placed. (Model 14 inches.)

4. Length of Shoulder:

Place tape line at base of neck at side, and
measure to end of shoulder blade. (Model 5JX
inches.)

5. Width of Front between Shoulders:
Place tape line across front from end of

shoulder blades, in straight line with base of
neck. (Model \4l/2 inches.)

DOMESTIC ART - 133

6. Bust :

Place tape line around fullest part of bust.
(Model 36 inches.)

7. Under arm:

Place tape line at under arm pit and measure
down in straight line to bottom of waist line.
(Model 8 inches.)

8. Waist:

Place tape line around smallest part of waist.
(Model 24 inches.)

9. Hips:

Place tape line 5 inches below waist line.
(Model 36 inches.)

10. Height of Dart:

Place tape line at fullest part of bust and
measure down to bottom of waist. ( Model 6
inches.)

Back

1. Width of back between shoulders:
Place tape line across back from end of

shoulder blades in straight line with base of
neck. (Model 14 inches.)

2. Depth of Shoulder:

Place tape line at base of neck at center back
and measure down to where a tape line has been
drawn across the back at top of shoulders.
(Model iy2 inches.)

134 TEXT-BOOK ON

3. Depth of Armseye:

Place tape line at center of back, and measure
down to tape or string that has been placed under
the arms. (Model 7 inches.)

4. Length of Back :

Place tape line at center of back from base
of neck down to bottom of waist line. (Model
I4y2 inches.)

Sleeve

The same measurements are takers as sleeve
draft found under nightgown.

1. Armseye, arm size, or armhole. (Model 15
inches.)

2. Shoulder to elbow. (Model 14 inches.)

3. Elbow to hand. (Model 10 inches.)

4. Around elbow. (Model 12 inches.)

5. Around wrist. (Model 6 inches.)

6. Around hand. (Model 8 inches.)

7. Inside seam to elbow. (Model 9 inches.)

8. Inside seam to hand. (Model 18 inches.)

FRENCH LINING DRAFT

Front

Draw half a rectangle with vertical line about
25 inches long, and horizontal line to right, about
12 inches long. Mark corner A.

DOMESTIC ART

1.35

Dot 1 is 1/5 the whole neck measurement
plus j4 inch down from A.

Dot 2 is depth of armseye measurement down
from Dot 1.

Dot 3 is length of front down from Dot 1
Dot 4 is 5 inches below Dot 3.
Dot 5 is

inch to right of Dot 3.

136 TEXT -BO OK ON

Dot 6 is % inch to right of Dot 4.

Connect 1, 2, 5 and 6, which is the center front
line.

Dot 7 is 2l/2 inches to right of A.

Connect 1 and 7 with downward curve about
Vj of a circle.

Dot 8 is a horizontal line to right of Dot 1, l/2
the width of front.

Dot 9 is 1 inch above Dot 8.

Connect 7 and 9, the correct shoulder length
from Dot 7.

Dot 10 is a horizontal line to right of Dot 2,
same length as line 1 and 8, or l/2 the width of
front.

Dot 11 is extension on line 2 and 10, to equal
bust measurement minus width of back, divided
by 2.

Connect 9, 8, 10 and 11, rounding Dot 10 to
right, and going below line from Dots 10 to 11.

Dot 12 is a vertical line down from Dot 11, at
right angles with 2, 10 and 11, the correct under-
arm measurement.

Dot 13 is extension of this last line 5 inches
below Dot 12.

Dot 14 is 4 inches to right of Dot 13.

DOMESTIC ART 137

Connect 12 and 14, making it 5 inches long
from Dot 12.

Dot 15 is this last point.

Connect 5 and 12, which is the waist line.

Connect 6 and 15 which is the hip line.

Dot 16 is half the shoulder length.

Dot 17 is 2l/2 inches to right of Dot 5.

Dot 18 is 2l/2 inches to right of Dot 6.

Connect 16 and 17 with a slight curve to
left, and 17 and 18 with straight line.

Dot 19 is height of dart measurement up from
Dot 17.

From Dot 5 to Dot 12 should equal just y±
the whole waist measurement, after dart space is
taken out, which is found by subtracting from
this number of inches, 2]/2 inches (the distance
between Dots 5 and 17), and measuring the bal-
ance to left of Dot 12.

Dot 20 is this point.

From Dot 6 to Dot 15 should equal >4 the
whole hip measurement after dart space is taken
out, which is found by subtracting 2l/2 inches
(the distance between Dots 6 and 18), and meas-
uring the balance to left of Dot 15.

Dot 21 is this point.

138 TEXT-BOOK ON

Connect 19 and 20 with a slight curve to left,
and 20 and 21 with straight line.

Make 3 short vertical lines or small circles
one inch below the other, on front pattern and
side front, running parallel with the center front
line A and 4. These marks signify the warp of
material when the pattern is laid on the cloth.

Before cutting out, test every part of pattern,
according to measurements taken, then cut on
heavy lines, as illustrated, 1, 2, 5, 6, 18, 17, 19, 16,
and 7, which is the front portion, and on lines 19,
20 and 21 (rounding Dot 19) for the side front
portion. Trace waist line on both pieces, making
small notches at these points for matching. On
Dot 10, make a small notch where the underarm
seam of sleeve joins body of lining.

Back

Draw two sides of a rectangle about 10 inches
by 22 inches, with corner to right, marking A.

Dot 1 is l/4 inch down from A.

Dot 2 is length of back measurement down
from Dot 1.

Dot 3 is 5 inches below Dot 2.

Dot 4 is 1 inch to left of Dot 2.

Connect 1, 4 and 3 with a straight line.

DOMESTIC ART

139

Dot 5 is 1/6 the whole neck measurement to
left of A, minus 1/6 of an inch.

Connect 5 and 1 with straight line.

Dot 6 is depth of shoulder measurement down
from Dot 1.

Dot 7 is depth of back armseye measurement
down from Dot 1.

Dot 8 is a horizontal line to left of Dot 6, l/2
the width of back.

I4Q TEXT-BOOK ON

Connect 5 and 8 the correct length of shoulder
measurement from Dot 5.

Dot 9 is a horizontal line to left of Dot 7, l/2
the width of back.

Connect 8 and 9 with a slight curve to right.

Dot 10 is a vertical line down from Dot 9, at
right angles with line 7 and 9, the underarm
measurement.

Dot 11 is extension of this line 9 and 10, five
inches.

Dot 12 is 2l/2 inches to left of Dot 11.

Connect 4 and 10, which is the waist line.

Connect 10 and 12, making it 5 inches long
from Dot 10.

Dot 13 is this point.

Connect 13 and 3, the hip line, with a slight
downward curve.

Dot 14 is half the shoulder length on line 5
and 8.

Dot 15 is 1/3 of line 4 and 10, to left of Dot 4.

Dot 16 is 1/3 of line 13 and 3, to left of Dot 3.

From Dot 10 to Dot 4 should equal }/4 the
whole waist measurement after dart space is
taken out, which is found by subtracting the
number of inches between Dots 4 and 15 from

DOMESTIC ART

y\ the waist measurement, and measuring the
balance to right of Dot 10.

Dot 17 is the last point.

From Dot 13 to Dot 3 should equal y± the
whole hip measurement after dart space is taken
out, which is found by subtracting the number
of inches between Dots 3 and 16, from y± the
hip measurement, and measuring the balance to
right of Dot 13.

Dot 18 is this last point.

Connect 14, 15 and 16, and where this line
crosses line 7 and £, mark Dot 19.

Connect 19. 17 and 18.

Make 3 short vertical lines or small circles
one inch below the other, on back pattern and
side back piece, running parallel with the center
back line of rectangle A and 3. These marks
signify the warp of cloth as on front pieces.
Before cutting out, test every part of pattern,
according to measurements taken, then cut on
heavy lines as illustrated: Dots 3, 4, 1, 5, 14, 19,
15 and 16 for center back; and Dots 18, 17, 19,
14, 8, 9, 10, 13 to 18 for side back. Trace waist
line on both pieces, making small notches at these
points for matching.

142

TEXT-BOOK ON

Sleeve

Take a half sheet of drafting paper, fold on
length so the dimensions are about 26 by 12

3 9 /o 8

inches. Have fold at left side while drafting.
Mark top at left corner A.
Dot 1 is 1 inch below A.

DOMESTIC ART 143

Dot 2 is shoulder to elbow measurement down
from Dot 1.

Dot 3 is elbow to hand measurement down
from Dot 2.

Dot 4 is length of underarm to elbow measure-
ment up from Dot 2.

Dot 5 is a horizontal line to right of Dot 1,
l/2 the armseye measurement minus 2 inches.

Dot 6 is a horizontal line to right of Dot 4,
l/2 the armseye measurement plus 1 inch.

Dot 7 is a horizontal line to right of Dot 2,
l/2 the elbow measurement plus 1 inch.

Dot 8 is a horizontal line to right of Dot 3,
the same length as line 4 and 6.

Connect 6, 7 and 8 with a curve to left.

Measure on this line the correct underarm
measurement from Dot 6, first to elbow and
then to wrist, as the curve shortens distance and
raises the points. Connect 2 and 7 for the elbow,
and 3 and 8 for the hand.

Dot 9 is l/2 the hand measurement plus 1
inch to left of Dot 8.

