TE
ORIO
Progressive lessons in the art and
practice of needlework for use in ...
Catherine F. Johnson



f^arbarU College SLtorarg
THE GIFT OF
GINN AND COMPANY


111





i
[
J
i








PROGRESSIVE LESSONS
IN THE
and Practice of Needlework
FOR USE IN SCHOOLS.
BY
CATHERINE F. JOHNSON.
BOSTON:
D. C. HEATH & CO., PUBLISHERS.
1893.


HARVARD COLLEGE LIBRARY
GIFT OF
GINN & COMPANY
MARCH 17, 1927
Copyright, 1893,
Bv CATHERINE F. JOHNSON.
JTortacmti Srtsa:
J. S. Cushing & Co. — Berwick & Smith.
Boston, Mass., U.S.A.


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.
JOHN D. RUNKLE,
Chairman of Industrial Committee of School Board.
Brookl1ne, Mass., April 25, 1893.





PREFACE.
Dur1ng several years' experience in teaching sewing, I felt the need
of a text-book which would explain needlework from its rudiments and
give directions for practical demonstration in class work. For my own
use, I planned a course of instruction for the pupils of the W. H. Lincoln
School, Brookline. Its use has given such satisfactory results that a
demand has arisen for its publication.
For valuable assistance, sincere thanks are due to Miss Marion S.
Deveraux, First Superintendent of the South End Industrial School, Rox-
bury, Mass.; Mrs. Joshua Crane, Member of the School Board, Brookline,
Mass.; Miss Florence M. Starbuck, Teacher of Drawing, South End Indus-
trial School, Roxbury, Mass.; and Mr. Arthur R. Wilmarth, Photographer,
Jamaica Plain.
C. F. J.
Jama1ca Plain, Mass., April 9, 1893.





CONTENTS.
INTRODUCTION
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
Description of Sampler No. 1. — Materials. — Basting. — Stitching. — Back-
stitching. — Running. — Oversewing. — Hemming. — Buttonhole. — Cross-
stitch.— Buttonhole stitch.—Patching. — Darning ......
Questions and Answers
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
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
Questions and Answers
v
PAGE
vii
1-4
5-8
8-13


CONTENTS.
CHAPTER III.
Third Year's Sewing.
PAGE
Work for thia- Year. — Buttonhole making on flannel and on linen. — Cross-
stitch.— Herringbone. — Feather-stitch. — Hemstitch. — Practice in cutting 49,50
Description of Sampler No. 3. — Materials. — Hemming. — Oversewing. —
Gusset. — Darning. — Hemmed-on patch. — Stitched-in patch. — French
seam. — Oversewed patch.— Darn.— Buttonholes made with cotton and with
twist. — Band. — Tucking. — Whipping. — Ruffling. — Marking initial and
age. — Embroidered edge on flannel. — Flannel patch .... 50-55
Questions and Answers 57-68
Cottons and Needles used in Sampler Work 68, 69
CHAPTER IV.
Fourth Year's Sewing.
Work for this Year. — Patching. — Darned-on patch. — Darning. — Mexican
work. — Cutting. — How to measure for drawers pattern. — Scale of measure-
ments for different size drawers ......... 70-81
Directions for Cutting Patterns for a Child 81-86
CHAPTER V.
Fifth Year's Sewing.
Work for this Year. — Measuring the form.—Pattern for front of tier.—
Pattern for back of tier. — Sleeve. — Measuring for sleeve.—Front or
upper part of sleeve. — Back or lower part of sleeve. — Basting and
making sleeve. — Ornament . . . . . . . . . 87-101
CHAPTER VI.
Sixth Year's Sewing.
Work for this Year. — Basting wide hems and facings. — To fit a basque
lining. — To pin the lining to a form. — To form the darts. — To fit the
under-arm pieces.—To fit the back. — To cut the back arm-size. — To fit
the side form.—A plain round skirt. — To sew a skirt to the waist or
band. — To cut a gored skirt. — Front. — Side gore. — Back . . . 102-114


