b'\nClass L_. ^:y^ \n\nBook b \n\n\n\n\\ \n\n\n\nCoiyrightN". \n\n\n\nCOPYRIGHT DBPOSm \n\n\n\nDOMESTIC ART \n\nIN \n\nWOMAN\'S EDUCATION \n\n\n\nDOMESTIC ART \n\nIN \n\nWOMAN\'S EDUCATION \n\n\n\nFOR THE USE OF THOSE \n\nSTUDYING THE METHOD OF TEACHING DOMESTIC ART AND \n\nITS PLACE IN THE SCHOOL CURRICULUM \n\n\n\nBY \n\nANNA M. GOOLEY, B.S. \n\nASSISTANT PROFESSOR OF DOMESTIC ART IN THE TEACHERS \nCOLLEGE, COLUMBIA UNIVERSITY \n\n\n\nNEW YORK \n\nCHARLES SCRIBNER\'S SONS \n1911 \n\n\n\n\n\n\nCOPYKIGHT, 191 1, BV \n\nCHARLES SCRIBNER\'S SONS \n\n\n\n\n\n\n\nCAA280912 \n\n\n\n^ \n\n\n\nTO MY GRANDMOTHER \nANNA MARIA COOLEY \n\n\n\nPREFACE \n\nThe permanency of Domestic Art as a feature in \nthe education of woman is assured. It is so vital an \nexpression of her nature that any curriculum which \ndoes not include training for the home sphere ignores \nthe very centre about which her life revolves. Many \nof the home talents are innate and develop naturally, \nbut many lie dormant because untrained. When \nwoman begins to preside over her own home, she \nsoon discovers her limitation if she has not had the \nadvantages of training along the lines of household \narts and economics. This book is not an argument \nfor the introduction of Domestic Art, for that is un- \nnecessary, but it is hoped that it may be of value to \nthose who do not see its relationship to other ele- \nmentary school subjects nor the place it may occupy \nin high schools, colleges, or trade schools. \n\nDomestic Art has suffered because many have \ntried to teach it who were not fully prepared to do \nso, and who have failed to see the vital relationships \nand the thought content involved. The subject has \n\nvii \n\n\n\nVni PREFACE \n\nbeen so poorly presented in some places that it has \nnaturally lost favor, but this is not because it lacks \ncontent. It is hoped that this little book may be of \nassistance to those who, knowing the practical tech- \nnique of Domestic Art, may seek for more light on \nmethods of presentation of subjects and planning of \ncourses of study in various types of schools. It is \nalso hoped that it may offer suggestion of the content \nwhich is involved in the study of Domestic Art. \n\nThe author wishes to express her thanks to the \nstudents in her classes who have kindly permitted \nthe use of some of their class plans, illustrative of \ncourses of study suggested for different kinds of \nschools, and to her friend and teacher, Mary Schenck \nWoolman, for her enthusiasm and inspiration which \n\nprompted this work. ^ \n\nAnna M. Cooley. \n\nJanuary, 191 1. \n\n\n\nCONTENTS \n\nPART I. SOME PROBLEMS CONFRONTING \n\nTHOSE INTERESTED IN TEACHING \n\nDOMESTIC ART \n\nCHAPTER PAGE \n\nI. The Field of Domestic Art 3 \n\nII. The Relation of Domestic Art to Education io \n\nIII. The Necessity for Study of the Pupil . . 20 \n\nIV. Problems Connected with the Presentation \n\nOF Domestic-Art Subjects ..... 34 \n\nV. The Study Involved in Planning a Domes- \ntic-Art Lesson or Series of Lessons . 57 \n\nVI. The Economics of Domestic Art .... 87 \n\nVII. How TO Keep in Touch with Progress in the \n\nDomestic-Art Field . 100 \n\nPART II. DOMESTIC ART IN THE ELEMENTARY \n\nSCHOOL \n\nVIII. Division of Subject-Matter for the Ele- \nmentary School 108 \n\nix \n\n\n\nX CONTENTS \n\nCHAPTER PAGE \n\nIX. The Factors Involved in Planning a Course \nOF Domestic-Art Work for the Ele- \nmentary School 122 \n\n(a) Course of study for Grades 1-4, showing \n\nuse of many lines of hand-work of which \ndomestic art is but one phase. \n\n(b) Course of study for New York Elementary \n\nSchool, Grades 1-8, showing use of \ndomestic-art work. \n\n(c) Course of study showing use of textile \n\nphase of industry as one line of industrial \nthought for Grades 1-8. \n\n(d) Course of study in domestic art for Ele- \n\nmentary School, Grades 7, 8, 9, with \nemphasis on the vocational aspect of the \nwork. \n\n(e) Course of study in domestic art for Ele- \n\nmentary Schools, Grades 5, 6, 7, 8. \n\n\n\nPART III. THE RELATION OF DOMESTIC ART \nTO SECONDARY EDUCATION \n\nX. Can Domestic Art Contribute to the Gen- \neral Aims of Secondary Education? . 175 \n\nXL The Selection and Planning of Work for \n\nTHE Secondary Schools . . . . . . 187 \n\n(a) Part of Household Arts Course for Secon- \ndary School of Classical type. \n\n(6) Domestic-Art Course for Manual Training \nHigh School. \n\n(c) Domestic-Art Course of Study for Manual \n\nTraining High School. \n\n(d) Dressmakers\' Course in Technical High \n\nSchool. \n\n\n\nCONTENTS \' xi \n\nPART IV. DOMESTIC ART IN HIGHER \nEDUCATION \n\nCHAPTER PAGE \n\nXII. Domestic Art as a Part of College Training \n\nFOR Women 246 \n\nXIII. Domestic Art in Other Higher Institutions \n\nOF Learning 261 \n\nA Selected Bibliography of Books Helpful \nIN the Study of the Various Phases of \nDomestic Art 269 \n\n\n\nDOMESTIC ART \n\nIN \n\nWOMAN\'S EDUCATION \n\n\n\nPART I \n\nSOME PROBLEMS CONFRONTING THOSE \n\nINTERESTED IN TEACHING \n\nDOMESTIC ART \n\n\n\nCHAPTER I \nTHE FIELD OF DOMESTIC ART \n\nThe term domestic art as applied to part of \nwoman\'s education has been in use for about twenty \nConfusion of years. During tHe past five or six years \nterminology. ^ confusion of terminology has arisen, \nand throughout the West the term domestic science \nis used to designate all the arts centring about the \nhome. In another section of our country, especially \nthe Middle West, household arts is used synony- \nmously with domestic science, so that naturally one \noften hears the questions, ^^What is domestic art?" \n"What is domestic science or domestic economy?" \n\n3 \n\n\n\n4 DOMESTIC ART \n\nand "What is meant by household arts?" The last \ntitle is probably the one which should be made the \ngeneral term to include all the arts and sciences \nwhich centre about home-making. This seems large \nenough to include all of the following subjects, which \nmay be classified thus: \n\n\n\nDomestic \nScience. \n\n\n\nPhysics and chemistry. \nPhysiology and hygiene. \nChemistry of foods and dietetics. \nCooking and serving of meals. \nBacteriology and biology. \nLaundering. \n\nEconomics and sociology. \nHistory of foods, preparation, and \nmanuf acti^re. - \n\n\n\nHousehold \nManage- \nment. \n\n\n\nHome nursing and invalid cookery. \n\nKeeping household accounts, of \nfood, shelter, and clothing, etc. \n\nDomestic service. \n\nHousehold sanitation and decora- \ntion. \n\nInstitutional and home shopping. \n\nRepairing and renovating. \n\nHistory of home, sociology, eco- \nnomics, and business law. \n\n\n\nTHE FIELD OF DOMESTIC ART \n\n\n\nDomestic \n\nArt. \n\n\n\nArt, especially design in relation \nto the home, its furnishings, and \ndress. \n\nSewing, dressmaking, millinery, \n-^ embroidery, crocheting, and knit- \n\nting. \n\nStudy of textiles, their history, \nmanufacture, and properties in \nrelation to use. ^ \n\nRepairing and care of clothing. \n\nPhysiology and hygiene of clothing. \n\nHistory of architecture and dress. \n\nEconomics and sociology. \n\nThis broad outline is perhaps suggestive of what \nthe work of this field of household arts may mean. \nWoman\'s It is all woman\'s realm, and there is no \n\nhousehold not ^eason why woman should not run her \n\ngenerally well - J \n\norganized. houschold on Scientific and artistic prin- \nciples. In the business world one finds that man is \never ready to try and adopt any new method of keep- \ning books, filing, or cataloguing, and is constantly on \nthe lookout for new developments of science which \nwill send him ahead of his competitors. He would \nnot expect success without system, organization, \nknowledge, and principles upon which to base his \nplanning. If woman is to be trained to run her \n\n\n\n6 DOMESTIC ART \n\nhousehold scientifically and artistically, to know the \nmeaning of the true home-life, and the study of family \nand the child, teachers must certainly be well trained \nto introduce this subject into the school curriculum, \nso that when the mothers of the coming generations \nrear their children it will be on a foundation which \nwill tend toward their development into truly good \ncitizens \xe2\x80\x94 physically and morally strong. \n\nThe subject-matter included under any one of \nthese heads involves so many subjects that it is not \nthe attempt of this book to describe them all \xe2\x80\x94 rather, \nattention will be centred (for discussion of subject- \nmatter) about the field of domestic art, as one phase \nof the household arts, although the suggestions for \nmethods of teaching, planning of courses of study, \nrelation to general education, may be as truly appli- \ncable to the fields of domestic science and household \nmanagement. \n\nOne generally hears the term " domestic art " in use \n\nin relation to sewing in either the elementary or high \n\nschool. This is a very narrow usage of \n\nCommon use \n\nof domestic the term when one considers all the sub- \nart narrow. \n\njects above outlined and the underlying \n\nideals and content which such subjects imply. \n\nThe ethical, social, and aesthetic values are often lost \n\n\n\nTHE FIELD OF DOMESTIC ART 7 \n\nsight of and the material or utihtarian side made the \nmain issue. Not but that this should be strongly \nemphasized, but the field may be so much broader \nand the results so much more satisfactory, in relation \nto both work and child, if teachers are trained with \na view to including the cultural and educational \nfoundations of this great field of work. \n\nA closer analysis of subject-matter \n\nCloser analysis \n\nof domestic art may be advisablc before discussing the \nrelation of this field of work to general \neducation, or to trade and industrial life: \n\nJ I. Hand Sewing. \xe2\x80\x94 The direct application of \nstitches to articles of interest to the pupils. \n\n2. Machine Sewing, \xe2\x80\x94 The use of foot-power and \nelectric-power machines, the latter especially in \nschools of trade type, in garment-making, dressmak- \ning, and other articles. \n\n3. Drafting of Patterns. \xe2\x80\x94 Some form of simple rule \ndrafting or system drafting, pattern modelling, and \nuse of bought patterns. \n\n4. Millinery .r-T^Q making, designing, and trim- \nming of hats of various styles for all seasons. \n\nN.^5. Embroidery.- \xe2\x80\x94 The use of stitches in decoration \n\nof garments, household articles or other furnishings. \n\n%. Crocheting and Knitting. \xe2\x80\x94 The making of simple \n\narticles \xe2\x80\x94 forming foundation for more advanced work. \n\n\n\n8 DOMESTIC ART \n\ny. {Repairing and Care of Clothing. -^Tsitching, \ndarning, remaking; economy in relation to planning \nfor one\'s wardrobe \xe2\x80\x94 or for family wardrobe; adapta- \ntion of garment to use. \n\n^S. Textiles. \xe2\x80\x94 This may include the study of the \ntextile arts of weaving, netting; properties of textiles \nin relation to use ; history of the evolution and manu- \nfacture of textile industries; dyeing and cleansing; \nstudy of widths, prices, and qualities of materials, as \nwell as adaptation to use. \n\nS^ Hygiene in relation to dress and furnishings, \n-^lo. Art in relation to design and color for use in \nthe home and for dress; arrangement of interiors of \nhouses; suitability of line and color in relation to \ndress; study of general principles of design. \n\nII. Woman^s Relation to the Social Field. \xe2\x80\x94 Discus- \nsion of sweatshop labor; leagues for social betterment, \nas Consumers\' and Municipal League; bargains; \nethics of shopping; development of social conscious- \nness; training in accuracy, neatness, foresight, and \nresponsibility. \n\nnqE2. History. \xe2\x80\x94 Industrial history; history of archi- \ntecture; history of costume; development of house- \nhold art, and history of handicraft. \n\n13. Economics and Simple Business Law. \xe2\x80\x94 Ec- \nonomics of the home, relation of expenditure to in- \ncome. Household management, especially in rela- \ntion to purchase and care of clothing and furnishings. \n\n\n\nTHE FIELD OF DOMESTIC ART 9 \n\nHousehold arts, of which this domestic art is a part, \nhas been happily defined as, \'\'a comprehensive term \nwhich includes the scientific study of all matters and \nmeans which will contribute to the happiest, health- \niest, and most efiicient family life." \n\nReference for Study \n** History of Home Economics Movement," Bevier and Usher. \n\n\n\nCHAPTER II \n\nTHE RELATION OF DOMESTIC ART TO \nEDUCATION \n\nIn order to see the relation of industrial work to \neducation, it is necessary for us to consider, in a few \nIndustrial Statements, the meaning of education \n\nwork a vital ... n . , rr-n \n\npartofeduca- ^^ it IS now generally accepted. The \n*^\xc2\xb0\xc2\xb0\' following words seem to sum up the \n\nsituation: *^The education of the individual is the \nprocess of adjustment to or participation in the world \nof social relationships and in the fund of social ex- \nperience, the ideals and methods which those relation- \nships conserve." We have, therefore, the little child \nin our midst, the little child who is to be brought to \na realization of his own self and place in the world \nand to see his relation to the progress of events. All \nthe culture of the race is his \'\'spiritual possession" \nand the unknown land through which he is to be \nguided, in order that he may become an efficient \nindividual. \n\n\n\nlO \n\n\n\nRELATION OF DOMESTIC ART TO EDUCATION II \n\nThere are two points for us to keep before us, in \nconsidering the relation of industrial work to edu- \ncation : \n\n1. How can it help to interpret the child\'s social \nrelationship ? \n\n2. Can industrial work help him to trace the \nprogress of events which have led to present civiliza- \ntion and help him to become intellectually, emotion- \nally, and volitionally adjusted? \n\nPeople have been slow to realize that hand-work \nhas been a potent factor in the spiritual and mental \ndevelopment of nations. There is a longing in every \nsoul for expression. There are many useless people \nin the world to-day because of lack of training in the \nindustrial arts. The individual must be given a \nchance to express and the mind allowed to react to \nthe ideas and impressions received, in order that \nthrough use there may be the necessary brain devel- \nopment and adjustment to new conditions. \n\nFrom time immemorial man has worked with his \nhands, and his time and attention have been utilized \nHand-work as \'^^ the production of things both use- \noidasman. \xc2\xa3^| ^^^ Ornamental. "Necessity" very \n\noften was the "mother of invention," and the need \nfor food, shelter, and clothing led to the gradual de- \n\n\n\n12 DOMESTIC ART \n\nvelopment of industries, from the simple hand-work \nto the elaborate products of the factory system of \nto-day. \n\nWhether, then, through necessity or simply because \nof joy in expression through the hands, the world is \nto-day a rich treasure-house stored with the wonder- \nful products which man has created. The instinct \nfor production is not dead, but will last as long as \nman, for to create is a divine and God-given instinct. \n\nFroebel, in his study of the child, realized that his \nnatural activity could be utilized and turned into \nchannels which would lead to his gradual physical, \nmoral, and intellectual development. He believed \nthis should be of the head, heart, and hand. For \nthat purpose he introduced the gifts, occupations, \nsongs, and plays, and allowed the child to invent and \ncreate. Joy and happiness in work were the results. \n\nFor some time kindergarten training was a pre- \ncarious feature in education, but now that this branch \nhas been incorporated in the public \n\nFroebel real- \nized the value school systcms and colleges, and finds \n\nof hand-work. , ... , . \n\na place even m university work, it seems \nan assured fact that children are to receive some of \ntheir early training in the kindergarten. Here their \ncrude ideas are worked out through the materials \n\n\n\nRELATION OF DOMESTIC ART TO EDUCATION 13 \n\noffered, and the child improves in his abihty to ex- \npress himself with his hands \xe2\x80\x94 for expression is neces- \nsary if im_ages are to be clear. This hand-work \nsatisfies the early craving of the child for play and \nthe practical, and the gifts and occupations become \nplaythings in his hands, but, unknown to him, things \nof educational value. \n\nWhen the child leaves the kindergarten and passes \nto the grade school, too often the change is a very \nabrupt one. There is a lack of the old-time freedom, \nand an absence of the play materials. Children \nthen begin to lose interest, and the attention is often \nforced rather than spontaneous, and teaching ceases \nto be as effective. \n\nAs a help in alleviating this difficulty, hand-work, \nas one of the mediums of expression, has been intro- \nTheintroduc- duccd into many of the grade schools, \nwork intT\'*" somctimcs in correlation with other sub- \nschoois. jects, but more often simply in an occu- \n\npational way. Hand-work as manual training is most \neffective when taught in relation to the other work of \nthe grade, so that there is unity and a harmonious \ndevelopment. By manual training is meant not \nsimply work which is spontaneously interesting and \nkeeps the child alert and active, but work which is \n\n\n\n14 DOMESTIC ART \n\neducationally effective. This effectiveness is in the \nhands of the teacher, and will be worked out by her \nif she understands the theory back of real manual \ntraining and the true relationship to industrial life. \n\nIt is not that hand-work is to be introduced as a \nstudy which is a unity in itself, but with other studies \nwhich go to make up the curriculum, so that it may \nhelp to vitalize the rest and bring the child directly in \ncontact with the world and the reality of things. The \nconstructive activities may be made the centre of all \nstudies and radiate into all life, beginning primarily \nwith the home, which is nearest akin to the life and \ninterests of the young child. Through the different \nlines of hand- work the child becomes acquainted with \nthe materials and processes which have made social \nlife what it is, because it has contributed to culture \na share of the scientific, literary, aesthetic, institu- \ntional, and religious inheritance of the child. \n\nIn tracing the elements in the curricula of various \nages, one notices that they are the result of the domi- \nHand-work TidiYii social tendencies. The seventeenth \nof^h^useh^oiT* century saw a change in the character of \nwork. s^ociety, and the introduction of the ver- \n\nnacular and the realistic subjects into education. The \neighteenth and nineteenth centuries were characterized \n\n\n\nRELATION OF DOMESTIC ART TO EDUCATION 15 \n\nby the prominence of the scientific element. The \ntwentieth century is particularly the era of economic \nadvancement, and we may hope to see the industrial \nelement becoming more and more a feature of mod- \nern education. This revolution in economic changes \nhas caused a shifting of population and brought \nabout changes in habits of living. People living a \nnomadic life are, in their family group, economically \nsufficient unto themselves. When society developed \nand people grouped themselves in towns and villages \nthe neighborhood produced nearly all that was \nnecessary for life. The industrial occupations were \ncentred especially in the home, where all the processes \nof development were seen and participated in, from \nthe raising of the wool and flax to the spinning, dye- \ning, and weaving of the cloth, and the production of \nall the necessities of life. This work was partici- \npated in by all the members of the household. \n\nSince the industrial revolution and the rapid ex- \npansion of the factory system the elements in the \ncurriculum