HARVARD UNIVERSITY

LIBRARY OF THE
GRADUATE SCHOOL
OF EDUCATION














PROGRESSIVE LESSONS
IN THE
and Practice of Needlework
FOR USE IN SCHOOLS.
BY
CATHERINE F. JOHNSON.
SECOND EDITION, REVISED.
BOSTON:
D. C. HEATH & CO., PUBLISHERS.
1895.


HARVARD UNIVERSITY
Sgfoukn school of jjucATiag
g£g«pE C GUTMAN LBRAffl
Copyright, 1893,
By CATHERINE F. JOHNSON-
Norfaooti JfirtBB:
J. S. Cushing & Co.— Berwick & Smith
Boston, Mass.- U.S.A.


1


INTRODUCTORY NOTE.
It gives me much pleasure to say that I have seen the method of
teaching the theory and practice of sewing, as set forth in this book,
grow up in the public schools of Brookline, Mass., and can testify to
the excellent results. The pupils have not only learned to sew well,
but their study of drawing and English has been so combined with the
instruction in sewing as to make it the foundation of an excellent mental
training.
They also learn that sewing is not merely a useful handicraft, but
an art, having its body of principles and rules, according to which it
must be taught, to secure the best practical, as well as educational,
results; that the fundamental principles of the art must determine the
progressive series of lessons upon which the instruction must be based.
Any teacher who is an expert in the use of the needle, and will
faithfully follow the method of this book, cannot fail to secure good
results; and particularly, if she keep in mind that learning to sew is
by no means the only end to be gained by the study of the subject.
I heartily commend this book to the attention of all who are in
any way interested in the subject of Industrial Education.
Brookline, Mass., April 25, 1893.
JOHN D. RUNKLE,
Chairman of Industrial Committee of School Board.





*
CONTENTS.
PAGE
INTRODUCTION vii
CHAPTER I.
First Year's Sewing.
Class Drill. — Practice in position. — Practice with thimble. — Thimble exercise.
— Holding the needle. — Threading the needle. — Making the knot.— Prac-
tice with scissors ............ 1-4
Description of Sampler No. 1. — Materials. — Basting. — Stitching. — Back-
stitching. — Running. — Oversewing. — Hemming. — Buttonhole. — Cross-
stitch.— Buttonhole stitch.—Patching. — Darning 5-8
Questions and Answers ........... 8-13
CHAPTER II.
Second Year's Sewing.
Work for this Year. — Measuring and cutting. — Paper folding and cutting. —
Patching on paper.— Buttonhole. — Running and gathering. — Work bag . 14-22
Description of Sampler No. 2. — Materials. — Basting. — Stitching and back-
stitching. — Felling. — Running. — Hemming. — Oversewing. — French seam.
— Name. — Felling. — Patching. — Oversewing. — Gusset. — Felling. — Tuck-
ing. — Overcasting. —Band. — Ruffle 22-27
Questions and Answers 27-48
v


INTRODUCTION.
The system of instruction in needlework, as given in this book, is
the result of many years' study of the subject, and of practical application
of the methods in the public schools of Brookline, Massachusetts.
Experience has shown that careful preparation can make sewing as
educational as any other subject of school instruction.
Drawings of the various stitches and kinds of work, with accurate
written descriptions of the same copied into blank books for future refer-
ence; drawing diagrams of patterns from measurements; fitting the parts
of these patterns together for garments; cutting and fitting simple dresses,
first cutting to a model and fitting to a form which can be easily handled,
afterwards fitting to a pupil's form, — all these can be taught step by step
in a progressive course. Such a course tends, not only to train the hand,
but to develop, strengthen, and mature the mind and judgment. By these
methods, sewing can be taught in our schools with the most satisfactory
results, and may lead both teacher and pupil to a clearer knowledge of
the many beautiful possibilities of the needle.
When the kindergarten is fully established in the public school
system, and its value is understood, the first sewing, that on coarse canvas,
may be taught by the regular teacher in the first primary year. When
there has been no kindergarten instruction let this work begin in the
second primary year. The methods used in the class work of the first
vii


viii
INTRODUCTION.
three years are given in the form of questions and answers at the end of
each chapter.*
Questions for the day's work, not exceeding three in number, should
be upon the blackboard, and if for any reason a child is waiting for
direction in her sewing she can write the answers. When questions are
given to a class, great care should be taken to frame each in a complete
sentence and to have the child's written answer in another complete
sentence, in which the point of the question is embodied. This creates a
habit of thinking and of expressing clearly.
I. The position of the body while sewing is of great importance, because
a careless attitude may cramp the arms and hands and also be prejudicial to
the health. The chair should be of a height to permit the feet to rest flat
upon the floor; the lower end of the spine should be firm against the back
of the chair, the rest of the body free and erect, and the work never nearer
the eyes than is necessary for a clear view of the stitches. The shoulders
should be kept well back to allow the chest full expansion, and the head
should not be allowed to droop so as to affect the circulation of blood to
and from the brain. The arms should never rest upon the desk while sewing.
The position of a pupil indicates the amount of interest felt in her work;
if the attitude be free and alert, the mind will co-operate, and not otherwise.
While most children rest their eyes more than sufficiently by allow-
ing them to wander from their work, there are, occasionally, pupils who
need to be cautioned against fixing their eyes too intently upon it.
II. When a class is large, it is difficult to keep all the pupils at the
same point in the progress of the work even in simultaneous instruction;
the quicker ones are employed by various devices continuing active thought,
such as assisting the slower ones or making a drawing of their own finished
work on the blackboard and writing a description of this work and its use.
* A strict adherence to these questions and answers may not always be practicable; any ingenious
teacher will be able to form rules and questions from her own idea of the needs of her pupils.


INTRODUCTION.
ix
After correction, these drawings * and descriptions are copied into blank
books for future reference. These books have been found invaluable.
III. The development of those senses which lead to quick and accu-
rate perceptions of form and color is essential to artistic work-in dress-
making and embroidery. This matter of taste is one of education, and
should not be neglected. In the fifth year of sewing, possibly the fourth
year, a pupil should be able to draw and color designs for garments, using
crayons or water colors.
IV. From the beginning, a child should be taught to prepare her
work in a thorough manner, f Judgment is trained more in the preparation
than in any other part of the work; on the sampler the short seams are
easily prepared by the pupils, the colored threads and the varied work
holding their interest and attention until more difficult work is under-
taken in the second year of sewing. The most difficult part of preparation
is first taught upon paper, the second year; this includes patches, bands,
gussets, etc. It is helpful to use papers of two colors, — one to represent
a garment, and the other showing distinctly the shape of the gusset.
Sampler work is adopted in the beginning, because progressive lessons
in sewing can be more readily taught upon short seams. Afterwards these
samplers can be used as reference for all future work, since all kinds of
sewing are exemplified in them.
In the public school work economizing of material should be con-
sidered; the cost of these samplers is so small that they could be pro-
vided in the same way as all other supplies for the school.
The youngest pupils are given canvas in the first sampler, because
judging of distances, size, slope, and direction of stitches are all made
easier and given more exactness by the use of the coarse and even web.
The second sampler is of unbleached cotton; the third, of bleached cotton.
* Several cuts in this book are made from drawings of the pupils of the W. H. Lincoln
School, Brookline, Mass., and from the pupils of the South End Industrial School, Roxbury, Mass.
t See Circular of English Education Department, p. 120.


INTRODUCTION.
xi
in making children careful and neat. When special sewing desks (Fig. i)
are provided, the scissors stand in one corner of the waste pocket and
the spools of thread with the pincushion and emery bag are left on the
rod at the back or the side of the desk. Otherwise a teacher must use
some device by which she can carry with her the things needed; a cord
may be fastened on her apron, to which may be attached scissors, while
spools, etc., are carried in the work apron pocket.
VII. If the day's work be clearly mapped out in the mind of the
teacher before she goes into her class, and diligent use made of the two
hours a week given to the sewing, most excellent results may be obtained
by following such a system as the one given in this book. When a pupil
has reached the fifth year of sewing, she has gained sufficient self-reliance
to work with less help from the teacher.
VIII. The first sampler is composed of Penelope canvas* worked with
colored yarns. In the construction of this sampler nearly all stitches
used in plain sewing can be taught. The strips, when finished, are joined
by oversewing to make the sampler.
The transition is naturally to a coarse, unbleached cotton sampler,
arid by the time a pupil has finished these two samplers, she is ready for
finer work upon bleached cotton. Having satisfactorily made the three
samplers, the pupil is now trained to the point of doing good work, and
can proceed to the cutting and making of garments.
IX. When the uncut cloth or a prepared garment is brought from
home, it causes endless complications and hinderances, and makes it impos-
sible to systematize the work or teach the cutting. Therefore, it is con-
sidered more practical for schools to provide material used in the grade
work, letting the pupil pay for each garment as it is made, thus lessening
the cost.
Coarse Penelope canvas No. I or 2.


PROGRESSIVE LESSONS
IN THE
ART AND PRACTICE OF NEEDLEWORK.
CHAPTER I.
First Year's Sewing.
In the first year must come the drill in position, as also a drill in
using the 'fingers and all implements of sewing. Thoroughness in this and
in all details of the work is important.
CLASS DRILL.
Practice in position : —
1. Instruct the pupils in the proper position, and the reasons for taking
and keeping it.
2. Practice in distinguishing the right and left hands, also the different
fingers.
3. Train a child to call that part of a thimble that rests on the back of
the finger — the back of the thimble.
Practice in preparing the right hand for the use of the thimble : —
Raise the right hand, hold the thumb and first finger in a horizontal,
position, while the second or thimble finger is held vertically; then lay the
first finger over the third and fourth, holding the three down to the palm
with the thumb.* This is a difficult exercise for untrained muscles, and the
child should rest after four or five trials.
* See finger exercises, Nos. I. and II., on the opposite page.
1


FIRST YEAR'S SEWING.
3
Holding the needle : —
1. Give each child one of the finest chenille needles, and have her
place it on her desk, with its length parallel with the front edge of her desk,
the eye of the needle to the right hand.
2. Let the child grasp the needle near the point between the thumb
and forefinger of the left hand, and, lifting it, place it between the thumb and
forefinger of the right hand, with the eye against the back of the thimble
\ in. from the top. See Fig. 2, A and B.
Moving the needle as for sewing : —
Let the child move the thimble-finger as in the thimble exercise; and
pushing the needle forward its full length, through a small piece of cloth or
paper, slip the thumb and forefinger of the right hand forward and grasp the
needle \ in. from the point, drawing it through the cloth. Repeat this
movement.
Threading the needle : —
1. Give each child one of the finest chenille needles and a needleful
of fine darning cotton.
2. Direct the child to hold the needle between the thumb and first
finger of the left hand, with the eye uppermost and squarely in front of
her so that she can see through it.
3. Let the child take the thread between the thumb and first
finger of the right hand \ in. from the end, and pass this end through
the eye of the needle, while, at the same time, she pushes the needle
between the thumb and forefinger of the right hand, where it must be
grasped, drawing the thread through with the left thumb and forefinger
about 4 in.
Making the knot: —
Holding the threaded needle in the right hand, take the other end
of the thread between the thumb and first finger of the left hand, and,


4
PROGRESSIVE LESSONS IN NEEDLEWORK.
keeping the thread tightly stretched, wind it around the top of the first
finger and cross it over the end held between the finger and thumb;
then roll the finger down the thumb, carrying the thread with it about
\ in., and with the nail of the second finger push the knot thus formed
to the end of the thread.
Practice with scissors: —
Each child should be given a pair of scissors (5 to 5J in. long), of
the best steel and light weight. When using an ordinary school desk,
have the scissors placed on top and in front of the child, the bows to
the right hand.
1. Let the child lift the scissors by placing the thumb of the right
hand through the bow of the broader blade, and the third finger of the
right hand through the other bow, the scissors resting on the first and
second fingers of the right hand for guidance and support. Let the child
now push them from her towards the back of the desk, being careful to
slip the blunt end, without raising it, along the top of the desk, and at
the same time opening and shutting the scissors with the cutting motion
as in use.
2. Let the child practise the cutting movement from right to left
along her desk in the same manner.
3. Give each child a piece of ruled paper, and let her cut by the
lines on the paper. Then practise cutting half-way between the lines and
also across the lines. «
4. Direct the child to cut two straight strips of stiff paper 4 in. x
2 in., and measure distances by holding the edges a certain space apart,
according to direction.
5. Cut a 2\ in. paper square, using rule and pencil. Make this
exact by placing the diagonally opposite corners on each other, meas-
uring and paring. This is for a pattern for a canvas patch.


6
PROGRESSIVE LESSONS IN NEEDLEWORK.
Second strip of canvas, 4 in. x 9 in.
IV.
Running. — J in. from the top make a line of running stitches in red, as
described in answer to question 19.
Ten threads below make a similar line in yellow.
Ten threads below make a similar line in blue.
v.
Oversewing. — Fourteen threads below crease the canvas for the whole
length, so that the two threads will be on the edge; oversew this,
as described in answer to question 20. Make the line in three
colors, joining as described in answer to question 21. Lay the
canvas flat again.
VI.
Hemming. — Eight threads below make one line of hemming stitches. On
the lower edge of the canvas turn up four threads for the first
turning of a hem; turn again, to make a hem of about | in. Sew
the hem in three colors, as described in answer to question 24. Join
as described in answer to question 25.
Third strip of canvas, 3 in. x 9 in.
VII.
Buttonhole.— I in. from the upper edge and 4^ in. from the left-hand
edge, begin a buttonhole. Hold the canvas with the left hand,
between the thumb and forefinger, working lengthwise. With a
needleful of red worsted make three running stitches on the under
side. Put the needle up from the under side, draw the thread
through, cross diagonally four threads, take up two threads, with
the needle pointing directly towards the chest; and proceed in this
way until seventeen stitches are made. Turning the canvas round,
make a line of stitches same as the first, with two threads between.