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 done in the two or three succeeding primary grades. But when
there has been no kindergarten instruction let this work begin in the
primary grade or the lowest grammar grade. The methods used in the
vii


viii
INTRODUCTION.
class work of the first 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.
X
V. In the first-year practice in position, the use of the fingers and
of the implements of sewing should precede actual work. Thoroughness
in this is a safeguard against awkwardness and mistakes that otherwise
would waste time and material. The class drill is given minutely in
Chapter I. The drill secures prompt obedience, cultivates the faculty of
observation, and trains the muscles for future work.
At the period allowed for the lesson one girl is selected to have
charge of the box or boxes of cotton and of the needles. Whenever a
pupil's work requires either cotton or needle different from that which
she has, she makes known her wants and is supplied by the one having
charge of the boxes. In this way every pupil soon becomes familiar with
all variations of size, and understands what she needs and the reasons for it.
In the third year's sewing, a piece of flannel is marked 8, 9, 10, 11,
12, and one needle corresponding to each number is placed at the side of
that number. This is kept in the work bag always ready for use. Small
pieces of cloth for practice work should always be in the work bag, ready
for a pupil to take up while waiting for the teacher's attention. When a
piece of this practice work is especially well done, it may be fastened
upon a sheet of card-board known as
the "Class Card of Models." This may
be considered an honor.
See description of work bag in
second year.
VI. Each pupil should have a
clean apron to wear in the class, or
the work will soon become soiled;
bags containing the apron, work,
thimble, etc., may be collected and
put away by some pupil after each
lesson. This has a marked influence

Fig. 1. — Sewing desk.


INTRODUCTION.
xi
in making children careful and neat. When special sewing desks (Fig. 1)
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,
and 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.


xii
INTRODUCTION.
GENERAL REMARKS.
1. Every child instinctively uses the teeth for biting the thread. She
should be taught that she must never do this. It injures the teeth
and soils the work. Never draw the thread under the little finger,
but always over it. If the thread is grasped in the hand, it becomes
dampened and soiled.
2. Never use a knot in sewing when it cannot be hidden completely.
3. Never let the scissors become too dull to cut well.
4. Never use a bent, rusty, or too large needle.
5. Never turn under a selvedge in a hem or a band.
6. Never hurry, especially in the preparation of work. However little is
done, let that little be done thoroughly.
7. Never waste material of any kind.


2
PROGRESSIVE LESSONS IN NEEDLEWORK.
Practice with thimble : —'
1. Give each child a thimble which fits snugly. Let her place it on her
desk directly in front of her.
2. As in the exercise "preparing for use of thimble," raise the right
hand in position; then, taking the thimble between the thumb and finger of
the left hand, place it on the erect second finger of the right hand. Put
thimble back on desk, rest, and repeat.
Thimble exercise : —
1. Again raise the right hand, and place the thimble as has been directed.
Turn the arm till the palm is opposite to the chest; then bend the thimble-
finger at the second joint until the thimble
rests upon the top of the thumb. Raise the
finger, and repeat the movement five times.
2. Raise the thimble just to clear
the top of the thumb; and keeping all the
joints limber, move the thimble-finger hori-
zontally back and forth five times over the
top of the thumb.
3. With the right hand raised and all
the fingers free, bring the thimble-finger
into the sewing position, having the front
and back of the thimble parallel with the
palm of the hand. Now make movements
with the thimble-finger, as if the eye of a
needle were resting against the back of the thimble. The thimble-finger
is thus bent, and the needle pushed by the back of the thimble in order
to exercise more force. If this habit is once acquired, a stitch is taken
with less effort than when the top of the thimble is used.*
* When a child has formed the habit of using the top or side of her thimble, it is not
always best to change, as a slow and poor result is produced, which is discouraging to her;
however, in simultaneous teaching, all the pupils must follow the teacher's directions.

Fig. 2, A.

Fig. i, B.


FISST 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,


FIRST YEAR'S SEWING. 5
DESCRIPTION OF SAMPLER No. I.
MATERIALS REQUIRED.
4 strips of canvas,* 3 in. x 9 in.
1 strip of canvas, 4 in. x 9 in.
3 skeins of Saxony yarn, red, yellow, and blue.f
Chenille needle, No. 24.
For methods of work on first strip, refer to Nos. 12, 15, 16, in questions
and answers of the first year's work.
For methods of work on second strip, refer to Nos. 20, 22, 27, in ques-
tions and answers of the first year's work.
Estimated cost of canvas sampler, 11 cents.
First strip of canvas, 3 in. x 9 in.
1.
Basting. — Make a line of basting J in. from the top, in red worsted, as
described in answer to question 12.
Ten threads below this line make a second line of basting in yellow
worsted.
Ten threads below make a third line of basting in blue worsted.
11.
Stitching. — Fourteen threads below make a line of stitching, using the three
colors, each one-third the length of the line, as described in answer to
question 15.
1n.
Backstitching. — Fourteen threads below this make a line of backstitching, as
described in answer to question 16. This is also done in three colors.
For joining the colors, refer to questions and answers 14 and 17.
* Commercial name, Penelope canvas.
t This will supply twenty pupils.