have not kept pace accordingly. While \nthis change brings so much that is good, it also \nalmost eliminates much that was of value in the \nold neighborhood system. Should not our modern \ncurriculum respond and, if possible, try to make \n\n\n\n1 6 DOMESTIC ART \n\namends to the child for the lack of some of the old- \ntime family training, where the child was taught to \ndo in the home, and to be responsible, and to feel \nthat he had an economic share in production? \n\nShould not the training which is given the children \nin the upper grades be planned to prepare them for \n\nDirect bearing ^ socicty which is industrial, as ninety- \nof ijidustriai \xc2\xa3^g ^^^^ ^Q ^q|. gg jj^^Q higher \n\nwork on tram- ^ jr o \n\ning for life. schools ? Is not haud-work for the little \npeople if directly connected, first with home inter- \nests and then with the evolution of the social in- \ndustrial interests, a step in the right direction, \nkeeping in mind what the future development must \nbe? Can we not, through making these construc- \ntive activities a part of our curriculum, acquaint \nthe child with the things which make for true \nculture and liberal education, as well as give him \nan introduction to industrial life? Let us teach \nhim the wisdom of foresight which is so essential \nto success, to be a responsible being with obliga- \ntions toward his fellowmen; let us acquaint him \nwith their needs and conditions, that his sympathies \nmay become broadened and a deeper reverence for \nman and God may result. If acquaintance with \ni industrial work can help to contribute some of these \n\n\n\nRELATION OF DOMESTIC ART TO EDUCATION 17 \n\nthings, it is surely a vital part of education, in fact, \nthe very core of a liberal education. \n\nThere is, however, often danger of the teacher of \nconstructive work overestimating the importance of \nDanger of ^cr line of activity. There must be \noverestimat- ^^^lancc in all things, and the industrial \n\nmg place of ^ \' \n\nhand-work. work, or later domestic art as a part \nof industrial work, should conform to the other \nstudies and the relative amount of time be allowed \nfor it. Household arts, of which domestic art \nis one phase, stand out pre-eminently in the \nfield of industrial work as a part of education \nfor woman. There are so many reasons why \nthis is true. The girl becomes interested in life \nbecause she is dealing with things pertaining to \nevery-day life; she sees connections, if the teacher \nwill aid, in the study of history, geography, arith- \nmetic, etc., and this unity helps in memory. She \nbegins to feel useful because she can do or make \nthings for others, and here begins the development \nDomestic art ^f social consciousness which is so im- \n^rrfn^e^very-*^^ portant a factor in the development of a \nday life. tj^^ly educated person. This study leads \n\na girl to see her ability along certain lines of work, \nand often ultimately, among certain classes, to a \n\n\n\nl8 DOMESTIC ART \n\nselection of desirable work for life. A connection is \nmade between life and technical work. If properly- \ntaught, domestic art should have a highly moral ef- \nfect. It makes for perfect sanity and mental health, \nit develops the will and power of inhibition which is \nthe root of self-control in morals ; it makes for firm- \nness and force of character. A product which is \ncorrectly and neatly finished certainly fosters this. \nIt must be clean, simple, accurate \xe2\x80\x94 this accuracy, of \ncourse, after a child has passed the age of about \nnine years. \n\nGirls learn to understand the value of a well-made \narticle. This affects supply and demand, as woman \nis the greatest consumer, and will also affect the \nsalary of the wage-earner. Good articles will be in \ndemand. Domestic art also gives an understanding \nof materials, which will be of economic value in the \nhome, and will also regulate the materials put upon \nthe market. There is certainly created a greater \nrespect for labor. While learning through this natu- \nral method of doing, the observation, judgment, and \nimagination of the girl are all receiving training. A \nvital connection is being made with the home, for \nthis new interest finds expression there and opportu- \nnity for further cultivation. Girls value most highly \n\n\n\nRELATION OF DOMESTIC ART TO EDUCATION IQ \n\nthe ability to utilize things which they have, and \nare interested in making home comfortable and \npleasant through decoration and the ability to do \nwhich this new art makes possible. There is an \never-increasing pleasure in correct color combina- \ntions and restful effects, and increased enjoyment of \nthe beauties of naturer^ As the girl advances in the \nwork she also learns how to plan her wardrobe eco- \nnomically, how to purchase wisely, and how to make \nher own clothes so that they will be adapted to her \nuse and personality. This may lead her into trade \nwork as a means of livelihood, for the opportunities \nare many which this field of domestic art affords. \nThere is no stronger argument for this work than \nthis, that it should make her a more truly capable \nwoman, one sympathetically awake to the difficul- \nties of others, able and ready to lend her trained \nhand, and responsible to bear her share of the bur- \nden of Kfe. \n\nReferences for Study \n\n"The Child and the Curriculum," Dewey. \n\n"Education of Man," Froebel. \n\n"The Meaning of Education," Butler. \n\n"School and Society," Dewey. \n\n" The Place of Industries in Elementary Education," K. Dopp. \n\n\n\nCHAPTER III \nTHE NECESSITY FOR STUDY OF THE PUPIL \n\nOne may be very familiar with the technique of \n\ndomestic art and have intimate knowledge of the \n\nunderlying thou2;ht content, may know \n\nKnowledge of ^ o o i j \n\nchild nature how to present all of these thoughts, \nand yet fail as a teacher of domestic art \nbecause of lack of understanding of the different \nperiods of childhood and girlhood. It is equally \nas important as technique of subject-matter to \nknow the intricacies of working of the mind with \nwhich the teacher must deal and the effect various \nkinds of work may have on the pupil at different \nperiods. A study of the many expressions of the \nself-activity of the child is a basis for planning the \ncurriculum \xe2\x80\x94 either of general studies or of domestic \nart in relation to them. \n\n"The Case is of Child. It is his present powers \nwhich are to assert themselves ; his present capacities \nwhich are to be exercised; his present attitudes \nwhich are to be realized. But save as the teacher \n\n\n\n20 \n\n\n\nTHE NECESSITY FOR STUDY OF THE PUPIL 21 \n\nknows, knows wisely and thoroughly the race experi- \nence which is embodied in that thing we call curri- \nculum, the teacher knows neither what the present \npower, capacity, or attitude is, nor yet how it is to \nbe asserted, exercised, and realized." \n\nThe problem before us in planning hand-work for \nchildren, is one which should centre directly in the \n\nWork should child. We should begin with him and \nbear directly ^^ j|.]^ ^^^ -^ ^^^ Consideration, and \n\non interests of \' \n\nthe child. plan our work with his growth and de- \n\nvelopment in view. The teacher must select the \nright stimuli for those impulses which are to be \nemployed and must know the aim and direction of \nmovement in planning \xe2\x80\x94 there must be a basis for ac- \ntion. The experience of the teacher therefore must \ninterpret the mind of the child and lead on to some \ndefinite aim. \n\nIt is not the accumulation of knowledge which we \nhope to heap upon him in our planning, or direct \ninformation in relation to concrete things, but to \nbring him to a realization of his relation to life. It \nhas been said that "knowledge is not valuable, but \nknowledge as a function in life is indispensable." \n\nThe little child loves to do, to act, to express what \nhe sees in a constructive way. He first learns to \n\n\n\n22 DOMESTIC ART \n\nconstruct through play in making beheve. He loves \nto see results quickly and to make wholes rather \nLove of ex- than parts of things. At this period he \npression and (^^lyqs more for the actual products than \n\nconstruction of ^ \n\nthe little child, for the proccsscs by which they are made. \nBoth are necessary for complete education. He wishes \nto imitate all phases of adult activity, but as play, not \nas work. There are, though, occasional periods when \nthe child likes to feel that he is working, even though \nit is in a play way, as helping mother to dust, clean, \nor sew. The real work attitude comes later in the \nchild\'s life and must be kept in mind in planning \ncourses in hand-work. But play as well as work is \nnecessary in the development of mind and most of \nearly development comes through play in games, etc. \nAristotle and Plato would have us realize the value \nin play, and Froebel\'s philosophy is based upon the \ndevelopment of the child through his activity in play, \ngames, and occupations. Later he must learn to \nwork in order to become truly socialized and be \ntaught to see that products of work have an economic \nvalue. \n\nThe child loves also to investigate, to explore \xe2\x80\x94 \nand this may later lead him to science. He under- \nstands things and the lives of those about him, \n\n\n\nTHE NECESSITY FOR STUDY OF THE PUPIL 23 \n\nin SO far as he realizes his ability to do and sees \n\nhis relation to the lives of others. He finds himself \n\nin the midst of a complex world. Per- \n\nLove of ex- \nploration and haps to him it may not appear so, for \ninvestigation. \n\nhe is directly concerned with the con- \ncrete world which lies nearest to and just about him. \nHis interests centre in the home, the people and \nanimals there, the personal attachments and love \nand sympathy of those about him. Therefore the \nearly activities in school in order to connect with \nthe home and be vitalized should centre there also. \nHe loves best the things which he understands best. \nThe teacher must guard against the impulse in \nchildren to do things at random and must direct \nthe impulse into paths where real value may be the \nresult. \n\nThe child likes also to talk about his work; the \nmind must react and express itself if it has been \nAvenues of ex- impressed. The teacher of hand-work \npressionfor ^^^^ ^^-jj^^ ^-^[s instinct and help the \n\nthe young ^ \n\nchild. children to see relation between the \n\nthought expressed in words and the act as con- \nstructed. A chance for additional expression is \nthrough the medium of pencil or crayon. Hand- \nwork, then, should mean for the child interpretation \n\n\n\n24 DOMESTIC AET \n\nof this social life through the mediums of form, \ncolor, and materials. \n\nBecause of the above natural instincts of little \nchildren, we must, in planning our work, utilize them \nto best advantage in order to make hand-work a \nvital part in education. \n\nOwing to the reasons given above, the constructive \n\nwork of the later kindergarten and first grade should \n\nbe related to the child\'s home life. \n\nEarly grade \n\nwork to relate This wiU neccssarily vary with locality \nand environment. The central thought \nof mother, family, household activities may be the \nstarting-point for nearly all. If the children under \nconsideration are those in a small village, the inter- \nests following the home would be those of village \nlife, construction in relation to the farm and agri- \ncultural life, the village blacksmith, store, church, \netc. By the time he reaches the second or third \ngrade and his own surroundings have in a degree \nbeen interpreted, he may be introduced to the lives \nof other little children and primitive people and their \nmethods of securing food, shelter, and clothing, \nwhich have come to him so easily. In later years, \nafter comparisons have been drawn, he may be \nled from the knowledge of rural life to that of the \n\n\n\nTHE NECESSITY FOR STUDY OF THE PUPIL 25 \n\nindustrial life of city, state, and national affairs, in \norder that he may understand something of their \ncomplexity and his relation to it. By the time the \nhigh school period is reached, the relation of trade \nand industry may be understood and the child have \nsome knowledge of the relationships existing in them \nand of the obligation resting upon him to share in \nthe activity. \n\nIf the locality of the city child is the starting-point \nin planning, the construction of things in relation \n, ,. , to home interests may aerain be the \n\nLocality and \xe2\x80\xa2\' \xc2\xb0 \n\nenvironment centre, and the radiation from them into \n\naffect the \n\ncourse of the field of interests nearest akin to the \n\n^ ^ ^\' life of rich or poor child. The compari- \n\nson of present life as the child knov^s it with that of \nmore primitive people, the different stages of hunting, \nfishing, and agricultural development, in some locali- \nties must necessarily be postponed a little later than \nthe second grade, until the children are ready for it. \nThere can be no hard and fast rules in relation to the \ngeneral course of study or particular relation of hand- \nwork to it. \n\nThe real spirit of work or construction as work \ndoes not begin until about the twelfth year of the \nchild\'s life. Then the industrial work may be closely \n\n\n\n26 DOMESTIC ART \n\nrelated to the particular trade or industry of a lo- \ncality. With the young children one must keep in \nMain aim with ^^^^ the idea that finished products of \nthe young -Qj^g technique are not the end and aim \n\nchild IS train- ^ \n\ning- in view. It is the child\'s development \n\nResults ex- \npected to be first and foremost and one must expect \n\nrather crude results. Owing to the physi- \ncal growth and peculiar nervous development of chil- \ndren, a large variety of materials for constructive work \nshould be used, and only those which excite to broad \naction in which no details of perfection are required. \nIn the use of these materials and processes there \nmust be adjustment to the mental and physical \ncapacities of the child. \n\nAs Dr. Dewey says, the school should represent to \nthe child the real life of society. It should be a \nminiature community because an individual can \nhave no life apart from society and he can realize \nhis aims best by making them accord with the desires \nof society in general. The work of education in the \nschool, therefore, whether through hand-work or \notherwise, is to help the child to see his relation to \nthe whole. All the possessions of the race are to be \nbestowed upon the individual so that he may carry \n\n\n\nTHE NECESSITY FOR STUDY OF THE PUPIL 27 \n\nthem forward with the additional thought and prog- \nress of his times. Here, also, he is to glance ahead \ninto the future and to learn to take his place among \nthe men of real life. Here he must learn justice, \norder, and co-operation; he must develop inde- \npendence of action which shall later become leader- \nship. \n\nBecause the child is a social being and the school \nis to be made his little world, attention should be \nValue of group given to group work. Through it the \n\nworkindevel- ^j^jj^ ^^^.^^^ ^^ ^^^^ ^j^j^ ^^j^^j. ^^ \nopment of the \' \n\nchild. respect and adapt himself to various \n\ninterests and natures and to work for a common \ngood or whole. "The mere absorption of facts or \ntruths is so expressly individual an affair, that it \ntends very naturally to selfishness. When children \nare engaged in active work, helping others, it sets \nfree the powers of the one who gives and is an in- \ncentive to the one helped." While the individual \nparts mean much to each child as his contribution \nor help toward the whole, it is the whole result \nwhich is of value to the little community because \nof the co-operative spirit expended in bringing them \ntogether. This combination of interests has been \nhappily called orchestration, and surely it reaches \n\n\n\n28 DOMESTIC ART \n\nthat where the work is the expression of joy, and \ngood will and sweet harmony are the result. \n\nIf, then, through group work and individual con- \nstructive work the child is made to feel that he is \nreally a part of society in his little world, and is given \nan insight into the culture of the race possessions and \nindustrial development and a foresight as he works \nwith others, surely this work may be said to con- \ntribute its share in the vital education of the child. \n\nThe task before the teacher is one of great respon- \nsibility. We are to make this hand-work one means \nof developing the child in the fullest possible manner. \n\nDuring the early grades, the child is not able to \nmake the fine adjustments which are required for \nfine sewing \xe2\x80\x94 one expects crude results, but by the \ntime the fifth grade is reached the teacher should \ndemand more accurate work and greater neatness. \nVery often teachers neglect to do so and the result \nis that slovenly habits of action are formed. \n\nIt is during the period from eight to fourteen \nyears of age that the teacher of domes- \n\nClose contact \xe2\x80\xa2\' ^ \n\nbetween tic art has an unusual opportunity, be- \n\nteacher and \n\ngirl a factor in causc of her close contact with the \n\ndevelopment. \xe2\x80\xa2 i . i i i i .i \xe2\x80\xa2 \xe2\x80\xa2 i \n\ngirls, to help develop their social con- \nsciousness and is able to suggest opportunities of \n\n\n\nTHE NECESSITY FOR STUDY OF THE PUPIL 29 \n\nthinking about and helping others in a practical way. \nIt is during this period too that supplementary talks \non clothing, hygiene, appropriateness of dress are of \nparticular value \xe2\x80\x94 and make much impression. It is \nthe period when the inner life of the girl is con- \ncealed from others and is so often fraught with \nmany dangers. The teacher of domestic art has \nmany responsibilities here, for comparatively few \ngirls pass beyond the elementary school education, \nso that the time is limited in which much must be \naccomplished if the teacher would be of the greatest \npossible aid. \n\nAs the girl enters upon the age of adolescence, the \nteacher should understand this period of girlhood \nPhysical and not only adapt her work to it, but \n\nthe7eriod"f ^ ^^^^ ^^^ ^^st of the expressions of this \nadolescence, period of development. It is the time of \nabrupt bodily transitions, the girl is restless, is grow- \ning rapidly and needs plenty of rest, and exercis^, \nproper food and clothing. The teacher of domes- \ntic art should be alive to these things, and the girl \nshould not be overtaxed nervously nor the eyesight \nstrained. It is often possible for the domestic-art \nteacher to discover defects of eyesight that may not \nhave been noticed by any one else. Because of the \n\n\n\n30 DOMESTIC ART \n\nintimacy of relationship between teacher and pupils, \nthe hopes, ambitions, needs of the girls are expressed \nto the teacher, so that opportunity is afforded to \nguide them perhaps in choosing their life work. As- \nsistance may often be given which will affect the \nwhole life trend of the girl, for this is the period of \nintense ambition for her own life, either in respect to \nmarriage, self-support, or even socially in the school \nor community. It is the age of interest in manual \ntraining, when the development of the muscles gives \nstrength for the control and use of tools. The most \nimportant service the domestic-art teacher can render \nduring this period is to instruct the girls in the im- \nportance of proper clothing and food as the foun- \ndations of good health. This aspect of the work \nalso emphasizes the principles of domestic science. \nDuring this adolescent period, the domestic-art \nteacher should be conscious of the mental changes \nMental ^f her pupils. She will be aware of a cer- \n\nchanges. ^^^^ increase of vigor of mind and