Dot 10 is the difference between the whole
hand measurement and line 9 and 8, to left of
Dot 8.

Dot 11 is the difference between the whole

i44 TEXT-BOOK ON

elbow measurement and line 2 and 7, to left of
Dot 7.

Dot 12 is 1/3 the armseye measurement to
right of Dot 1.

Connect 1, 4, 2, and 9 with slight curve to left.

Connect 12, 11 and 10 with slight curve to left.

Connect 1, 5, and 6 with upward curve —
the greater the curve the fuller the top of sleeve.

Before cutting out, test every part of pattern
according to measurements taken, then trace thru
on to under sheet of paper lines 6, 12, 11 and 10,
cutting out on the double paper, on heavy lines as
illustrated on lines 8, 7, 6, 5, 1, 4, 2, 9 and 8.

Notch at elbow and on Dots 2 and 7.

HOW TO PLACE LINING PATTERN ON
CLOTH AND PUT TOGETHER

Front — Place front pattern on cloth accord-
ing to warp as indicated by lines or circles, allow-
ing 2 inches extra on front edge to be turned
under and used as a facing for hooks and eyes.
Trace all around edge of pattern, and, when cut-
ting out, allow y^ inch on shoulder, dart and
lower edge of pattern. On neck, cut outside
traced line. Trace waist line, and notch either
side.

DOMESTIC ART 145

Side Front — Place side front in the same
manner as front pattern, tracing waist line, notch-
ing either side, after cutting out. Allow y\ inch
for seams on shoulder, dart, underarm and lower
edge of pattern. Around the armsize, cut out-
side the tracing.

Back — Place back pattern according to warp
of goods, trace waist line, notch and cut out after
tracing all around pattern, leaving ^ inch for
seams and lower edge. On neck, cut outside
of tracing.

Side Back — Place side back according to warp
of goods, trace all around pattern, also the waist
line, and cut, allowing ^ inch for seams and
lower edge. Cut outside armseye tracing.

Sleeve — Place both sleeve portions with Dots
6 and 8 on a straight line. Trace each one all
around edge of pattern and the elbow line, notch-
ing the latter. Cut just outside the trace lines
at top of sleeve, and leave y± inch on all the other
lines.

Joining — Match the back portions together at
waist line, pinning, then basting with small, even
baste stitches, on traced or sewing line. To
either side of these match the side pieces, pinning
at waist line first and basting each carefully.

i46 TEXT-BOOK ON

Start at waist line and baste up, then from waist
line down.

Put fronts and side fronts together, matching,
pinning, then basting. Ease side fronts over the
bust lines. Turn the 2 inches allowed on the
center of front, on wrong side, and, before mark-
ing the spaces for the hooks and eyes, stitch
twice on the machine near edge of cloth j4 inch
apart, to keep edge from stretching.

Starting on waist line, hold the two front
edges on wrong side and make dots Ij4 inch apart
above and below the waist. Join back and front
portions together, matching notches. The sleeves
are matched according to notches at elbow, care
being taken not to make both sleeves for same
arm.

Try on lining, making any alteration neces-
sary before stitching on machine.

French seams may be made, except on shoul-
der and underarm seams, or, all the seams may
be stitched on wrong side, cut evenly and not too
close and notched. The shoulder and underarm
seams are left open, and if bound, each is bound
separately. All other seams are bound together,
facing toward center back and front respectively
or toward underarm seams.

DOMESTIC ART 147

Use Xo. 2 hooks and eyes, sewing hooks on
right front and eyes on left. .

Start at bottom of lining, and sew on hooks
first, using strong, cotton thread, not breaking
thread between each hook.

Hold edge of hook l/4 inch from edge of mate-
rial, the extra goods being used to face over the
hooks, so only the loop of the hook is visible.
Hem facing with small stitches.

Sew on eyes, starting at neck, passing thread
from one to the other as with hooks.

Let the loop of eye project only far enough
beyond edge of cloth to catch hook easily and
prevent gapping.

Fasten eyes securely at both edges, then face
the remaining edge of cloth over them as on hook
side, with edge of fold invisible on right side.

HOW TO BONE A TIGHT LINING

Feather bone, whalebone and steel are used
to bone a lining or dress. The easiest to sew on,
and perhaps the most satisfactory, is feather bone,
because it does not require a casing, and is so
made that it can be stitched thru, on the machine.

It also comes in colors of black, white and
grey.

148 TEXT-BOOK ON

Two and one-half yards will bone an ordinary
lining, to be put on side front seams, under arm,
side back and back.

Use shade that best matches color of lining.

Bones extend from bottom of lining (hiding
ends in hem) to a height above waist line that
will not show break in the seam.

On front dart seams, finish below height of
dart; on underarm seams, at least 2 inches below
underarm pit; on side back seam, 1 inch above
underarm bone; and back seam, to same height as
side back bones.

Cut each bone y2 inch longer than length to be
finished.

Rip open bone-casing, cut off bone, and turn
under casing.

The center of bone is over center of seam,
and may be stitched thru the center, or on each
edge of casing.

Care must be taken when stitching on
machine, not to strike the bone, as space is al-
lowed.

Mark height of every bone on every seam,
then stitch from top, elowrn to bottom of lining.

If a bone is to be sewed on center front, put
on left side close to eyes, and cross stitch in place.

DOMESTIC ART 149

WORKING ON WOOLEN GOODS

\Yoolens or mixed weaves are much more
difficult to cut out, join and finish than cotton
materials, consequently a different method is used
in working with them. This method is called
tailoring, and includes moderate styles with
straight lines and perfect curves and an exactness
that is not necessary when draping or construct-
ing gowns for fancy effects.

As the tracing wheel, unless it contains pul-
verized chalk, makes no impression on woolens or
heavy woven materials, it is necessary to use tail-
or's chalk, which comes in most colors, or a
loose method of basting that will permit the dou-
ble thickness of cloth to have a guide-thread left
on each piece. If the cloth to be cut out has an up
and down, diagonal, or nap to it, each piece must
be cut singly unless the goods is wide enough to
fold on the warp. Cloth with a nap must always
have the nap running down; diagonals must fol-
low the same slant, and an "up and down" cloth
generally has the largest part of the design at the
top.

After placing the pattern on the material,
in order to save, lay it all out before cut-
ting, and baste all around the edge of every

i5£ TEXT-BOOK ON

piece, the waist line, darts or any line or
design that would be necessary to trace or follow.
Take an even baste stitch three-quarters of an
inch long, leaving a loose thread which will per-
mit the two pieces of cloth to be separated, the
threads cut, and enough of the thread left on each
piece to be a guide for seaming, turning hem, or
marking any part of pattern that is necessary.

If chalk is used instead, the lines are first
made on one side of the cloth from the pattern,
then pins placed on the chalked lines and another
chalk line drawn on the opposite piece. This last
method is not as perfect as the first.

French seams are not used when stitching
woolens, but the seams are finished with bias
binding of percaline, cambric, etc., the two pieces
joined and bound together, except on the back,
shoulder and underarm seams of the waist, or any
that are to be boned.

There are two ways of putting a skirt to-
gether; first, matching the gores on the wrong
side, stitching, binding and then basting each
finished seam on the right side, laying it flat, and
turning each one toward the center of front,
stitching on the right side close to the turn. A sec-
ond stitching may also be made, using the presser

DOMESTIC ART

foot of the machine for a guide space ; second,
by turning under the bias side of every gore
to the sewing line, which has the baste threads
on it, and bringing the folded edge to the sewing
line of the next gore it is to join. Care must be
taken in order not to stretch the bias side beyond
the straight. By pinning in place first, this will not
happen. In following this method of joining a
skirt, all seams but the back seam are finished
first. Work on a table or flat surface.

Tailored skirts should have a hem or facing
not over three inches when finished, because
heavy material, when turned at different widths
will make angles. To avoid this in a three-inch
hem, let seams match after the bottom edge has
been turned, and -pin in fulness at top edge so
the space is even, then press in these pleats, and
hold them in place when stitching on the bias
binding. All stitching such as hems, trimming
bands, etc., should be stitched on right side of
goods.

SEVEN-GORED TAILORED SKIRT

Note. — A choice should be given between this
and the following skirt.

Material : Four yards (without nap) 36 inches
wide.

DOMESTIC ART 155

Serge, broadcloth, homespun, cashmere, etc.

Measurements : See directions for 5-gored
skirt on page 77, taking floor and dress lengths
on front, back and both sides.

Before drafting, the proportions for every
skirt must be worked out. Some gores are larger
than others. The gores become narrower as the
number of gores increases, and the relation of
the waist and the hips to the bottom of the skirt
must be always maintained.

A seven-gored skirt has a front, back and two
side gores and the proportions and width around
the bottom of the skirt is varied according to the
prevailing style. A moderate style is therefore
given, and any alteration on the width of
gores at waist or hips may be easily done by first
narrowing or widening the front and back gores,
and putting the balance into the side gores. The
waist and hips should never be smaller than
measurements taken, and any flare or decrease
in width at bottom should be made one-third of
the distance below the waist line.

\Yrite measurements in the following order,
substituting pupil's for the model :

Waist (Model 24 inches. 12.)