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. — 1 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
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. This 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.


IO PROGRESSIVE LESSONS IN NEEDLEWORK.
5. What is the back of the thimble? Ans. The back of the thimble
is that part which covers the back of the finger.
6. Why is the needle pressed against the back of the thimble, and not
against the top? Ans. Because more force can be used when both
joints of the thimble finger are bent; when the top of the thimble
is used, only one joint is bent. Stitches can be more rapidly
and more evenly made when more force is used.
7. What is the name of the cloth on which practice stitches are made?
Ans. The cloth on which practice stitches are made is called
canvas.
8. What is the name of the thread used? Ans. The thread used is
called worsted.
9. How is a worsted needle threaded? Ans. To thread a worsted
needle, hold it between the thumb and forefinger of the right
hand, the eye pointing towards the thumb and forefinger of the
left hand, between which is held a loop of the worsted. Pass
the eye of the needle through this loop, and draw the worsted
tightly over it. Then pull out the needle, and push the loop of
worsted through its eye. (Illustrate on the blackboard.)
10. How should the scissors be held? Ans. For cutting light cloths,
especially woollens, the blunt side of the scissors should be under-
neath; then the point will not catch in the cloth. The thumb
should run through the upper bow, and the third finger through
the lower, the first and second fingers supporting and guiding the
scissors. (Illustrate on the blackboard.)
11. How many kinds of basting stitches are made? Ans. Three kinds
of basting stitches are made.
12. How are the basting stitches made on canvas? Ans. To make
basting stitches on canvas, begin at the right-hand edge, the first
, line of basting \ in. from the upper right-hand corner. For the
even stitches, pass the needle first under four threads, and then


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 \ 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 SEWING.
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.
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, and 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: —
The class should be provided with rulers,
from which to learn the inch and its divi-
sions. Have each child cut from stiff
and unruled paper a piece exactly
6 in. long and 1 in. wide, to use
for measuring; have the edges
even and the corners square.
This measure is kept in ^fttimMMtttitifi*
the work bag. Mark, ^^Pf^!?!!!'^!?'?!?!"!".!*?*!!:
as on a ruler, the
whole, half, quarter,
and eighth inches.
The pupil must re-
member these lengths,
as they are often
spoken of in her
work and in places
Fig. 5. — Canvas showing width and bias, or diagonal fold.
which cannot be u
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 : —'

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.
19
the patch match perfectly, the centre of the patch being exactly over the
centre of the worn place. Baste \ in. from the edges of the patch.
A patch well matched is less conspicuous hemmed to the outside of
most garments; on white and many. other kinds of cloth, it is better
to sew the patch to the wrong or under side, as described in answer to
question 45.

Fig. 9. — Buttonhole overcast twice with worsted (buttonhole stitch commenced).
Buttonhole : —
Although the buttonhole is a very difficult part of the work for
young children, if the method of making it is early learned it is a great
help to careful sewing, and can be practised on canvas in the early part
of the second year.
A fine needle and thread should be used in overcasting a button-
hole on cloth, because the edges may be overcast twice with a fine thread,
and these stitches will not show under the buttonhole stitch when it is
made with the coarser thread.
A buttonhole should be made with one needleful of thread, if possible.
In case of accidental breaking, it can be joined underneath by a running
stitch, while the unthreaded end is firmly held with the work by the thumb
> . • a .
y ,'


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. One width of
calico 24 in. wide and 28 in. long
will make two bags 14 in. long and
12 in. wide and without a pocket.
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 f 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.


SECOND YEAR'S SEWING.
23
One strip of striped or checked cloth g 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. Esti-
mated 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.
\ 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.
11.
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 f in.; baste edge of hem, then hem with
three colors.