open- \n\nmindedness as it were. It is the time of the develop- \nment of the reason and judgment and should not be \nhampered by too much memorizing. There is every \nopportunity for developing judgment in the domestic- \nart work \xe2\x80\x94 and the teacher may soon learn whether \n\n\n\nTHE NECESSITY FOR STUDY OF THE PUPIL 31 \n\nthe service is of the lips or based on individual grasp \nof the problem. Girls are often lazy and are content \nto accept subject-matter which is given to them \nwithout question, whereas a boy would wish to \nknow *Hhe why." Generally the girl is alert, bright, \nand interested in things \xe2\x80\x94 and the teacher should \nutilize this interest in organized activity. This is the \nperiod when girls are apt to worry over their prob- \nlems and to have little patience with the minute, \nexact, methodical. It is also the period of certain \nemotional development, and consequently it often \nhappens that the young teacher with a happy, \nspontaneous nature is more apt to be successful \nwith girls of high school age than an older person \nperhaps better trained and more experienced in \ntechnique. This is the period of storm and stress, \nof excitements, ambitions, hopes \xe2\x80\x94 religious doubts \nand introspections, sex impulses, and the adoration \nof teachers and friends. All these impulses must be \nunderstood by the domestic-art teacher if she will \ndeal wisely with the girls under her care. It is the \nperiod of great responsiveness to all stimuli whether \nright or wrong, the period of development of self- \nconceit and superior airs, and that welcomes new, \nradical, or even revolutionary thoughts. There can \n\n\n\n32 DOMESTIC ART \n\nbe no more important field than this for the domestic- \nart teacher, and comparatively few teachers plan \nwith foresight to make the lessons with the girls of \nthis age really tell. It is the time when true impres- \nsions can be made and a responsibility and social \nconscience awakened that will have a lasting value. \nThe close contact of the domestic-art teacher makes \nit possible for her to give instruction which will \ntrain for character and the development of intelli- \ngent and independent women who will be the back- \nbone and safeguard of our nation. \n\nThere will probably be many discouragements for \nthe teacher during this period. It will be necessary \nto have faith and to await results which may be long \nin appearing. Mr. Stanley Hall says that at this \nperiod the soul is so sensitized that nothing is lost. \nIt is the period of insight and receptivity \xe2\x80\x94 and the \nharvest will surely come \xe2\x80\x94 the mental life is becoming \norganized and permanently fixed and there is a power \nof apprehension and appreciation which is far beyond \nthe ability of the girl of this period to express. \n\nIt is a big problem and one of great responsibility \nfor the teacher of domestic art to know when and \nwhere to help to strengthen, to direct or inhibit the \nvarious impulses of this critical period of womanhood. \n\n\n\nTHE NECESSITY FOR STUDY OF THE PUPIL S3 \n\nReferences for Study \n\n"The Child and the Curriculum," Dewey. \n"The Educative Process," Bagley. \n"Notes on Child Study," Thorndike. \n"Adolescence," G. S. Hall. \n"The Meaning of Education," Butler. \n"School and Society," Dewey. \n\n\n\nCHAPTER IV \n\nPROBLEMS CONNECTED WITH THE PRESENTA- \nTATION OF DOMESTIC-ART SUBJECTS. \n\nIt has been said that teachers are born, not made. \nNot every one who understands the technical work \nof the field of domestic art is able to present it \xe2\x80\x94 \neven in some cases after much training. Neverthe- \nless a conscientious study of the child or person to \nbe taught and an intelligent understanding of the \nbest methods of presentation of that subject-matter \ncan but produce decidedly better results. As we \nhave noted, the mass of subject-matter which we call \ndomestic art is so very broad that it is not possible \nto present all the phases of it to the children in the \nelementary or high schools. Special discussions of \ncurricula for various types of schools will follow, in \nother chapters, but it is the purpose of this to sug- \ngest the best way to present different phases of the \ndomestic-art work and to leave the selection of \nsubjects for later discussion. One must keep con- \nstantly in mind the person or child to be taught, \n\n34 \n\n\n\nPRESENTATION OF SUBJECTS 35 \n\nand the subject-matter and method should be that \nwhich will be of most value ethically, practically, \nand intellectually to the pupil. \n\nThe writer has visited many domestic-art classes \n\nand has found poorer presentation of the subjects \n\nthan in almost any other field of work. \n\nIndividual \n\nversus class Very oftcu the teacher is not prepared \n\ninstruction. , i i i i z,^ \n\nand suggests to the class that they go \non with their work." This means that the teacher \nwill often pass among her pupils and instruct indi- \nvidually, but gives no thought or time to class dis- \ncussions, in which the uncertain things are made \nplain and a real thought content developed. Class \ndiscussion previous to beginning work is an economy \nof time. It enables the pupils to begin together and \nmany of them to proceed without much help from \nthe teacher. This is of much assistance if the class \nnumbers forty or fifty, for then it is a physical impos- \nsibility for the teacher to direct each worker. When \nit so happens that the pupils are working on under- \ngarments or dresses, individual instruction is neces- \nsary and the classes are usually smaller, but even then \nthere should be supplementary talks, or questions in \nconnection with the work, of vital importance to all \nand that will give the work a real thought content. \n\n\n\n36 DOMESTIC ART \n\nNo teacher of domestic art, or any subject in fact, \nshould approach her class without some definite plan \nThe teacher\'s ^^ action in mind. Much time is wasted \npreparation. j^^ ^j^jg g^^j ^^ teaching bccausc of lack \n\nof clearly defined ideas on the part of the teacher, \nand lessons are conducted in a haphazard way \nwhich could have been brought to the point had \ntime been given to thoughtful preparation. A \nspecial chapter will be devoted to the subject of \nlesson planning and the thought involved in correct \npresentation of this subject. \n\nEvery detail of preparation in the way of materials \nfor illustration should be arranged before the hour \nfor the lesson arrives. The failure to have at hand \na demonstration model or tools may often mar the \neffect of an otherwise good lesson. \n\nThere are many children who see things with \ntheir eyes only and to whom a spoken word in rela- \niiiustration tion to direction means very little. For \nof lessons. g^^j^ ^j^^ actual demonstration on the \n\nframe or cloth is of greatest value. It is not neces- \nsary to have a regular store frame \xe2\x80\x94 a piece of un- \nbleached muslin attached to the blackboard frame \nwith thumb tacks will answer every purpose. A \nlarge darning needle and red or black Germantown \n\n\n\nPRESENTATION OF SUBJECTS 37 \n\nyarn complete the outfit. The stitches should be \nlarge enough for all to see without difficulty. The \nblackboard is also a valuable adjunct and should \nsupplement the demonstration frame. The teacher \nof domestic art should be ready to illustrate as she \ntalks and to represent the stitches with needle in \nposition if it is a sewing lesson, or to outline the \npoints made in discussion of other subjects. Lessons \nmay also be illustrated by pictures, when talks on \ntextile and household art subjects are given, and by \ncollections of other exhibits when materials, etc., \nmay have been discussed. Trips to museums sup- \nplement these as another avenue of illustration. It is \nalways well to have illustrations of completed articles \nin which the stitch or lesson to be taught is plainly \nemphasized so that additional application for use \nmay be really seen as well as discussed in class. \nEvery complete domestic-art laboratory should have \nsome cases for illustrations, not only of completed \narticles that have been made in class, but for studies \nof ethnological subjects in connection with the field \nof domestic art. Basketry, pottery, weaving, primi- \ntive spindles and looms, laces, embroideries, study \nof historic costume, all help to illustrate the talks \nand interest the pupils in this field of work. An \n\n\n\n38 DOMESTIC ART \n\nindustrial exhibit is also of great value, showing \nthe processes of thread-making, needles, buttons, \nand preparation of all the raw textile fibres. Some \nof these may be obtained from the United States \nGovernment, and there are also certain textile manu- \nfacturers that are willing to furnish well-mounted \nboxes of specimens for a small consideration. Col- \nlections of materials, laces, muslins, etc., with their \nrespective values, names, and prices, will also be \nfound of great assistance. \n\nThe domestic-art teacher should be constantly on \nthe lookout for pictures and clippings which will \nassist her in illustration. These may be mounted, \nfiled, catalogued, and kept for reference, and are \nalmost invaluable. The current magazines furnish \nmuch material. Inexpensive pictures are often found \nrelating to subjects in this field and may be framed \nand hung in the laboratory if a special room is \ndevoted to this work. The bulletin-board is of much \nvalue in this connection for clippings and pictures; \nmottoes and suggestions may be mounted tempora- \nrily there. This may all be in charge of the stu- \ndents from week to week, for change and filing. \n\nThe relation of the textile field to the elementary \nor high school curriculum will be shown later in \n\n\n\nPRESENTATION OF SUBJECTS 39 \n\ndiscussing courses of study, but certain hints for \npresentation may be given here. There are so \nSuggestions niany phases of this work that the op- \ntatiot^ortTx-"^" portunity is almost Hmitless. Weaving \ntile work. jji^y be givcn on small looms as individ- \n\nual problems in the lower grades of the elementary \nschool and is often begun, in the kindergarten. \nDyeing of materials may be done in this connection. \nIn the fourth or fifth grades weaving may be given on \nindividual looms and the results joined, forming a \nrug or textile of value in house-furnishing problems. \nLater in high school, or even before, opportunity \nmay be given for co-operative problems on the \ncolonial type of loom. Weaving is often "overdone," \nespecially in the lower grades. As one line of indus- \ntrial study it is of interest and value, but little chil- \ndren need variety of work and the subjects are so \nnumerous and can with foresight be so grouped as \nto develop thought in relation to the various fields of \nindustry that there is no excuse for confining the \nwork to this one subject. The reason is apparently \nlack of willingness on the part of the teacher to \nexert herself or an absence of originality in her \nscheme of work. Charts will be found of much \nvalue in teaching textile work. These may represent \n\n\n\n40 DOMESTIC ART \n\nmany phases of textile study and may be made by \nevery child in the class and the discussions given as \nclass lessons. Comparison of the four leading tex- \ntiles makes an interesting study. Such charts may be \nused as early as the third grade, and supplementary \ntalks make them of great value. These may show \nthe four samples pasted on a card with the names \nwritten above each. Samples of yarn may be pasted \nbelow the cloth for comparison. \n\nChildren are interested in cutting out paper dolls \nfrom magazines. A picture of a girl or boy may be \nmounted on the chart or card, and lists of the four \ntextiles in which she is presumably dressed written \nin the four corners of the card. Opposite each gar- \nment named may be pasted a sample. These will \nshow the complete outfit of the child. The children \nshould be free to select their samples from boxes of \nscraps arranged by the teacher in convenient places. \nCharts illustrating the problem of dress and its cost \nare also helpful. A teacher with ingenuity may \ninsert any variety of these problems. The field is \nrich for showing the processes of modern manufact- \nure, the properties, dyeing, cleansing, and shrinking \nof materials. \n\nBooks of textile samples will be found of much \n\n\n\nPRESENTATION OF SUBJECTS 41 \n\nhelp in either elementary or high school. The teacher \nmay supply books for each textile and plan the clas- \nsification. The samples, with widths and prices, may \nbe mounted by the children as contributed. \n\nIn connection with history and geography the \ninterest in textile work will be much increased by \nstudy and presentation by the children of informal \nlectures on the evolution of the various industries \nconnected with clothing and shelter. If these are \nsupplemented with a stereopticon, the interest of the \nlittle lecturers knows no bounds. \n\nOf late years there has been much discussion in \n\nnormal domestic-art circles as to the use of drafting \n\nin elementary and high schools. The \n\nThe use of ^ ^ ^ \n\ndrafting and simple drafting of shirtwaist, kimono, \nand small petticoat is often given in \nthe elementary school, and very often in the high \nschool one finds quite elaborate systems being used. \nThe writer believes that there is a certain value \nin it all, but as a rule it is very slight. The be- \nginning of this line of work and thought may be \nas early as the fourth or fifth grade of the elementary \nschool, where free-hand cutting of paper dolls\' \nclothes gives an insight in a simple way into the \nrelation between line and figure. This is of great \n\n\n\n42 DOMESTIC ART \n\nvalue to the child. The work is free, never stereo- \ntyped, and these small paper garments may be basted \ntogether or real material made into garments using \nthe paper patterns. There is so much to be crowded \ninto the domestic-art work of the elementary school \nthat the writer believes it much better in nearly \nevery locality and under varying conditions for the \nuse of commercial patterns to be taught in the \nupper grades rather than any form of drafting. If \ngirls can be taught to cut out garments easily and \ncorrectly and make simple alterations of patterns, \nmuch has been gained. In the ordinary high school, \neither manual training, or classical, where some \ndomestic-art work is given, some simple drafting and \npattern modelling in crinoline is advisable. The \nsimple modelling should precede the drafting, so that \nthe lines of the pattern in relation to figure may be \nlearned. With these relationships in mind, drafting \nwill be quite intelligible and enables the girl to put \nit to practical use later. If this work is combined \nthe student will have an excellent idea of the mak- \ning of real patterns and be able to originate and \nplan for simple gowns in crinoline as a pattern, \nthus learning an additional method and one which is \nmore full and natural. \n\n\n\nPRESENTATION OF SUBJECTS 43 \n\nIn technical and trade schools it is often advisable \nthat the students study some regular system of \ndrafting and have quite a good deal of experience in \nmaking patterns by both of the above methods. \nThis work should be more advanced than that \ngiven in the other types of secondary schools men- \ntioned. \n\nThe greatest error in the teaching of drafting is \n\nthe stereotyped dictation method by v^hich it is \n\noften presented. This may not be an \n\nErrors in \n\nteaching draft- error where older students with limited \n\ning of patterns. \n\ntime and familiar with such work are \nreceiving instruction, but in either elementary or \nsecondary schools where the training of the girls is \nbeing considered and drafting is being presented for \nthe first time this method of approach is certainly \nwrong. The children may actually work it out as \nthey would a puzzle, but there is no real connection \nof line with the idea of human form and the girls \nare not being taught to think for themselves. This \ncriticism is especially true of high school teaching. \nIt is possible, however, by a simple developmental \nmethod to make the girls think, and to have them \nunderstand before they begin to draft the necessity \nof certain lines, the relation of one line to another, \n\n\n\n44 DOMESTIC ART \n\ntheir relation to the human form, and the possibili- \nties of change to suit the different figures and styles. \nThe value of crinoline modelling as a prerequisite \nwill be seen. Even unbleached muslin may be used \nin this connection to advantage, and the modelling \ndone on one another in class. This method of \npresentation may be accomplished by questioning \non the part of the teacher, who must be alert and \nskilful in order to present her lesson successfully in \nthis way. There is no comparison as far as results \nare concerned, for the girls gain a thorough mastery \nof the subject because it is the result of their own \nthought and can be used later instead of filed in \nnote-books. \n\nIt is often a debatable question whether machine \nwork should be given to girls between ten and fifteen \nMachine work Y^ars of age. This the writer feels must \nin schools. ^g jg\xc2\xa3^ ^Q ^^^ decision of the teacher of \n\neach group. If the teacher of domestic art knows \nthat the girls in her classes in the elementary school \nare so conditioned that they must go to work \noften before the work of the grades is finished, she \nwill feel the necessity of introducing machine work \nearly in order that this knowledge, which is of so \nmuch help, may be gained before the girl leaves \n\n\n\nPRESENTATION OF SUBJECTS 45 \n\nschool. The teacher must be the judge as to whether \nthere is any physical reason why a girl should not \nrun the machine. As a rule, the short period de- \nvoted to this kind of work is quite harmless and the \ngirls thoroughly enjoy it. In trade schools where \nthe girls may be more closely confined at this kind of \nwork, the teacher should be more careful and watch- \nful. As a rule, the high school is the place where the \nuse of machines should be begun, but in many \nlocalities it is necessary to begin it as early as the \nsixth grade. If the girls of a certain school in a cer- \ntain locality cannot remain after fourteen years of \nage, this work should be included as one of the \ndomestic-art subjects of value for the school in this \nlocality and should be considered by the domestic- \nart teacher as subject-matter for her consideration \nand selection. \n\nMachine work should be begun on simple articles \nwhich will give practice in straight stitching, and use \nof the simple attachments, before more advanced \ngarment-making is done. Aprons, bags, cases of \nvarious kinds, covers, pillow-cases, etc., are all \nsimple and offer opportunity for practice. \n\nThe writer has noticed much time wasted in \nclasses doing machine work. This is nearly always \n\n\n\n46 DOMESTIC ART \n\ndue to lack of thought and good management on the \npart of the teacher. She should plan carefully to \nhave the machines always in use and so arrange \nthat some of the class are sewing by hand in prepara- \ntion for machine work while others are at the \nmachines. An exchange can be made as occasion \narises, and in this way no time is lost. \n\nThere is a difference of opinion between teachers \nas to the advisability of using single- or double- \nthread machines with beginners. The writer finds \nthe single thread of value during the early process of \nlearning because it is easily ripped, but difficult to \nhandle because of the necessity for stitching on the \nright side of the garment. As it is not possible to \nhave two sets of machines, the writer believes that a \nlight-running double-thread machine will