Hips (Model 39 inches,

156 TEXT-BOOK ON

Lengths :

Floor Dress

Front (Model 40 37)

Side (Model 42 39)

Back (Model 41 38)

Waist Line

Front 1st Side 2nd Side Back
Model 2 3y2 3y2 3

Hip Line

Model 3 Sy4 554 6

Width around bottom, 3y> yards without in-
verted pleat.

WAIST

Front gore — 1/6 of half the waist measure-
ment or 1/12 of the whole.

Back gore — % of half the waist measurement,
or 1/6 of the whole.

Side gores — 7/12 of half the waist measure-
ment, or 7/24 of the whole.

Divide the side gores in half for each one.

HIP

Front gore — 1 inch wider than the front waist.
Back gore — 3 inches wider than the back
waist.

DOMESTIC ART 157

Side gores — The sum of the front and back
subtracted from l/2 the whole hip measurement,
dividing in halves for each side gore, or once and
y2 the waist at hip.

Altho the side gores are the same width at
the waist and hip line, the lengths vary, conse-
quently each gore must be drafted separately.
The side or hip length to floor is measured on
bias side of first side gore, on warp and bias of side
gores, and on the warp or straight of back gore.

Use Dots as illustrated and explained on un-
derskirt draft.

TAILORED BELT

Cut a warp strip of same material as skirt, 3
inches longer than waist measurement, and 1*4
inches on the double, allowing for seams.

Point one end of belt and make the other
straight.

Have an interlining of crinoline. Stitch all
around the edge twice, and sew two hooks and
eyes to equal the waist measurement, and one
hook and straight eye or loop to fasten point of
belt. Press well.

158 TEXT-BOOK ON

NINE-GORED TAILORED SKIRT

Material, 4^4 yards (without nap) 36 inches
wide.

Measurements: Same as 5 or 7 gored skirt
pattern.

A nine-gored skirt pattern has a front, back,
and three side gores, and is drafted in proportion
to the waist and hip measurements with the
widths of each in accordance to the prevailing
fashion. A moderate draft is here given which
can be increased or decreased around the bottom
of skirt by adding more or less inches to the
original draft, starting from one-third the length
from wraist line.

Write out the measurements in the following
manner, substituting pupil's for model's.

Waist (Model 24 inches.)
Hips (Model 39 inches.)

Lengths :

Floor Dress

Front (Model 40 37)

Side (Model 42 39)

Back . . .(Model 41. . .38)

160 TEXT-BOOK ON

Waist Line

Front 1st Side 2nd Side 3rd 'Side Back
Model \y2 ... .2 2/3. ... .2 2/3 22/3 2y2

Hip Line

2^ 4 4 4 5M

Take one-half the waist measurement in pro-
portioning the skirt, and let one-third of this equal
the back and front gores, the remaining two-
thirds being equally divided among the three
side gores. The front gore is one inch narrower
than the back gore.

Take one-half the hip measurement in pro-
portioning the skirt, let the hip measurement on
front gore equal y4 of an inch more than front
waist measurement ; the hip measurement on back
gore equal twice the measurement of back waist,
and the balance number of inches equally divided
among the three side gores.

With a 45-inch rule or yardstick, placed on
these correct proportions found for the waist and
hips, and draw lines as on 7-gored skirt, which
proportions the width around bottom also.

Make bias side of first side gore, both sides of
second side gore, and the straight side of back
gore, equal the side dress length measurement.

DOMESTIC ART 161

The front hip equals ^4 incn more than front
waist.

Side hip equals \l/2 the side waist.

Back hip equals balance number of inches
remaining from sum of front and the 3 side gore
measurements at hip.

Finish as explained in previous skirt.

HOW TO SEW BRAID ON BOTTOM OF
SKIRT

\Yhen sewing braid on skirt, baste 1/16 or l/%
inch beyond edge of turned hem, starting 2
inches to right of center back seam, and basting
on edge of hem on right side. Carry braid 2
inches to left of center seam when finishing, lap-
ping evenly*

If hem has been stitched at top, sew braid on
by hand, but it is much stronger if sewed by
machine. To stitch the latter way, open up hem,
and stitch on top edge of braid.

COAT (Unlined)

Made on French lining model.

Material 4 yards 36 inches wide, for 36 bust.

Linen, duck, kahki, etc..

DOMESTIC ART 163

Measurements :

Take same measurements as for French lining,
measuring over dress waist.

Make center front line 1 and 4, 3 inches to
right of cloth, curving slightly between 1 and 2
for lapels, making line 2, 5 and 6 straight from
Dot 2, carrying front as many inches below
waist line as desired, for the length of coat.

Cut 4 front pieces, as each front is faced with
same material.

Trace waist and all other lines as on former
draft, matching, pinning and basting very care-
fully.

Try on, making any alterations before stitch-
ing.

All seams, but shoulder and underarm seams,
are bound together, these others being bound
separately and pressed open.

The front facing is interlined with crinoline
or canvas, matched to right side, and all three
pieces stitched together on wrong side. Stitch
lower edge also, the length to be finished

If lapel is not wished, crease a line l/2 the dis-
tance between Dots 1 and 7 at neck, to depth of
armseye measurement or below, and cut on this

164 TEXT-BOOK ON

line. This allows for a shawl or flat collar, which
is fitted and cut after shoulder seams are finished.

Turn front facings and lower edge on right
side, making perfect corners, and baste in place
for two rows of stitching.

Baste side front and side back seams flat, with
bound edges facing center front and center back,
respectively, and stitch on right side, Y\ inch from
seam.

The fronts are stitched on edge and j4 mcn
in from this stitching, or, the width of the presser-
foot apart. Use lock stitch machine for all out-
side stitching, with great care in keeping the
goods smooth, and doing perfect work.

Cut a paper pattern for a collar to fit neck,
shaping outside edge as desired, with seam in
center of back.

If a shawl, or sailor collar is used, it is
stitched in with the facing, an extra under facing
being sewed to back neck, and extending to
shoulder seams. If double thickness of cloth is
used, interline writh crinoline. A plain turn-over
collar is cut with double thickness of material,
and canvas interlining, seamed in the center. It
folds on the line with the lapels, the under part of
collar being stitched solid j4 incn between each
stitching.

166 TEXT-BOOK ON

The bottom of coat is turned under a bias
strip of crinoline, bound ^2 inch from edge, and
stitched as far as front facings.

The sleeves are made on the French lining
draft, with larger measurements taken over
dress sleeve. The underarm seams are bound
separately, and pressed, the other seams being
bound together, and turned toward underarm
seam when joining to body of coat. Face bottom
of sleeve and stitch 2 inches from turned edge
to correspond with stitching on fronts. Bind
armsizes.

Press well over tailor's pad, to keep bust round
and well-shaped.

Crease sleeves on double to elbow.

Sew hanger to back neck.

Attach name and date.

QUESTIONS

1. What measurements are necessary to
draft a drawers pattern? Draw illustration with
the dots.

2. What is the sewing line?

3. What is a lap, how deep should it be and
how put on?

DOMESTIC ART 167

4. What measurements are taken to draft
an underskirt?

5. How is a belt sewed on, and what is the
width used on underclothes?

6. Where is the hip measurement taken?

7. What is the depth of placket on an un-
derskirt?

8. Describe and illustrate the straight and
bias of a skirt and how joined.

9. Which way of the goods are all garments
cut? Why?

10. Why is the floor length of a skirt taken
instead of dress length except on the front gore?

11. What measurements are taken for draft-
ing a shirtwaist?

12. Illustrate how the shirt waist draft is
used for a corset cover, chemise and night gown.
Have center front line 3 inches.

13. What does "depth of armseye" mean and
how is it found? The front and back.

14. What are the alteration seams on a shirt
waist and how much is allowed on the different
seams when cutting out pattern?

15. Give model measurements of a shirt
waist.

16. Give model measurements of a skirt.

168 TEXT-BOOK ON

Illustrate a model with the center front gore 3
inches long and the rest of pattern in proportion.

17. How can the 5-gored underskirt pattern
be made into a circular skirt?

18. What measurements are necessary to
construct a sleeve draft? Illustrate.

19. Where does the seam of a one-piece
sleeve join the waist?

20. Make an illustration of a sleeve draft on
a 2-inch basis, for the first line.

21. What is a French lining?

22. How does sewing on woolen goods dif-
fer from cotton?

23. Proportion a 7-gored skirt with 36 waist,
40 hip, lengths to floor ; front, 36 ; side 37^ ; back
37.

24. How is braid attached to bottom of
skirt?

25. Explain method of making a coat.

GLOSSARY OF TEXTILES

Note. — As widths vary and prices fluctuate
in different cities, it is impossible to give any
accurate figure that can be followed in all cities,
but an approximate retail price and width are
here given, which may assist the pupil in obtain-

DOMESTIC ART 169

ing a general knowledge of textile fabrics and be
a guide when purchasing.

Novelties are not included.

Albatross, a plain, woolen fabric, similar to
nun's veiling. Width 44 inches ; price 75 cents.

Alpaca, cloth obtained from the hair of the
alpaca, llama and vicuna animals. It has a high
luster. Brilliantine, mohair and Sicilian come
under the same head. The warp thread is cotton.
Width 40 inches ; price 75 cents up.