24 PROGRESSIVE LESSONS IN NEEDLEWORK.
VI.
Oversewing. — Turn down the edge of the first strip \ in. and baste to
edge of hem; then oversew with three colors.
VII.
French seam. — Put a fourth strip to the wrong side of the third and baste
on the right side, \' in. from the top; make a line of two running
stitches and a back-stitch just below the basting; cut off the edges
\ in. above the sewing and turn the seam the other side out; crease
hard, stitch with three colors just below the raw edges of the first
seam, so as to close them.
VIII.
Name. — Print the pupil's name with a pencil in the middle of this strip,
and stitch with any color preferred directly on the pencil marks.
IX.
Felling. — Baste the raw edge of the fifth strip to the fourth J in. below
the top edge and stitch with the three colors; then cut the edge of
the under side \ in. above the line of stitching, and the edge of upper
side \ in. above stitching. Open the seam flat, turn the broader edge
under with the needle, and hem with three colors, making a fell.
x.
Patching. — Cut twov small holes 3 in. from either end of the last strip
and midway between the fell and the selvedge. Mend one hole with
hemmed-on patch (question and answer 45), and the other with
stitched-in patch (question and answer 49).
XI.
Patching. — Take a piece of striped or checked cloth for the sixth strip,
cut holes as in the fifth strip, and make a stitched-in patch and an


SECOND YEAR'S SEWING.

Fig. —Sampler No. a.


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.
x1v.
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.
XVI.
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 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 80), 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.
27
sides of the eighth strip. Mark the centre with a cross-stitch with
the blue cotton. Mark the centre of the band in the same way.
Whip the raw edge of the ruffle and oversew to the band (question
and answer 76 and 77). (Fig. 12.)
QUESTIONS AND ANSWERS.
1. Cloth. What kind of cloth is now used? Ans. Unbleached cloth.
2. Why is this kind of cloth used? Ans. Because it is made without
dressing and is easier to handle while learning to sew and to
prepare the seams.
3. Is unbleached cloth the only kind made without dressing? Ans. No,
bleached cotton and a great many kinds of cloth are made
without dressing. (Memorandum to Teacher. Show a kind of
fabric made with and without dressing.)
4. Then why is not undressed, bleached cotton now used? Ans.
Because undressed, bleached cotton is made with finer threads
and is not so easy to prepare seams upon; a fine needle must be
used when using fine cloth.
5. What number needle and thread is used on this unbleached cloth?
Ans. No. 8 needle and No. 40 thread is used.
6. What length of thread should be used? Ans. A thread 10 in. long
should be used on the unbleached sampler. {Memorandum to
Teacher. Make plain to the pupils how time is wasted by drawing
a long thread through the cloth, how work can be better and more
rapidly done with a short thread.)
7. How many different colored threads are used for this sampler?
Ans. Three different colors are used. Red, blue, and yellow or
orange.
8. Why are these different colors used? Ans. To make the stitches
plain, and show how neatly thread can be joined.


3o
PROGRESSIVE LESSONS IN NEEDLEWORK.

Fig. 14.— Stitching.*
26. What colors are here used? Ans. Yellow and red are used.
27. How is a stitched or back-stitcheS 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.
J
(
u
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.


32
PROGRESSIVE LESSONS IN NEEDLEWORK.
ing to the middle of the edge of the left thumb-nail (Fig.
19). Make the stitches small, but to show distinctly on the
under side. (Illustrate on the blackboard.)
y.
1/

Fig. 21.— Work held for oversewing.
\)
Fig. 22.-
- Oversewing.
33. How should the work be held for oversewing? Ans. The work
should be held around the end of the first finger of the left hand,
and kept firmly in place with the thumb and second finger (Fig. 21).
34. How should the needle be pointed in oversewing? Ans. In oversewing
the needle should be pointed directly toward the chest (Fig. 22).
35. What must always be done after the seam is oversewed? Ans. Press
the stitches flat on the wrong side, with the right thumb-nail,
to finish the oversewing seam.
36. When is an oversewed seam
used? Ans. An oversewed
seam is used in joining two
selvedges or two folded edges.
37. What is a selvedge? Ans. A
woven or finished edge.
38. What is a raw edge? Ans. A
cut or torn edge.
39. What is overcasting? Ans. Over-
casting is the same as over-
sewing, the stitches being larger, and is used over raw edges
to prevent them from ravelling (Fig. 23).

Fig. 23. — Overcasting.


PROGRESSIVE LESSONS IN NEEDLEWORK.

Fig. 25.— A hemmed-on patch. Under or wrong side.
Fig. 26. — A hemmed-on patch. Upper or right side.