FIRST YEAR'S SEWING. 7
Twenty threads below, repeat this; fasten off the red worsted.
Beginning with yellow worsted in the same place, cross each stitch
until the closed end is reached, when the cross-bar must be made.
This is done by making one stitch to the left, then one to the right,
until three have been made on each side. Continue with cross-
stitch until the starting-point is reached.
VIII.
Darning. — This is a series of running stitches in parallel lines, taking
up two threads and going over two, beginning with one stitch in
the first line, increasing to twelve stitches in a line, then decreasing
to one.
Fourth strip of canvas, 3 in. x 9 in.
IX.
Cross-stitch. — Fourteen threads from the top make a line of cross-stitches,
as shown in the illustration, three colors.
x.
Buttonhole stitch. — Twenty threads below draw the needle through the t
upper side. Take up vertically four threads. Then the thread from
the eye of the needle is brought around the point of the needle
from right to left, — care being taken that it passes over the other
end of the thread, — and the needle pulled through, bringing the
loop up straight to the top of the four threads, continuing these
stitches across the canvas, in three colors.
Fifth strip of canvas, 3 in. x 9 in.
XI.
Patching. — Cut a small hole in the canvas 2% in. from the end. Cut a
piece of canvas 2\ in. square. Turn in the edges \ in. and baste
on the under side of the canvas, the centre of the patch coming


8
PROGRESSIVE LESSONS IN NEEDLEWORK.
directly over the centre of the hole, being careful to have the threads
match. Now cut the hole 1 in. square. On each corner cut diago-
nally across four threads. Turn in the edges all around, and baste
to the patch.
XII.
Darning. — Let a torn place be represented by two lines making a right
angle, as shown in the cut. Overcast these lines, taking up two
threads. Make a line of basting all around, ^ in. from these lines.
In the corner of the darn make oblique lines of running stitches,
being careful to leave a small loop at each turning, so that they
will come together at the corner of the inside basting. The
remainder of the darn is made by straight lines of running stitches
back and forth, making small loops at each turning.
The first four strips of canvas, when finished, are joined by
oversewing, the edges being turned down ^ in. The fifth strip is
joined to the others by a line of buttonhole stitches, worked over
the raw edges. Overcasting the edges all around finishes the canvas
sampler (Fig. 3).
QUESTIONS AND ANSWERS.
1. On what finger should the thimble be worn? Ans. The thimble
should be worn on the second finger of the right hand.
2. Of what use is the thimble? Ans. The thimble protects the finger,
and helps in pushing the needle through the work.
Show how the thimble should move in sewing.
3. How should the needle be held? Ans. The needle should be
held between the thumb and first finger of the right hand,
\ in. from the point, the eye of the needle resting against the
thimble.
4. What part of the thimble should the needle rest against? Ans. The
needle should rest against the back of the thimble, \ in. below
the top.


FIRST YEAR'S SEWING. U
over four threads, until a line is made across the canvas. In the
second line of basting, pass the needle first under four threads,
and then over eight, and so on across the canvas. In the third
line of basting, pass the needle first under four threads, and then
over sixteen, and repeat to the end of the canvas. (Illustrate on
the blackboard.)
13. Is basting begun with a knot? Ans. Yes; knot the thread to begin
basting, because the basting is finally pulled out.
14. How is the thread fastened for stitching and back-stitching? Ans. To
fasten the thread for stitching and back-stitching, turn the upper
right-hand corner of the canvas over the first finger of the left
hand, and take up two threads on the under side with the needle,
and draw through all of the thread except in., which is held
down with the left-hand thumb, and take a stitch over it to
prevent its loosening and drawing through. Then put the needle
through to the upper side, four threads from the edge, and begin
to work.
15. How is the stitching on canvas made? Ans. Begin to stitch on
canvas with the needle four threads from the right-hand edge,
on the upper side, and put it through to the under side, two
threads nearer the edge, in a horizontal line; then take up four
threads horizontally on the needle, and bring it to the upper side.
This will be two threads in front of its first position. This is
repeated along the whole seam. (Illustrate son the blackboard.)
16. How is back-stitching done? Ans. In back-stitching, take up six
threads on the needle, then go back and take up the last two of these
and four more in advance, and so on. (Illustrate on the blackboard.)
17. How is the thread joined in stitching and back-stitching? Ans. The
thread in stitching and back-stitching is joined in the same way
that it is fastened, beginning on the wrong side, over the second
stitch from the last.


FIRST YEAR'S SEWING.
13
the stitches be made? Ans. To fasten the thread to begin hem-
ming, start two threads from the right-hand edge of the canvas
and take up the two threads of the folded edge diagonally to the
right and directly above; pull the thread of red worsted through
all but \ in. at the end; put this remaining 1 in. of thread up
under the fold to the left, and hold it there with the thumb of
the left hand; now bring the needle down and put it through the
canvas below the fold, two threads in advance of the point at
which it came out before, and pointing it to the left; take up two
threads diagonally forward and upward. This is repeated for each
stitch. (Illustrate on the blackboard.)
25. How is the thread joined in hemming? Ans. To join the thread
in hemming, leave \ in. of the old needleful, and pull this down
under the fold of the hem, the edge of which is lifted to place
the thread under. Then put the newly threaded needle back
and under the hem, as far as the second stitch from the last,
and, beginning there, hem over these last three stitches and on
to the end of the seam.
26. Should hemming stitches be slanting or straight? Ans. Hemming
stitches should be slanting on both upper and under sides.
27. How should a hem be finished? Ans. By taking two hemming
stitches over the last stitch; then run the needle under the hem
back four stitches, draw the thread tight, and cut close.
Show these steps on the blackboard.
28. In what direction is the work done in basting, overcasting, running,
stitching, back-stitching and hemming? Ans. In basting, oversew-
ing, running, stitching, back-stitching and hemming, the work is
done from right to left.


CHAPTER II.
Second Year's Sewing.
The second year sampler is made of coarse unbleached cotton for
the following reasons: —
The threads are large and easily seen without straining the eyes.
It is softer than bleached cloth of the same quality and more easily
handled in preparing seams.
It is not so quickly soiled.
The pupil in learning to thread the needle for work on cotton cloth
must use a coarse needle and thread, which should be used only on
coarse cloth. Fine cloth requires a fine needle and thread.
Colored sewing cottons are used, because a child can more readily
see her stitches and their shape, size, and method of joining.
The teacher of this class should interest her pupils, and awaken a
desire to know all about steel, from which needles, scissors, and emery
are made. Also have talks on the nature and growth of cotton, or
tree wool, and its various uses.* Show cotton seed and tell the processes
of growth until the raw cotton appears. Tell how the cotton is
gathered and made into threads; how the threads are woven to make
cloth.
Cloth has two kinds of threads; these are called length and width
threads, or warp and woof. The length threads are always stronger
* " Every Day Occupations," by H. Warren Clifford, S.D., will be found useful as a reference,
when studying about these raw materials.
14


SECOND YEAR'S SEWfNG.
IS
than the width threads, because they must be stretched on the loom
while the width threads are woven into them. When a piece of cloth
is woven or finished, the length is readily known by the selvedge, or

Fig. 4. — Canvas showing finished edges or selvedges.
finished edge. The width is between the selvedges. The bias is the
diagonal fold formed by placing the selvedge and width edge evenly
together. Take one yard of the coarsest Penelope canvas (Figs. 4
and 5); hold this in sight of the class, and have the pupils tell the
length and width threads, antl how the bias is formed.


16
PROGRESSIVE LESSONS IN NEEDLEWORK.
The pupil should make a drawing on the blackboard of a piece of
cloth, showing the selvedge, cut edge, and bias; she should also
express in writing the idea formed in her mind by these
terms. A clear perception of all this, when once gained,
will be a help in every lesson.
Measuring and cutting : — ^^F-'1 "!*"
The class should be provided with rulers,
from which to learn the inch and its divi-
sions. Have each child cut from stiff B^^lli^Rf^'W*'^-1'
and unruled paper a piece exactly -£*—'■
6 in. long and I in. wide, to use ^«r>f)tlhTtn.ti7VnifT^l>
for measuring • have the edo-es ^R®f»S*^WW«H!«W!i!i»i
ior measuring, nave uic euges ^gK#IIMmj*!§W|WWWMIM«l6 iGl
even and the corners square. *■ *tnnin(iy»iiwmii»l§to
rh1s measure is kept in ^P^fi(n5i»ijhJtInC?hr»rf»rr Ml <

the work bag. Mark,
as on a ruler, the
whole, half, quarter,
and eighth inches.
The plipil must re-
member these lengths,
as they are often
spoken of in her
work and in places
which cannot be
easily measured. Let the pupils space the different measures on paper
and on the blackboard by means of dots and lines, using the ruler as a
test of exactness only.
Folding and cutting : —
Fig. 5.— Canvas showing width and bias, or diagonal fold.
Give the child a piece of paper 3 in. x 9 in. ' Let her fold the
lower left-hand corner over to the upper edge, and crease the diagonal


SECOND YEAR'S SEWING.
17
or bias line thus formed. Then crease the line parallel with the outer
edge, to mark a piece 3 in. square. Measuring with this square, fold
and crease the whole nine inches of length into squares. Cut the squares
apart, and lay aside for patching in paper (Fig. 6).
''X

Fig. 6. — Measuring and paper folding.
II.
To represent patching on paper : —
Give to each pupil a piece of thin manilla paper large enough to cut
from it a strip 4 in. x 8 in., to represent the size of the paper or cloth
to which the patch is applied. Fold this strip into two 4 in. squares;
fold again and again, making 2 in. squares. Now there are eight 2 in.
squares. In the centre of one of the 4 in. squares. cut an irregular
hole to represent a worn place (Fig. 7). Cut another strip of paper
3 in. x 9 in. Fold and cut this into 3 in. squares for patches.
Crease these patches into four equal parts (Fig. 8). Mark with a pencil
on paper, or with a pin on cloth, the length or selvedge way of
material and of patch. Turn a fold of \ in. -on the patch, then place
the centre of the patch directly over the centre of the worn place,
making the creases on material and patch match perfectly, continuing


20
PROGRESSIVE LESSONS IN NEEDLEWORK.
and forefinger of the left hand, and the needle put through the upper side
in the loop of the last stitch, making the joining perfect. Diagrams of this
work should be drawn upon the blackboard.
Explain the use of the buttonhole scissors,* and show how to find the
length needed for the buttonhole by measuring across the button; then
give the class a piece of ruled paper 3 in. x 5 in., and let them fold or
double this paper across the lines; on one of these lines make a dot
\ in. from the folded edge. Now, with the pointed end of the scissors,
let the pupil make a small hole at the dot, and cut a perfectly straight
slit the length desired for the buttonhole, using the ruled line as a guide.
In order to acquire skill for well-finished work, the teacher should impress
on the pupils the necessity of grasping the work firmly between the thumb
and forefinger of the left hand, especially when working the buttonhole,
having the thumb-nail just below the point where the needle is to be
inserted.
Running or gathering : — IV-
When a longer piece of cloth is to be sewed to a shorter piece of
cloth to give additional fulness, gathers are used, as in frills and flounces;
skirts are gathered into waistbands; sleeves are gathered into wristbands,
etc. Test the firmness of the cotton before beginning to gather.
Gathering should not be undertaken until the running stitch can be
well done. A piece to be gathered should be taken from the width of
the cloth, as the fulness is easier to arrange, and the stroking has more
effect upon the width than the length. A binding should be taken
lengthwise of the cloth, because it will not stretch. These points must
be carefully explained to the class.
The next step is the careful marking of the half and quarter measure
of the ruffle and the band with a cross-stitch. The gathering thread
should be coarser than the thread of the cloth. The thread should be
* Buttonhole scissors are not found in every home; and for that reason, it would be better
to use ordinary scissors in this lesson.


SECOND YEAR'S SEWING.
21
a little longer than the piece to be gathered, and the needle large
enough to carry the thread easily.
The thread is fastened firmly about a pin at the end before stroking is
begun (see question and answer 64), as that part of the work cannot be
well done if the thread is loose. A large needle or pin should be used
for stroking, as a fine one would tear the cloth, which may b° done also
by too hard stroking. Any scratching sound is the sign that the stroking
is too hard.
WORK BAG (Fig. 10).
To hold this and the following year's work, a bag is made of printed
calico with a pocket on one side for the thimble, etc.
Making the bag: —
Tear the cloth lengthwise into
halves. Double one strip of cloth in
the centre and oversew the selvedges.
Stitch the raw edges together and
overcast. Make a hem | in. wide at
the top. The pocket can be made of
a small piece of calico 3 in. wide and
4 in. long with a hem 1 in. wide.
When a pupil has learned to make a
buttonhole, let her make one in the
middle of this hem, lengthwise with the pocket; turn in \ in. of the
three raw edges; now the pocket is 3 in. long and 2^ in. wide, and is
hemmed to the bag, the hem of the bag being a guide to the placing
of the pocket. The thimble, small spool of silk, etc., can be carefully
kept in this pocket.