prove the \nmost satisfactory in the long run. \n\nMillinery and embroidery are subjects which may \nbe taught in either the elementary or high school \nMillinery and ^^^ ^^^7 be Continued in trade or \nembroidery. technical schools or classes. The work \ngiven in the grades must be quite elementary in \ncharacter. The children may buy their own frames \nor hats to be trimmed, or even prepare them from \nbraided raffia. Simple lessons in bow-making may \n\n\n\nPRESENTATION OF SUBJECTS 47 \n\nalso be given. The domestic-art teacher of each \nschool, however, must decide v^hether there is time \nto include millinery in her course and whether it \nwill be of value to her group of girls to have it, \nrather than some other line of domestic-art work. \nExpert millinery and trimming should not be ex- \npected from young girls. Even in trade and tech- \nnical schools the trimming is an art which may be \ndemonstrated by an expert trimmer, but it seldom \nhappens that girls under twenty are proficient in \nthis line or have learned the fundamental technique \nwhich would enable them to be good trimmers. \nThis branch of the work requires experts where \nthe work is done for trade purposes; it seems \nalmost innate and can seldom be taught. \n\nThe high school work in millinery may include the \nmaking and covering of all kinds of hats; frame- \nmaking, trimming, and renovating. The lessons \nshould be illustrated by blackboard drawings, pict- \nures from magazines, and demonstrations. Visits \nto shops are of value in this connection for study of \nstyles. The type of school will determine how much \nof this work should be given and whether this or \nsome other domestic-art subject is of greatest value \nto the girl in the limited time allowed. \n\n\n\n48 DOMESTIC ART \n\nSimple embroidery may also be given in the \ngrades. In the lower grades this may be in the \nuse of overcasting, blanket stitch, and others, as a \nmeans of decoration on coarse burlap pillows, table \ncovers, etc.; or in the upper grades, outline, cross, \nchain, Kensington, darning, satin stitch may all be \napplied on articles which will be of interest to the \npupils. Design work given by the art instructor \nshould be closely in touch here, as well as in high \nschool, where more advanced embroidery may be \ngiven if time permits and it seems of most worth \nto the group of girls considered. There is always \ninterest in this class of work, and it may be presented \nall along the way either as supplementary work or \nto introduce variety into the course. Needlebook \ncovers, pin-cushions, tray covers, table scarfs, pil- \nlow tops, embroidery of table linen and towels, are \nsimply the beginning of a long list. In high school \xe2\x80\x94 \nlingerie hats, shirtwaists, collars, ties, stocks, gradu- \nating gowns, may be ornamented with simple em- \nbroidery. The demonstration frame will be found \nof use in illustrating the various stitches. It is well \nfor the teacher to collect samples of embroidery and \nto have as many articles as possible showing the \napplication. \n\n\n\nPRESENTATION OF SUBJECTS 49 \n\nIt is not necessary to wait until pupils are of high \n\nschool age before introducing problems in furnishing \n\nand decoration. As early as the first \n\nProblems in ^ ^ ^ ^ \n\nhousehold grade, it is possible to begin with simple \nsuggestions in the relation of line to \nspace, color combinations, wall coverings, etc., ap- \nplied to the fitting up of small houses or rooms \nmade from soap-boxes, if nothing else is available. \n\nA very interesting problem is one in which the \nwhole elementary school may have a share. A room \nshould be chosen, if available, and furnished by the \ndifferent grades. Rugs may be made by some \xe2\x80\x94 \nco-operatively \xe2\x80\x94 couch cover, window curtains \xe2\x80\x94 sim- \nple hangings, pillows, table covers, and baskets, etc., \nmay be added by different classes. If space allows \nand a suite of rooms can be furnished and actually \nused by instructors or others, it will be of inestimable \nvalue. \n\nIn many towns or cities by co-operating with large \ndepartmental stores or even smaller ones it may be \npossible to secure loan exhibits of furniture, hang- \nings, or house furnishings which if well arranged \nwill be of great value to the pupils. In some schools \nsimple lessons in upholstery may be given with \nexcellent results. Talks on hygienic furnishing \n\n\n\n50 DOMESTIC ART \n\nshould accompany the working out of all these \nproblems. Charts illustrating interiors make an \ninteresting variation of domestic-art work. Chairs, \ntables, etc., may be cut from catalogues and ar- \nranged on cardboards. Color schemes of interiors \nmay be furnished and plans made for the wall, floor, \nand covering of ceiling. With older girls in high \nschool it is possible to sketch interiors and to color \nthem with water-colors. It is often possible to secure \ndrummers\' sample designs for furniture, when some- \nwhat old-fashioned, and these may be utilized in the \nchart work. The furniture houses are quite willing \nto dispose of them. A model suite of rooms is of \ngreat assistance in a high school, but it is to be \nhoped that all the interiors of the high school class- \nrooms, halls, and offices may be as attractive as \npossible. The proper placing of pictures, casts, and \nplants cannot help having an effect on the general \natmosphere of the school. Loan exhibits of pictures, \nschool work, etc., are also of help. The high school \ncourse in house furnishing may be made very inter- \nesting by interspersing the talks with hand-work, \neither the making of charts and color schemes as sug- \ngested or the weaving and embroidering of pillows, \ncovers, or other house furnishings. The importance \n\n\n\nPRESENTATION OF SUBJECTS 5 1 \n\nof the simplicity of furnishing, the planning with \nreference to use, adaptability, and economy of time, \nenergy, and money, the true home atmosphere and \nthe relation of furnishing to it should all be brought \nout in the talks or discussions. Books and pictures \nwill be found of much help in a course of this kind. \nLessons in design should go hand in hand with \ndomestic-art work, and all teachers of domestic art \nshould have a good course in design be- \n\nDesign as part \n\nof domestic yond whatever study of art and drawing \ngeneral education may have provided. \nIf there is an art instructor in the school, the do- \nmestic-art teacher should have her co-operation \nand the two work together in order that unity of \naction may be the result. Designs for all the \ndomestic-art problems may be worked out in this \nway. Paper dolls and their coloring, dressing, sim- \nple interiors \xe2\x80\x94 all may come under the direction of \nthe art supervisor and in the elementary as well as \nhigh school should go hand in hand with domestic- \nart problems and the two be worked out in harmony. \nThe interest in the art work is much more keen when \nthis definite relationship is seen and understood. \n\nOne of the most important subjects for growing \ngirls is a knowledge and close acquaintance with the \n\n\n\n52 DOMESTIC ART \n\nlaws governing health. The influence of proper \nfood and clothing on health cannot be overesti- \n\xe2\x80\x9e . . ^ mated. It is part of the domestic-art \n\nRepairing and ^ \n\nhygiene of teacher\' s privilege to give talks as sup- \n\nclo thing as \n\npart of this plcmcntary work while teaching the \n\nfisld of work \n\ntechnique of sewing, or to have definite \nperiods devoted to the discussion of this subject. \nThis work should be given in a very simple way in \nthe elementary school, but in the secondary schools \ntests in relation to materials, their strength, warmth, \ntexture, shrinkage, and cleanliness, may be worked \nout in the laboratory and be of particular value. \nThe talks for either elementary or secondary work \nshould cover such subjects as the following: \xe2\x80\x94 The \ncare of the body, cleanliness and use of underwear, \nthe brushing of garments, care of the feet, proper \nfootwear, dressing of the hair, proper hats, the \nstorage of clothing, etc.; many of these may be \nillustrated by demonstrations. \n\nThe question of how and when to teach rep^ring \nis a much disputed one. As a rule, in many schools \nthe subject is disliked by the girls and there is a loss \nof interest when repair lessons are announced. This \nlack of interest need not necessarily follow, and the \nsuccess of such work will depend on the ingenuity, \n\n\n\nPRESENTATION OF SUBJECTS 53 \n\nskill, and tact of the teacher. Perhaps a clever way \nto present the repair work is between problems of \ngreater interest \xe2\x80\x94 just before Christmas gifts or some \nother application of vital importance. Simple patch- \ning, darning of stockings, and darning of simple \nrents in woollen or linen materials may be given in \nthe fifth, sixth, seventh, or eighth grades. If pos- \nsible it is best to begin repair at once on the stocking \nor garment, but if such things are not available \nscraps of stockinet or cashmere must suffice. By \ncanvassing among the teachers of a school or impress- \ning the children with the necessity of bringing the \nnecessary stockings from home it is quite possible to \nhave a direct application of the repairing. Repair- \ning which necessitates a knowledge of the construc- \ntion of garments is a part of high school work, and \nrebinding of skirts, replacing worn collars or cuffs, \npatching, replacing parts of worn sleeves, are too dif- \nficult to be given to children of elementary school age, \nfor they require good judgment, skill, and technical \nknowledge of garment -making for proper execution. \nThe yearly festivals are always of interest to the \nChristmas children, and the more nearly it is pos- \n^"^\' sible for the domestic-art teacher to re- \n\nlate her work to their life interests, the more effective \n\n\n\n54 DOMESTIC ART \n\nwill be the results. Simple Christmas gifts may be \nprepared by children of every grade. They should \nbe simple, appropriate, artistic, and adapted to the \nuse of the little giver. The time devoted to the mak- \ning of these may be a part of the regular sewing pro- \ngramme each year, or it may be given as extra work \nfor those who finish ahead of their class-mates. \n\nThe Christmas season is often a happy time for \ninformal exhibits of the work of the children; the \nparents may be invited, and a real social feature \nmade of this part of the work. The annual exhibit \nmay be more formal, but the Christmas party may \nshow the progress of the fall term of work and be \nan incentive to many of the children. The rooms \nand blackboards may be decorated by the children, \nand the domestic-art laboratory may becom.e a centre \nof school interest and spirit. If a special room is not \nset aside for this work, then the principal of the school \nmay be willing to designate a certain room or space \nfor this particular feature of the life of the school. \n\n"A place for everything and everything in its \nplace" is a very erood ereneral rule \n\nCare of sup- ^ ./ o o \n\nplies saves with which to Start. The work bags or \nboxes of the children should be care- \nfully labelled and kept in a conveniently located \n\n\n\nPRESENTATION OE SUBJECTS 55 \n\nplace, if possible. Extra supplies and materials \nshould be so classilSed and labelled that they may be \nfound with ease. A system of noting when supplies \nare low will guard against a general skirmishing \nabout at the eleventh hour for a particular kind of \nmachine needle or a certain number of thread, and \nthe consequent loss of time involved. \n\nIf the teacher has a special room for her work, \nshe should have the supplies most often used and \nsuch materials as she may need for demonstration \nconveniently at hand. If as supervisor she must \ntravel from room to room in the school, a box for her \nuse may be kept in each room, or one supplied with \nthe few things she is most likely to need carried from \nclass to class. The demonstration cloth mentioned \nabove will be found an almost indispensable addi- \ntion to this box for the quick demonstration of the \nmethod of making stitches. This cloth may be \nmounted in the frames for such purpose or easily \nadjusted with thumb tacks to the wooden frame of \na wall map and the height so regulated for the use \nof children as well as teacher. In demonstrating on \nthis cloth the stitches should be very large so the \nchildren at the back of the room may have no diffi- \nculty in seeing. This is of help, for the teacher is \n\n\n\n5^ DOMESTIC ART \n\nspared the necessity of giving so much individual \nattention later and time is thus saved for other more \nimportant work. \n\nReferences for Study \n\n"Textiles and Clothing," Watson. \n\n"How We are Clothed," Chamberlain. \n\n"A Sewing Course," Woolman. \n\n" Occupations for Little Fingers," Sage and Cooley. \n\n"School Needlework," Hapgood. \n\n"Domestic Art Review," February and April, 1909. \n\n\n\nCHAPTER V \n\nTHE STUDY INVOLVED IN PLANNING A \n\nDOMESTIC-ART LESSON OR SERIES \n\nOF LESSONS \n\nFrom previous discussion, we have discovered that \nit is absolutely essential for the teacher of domestic \nart to know thoroughly her technical subjects. It \nis also quite as important for her to understand the \nchild or pupil before her, and it is again as truly \nnecessary that she should have some definite plan \nof action in mind when she brings that subject- \nmatter to the pupils, in order that the best results \nmay be obtained with the greatest economy of time. \n\nMuch discussion might be given to the best method \nof presenting the domestic-art subjects, but they are \nso varied, as well as the conditions governing them, \nthat it must be left to the individual teacher to \npresent the type of lesson which is best adapted to \nthe needs of her pupils, their environment, aims, \netc., as well as the subject under consideration. It \nmay be best to enumerate the various types, and \n\n57 \n\n\n\n58 DOMESTIC ART \n\nillustrate later the inductive-deductive form most \noften used, although not exclusively, in teaching \ndomestic art in the elementary and secondary \nschools. \n\nThe use of the lecture method is well known. It \nis dangerous if used entirely with young people, \n\n1. The lecture bccause the thinking is so often done by \nmethod. ^^iq lecturer and there is no self-activity \non the part of the student; he does not think and \nlearn through the thinking process. It is unsafe to \nleave it as lecture without further discussion and \nillustration. The demonstration method may be a \npart of the lecture method and is simply a better \nkind of lecture, for it helps to furnish illustrations \nwhich make for stronger impressions. \n\nText -books should be used as a side issue, or for \nsupplementary reading or study, never as an end in \n\n2. The text- themsclvcs. They may be used as a \nbook method, starting-point for introducing a subject, \nor as a supplement to the lesson presented. Before \nusing the text-book, the instructor should be sure \nthat the child understands the questions, and then \nhe should be left to work out the answers for him- \nself. There is danger in this kind of work, for the \npupil may do too much memorizing and fail to get \n\n\n\nPLANNING A DOMESTIC-ART LESSON 59 \n\nthe full meaning, unless the teacher supplements \nthis with other methods of study. \n\nThe drill lesson, is of value because it leads to \ncertain definite motor and intellectual habits. A \n3 The drill ^^^^ drill, although a repetition, need not \nlesson. Y)Q monotonous, for plenty of opportu- \n\nnity may be given for application. Facts should be \npresented in drill as we wish them recalled, the use \nof stitches, etc. Perfect work is the result of drill, \nand much will depend on the previous method of \nassociation of ideas, as the work is gone over from \nthe old point of view. The physical as well as \nmental side of drill lessons should be of interest to \nteachers of domestic art. Habits are formed by \ntrial and success method, by imitation, and through \nnew ideas told the child. We learn most through \nimitation and this method is not to be despised. \nThe teacher must consider too, in this type of lesson, \nthe pleasurable element, for it is of importance if \ngood habits are to be formed. \n\nThe aim of the review lesson is to recall old \nhabits that have been formed by drill lessons, or by \n4. Review reasoning, but to recall them perhaps \nlesson. from ncw view-points. This broadens \n\nthe outlook. From these new stand-points it is \n\n\n\n6o DOMESTIC ART \n\npossible to apply the knowledge gained to new situ- \nations. \n\nBy deductive method is meant that way of pre- \nsenting a lesson, which gives first, the rule to be \n\n5. Thededuc- learned, illustrates this rule, and then \ntive method, gxpects the pupils to make direct ap- \nplication. The procedure is from a general state- \nment to a particular application until proficiency is \ngained. Care must be taken in presenting any sub- \nject by this method that the class is ready for the \nstep or abstract statement when it is presented. \nVariations of the rule cause thought and lead to a \nbetter understanding, but the discussions of the class \nshould illustrate why they fall under different heads. \n\nBy the inductive method is meant the general pro- \ncedure through reasoning from individual notions to \n\n6. The indue- generalizations. The reader is referred \ntive method. ^^ j)^ McMurray\'s book on "The \n\nMethod of the Recitation," where the five formal \nsteps are discussed at length. By the first step of \npreparation is meant the clearing of the ground, as \nit were, for the new truth to be presented. It is the \nconversation or questioning which leads to the point \nof contact between the ideas which are the child\'s, \nand the new thought to be presented. The teacher \n\n\n\nPLANNING A DOMESTIC-ART LESSON 6l \n\nis discovering what is the apperceptive mass of the \npupil before her and how far back she must begin in \norder to make the new truth plain. There may be \nmany avenues of approach in preparing to present \nthe new lesson. New facts are not introduced in \nthis step, but old experiences recalled, which prepare \nthe pupil\'s mind for the new experiences to follow. \nBetween this and the second step of presentation \nthere must be close connection. The questions must \nbe clear, interesting, and definite, and such as will \narouse thought. They must follow, too, in close \nsequence. There must be a definite aim in mind \nfor presentation, an aim for the child as well as for \nthe teacher, whose aim is naturally broader but \nincludes that of the child. The child\'s aim should \nbe made plain, so that he starts out with a definite \nplan in mind. The more realistic the teacher can \nmake this the better. The teacher must keep in \nmind also the doctrine of interest and make the sub- \nject vital and arousing. The illustrative material \nwill naturally depend on the subject and age of the \nchild, but should be varied so as to appeal to as many \nsenses as possible. The aim of the lesson to be \npresented should be constantly in the teacher\'s mind, \nand she should not be swerved from this purpose \n\n\n\n62 DOMESTIC ART \n\nunless it seems wise in developing her subject to \nchange. This may be due to a discovery that her \nclass is not quite ready for the new thought. The \nteacher should be quick, alert, and ready to adapt \nherself to any change in method of procedure when \nnecessary. The main or ^^ pivotal questions" in the \nnew lesson should be firmly in mind, so that should \nthere be a digression it may be possible to return \neasily to the course of procedure. \n\nComparison need not necessarily be made in each \nlesson, although given as the third formal