SECOND YEAR'S SEWING. 35
47. What is the warp? Ans. 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?
Ans. 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 F'g- a8- — Worn place cut out; the cioth
prepared for a stitched-in patch.
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.






/ 0^
\\ \\\\
\\\\\\\\\^,
\\\\\w\
\\\ WW\WWW\X

s.
u
a
a
E


SECOND YEAR'S SEWING. 39
52. How is a gusset cut? Ans. Cut a piece of cloth \ in. square,
cut off f 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 \ in. on each side,


40
PROGRESSIVE LESSONS IN NEEDLEWORK.
beginning at the apex. The remaining part is folded over on the
under side of the work, carefully basted to lie smooth, and hemmed
down (see Figs. 37, 38).
54. Why does a gusset make the seam stronger? Ans. A gusset
makes the seam stronger because its folded edge is on the bias,
and if it is strongly sewed at the corners, it is impossible to
tear it.
55. How is a tuck made? Ans. A tuck is made by folding the cloth
straight by a thread from edge to edge, and basting this fold at
the desired width. A running seam close below the basting fin-
ishes the tuck.
56. How are the stitches made in basting for a tuck? Ans. The basting
stitches are made one inch long for a tuck.
57. How long are the spaces between? Ans. The spaces between are
\ in. long. .
58. Why should the stitches be longer than in basting an ordinary seam?
Ans. The basting stitches should be longer for a tuck because they
make a better guide for the running stitches, which must be very
straight.
59. How is the thread joined in running tucks? Ans. In running tucks
make a tied knot that can be easily concealed between the folds
of the tuck three stitches back.
60. What is the use of a tuck? Ans. A tuck is used for ornament, or
in order that the garment may be lengthened at some future time
by letting it down.
61. What is gathering? Ans. Gathering is making a line of running
stitches, and drawing the thread so as to full or gather the cloth
(Fig. 39, A and B).
62. What should always be done before gathering? Ans. The edge
should be marked in halves and quarters by colored cross-stitches
(see Fig. 41, A).


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.


44
PROGRESSIVE LESSONS IN NEEDLEWORK.
Ans. The buttonhole should be overcast immediately after being
cut.
69. Where is the overcasting of a buttonhole begun? Ans. Begin to
overcast a buttonhole at the lower left-hand end.
70. How is a buttonhole overcast? Ans. To overcast a buttonhole, hold

Fig- 43- — Cloth oversewed, and stitched to the
band turned up and basted.
it lengthwise of the left forefinger, keeping that pointed to the
right, and having the folded edge of the cloth toward the wrist.
Then begin at the lower left-hand corner and overcast the left-hand
side. Then turn the buttonhole, bring the folded edge to the end cf
the finger, and overcast the right-hand side (see Fig. 45); then back
in cross-stitches to the outer end of the buttonhole. Here make a


SECOND YEAR'S SEWING.
45
cross-bar by overcasting one stitch to the right, and then one stitch
to the left, until three cross-stitches have been made. (This makes

I
Fig. 44. — Band finished.
a round, strong outer end to the buttonhole when worked.) Now
cross-stitch the left-hand side back to the starting-point (Fig. 46).

Then put the needle through to the under side, take one running
stitch, and cut the thread. See buttonhole in canvas sampler.
Represent on the blackboard the different steps of preparing and the
way of holding a buttonhole.


46
PROGRESSIVE LESSONS IN NEEDLEWORK.
71. How is a buttonhole worked? Ans. From the lower left-hand corner
to the lower right-hand corner, then a straight bar is made across
the lower or inner end.
72. 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 corner, then the thread from the
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

Fig. 46-—Buttonhole overcast twit
straight, care being taken that it passes over the other end of the
thread. The stitches should be made very near together, especially
at the round end.
73. How should the straight bar be made at the lower end? Ans. Draw
the worked edges together by making four stitches, one over the
other, across the lower end of the buttonhole, then, beginning at
the right-hand side, make five buttonhole stitches covering these, the
middle stitch directly in the middle between the two sides of the
buttonhole.
Draw these steps in buttonhole making on the blackboard.