Basket Cloth, cloth having the warp and woof
threads interlaced the same way. Width 45
inches; price $1.50 up.

Batiste, very sheer cotton or linen fabric. Cot-
ton, width 44 inches; price 35 cents up. Linen,
width 28 inches; price $1.00 up.

Beaver Cloth, heavy, double woven, woolen
cloth, used for outside garments. Width 56
inches ; price $3.00 up.

Bedford Cord, woolen or cotton having a
warp cord. Woolen, 54 inches wide ; price 82. CO
up.

Bengaline, a high grade, heavy woven silk,
having a warp cord, similar to silk poplin. Width
26 inches ; price 75 cents up.

TEXT-BOOK ON

Bleaching, making white by sunning or wet-
ting.

Bolt, refers to materials such as cloth, ribbon,
braid, etc., sold in quantity, containing a certain
number of yards to make a bolt — usually 10 to
60 yards.

Brilliantine, a kind of Mohair, with more
gluton in it. Width 36 inches ; price 50 cents up.

Broadcloth, wide woolen cloth, with satin or
glossy finish on face, and a nap. Width 52
inches up; price $1.00 to $5.00.

Brocade, a soft, fine silk cloth with figures or
designs woven to give same effect as a damask.
Width 27 inches ; price $2 up.

Calico, coarse quality muslin or printed cloth.
Width 36 inches; price 5 cents to 15 cents.

Cambric, thin, glossy muslin. Width 25 to
36 inches ; price 5 cents up.

Cambric is also a general term for plain cot-
ton cloth.

Camel's Hair, double width cloth made from
the fleece of camels hair goat. It is woven with
a twill, the hairs protruding and causing a rough
surface. Width 54 inches; price $1.50 up.

Canton Flannel, soft cotton flannel with nap ;

DOMESTIC ART 171

also called cotton flannel, fleeced lined, tennis and
daisy flannel. Width 28 inches; price 15c up.

Canvas, a heavy plain woven cloth either linen
or cotton used for stiffening. Linen comes 25
inches wide. Price 25c up. Cotton, 1 yard wide ;
price 10 cents up.

Cashmere, a plain, soft woolen cloth. Width
36 to 48 inches; price 75 cents to $1.50.

Challis, a light weight dress goods of cotton,
wool or both.

Cotton, width 24 inches ; price 20 cents up.

Wool, width 32 inches ; price 75 cents up.

Mixed, width, 40 inches ; price 50 cents up.

Chambray, a kind of gingham. Width 28
inches; price 25 cents.

Cheese Cloth, a thin, open-weave muslin,
bleached or unbleached. Width 36 inches; price
5 cents up.

Cheviot, a twilled cotton or \voolen with a
rough nap. Width, woolen, 54 inches ; price $2.00.
Cotton, 27 inches; price 25 cents up.

Chiffon, a thin, gauzy silk fabric with a soft
sheen to it. Width 44 inches ; price 75 cents up.

Chiffon Cloth, a highly finished broadcloth
with a satin face. Width 44 inches ; price $2.00
up.

172 TEXT-BOOK ON

China Silk, plain, woven silk, made in China,
India and Japan. Width 26 inches; price $1.00 to
$2.00.

Corduroy, a strong, corded, pile-woven cloth
made of cotton only. Width 27 inches up ; price
75 cents up.

Cotton, any white cloth made entirely from
the cotton fiber. (See article on Cotton.) Width
usually 1 yard ; price 5 cents up.

Covert Cloth, a strong twilled woolen cloth
for coats, of tan colors ; 2 yarns. Width 56 inches ;
price $3.00.

Crash, coarse toweling. Width 18 inches up ;
price 10 cents to 20 cents.

Cravanette, a light weight waterproof woolen
cloth for coats and suits. Width 50 to 60 inches ;
price $2.00 to $4.00.

Crepe, a cotton, silk, woolen or mixed cloth,
with a curled or puckered irregular surface.
Width, cotton, 27 inches up ; price 10 cents up.

Silk, 21 inches; price $1.50 up. W7oolen, 52
inches ; price 75 cents. Mixed, 52 inches ; price
$2.00.

Crepe de Chene, a high grade silk with an
irregular wrinkled surface. Width 24 to 54
inches; price $1.00 to $3.00.

DOMESTIC ART i?3

Denim, a heavy, cotton fabric for aprons, up-
holstery, etc. Width 36 inches up ; price 25 cents
up.

Diagonal, a worsted cloth with a diagonal
twill. Width 52 to 58 inches; price $2.00 up.

Dimity, a fine lawn or muslin with a warp
cord. Width 28 inches ; price 5 cents to 40 cents.

Duchess Satin, a thin, high grade quality
satin with less stiffening and a high luster. Width
20 inches; price $1.00 and up.

Duck, a strong, plain weave of linen or cotton.
Linen, width 27 inches ; price 40 cents. Cotton,
28 inches ; price 20 cents.

Etamine, a fine, evenly-woven woolen or silk
fabric. W^idth, woolen 54 inches; price $1.00 up.
Silk, 28 inches; price $1.50.

Farmers Satin, a satin-weave lining with a
cotton warp and worsted woof. Width 27 to 54
inches; prices 75 cents to $1.50.

Filling, the woof of goods, opposite to the
warp.

Flannel, a cotton, woolen or mixed cloth
loosely woven and with an unfinished surface.
Width, cotton, 36 inches; price 15 cents.

Woolen, width 24 inches; price $2.50 up.
Mixed, Width 36 inches ; price 25 cents.

174 TEXT-BOOK ON

Flannelette, see Canton flannel.

Flax, a plant that produces the linen fiber.
See article on linen.

Foulard, a thin, plain or twilled silk that has
a conventional printed figure on it. Width 20
to 40 inches ; price 50 cents up.

Galatea, similar to duck, with smooth finish,
29 inches ; price 20 cents.

Gingham, a cotton cloth, plain, striped, plaided
or checked which has been woven in the loom.
Width 27 inches and over; price 10 cents up.

Glace, a glossy or luster finish given to threads
and fabrics.

Grass Linen, a thin, transparent muslin (usu-
ally natural colored), made from ramie. It is
used for lining. Width 27 inches ; price 35 cents
up.

Gros Grain, a dull-finish silk with a fine woof
cord. Width 20 inches; price $1.50 up.

Habutai (hab-u ti), a Japanese all-silk mate-
rial, of fine smooth weave. Width 25 to 36 inches ;
price 35 cents to $1.50.

Hair Cloth, a stiff lining made from horses'
manes and tails. The warp thread is the hair,
while the filling is of cotton or linen. Width 24
inches; price 35 cents.

DOMESTIC ART 175

Hemp, see article on hemp.

Henrietta Cloth, a fine quality of worsted,
woven cloth, with less luster than cashmere.
Width 44 inches; price $1.00 up.

Homespun, cloth woven by hand and not in
factories. The British Isles are famous for these
cloths. It also applies to a rough woven woolen
manufactured goods. Width 54 inches ; price
$1.50 up.

Hyde Grade, light weight, firmly woven cloth
in cotton, wool or mixed, used for linings and
underskirts. It is the manufacturers' name and
does not specify any one material, but includes
percales, moreens, etc.

India Lawn, a fine, high-grade muslin. Width
30 inches ; price 25 cents up.

Indian Head, a firm, coarse woven cotton
cloth, similar to duck. Width 36 inches; price 15
cents.

Jute, see article on same.

Khaki, a dust colored cotton drilling, deriving
its name from the U. S. Army, at the time of the
Spanish-American war. Width 28 inches ; price
35 cents.

Ladies' Cloth, a light weight broadcloth.
Width 52 inches; price $1.00.

176 TEXT-BOOK ON

Lawn, a thin, cotton or linen cambric or mus-
lin. Width 36 inches ; price 25 cents up.

Linen, see article on same.

Long Cloth, soft, fine bleached muslin, used
for underclothes. Width 36 inches; price 15 cents
to 25 cents. 12 yards at $2.00.

Madras, a kind of gingham, but heavier, made
in cotton and silk, plain or figured. Width 28
inches-; price 25 cents up.

Marquisette, a kind of voile of a more open
weave, made in cotton and silk. Cotton, width
28 inches; price 25 cents up. Silk, 44 inches;
price $3.00.

Mercerized, a soft finish given to linen and
cotton, thru a process of a caustic soda solution.

Messaline, a soft silk or cotton with a satin
finish. Cotton, width 36 inches ; price 35 cents.
Silk, width 26 inches; price $1.00.

Mohair, a fine quality alpaca, from the angora
goat. Width 40 inches ; price 75 cents up.

Moire, a watered effect, made in silks, mo-
reens, etc.

Moreen or Morrain, a strong, closely-woven
material, with a cotton, wool, silk or mixed warp
and a mohair filling.

Cotton, width 27 inches ; price 35 cents.

DOMESTIC ART 177

Wool, width 26 inches ; price 60 cents.

Silk, width 24 inches ; price 75 cents up.

Mixed, width 24 inches; price 50 cents.

Mousseline de Sole, a high-grade silk muslin.
Width 48 inches ; price 50 cents up.

Mull, thin, sheer muslin. Width 24 inches ;
price 20 cents up.

Muslin, plain, woven cotton cloth. A general
term.