step. \nGeneralizations are comparatively few and very \noften may not be made until after a series of lessons \non a given subject have been presented. By gen- \neralization is meant the review by comparison of \nindividual facts, and by picking out the common \nessential characteristics, the formation of a general \nnotion in relation to a particular set of ideas. This \ngeneralization should be given by the pupil in his \nown words and then supplemented or rounded by \nthe teacher and text-book. This rounds up the \nsequence of thought, whether it be in a lesson or \nat the end of a series. The application comes as a \ntest when the new generalization or concept gained \nis to be used. This, too, may come at the end of a \n\n\n\nPLANNING A DOMESTIG-ART LESSON 63 \n\nlesson, and often not until the end of a series, or \nlonger period of study. In domestic-art lessons the \nstep of application of principles consumes much time. \nThe inductive method is often objected to because \nit is too slow. Then, too, it cannot always be ap- \nplied effectively to all subjects. It is, however, one \nof the most useful methods of approach in teaching \ndomestic-art subjects and is used with much success \nin combination with the deductive approach. \nGeneral prin- There are certain general principles \n\n\xc2\xb0^^lt^^^ of method, however, for the domestic- \n\nmethod to \' \' \n\nbear in mind, art teacher to bear in mind in planning \nher lessons. \n\n1. Every good lesson should be planned to begin \nwith what is in the child\'s mind, and proceed to the \nunknown, that is, there should be some preparation \nfor the second step through use of the old ideas. \nThe psychologist calls this general principle the law \nof apperception. \n\n2. There should be two definite aims. First, the \nteacher\'s, a general topic to be taught, which means \n\n/that the teacher knows much more about her subject \nthan she will present to the class, but she selects that \npart of her knowledge which she wishes to present \nto the children and adapts it to their needs. The \nteacher has also for her aim the developing of right \n\n\n\n64 DOMESTIC ART \n\nhabits, intellectual, motor, and moral, the cultivation \nof the child\'s reason, and the training of his powers \nof appreciation. So we may say her aims are : con- \ncrete or practical, ethical, and social. Second, the \npupil\'s aim must be definite, clear, and concrete. If \nthe teacher would hold the interest and attention of \nher class, she should make the problem or aim as \nattractive as possible. \n\n3. In selecting and adapting the subject-matter to \nbe taught, the teacher will bear in mind the age of her \npupils, their previous training, and the subject itself. \n\n4. Every good lesson plan should contain certain \npivotal questions to be used in the lesson. These \nshould be logical, hold the attention of the class, \nand control the reasoning powers of the pupils. \n\n5. The teacher should have in mind definite illus- \ntrative material \xe2\x80\x94 the kind, how it is to be used and \nwhere introduced to make the lesson effective. This \nmaterial will help to centre the attention and gain \nthe interest of the class. \n\n6. The teacher in planning should keep in mind \nthe self-activity of the child. This is to be exercised \nby him in thinking out his questions and answers \xe2\x80\x94 \nin thinking out his applications and in giving phys- \nical expression by doing. \n\n7. There should be in nearly every lesson a sum- \nmary or review of the main points covered in the \nlesson. This should be short, concrete, and quickly \n\n\n\nPLANNING A DOMESTIC-ART LESSON 65 \n\naccomplished, focussing as it were the thought of \nthe hour. \n\n8. Whenever possible there should be some appli- \ncation of the lesson to broader fields. \n\nWe have discussed the main points for the do- \nmestic-art teacher to keep in mind while planning, \nbut how is this actually to be done? \n\nYoung \xe2\x80\xa2\' \n\nteachers Until One bccomes quite experienced it \n\nshould write \n\nout their is wisc to write out each lesson quite \n\nfully. It will more than repay those \nwho make the effort. Planning in this way is a \nbenefit, for it enables the teacher to know if she \nhas accomplished all she had in mind. The actual \nlesson may be compared with the plan step by step, \nand the points of discord noted. Very often the \nteacher will discover that she has improved on her \nplan. The self-criticism of a young teacher is \nbound to count as an element in her success. If the \nteacher must present the same lesson to several sec- \ntions of a class, it would be wise to try different \nmethods of approach in presenting the same lesson \nand compare the results. \n\nBefore planning the lesson of the day, the domestic- \nart teacher must have clearly in mind, if possible, \nthe plan of action for the year. This will be dis- \n\n\n\n66 DOMESTIC ART \n\ncussed under courses of study for elementary and \nsecondary schools. This yearly course will be made \n\nOutline of ^P ^^ ^ number of problems to be pre- \nseriesof les- scnted. A problem may need from one \n\nsons to pre- \ncede the daily to ten lessons, or more, for its com- \npletion, and for each one of these day \nlessons a definite plan should be prepared. Before \nplanning for each day it is well for the teacher to \nmake a general scheme, which will give a bird\'s- \neye view, as it were, of the lessons given to the \naccomplishment of that problem, or to plan the \nseries of lessons so that she may be sure to group all \nthe material to be presented about that series of \nlessons. By this method it is easy for her to dis- \ntribute the supplementary material throughout the \nseries, and to keep constantly in mind the results \nto be accomplished. It is well, too, for the teacher \nto know what materials are to be used, the amount \nand cost per child, as well as the illustrative materi- \nals, books, and supplementary talks. \n\nThe following scheme for the series of lessons, \ncovering in a general way the work to be accom- \nplished, may be suggestive, as well as the daily \nlesson plans which follow. They will serve to \nillustrate the points made above. \n\n\n\nPLANNING A DOMESTIC-ART LESSON \n\n\n\n67 \n\n\n\nSTUDENT PLAN \n\nOutline for Series of Lessons \n\nSubject. \xe2\x80\x94 Cooking apron. \n\nSchool. \xe2\x80\x94 Elementary School, New York. Grade. \xe2\x80\x94 7th. \n\nAge. \xe2\x80\x94 II to 15 years. Average age, 13 years. \n\nNumber of Lessons. \xe2\x80\x94 Nine approximately \xe2\x80\x94 i hour each. \n\nTeachers^ Aims. \xe2\x80\x94 \n\n(Ethical). To develop self-reliance arising from con- \nsciousness of ability to do. \n(Social). To emphasize the importance of cleanliness \n\nand economy. \n(Concrete). To compass the steps necessary in the \nplanning and making of a cooking apron. \nPupils\' Aim. \xe2\x80\x94 \nTo cut and make a cooking apron neatly by machine. \n\nFinished apron. \n\nSamples of material suitable for aprons. \nSamples of bleached and unbleached \nmaterial. \n\nHems. \n\n\n\nMaterials \n\n\n\nIllustrative \n\n\n\nSamples showing \n\n\n\nStitching. \nGathering. \nButtonholes. \nSewed-on buttons. \n\n\n\nTo be used \n\n\n\nDemonstration frame. \n\nChalk. \n\nBlackboard. \n\nScissors. \n\nPencils. \n\nThread. \n\nSewing boxes containing \n\n\n\nTape measure. \n\nNeedles. \n\nThimbles. \n\nPins. \n\n\n\nApron lawn for the aprons. \nButtons. \n\n\n\n68 \n\n\n\nDOMESTIC ART \n\n\n\n\xe2\x96\xa0 Use. \nI. Discussion of choice of material accord- Suitability, \ning to Durability. \n\n[ Cost. \nII. Economical cutting. \n\nIII. Bleaching of materials. \n\nIV. Making of apron. \nSubject- (a) Laying hems. \n\nMatter ] (b) Basting. \n\n(c) Stitching. \n\n(d) Gathering. \n\n(e) Stroking of gathers. \n(/) Making buttonholes. \n(g) Sewing on buttons. \n\nV. Kinds of aprons. \n\nVI. Textile talks on cotton manufacture. \nCost per child, 25 cents. \n\nNote. \xe2\x80\x94 This subject-matter to be presented during course of lessons. Not in order \ngiven, but this ground to be covered as seems best in daily development of plans. \n\nElementary School \n\ndaily plan. lesson i \nGrade VII. \n\nSubject. \xe2\x80\x94 Cooking apron. \n\nTeachers^ Aim. \xe2\x80\x94 To have pupils gain an intelligent and \neconomical use of material through the planning and cutting \nof a cooking apron. \n\nPupils^ Aim. \xe2\x80\x94 To cut the apron. \n\n\n\nSUBJECT-M ATTER * \n\n\n\nMethod \n\nNote. \xe2\x80\x94 Step of preparation. This \nshows the method of questioning and of \npreparation for the new facts to be pre- \nsented. It is introductory and leads to new \nwork. \n\n\n\nIntroduction. \n\n\n\nAs you know, I have been visit- \ning, several days, in your school- \nroom. I want to speak of some- \n\n\n\n* This subject-matter column should show the material which the teacher has in mind \non this subject as best fitted for the children in this particular class. This is the first \nlesson only on this subject and shows only the subject-matter for the first lesson. \n\n\n\nPLANNING A DOMESTIC-ART LESSON \n\n\n\n69 \n\n\n\nReference to neatness of desks. \n\n\n\nThe kitchen another place where \nneatness is necessary. \n\n\n\nCooking apron. \n\n\n\nTo help keep the work and \nclothes of the wearer clean, \nf Color. \nMaterial. \nStyle of making. \nDurability. \nCost, \naccording to their use. \n\n\n\nAprons differ in \n\n\n\nthing I have noticed while there \nand that is the neatness of your \ndesks. \n\nI was glad to see it because I \nfelt that girls who had formed the \nhabit of keeping their desks neat \nwould be quite likely to be neat \nabout other things, so I hoped \nyour work in sewing would be as \nneat as your desks. \n\nNeatness is desirable in many \nplaces. It is very necessary in \nthe kitchen. \n\nWhen in the kitchen we not \nonly want to keep the kitchen neat, \nbut want to keep ourselves neat \nalso. \n\nWhat could we make in the sew- \ning class which would help to keep \nus neat when at work in the cook- \ning class? \n\nWhy are aprons worn ? \n\nAre all aprons alike ? \n\nHow do they differ? \n\n\n\nMaterials suitable for cooking \naprons \xe2\x80\x94 lawn, cambric, gingham, \nand calico, etc. \n\nAn apron worn by a person \ncooking should always be clean. \n\nWhite or light colors are the \nmost desirable for cooking aprons. \n\n\n\nOf what materials may cooking \naprons be made? \n\n\n\nIn what condition should the \ncooking apron always be ? \n\nDo you think light or dark \ncolors would be best to use for \ncooking aprons? \n\n\n\n70 \n\n\n\nDOMESTIC ART \n\n\n\nAdvantages \xe2\x80\x94 \n\n(i) They show when soiled, \ntherefore are not as apt to be worn \nafter they become soiled. \n\n(2) As white soils easily the \nwearer will be more careful about \nher work. \n\n(3) White is more cheerful and \nlooks better than a dark color. \n\nCooking aprons to be made of \napron lawn, which is 40 inches \nwide and costs 11 cents per yard. \n\nOther suitable materials, for \naprons, to be collected and width \nand price noted. \n\n\n\nA pattern is not necessary for a \ncooking apron when the maker has \na model, or a clear idea of the \nkind of apron desired. \n\n\n\nLength of \n\n\n\nSize of the apron \xe2\x80\x94 \n\nf Apron. \n\xe2\x96\xa0 Bib. \nBelt. \nStraps. \nWidth of apron and bib. \nWidth of belt and straps 2 \ninches. \nSize of f Wide, 2 inches. \n\n\n\nhems \n\n\n\nNarrow, ^ inch. \n\n\n\nfor \n\n\n\nMeasures taken of person \nwhom apron is being made. \n\nLength of skirt. \n\nLength of strap from waist, over \nthe shoulder, and across the back. \n\nSize of waist. \n\n\n\nWhy ? What are the advantages \nof white and light colors ? \n\n\n\nI have apron lawn for you to \nuse for your aprons, but I would \nlike to have you bring some sam- \nples next Friday of materials either \nwhite or colored which you think \nwould be suitable for aprons. \n\nFind out the cost and width of \nthe material you select. \n\nNote. \xe2\x80\x94 Beginning of the presentation of \nthe new work, the aim being to cut the \napron. Notice method of developing ideas \nin relation to cutting. \n\nLet US see how many things we \nmust think about in cutting out \nan apron. \n\nIs it necessary to have a pattern \nfor a cooking apron ? \n\nAfter the material is selected \nwhat is the first thing that must \nbe decided upon? \n\n\n\nHow may this be determined? \n(Children to take each other\'s \nmeasures. Each child to write \ndown her own measures.) \n\n\n\nPLANNING A DOMESTIC-ART LESSON \n\n\n\n71 \n\n\n\nCut with the warp threads run- \nning lengthwise of the pieces. \n\nFor strength. \n\nTwo widths will be needed. \n\n\n\nWhich way of the material will \nthe pieces be cut? \n\nWhy? \n\nWill one width be sufficient for \nthe skirt of the apron? How \nmany will be needed? \n\nWould a seam be desirable in \n\n\n\nAvoid a seam in the centre of \nthe front by dividing one width the centre of the front ? \nlengthwise through the centre and \nsewing one-half width on each \nside of the whole width. \n\n\n\nHow may this be avoided ? \n\n\n\nTwo pieces for belt. \nTwo pieces for straps. \nOne piece for bib. \n\nWaist measure taken loosely, \nI inch allowed for lap and ^ inch \nfor finishing. \n\n\n\n<- \n\n\n\nA \n\n\n\nV \n\n\n\n72 \n\n\n\n<- \n\n\n\n-X- \n\n\n\n27\' \n\n\n\nWhat other pieces will be \nneeded ? \n\n\n\nHow will the size of the belt be \ndetermined ? \n\nHow can we cut the pieces re- \nquired from the material we have \nto the best advantage? \n\n\n\n-X- \n\n\n\n27 \n\n\n\n> \n> \n\n\n\nA \n\n1 \n8" \n\n1 \n\nvj \n\n\n\n\nCentre \nWidth \n\n\nSide Width \n\n\n\n\nSide Width \n\n\nShoulder Strap \n\n\nShoulder Strap \n\n\nBelt \n\n\nBelt \n\n\n\nA \n\n\n\ni6i", \n\n\n\nX \n\n\n\ni6f" \n\n\n\nX \n\n\n\n4V \n\n\n\n(Use the board for illustrating, ask children to suggest ways of \narranging the parts.) \n\n\n\n72 \n\n\n\nBegin at the straight end of the \ncloth. \n\n\n\nDOMESTIC ART \n\nWhere will you begin to cut? \n\n\n\nPieces to be measured, marked \nwith pins, creased, and cut on \ncrease. \n\n\n\nCompare and discuss different \nways of arrangement if the class \nhas suggested them, if not give \nonly one drawing. \n\nDirections for work. \nGive each child a piece of lawn \n2 yards long. \nPass scissors. \n\n\n\nWork- \nMeasuring and cutting of pieces. \n\n\n\nStrip for belt. \n\nTwo strips to go over the \nshoulder. \n\n\n\nSome material can be measured \nand torn, but this lawn does not \ntear satisfactorily so we will meas- \nure it carefully, mark with pins, \ncrease, and then cut on the fold. \n\n\n\nI would like to have you cut \n\nyour aprons out to-day, but when \n\nyou measure and crease a line I \n\nwant to see it each time before it is \n\ncut. \n\nThis is a statement of aim of work for \nthe day. \n\n(i) On one side of cloth meas- \nure a 6^" strip the entire length of \nthe cloth. \n\nMark with pins or pencil dots. \n\nCrease on places marked. \n\nAfter I have seen it, cut on the \ncrease. \n\n(2) Measure a 2" strip off the \n6|" strip in the same manner. \n\n(3) Fold the 4J" strip cross-wise \nthrough the centre, be sure to fold \nthe edges together evenly, crease \nand cut as before. \n\n(4) Fold and pin these three \nstrips together. \n\n(5) From the straight end of the \ncloth measure 27\'\' on both edges \nand in the centre, fold on marks \nand crease, before cutting on the \ncrease see that material is evenly \nfolded and cut across goods along \nthe even edge. \n\n\n\nPLANNING A DOMESTIC-ART LESSON \n\n\n\n73 \n\n\n\nMiddle width and piece to be \ndivided.^ \n\nSide pieces. \n\n\n\nBib. \n\n\n\n(6) Cut on the fold; this gives \ntwo pieces the same size, zf\'x \n\n(7) Fold one of them length- \nwise through the centre, crease, \nand cut. \n\n(8) Pin these two pieces to the \nlargest piece you have. \n\n(9) You have one piece left. \nHow long is it ? \n\n(10) Measure a piece 9" long \nand 8" wide, fold, crease and cut. \nRound corners slightly at lower \nedge. \n\n(11) Fold the small piece that \nis left and put it in your sewing- \nbox. \n\n(12) Fold your work and pin \nyour name on it. \n\n\n\nWork put away. \n\nScissors collected by one child. \n\n\n\nPut things away in your sewing- \nboxes. \n\n\n\nAs soon as your work is put \naway sit down and face this way. \n\n\n\nSummary of points brought out \nin the lesson. \n\n\n\nHow many think they could cut \nan apron out at home like the one \nwe have just cut ? \n\n\n\nSuppose you were going to \nmake one for some one at home, \nwho can tell me how to begin it ? \n\n\n\nWhat would you do next? \n\n\n\n74 DOMESTIC ART \n\nSTUDENT PLAN \n\nOutline for Series of Lessons \n\nSubject. \xe2\x80\x94 Weaving rug. \n\nSchool. \xe2\x80\x94 Elementary. \n\nGrade. \xe2\x80\x94 IIL \n\nNumber of Children. \xe2\x80\x94 22. \n\nA^e.\xe2\x80\x94S-g. \n\nNumber of Lessons. \xe2\x80\x94 5. \n\nTeachers\' Aims. \xe2\x80\x94 \n\n(a) Practical; weaving rug with pattern. \n\n(b) Ethical; habits of accurate thinking and doing, per- \nseverance, and patience. \n\n(c) Social; relation of rug weaving to home and school, \nadaptation of material used. \n\nPupils\' Aim. \xe2\x80\x94 Weaving rug. \n\nMaterials. \xe2\x80\x94 22 pieces cardboard, belt punch, 44 balls jute \n(several colors), paper, No. 19 tapestry needles, scissors, \nthimbles. \n\nCost per Child. \xe2\x80\x94 5 cents. \n\nIllustrative Material. \xe2\x80\x94 Blackboard, small pieces of canvas \nshowing selvage and warp and woof, large cardboard with \nbright-colored jute for demonstration, rug on small cardboard \npartly woven, finished rug. \n\nOutline of Subject- Matter. \xe2\x80\x94 \n\n(i) Weaving rug. Planning size, arranging holes for warp \nthread, threading needles, making knot, putting in warp \nthread, weaving woof threads (darning, shuttle, heddle, batten), \nselvage, joining threads, making simple and pleasing stripe for \npattern, removing from card, fringing. \n\n(2) Accuracy of thought, skill. \n\n(3) Jute, cultivation, manufacture, use, adaptation. \n\n\n\nPLANNING A DOMESTIC-ART LESSON \n\n\n\n75 \n\n\n\nDAILY PLAN. LESSON 2 \n\nSubject. \xe2\x80\x94 Weaving rug. \nSchool. \xe2\x80\x94 Elementary. \nGrade. \xe2\x80\x94 3d. \n\nTeachers\' Aim.