22
PROGRESSIVE LESSONS IN NEEDLEWORK.
A small piece of tape i in. square is sewed on the inside of the bag,
as a stay for the button. The button is sewed on the bag, opposite to the
buttonhole in the pocket. Now the pupil first prints with a pencil and then
stitches her name on a piece of tape, which is sewed directly over the pocket.
Work bags should never be drawn with strings, as that will crush
the work and make it look untidy. After the work is neatly placed
inside, and a pupil selected to collect them, the bags should be placed
in a box or drawer until the next lesson.
If this care is taken, the work can be more quickly distributed, and
pupils may begin to work in a very short time after being seated. To
allow children, who are working at the same point on their samplers, to
sit near each other, has been found to
excite the ambition of all.
A pupil should always have in her
bag pieces of white cotton, silesia, and
woollen cloths, in which one, two,
three, or more buttonholes have been
cut. Whenever there come moments
Fig. IX.— Metal measure.
of waiting for the teacher, or at other
unoccupied times, the pupil should practise buttonhole making on these,
according to the rules which have been given; a perfectly made button-
hole being given her as a model.
A metal measure of the shape here shown (Fig. 11) will be found very
useful. It combines measurements of the various tucks and hems used in
samplers.
DESCRIPTION OF SAMPLER No. 2.
MATERIALS REQUIRED.
Eight strips of unbleached cotton cloth torn lengthwise, one torn
7 in. x 3 in. Two pieces of the same 3 in. square, for patches. i£ in.
square of the same, for a gusset. One strip of striped or checked cloth


SECOND YEAR'S SEWING.
23
9 in. x 3 in. with selvedge on. one side. Two pieces of the same 3 in.
square, for patches. Red, yellow, and blue spool cotton, No. 40. Needles
No. 8. One porcelain button. Estimated cost of unbleached sampler,
15 cts.
DIRECTIONS FOR MAKING THE SAMPLER.
I.
Basting.— Baste two strips together \ in. from the top edge with red cot-
ton, the stitches \ in. long and the spaces between ^ in. long.
J in. below, a second line of basting in yellow.
I in. below, a third line of basting in blue.
-| in. below, a fourth line of basting, like the second line. Make
these basting stitches of different lengths, as on canvas samplers.
Stitching and back-stitching. — Stitch with yellow and blue cotton close below
the first basting, and with yellow and red below the fourth basting.
1n.
Hem felling.— Cut off the under piece of cloth \ in. below the line of back-
stitching, turn the edge under ^ in. at a time with needle, and hem
with three colors.
IV.
Running. — Three rows of running stitches below this, one of each color,
red, yellow, and blue. Keep the needle in the cloth all the time, as
in basting.
v.
Hemming.— Take a third strip of cloth, turn one edge down ^ in. and turn
again with a metal measure | in.; baste edge of hem, then hem with
three colors.


SECOND YEAR'S SEWING.


Fig. 12.— Sampler No. 2.


26
PROGRESSIVE LESSONS IN NEEDLEWORK.
oversewed patch (question and answer 50), matching the stripes or
checks.
XII.
Oversewing. — Turn down one edge \ in. and baste to the selvedge of the
last strip, then oversew with two colors, leaving 2% in. unsewed.
XIII.
Gusset. —■ A gusset is put into the opening between the unbleached cotton
and the striped or checked cloth, according to question and answer 53.
XIV.
Felling. — The sixth strip of unbleached cotton is then basted to the
striped cloth and a fell made, using running and back stitch, instead
of stitching, for the first seam of the fell.
xv.
Tucking. — Two \ in. tucks are made in this strip according to question
and answer 55.
xv1.
Overcasting seams. — The seventh strip is joined by a running and back
stitched seam, the edges of which are evenly cut and overcast with
three colors.
XVII.
Putting on a band. — The other edge is gathered, stroked, and put into a
band 2 in. x 4\ in., as described in questions and answers 61 to 66.
A buttonhole is then cut in the band and overcast with No. 70
cotton (questions and answers 67 to 70), and worked with any -color
desired, 40 cotton (questions and answers 71 to 73).
A button is sewed on according to questions and answers 74
to 75.
XVIII.
Hemmed and whipped ruffle. — Make a \ in. hem on one edge and on the


SECOND YEAR'S SEWING.
29
basted. Gathering is done in the same way, but with small
stitches. (Illustrate on the blackboard.)
17. Why is it better to baste for a seam in this way? Ans. Because
it saves much time, and makes a straighter guide by which to
sew.*
18. Is a hem basted in this way? Ans. No, a hem has a straight edge
which can be the guide, and the basting line is made in.
from the lower edge of the hem with one or more stitches on
the needle before the thread is drawn through the cloth, making
the basting stitch \ in. long and the spaces between ^ in.
long.
19. How is basting done for oversewing? Ans. The bastings are made
for oversewing \ in. below the top edge — the stitches \ in. long
and spaces between \ in. long.
20. Why is basting for oversewing made near the edge? Ans. That
the edges may be held together firmly.
21. When a seam is basted, where is the line of stitching made?
Ans. The stitching is always below and as near the basting as
possible.
22. Is a knot used in beginning to stitch? Ans. No; in beginning to
stitch the thread is fastened on the under side by one stitch and
a back-stitch.
23. What colors are used in stitching the first line? Ans. Yellow and
blue are used.
24. What kind of sewing is made under the fourth line of basting?
Ans. "Back-stitching is made under the fourth line of basting.
25. What is the difference between stitching and back-stitching?
Ans. In stitching the stitches touch, in back-stitching there is
a small space between the stitches (Figs. 14 and 15).
* Fabrics that crush easily cannot be basted in this way.


30
PROGRESSIVE LESSONS IN NEEDLFAVORK. •

Fig. 14. — Stitching.*
26. What colors are here used? Ans. Yellow and red are used.
27. How is a stitched or back-stitched seam finished? Ans. A stitched
or back-stitched seam
is finished by sewing
back over the last three
stitches.
28. When should stitching and
when back-stitching be
used? Ans. When much
wear or strain comes
upon a seam, it should be stitched, otherwise it can be back-stitched.
29. How are running stitches made? Ans. The same way as-basting,
but with smaller stitches.
30. Why is the needle not drawn through the cloth at every few stitches
in making running stitches? Ans. In running for gathering the
needle is not drawn out until a certain part of the cloth is gath-
ered or the needleful
of thread is used, be-
cause the longer the
needle is kept in the
cloth, the straighter
will be the seam and
the quicker the work.
But in running tucks, where the cloth is double, the needle is
taken out every third or fourth stitch according to the thickness
of the cloth.
31. How can a broad hem be kept straight? Ans. By using a measure
of the right width and basting carefully.

Fig. 15.— Back-stitching. *
* Stitching, or back-stitching, as it is sometimes called, is the work which the sewing machine
imitates so accurately; two definitions are here given, because there are two different methods of
working it, — one where strength is the important feature, and one where strength is not so important.


SECOND YEAR'S SEWING.
33
40. How is the thread joined in overcasting? Ans. Tie a knot in the end
of the thread, and put it between the two edges of the cloth, so
that it cannot be seen.
41. When is a French seam used? Ans. A French seam is used on deli-
cate material to conceal the raw edges.
42. In making a fell, how should the work be held in order to turn the edge
with the needle? Ans. The work should be held as for hemming.
43. How should the needle be held in order to turn the edge of the fell?
Ans. The needle should be held nearly parallel with the seam, the eye
resting on the thimble, and grasped firmly near the centre by the
thumb and forefinger of the right hand. Thus held, the edge of
the fell should be turned under with the point of the needle ^ in;;
when that is hemmed another
£ in. is turned, until the seam is
finished (Fig. 24).
44. When is a fell used? Ans. A
fell is used when a flat seam
without raw edges is required.
45. How is a hemmed-on patch made? Ans. A square piece of cloth is
turned down \ in. on its four edges, and basted over the worn or torn
place, on the under side, being careful that the length and width
threads match the cloth, and then neatly hemmed down. On the
upper or right side the cloth is folded over A in. inside the hem-
ming stitches and creased hard with the thumb nail; these creases
form a square around the tear (see dotted line, Fig. 26). A pin
is put through the cloth at the four corners of this square. Bias cuts
are then made with the scissors from the torn place to each of
these pin-holes, the edges cut off to \ in. from the creases, this
\ in. turned under and hemmed to the patch.
46. What is a bias cut? Ans. A bias cut is a cut made diagonally
across the warp and the woof.


SECOND YEAR'S SEWING.
35
47. What is the warp? Am: The threads that run up and down or
lengthwise of the cloth are called the warp.
48. What is the woof? Ans. The threads that run across the cloth
from one selvedge to the other are called the woof. (Show these
on the blackboard.)
49. How is a stitched-in patch made? Ans. The worn or torn part is first
cut out in a square (see Fig. 28). The straight edges of the hole are
made true by a drawn thread; then two adjoining sides are folded
evenly together, and a bias cut \ in. is made at each of the four cor-
ners, and the edges of the hole thus cut are folded and creased down on
the under side \ in. (see dotted lines in Fig. 28). Then a square piece
is basted to these creases, so that it lies perfectly smooth at the corners.
Be sure to begin and end the basting on the patch, to make smooth
and square corners (Figs. 27, 28,
29, 30, 31)- Represent this on the
blackboard in the different stages.
50. How is an oversewed patch made?
Aits. The torn part is cut out
and prepared in the same way as
for a stitched-in patch; then the
square piece of cloth to be set
in is turned down by a thread
evenly on one side, and over-
sewed, on the under side, to one
side of the prepared hole from
corner to corner. The second,
third, and fourth sides are oversewed in the same way. Great care
must be taken to turn the edges evenly, so that the patch may
be flat when finished (Figs. 32, 33). (Show this on the blackboard.)
51. What is a gusset? Ans. A gusset is a piece of cloth used to
strengthen the ends of a seam.
Fig. 28. — Worn place cut out; the cloth
prepared for a stitched-in patch.





SECOND YEAR'S SEWING.
39
52. How is a gusset cut? Ans. Cut a piece of cloth \ in. square,
cut off I in. diagonally from one corner (Figs. 34, 35, 36, 37, 38).

Fig. 37. Fig. 38.
Method of preparing and sewing in a gusset.
53. How is a gusset sewed in? Ans. Place the apex of the triangle at
the end of the seam. Oversew to the cloth J in. on each side,


SECOND YEAR'S SEWING.
41
63. What should always be done after gathering? Ans. After gather-
ing, the gathers should be stroked or laid.
64. How is the stroking done? Ans. For stroking, the gathers must be
pushed close together on the thread, and the loose end of the thread

fastened firmly about a pin set at the end of the running, so that
it cannot- slip. Then the work is held between the thumb and first
finger of the left hand, the thumb being directly over the gather-
ing thread; and with a large needle or pin in the right hand, work-

Fig. 39, B. — Running. Fig. 40. — Gathers stroked or laid.
ing from left to right, each gather is pressed separately under the
left thumb, while the pin strokes down a short distance between
it and the next gather (Fig. 40). Then turn the work and stroke
above the gathering stitches in the same way, but never so violently
as to make a scratching sound with the needle.


PROGRESSIVE LESSONS IN NEEDLEWORK.
How is a gathered piece of cloth prepared for sewing to a band, or
binding? Ans. In preparing gathers for sewing to a band, find
the middle of the band, and mark it with a line of small basting
stitches (see Fig. 41, B); pin the middle of the gathered piece to

X
Fig. 41. — Cloth marked in the centre to
match band.
the middle of the band, placing the two right sides together. Then
pin the ends of the gathered piece to the same edge \ in. from
the ends of the band. This \ in. of the band is left to turn in, to
finish the ends. Then place the gathers evenly in each half of the
band, and baste the gathered piece and band together, holding the
gathers toward the person (Fig. 42).


SECOND YEAR'S SEWING.
45
. How should the buttonhole stitch be made? Ans. In making a
buttonhole stitch, the needle is put through the cloth, as for the
overcasting, at the lower left-hand end, then the thread from the
i
I
I
I
I

Fig. 44.— Showing how the work is held, and position of needle when hemming edge of band.
eye of the needle is brought around the point of the needle from
right to left, and the needle pulled through, bringing the loop up
straight (Fig. 46 A). The stitches should be made very near to-
gether, especially at the round end (Fig. 46 B).


CHAPTER III.
Third Year's Sewing.
In the third year the sampler is made of fine white cotton. For
this and the work of succeeding years on bleached cotton, the yard wide
Fitchville or Masonville cloths have been found most desirable for
handsewing, being without dressing. During the first five months of
this year, fifteen minutes of the first hour should be devoted to button-
hole making with fine cotton, Nos. 50, 60, and 70, and silk twist.
The teacher should have in readiness pieces of canvas and flannel,
3 in. x 3 in., on which to teach cross-stitch, herringbone, and feather-
stitch, also pieces of linen, to teach hemstitching upon. For several
months give class instruction of one-half hour each month in these
stitches, as all this kind of work will be used in making the white cloth
sampler.
In order to train the eyes and hands of pupils, that they may
be prepared for advanced work, let them now practise in cutting
exactly along the lines of striped and checked cloths, material for
which can be found in pieces left over from dressmaking in the sixth
class.
The class drill should be reviewed as often as practicable.
Letters of the alphabet may be made in cross-stitch (see Fig. 49).
This practice is to train the eye and hand in spacing distance by threads
both across and lengthwise of the cloth, and for marking the initials
and age on the sampler. Its practical value otherwise is small, and too
49


tjO PROGRESSIVE LESSONS IN NEEDLEWORK..
much time should not be given to it. Outline-stitch can be used for
initials and age, if a pupil's eyesight is too delicate to count threads.

Fig- 49-
SAMPLER No. 3.
MATERIALS REQUIRED.
Two strips of bleached cotton (with selvedge on one side) 18 in. x 5 in.
Two strips of cotton (lengthwise, without selvedge) 9} in. x 5 in.
Three pieces of cotton (for patches) 3 in. square.


THIRD YEAR'S SEWING.
One piece of cotton (for gusset) in. square.
One piece of cotton, cut bias, § in. wide and 10 in. long (for facing the
narrow ruffle).
One strip of Lonsdale cotton (across the cloth) 181 in. x 5 in
One strip of Lonsdale cotton (across the cloth) 14 in. x 2\ in
One strip of flannel (even threads) lengthwise, 18 in. x 6 in.
One piece of crash (even threads) for pocket, 6 in. x 4^ in.
White spool cotton Nos. 40, 50, 60, 70, 90, and 100.
Needles Nos. 9, 10, 11, 12.
Fine crewel needle.
One needleful of white buttonhole twist.
Three spools (three yards each) of embroidery silk in some color.
One shirt button. One large pearl button.
One piece of flannel, 2\ in. long, 2 in. wide, for patch.
The estimated cost of white cotton sampler is thirty cents.
DIRECTIONS FOR MAKING SAMPLER.
I.
Baste together selvedges of the first two strips of cloth and oversew
with No. 60 cotton and No. 10 needle, leaving a distance of 4 in.
open at one end for a gusset; open the seam and press flat with
the thumb-nail.
11.
Turn a narrow "handkerchief hem" on the raw edge of the first strip
of cloth, as shown in illustration, and hem with No. 70 cotton and
No. 10 needle.
in.
6\ in. from the bottom edge of the strip cut a small hole, as shown
in illustration, and mend the hole by making a hemmed-on patch,
using a No. 10 needle and No. 70 cotton.