Nap, the down of the fibers covering the sur-
face of certain kinds of cloth. It follows one di-
rection, and may be raised or flat.

Noil, short fibers of the short staple woolen
fibers; waste.

Nuns Veiling, a thin, woolen goods, plain
woven and dyed black. Width 44 inches ; price
75 cents.

Outing Cloth, see Canton flannel, daisy flan-
nel, etc.

Organdie, thin, sheer muslin with a fine and
finished texture, plain or printed, with delicate
flower patterns. Width 36 inches ; price 25 cents
up.

Panama, a light woolen material. Width 54
to 58 inches; price $1.CO up.

Panne, a light weight velvet, with a long nap

178 TEXT-BOOK ON

and a high luster. Width 18 inches; price $1.00
up.

Paon, a fine, all-silk quality of velvet. Width
18 inches ; price $3.00 up.

Peau de Cygne, a thin, twilled silk. Width
20 inches ; price 75 cents to $2.00.

Peau de Sole, a soft, satin finish silk. Width
35 inches; price $1.00 to $3.00.

Percale, a closely woven cotton cloth with
more dressing than muslin. Width 28 to 36
inches; price 15 cents up.

Percalene, a watered or glazed surface cotton
cloth used for linings. Width 36 inches ; price
20 cents up.

Persian Lawn, a sheer quality of lawn. WTidth
32 inches; price 15 cents to 25 cents.

Persian Silk, silk with a Persian pattern woven
in the loom. Width 19 inches ; price 85 cents up.

Pique or Pecay, an even corded effect, made
on the warp threads of cotton cloth. Width 27
inches ; price 25 cents.

Pique (French), a fine quality pique that is
imported. Width 28 inches ; price 50 cents up.

Pongee, a natural colored silk cloth from
Shantung, made from the cocoons found on the

DOMESTIC ART 179

mulberry tree. Width 21 to 34 inches; price $1.00
to $2.00.

Poplin, a cotton, woolen or silk dress goods
with a cord woven in the woof thread.

Cotton, width 24 inches, price 15c.

Woolen, width 20 inches, price $1.50.

Silk, width 24 inches, price 75c up.

Mixed, width 40 inches, price $1.50.

Print, any cotton cloth with a printed pattern
stamped on it. See calico.

Rajah, a silk similar to pongee, with an un-
even thickness in the woof thread. It is also imi-
tated in cotton. Silk, width 18 inches, price $1.50
up. Cotton, width 24 inches, price 35c.

Russian Crash, a coarse grey, woven crash
used for dress goods and embroidery as well as
toweling. Width 17 inches, price 20c up.

Ramie, see article on Linen.

Sateen, a fine threaded, closely twilled cotton
cloth, with a glossy finish. ' Width 36 inches,
price 25c-50c.

Satin, a silk or cotton and silk fabric with a
high luster on the right side and a dressing in it.
Width 22-24 inches, price $1.00 up.

Satin Foulard, a foulard silk, with a satin
finish on the right side.

i8o TEXT -BOOK ON

Satin Linings — Silk back, width 30-40 inches,
price $1.50-$2.50. Satin back, width 36 inches,
price 50c. Silk Serge, width 30 inches, price
$2.00 up. Silk Taffeta, width 24-36 inches, price
75c up. Cotton back, width 36 inches, price 70c;
herringbone, width 20 inches, price 75c up. Surah
serge, width 30 inches, price $2.00 up.

Scrim, a thin, partly transparent cotton or
linen cloth. Width 36 inches, price 25c.

Seersucker, a sort of gingham with a crinkly
surface. Width 36 inches, price 15c.

Selvage, the edge of a cloth- running on the
warp threads, to prevent raveling.

Serge, a fine plain or diagonal weave of woolen
goods varying in widths and price.

Herringbone, striped and fancy weaves.
Width 54 inches, price $1.50 up.

Tailor's serge. Width 56 inches, price $2.50.

Army serge. Width 64 inches, price $4.00.

Sheeting, linen and cotton cloth of specified
widths, weights and price, manufactured to fit
regulation size mattresses on beds. Width 1/3
yards, price lOc up.

Shepherds Plaid, a name given to a small, even
black and white checked goods in cotton and
woolen.

DOMESTIC ART 181

Shoddy, a refuse waste from wool or woolens
while in the process of manufacture, and used as
filling or woof on cheap materials.

Shot, a changeable color effect given to silk.

Sicilian, similar to alpaca, with cotton warp
and mohair woof. Width 36-54 inches, price
$1.00-$2.CO.

Silesia, a lining cloth made of fine and closely
woven cotton. Width 36 inches, price 25c.

Silk, a fabric made from the silk fiber of the
larvae from many kinds of moths or silk worms.
See article on Silk.

Silk Muslin, a silk fabric of the same weave
and weight as fine muslin. Mousseline de Soie is
another name for it. Width 36 inches, price
75c up.

Sizing, starching, flouring or stiffening the
warp-threads to make them brittle before
weaving.

Skinner's Satin, a heavy, fine grade of satin
lining, used for coats. Width 36 inches, price
$1.CO-$3.00.

Spinning, the process of drawing out and
twisting into thread, textile fibers of any de-
scription by hand or machinery.

Suitings, varieties of woolens, worsted or cot-

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ton mixed fabrics of a plain, heavy texture for
suits.

Surah, a twilled silk. Width 24 inches, price
75c.

Symite, a silk and wool fabric. Width 44
inches, price $2.00.

Taffeta, a plain, even woven silk the same on
both sides, with more or less stiffening". Width
18 to 36 inches, price 50c up.

Tailor's Canvas, a strong, stiff canvas of high
quality used in coats. Width 25 inches, price
25-50c.

Tennis Flannel, see flannelette.

Textile, any fabric woven in the loom.

Tweed, a twilled, woolen suiting, similar to
homespun. England and Scotland are noted for
them. Width 56 inches, price $2.00 up.

Twill, a diagonally woven effect in cloth.

Twist, a silk thread of two or more strands
twisted together, heavier than sewing silk, put
on spools of 50 yards each or more.

Velvet, a closely woven silk material with a
short pile on the right side. It is formed by a
loop, which is afterwards cut.

Cotton back. Width 18 inches, price $1.50.

Linen back. Width 32 inches, price $3.00.

DOMESTIC ART 183

Silk back. Width 18 inches, price $5.00 up.

Velveteen, a velvet woven, all cotton material
wider than velvet. Width 21 inches up, price
50c up.

Venetian Cloth, a high grade, twill-woven
cloth, of worsted, made in plain colors like broad-
cloth. Width 50 inches, price $1.50 up.

Victoria Lawn, a finer grade than Persian.
Width 36 inches, price 25c up.

Voile, an open, even woven cotton, woolen or
silk fabric, with some stiffening in it. Width 46
inches, price $1.00 up.

Wool, see article on Wool.

Woolens, cloths produced from the wool
fibers, and of a wider width than cottons.

Weaving, the art or process of forming cloth
by interlacing yarn in a loom with a warp founda-
tion, and a woof filling.

Worsted, a variety of yarn from the wool
fibers spun from the long staple and in spinning,
is twisted tighter than usual.

Yarn, any kind of animal or vegetable
spun thread used for weaving; not sewing thread.

Zephyr, relates to soft, fluffy goods as flannel,
gingham, etc. ; also yarn.

Zibeline, woolen dress goods, with long hairs
woven in from the fur of camel's hair order.
Width 54 inches, price $1.50.

EMBROIDERY

Hemstitch or Drawn Work Sampler.
Hemstitched Hand Towel.
Embroidery Stitch Sampler.
Center Piece in all White Work.
Colored Embroidery Piece of Filo Silk.
Lace Stitch Sampler.
Lace Design.

Hemstitch, drawn or open work sampler.

Material : Scrim, canvas or linen, 8 inches
(warp) by 5 inches (woof). Fray each short end
of sampler, 1 inch up, then overcast all edges that
are not selvage, with No. 70 or 80 cotton thread.
One end is left frayed, the other is fringed.

To fringe, take groups of 10 strands of the
hanging threads, and tie them into a knot, *4
inch below unfrayed cloth.

Knots should be uniform.

One inch from top of plain fringed end, pull
8 woof threads.

Hemstitch, drawn or open work is made by
pulling out warp or woof threads, grouping them
together, to form a design, and connecting these

iiiiiiiiiinitiitiiiiii

DOMESTIC ART 189

groups with a hemstitch. There are numerous
ways of grouping as well as hemstitching, and
drawn or open work is not limited to hemstitch-
ing, but is carried into complicated patterns in-
volving many lace and embroidery stitches.

On this hemstitched sampler, there are but 4
ways given, being simple and effective in design.

A fine thread is used for the hemstitch, unless
a thread taken from the warp of the scrim or
material, is preferred.

To work the first row, start on upper side of
drawn threads, at left side, with needle on 2 or
3 threads of the goods. Take 5 warp threads,
carry needle over them from left to right, bring-
ing needle into goods again, 2 or 3 threads above
open space, as before. Repeat to opposite edge
of sampler. This is the easiest method of hem-
stitching, and may be used for towels, napkins,
table cloths, etc.

To work the second row of hemstitching, pull
out 8 woof threads as before, 1 inch from the last
edge. Take stitches the same way, with same
number of threads in each group. Do both edges.
This gives the effect of parallel bars, and is some-
times called "ladder stitch."