\xe2\x80\x94HsLve pupils put in pattern of two stripes \nand begin weaving centre of rug. \nPupils\' Aim. \xe2\x80\x94 ^To weave part of rug. \n\n\n\nSubject-Matter \n\n\n\nDrew woof threads too tight, so \nmade width of rug uneven. Didn\'t \ntighten up the woof enough to \nmake good, firm, solid material. \n\n\n\nIn weaving, the jute was passed \nunder and over the first time across, \nand over and under coming back. \n\nJoin well in toward centre, \nnever on selvage. Leave ends \nabout i" long on wrong side. See \nLesson i. \n\n\n\nMethod \n\nEvery one looks happy and eager \nto work this afternoon. I\'m glad, \nfor we have a great deal to do and \nwe\'ll want to do it well. You\'ve \nheard the old saying, "What\'s \nworth doing at all, is worth doing \nwell." I\'m sure we all feel that it \nis worth while to weave a small \nrug for the doll\'s house and so it is \nworth weaving well. \n\nLet us think for just a second \nwhat troubled us in our weaving \nlast week. William, can you tell \nus? \n\nWe\'ll try to overcome those faults \nto-day and keep the woof threads \nloose enough to make rug even; \nalso push the woof thread well up \nto the end every time. \n\nJust how did we put in the woof \nthreads ? \n\n\n\nWho remembers how we piece \nthe thread? \n\n\n\n76 \n\n\n\nDOMESTIC ART \n\n\n\nDemonstration on blackboard \nand large cardboard, illustrating \nmethod of going over and under \nthe alternate threads and of piec- \ning the woof by lapping near the \nmiddle of woven material. \n\n\n\nI expect every child to put in \ntwo narrow stripes and begin \nweaving centre of rug. Every \npupil ought to have a good rug. \n\nStripe is to be of different color. \nBegin near centre under same warp \nthread with first color. Weave in \ntwo or three threads across for nar- \nrow stripe and six or seven for \nwide one with few threads of brown \nbetween. \n\n\n\nDemonstrate with bright color. \n\n\n\nPass rugs, jute, scissors. \nWork begins. \n\nWoven two stripes and begun \non centre, keeping width even and \nwoof well battened. \n\n\n\nOn last row of stripe leave off \nwhere you began. Cut thread \nwith long end, leaving it on wrong \nside of rug. \n\nTell the class. Lulu, what they \nare expected to do in the next half \nhour. How many think they can \ndo it, and do it well? Good! \nwe\'ll be first-class weavers. \n\n\n\nThose who have done what I \nasked them to do, hold up rug, \nplease. We\'ve done very well \nthis afternoon. \n\n\n\nOver and under alternate \nthreads, careful joining of thread, \nwidth of rug, close firm mesh. \n\n\n\nWhat are the things we need to \nkeep in mind to be good weavers? \n\nCollect. \n\n\n\nPLANNING A DOMESTIC-ART LESSON 77 \n\nSTUDENT PLAN \n\nOutline for Series of Lessons \n\nSubject. \xe2\x80\x94 Making a petticoat. \n\nSchool. \xe2\x80\x94 Public. Grade. \xe2\x80\x94 8th. \n\nAge of Children. \xe2\x80\x94 14. \n\nNumber of Lessons. \xe2\x80\x94 12. \n\nTeachers^ Aim. \xe2\x80\x94 ^To teach the girl to make a neat, useful \npetticoat for herself by machine, to give her an understanding \nof the varying conditions under which ready-made underwear \nis made, and the girl\'s responsibility as a consumer. \n\nPupils^ Aim. \xe2\x80\x94 To make a petticoat for herself. \n\nMaterials. \xe2\x80\x94 \n\n(a) Actual (for each girl): \n\nCambric, 2 lengths. \n\nRufHing, 3 J yards. \n\nButton. \n\nThread, No. 50 and No. 80. \n\nNeedles. \n\nScissors. \n\nThimble. \n\nTape measure. \n\nPins. \n\nEmery. \n\n(b) Illustrative: \n\nPaper. \n\nDemonstration cloth. \nPictures of factory *life, sweat-shop labor. \nWork of the Consumers\' League in bettering con- \nditions. \nPlackets of various kinds. \nFinished skirts. \n\n\n\n78 DOMESTIC ART \n\nSubject-M alter. \xe2\x80\x94 \n\nPoints covered in making the petticoat: \n\n(i) Cutting of the skirt from two lengths of material. \n\n(2) Pinning and basting seams. \n\n(3) Making French seams. \n\n(4) Putting in the straight placket. \n\n(5) Preparation of the top of the skirt for the band (sloping, \ngathering) . \n\n(6) Fitting the skirt to the band. \n\n(7) Putting on the band. \n\n(8) Preparation of the bottom of the skirt for the ruffle. \n\n{a) Curving the bottom of the skirt (not necessary \nwhen cutting from a pattern). \n\n(b) Creasing and stitching the |-inch tuck. \n\n(c) Division of skirt into quarters. \n\n(9) Preparation of the ruffle: \n\n(a) Cutting to desired width. \n\n(b) Joining. \n\n(c) Division into quarters. \n\n(d) Gathering. \n\n(10) Fastening of the ruffle to the skirt. \n\n(11) Button-hole (practice, then make in the band). \n\n(12) Sewing on the button. \n\nDAILY PLAN. LESSON 8* \n\nSubject. \xe2\x80\x94 Making a petticoat by machine. \nSchool. \xe2\x80\x94 Public. \xe2\x80\x94 Elementary. \nGrade. \xe2\x80\x94 8th. \n\nLength of lesson \xe2\x80\x94 One hour. \n\nTeachers^ Aim. \xe2\x80\x94 ^To stroke the gathers of the ruffle. To baste \na part of the ruffle to the skirt, distributing the gathers properly. \n* Note: The first seven plans are omitted; this is given as a type. \n\n\n\nPLANNING A DOMESTIC-ART LESSON \n\n\n\n79 \n\n\n\nPupils^ Aim. \xe2\x80\x94 ^To stroke the gathers of the ruffle. To baste \na part of the ruffle to the skirt, distributing the gathers properly. \n\n\n\nSubject-Matter \n\nTo prepare the ruffle for gather- \ning, these steps were taken: \n\n1. Cutting of the ruffle to the \ndesired width. \n\n2. Joining of ruffle (French \nseam). \n\n3. Dividing of ruffle into quar- \nters. \n\n\n\nMethod \n\nTell me very briefly how you \nprepared your ruffle for the gather- \ning \xe2\x80\x94 simply name the steps. \n\n\n\nAn embroidery ruffle is prepared \nin the same way. \n\n\n\nCan you think of any other kind \nof ruffle that would be prepared in \nthe same way ? \n\nWe seldom get ruffling already \nprepared for us. If we wish to have \na cloth ruffle we must usually cut it \nand make it. \n\n\n\nIn a cloth ruffle, the woof threads \nextend the length of the ruffle and \nthe warp threads up and down \xe2\x80\x94 \nthe same way as in the body of the \nskirt. The material cuts to bet- \nter advantage in this way and the \nruffle looks better (falls into pret- \ntier folds). \n\n\n\nIn making a cloth ruffle, a num- \nber of strips should be torn across \nthe material. \n\n\n\nThe depth of the strips \xe2\x96\xa0\xe2\x96\xa0= the \ndepth of the ruffle when finished + \nthe amount for tucks, hem, and \nmaking. \n\n\n\nHow many of you have ever \nmade a cloth ruffle or have seen one \nmade ? Which set of threads ex- \ntended the length of the ruffle? \nWhy? \n\n\n\n(Teacher shows a cloth ruffle on \na skirt.) \n\n(Teacher makes a diagram on \nthe board to illustrate the way in \nwhich the strips are torn for the \nruffle.) \n\nIn measuring the depth of the \nstrips, for what would you have to \nallow ? \n\n\n\n8o \n\n\n\nDOMESTIC ART \n\n\n\nThe number of strips needed de- \npends upon: \n\n(i) The width of the material. \n\n(2) The width of the skirt \naround the bottom, \n\n(3) The amount of fulness de- \nsired (usually I J times). \n\n\n\nWhat would determine the num- \nber of strips needed ? \n\n\n\nAfter the strips are cut, they are \njoined. \n\nThe hem and tucks are then put \nin. The ruffle is quartered and \ngathered. \n\n\n\n(Teacher names the steps taken \nin finishing a cloth ruffle.) \n\n\n\nBefore the ruffle is fastened to \nthe skirt, the gathers must be \nstroked. It was not necessary to \nstroke the gathers at the top of the \nskirt, because there were two rows \nof gathering. \n\n\n\nIn the ruffle there is but one row \nof gathering, therefore it is neces- \nsary to stroke the gathers. \n\n\n\nI shall show you to-day how to \nstroke the gathers quickly. \n\n\n\nStroke gathers because it is a \nhelp in getting them distributed \nevenly. \n\n\n\n(Teacher explains reason for \nstroking gathers and demonstrates \nthe stroking.) \n\n\n\nFor fine materials, stroke the \ngathers with a coarse needle. For \nheavier materials, stroke the gath- \ners by drawing them between the \nthumb and forefinger \xe2\x80\x94 pressing \nthem. The gathering thread is \nheld firmly \xe2\x80\x94 may be pinned to the \nknee. \n\n\n\n(To show the importance of \nstroking gathers, teacher shows \ntwo gathered pieces. In one, the \ngathers will have been stroked; \nin the other, not.) \n\n\n\nPLANNING A DOMESTIC-ART LESSON \n\n\n\n8l \n\n\n\nAfter the gathers are stroked, the \nruffle is ready to be fastened to the \nskirt. \n\n\n\nDivide the skirt into fourths cor- \nresponding to the division of the \nruffle. Mark the divisions w^ith \nseveral large stitches. \n\n\n\nSince the ruffle was quartered \nfor the gathering, what should be \ndone to the skirt before attaching \nthe ruffle, in order to get the gathers \nevenly distributed? \n\n\n\nIn pinning and basting the ruffle \nto the skirt, the following points \nshould be considered: \n\n(i) Wrong side of ruffle to \nwrong side of skirt; (2) joining of \nruffle in the back, divisions placed \nto correspond; (3) draw up the \ngathering thread and wind it \naround a pin; (4) pin (pins ex- \ntending at right angles to the \ngathering thread), distributing the \ngathers evenly, gathered side next \nto the worker; (5) baste (being \ncareful not to disarrange the \ngathers) J-inch seam. \n\n\n\nI shall show you how to pin and \nbaste the ruffle to the skirt. \n\n\n\n(Teacher demonstrates the pin- \nning and basting of the ruffle to \nthe skirt.) \n\n\n\nNow you may stroke the gath- \ners of your ruffle, then fasten the \nruffle to the skirt. Every girl \nshould get at least one quarter of \nher ruffle basted to-day. \n\n\n\nGirls work for remainder of \nhour, and after work is collected \nthere is a brief summary as sug- \ngested by the question following \npractical work. \n\n\n\nPractical work. \n\n\n\nWhat do you think we must be \nmost careful about in basting the \nremainder of the ruffle in place ? \n\n\n\n82 DOMESTIC ART \n\nStudents of domestic art in training will find it \nof great assistance to visit domestic-art classes for \nobservation and discussion. If this can be done in \ngroups, the discussions will prove of much greater \nvalue. It is well to have, before visiting a class, a \npretty clear idea of the relation of domestic art to \nother grade subjects, and to have discussed the value \nof industrial lines of work, methods of presentation, \netc. The greater knowledge attained along these lines \nbefore visiting, the greater will be the benefits derived, \nand the eyes will be opened to many things before \nunseen. There must be some basis for judgment of \nthe lesson observed. It is well, also, for students to \nvisit before there is much basis for judgment and \nthen later, when the thoughts have become better for- \nmulated and arranged. The students\' ideas should \nnot be moulded by the teacher, but liberated so they \nwill think and be free to observe for themselves. \n\nThe test for the judgment of a domestic-art les- \nson is whether it is adapted to the physical and \npsychical nature of the child or pupil. Again, an- \nother test is. Has the environment been kept in mind ? \nThe theory of the student-teacher, or the idea of \nhow the thing is done, the plan of action, is often \nvery different from the actual practice. Experi- \n\n\n\nPLANNING A DOMESTIC-ART LESSON 83 \n\nence or practice should enable a teacher to under- \nstand herself, and then to formulate her own theory, \nfor it is only with experience that there comes a \nclearing up of thought. This means that there is \ncontrol and appreciation of action and that the \nteacher has reached the creative stage and under- \nstands the reactions. \n\nThe following outline may be suggestive to those \nnot used to observing. It is wise to enter the name \nof class, date, etc., with full particulars in the note- \nbook, under the following heads. The points may \nbe discussed later and much benefit derived from the \nindividual efforts made at observation. \n\n\' OBSERVATION \n\n(a) School. \n\n(b) Grade. Number in class. \n\n(c) Date, and name of teacher. \n\n(d) Subject. \n\n(e) Time allowed. \n\n1. The Pupils \xe2\x80\x94 \n\n(a) Physical condition, general health, sight, hear- \ning, any defects. Are these considered in any way \nby teacher, in her plans or instructions? \n\n(b) Mental aspects. \n\n\n\n84 DOMESTIC ART \n\n(i) Notice attention of children. How gained? \nLack of attention. Causes. \n\n(2) Note differences between the alert and active \nchild-mind and slow or deficient child. Was class \nsacrificed for backward children? Effects of home \ntraining. \n\n(3) Habit formations of the children, notice if \nthese conduce to economy of time in class. \n\n(4) Notice use made by teacher of other impulses, \nor instincts of the child, as play, curiosity, jealousy, \nwonder, sympathy, etc. \n\nII. The Teacher \xe2\x80\x94 \n\nia) Type of lesson observed? Reasons why? \n\n(i) Aim? Was it accomplished? \n\n(2) Was the method adapted to aim of lesson? \n\n(3) State leading steps in the development of the \nlesson. \n\n(4) Were the questions of the teacher logical; \nstrong, or weak ? \n\n(5) What appeared to you to be the best thing ac- \ncomplished by the lesson? \n\n(6) Were the children taught to think about the \nrelation of the subject to any social problem ? If so, \nwhat, and with what results? \n\n(7) Was there any application of the lesson taught ? \nIf not, why? How mi^ht it have been done? \n\n(8) Would you have presented the lesson in any \ndifferent way? \n\n\n\nPLANNING A DOMESTIC-ART LESSON 85 \n\n(b) Class management. \n\n(i) Devices for securing attention. \n\n(2) Skill and rapidity. Economy of time. \n\n(3) Storage and distribution of materials. \n\n(4) Ventilation, heating, and lighting. Order of \nclass-room. \n\n(5) Class spirit. \n\n(6) Devices for attending to routine matters. \n\n(c) Personality of teacher. \n(i) Appearance, manner. \n\n(2) Peculiarities of habit. What effect, if any, do \nthese have on the class ? \n\n(3) Did you notice any particular result of teacher\'s \ninfluence ? \n\nIII. The Equipment \xe2\x80\x94 \n\n(a) General. \n\n(b) Illustrative ; devices for inexpensive equipment \nand use. \n\n(c) Storage of equipment, permanent or tem- \nporary. \n\nIV. The Curriculum \xe2\x80\x94 \n\n(a) Notice general curriculum of school. \n\n{b) Notice curriculum in domestic art. Any at- \ntempt at correlation. \n\n(c) Read curriculum of grade under observation, \nas well as previous work in domestic art. \n\n\n\n86 DOMESTIC ART \n\nReferences for Study \n\n"The Method of the Recitation," McMurray. \n\'\'Teacher\'s College Record," January, 1903. \n"Essentials of Method," De Garmo. \n"The Educative Process," Bagley. \n\n\n\nCHAPTER VI \n\nTHE ECONOMICS OF DOMESTIC ART \n\nThe cost of the introduction of industrial work \ninto the elementary school will vary according to \nCost of domes- the ways and means adopted and the \ntic art in the jngenuitv and versatility of those who \n\nelementary o j j \n\nschool. have it in charge. There need be no \n\nspecial room for this work unless space is available. \nIt is always an incentive to the children, however, \nto have a special place where this work may be \ncarried on, and is of great assistance to the teacher. \nThere she may collect pictures, looms, spinning \nwheels, exhibits of many kinds which will aid her \nin giving instruction and be constantly on exhibi- \ntion for the children\'s use. The classes will go to \nthis room for the domestic-art work, especially the \nupper grades. If machine work is given as part \nof the course, it is almost necessary to have a special \nroom, although it is possible to have the machines \nin the class-room. If the school is coeducational, \n\n87 \n\n\n\n88 DOMESTIC ART \n\nthis will necessitate certain changes, as the work \nfor the boys must be considered too. \n\nIn the lower grades the industrial work of which \nthe textile field is one phase may be carried on in \nthe class-room. The many possibilities in the wide \nrange of material for selection make it possible to \nreduce the cost of this work to five cents per child \nper year of one hour a week. Many schools allow \nmore than this. The cost of materials will depend \ntoo on the person in charge of the work. If left to \nthe individual grade teachers who know nothing \nof this field of work, there is apt to be a greater \nwaste than if there is a well-trained ingenious super- \nvisor to control costs. Such supervisors will com- \nmand salaries ranging from $1,200 to $2,500 and \nin some instances in large school systems $3,000 \nand more. This is really an economy in the long \nrun, for the work will progress more smoothly, it \nwill be better planned, the children will be better \ntaught, with better results, and there will be a saving \nin expenditure for materials. \n\nThe permanent equipment in the lower grades \nmay be very inexpensive. A general supply of \nscissors, emeries, tape-measures, etc., may be taken \nfrom room to room if it is not possible to have \n\n\n\nTHE ECONOMICS OF DOMESTIC ART 89 \n\nenough for each grade. Thimbles may be brought \nfrom home by the children and so the cost of perma- \nnent equipment be reduced to almost nothing. The \nsame may be true of materials used. A teacher \nwho is awake to the possibilities of odds and ends \nthat are thrown into the waste-basket will be able \nto reduce the cost greatly. If it is possible to have \nthe equipment for each grade, it may be bought as \nfollows : \n\nI dozen thimbles 25 \n\nI " emeries 40 \n\nI *^ scissors 3.00 \n\nI " tape measures 40 \n\nI " boxes for work 84 \n\nPermanent equipment for one dozen children $4.89 \n\nIf it is not possible to afford the cloth-covered \nboxes for the work, as itemized above, envelopes of \nbogus paper may be made and decorated by the \nchildren, or it may be possible to obtain from some \nlocal shoe department store boxes of uniform size \nand shape, for very little cost, and often for nothing. \nTools for other lines of hand-work besides the \nsewing are scarcely necessary. Clay work may \nrequire a simple wood tool, but one can manage \nwithout it, or with an odd bit of wood sharpened to \n\n\n\n9\xc2\xa9 DOMESTIC ART \n\na point, which need cost nothing. For weaving \nthere are many simple looms on the market ranging \nin price from 20 cents to $1.50, but it is far bet- \nter to have the children make their own looms of \ncardboard or wood. Cardboard and paper work \nin the lower grades need necessitate very little ex- \npenditure for tools. The scissors used for the sew- \ning may be used, although it is better to have a \nseparate set for paper work. This set may be used \nalso for the other industrial work of the lower \ngrades. \n\nIn the upper grades the cost of maintenance of \nthe work will vary. Some school boards allow as \nmuch as twenty-five cents per year per child. This \nwill make possible a number of small applications \nfor stitches. If large articles or garments are made, \nthe parents are quite willing to pay for the cost, as \nthey realize the utilitarian value of the product. \nThe teacher should be careful, however, to have the \nchildren make articles which will fit the needs of the \nhome. If a child is too poor to pay for the cost \nof the article, the child may earn it by service in \nschool, or it may be made for sale and bought by \nthe teachers for exhibit or other purposes. Visitors \noften ask for samples of the children\'s work, and \n\n\n\nTHE ECONOMICS OF DOMESTIC ART 91 \n\nsales may be made in this way. It is almost a neces- \nsity to have a special teacher in the upper grades, \nand really an economy, although the work is often \nconducted by the grade teacher. The equipment in \nthe way of tools may cost very little as outlined above, \nand one set of tools may be used for all the classes ; \nor each grade may have its own, which is of course \nmore desirable. The cost of furnishings for a simple \nlaboratory may be kept very low. The room should \nbe large enough to seat the children comfortably, \nshould be well lighted, the walls tastefully decorated, \nand have convenient space for storing materials. \nThis room is almost a necessity where the school \nis a local centre for work and the children of \nthe neighboring schools attend it for their exer- \ncises in domestic art. This method is adopted in \nsmaller towns and cities in order to reduce the \ncost. \n\nThe special room is also an incentive to work. \nChildren will often visit it at odd periods for com- \npletion of back VN^ork, or because of interest in the \nexhibits and a desire to study. It should be a cen- \ntre for such information as the teacher of domestic \nart has to give. There should be low chairs for \nsewing, work tables, a cutting table, machines. \n\n\n\n92 DOMESTIC ART \n\nblackboard, etc. This special room may often be \nused for other purposes, as the sewing classes may \nnot occupy it during all the periods. On that \naccount it is wise to have folding tables which may \nbe removed when it is necessary to clear the floor \nspace. Tables hinged and attached to the walls \nmay be let down and be out of the way when it is \nnecessary to remove them. The following is a list \nwith cost of a simple, inexpensive laboratory equip- \nment for grade school use for twenty-four pupils: \n\n2 dozen chairs . $24.00 \n\n8 work tables 16.00 \n\n2 cutting tables (kitchen tables stained) . 