PROGRESSIVE LESSONS IN NEEDLEWORK.
then the needle put through the cloth from the right or upper
side, leaving the knot where the button is to be sewed. Then
put the needle up through the cloth and one hole in the button
and down through an opposite hole until the needle goes through
a little hard, then bring the needle up between the button and
the cloth and wind the thread three times around the thread there,
to stem the button, and then fasten the thread on the wrong side.
How is the whipping done? Ans. After cutting the edge evenly by
one thread and marking with a cross-stitch the half and quarters,
the edge of the ruffle is rolled under in a small, hard roll, on the
wrong side between the thumb and first finger of the left hand,
one inch at a time, and stitches like hemming stitches are made
over it, except that the needle is put up under the roll and
brought out at the top of the roll (Fig. 47). At every fifth
stitch the thread is held firmly, and the ruffle is fulled as on
a gathering thread.
How is this ruffle sewed to the sampler? Ans. Pin the middle
of the ruffle to the middle of the band; holding the sampler
toward the person, oversew the ruffle to the band, sewing from
left to right in order to make one stitch come in every little
groove made by the whipping (see Fig. 48).
Although the pupils have learned to oversew from right to left, the
teacher should tell them that, in some kinds of work, a better
effect will be produced by sewing from left to right; as, over-
casting woollens that fray or ravel easily, oversewing a whipped
ruffle to a band, herringbone stitch, etc.


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 8 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


50
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.

r
\
:::;:;:;-;::::::::-::::;-
.^rr *
:. . .
i V AA Jw
W 3? Y 7
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) in. x 5 in.
Three pieces of cotton (for patches) 3 in. square.
One piece of cotton (for band) in. x 2 in.


52
PROGRESSIVE LESSONS IN NEEDLEWORK.
IV.
3^ in. above this patch cut another hole, and mend it by inserting a
stitched-in patch, using No. 60 cotton and No. 9 needle for
stitching, and No. 70 cotton and No. 10 needle for overcasting.
v.
Join by a French seam (for direction see second year) the two strips
9J in. x S in.; join on widths, making strip No. 3 18 in. long.
VI.
6 in. above the bottom edge of this strip make a cut having two right
angles, in this shape j |, and darn it according to questions and
answers 10 to 16.
VII.
2 in. above the French seam cut a hole and mend with an oversewed
patch, using No. 60 cotton and No. 10 needle for the oversewing,
and No. 70 cotton and No. 10 needle
for overcasting.
VIII.
Join strip No. 3 to the raw edge of
strip No. 2, making a fell, as de-
scribed in sampler No. 2; use No.
50 cotton and No. 9 needle for
stitching, No. 60 cotton and No. 9
needle for hemming. When felling
a bias seam, lay the hem with
the grain of the cloth. It is

Bias seam hemmed.
Fig. 50.
much easier to hem with the grain than against it (Fig. 50).
IX.
On the lower edge of the sampler turn a hem 2\ in. broad, and hem
with No. 70 cotton and No. 10 needle.


54
PROGRESSIVE LESSONS IN NEEDLEWORK.
XIV.
Make a handkerchief hem on the ends of the second piece of Lonsdale,
then make a \ in. hem on one side of it. Above this hem make
three tucks the same width as the hem, using No. 90 cotton and
No. 11 needle.
Whip the upper edge of the ruffle, using No. 40 cotton and
No. 9 needle.
Oversew this ruffle to the lower edge of the sampler, holding the
sampler toward the person, sewing from left to right, so as to make
one stitch come in every little groove made by the whipping. Use
No. 50 cotton and No. 9 needle.
xv.
Turn down one end of the flannel strip 1^ in., baste it, and then make
herringbone stitch over the edge with embroidery silk, using the
crewel needle (see question and answer 32).
Hold the flannel so that the herringbone stitches just made
will be at the right-hand side and on the under side of the flannel;
then turn down and baste the upper edge of the flannel \ in., turn
again 1 in., and baste for a hem. Then blind-stitch this hem with
No. 9 needle and No. 60 cotton, according to question and
answer 33.
With embroidery silk, feather-stitch over the edge of this hem,
according to question and answer 35.
Measure the strip of flannel with the raw edge of the sampler,
and with a pencil draw scallops on the end so as to make it the
same length as the sampler when finished (see question and answer
36). Then, with embroidery silk, work as described in question and
answer 37.
3 in. above the scalloping make a cut in the flannel 1J in. long,
and darn, using No. 100 cotton and No. 12 needle for overcasting the