THIRD YEAR'S SEWING. 53
X.
* Make a buttonhole 1 in. long in the broad hem of strip No. 3; use
No. 70 cotton and No. 10 needle for overcasting, and No. 50 cotton
and No. 9 needle for working the buttonhole. Make a buttonhole
1 in. long in the broad hem of strip No. 1. See page 115.
XI.
Put in a gusset at the opening of the oversewed seam, using No. 60
cotton and No. 10 needle for oversewing, and No. 70 cotton
and No. 10 needle for hemming.
XII.
Gather strip No. 1, \ in. below the top, stroke, and put into the band,
using No. 50 cotton and No. 9 needle for gathering and stitching,
No. 60 cotton and No. 9 needle for oversewing and hemming.
Make a buttonhole \ in. long in the right-hand end of the band.
Sew a shirt button on the left-hand end of the band, using
No. 50 cotton and No. 9 needle.
XIII.
Take the smaller strip of Lonsdale and make a handkerchief hem on
each end and across one side, using No. 100 cotton and No. 12
needle. This is for a ruffle.
Gather the ruffle \ in. from the raw edge; stroke and stitch to
the top of the sampler with No. 60 cotton and No. 10 needle. Still
holding the ruffle toward the person, baste to this seam the bias
strip of cloth, and make one back-stitch and two running stitches
directly over the gathering. Turn all these edges flat to the under
edge of the sampler; turn under the top edge and one end of the
bias strip; hem the turned edge to trie sampler and oversew one
end. The other end is held in place by the stitching of the flannel.



Fi£. 51- —Sampler No. 3.


THIRD YEAR'S SEWING. 57"
QUESTIONS AND ANSWERS.
1. What number cotton and needle are used for all bastings on this
sampler? Ans. No. 50 cotton and No. 9 needle are used for
basting on the white sampler. •
2. What seam is made first on the bleached or white cloth sampler?
Ans. On the bleached sampler the oversewed seam is made first.
3. What number cotton and what number needle are used for the over-
sewing? Ans. No. 60 cotton and No. 10 needle are used for
the oversewing.
4. For hemming the sampler, what cotton and needle are used?
Ans. For hemming the sampler, No. 70 cotton and No. 10
needle are used.
5. For sewing the hemmed-on patch, what cotton and what needle are
used? Ans. For sewing a hemmed-on patch, No. 70 cotton and
No. 10 needle are used.
6. For sewing the stitched-in patch, what cotton and what needle are
used? Ans. For stitching the patch, No. 60 cotton and a No. 9
needle are used; and No. 70 cotton and No. 10 needle for the
overcasting.
7. What number cotton and what number needle are used for the first
part of the French seam? Ans. No. 60 cotton and No. 9
needle are used for the first part of the French seam.
8. What number cotton and what number needle are used for stitching
the French seam? Ans. For stitching the French seam, No. 50
cotton and No. 9 needle are used.
9. For the oversewed patch, what cotton and what needle are used?
Ans. No. 60 cotton and a No. 10 needle are used for oversewing
the patch, and No. 70 cotton and No. 10 needle for overcast-
ing it.
10. How should a torn or cut place be prepared for darning? Ans. The
edges of the cut or tear should be caught together as evenly as


58
PROGRESSIVE LESSONS IN NEEDLEWORK.
possible by fine overcasting on the wrong side, particular care being
taken at the corners (Fig. 52 A); then a straight line of basting
stitches should be made all around the tear, \ inch from the joined
edges, to mark where the lines of darning end (Fig. 53).
11. What number cotton and what number needle are used for the darn
on the sampler? Ans. No. 100 cotton and No. 12 needle are used
for the darning on the sampler.
Show this preparation for darning on the blackboard.
12. How is the torn place darned after being prepared in this way?
Ans. Straight lines of fine stitches are made back and forth from
one guiding basting to the other, leaving a very small loop at
each turning.*
13. How are the corners darned? Ans. The lines of running stitches are
made slanting instead of straight, so that they all come together
at the corner of the inside basting. (Illustrate on the blackboard.)
14. Why are the little loops left? Ans. The little loops are left to allow
for drawing or shrinking. (Represent such a darn on the blackboard.)
15. Is the basting left in after the darning is finished? Ans. No; the
bastings are cut at every third or fourth stitch and carefully drawn out.
* Needles may be used in place of basting at each side of the darn, over which to make
the loops in turning. See Fig. 52.


THIRD YEAR'S SEWING.
59
16. Should a darn be made on the right or the wrong side of the cloth?
Ans. Generally, a darn should be on the wrong side of the cloth.
17. What number cotton and what number needle are used for stitching
the fell? Ans. For stitching the fell, No. 50 cotton and No. 9
needle are used.
18. For hemming the fell, what cotton and needle are used? Ans. For
hemming the fell, No. 60 cotton and No. 9 needle are used.
19. For overcasting buttonholes, what cotton and what needle are used?
Ans. For overcasting buttonholes, No. 70 cotton and No. 10
needle are used.
20. For working buttonholes, what cotton and what needle are used?
Ans. For working buttonholes, No. 50 cotton and No. 9 needle
are used.
21. What number cotton and what number needle are used for the gusset
on the sampler? Ans. For sewing a gusset on the sampler, No.
60 cotton and No. 10 needle are used for oversewing, No. 70
cotton and No. 10 needle for hemming.
22. What number cotton and what number needle are used for gathering?
Ans. For gathering, No. 50 cotton and No. 9 needle are used.
23. For stitching gathers into a band, what cotton and what needle are
used? Ans. For stitching gathers into a band, No. 50 cotton and
No. 9 needle are used
24. For hemming the band down and oversewing the ends, what cotton
and what needle are used? Ans. For hemming and oversewing
the band, No. 60 cotton and No. 9 needle are used.
25. For sewing the button on the band, what cotton and what needle
are used? Ans. For sewing the button on the band, No. 50
cotton and No. 9 needle are used.
26. For hemming cambric ruffles, what cotton and what needle are used?
Ans. For hemming cambric ruffles, No. 100 cotton and No. 12
needle are used.


6o
PROGRESSIVE LESSONS IN NEEDLEWORK.
27. What is a ruffle? Ans. A ruffle is a strip of cloth gathered on one
edge and hemmed on the other, which is then sewed to a plain
piece of cloth.*
28. What is the use of a ruffle? Ans. A ruffle is used to trim, and
sometimes to lengthen a garment.
29. What number cotton and what number needle are used for gathering
the narrow ruffle? Ans. For gathering the narrow ruffle, No. 50
cotton and No. 9 needle are used.
30. For stitching the ruffled piece to the plain piece, what cotton and
what needle are used? Ans. For stitching on the ruffled piece,
No. 50 cotton and No. 9 needle are used.
31. What needle and cotton are used for sewing the bias facing to the
narrow ruffle? Ans. No. 60 cotton and No. 9 needle for the
stitching part; No. 10 needle and No. 70 cotton for the hemming
part.
32. How is herringbone or cat-stitch made? Ans. A knot is made in
the thread and the needle is brought up from the under side of
the work, at the point nearest the person, as this stitch is usually
worked upward or from the worker; it is sometimes worked from
left to right. The work is held over the first finger of the left
hand, kept in place with the second finger and thumb. The thread
is first drawn through, then the needle is put through | in. to the
right and \ in. above and brought up again \ in. below perpendicu-
larly, care being taken to keep the thread at the left of the needle.
The needle is next put through \ in. to the left and | in. above,
and the stitch made in the same manner, keeping the thread to
* When gathering a ruffle with a raw edge for a heading, always gather on the under or
wrong side. When gathering a ruffle with a finished heading, or a dress skirt, gather on the
upper or right side, beginning on the right-hand end, for both upper and under side. Then the
long end of the gathering thread will be at the left end of the part gathered, and the work can
be easily drawn into place.


THIRD YEAR'S SEWING.
the right of the needle. The third stitch is to the left and above,
as before (Fig. 55).
33. How is a hem blind-stitched? Ans. A hem is blind-stitched by catch-
ing the under part of the first fold down to the single cloth below
it, with running stitches, so that no stitches show on the upper side.
34. What stitch is used to ornament the hem after blind-stitching it?
Ans. To ornament the hem, feather or vine stitching is used.
35. How is feather or vine stitch made? Ans. A knot is made in the
thread, and the needle is brought up from the under side of the

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work, at the point farthest from the person, as feather-stitch is
always worked downward or toward the worker. The work is held
over the first finger of the left hand, kept in place with the second
finger and thumb. The thread is drawn through, then placed under
the thumb while the next stitch is taken; the needle is put through
to the under side I in. to the right and a trifle below the place
where it was brought up, and brought up again £ in. perpendicu-
larly; the thread is drawn through until caught in the loop formed
by the thread held under the thumb. The next stitch is made in
the same manner J in. to the left and a trifle below, the third
stitch to the right and below, and so on. This is the simplest


THIRD YEAR'S SEWING.
63
side curve by a line drawn through this point. This marks out the
space covered by the stitches. With fine darning or tambour cotton
make running stitches on the lines marked out, to strengthen the edge.
37. How is the embroidery edge stitch made? Ans. Fasten the thread,
to begin the embroidery edge stitch, by taking two or three running
stitches between the two curves of the scallop, and bring the needle
up at the left-hand point of the first scallop, just on the lower edge
of the lower curve, holding the edge toward the person. The central
stitch of the scallop should be vertical. See Fig. 58.

Fig. 58.
38. How is a patch made in flannel? Ans. To mend a hole in flannel,
a square piece of the material with the edges cut even (not turned
in) is basted over the worn or torn place and on the wrong side;
this is herringbone-stitched very finely all around the edges, using
No. 10 needle and No. 100 cotton. The worn place is then cut out
square, and the even edge herringbone-stitched, in the same manner,
to the patch .(see Figs. 58, 59).
39. Why are the edges of the patch not turned under, as in making a
similar patch on cloth? Ans. Because turned edges in flannel are
clumsy and unnecessary, as the material will not ravel when held
by the herringbone stitches.
40. Of what material is the pocket of the sampler made? Ans. The
pocket on the sampler is made of crash.


THIRD YEAR'S SEWING.
65
41. How is the pocket cut? Ans. Cut by a thread a piece of crash for
the pocket 6 in. x 4% in.
42. What is the first step in preparing the hem for hemstitching? Ans. To
prepare for the hemstitched hem, draw six threads across the crash
3 in. from the end.
43. What is the -next step in preparing the pocket? Ans. After drawing
the threads for the hemstitching, turn the edges of the piece of
crash down \ in. and baste them with No. 40 cotton and No. 8 needle.
44. What is the second step in preparing the hem? Ans. The second
step in preparing the hem is to fold it down and baste it so that
the edge of the fold already made lies evenly along the upper edge
of the space left by the drawn threads.
45. Haw is the hemstitching done? Ans. To begin the hemstitching,
make a tied knot in the thread and take two or three running
stitches on the under side of the fold, then bring the needle to the
lower side at the left-hand edge. Now, holding the work over the
first finger of the left hand, the hem toward the person, hold the left
thumb over the thread and put the needle down between the fourth
and fifth threads, take up the four threads to the left, bring the
needle up, and pull the loop thus made close to the edge of the
hem. Holding the thread firmly under the left thumb, take an
edging stitch over the edge of the hem close to the right of the
four threads just taken up. Then take up four more threads and
repeat. Always work on the side on which the hem is turned, and
from left to right (Fig. 60, A, B).
46. How is the thread joined in hemstitching? Ans. Tie a knot in the
fresh thread. Draw the needle through the upper fold of the hem,
two stitches back, working over these stitches, and proceed as before.
47. What number needle and what number thread are used in hemstitch-
ing the pocket? Ans. In hemstitching the pocket, No. 60 cotton
and No. 9 needle are used.


66
PROGRESSIVE LESSONS IN NEEDLEWORK.
48. How should the ends of the hem be finished? Ans. The ends of
the hem should be oversewed; it is better to do this before the
hemstitching, as it sometimes prevents unequal stretching.
49. What number cotton and what number needle are used for the but-
tonhole on the pocket? Ans. For this buttonhole, No. 70 cotton
and No. 10 needle are used for overcasting, and No. 9 needle
and No. 40 cotton in making the buttonhole stitch.

Fig. 60, A.— Hemstitching.
50. How are the letters made on the pocket? Ans. To begin the mark-
ing stitch, the needle is brought through to the upper side at the
place for beginning the letter, the end of the thread being held
on the under side until secured by the first stitch. The stitch is
made by putting the needle through to the lower side two threads
to the right and two threads upward (in marking on canvas or
coarse crash) and bringing it up two threads below, perpendicularly.
This makes the under half of the stitch. Next, the needle is put
through to the lower side two threads upward and two threads to


THIRD YEAR'S SEWING.
67
the left, bringing the thread diagonally across the lower half of
the stitch and completing it. The pupil can see, from the letter
she is copying, where the needle should be brought up to begin
the next stitch, which is made in the same way. After finishing
the first initial, four threads are left and a period made with a
single cross-stitch. Leave four threads and begin the next
initial, and so on.