To work the third row, pull out 8 woof

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threads, 1 inch from last edge, and take 6 (an even
number) of warp threads to a group. Make one
edge as the preceding rows are done, and on oppo-
site edge, split the number of strands of threads,
bringing needle up between them and taking also
half of the strands in the next group. This
method of work gives the diagonal lines.

To work the fourth row, pull out 8 woof
threads, 1 inch from last edge. Thread a warp
thread of scrim or material used, longer than
width of sampler. Start at left, in center of pulled
threads, and fasten securely to 3 of the strands.

The next 3 threads wind over the 3 succeeding
threads, which turns the center of the groups,
giving an oval effect. Take next stitch the same
and so on to the end, keeping the scrim thread
in center of space, and in one continuous line.
This is a very simple and ornamental method of
treating wide spaces.

Attach name and date.

HAND TOWEL

Material : Plain linen toweling or huckaback,
12 inches wide and 24 inches long. This includes
hem.

DOMESTIC ART 191

On either end of towelling, turn a 1^-inch
hem (finished). From the hemstitched sampler,
choose a method for finishing ends of towel, and
work as explained. Finish edges of hem with a
very fine over and over stitch.

Press well, attach name and date.

EMBROIDERY

Embroidery is the art of ornamental needle
work, used to decorate or enrich textile fabrics of
all kinds.

It must be worked or woven on a solid back-
ground, which distinguishes it from tapestry or
lace. It is spoken of in the Old Testament by
Moses, and the church shows the first examples
obtainable of embroidery, thus giving it place
before painting. The earliest work was done on
canvas with the cross stitch, and the Egyptians,
Persians, Grecians and Romans became skilled
in this art, altho Asia Minor claims the invention
of embroidery.

At the beginning of the Christian era, the
work took the form of holy images, being illus-
trations of the Old and New Testament stories.
Instead of these being worked with the cross
stitch, the feather or plumage stitch was used.

192 TEXT-BOOK ON

Women of all ranks were interested in this
work and later men became adept with the
needle. In England, the Copes, many of which
are preserved in the museums, are wonderful and
beautiful examples of this art. In the 13th cen-
tury, the chain stitch became the method of
working out design, while the 20th century has
adopted all varieties, with a preference for the
satin stitch.

Every country shows its individuality in its
mode of work, and accordingly derives its name,
— as French or satin, Irish or Mountmellick,
Madeira or eyelet, Danish or hedebo and hard-
anger, Austrian, Hungarian, Roumanian, Italian
or cut work, Mexican, Japanese, Chinese and
others.

The classification between plain and orna-
mental stitches should be thoroughly understood,
and the application of embroidery in preference
to outline and solid work must be suited to the
textile it is to embellish. Simplicity in design,
regularity of stitches, and harmony of colors
include and demand care and thought.

The correlation between the drawing course
for the designs necessary to be embroidered,
should be here introduced, giving the pupil a
wider range and an added interest in her work.

DOMESTIC ART 193

EMBROIDERY SAMPLER

Material : Cotton or linen cloth, 12 inches
(warp) by 9 inches (woof).

On three sides of cut sampler, turn a l/\ inch
hem. Crease and fold in opposite direction,
where edge of hem meets. This method of turn-
ing and sewing a hem, is called French hemming,
and is used on handkerchiefs, napkins, table-
cloths, etc. It is the most satisfactory way of
finishing narrow hems.

With 90 thread and a Xo. 9 needle, start at
right end, working toward left, with a tiny slant
over and over stitch, just catching the folded edge
of hem to fold of goods.

One-half inch up from raw edge of sampler,
draw 7 scollops, using for a guide, a spool of Xo. 24
cotton thread. Start from either end of raw edge,
making center scollop smaller if necessary to fit
space. Back (whole) stitch the lower edge, using
a X:o. 5 needle and crochet luster cotton to con-
trast with background.

The embroidery buttonhole is worked to finish
off this edge. It differs from the tailor's button-
hole, in direction of stitch, as well as method of
working, — is easier and more quickly done, but
will not bear much strain.

DOMESTIC ART 195

Start with a few running stitches at left edge
of sampler (knots are not used for embroidery
stitches), coming up on right side of material.
Work toward right edge of sampler, with thread
always to left of needle. Take straight or vertical
stitch ]/4 inch deep, coming out on scollop line.
With thread under needle, hold it down writh
thumb of left hand, and pull thru firmly. Take
next stitch in same manner, and so on to edge of
sampler. Keep edge even at top as well as
bottom, with each stitch parallel with the first
stitch.

This method of finishing a raw edge, is used
for towels, doilies, collars, etc., when a hem is not
desired. Variations of this buttonholing may be
used, by making one short stitch and one long
stitch, alternating, or graduating the depth of
stitches, with lines converging to\vard center of
each scollop.

Above and in center of each scollop, make,
with a stiletto or round pointed instrument, an
eyelet or round hole to be embroidered. Over-
cast or make running stitch around edge of each
eyelet.

An eyelet stitch is a close over and over stitch,
pulled firm in order to keep the proper shape.

196 TEXT-BOOK ON

No space is left between each stitch. Finish on
wrong side, with same direction of stitch as the
preceding one, so join will not be visible. Begin
each eyelet in a different part of circle or oval, as
joins on lace are made.

Eyelet embroidery is the simplest and most

effective of all embroideries, and wears well. Our
Colonial mothers became experts in it.

In center of sampler, write pupil's last name
lightly in pencil, spacing evenly from outside

DOMESTIC ART 197

edges. This is outlined, starting first stitch at
end of last letter, working toward front, to let the
crossings come as in writing.

In upper half of sampler, make 11 vertical
lines for the most important embroidery stitches,
namely: Crewel (2 kinds), couching, stem, chain,
herring-bone, cross stitch, herring-bone cat stitch,

single feather, double feather, triple feather or
coral and ladder or Creton.

The first five are outline, altho sometimes used
for filling, while the remaining ones are for embel-
lishing edges, hems, tucks, etc.

Space these first 5 lines, l/2 inch apart, the

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remaining lines, marking double (% inch apart)
}/2 inch from each outside line.

The first Crewel stitch is started at base of
line, and worked upwards. With a few running
stitches to start, come up on right side. Take one
long stitch y% or ^ incn l°ng> with thread to right
of needle as illustrated. Pull thru, take next

stitch y2 as long, sticking needle y% inch above
last stitch and half way between first stitch, to
right of it. Repeat to top of line, finishing on
wrong side of sampler with an over and over
stitch. The wrong side of stitching resembles
the whole back stitch.

The second Crewel stitch is worked like the
first Crewel, only the thread is held to left of the

DOMESTIC ART 199

needle, instead of right, giving a reverse slant to
the stitch.

Couching is overcasting over two or more
strands of thread, silk, cotton, gold or silver cord,
etc., on a line to be outlined. The strands may
lie flat or twisted, but on this sampler use 3
strands of the luster cotton, and couch with fine
white thread. Start at base of line, holding

strands flat and firm, and take small slanting over-
cast stitches y% inch apart. Couching in different
colored thread tends to blend colors too closely
if stitches are too close, so the couch thread is
usually the color of the background of the mate-
rial, or the color of the cord to be couched. The
Japanese and Chinese show the greatest skill in
this mode of embroidery, using it for outline or
solid and generally with gold or silver cord.

200 TEXT-BOOK ON

couched in the same shade with fine cotton thread
or silk.

The stem stitch is similar to the first Crewel
stitch and can also be reversed as in the second.
It is worked slanting instead of vertical, giving a
broader outline than either of the Crewel stitches.

It may be worked almost horizontal, resembling
the satin stitch. Start at base of line and finish
as with other stitches on wrong side at top.

The chain stitch commences at top of line, and
worked down. Coming up on right side, take a

DOMESTIC ART 201

stitch l/4 inch long leaving a loop of thread on

right side, before pulling up or taking next stitch.

Go back into same hole as needle came out of,

and take another stitch the same length, letting

needle separate the loop of preceding stitch. This
stitch resembles the crochet stitch or the stitch on
the automatic machine, and is very effective for
some kinds of embroidery.

The herring-bone stitch is a slant stitch, and

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worked in 2 different ways. When the stitches
are caught on the vertical, they are called catch
stitch or fish bone. When the stitches are caught
on the horizontal, they are called cat stitch, and
if each stitch joins the preceding one, it becomes
the cross stitch.

Both are worked from left to right.

To make the catch stitch, turn sampler until
the guide lines are horizontal. With thread on
right side, of goods on lower line, make a slanting
stitch to the top line, taking up 1/16 inch of
goods on the vertical. Keep thread under the
needle, so the upper thread crosses the under.
Make another slanting stitch in the opposite
direction, sticking needle in on lower line about
y^ inch from the first stitch, taking up 1/16 inch
of goods on the vertical. The thread is held under
the needle as before. Repeat these stitches to end
of line.

DOMESTIC ART

203

The cat or cross stitch is worked the same as
the catch stitch, except the goods is taken up on
the horizontal instead of the vertical, giving an
entirely different effect.

Both of the stitches have many variations.

Single feather stitches, with all its variations,

is a form of buttonhole stitch, and may be worked
vertically or slanting.