THIRD YEAR'S SEWING.
55
cut edges together, and No. 8 needle and ravellings of flannel for
darning.
Half way between the darn and the top of the flannel strip cut
a hole and mend it with a patch, according to question and answer 38.
In the hem of the flannel strip, cut a buttonhole 1 in. long, over-
cast with No. 70 cotton and No. 10 needle, and work with buttonhole
twist.
Baste the flannel to the raw edge of the sampler \ in. from the
edge, and stitch with No. 50 cotton and No. 9 needle, holding the
flannel toward the person.
XVI.
Prepare and hemstitch the pocket according to questions and answers
40 to 48.
A buttonhole is cut in the middle of the hem of the pocket, and
overcast with No. 70 cotton and No. 10 needle, and worked with
No. 40 cotton and No. 9 needle.
The initials are to be worked in the centre of the pocket, \ in.
below the hemstitching; work with embroidery silk, in cross-stitch
or outline-stitch (see questions and answers 50 to 53). The age is
worked in the same way, below the initials.
A row of double feather-stitching is made around the pocket, at
the option of the pupil.
The pocket is basted to the centre of the sampler and hemmed
on with No. 60 cotton and No. 9 needle.
XVII.
A stay is placed on the wrong side of the sampler (see questions and
answers 56 to 58), where the button is to be sewed on. This is
hemmed with No. 70 cotton and No. 10 needle.
The button is sewed on with No. 50 cotton and No. 9 needle
(white cloth sampler, Fig. 51).


56
PROGRESSIVE LESSONS IN NEEDLEWORK.


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


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? Arts. 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.


THIRD YEAR'S SEWING.
6l
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

1
1
/
/
/
S
K
/
/
k
/
/
/
\
III
IIM
inn
IUl
Jit
;n 1
1111
in
11/
Ml
/III
P
tx>e
s
V"
llll
t
Fig. 55.
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 \ 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 \ 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
centre of the curve in each scallop, connect the ends of each out-
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. Then hold
the thread down with the left thumb, and put the needle through
to the lower side on the upper edge of the upper curve, just over
this point, and bring it up again on the lower edge of the lower
curve, close to where it came up at first, and over the thread held
down by the thumb. The stitch is then tightened by drawing
the thread downward. This is repeated, taking care to keep the
stitches as close as possible. The central stitch of the scallop
should be \ in. long and vertical, the others should shorten and
slope gradually to each end.
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 6J in. x 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 edge 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. How 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.


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 and 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.
NUMBER OF COTTON AND NUMBER OF NEEDLE FOR
SAMPLER WORK.
Cotton. Needle.
Oversewed seam 60 10
French seam, run and back-stitched ..... 60 9
French seam, stitched . . . . . . . • 50 9
Fell, stitched 50 9
Fell, hemmed 60 9
Hems, broad and narrow ....... 70 10
Patch, hemmed on ........ 70 10
Patch, stitched in 60 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.
Cotton. Needle.
Patch, overcast 70 10
Patch, oversewed 60 10
Darning 100 12
Gathering 50 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 ruffles, gathered 50 9
Narrow ruffle, stitched on 60 10
Narrow ruffle, overcast . 70 10
Tucks run in broad ruffle 90 11
Broad ruffle, whipped ....... 40 9
Broad ruffle, oversewed on 5° 9
Flannel, blind (or slip) stitched ..... 60 9
Gusset, oversewed 60 10
Gusset, hemmed 7° 10
Pocket, hemstitched 60 9
Pocket, buttonhole worked 4° 9
Pocket, hemmed on . ... 60 9
Stay for button, hemmed on 70 10
Flannel stitched on to sampler 50 9
Flannel overcast 7° 10


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


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.
Width 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.
18
3
8
10
2
14
14
1}
9*
9
20
3
8
IO
2
14
14
Ij
91
9
22
3
10
12
2
15
IS
I*
9i
9
1
24
3
13
15
2
16
16
Ij
10}
10
27
3
13
IS
2*
18
18
Ii
10}
10
3°
4
13
IS
2}
18
18
li
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, 1f yds.
of cloth 36 in. wide is needed for drawers
of this size.
fllilllJlW Cut.
finished
-//-"-
Fig. 67.



Fig. 68.


PROGRESSIVE LESSONS IN NEEDLEWORK.

Fig. 6g. — Front of chemise waist.


FOURTH YEAR'S SEWING. 83
5. From Y draw downward a dotted vertical 6 in., and mark the point
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 point 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; 7| in., and mark the point R; and 10J 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 2J 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 1J 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.