Fig. 60, B. — Hemstitching.
51. How should the thread be fastened in finishing? Ans. The thread
should be run between the stitch and the canvas on the under
side, for the length of three stitches, and cut off with the scissors.
52. In what direction should the letters be worked? Ans. In marking,
the letters should be made from left to right.
53. How is the place to begin lettering the pocket to be found? Ans. To
find the place of the first marking stitch, count the number of
stitches necessary for all the initials, the periods, and the spaces
between, then \ in. below the hemstitching, count from the


CHAPTER IV.
Fourth Year's Sewing.
When the fine white cotton sampler has not been finished in the
third year, it must be completed as early as possible in the fourth year,
to give the necessary time for advanced work.
The work laid out for this year includes advanced patching and darn-
ing on fine, plain, and figured woollens, heavy cloths, table linen, and
silk,—the darning done with ravellings, fine worsted, linen and silk
threads. Also stocking-darning.
Pupils of this year can cut and prepare all that is necessary in the
sampler work for younger classes, such as cutting small paper patterns,
cutting linen for pockets, lengths of flannel, and ruffles from the widtb
of fine cambric. In this way they are learning to handle practically dif-
ferent kinds of cloth, to know thoroughly about the length, width, and
bias of cloth, and why it should be cut certain ways for different pur-
poses. They also gain the ability to use their bands rapidly and easily
The class should study about different materials, such as wool,
linen, and silk; explain how they are produced and how made into
fabrics. If possible, show specimens in various stages from the raw
product to the finished goods.
Patching: — '• •
In patching, the pupil has been taught the importance of matching
the patch with the cloth of the garment in the direction of the threads,
70


74
PROGRESSIVE LESSONS IN NEEDLEWORK.
cotton (Fig. 63, B); then make straight lines of darning between the two
opposite sides of the hole, and leave a loop of the thread at the end
of each line of turning, to allow for shrinking; darn across the hole
in like manner at right angles to these lines (see Fig. 64). Each line of
darning should begin 1 in. or more beyond the edge of the hole, and at

Fig. 64.
the left side of the worn or thin place. In one line pass the needle over
the first thread and under the second, over the third and under the
fourth, and so on, and in returning on the next line pass the needle over
the threads taken up before, and under the threads left down (Fig. 64).
(Illustrate on blackboard.)
If fine woollen thread is used in darning cotton stockings, the darn
is much softer than when cotton thread is used. Care should always be


FOURTH YEAR'S SEWING.
75
taken when darning a worn place to make the lines of stitches of uneven
length for the sake of strength. If the lines are of even length the
whole strain is borne by one thread in the cloth, which soon gives way.
Explain the different kinds of needles used for darning.
To show the necessity of darning before the hole actually appears,
it should be explained that darning is a method of renewing the part of
the cloth destroyed or weakened by
wear, and in some cases is really hand-
weaving. Thus, if the darning is over a
thin place and not a hole, the work can
be made stronger and less clumsy.
It would be well for the teacher
to tell the child that, before stock-
ings or woollen undergarments are
washed, if a few stitches are taken
with fine thread, drawing the torn
edges evenly and as nearly together
as possible, the hole instead of grow-
ing larger will full together at the
edges and become smaller; thus the
work of mending will be lessened,
the mended garment will be stronger,
and the mend itself is less con-
spicuous. Such information from a teacher is valuable for home use.
For darning woollen material, use a ravelling of the same if possible.
Otherwise, use a fine worsted thread, splitting it if necessary and match-
ing the color of the cloth (see Fig. 65).
In darning on silk or linen fabrics with fine floss, sewing silk,
or ravellings of silk, the loops should be left shorter than in other
darning, as the linen and. silk threads do not shrink like cotton and
wool threads.

Fig. 65. — Darned with ravellings.


66
PROGRESSIVE LESSONS IN NEEDLEWORK.
48. How should the ends of the hem be finished? Ans. The ends of
the hem should be oversewed; it is better to do this before the
hemstitching, as it sometimes prevents unequal stretching.
49. What number cotton and what number needle are used for the but-
tonhole on the pocket? Ans. For this buttonhole, No. 70 cotton
and No. 10 needle are used for overcasting, and No. 9 needle
and No. 40 cotton in making the buttonhole stitch.

Fig. 60, A.— Hemstitching.
50. How are the letters made on the pocket? Ans. To begin the mark-
ing stitch, the needle is brought through to the upper side at the
place for beginning the letter, the end of the thread being held
on the under side until secured by the first stitch. The stitch is
made by putting the needle through to the lower side two threads
to the right and two threads upward (in marking on canvas or
coarse crash) and bringing it up two threads below, perpendicularly.
This makes the under half of the stitch. Next, the needle is put
through to the lower side two threads upward and two threads to


THIRD YEAR'S SEWING.
67
the left, bringing the thread diagonally across the lower half of
the stitch and completing it. The pupil can see, from the letter
she is copying, where the needle should be brought up to begin
the next stitch, which is made in the same way. After finishing
the first initial, four threads are left and a period made with a
single cross-stitch. Leave four threads and begin the next
initial, and so on.

Fig. 60, B. — Hemstitching.
51. How should the thread be fastened in finishing? Ans. The thread
should be run between the stitch and the canvas on the under
side, for the length of three stitches, and cut off with the scissors.
52. In what direction should the letters be worked? Ans. In marking,
the letters should be made from left to right.
53. How is the place to begin lettering the pocket to be found? Ans. To
find the place of the first marking stitch, count the number of
stitches necessary for all the initials, the periods, and the spaces
between, then \ in. below the hemstitching, count from the


68
PROGRESSIVE LESSONS IN NEEDLEWORK.
middle of the pocket half this number of stitches to the left, and
this gives the place for the first stitch of the first initial.
54. How is the pocket sewed to the sampler? Ans. The pocket is
hemmed to the sampler.
55. What number thread anfl what number needle are used for hemming
on the pocket? Ans. To hem on the pocket, No. 60 thread and
No. 9 needle are used.
56. Where should the button be sewed on? Ans. After the pocket is
sewed on, lay the sampler flat on the desk and place a pin through
the buttonhole and cloth beneath, \ in. from the top of the
buttonhole; this gives the place where the button should be
sewed.
57. Should the button be sewed on a single thickness of thin cloth?
Ans. A button should never be sewed on a single thickness of
thin cloth, where it has to bear any strain. A small square piece
should be hemmed on under the place where the button belongs,
to strengthen it. Now the white cloth sampler is finished.*
58. What is this small piece called? Ans. This small piece is called a
stay.

Needle.
Oversewed seam ........ 60
French seam, run and back-stitched ..... 60
French seam, stitched ...... 50
Fell, stitched 50
Fell, hemmed 60
Hems, broad and narrow ....... 70
Patch, hemmed on ........ 70
Patch, stitched in 60
10
10
10
9
9
9
9
9
* The idea of the white cloth sampler originated with Miss Emma F. Ware, Milton, Mass.
The one in use, here illustrated, has several alterations and additions.


THIRD YEAR'S SEWING.
69
Cotton.
Needle
Patch, overcast
70
10
Patch, oversewed .
60
IO
Darning . . . . ...
100
12
Gathering
5°
9
Band, stitched on
50
9
Band, hemmed down and ends oversewed
60
9
Buttonholes, overcast ......
70
10
Buttonholes, worked .......
50
9
Button sewed on to band .....
50
9
Button sewed on for pocket ...
40
9
Lonsdale ruffles, hemmed ......
100
12
Narrow ruffle, gathered
50
9
Narrow ruffle, stitched on .
60
10
Narrow ruffle facing, backstitched and hemmed
60
10
Tucks run in broad ruffle
90
11
Broad ruffle, whipped ......
40
9
Broad ruffle, oversewed on ....
50
9
Flannel, blind (or slip) stitched ....
60
9
Gusset, oversewed . . . . . . ■
60
10
Gusset, hemmed
70
10
Pocket, hemstitched
60.
9
Pocket, buttonhole worked .....
40
9
Pocket, hemmed on .
60
9
Stay for button, hemmed on
70
10
Flannel stitched on to sampler
50
9
Flannel overcast .......
70
10
Flannel patch, herringbone stitches ....
100
10
Darn on flannel with ravellings of same.
8
* See page 115.


FOURTH YEAR'S SEWING.
figures, etc. In flannel the way of the nap, the selvedge, and the right
and wrong sides of the cloth must be considered. As the edges of a
flannel patch will not ravel, the raw edges can be herringboncd to the
under side of the cloth, and the raw edges of the cut can be neatly her-
ringboned to the patch, as shown in Figs. 58, 59.

Fig. 61.—Patch hemmed to the right side.
Patching woollen dress material must be done according to the nature
of the goods, the tear, etc., and judgment must be exercised in doing it.
Sometimes more than one method may be wisely used. Four kinds of
patches are described, viz. the hemmed-on (Fig. 61), the stitched-in, the
oversewed, and the darned-on.


72
PROGRESSIVE LESSONS IN NEEDLEWORK.
Darned-on patch: — H"
When a large patch is well matched to heavy cloth, it shows less
than a small one. Darning is better than a small patch. A thread of
the same color as the cloth should be used when patching and darning.
A darned-on patch is used for heavy cloths, especially in mending

Fig. 62. — Showing darn for a thin place.
boys' trousers. If possible, use a patch of irregular edges, as when sewed
down it is less noticeable than one with straight edges, and can, with
care, often be made almost invisible.
By fine overcasting of cotton or silk secure the patch to the right
side of* the garment, the stitch being taken through the upper surface of


FOURTH YEAR'S SEWING.
73
the edge of the patch. This brings the upper surface of the patch nearly
to the level of the cloth of the garment. Then the darning stitches
should be taken below the surface of the patch and the garment, never
showing on the top. To hide the turning at the end of the lines of
darning, take a stitch diagonally (always under the surface) from the end
stitch of the line finished to the place where the next line is to begin.

Fig. 63, A. Fig. 63, B.
Pare off as little as possible of the ragged edges beneath, and catch
them down securely to the under side of the patch with herringbone
stitch so that the stitches do not show through.
The most important points of instruction are to consider the char-
acter of the cloth, the worn place, and the method of mending it.
Darning:— m'
To darn a,hole in a stocking (Fig. 63, A) or in woollen undercloth-
ing (if large), first draw the edges together as n,ear as possible with fine


74
PROGRESSIVE LESSONS IN NEEDLEWORK.
cotton (Fig. 63, B); then make straight lines of darning between the two
opposite sides of the hole, and leave a loop of the thread at the end
of each line of turning, to allow for shrinking; darn across the hole
in like manner at right angles to these lines (see Fig. 64). Each line of
darning should begin r in. or more beyond the edge of the hole, and at

Fig. 64.
the left side of the worn or thin place. In one line pass the needle over
the first thread and under the second, over the third and under the
fourth, and so on, and in returning on the next line pass the needle over
the threads taken up before, and under the threads left down (Fig. 64).
(Illustrate on blackboard.)
If fine woollen thread is used in darning cotton stockings, the darn
is much softer than when cotton thread is used. Care should always be


FOURTH YEAR'S SEWING.
75
taken when darning a worn place to make the lines of stitches of uneven
length for the sake of strength. If the lines are of even length the
whole strain is borne by one thread in the cloth, which soon gives way.
Explain the different kinds of needles used for darning.
To show the necessity of darning before the hole actually appears,
it should be explained that darning is a method of renewing the part of
the cloth destroyed or weakened by
wear, and in some cases is really hand-
weaving. Thus, if the darning is over a
thin place and not a hole, the work can
be made stronger and less clumsy.
It would be well for the teacher
to tell the child that, before stock-
ings or woollen undergarments are
washed, if a few stitches are taken
with fine thread, drawing the torn
edges evenly and as nearly together
as possible, the hole instead of grow-
ing larger will full together at the
edges and become smaller; thus the
work of mending will be lessened,
the mended garment will be stronger,
and the mend itself is less con-
spicuous. Such information from a teacher is valuable for home use.
For darning woollen material, use a ravelling of the same if possible.
Otherwise, use a fine worsted thread, splitting it if necessary and match-
ing the color of the cloth (see Fig. 65).
In darning on silk or linen fabrics with fine floss, sewing silk,
or ravellings of silk, the loops should be left shorter than in other
darning, as the linen and. silk threads do not shrink like cotton and
wool threads.

Fig. 65. — Darned with ravellings.


78 PROGRESSIVE LESSONS IN NEEDLEWORK.
MEASUREMENT EXPRESSED IN INCHES FOR DIFFERENT SIZES OF DRAWERS.
•
Measurement from Upper Part
of Hip to 3 in. below the
Knee.
Lower end of Upper Slope.
Width of Upper Front Slope.
Widih of Upper Back Slope.
Short Front Length" if desired.
Width from Folded Edge to
Length of Seat is the width
of the oblong.
Edge for first turning of Hem.
Fold for Hem when turned for
Sewing.
-
Length of Seat.
Hem.
1
IS
3
8
10
2
12
14
1}
9}
9
20
3
8
10
2
14
14
1}
9}
9
22
3
10
12
2
15
15
I*
9}
9
24
3
13
15
2
16
16
1}
io\
10
27
3
13
15
2}
18
18
1}
10}
10
30
4
13
'5
2}
18
18
1}
12}
12
VII.
Pattern of drawers for a child of ten to twelve years (Fig. 68): —
This pattern consists of three pieces, — one-half of the drawers,
and the front (Fig. 67, A) and back (Fig.
67, B) band. These bands are cut length-
wise of the cloth and sewed to the gar-
ment in the manner described in answer
to question 65 in the second year. Make
three buttonholes in each band- if yds.
of cloth 36 in. wide is needed for drawers
F'e- 67- of this size.
AiMnAnrf Cut.
Drawer* Bawl Finished.


80 PROGRESSIVE LESSONS IN NEEDLEWORK.
1. Draw upon the blackboard an oblong 15 in. x 25 in., with the
shorter sides horizontal, making the left vertical a dotted line,
to represent the line at which the cloth or paper is doubled.
2. From the upper left-hand corner of the oblong, measure 3 in. down
on the dotted line, and mark the point A, for the lower end of
the upper slope. From the upper end of the left vertical, measure
to the right 10 in. Mark the point B, for the width of the upper
front slope. From the same end measure to the right 12 in.
Mark the point C, for the width of the upper back slope.
Connect A-C by a straight line for the back slope.
3. From point B draw downward a dotted vertical line of 2 in., mark
this point X. Connect A-X by a straight line for a short front
length, if desired. ,
4. From the upper end on the right vertical, measure down 14 in.
Mark the point D, for length of seat. Connect C-D for the back
slope. Connect X-D for the front slope.
5. From the lower end of the left vertical line, measure upward \ in.
Mark the point G, for width of the hem. From that point draw to
the right a dotted horizontal line of 9 in. Mark the point E,
for the fold of the hem. Connect D-E by curving gradually to
the left. This gives the curve for the leg.
6. From the left end of the lower horizontal; measure to the right
9^ in. Mark the point F. This leaves on the seam a slope for
the hem. Connect E-F. Draw the pattern on paper doubled.
Cut from A to C, C to D, to E, to F; open the paper and cut from
A to X and X to D. Through one thickness of the paper only.
To make the opening at the side, from A cut down the fold 8 in.
from the top. For binding, take a strip 17 in. long, selvedge way of
the cloth, and bind the opening. Baste the binding on both sides of
the opening, to the right side of the garment, by \ in. basting stitches.