6.00 \n\n4 sewing machines 100.00 \n\nTeacher\'s desk 10.00 \n\n" chair 3.00 \n\nI demonstration cloth and needle .... .50 \n\nI dozen waist forms 6.00 \n\n1 gas stove 1.50 \n\n2 flatirons .72 \n\nI mirror 2.00 \n\nTotal cost $169.72 \n\nGood work may be done with the inexpensive \nequipment. Elaborate furnishings do not tend to \nincrease the output or quality of the work. Addi- \ntional facilities contribute to ease and convenience \n\n\n\n% \n\n\n\nTHE ECONOMICS OF DOMESTIC ART 93 \n\nof the worker and especially the teacher. A more \nexpensive equipment is added below for upper \ngrade use: \n\n2 dozen chairs $36.00 \n\nI dozen work tables 36 . 00 \n\n6 cutting tables 60.00 \n\n6 sewing machines . 180.00 \n\nI exhibit case 30.00 \n\nI teacher\'s desk 15 -o^ \n\nI " chair 3-oo \n\nI mirror . 20.00 \n\nI gas stove 3 \xe2\x80\xa2 \xc2\xb0o \n\n6 flatirons 3- 00 \n\nI screen 6.00 \n\nI demonstration frame 2.00 \n\nI bulletin board 3-0\xc2\xb0 \n\nI roll case for storing pupils\' work \xe2\x80\x94 accom- \nmodating 4 classes 75 -oo \n\n6 waist forms 3 \xe2\x80\xa2 0\xc2\xb0 \n\nI ironing board i \xe2\x80\xa2 5\xc2\xb0 \n\nTotal cost $476.50 \n\nThe cost of the laboratory equipment for the high \nschool need be little more than that of the special \nCost in high room for upper grade work. The addi- \nschooi. tional expense will probably be for the \n\nnecessary articles for drafting and garment-making, \nsuch as yard-sticks, skirt forms, etc. \n\n\n\n94 DOMESTIC ART \n\nThe cost of the temporary equipment for both \nelementary and high school will depend somewhat \non the method of purchase of materials. Materials \nbought at wholesale in large quantities may be \nobtained at great reduction. The care and use of \nthe temporary equipment will also regulate the \ncost. \n\nThe cost of equipment in other types of schools \nwill vary according to aim, number of pupils to be \naccommodated, and the elaborateness of outfit. \nThe equipment need not necessarily be expensive. \nThe following lists of cost of articles will furnish \nsuggestions for those interested in both expensive \nand inexpensive equipment: \n\nBias cutter and marker $5.00 \n\nBoxes \xe2\x80\x94 sewing \xe2\x80\x94 cloth - covered \xe2\x80\x94 8x14x2^, \n\nper hundred 18.00 \n\n18x16 Jx4f, per hundred 45 00 \n\n6ix4jx3, per hundred ....... 8.00 \n\nBulletin boards, each 3.00 to 5.00 \n\nChairs \xe2\x80\x94 \n\nBent wood, with cane seat, each . . . i . 25 \n\nKitchen chairs (to be stained), each . . .50 \n\nWillow (for office use), each 5.00 \n\nDesk chairs (revolving, bent wood), each 3.50 \n\n" " (with arms), each . . . . 5.00 to 12.00 \n\nLaboratory chair (better class) each . . 3.00 to 5.00 \n\nt \n\n\n\nTHE ECONOMICS OF DOMESTIC ART 95 \n\nCases \xe2\x80\x94 \n\nBookcases, each . . lo.oo to 50.00 \n\nStorage for work \xe2\x80\x94 for 50, each . . . . 30.00 to 75.00 \n\nExhibit cases \xe2\x80\x94 gowns and hats, each . . 50.00 to 100.00 \nExhibit cases \xe2\x80\x94 flat, according to size and \n\nfinish 25.00 to 75.00 \n\nExhibit cases \xe2\x80\x94 sliding glass doors, accord- \ning to size and finish 25.00 to 75.00 \n\nIroning cabinets \xe2\x80\x94 zinc top (for ironing \n\noutfit made to order) 15 00 \n\nDesks \xe2\x80\x94 \n\nFlat top \xe2\x80\x94 well finished, with side drawers 25.00 \n\nFlat top table without side drawers . . 12.00 \n\nRoll-top desks for office use, each . . . 10.00 to 75.00 \nDress forms \xe2\x80\x94 \n\nFull length, each . , 3.00 to 8.00 \n\nWaist length, each -50 to 4.00 \n\nDemonstration frames (made to order), each i . 00 to 5 . 00 \n\nEmeries, per dozen . 25 to .50 \n\nEmbroidery rings, per dozen 75 \n\n" holders (Priscilla), per dozen . 2.50 \nFiles- \nLetter files (for office use), each . . . . 20.00 to 50.00 \nCard boxes and cataloguing schemes, each i . 00 to 50 . 00 \n\nGas stoves, each i . 50 to 5 . 00 \n\nIrons, according to style and weight, each . .36 to i.oo \n\nElectric irons, 4 lb., nickel, each . . 3.75 \n\n" 12 " " " . . 9.00 \nMirrors \xe2\x80\x94 \n\nHand-mirrors, each 75^0 3.00 \n\nTriple folding wall-mirrors (millinery \n\npurpose), according to size . . . . 5.00 to 25.00 \n\n\n\n96 \n\n\n\nDOMESTIC ART \n\n\n\nsize \n\n\n\nand \n\n\n\nTriple folding dressmaking-mirror, each \n\nFlat wall-mirrors, oak frames, according \n\nto size \n\nMachines \xe2\x80\x94 \n\nSingle- and double-thread, each \n\nWith motor attachment, each \nPedestals (for fitting), each . . \nPinking machine, each . . . \nPlaiting machine, each . . . \nRollers (paper) \xe2\x80\x94 \n\nJumbo rollers, stand, each \n\nDrafting-paper (per roll), each \nRugs (for office use), according to \n\nquality \n\nRattan couch, each .... \nStools, 24-inch cane-seat, per dozen \n\n24-inch wooden-seat, per dozen \nScreens, triple-folding, each \nSeatings, class-room, a seat \nSkirt-markers, each .... \nSleeve forms (per set 2), each . \nScissors \xe2\x80\x94 \n\nStraight cutting, per dozen . \n" shears, per dozen \n\nButton-hole, per dozen . . \nTables\xe2\x80\x94 \n\nFor conference purposes, each \n\nIroning \xe2\x80\x94 ready-made, each . \n\nIroning, made to order with wood top, \n4x2 ft., according to size and finish, \neach \n\nKitchen tables, 5 ft., each \n\nFolding sewing tables, each . \n\n\n\n30.00 to 75.00 \n\n\n\n2.50 to 25.00 \n\n\n\n20 . 00 to 60 . 00 \n60.00 to 70.00 \n\n4.00 to 10.00 \n\n5.00 \n12.00 \n\n\n\n5.00 \n5.00 \n\n\n\n20.00 to 50.00 \n\n15.00 \n\n13.00 \n\n7.00 \n\n5.00 to 20.00 \n\n2 . 00 to 4 . 00 \n\n10.00 to 25.00 \n\n4.00 \n\n3 . 00 to 6 . 00 \n5.00 to 10.00 \n\n4 . 80 to 6 . 00 \n\n20.00 to 200.00 \n1 . 50 to 5 . 00 \n\n\n\n10.00 to 15.00 \n2 . 00 to 3 . 00 \n1 . 00 to 3 . 00 \n\n\n\nTHE ECONOMICS OF DOMESTIC ART 97 \n\nDrafting tables made to order \xe2\x80\x94 7 ft. long \nby 3 ft. wide by 2 ft. 8 in. high, white \n\nwood top, oak base, each . . . . . 15.00 to 18.00 \nDrafting tables, removable tops and horses \n\nfor support, each 10.00 to 12.00 \n\nSewing-tables made to order, oak, 6 ft. \n\nlong by 2 ft. 4 in. high, each . . . . 13 . 50 \n\nTape measures, reversible, per dozen ... . 40 to .60 \n\nTracing wheels, per dozen \xe2\x80\xa2 . i.oo to 4.00 \n\nThimbles, German silver, by gross . . . 3.90 \n\nWire-cutters, side-cutting, per dozen . . . 4 . 00 to 6 . 00 \n\nWaist- and coat-hangers, per dozen . \xe2\x80\xa2 \xe2\x80\xa2 . 36 to i . 00 \n\nYard-sticks, per dozen i . 50 to 3 . 00 \n\nIllustrative material is rather difficult to collect. \n\nThe teacher of domestic art must be alert and seize \n\nevery available opportunity for getting \n\nThe cost of \n\nillustrative it. Many articles may be easily ob- \ntained while travelling and through \ninteresting in the work the people one meets. \nExpositions furnish opportunity for securing mate- \nrial which will often be sold for little after the expo- \nsition is over. Large manufactories sometimes \nmake boxes for sale illustrating the steps in the \nmanufacture of various materials such as thread, \nneedles, scissors, buttons, cotton, woollen, linen, or \nsilk materials. These will often be made to order, \nbut cost considerably more. The illustrative boxes \n\n\n\n98 DOMESTIC ART \n\nrange in price from $2.50 to $10.00 each. Through \ncorrespondence with large museums an exchange or \npurchase of articles may be made. Very often, too, \nit is possible to have models made similar to those \nseen in the museums, which are often copies of \noriginals. The domestic-art teachers should always \nbe on the lookout for pictures and clippings from \nnewspapers and magazines. These may be filed \nfor reference and often prove of great value. \n\nThe salaries of teachers of domestic art vary \n\naccording to locality and the demands made. \n\nTeachers in the elementary school re- \n\nSalaries. \n\nceive from $600 to $1,200 for upper \ngrade work. This demand is most often for a \nteacher who can combine the teaching of sewing \nand cooking. When the system is a large one the \ndemand is for separate teachers for each specialty. \nSupervisors of domestic art in the elementary school \nreceive from $800 to $3,000, and sometimes more \nif the system is a large one. The duties vary \nwith locality and conditions. Often the domestic- \nart supervisor directs the industrial work of the \nlower grades which is taught by the grade teacher, \nand does the actual teaching in the upper grades. \nAgain the duties may be supervision of all the grades. \n\n\n\nTHE ECONOMICS OF DOMESTIC ART 99 \n\nIn other localities the domestic-art teacher does not \ncontrol the industrial work of the lower grades; it \nmay be under the direction of the manual training \nor arts supervisor. The ideal condition is super- \nvision only of the upper grade work for girls in \neither cooking or sewing or both. This is quite \nenough for any one person to do well. \n\nThe salaries of teachers in high schools range \nfrom $900 to $2,000, according to kind of work and \nlength of service. Directors of -departments in high \nschools receive from $1,500 to $2,000. \n\nIn trade schools teachers receive from $800 to \n$1,200, directors of departments from $1,200 to \n$1,800, and school directors from $2,000 to $3,000. \n\nIn higher institutions, colleges for women, State \nagricultural colleges, and normal schools, the \nsalaries vary from $1,200 to $3,500, according to \nresponsibility. \n\n\n\nCHAPTER VII \n\nHOW TO KEEP IN TOUCH WITH PROGRESS IN THE \nDOMESTIC-ART FIELD \n\nThe writer has often been asked if domestic art \ncan be studied by correspondence. The answer has \nalways been, ^^No, not to advantage." It may \noften happen, however, that a teacher has been \nforced into this field of work, or is not quite ready \nto go to a normal school for study, and in the mean \ntime may wish to come in touch with some of the \nsubjects. There are many lines of work in this \nfield, and the teacher of domestic art, if she is to do \nthe best kind of work, should know something about \npsychology, the history of education, and the theory \nand method of presenting this subject, as well as the \nmore technical work of sewing, dressmaking, and \nmillinery. A selected bibliography of these subjects \nwill be added later ; much help and information may \nalso be gained from current magazines, reports of \nassociations, etc., all of which will help the teacher \nin the field to keep in touch with the latest ideas \nand movements. \n\n\n\nlOO \n\n\n\nPROGRESS IN THE DOMESTIC-ART FIELD loi \nASSOCIATIONS AND THEIR REPORTS \n\nThe annual reports of the following associations \nare of particular help and can be had by becoming \na member of the associations, or by buying them \nfrom the secretaries of these associations: \n\n(i) National Education Association. Member- \nship $2.00. Irwin Shepherd, Winona, Wis. Gen- \neral educational papers of the annual meetings are \npublished in this report. All are of help, the reports \nof the sections on trade and industrial work espe- \ncially. \n\n(2) Lake Placid Conference on Home Economics, \nLake Placid Club, Essex County, N. Y. Annual \nreport of papers read at yearly meeting, also of the \nteachers\' section, a mid-winter conference. These \nare of particular value to teachers of domestic art \nand science. (This conference ceased with the or- \nganization of the American Home Economics Asso- \nciation in January, 1909. Back reports are of much \nhelp.) \n\n(3) American Home Economics Association, mem- \nbership $2.00; includes journal published bimonthly. \nTeachers College, New York. Of interest to all \nclasses of workers in the field of home economics. \n\n(4) Public Education Association of New York, \n105 East Twenty-second Street, Room 520. \n\n\n\n102 DOMESTIC ART \n\n(5) Society for the Promotion of Industrial Edu- \ncation. Literature may be obtained from Mr. \nJas. C. Monaghan, Secretary, 546 Fifth Avenue, \nNew York City. \n\n(6) Eastern Manual Training Teachers\' Asso- \nciation. \n\n(7) Western Manual Training and Drawing \nTeachers\' Association. \n\n(8) Consumers\' League. Reports of national and \nNew York City Leagues may be obtained on appli- \ncation at office, 105 East Twenty-second Street, \nNew York City. The aim of this league is to im- \nprove conditions of working women and children \nas to hours, wages, etc. \n\n(9) Woman\'s Municipal League of New York, \n19 East Twenty-sixth Street. Bulletin 50 cents per \nyear. A society interested in civic improvements. \n\nOTHER PUBLICATIONS \n\nI. Magazines: \n\n(i) \'^Teachers College Record." $1.00 per year. \nAddress "Teachers College Record," Columbia \nUniversity, New York. Devoted to discussion of \neducational problems. \n\n(2) "Elementary School Teacher." Published by \nUniversity of Chicago Press, Chicago. $1.50. De- \nvoted to discussion of all phases of work of the ele- \nmentary school. \n\n\n\nPROGRESS IN THE DOMESTIC-ART FIELD 103 \n\n(3) "Manual Training Magazine." $1.50. Pub- \nlished bimonthly by Manual Arts Press, Peoria, \n111. Devoted to discussion of industrial-arts subjects. \n\n(4) "The Survey," formerly "Charities and the \nCommons." $2.00 per year. Published by Charity \nOrganization Society, Twenty-second Street and \nFourth Avenue, New York City. Deals with prob- \nlems relating to the education and improvement of \nthe poor. All interested in philanthropic work and \nsocial advancement will find this of great value. \n\n(5) "The Craftsman." $3.00 per year. Pub- \nlished by Gustav Stickley, 41 West Thirty-fourth \nStreet, New York City. Of help along art lines. \nMany suggestions for interior decoration and design. \n\n(6) "The School Arts Book." $1.50 per year. \nPublished by Davis Press, Worcester, Mass. A \npractical magazine for the elementary and high \nschool, with many suggestions for applied design, \nand many articles of value to the domestic-art \nteacher. \n\n(7) "The House Beautiful." $1.75 per year. \nSuggestive for those interested in the crafts and \ninterior decoration. \n\n(8) " The Ladies\' Home Journal." $1.50 per year. \nPublished by Curtis Publishing Company, Phila- \ndelphia. \n\n(9) "The Wornan\'s Home Companion." $1.25 \nper year. Many suggestions in art needlework, sew- \n\n\n\nI04 DOMESTIC ART \n\ning, and dressmaking. Published by Crowell Pub- \nlishing Company, New York City. \n\n(9) ^\' Good Housekeeping." $1.50 per year. Pub- \nlished by Phelps Publishing Company, Springfield, \nMass. Articles of interest in relation to dress and \ngood housekeeping generally. \n\n(10) ^^The Outlook." $3.00 per year. 287 \nFourth Avenue, New York City. \n\n(11) \'^The Educational Review." $3.00 per year. \nPublished by Educational Review Company, Colum- \nbia University, New York City. Devoted to discus- \nsion of topics of general interest in educational field. \n\nII. Government Reports: \nUnited States Department of Agriculture: \n(i) ^\'Farmer\'s Bulletins." Free distribution with \nsome exceptions. Address, Division of Publications, \nWashington, D. C. Of great value to students of \ndomestic art and science. Many papers on wool, \nsilk, cotton, sheep, etc., of value in study of textiles. \n\n(2) "Annual Reports of the Department of Agri- \nculture." Division of Publications, Washington, \nD. C. Textile crops and experiments are treated in \nthese reports, as well as other agricultural reports. \n\n(3) "Reports of the Smithsonian Institute," Wash- \nington, D. C. The reports on ethnological subjects \nof value in study of primitive life, industries, and \ntextiles. \n\n\n\nPROGRESS IN THE DOMESTIC-ART FIELD 105 \n\n(4) "Reports of the Commissioner of Education," \nDepartment of the Interior, Washington, D. C. \nThese are issued every few years, and are of great \nvalue to students of education in general, or of \nparticular fields. \n\n(5) "Reports of the United States Commissioner \nof Labor," Washington, D. C. Of value to those \ninterested in problems of economics, the wage- \nearner, etc. Some of the back numbers are of great \ninterest and value, especially on technical and \nindustrial education. \n\nIII. Foreign Publications: \n\n"Reports of Dr. M. Sadler for the English Gov- \nernment." Volumes X and XI are devoted to his \nStudy of American Education. Volume IX, German \nEducation. May be obtained from G. Seiler, \n1228 Amsterdam Avenue, New York City. Price \n80 cents each. Of value to those wishing to study \nthe system of schools of the United States com- \nparatively. \n\n"Report by Alice Ravenhill on the Teaching of \nDomestic Science in the United States." Commis- \nsioner for Board of Education of Great Britain, 1905, \n374 pages, price 75 cents. \n\nIV. Publications of the American School of Home \nEconomics: M. Le Bosquet, Director, 610 West \nSixty-ninth Street, Chicago. Correspondence courses \n\n\n\nI06 DOMESTIC ART \n\nfor home-makers, teachers, social workers, and for \ninstitutional managers. Special text-books and \nlibrary facilities. \n\nV. Books: \n\nA small selected bibliography will be added at the \nclose. To keep in touch with new publications, \nconsult lists of new books added to respective public \nlibraries. Send to the leading book-publishing con- \ncerns for their monthly lists of new publications, \nespecially along educational lines. Notice the adver- \ntisements of new books in the back of the current \neducational magazines suggested above. \n\nVI. Publications of some of the textile schools \nand associations are of value in study of textiles. \n\n"National Association of Wool Manufacturers\' \nQuarterly Magazine," devoted to the interests of \nthe National Wool Industry. Office, 683 Atlantic \nAvenue, Boston, Mass. \n\nThe New England Cotton Manufacturers\' Associa- \ntion, International Trust Building, 45 Milk Street, \nBoston, Mass. \n\nDraper Company. \'\' Cotton Chats." Published \nby Secretary, Hopedale, Mass. \n\nLowell School publications. \n\nVII. Catalogues of new schools, giving domestic \nart and science subjects, may be suggestive, or those \n\n\n\nPROGRESS IN THE DOMESTIC-ART FIELD I07 \n\nof old schools of note, that are constantly adding \nnew subjects of interest along these lines. \n\nAnother means of keeping in touch with progress \nin this field is by attending the annual meetings of \nthe educational associations mentioned. Much in- \nspiration may be gained in this way. School exhibits \nare also of great help, and the educational divisions \nof State fairs or expositions furnish many sugges- \ntions. The teacher of domestic art must be alert and \nalive to all progress of events about her. Clubs of \nteachers interested in domestic-art subjects may \nmeet for discussion and much benefit be derived if \nthe meetings are conducted seriously and systemat- \nically. \n\n\n\nPART 11 \n\nDOMESTIC ART IN THE ELEMENTARY \n\nSCHOOL \n\nCHAPTER VIII \n\nDIVISION OF SUBJECT-MATTER FOR THE ELE- \nMENTARY SCHOOL \n\nSome line of domestic-art work may be presented \nin every grade of the elementary school. As it is \nConstructive generally placed in the school curricu- \n^veni^nreariy ^^^ ^^ means scwing and its allied sub- \nevery grade, jects, or often scwing alone in the \nfifth, sixth, seventh, and eighth years of the graded \nschool. \n\nSome constructive vi^ork of an industrial nature is \nnow generally given in all grades of the elementary \nschool. Arguments for its introduction have already \nbeen given. Froebel in the kindergarten has pre- \nsented theories that may well be advanced along \nhigher lines of education. Hand-work and doing \n\nio8 \n\n\n\nDIVISION OF SUBJECT-MATTER 109 \n\nare the keystones of the kindergarten work. The \npaper-cutting, pasting, sewing, clay, all the various \noccupations are avenues for self-expression as well \nas the gifts, songs, and games which furnish further \nopportunity for doing and thinking, or the self- \nactivity of the child. \n\nWhen the child enters the kindergarten and begins \nhis school career, he faces the accumulation of the \nknowledge of the world. All this is his inheritance \nto which he has a right. The work of education is \nto bring the child to his rightful possession of this \ninheritance, and the work of the school to plan it \nin such a way that the school as one institution \nof society may do its share in bringing about this \neducation. The kindergarten is the first stepping- \nstone and through