Those worked on sampler are vertical. Start
at top of parallel lines, with needle coming up
on right side in center of space. One-quarter inch
below this point, on right line, take a vertical
stitch y^ inch deep. Hold thread under needle
as in embroidery buttonhole stitch, before pulling

204 TEXT-BOOK ON

thru. Cross to opposite line l/± inch below
this last point, and make another vertical stitch
]/\ inch deep, with thread under needle. Cross to
right side again, and keep reversing to bottom of
line.

This stitch is used for all kinds of ornamental

line work, and, like its name, gives a feathery
effect to a straight line.

The double feather stitch is worked the same
as the single, with two vertical or slanting lines
on each side, before crossing to opposite side.

DOMESTIC ART

205

Each stitch is the same depth (l/% inch), and
grouped together closely — the second below the
first, with same direction of stitch. Variations of
this in slanting and spacing, give entirely differ-
ent effects, the greater the slant, the more feath-
ery the result.

The triple feather, briar or coral stitch, is an-
other form of feather stitch, with three stitches
one below the other, worked on either side before
crossing to opposite side. Make each stitch l/% inch
deep, grouping closely. It may be worked vertic-

206 TEXT-BOOK ON

ally, slanting, or rounding, the latter way giving
it the name, "coral."

With variations of these last three stitches,
many designs may be worked in solid.

The ladder or Creton stitch is another method
of working the buttonhole stitch. It has a firm
edge on both sides, with a diagonal cross stitch
between. Start at top of left double line, make a
horizontal stitch the width of the space, coming

DOMESTIC ART 207

up in the first position again. Take a J4 mcn
vertical stitch, with thread under needle, on the
right line, putting needle at top end of previous
stitch. This makes a diagonal stitch between
the lines. Cross to opposite side, take l/+ inch
vertical stitch on this line, with thread under
needle, making a reverse diagonal stitch between
space. Proceed with each stitch in the same man-
ner, crossing from one side to other, ending at
base of line with a horizontal stitch like the first
one. The back of this stitch shows two parallel
lines of short stitches like the whole back stitch
on the right side.

The lower half of sampler has six designs
showing different methods of filling-in stitches.
In the upper half of this space, draw three petal-
shaped leaves, with depression in center top like
heart, in a l*4-inch square.

Cut from paper first, and outline on material,
one in center of space and one on either side, at
equal distance. Draw direction of stitches before
commencing to embroider.

Flowers with stamens, etc., have their lines ra-
diating from the center, unless worked in satin
stitch, while leaves radiate from center base.

Note — If one false stitch is taken when ern-

208

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broidering, take out before going further. Patch-
ing over wrong stitches shows, while cutting
thread and joining, weakens it. Do not pull silk
threads, but cut, as pulling roughens the fiber,
and stretches the design out of shape.

The first petal is worked in long and short or
Kensington stitch, and has as its name implies,
one long and one short over stitch, the same on
both sides, varying in length to give the desired
effect in size and shape, by direction of stitch.

Take a few running stitches the direction of
the first embroidery stitch, coming up on right
side, on point at center base. Stick needle to

DOMESTIC ART 209

left, y% inch up on line, and bring up from the
wrong side 1/16 inch above center base to left.

Alternate length of stitches, being careful to
follow outline exactly, working from left side to
right.

The stitch at the depression in top of leaf,
should be vertical \vith point at center base.

The second petal is worked in the satin or
French embroidery stitch, which is a flat, even,
over stitch, covering a whole or part of a design,
in sections when too large, and leaving no mate-
rial visible between stitches. It has variations,
can be flat or padded, worked vertically, hori-
zontally or slanting, with both sides alike. There
is a method of making a short stitch on wrong
side to save silk or thread, but it is unsatisfactory
compared with the first way of working.

The satin stitches in second figure, slant from
either side of center converging slightly toward
base.

Draw direction of stitches before working.

Start at center point, with slanting stitch y\
inch long, following out line at left. Come up
for second stitch at base, just above first
stitch. Increase length and slant of each stitch
to fill space, \vorking from right to left. The

210 TEXT-BOOK ON

division of stitches comes thru center, leaving no
material visible.

The third petal is worked in solid long and
short or Kensington, with the satin stitch on the
turned-over part of petal.

Take same paper pattern, and draw direction
of stitches, then fold over top on left side. Notice
direction of stitches on this part. To work this,
start at center base, from left side to right as in
petal 1, following outline, below turned-over edge.
The second time around, fill in with the same
kind of stitches, lapping the first ones slightly,
so no join or space is visible.

The turned-over edge is worked with the
satin stitch, the direction of the lines drawn,
making stitches parallel.

The solid long and short stitches are the most
satisfactory for color-embroidery work, where
shading, tinting, etc., are necessary.

A split stitch may also be used, it being worked
in the same manner as the long and short, putting
the needle thru the center of a thread when lap-
ping.

In remaining space of sampler make three de-
signs for all over stitches. Draw a 1-inch diam-
eter circle with 4 diagonals in center, and two

DOMESTIC ART 211

rectangles 1x1^ inches, the longer sides parallel
with the buttonhole edge, on either side of circle.

The rectangle at left is filled with the darning
stitches in upper half, and the seeding stitches in
lower half.

Both are simple and quick methods of filling
large surfaces, when solid work is not desired.

The darning stitch is a small even running
stitch, worked on parallel lines with alternate
effect in spacing.

Commence at right, making 5 rows as in
sampler.

Seeding is made up of parallel lines of the half
or quarter back stitches, with alternate effect in
spacing, as the darning stitch. Make 5 rows.

The second rectangle is worked in the honey-
comb stitch.

The honey-comb stitch is a kind of buttonhole
stitch, similar to the ladder stitch, being worked
horizontally instead of vertically.

Start at left side, with a y\ inch vertical stitch
keeping thread under needle, as illustrated. Space
between stitches should be about y^ inch apart
also. At end of first line, bring needle thru from
wrong side, near last stitch, to keep in shape, and
come up ]/4 inch for second line, with thread

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always under needle. Take the stitches in the
second row in the center of the above stitch,
drawing the thread down slightly to make a sex-
tagonal design. Fill the rectangle in this way.

The diagonals of the circle in center design are
worked in bullion with French knots at end of
each.

The bullion stitch is a knot stitch, made by
winding the end of the thread around the needle
before drawing thru, as many times as is neces-
sary to cover the line drawn. Start at end of one
of the diagonals on edge of circle, coming up on
right side. Stick needle 1-16 inch from center of
circle, bringing up in same hole as first stitch,
on edge of circle. Before pulling thru, wind
thread that comes from eye of needle, 12 times

DOMESTIC ART 213

around needle, holding remaining end of thread
down firmly, with thumb of left hand, until the
needle is returned to center of circle, in the same
hole. Drawing thread tightly, gives the stitch
an effect of a firmly twisted cord.

Make second stitch in the same way, on next

diagonal at right, and so on, till all the lines are
covered.

This method of work is very effective in small
flowers, such as wheat, star-shaped flowers, etc.

The French knots, which are at the end of
each diagonal, are worked by bringing needle to
right side of material, on spot to be covered,

214 TEXT-BOOK ON

winding thread 2 or 3 times around needle (the
more it is twisted, the larger the knot), and put-
ting needle back into same hole, drawing it out
on the next spot to be worked. Hold remaining
thread down firmly till pulled thru, as in the bul-
lion stitch.

French knots are used for centers of flowers,
and filling in small spaces.

Press sampler on wrong side, and attach date
finished.

CENTER PIECE IN ALL WHITE WORK

Material :

One-third yard white linen, cut oval or round,
12 inches in diameter, containing design for satin,
eyelet, cut work applique, or any combinations of
these.

The edges of sampler are finished with the
buttonhole stitch, designed in scollops.

Work buttonhole edge first, as explained in
the embroidery stitch sampler. Use cotton,
which is bought in the skein, as heavy as the linen
will permit for the outside edge. Numbers 10
to 18, with the embroidery needle to suit.

If design is original, the drawing may be car-
ried out to suit certain stitches, but if a boughten

216 TEXT-BOOK ON

design, choose carefully the most effective stitch
or stitches for each pattern.

The satin, eyelet, outline and French knots
have been explained, and the Italian cut work
and applique explained beyond, will give a suf-
ficient range for working-out the average center
piece. ;.

Cut work is a combination of edge and filling
in stitches ; the material on which it is worked,
being cut out, after the design is worked. The
filling stitches may be done on the surface of
the material, or, the material worked in with
them, both giving a wide range of work partic-
ularly when combined with the lace stitches.

Hardanger, Hedebo, and Italian are methods
of cut work.

Drawn work could also be included under
cut work, it being necessary to leave either the
warp or woof threads as a foundation for working
the stitches.

Applique is something like patchwork, a de-
sign being drawn first, and goods of another
material basted on wrong side to cover outline,
and worked with an over and over or buttonhole
stitch around the edge of the design. The found-
ation material is then cut away carefully, leaving

DOMESTIC ART 217

the applied fabric. Applique in lace is very ef-
fective. See illustration.

Methods of working embroidery pieces :

Line or boundary stitches, as well as button-
hole and eyelet, are best wrorked without a hoop
to hold them ; but cut work, applique, and solid
work, shaded in colors with filo, silks, etc., make
it necessary to use the embroidery hoop to keep
the goods smooth and firm.