FOURTH YEAR'S SEWING. 81
Back-stitch close below the basting, then turn the strip over and hem to the
wrong side directly over the stitching. This makes a very strong finish for
the side, which will seldom wear or tear. Back-stitch and fell the seams.
For children it is more economical and quite as comfortable to leave
the front and the back of the drawers of the same length; then, being
worn evenly, the garment lasts longer.
Pattern for a chemise waist, for a child eight to ten years : —
This pattern consists of four pieces, one-half of the front and back,
two pieces for the bias bands.
1f yds. of yard-wide cloth are needed for two waists. One-half of
this will not cut one waist.
FRONT (Fig. 69).
1. For the front draw an oblong 13 in. x 20 in., with the short sides
horizontal, making the left vertical dotted to represent the line
at which the cloth or paper is doubled.
2. From the upper left corner measure vertically downward on the
dotted line 5^ in., 11 in., in. Mark the points, respectively,
A for the lower part of the front neck, K' for the upper, and R'
for the lower edge of the bias band.
3. From the upper left corner measure horizontally to the right 3^ in.,
marking the point B, for the upper part of the neck; in., mark-
ing the point X, for length of shoulder; q\ in., marking the point
Y, for width of arm-size. Connect B-A by a line, curving grad-
ually to the right for the curve of the neck.
4. From the point X draw downward a dotted vertical 6^ in., and mark
the lower end E, for length of arm-size. Mark the1 point C on
this line 1 in. below the point X, for slope of shoulder seam.
Connect the points B-C by a straight line to give the slope of
the shoulder seam.


PROGRESSIVE LESSONS IN NEEDLEWORK.

i m
i *
Fig. 69.—Front of chemise waist. Scale 3"- 1"-.


FOURTH YEAR'S SEWING.
83
5. From Y draw downward a dotted vertical 6 in., and mark the lower
end of the line F, for the top of the under-arm seam.
6. From A draw a horizontal line 6 in. to the right, for width of chest,
and mark the end D.' Connect C, D, E, and F by a line curving
to the left for the curve of the arm-size.
7. From the lower right corner measure vertically upward 1^ in., and
mark the point G; 7J in., and mark the point R; and \o\ in.,
and mark the point K. Connect the points F and G by a straight
line, to give the slope of the side seam. The points R-K are
for the upper and lower edges of the bias band.
8. From the lower left corner measure 3 in. horizontally to the right,
and mark the point H. Connect the points H and G, to give the
slope at the lower end of the side seam.
9. Connect R and R' and K and K' by dotted lines, for the bias band
at the waist.
10. Draw the pattern on paper and cut from A to B, C, D, E, F, G, and H. ■
This garment serves as a chemise and a waist, to which the drawers
and skirts can be buttoned. It is a comfortable garment for children.
The band is made bias for elasticity and strength, and hemmed on the
under side. It is in. wide, to give opportunity to lower the buttons as
the child grows.
BACK (Fig. 70).
1. For the back draw an oblong 11 in. x 19 in., the shorter sides
horizontal, making the right vertical dotted, to represent the line
at which the cloth or paper is doubled.
From the upper left corner measure 1| in. horizontally to the right,
and mark the point S. From this point draw a dotted vertical to
the lower edge of the oblong, to mark the width of the hem at
the back. On this line mark measurements for the lower part of
back of neck and for width of bias band. From the upper end of


•PROGRESSIVE LESSONS IN NEEDLEWORK.


FOURTH YEAR'S SEWING.
85
this line measure vertically downward i\ in., 9| in., \2\ in. Mark
the points, respectively, A for the lower part of the back neo<
K' for the upper, and R' for the lower edge of the bias band.
2. From the upper left corner of the oblong measure horizontally to
the right 5;? in., and mark the point B, for the upper part of the
back neck; 8f in., mark X, for length of back shoulder. Connect
A and B, to give the curve of the neck, by a line curving gradu-
ally to the right.
3. From A on the hem line make a dotted horizontal line 6 in. to the
right, and mark the end D, for the width of the back.
4. From the point X draw downward a dotted vertical 5^ in., and mark
the lower end F, for the length of the back arm-size. Mark the point
C on this line 1 in. below X. Connect B and C by a straight line,
to give the slope for the shoulder seam. Connect C, D, and F by
a line curving to the left, to give the curve of the back arm-size.
5 From the lower right corner measure up \ in., and mark the point
G; in., mark the point R; and 10 in., and mark the point K.
Connect F and G, to give the slope of the side seam. The points
R and K are for the upper and lower edges of the bias band.
6. From the lower left corner of the oblong measure 3 in. to the right,
mark the point H. Connect G and H by a straight line, to give
the slope at the lower end of the side seam.
7. Connect R and R' and K and K' by straight lines for the bias band
of the waist.
8. Draw the pattern on paper and fold over the hem at the hem line,
then cut from A to B, C, D, E, F, and" G.
Face the neck, arm-size, and lower edge with a strip of cloth cut
on the bias.
The advantage of material cut on the bias is in its power to stretch
when used as a facing on curves; and on a straight edge it makes a smoother


86
PROGRESSIVE LESSONS IN NEEDLEWORK.
lining than a straight strip of cloth. When cutting twilled fabric, fold
the corner so that the lines of the twill will be perpendicular to the
fold, crease firmly, and cut in the crease.
Cutting bias strips : —
Fold the bias edge the desired width, crease as before, cut in the
Fig. 71, a and b. As in the preceding years, questions
on the work of the year are given out
to the pupils from time to time, to which they are required to write full
answers; but it is not thought necessary to specify these questions as
heretofore.



crease. Use the first strip as a guide,
by pinning it to the bias edge of
the material and cutting all the strips
necessary. If one strip is not of
sufficient length, join the two right
sides together by a stitched seam.
Make the seam flat and the edges
even (see Fig. 71, A and B).
Bias strips are much used in dress-
making to cover cord, etc. This cov-
ered cord makes a neat finish for a
child's dress waist.


•
CHAPTER V.
Fifth Year's Sewing.
From the paper patterns cut in the fourth year the pupils may now
cut and make undergarments of fine white cotton. Flannel skirts are cut
and made, either lengthwise or widthwise of the flannel; the seams are
finished with herringbone or feather stitching; the hem is embroidered,
if the pupil desires it. Diagrams are drawn for long tiers and for
sleeves. The model form is studied (illustration of model form,
Fig. 72).
If very good and careful work has been done in plain sewing, the
pupil may select from their drawing lessons a design to arrange for
embroidery or advanced Mexican work, and when the stitches have been
thoroughly learned, a large part of this work can be done at home, thus
leaving the study hours for that part of the work which must be done
under the supervision of the teacher.
Study of the model form compared with the pupil's form: —
Study the general character of the model form and describe it.
The front is curved, the back is flat, the sides curve in slightly from
the arm-size to the waist line, then curve outward.
Look at the cloth cover on the form; into how many parts is it
divided? Tell the name of each part. Front, under-arm piece, back, side
form for the back. These parts are joined together by seams.
Tell the names of these seams.
87


88
PROGRESSIVE LESSONS IN NEEDLEWORK.
I
Dart or bias seams, under-arm seams (all seams from the last dart to
the side-form seams are called under-arm seams), side-form seam (this
is a curved seam and joined to the back), back
centre seamj and shoulder seam. The fronts are
joined or closed by a hem, but when the waist
is opened at the back, a heni closes the back.
Notice the length of those parts which extend
from the neck to the lower part of the waist;
look at the shorter parts; notice and describe
the dart seams.
The use of a dart or bias is to lessen the
fulness of the cloth and make the part smaller.
Measure around the lower part of the waist
for a belt. Make a belt \ in., wide and 2 in.
longer than the waist measure, so that one end of
the belt can lie over the other end for a lap. Pin
this belt close around the smallest part of the waist,
that all vertical measurements may be made from
its lowest edge, that edge being called the waist
line.
MEASURING THE FORM.
1. From the lower part of the neck curve,
measure vertically to the waist line; this
makes a front centre line.
2. Measure from the lower edge of the front
centre of the belt to the upper edge of
the shoulder seam on the neck. Make a
note of this and all following measurements.
3. Measure horizontally from the lower part of the shoulder to the
front centre line. Observe the distance from the centre line to
the first dart seam and to the second dart seam. Measure hori-

Fig. 72. — Model form


FIFTH YEAR'S SEWING.
89
zontally the distance from the top of the darts to this centre line,
also from these darts at the waist line to the centre line. Compare
these measures; tell how they differ; notice that the cloth has
been drawn into a small space to make this difference. Measure
horizontally from the top of the last dart to the first under-arm
seam; to the second under-arm seam. At the waist line, from
the last dart, measure to these under-arm seams. Compare these
measurements; tell how they differ. From the waist line at the
centre of the back measure vertically to the centre of the back
neck. Measure horizontally from the lower edge of the shoulder
seam to this back centre seam; from the lower part of the back
arm-size, measure horizontally to this back centre seam. Notice
where the side form joins the back by a curved seam, and where
this curved seam begins at the back arm-size. At the waist line,
measure the distance from the back centre seam to this curved
seam; measure from this curved seam to the second under-arm
seam at the waist line. On the blackboard make a diagram of
these parts. Make diagrams on paper, cut them out, pin them to
the form, and see how they compare with the parts of the cover.
When a pupil has gained a knowledge of the form, let her take a
sheet of thin manilla paper and make a pattern of the cioth cover
by pinning the paper to the form and using its seams as a guide
for the seams in her paper pattern. Then make a pattern
in cloth. When a satisfactory pattern has been made in
cloth, let the pupil tell in writing how she made it. Take
measurements like these on the pupil's form and cut a paper
pattern from them. Let a teacher not be discouraged when her
pupil fails to make a perfect pattern from these measurements,
since this is but preparatory work, and pupils have not yet suffi-
cient judgment necessary for perfect work.


90
PROGRESSIVE LESSONS IN NEEDLEWORK.
PATTERN FOR A TIER.
This pattern consists of five pieces: one-half of the front, one-half
of the back, upper and under part of sleeve, and neck band.
PATTERN OF THE FRONT OF TIER, HAVING CHEST MEASURE OF 29 IN. AND
LENGTH MEASURE OF 40 IN. (Fig. 73).
Measurements: —
For the length of the tier, measure from the upper part of the shoulder
to the lower edge of the dress skirt. For the chest measure, pass the tape
over the chest, under the arms, and across the back. Allow the tape measure
to lie smoothly over these parts and observe the number of inches.
1. Draw upon the blackboard an oblong 18 in. x 40 in., the shorter sides
horizontal; and make the left vertical dotted, to represent the line
where the cloth or paper is doubled.
2. From the upper left corner, measure vertically down in. and mark
the point A, for the lower part of the front neck. From the point
A, draw to the right a horizontal dotted line y\ in. and mark the
right end D, for width of chest.
3. From the upper left corner, measure horizontally to the right in.
for the upper part of the front neck, 8 in. and 10 in. for the length
of shoulder and width of arm-size, marking the points respectively
B, X, and Y. Connect B and A by a line curving gradually to the
right, for the curve of the neck. •
4. From the point X draw downward a dotted vertical of 8 in. and mark
the lower end E, for length of arm-size. On this line mark the
point C 1 in. below X. Connect C and B by a straight line for
the slope of the shoulder.
5. From Y draw downward a dotted vertical j\ in. and mark the lower
end F, for the upper end of the under-arm seam. Beginning at
C, connect C, D, E, and F by a line which curves gradually to
the left, for the arm-size.



.Fig- 74-


g8 PROGRESSIVE LESSONS IN NEEDLEWORK.
BASTING AND MAKING A SLEEVE.
When the cloth has been cut from this pattern, place the lower
edges of the inner seam evenly together and baste from this point to
the top; place the lower edges of the back seam evenly together and baste
in the same way. Stitch the seam below the basting; turn, baste, and
sew the hem. At the top of the upper part of the sleeve make two
lines of running stitches, the first line \ in., the second ^ in. below
the top edge, with which to gather the fulness. Make a notch in the
edge at the point B, and place this point i in. in front of the shoulder
seam on the arm-size, and then arrange the fulness to the arm-size
4 in. in front of B and 2 in. back of B, being careful to keep the
inner seam of the sleeve well under the arm. This pattern allows for
one-half inch seams.
When a coat sleeve with a full top is desired for the sleeve of a
dress, cut by this tier sleeve pattern; if it is too loose below the arm-
size, curve the back seam to fit the arm.
In cutting sleeves, never double the. cloth except in double width
material, because the four pieces can be cut more economically from
single cloth.
Pupils should learn to cut some of their patterns freehand.
The following description is for a blouse or shirt sleeve. The pupil
watches the teacher, who cuts out the pattern from a doubled piece of
paper, the folded edge of which is used as an inner seam. After the
upper side of the sleeve is cut, the paper is unfolded, and the curve
of the top is cut for the under side. The pattern is then tried on
the arm and pared to fit exactly. The pupil now takes the pattern
and traces it upon the blackboard. She then spreads the pattern upon
her desk and compares it carefully with the one drawn on the black-
board. She then erases the drawing on the blackboard and draws on
paper, freehand, a sleeve for the right arm, then a sleeve for the left arm.
She then takes a piece of paper and cuts freehand this pattern of a sleeve.


FIFTH YEAR'S SEWING.
IOI
chest, and the loop of the thread held to the right of the line. Draw
the needle through, and carry it backward another ^ in. along the line
of the design, and continue as before; and so on. At points or corners
the ingenuity of the worker must be exercised in deciding how to
shorten the stitch, and where to put the needle through so as to
preserve the outline.
When a large design is made, or worked on coarse material, a longer
stitch is made.