>
Fig. 70. — Back of chemise 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


)2 PROGRESSIVE LESSONS IN NEEDLEWORK.
6. From the lower right corner, measure upward 2 in. on the right verti-
cal and mark the point G. Connect F and G by a straight line
for the side seam.
7. From the lower left corner, measure horizontally to the right 5 in.
and mark the point H. Connect G and H by a straight line, to
give the slope at the lower end of the side seam.
8. Copy on doubled paper and cut from A to B, C, D, E, F, G, and
H, leaving J in. outside the shoulders and side lines for seams.
PATTERN OF THE BACK OF TIER (Fig. 74).
1. Draw upon the blackboard an oblong 18 in. X 39 in., the short sides
horizontal, and the left vertical dotted, to represent the line where
the cloth or paper is doubled.
2. From the upper right corner, measure horizontally to the left 2 in.;
mark this point A. From A draw a vertical line to the lower
edge of the oblong. This line gives the width of the hem for but-
tons and buttonholes at the back.
3. From the upper right corner, measure horizontally to the left 4 in.,
9J in., and 10J in., for the length of the shoulder seams, marking
the points respectively B, X, and Y.
4. From X draw downward a dotted vertical line 4 in. and mark
the lower end D, for the curve of the back arm-size. On
this line mark the point C, 1| in. below X, for lower end of
shoulder seam. Connect B and C by a straight line.
5. From the point Y draw downward a dotted vertical 6| in. and mark
the lower end F. Connect C, D, and F for the curve of the arm-
size by a line which curves slightly to the right.
6. From the lower left corner, measure upward 2 in. on the left vertical
and mark the point G. Connect F and G by a straight line for
the side seam.


FIFTH YEAR'S SEWING.
99
ORNAMENT.
In this year a pleasing arrangement can be made from their drawing
lessons (Fig. 77) for a design to embroider in couching, French knot,
and outline-stitch, not alone for ornament, but to lead the pupA to

Fig. 77. — Design for embroidery from a drawing lesson.
study, the grace and beauty of designs for that kind of needlework
which will make a garment or any article to which it is applied more
beautiful, thus carrying into ornament what has been learned for actual
use, such as hemstitching, darning, herringbone stitch, etc.
Embroidery darning is for ornament and is worked on the right
side of the cloth. It is made with straight edges and without loops.


PROGRESSIVE LESSONS IN NEEDLEWORK.
The stitch is the same as that used in darning a thin place which is
not yet worn into holes.
Couching is fastening a cord on a piece of work by oversewing
or by embroidery edging stitches; it is used only in ornamental work
(Fig. 78).
To make a French knot, fasten the thread with a rolled knot on the
under side; then bring the needle to the upper side, pulling the thread
through the cloth. Hold it by the left
thumb down to the cloth at nearly an
inch from this place, and pass the needle
alternately under and over the thread from
above to below between this place and
the thumb, pointing it toward the thumb.
Turn the needle back and pass it perpen-
dicularly through to the under side as
near as possible to the place where the
thread comes up, then draw the thread
through, not too tight.
With heavy worsted there should be
but one twist, with silk or cotton two or
more twists about the needle, according to
the size of the knot required. This French knot is used only for embroidery.
Outline-stitch is the stitch with which designs are outlined, and
is also used to fill in on some kinds of embroidery.
To make outline stitch, the work should be held so that the line
to be embroidered runs from the person. Fasten the thread by three
running stitches along this line; with the needle pointing toward the
chest, draw the thread through until but two stitches remain in the
cloth; this leaves the end on the under side. Now carry the needle
\ in. backward over these stitches, and take up on it four threads
along the line of the design with the needle still pointing toward the


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.
at the waist line in. after the seams are sewed; they should be increased
or lessened according to the size of the waist.
To fit a basque lining: —
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. 8o. — 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
1J 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.


SIXTH YEAR'S SEWING.
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.
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
1





H4
PROGRESSIVE LESSONS IN NEEDLEWORK.
a round skirt, being careful to fasten the gathering threads when
the oversewing is finished.
4. From the middle of the top of the back breadth cut down 9 in. for
a placket. The front breadth and part of the side gores are fitted
to the band by basting the V to fit the figure.


n6
PROGRESSIVE LESSONS IN NEEDLEWORK.
did before, until I have the four | n
sides sewed, and overcast the raw I ,'
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).
{'
j;