Embroidery hoops are made (round or oval),
in all sizes within about 18 inches in diameter,
and can be held in the hand, or made to fasten
to a table. They consist of two rings or hoops,
one smaller than the other, to fit inside of each
other closely. The best make, have a piece of
felt wound on the outer circle of the smaller size,
to protect the material.

If sheer material is used, it should first be
mounted on a firm cloth.

When material is delicate in color, and un-
wrashable, fold over embroidered part, as soon
as finished.

An old or slightly indented thimble is best
suited when working with filos and silk threads,
as the threads are easily roughened.

Do not pull or snap threads, always cut.

218 TEXT-BOOK ON

Embroidery should be ironed on the wrong
side, over a thick pad, to allow the design to
stand in relief.

To wash silk or colored embroidery, use a
pure white soap like Ivory, with warm water,
(never boiling), and do not let soak in the water.
Dry between cloths, to prevent colors running,
and iron as soon as possible.

COLORED EMBROIDERY PIECE OF
FILO SILK

Material :

One-half yard silk or linen (of any color), cut
square or rectangle to contain not less than 9
square inches of embroidery. These dimensions
are given in correlation with the drawing de-
partment, where a pupil is obliged to make her
own design. The equivalent should be figured,
if a boughten design is to be worked.

The principle of this embroidery, is to learn
to work with a fine needle and silk thread, and to
blend shades and tints, illustrating flowers in
their proper colors, or conventional designs that
are pleasing and effective.

The amount of space to be covered, can be
applied to any design suitable for filo, with an

220 TEXT-BOOK ON

allowance of background, to suit bags, table
covers, dresses, etc.

For shade work, use long and short stitch, as
explained on embroidery sampler.

Centers of flowers are worked in French
knots.

Stems and outlines in the Crewel stitch.

To choose the proper silks, match or contrast
them well with the background.

For school, shade cards will be gladly fur-
nished by leading manufacturers or stores, and
the silks are ordered by their shade number.

When only 3 or 4 shades of one color are used,
do not make the degree of shade too great, as it
prevents proper blending.

For flower designs, study or procure the live
flower if possible, or if worked from painting,
match colors to samples on shade card.

For strong effects, pad the design, before fill-
ing.

An edge is also well defined, if worked heavier,
or with the double strands of filo.

LACE STITCHES

The variety of lace stitches is numberless, and
may be applied to all kinds of braids, which are

DOMESTIC ART 221

formed to make designs to be worked out with
cotton, flax or silk threads.

Almost all the embroidery stitches are in-
cluded among the lace stitches, changing the name
when applied to lace braids; as, catch or herring-
bone stitch becomes the Russian or zigzag stitch,
the loose buttonhole connected on the parallel
lines, is the net stitch, etc.

Authorities differ so on names given to the
same design after it is worked, it is only necessary
to give the method of working some of the
simplest stitches, that will serve as guides to com-
plete the lace piece.

Because lace work has no background other
than the fancy stitches, it demands more accuracy
in workmanship, and is thus harder to accomplish.
Basting well the foundation braid is the first step,
making neat joins, where the braids cross. Lap
raw edges together on the inside. To have a
sampler of stitches to choose from, so certain
stitches may be seen to be best adapted to dif-
ferent shaped-spaces, is quite essential.

LACE SAMPLER

Material :

Two yards Battenburg braid y± inch wide.

DOMESTIC ART 223

Two skeins No. 25 flax or linen thread.

Baste braid to paper, cambric or Holland, in
parallel lines ]/± inch apart, or in squares or cir-
cles, as illustrated. Square and pointed corners
are mitered.

Narrow braids may be basted thru the center,
except on round edges which must follow the full-
est side of the curve, the inner side being gathered
into the space, with a very small overcast stitch.

Work lace stitches from left to right. Do not
knot thread in starting.

From the simple herring-bone stitch, work up
to the more complexed, as illustrated. The first
stitches are worked singly, the second have the
same stitch worked between, making the diago-
nals cross in the center.

The third has a thread worked thru the center,
where the diagonals cross, held firm by a knot or
single buttonhole stitch.

On the next illustrated strip, the plain her-
ring-bone is started, then two twists around each
stitch is made, giving an entirely different effect.

The following stitch is the plain herring-bone
with picots worked irregularly on each diagonal.

Picots may be made like the bullion stitch, or

DOMESTIC ART 225

on buttonholed bars, or combination of both. For
buttonholing bars for picots, start at left.

A filling-in stitch is worked in a loose button-
hole, like the first design in square, making as an
irregular effect as possible. This same lace work
may be buttonholed with picots worked irregu-
larly and occasionally, adding more strength to
the work.

One of the simplest and most effective of all
lace stitches, is the net stitch and its varieties.
The single net is called by some "Brussels point,"
and most of the net stitches have different names.

The single net stitch is an embroidery button-
hole stitch, started at left end, and worked on
even, horizontal lines, leaving a loose thread,
which is caught in the center by the next line of
stitches. These stitches may be worked in
groups or graduated in design, like the pointed
one in illustration. This last one has been named
the tent and the pineapple stitch.

All kinds of combinations may be invented,
which makes the lace stitches so interesting.

Round designs are filled in with wheels and
spiders' webs, made on a foundation of single or
double bars or diagonals. Connect the diagonals
with an overcast stitch on edge of braid, spacing,

..

DOMESTIC ART 227

according to size of open space. Fasten in cen-
ter with buttonhole knot, and weave in and out
as the darning stitch, rilling circle half full. This
is one method of making the wheel. Another is
made by buttonholing a complete circle in center
of space, being held in place, by diagonals.

The spider's web is started in center with knot,
and the thread carried to the next diagonal, and
a buttonhole knot made. This is repeated until
the design resembles a web.

To work a center of raised stitches, which is
stronger and more effective than the wheel or
web, make an uneven number of diagonals.

Start in center as before, go under two diagon-
als for the first stitch, back one and under
two for the second stitch, and so on. This is a
backstitch.

Curved spaces, coming to point at center
base, are worked with radiating diagonals, single
or double, and the darning stitch applied. If the
diagonals are double, each one may be worked
separately. They are called "bars."

DOMESTIC ART 229

DESIGNED LACE PIECE.

Draw or buy design for battenburg, for center
piece, collar, fan or any pattern desired, to con-
tain 12 square inches of embroidery.

From the sampler stitches and others ex-
plained, make lace piece.

If made for a linen center, trace inner edge of
battenburg braid, with the linen laid smoothly on
underside, the length of design on straight of
goods. Cut baste threads on braid, and remove
carefully. Mount center on linen, hemming on
either side of braid, with the raw edges turned in.
Press on wrong side. Attach name and date.

QUESTIONS

1. What is hemstitching, and when used?

2. What is embroidery, and when do we
first hear of it?

3. What are the differences between plain,
embroidery and lace stitches?

4. How are embroidery stitches started, and
which direction worked?

5. WThat are the outline stitches? The or-
namental?

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DOMESTIC ART 231

6. What are the filling and solid stitches
called, and how used?

7. How does the embroidery buttonhole dif-
fer from the tailor's?

8. What are the knot stitches, and how ap-
plied?

9. What is eyelet embroidery?

10. What is couching?

11. How is the satin stitch worked? Illus-
trate direction of stitches on a flower with 4 pet-
als,— one of them bent over, showing turned-over
part.

12. What is cut work?

13. What is drawn work?

14. What is applique?

15. When are embroidery hoops used?

16. What is filo silk and how used?

17. How is white embroidery washed and
ironed? Colored?

18. What are the lace stitches, and how re-
lated to the embroidery ones?

19. How is battenburg basted? Illustrate in
a pointed and round design.

20. What is the net stitch? Illustrate method
of work.

232 TEXT-BOOK ON DOMESTIC ART

21. What kind of thread is used for batten-
burg braid?

22. How are wheels made, and in what
shaped spaces?

23. How do spiders' webs differ from wheels
and when used?

25. Make an illustration with 10 different
lace stitches for various shaped spaces.

24. What are picots?

(L.

The McDowell School

of Dressmaking and Millinery

is recognized as the best institution of
its kind. It guarantees perfect satis-
faction in every department.
The McDowell System, the most perfect
system of dress-cutting ever invented,
as proven by the highest awards wher-
ever exhibited.

Our departments are well arranged
and equipped with every rm»dern con-
venience and necessity. Competent
instructors give personal attention to
each student.

Drafting Department. Time required for
Drafting Course is from one to three
weeks. -Price of system with instruction
125.00. Easy payments. Hours 10to3.
Sewing Department. While learning, the
pupilshave the privilege of working on
their own material or for friends. Tui-
tion in sewing $1.50 a week. Hours
9 to 4.

Ladies' Tailoring;. This department is
fully equipped for the highest class of
instruction in all its branches. Terms,
$2.00 per week. Hours 9 to 4.
Millinery Department. In which pupils
are thoroughly trained in all the prac-
tical and artistic principles of that art:
such as Making and Trimming.
Our Aim is Style and Thoroughness. We
teach the buying, making, preparing and trim-
ming, etc. In fact, everything new, novel and
stylish in the millinery line.

Special instructions for teachers. Patterns
cut to order.

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