SIXTH YEAR'S SEWING.
io5
■
at the waist line i| in. after the seams are sewed; they should be increased
or lessened according to the size of the waist.
To prepare a lining and fit it to a form: — *
For a form which has a bust measure of 32 in. and waist measure
of 24 in., take 1^ yds. of lining. (The cut edges are on the width of

Fig. 80 — Pattern of a basque.
the cloth.) Pin the cut edges^ together, as the cloth is to be cut double,
and both sides of the lining are fitted to one side of the form. Turn
1 \ in. for a hem. The width is now vertical, the length of the cloth
horizontal. The width threads of cloth stretch in wearing, and the
lining is cut in this way to remove all tendency to wear short-waisted.
* For a round waist or basque.


SIXTH YEAR'S SEWING. J
together for the shoulder seam, which should be 5 in. long. Make this
seam 1 in. back from the top of the shoulder.
To cut the back arm-size and curve for the side form: —
Cut vertically downward 3 in. from the lower end of the shoulder seam
for the back arm-size; from this point cut the curve for the side form,
making the back centre pieces 2 in. wide at the waist line.
m
To fit the side form : —
Pin two straight pieces of the lining by a horizontal thread to the waist
line and pin by a vertical thread from the waist line to the upper part of the
curve; pin this side form smoothly to the curve, taking ^ in. seam from the
back curve; this seam curves the side form exactly like the back; below
the waist line the side form has a straight edge. (We are describing a plain
basque, — all these seams can be altered at the fancy of the maker.) The
curve to fit the body below the waist line is cut on the front edge of the
back centre pieces. Pin the side forms to the under-arm piece. Having
brought the front and back smoothly together, begin pinning these parts
together half-way between the waist line and the arm-size; from this point
continue pinning the seam down to the waist line, then pin from the
centre of the seam to the arm-size. By following these directions, the seam
will not wrinkle. The curve to fit the body below the waist line is cut on
'the back edge of the under-arm piece. When all the seams are securely
pinned, take the pins from the front hem and from the back centre fold,
pare all the seams to within 1 in. of the pins. Make a notch in every seam at
the waist line for guides to commence basting the different parts together.
A dress waist, to be in good proportion, should have that part of the waist
lining which is between the last dart and first under-arm seam nearly equal
in measurement to the back side form and under-arm piece (or pieces).
If the eye is trained in proportions, a good pattern may be cut without
exact measurement.
A round waist or a basque lining may be fitted to a pupil's form in


SIXTH YEAR'S SEWING.
Then take the thinnest kind of manilla paper to represent the
dress material, and pin it over the dress lining in the same manner
as the tissue paper was arranged on the small model. Use the manilla
paper for a pattern from which to cut the dress material.
In cutting the dress
goods, be careful to have the
corresponding pieces for the
two sides of the waist correct.
If both are cut together, the
cloth must be folded so that
the right sides lie together.
Single width cloth can be
cut more economically if not
folded. If one piece is cut
first, it should be laid either
right side on the right side,
or wrong side on the wrong
side, of the cloth from which
the other is to be cut. Show
on the blackboard the proper
position of the right sleeve
to the left sleeve when cut
correctly. Be very exact in
cutting curves.
After the dress material
is cut, the pieces should be
laid on the corresponding
pieces of#the lining, and the two smoothly basted together 1 in. from
the edge, with stitches from 1 in. to in. long. The seams should
then be basted with short basting stitches of \ in., always beginning
at the notches made at the waist line.

Fig. 82. — Paper dress made by a pupil. .


I IO
PROGRESSIVE LESSONS IN NEEDLEWORK.
To prepare a plain round skirt for sewing to the waist or band: —
Divide the skirt and waist or band into corresponding halves by
cross-stitches of a colored thread, which show readily against the cloth.
Turn the top edge until the skirt is the desired length. Gather the
skirt on the right side, making the stitches \ in. long and spaces \ in.
long for gathering the back breadth; gathering stitches \ in. long and
spaces \ in. for the side breadths; for the front breadth even stitches
and spaces of \ in.
To sew a skirt to the waist or band: —
Pin the centres of the waist and skirt firmly together; hold the skirt
and gathers toward the sewer, take one gather on' each stitch, and
sew firmly with strong thread. Sew the gathers of the back breadth
into a space in. long. The gathers of the front breadth sew into a
space 9 in. long. The side breadths should be sewed between these
measures. If the figure requires more fulness at the sides than this
gives, the gathers can be spread a little from the front and back. This
description is for a skirt made from four widths of gingham.
PATTERN OF ONE-HALF OF GORED SKIRT (Fig. 83).
This pattern consists of three pieces, viz. front, back, and side
gore, which is one-half the skirt. Quantity of material 24 in. wide
needed for a skirt, 4 yds.
HALF OF FRONT BREADTH.
1. Draw on the blackboard an oblong 11 in. x 36 in., having the shorter
lines horizontal and the left vertical a dotted line, to show where
the cloth or paper is doubled. «
2. From the left upper corner, measure horizontally to the right
2\ in., 3| in., 7| in., and 9 in., marking the points respectively
A, B, C, and D.





SIXTH YEAR'S SEWING.
113
6. From the lower left corner draw a straight line to the point E. This
line slopes the lower edge of the side gore, making it even with
the straight edge of the back breadth.
BACK BREADTH.
1. Draw on the blackboard an oblong 9 in. x 36 in., the shorter lines
horizontal, and the right vertical dotted, to show where the cloth
is doubled.
2. Mark two notches in the centre of the left vertical, to correspond
with the notches in the side gore.
In putting the breadths together, several points must be carefully
observed.
1. Baste together a straight and gored edge according as they are
notched, — an edge having one notch to an edge having one
notch, an edge having two notches to an edge having two
notches.
2. Always hold the gored edge to the person in basting or sewing.
3. In order to keep the gored edges always toward the person in
working, two seams on one side of the skirt should be com-
menced at the top, the top edges being exactly even; the seams
opposite must be commenced at the bottom, and the lower edges
can be measured and arranged from the side already done.
The even hanging of the skirt depends upon the careful observation
of these points-
Cut evenly the lower edge of the skirt. Make all seams of equal
length, turn the upper edge until the skirt is the desired length.
Sew a bias facing 4 in. wide to the lower edge of the skirt,
and gather (as a round skirt) the upper edge of the back breadth
and the side gores to the V. Oversew to the band or waist, as


SIXTH YEAR'S SEWING.
When making eyelets in soft woollens, or in any material that ravels
easily, it is better first to overcast the edges with fine silk or cotton.
The edge of the eyelet when finished should feel like a piece of fine twine.
A round waist may be fitted with one dart at each side of the front,
one seam in the back; the waist may be fitted without the under arm
piece, making one less seam. When a waist is cut this way, it is called
a French waist.
Fitting a round waist to a form: —
When fitting a lining to the left side of the form for a round waist,
pin the hem to the centre of the front, as described,on page 106, from
the fold of the hem, at the fullest part of the chest, measure horizontally
to the left in., place a pin vertically at this point for the top of the
dart; from the folded edge of the hem at the waist line measure in.
horizontally to the left; here place a pin vertically. The line between
these two pins will be the fold of , the dart; below the bust, the fulness
for the dart is held firmly between the thumb and first finger of the left
hand, while pinning it with the right. Beginning at the top of the dart,
draw the fulness until the lining is perfectly smooth; pin the dart to fit
the form.
At the waist line the width of the dart should measure 1 inch or
more, according to the fulness of the chest or bust.





APPENDIX A.
The following papers, prepared by the pupils, are added to show the
relation of drawing and language to needlework; demonstrating a lesson
in this way makes the work educational as well as practical.
THIRD YEAR'S SEWING.
A Stitched-in Patch.
I first cut the worn or torn place out square.
The four edges are made true by a drawn thread.
Then I make the bias cuts, which are small cuts
\ in. in each corner, and crease the edges to
mark for a line of stitching. Then I
mark the lengthwise of my cloth and
patch by a pin or a crease. I lay the patch on the


under side, and baste the edges even, first taking a
few stitches out on the patch; and
when one side is finished, I sew a
few stitches out on the other side of patch, as before.
This is to make the corners square. I then cut the
thread, and turn to the width of my cloth, and begin
out on the patch. Then I sew the sides, as I

117


!8 PROGRESSIVE LESSONS IN NEEDLEWORK. ,
did before, until I have the four | ri
sides sewed, and overcast the raw 1
edges.
My first diagram represents the
torn or worn place.
My second diagram represents the
torn or worn place cut out square; the dotted lines show where it is creased.
My third diagram represents the patch basted on to the garment.
My fourth diagram represents the patch stitched in, and the edges
overcast.
My fifth diagram represents the patch finished.
Mary Steverman
W. H. Lincoln School. (Age 12 years).
SECOND YEAR'S SEWING.
For oversewing we put the two edges together, and baste ^ in.
from the top. We use No. 2. basting line. We begin at the right
hand, and sew to the left.
We commence oversewing by taking a stitch on the right-hand end;
draw the thread all but |- in., put that J in. on the top, and go on
sewing over it three stitches. If the
end of the thread is now seen, cut
it off.
Joining.
To join a new thread, we go back
three stitches, then take a stitch and
pull the thread through, leaving J in.; put that on the top with the other
end; sew over it four stitches. If the end is seen, cut it off; when we are
through, we sew back two stitches.
Agnes Brown
W. H. Lincoln School. (Age 10 years).


•


. APPENDIX.
119
THIRD YEAR'S SEWING.
How I sew on a Wristband.
In preparing a piece of cloth to sew to a band, I find the middle,
and mark it with a cross-stitch. Fig. 1 represents my cloth. I
find the middle of the band, and mark it with a
small line of basting stitches like Fig. 2. I
make a line of running stitches for gathering. Now
I draw these gathers into as
small a space as possible, and wind'
the thread around a pin, and stroke
when this is done, I pin the ends of
piece I in. from the ends of the band, like Fig. 3,
and baste it to the band y1^ in. below the gathering
Fig. 1.
\
Fig. 2.
1
my gathers;
the gathered
®
r
Fig. 3-
thread, fastening the ends securely by three over-
sewing stitches down to the gather-
ing thread, now holding the gathers
toward me, take one back-stitch on
Fig. 4. every gather, take out the bastings, turn the band
up from the gathers, baste and oversew the ends of the band; baste
and hem the other edge of the band to the gathers, take one stitch in
each gather. Fig. 4 shows band finished.
Nellie E. Johnson
Heath School, Drookline, April 18, 1893. (Age 14 years).


APPENDIX B.
CIRCULAR TO H.M. INSPECTORS.
The Lords of the Committee of the Privy Council have issued the
following circular to H.M. inspectors: —
[Circular 282.]
"Education Department,
"5th April, 1889.
"Sir, — My Lords find that in the children's needlework, which has been examined
by the Directress of Needlework at this Department, there were many instances of the
materials having been prepared and fixed before they were distributed to the children.
The table of exercises, in the Instructions to Her Majesty's Inspectors, distinctly prescribes-
that, except in and below Standard I., no fixing or preparation of pieces is allowable, and
you should impress this rule upon the teachers. The children must themselves fold hems,
draw threads for stitching, make bands, place tapes, fix buttons in position, cut button-
holes, cut holes before patching, place patches, trace patterns, etc. It is the desire of
my Lords that the needlework instruction in public elementary schools should be of a
practical nature, and suitable to the wants of the children in after-life; it is therefore
essential that children should know how to set about a given exercise in order to produce
a certain result — their aptitude in fixing a patch the right side and way of the material
is equal in importance to the neatness and regularity of the stitches. The correct fixing
and preparation of the test specimens (by the children) must be taken into account in
assessing the value of the needlework of a school; and, in cases where assistance is given
in such fixing or preparation, the teachers should be warned that any repetition of it at
future examinations will be regarded as equally unfair with assistance in other parts of the
examination. — I am, sir, your obedient servant,'
"P. CUMIN.
"To
"H.M. Inspector of Schools."
120


NEEDLEWORK.
Progressive Lessons in the Art and Practice of
Needlework for Use in Schools. By Catherine F. Johnson, Teacher
of Sewing in Public Schools, Brookline, Mass. Cloth. Illustrated.
134 pages.
This is a text-book which explains needlework from its rudiments, and
gives, with over one hundred illustrations, full directions for leading pupils
from the simpler steps of the art through six years of well-graded work.
The course of instruction outlined was planned for pupils in the
Lincoln School, Brookline, Mass., and has been improved from year to year,
until the results are so satisfactory as to warrant the author in yielding to
the public demands for its publication.
WHAT IS TAUGHT.
Plain and fancy sewing, drawing, designing, cutting by measurements,
fitting, — all the arts of tailor and seamstress.
The subject is treated systematically and with an intelligent idea of the
needs of the pupils, resultant from long experience, thus placing sewing
on an equality with other branches of Industrial Training, in its practical
value in the schools, as an educational force.
The system has for its constant purpose —
I. The training of the body to assume and keep correct position.
II. Training of the fingers to handle properly the implements used.
III. Training of the eye to quick and accurate perceptions.
IV. Training to correct expression by requiring oral and written de-
scriptions of work done.
V. Training of taste, will, and judgment, so that neatness, decision,
perseverance, patience, promptness, thoroughness, and economy of
materials becomes second nature.
1


This complete and systematic treatment of a comparatively new depart-
ment of Industrial Training will help teachers to secure for sewing a
recognition in every manual training course. While boys are learning
carpentry, metal-working, and printing, girls should have an opportunity
for perfecting themselves in one of the great domestic arts. This book
makes such a work both practical and pleasant.
The following testimonials are from those whose position and experience
enables them to speak with authority.
Professor John D. Runkle, Massachusetts In-
stitute of Technology', and Chairman of Industrial
Committee of School Board, Brookline, Mass.: I
think it excellent in all respects. I might not
feel so certain of the method if I had not seen the
results in our own schools. Every part of the
book is the result of experience in the class-room.
It has not been hastily prepared, but has been an
actual outgrowth cf long experience. It is not a
large and portentious book; includes only so much
as can be carefully and thoroughly gu/ie over dur-
ing the course. We need the book very much
in our schools, and I feel sure that it is needed
elsewhere.
Elizabeth H. Little, Teacher of Sewing, Neiv-
bury, Mass.: It is the best book I have seen on
the subject. I think the method of work is far
beyond the methods that I have seen used in
other cities.
Mary A. Spear, late Principal of Model School,
State Normal School, West Chester, Pa.: I have
read the manuscript carefully and from a teacher's
stand-point. I think the ideas there given could
be worked out and most satisfactory results ob-
tained by any one, even though she may have
had little or no experience in teaching sewing.
The method is a progressive one, — the work
gradually and steadily becoming more and more
difficult. It contains plain and practical direc-
tions for doing various kinds of useful needle-
work, and also a few hints for ornamental work.
Teachers can scarcely fail to obtain good results
i when they have such a book for a guide. It is
equally good for pupils, or for any one learning
to sew.
Louisa P. Hopkins, Board of Supervisors,
Boston, Mass.: It is more distinctly educational
than that of most of our cities. It begins with
first principles, and is gradually developed in con-
nection with language and drawing and close
observation of process and material with a careful
study of the latter. It concerns itself with the
elements of sewing, progressing by a natural order,
and therefore more educational than industrial
in motive. The general plan of the work and
progression is excellent, and the experience of
the author is a safe foundation for its precepts
and details of method. I have no doubt it will
meet a wide necessity, and be a very successful
book.
D. C. HEATH & CO., Publishers,
Boston. New York. Chicago. London.
8


2
NEEDLEWORK.
HOME TESTIHONY.
The author of Progressive Needlework is teacher of sewing in
the public schools of Iirookline, Mass. From the Superintendent,
Committee, and Teachers we have recently received the following
testimony to the value of this method.
From SAMUEL T. DUTTON, Supt. of Schools, Brookline, Mass.
Progressive Lessons in Needlework.
1. The book contains work for six years. And, as its name implies, is a thoroughly
progressive course. "From the easy to the difficult," is a ruling principle throughout.
If children in the kindergarten and primary schools have worked designs with the
needle upon perforated cards, they find it an easy step to the first exercises of this
course. In case they have had no such training the initiatory steps are so simple that
no great difficulty is experienced.
2. The Course recognizes hygienic principles.
Much attention is given to positions at the desk, finger exercises to promote
flexibility and strength and variety of muscular effort in the various exercises.
3. It aims to secure mental training as well as manual skill. The perception of
color and form, the exercise of taste in designing and the training of the judgment in
all creative work are incidental features of the method.
4. It provides for the co-ordination of needlework with other branches of study.
Drawing of design and pattern, language through written exercises, arithmetic in con-
nection with measurement and estimates; geography in learning the sources of
material used, history in considering the clothing of other people, chemistry as re-
lated to dyes, etc. — these are instances of co-ordination suggested.
5. The plan and its execution are so displayed in the book as to engage the interest
and approbation of all thoughtful teachers. It is no longer an experiment, and all
who have seen its practical working pronounce it unexcelled as a scheme of educa-
tional needlework. {Jan. 20, 1S94.)
From Prof. J. D. RUNKLE, Industrial Committee, School Board, Brookline.
It is excellent in every respect. It is the result of long experience in the class-room.
I have seen the results of its method. We need the book itself very much in our
schools, and I am sure it is needed elsewhere.
From RUTH E. LANDER, Head Ass't, Wm. H. Lincoln School, Brookline, Mass.
This method of teaching sewing was introduced into the schools of Brookline four
years ago. During this time it has become a part of the school curriculum. By its
method the pupil has attained a mental training equalled in no other department, as
a lesson in sewing includes one in English, Drawing, and careful measurement.


4 NEEDLEWORK.
EXPERT EVIDENCE.
HARRIET S. SACKETT, Dept. of Domestic Art, Pratt Institute, Brooklyn.
It is decidedly the best book on the subject ever printed in English. It will be
most helpful and suggestive to teachers, and I shall take great pleasure in recom-
mending it and putting it on the list of books. {Oct. iS, 1893.)
From LOUISE HOWE, Supervisor of Primary Sewing, South End Industrial School,
Boston.
This book has been of great service to me. I have several copies, and keep
them in constant circulation, loaning them to the teachers in turn, to study at
home. It is especially valuable in this work, as the teachers are volunteers
and some have had lit;le experience in teaching. The illustrations of darns
and pitches have b^en invaluable. Last week I followed the suggestions and
had two classes baste paper patches with great success. I am thoroughly
convinced that the sampler work is the best and most satisfactory for begin-
ners. Last winter after studying the work in the Lincoln School, Brookline,
I started every child in tiie school on a sampler. The results were very gratifying.
I have adopted a very simple form of sampler on unbleached cotton, with red thread;
it comprises stitching,- felling, hemming, over-sewing, over-casting, bisting, ruffle,
buttonholes, darn and patch, also name in outline. In all cases where the teachers have
taken to the work, the children have been much interested. I think almost all the
teachers approve of the system now, bat at first many were skeptical. This year I
started two younger classes as an experiment, having them make a canvas sampler
according to the book. I have been so much pleased with the work that another
year I shall have more of these classes, giving preference to the younger children who
apply. They will make the cotton samplers when they finish the canvas. For public
school work I should thoroughly endorse the whole system, considering it a great
advance over the old methods. {Jan. 13, 18^4.)
From J. C. GREENOUGH, Prin. Normal School, Wcstfield,'Mass.
It is an admirable book — simple, direct and progressive. It is the book with
which to teach the subject. {March 8, 1S94.)
From Mrs. EMMA EPLEY, Teacher of Sewing, Public Schools, Philadelphia, Pa.
I have been very much pleased with the book, and have found many helpful ideas
in it. {Sept. 23, 1893.)
From Miss MARY A- SPEAR, recently Principal of Model School, West Chester
State Normal School, Pa.
The careful study of Progressive Lessons will nut only fit a girl to do such work
as will really present itself in her home life, but it will give such exercises for her
hands, eye*, and mind as will increase her power to think, and to express thought.
It will help her to form habits of order, exactness, and perseverance- and she will
be better fitted to do and to appreciate the value of perfect work wherever it is found.


READING.
Badlands Suggestive Lessons in Language and Reading. A manual for pri-
mary teacher*. Plain and practical; bung a transcript of work actually done in the
school room. $ i. 50.
Badlam's Stepping-Stones to Reading.— A Primer. Supplements the 283-page
book above. Boards. 30 cts.
BadlamrS First Reader. New and valuable word-building exercises, designed to follow
the above. Boards. 35 cts.
Bass's Nature Stories for Young Readers: Plant Life- intended to supple-
ment the first and second reading-books. Boards. 30 cts.
Bass's Nature Stories for Young Readers: Animal Life. Gives lessons on
animals and their habits. To follow second reader. Boards. 40 cts.
Fuller's Illustrated Primer. Presents the word-method in a very attractive form to
the youngest readers. Boards. 30 cts.
Fuller's Charts. Three charts for exercises in the elementary sounds, and for combin-
ing them to form syllables and words. The set for f1.25. Mounted, $2 2$.
Hall's HOW tO Teach Reading. Treats the important question: what children should
and should not read. Paper. 25 cts.
Miller's My Saturday Bird Class. Designed for use as a supplementary reader in
lower grades or as a text-book of elementary ornithology. Boards. 30 cts.
Norton's Heart Of Oak BOOkS. This series is of material from the standard imagin-
ative literature of the English language. It draws freely upon the treasury of favorite
stories, poems, and songs with which every child should become familiar, and which
have done most to stimulate the fancy and direct the sentiment of the best men and
women of the English-speaking race. Book I, 96 passes, 25 cts.; Book II. 268 pages,
45 cts.; Book III, 308 pages, 55 cts.; Book IV, 370 pages, 60'cts.; Book V, 378 pages,
65 cts.
Smith's Reading and Speaking. Familiar Talks to those who would speak well in
public. 70 cts.
Spear's Leaves and Flowers. Designed for supplementary reading in lower grades
or as a text-book of elementary botany. Boards. 30 cts.
Ventura's MantegaZZa'S Testa. A book to help boys toward a complete self-develop-
ment. $1.00.
Wright's Nature Reader, NO. I. Describes crabs, wasps, spiders, bees, and some
univalve mollusks. Boards. 30 cts.
Wright's Nature Reader, NO. II. Describes ants, flies, earth-worms, beetles, bar-
nacles and star-fish. Boards. 40 cts.
Wright's Nature Reader, NO. III. Has lessons in plant-life, grassnoppers, butter-
flies, and birds. Boards- 60 cts.
Wright's Nature Reader, NO. IV. Has lessons in geology, astronomy, world-life
etc. Boards. 70 cts.
For advanced supplementary reading see our list 0/books in English Literature.
D. C. HEATH & CO., PUBLISHERS,
BOSTON. NEW YORK. CHICAGO.


DRAWING AND MANUAL TRAINING.
Johnson's Progressive Lessons in Needlework. Explains needlework from its
rudiments and gives with illustrations full directions for work during six grades. 117
pages. Square 8vo. Cloth, $1.00. Boards, 60 cts.
Seidel's Industrial Instruction (Smith). A refutation of all objections raised ?gainst
industrial instruction. 170 pages. 90 cts.
Thompson's Educational and Industrial Drawing.
Primary Free-Hand Series (Nos.-1-4). Each No., per doz., $1.00.
Primary Free-Hand Manual. 114 pages. Paper. 40 cts.
Advanced Free-Hand Series (Nos. 5-8). Each No., per doz., $1.50.
Model and Object Series (Nos. 1-3). Each No., per doz., $1.75.
Model and Object Manual: 84 pages. Paper. 35 cts.
^Esthetic Series (Nos 1-6). Each No., per doz., $1.50.
^Esthetic Manual. 174 pages. Paper. 60 cts.
Mechanical Series (Nos. 1-6). Each No., per doz., $2.00.
Mechanical Manual. 172 pages. Paper. 75 cts.
Models to accompany Thompson's Drawing:
Set No. I. For Primary Books, per set, 40 cts.
Set No. II. For Model and Object Book No. 1, per set, 00 cts.
Set No. III. For Model and Object Book No. 2, per set, 50cts.
Thompson's Manual Training, NO. I. Treats of Clay Modelling, Stick and
Tablet Laying, Paper Folding and Cutting, Color, and Construction of Geometrical
Solids. Illustrated. 66 pages. Large Svo. Paper. 30 cts.
Thompson's Manual Training, NO. 2. Treats of Mechanical Drawing, Clay-
Modelling in Relief, Color, Wood Carving, Paper Cutting and Pasting. Illustrated.
70 pp. Large Svo. Paper. 30 cts.
Waldo's Descriptive Geometry. A large number of problems systematically ar-
ranged, with suggestions. 85 pages. 90 cts-
Whitaker's How to Use Wood Working Tools. Lessons in the uses of the
universal tools: the hammer, knife, plane, rule, chalk-line, square, gauge, chisel, saw,
and auger. 104 pages. 60 cts.
Woodward's Manual Training School- its aims, methods, and results; with
detailed courses of instruction in shop-work. Fully illustrated. 374 pages. Octavo. £2.00.
Woodward's Educational Value of Manual Training. Sets forth more clearly
and fully than has ever been done before the true character and functions of manual train-
ing in education. 96 pages. Paper. 25 cts.
Sent postpaid by mail on receipt of price.
D. C. HEATH & CO., PUBLISHERS,
BOSTON. NEW YORK-. CHICAGO.


ENGLISH LANGUAGE.
Hyde's Lessons in English, Book I. For the lower grades. Contains exercises
for reproduction, picture lessons, letter writing, uses of parts of speech, etc. 40 cts.
Hyde's Lessons in English, Book II. For Grammar schools. Has enough tech-
nical grammar for correct use of language. 60 cts.
Hyde's Lessons in English, Book II with Supplement. Has, in addition
to the above, 118 pages of technical grammar. 70 cts. ,
Supplement bound alone, 35 cts.
Hyde's Advanced Lessons in English. For advanced classes in grammar schools
and hign schools. 60 cts.
Hyde's Lessons in English, Book II with Advanced Lessons. The Ad-
vanced Lessons and Book. II bound together. 80 cts.
Hyde's Derivation of Words. 15 cts.
Mathews's Outline of English Grammar, with Selections for Practice.
The application of principles is made through composition of original sentences. 80 cts.
Buckbee's Primary Word Book. Embraces thorough drills in articulation and in
the primary difficulties of spelling and sound. 30 cts.
Sever's Progressive Speller. For use in advanced primary, intermediate, and gram-
mar grades. Gives spelling, pronunciation, definition, and use of words. 30 cts.
Badlam's Suggestive Lessons in Language. Being Part I ana Appendix of
Suggestive Lessons in Language and Reading. 50 cts.
Smith's Studies in Nature, and Language Lessons. K combination of object
lessons with language work. 50 cts. Part I bound separately, 25 cts.
Meiklejohn's English Language. Treats salient features with a master's skill and
with the utmost clearness and simplicity. $1.30.
Meiklejohn's English Grammar. Also composition, versification- paraphrasing, etc
For high schools and colleges- go cts.
Meiklejohn's History of the English Language. 78 pages. Part in of Eng-
lish Language above, 35 cts.
Williams's Composition and Rhetoric by Practice. For hi?h school and col-
lege. Combines the smallest amount of theory with an abundance of practice. Revised
edition. $1 00.
Strang's Exercises in English. Examples in Syntax, Accidence, and Style for
criticism and correction. 50 cts.
Huffcutt's English in the Preparatory School. Presents as practically as pos-
sible som: of the advanced methods of teaching English grammar and composition in the
secondary schools. 25 cts.
Woodward's Study Of English. Discusses English teaching from primary school to
high collegiate work. 25 cts.
Genung's Study Of Rhetoric. Shows the most practical discipline of students for thi
• making of literature. 25 cts.
Goodchild's BOJk Of Stops. Punctuation in Verse. Illustrated. 10 cts.
See also our list of books for the study of English Literature.
D. C. HEATH & CO., PUBLISHERS,
BOSTON. NEW YORK. CHICAGO.