its various lines of work \xe2\x80\x94 games, \nsongs, stories, gifts, and occupations \xe2\x80\x94 opens to the \nmind of the child in a simple way some of the won- \nders of nature and of this complex world. The \npoint of contact is the home and the teacher leads \nfrom this to the world of thought and action about \nthe child. Most of the interpretations are through \ndoing, and gradually the child is led to a compre- \nhension of some of life\'s complexities. One may \nsay that domestic art almost begins in the kinder- \n\n\n\nno DOMESTIC ART \n\ngarten in a most simple way. Sewing and use of \nthe needle is one of its occupations. Furnishing of \na doll\'s house with paper furniture, rugs, curtains, \netc., is often undertaken, and simple talks in the \nmorning circle on textiles, as wool, silk, linen, and \ncotton, often introduce the child to this field of \nthought. Paper and rag weaving also furnish \nanother occupation and so we may trace the begin- \nnings of domestic art from early to higher education. \nHere, it is hand- work and only one of the many \nkinds presented to little children who need change \nand variety. The transition from kindergarten to \nearly grade work is often fraught with danger \nbecause the transition to more formal work is not \nmore gradual. Hand-work and domestic art as one \nbranch of it should still continue and advance with \nthe child, offering new interests and difficulties and \nhelping to lead him to an interpretation of some \nof the many wonders in the industrial world about \nhim. \n\nHand-work in the elementary school has been \npresented in many different ways. There have been \nalmost as many approaches as there are districts \nor localities for its introduction. Hand-work as \nthe term is now generally used in the elementary \n\n\n\nDIVISION OF SUBJECT-MATTER III \n\nschooiS means the various lines of hand-work as in- \ntroduced in the first four grades of the elementary \nschool. From the fifth grade up, the \nods of ap- hand- work subjects are called specifi- \n\nproach in plan- n t \xe2\x80\xa2 \xe2\x80\xa2 i. r i^i \xe2\x80\xa2 i \n\nning hand- ^ally cookmg, sewmg, etc., for the girls, \n\nwork for the ^^^ other lincs of work, as wood- work- \nlower grades. \n\ning, wood-carving, etc., for the boys. \nAll of these subjects are of an industrial or house- \nhold arts nature. \n\nThe industrial work of the lower grades may in- \nclude many lines of domestic-art thought, but should \n\nnot be confined to these subjects. The \n\nIndustrial .iiri ii i r ^ \n\nwork in lower idcals of the school or the plan of the \n\ngrades not to \xe2\x80\xa2 i r i j \'ii j ^ *\xe2\x80\x9e \n\nbe confined to cumculum of cach grade will determine \ndomestic-art largely what and how much the teacher \n\nbranches. \xc2\xb0 -^ \n\ncan present. In the presentation of \ncertain lines of thought, the media of clay and wood \nmay more fitly be expressive than some line of do- \nmestic art, as sewing, weaving, or spinning. Hand- \nwork as it is now given in the schools is approached \nfrom several points of view. Some claim that the so- \ncalled neighborhood approach is the only way, and \nwork along lines which make the child\'s immediate \nneeds and interests the centre or basis for planning. \nOthers claim that the organization of hand-work in \n\n\n\n112 DOMESTIC ART \n\nthe lower grades should be planned along the lines \nof social or racial development, and beginning with \nthe study of the activities of primitive people trace \ntheir advancement through the different eras of \ncivilization, pastoral, agricultural, handicraft, and \nfactory eras. Another thought is that the child \nshould become acquainted with the essential proc- \nesses of manufacture in the principal fields of modern \nindustry and that this industrial knowledge may be \npresented partly through work with the hands, but \nnot entirely so. This curriculum should be worked \nout by the grade teacher or head of the school so \nthat there may be as much unity of thought as pos- \nsible and much saving of time. With the develop- \nment of this thought may come a simplified cur- \nriculum. With the present stress put on vocational \ntraining, the domestic-art phases of vocational work \nfor girls in the upper grades would be based on this \nlower grade study of the essential processes of the \nleading fields of industry. The girls would thus \nhave a knowledge of the textile field of industry and \nthe processes in the industries of spinning, weaving, \nknitting, garment-construction, and sewing. \n\nIn some schools the hand-work is apparently \nintroduced in a hit-or-miss sort of manner, simply \n\n\n\nDIVISION OF SUBJECT-MATTER II3 \n\nbecause it is hand-work or something for the chil- \ndren to do and it is required by the controlhng \nboard. This is the ^^fad" so often \n\nHand- work \n\nmay be a mere objected to and rightly. This aimless \n\n" fad." \n\nhand-work may be better than none and \nundoubtedly is where it has a certain utilitarian value, \nbut there is scarcely any excuse for its being when it \nis possible to present it in such a way as to connect \nthe thought of the development of industries with \nit, whether the approach be from the neighbor- \nhood point of view or along certain lines of primi- \ntive life and industries. In the first four grades of \nthe elementary school many lines of industrial \nthought may be given, to which the domestic-art \nbranches contribute quite a number. Little chil- \ndren need change and variety, and the boys and girls \nmay be taught together during these early years. \nThere is every opportunity for originality and ver- \nsatility as the teacher works out her course of study. \nThis often falls to the domestic-art supervisor, but \nmore often to the supervisor of manual training. \nThe course of study should be worked out in con- \nnection with the general curriculum and in con- \nsultation with the grade teachers and head of the \nschool. With more ideal organization the develop- \n\n\n\n114 DOMESTIC ART \n\nment of industrial thought may be a part of the \nwork of the regular grade teacher and the constructive \nhand- work phases of the work be given by her also. \nThe following outline may be suggestive of the \nmany lines of work from which choice may be made \nin carrying out one\'s plans. If, for instance, the first- \ngrade children are to have home life and its sur- \nrounding occupations for the central thought, many \nof the various lines might be used. In planning and \nfurnishing a doll\'s house in a simple way, painting, \npapering of the soap boxes, simple furniture, sewing \nof curtains, bedding, etc., give opportunity for expres- \nsion along many different lines. A study of primitive \nEsquimaux life, on the other hand, might require clay, \nfor making the animals and dogs, men, etc., wood \nfor the sleds, and simple sewing for the garments \nrepresenting fur. At the same time there may be \nbegun the study of the modern industrial processes. \nThese lines of work give to these little people an \nintroduction to the great fields of industry of wood, \nclay, food, and textiles. Metal is too difficult for \nuse in the lower grades. The approach which shall \nbe followed must be decided by each school and \nworked out along lines most in keeping with the \nideals of that school. Each teacher must choose the \n\n\n\nDIVISION OF SUBJECT-MATTER I15 \n\nlines of work best adapted to help in presenting the \nnew ideas to the children and those fitted to be of \nvalue in developing the child. This last, however, \nis more largely a question of method than of se- \nlection of subject-matter. \n\nWORK FOR LOWER GRADES \n\nPainting Coarse sewing \n\nDrawing Dyeing, weaving \n\nPaper cutting and folding Clay modelling \n\nPasting Cardboard \n\nSimple woodwork Use of sand table \n\nStencilling and block printing Cooking \n\nSelections should be made from these and adapted \nto the children in carrying out the general thought of \nthe grade and in the planning of the course of study \nfor the lower grades. \n\nThese general lines of work include the domestic- \nart subjects, which may be outlined more in detail \nas follows: \n\nDOMESTIC-ART SUBJECTS FOR THE ELEMENTARY \n\nSCHOOL \n\nThe following subjects for all grades of the ele- \nmentary school may be considered for selection in \nthe planning of work, regulated by age, grade, needs \n\n\n\nIl6 DOMESTIC ART \n\nof locality, cost, ideals, relation to school study, \nneeds of home and schools, etc. : \n\n(i) Articles of many varieties may be made by \nthe use of the following stitches: Basting, running, \nstitching, back-stitching, overhanding, hemming, \nblanket stitch, simple embroidery stitches, as Ken- \nsington, cross, chain stitch, feather stitch, hemstitch, \ncouching, French knots, etc. \n\n(2) Seams \xe2\x80\x94 plain seam, French, and flat fell. \n\n(3) Patching \xe2\x80\x94 hemmed, overhanded, flannel; and \nDarning \xe2\x80\x94 stocking darning, damask, and cashmere. \n\n(4) Button-holes, plackets, putting on bands. \n\n(5) Simple embroidery: use of stitches \xe2\x80\x94 chain, \ncatch, Kensington, feather, etc.; initials \xe2\x80\x94 embroid- \nered, applique; couching, etc. \n\n(6) Textile work : weaving, study of materials, evo- \nlution of textile industry, properties, uses, dyeing, etc. \n\n(7) Cost of clothing : cost of dresses and trimming ; \nregulation of cost. \n\n(8) Care of clothing, repairing, cleansing; color of \nclothing; hygiene. \n\n(9) Household art: decoration, furnishing of \nrooms, color- work, design. \n\n(10) Simple garment-making (under certain con- \nditions). \n\n(11) Co-operation with grade work in history, \narithmetic, English, art, geography, etc., wherever it \ncan be done with service. \n\n\n\nDIVISION OF SUBJECT-MATTER 1 17 \n\nDISTRIBUTION OF DOMESTIC-ART SUBJECT-MATTER \n\nFOR SELECTION AS PART OF THE ABOVE \n\nWORK FOR LOWER GRADES \n\nGrades i and 2 \n\n(i) Making of simple articles, in keeping with \nunderlying ideals of the school and grade. Blanket \nstitch on canvas, running, basting (applied to \narticles). \n\n(2) Simple textile study, including dyeing, weav- \ning, and simple comparison of textiles. \n\n(3) Care of clothing. \n\n(4) Furnishing of doll\'s house. \n\n(5) Christmas gifts. \n\nGrade 3 \n\n(i) Making of simple articles in keeping with \nunderlying ideals, using following stitches: Blanket, \ncross, running, basting, chain, and stitching stitch. \n\n(2) Continuation of textile study \xe2\x80\x94 simple evolu- \ntion of spinning and weaving. Comparison of \ntextiles. \n\n(3) Care of clothing. \n\n(4) Designing of letters and other designs, accord- \ning to articles selected. \n\n(5) Christmas gifts. \n\n\n\nIl8 DOMESTIC ART \n\nGrade 4 \n\n(i) Making of simple articles in keeping with \nunderlying ideals, using following stitches: Hem- \nming, couching, overhanding, two runs and back- \nstitch, in addition to stitches in Grade 3. \n\n(2) Designs made for articles; color-work; design- \ning pillows and table-spreads for applique. \n\n(3) Doll dressing; free cutting of patterns. \n\n(4) Christmas gifts. \n\n(5) Simple crocheting and upholstery. \n\nCrude work along all these lines should be ex- \npected from young children, but the teacher should \nnot be surprised if occasionally she receives unex- \npected results. An occasional child will contribute \nsomething far beyond those of average ability, but \nunder no circumstances should the children be \nforced to do fine or accurate work. \n\nBy the time the fifth grade is reached greater \naccuracy should be expected and demanded along \nany Hne of hand-work pursued. If it is not de- \nmanded at this time, the pupils will form slovenly \nhabits of action which are not likely to be corrected \nlater. At this point the hand-work may be divided, \nthe girls receiving instruction in sewing and cooking \nand the allied subjects, and the boys in woodwork, \nmetal, etc. If the plan is to introduce vocational \nwork in the seventh, eighth, and ninth grades, then \n\n\n\nDIVISION OF SUBJECT-MATTER 1 19 \n\nthe first six years may be planned with this idea in \nview. Plans for courses of study in the grades will \nbe discussed in another chapter on the factors \ninvolved in planning a course of study. \n\n\n\nDISTRIBUTION OF DOMESTIC-ART SUBJECT-MATTER \n\nFOR SELECTION FOR THE FIFTH, SIXTH, \n\nSEVENTH, AND EIGHTH GRADES \n\nGrade 5 \n\n(i) Making of simple articles, using stitches pre- \nviously learned as review, and in addition: cross \nstitch, feather stitch, and Kensington stitch. \n\n(2) Designs for articles made. \n\n(3) Doll dressing (costumes of particular study or \nfor modern garment-construction). \n\n(4) Textile study ; weaving of rugs as co-operative \nwork, in order to learn parts of loom. \n\n(5) Christmas gifts. \n\n(6) Simple embroidery. \n\nGrade 6 \n\n(i) Making of articles, using stitches learned in \ngrades below, and in addition: French seam, placket, \nand putting on band, button-holes, and stocking- \ndarning. \n\n\n\nI20 DOMESTIC ART \n\n(2) Textile study \xe2\x80\x94 comparative study of wool, \ncotton, silk, and flax, applied to purchase, use, etc., \nof articles made. \n\n(3) Designing for articles. \n\n(4) Clothing \xe2\x80\x94 best and most healthful kinds. \n\n(5) Christmas gifts. \n\n(6) Simple embroidery. \n\n(7) Biography of textile inventors \xe2\x80\x94 Eli Whitney, \nArkwright, Crompton, etc. \n\n(8) Simple machine-work (where circumstances \nwould necessitate the child\'s leaving school at end \nof elementary school course). \n\n(9) Simple knitting. \n\nGrade 7 \n\n(i) Making of articles using work of other grades \nin review, and in addition: button-holes, herring- \nbone and feather stitch. \n\n(2) Simple embroidery. \n\n(3) Christmas gifts. \n\n(4) Textile study: discussion of early industries \nand evolution of their manufacture. \n\n(5) Economical buying and cutting of materials. \n\n(6) Design \xe2\x80\x94 in relation to things made. \n\n(7) Simple machine-work (where circumstances \nwould necessitate the child\'s leaving school at end of \nelementary school course). \n\n(8) Crocheting of articles. \n\n\n\nDIVISION OF SUBJECT-MATTER 121 \n\nGrade 8 \n\n(i) Making of articles, using stitches previously \nlearned. \n\n(2) Repairing, patching, and cleansing of garments. \n\n(3) Making simple garments. \n\n(4) Simple embroidery: towels and table linen \xe2\x80\x94 \ninitials, hemstitching \xe2\x80\x94 doilies. \n\n(5) Textile study: quality, width, cost of materials. \n\n(6) Study in color and design applied. \n\n(7) Christmas gifts. \n\n(8) The home \xe2\x80\x94 furnishings, order, beauty. \n\n(9) Discussion of the relation of the girl to factory \nlife, sweatshop labor. Consumers\' League, etc. \nDevelopment of social consciousness. \n\nThe subject-matter suggested for Grades 6, 7, and \n8 may be too advanced for some localities and not \nsufficiently so for others. This should be adjusted \nto suit needs and would also depend on how many \nyears may be devoted to domestic-art study. \n\nReferences for Study \n\n"A Sewing Course," Woolman. 1910 edition. \n\n"Teachers College Records." November, 1901; Janu- \nary, 1906; September, 1906; January, 1907; May, 1907. \n\nCourses of Study of Public School Systems. \n\n"The Place of Industries in Elementary Education," K. E. \nDopp. \n\n"The School and Industrial Life," James Earl Russell, \n"Educational Review," December, 1909. \n\n\n\nCHAPTER IX \n\nTHE FACTORS INVOLVED IN PLANNING A \n\nCOURSE OF DOMESTIC-ART WORK FOR \n\nTHE ELEMENTARY SCHOOL \n\nBefore a teacher can decide what is the most \nvaluable and profitable domestic-art work for the \n\xe2\x80\x9e^ , . , children in her chare^e, she must fully \n\nThe relation of t? > J \n\ndomestic-art comprehend what is meant by the many \n\nsubject-matter \n\nto general ed- lines of thought wh\'ich go to make up \n\nIlea ti on. , r i \xe2\x80\xa2 ^^^^ \n\nthat mass of subject-matter. Then, too, \nshe must understand the conditions or factors which \nwill most assuredly affect her selection of material. \nThe subject-matter of domestic art has been fully dis- \ncussed in previous chapters. The child has a right to \nhis inheritance and the possessions of learning which \nhave come down to him from past ages, from the \nfields of literary, religious, scientific, institutional, \nand aesthetic learning. The institutions of the home, \nchurch, state, school, and society must interpret \nthese riches to him and develop all sides of the \n\n122 \n\n\n\nTHE FACTORS INVOLVED 123 \n\nchild\'s nature. When we examine the many \nbranches to which he is heir, we discover that the \nfield of scientific and aesthetic learning, which may \nbe interpreted partly through doing, is not the least \npart of his rightful inheritance, for the power to do \nand act is surely the indication of a liberal educa- \ntion. Domestic art is one phase of the ^^ doing" \ninheritance which comes to our girls and but a small \npart of the full inheritance to which they have a \nright. Teachers of this subject so often feel and \nact as if domestic art were the whole curriculum \nand do not see its relative importance. It must \nbe given its proper amount of time, but not to \nthe neglect of other studies, and in selecting the \nbest subjects from this field of work for her class, \nthe teacher must know not only what the possi- \nbilities of subject-matter are, but must see their rela- \ntion to the broad field of education and the factors \nwhich will naturally affect the choice of material. As \nsubject-matter has previously been discussed, we may \nturn to consider the factors involved in selection. \nThe teacher must know something of the physical \nand psychologjical nature of the child be- \n\nThe child. ^ "^ ^ \n\nfore her. If she understands the physi- \ncal nature, she will be careful to adapt her work to \n\n\n\n124 DOMESTIC ART \n\nthe physical development of the child. There will \nbe no demand for fine results where there is not \nthe development of the proper co-ordination of \nmuscles to make the fine adjustments. The defects \nof eyesight and any physical troubles will be noted \nand the work planned accordingly. In schools for \ndefectives, this would be a very important factor in \nplanning any course. The psychical nature must \nalso be considered; the laws governing interest, \nmemory, apperception, habits, etc., if understood, \nwill be a guide to the teacher in selecting, planning, \narranging, and presenting the course of study. \n\nThe environment and locality will most surely \naffect and influence the planning of a course. Is it \nLocality and f^i^ to supposc that work planned to be \n\nenvironment. ^f ^^^^^ ^^^ ^^^^ ^^^ ^^^j^ ^^ children \n\nin a district school will be appropriate or of most \nvalue to children in a select private school or in the \nChinese or Italian quarter of a public school system \nof a large city ? So each course must vary to meet \nthe needs of the children for whom it is intended. \nThe industries of the locality, the peculiar conditions \nof the pupils, environment at home and at school, \nall are factors in determining what the choice of \nsubject-matter is to be. Each locality with its par- \n\n\n\nTHE FACTORS INVOLVED 125 \n\nticular environment is a law unto itself and must \nbe handled so. \n\nNot all schools are free to spend the requisite \n\namount for the introduction of domestic art or \n\nscience. Some teachers are privileged \n\nCost of the ^ ^ \n\nwork and time to expend tweiity-five cents per child per \n\nallowed for it. . \n\nyear, and others are sometimes ham- \npered by an allowance of a few cents. If a teacher \nis versatile and ingenious she will be able to get the \nvery best results with the money allowed. Some- \ntimes the children may furnish certain materials, or \noften they may be obtained by soliciting from dry- \ngoods houses odds and ends, samples of materials, \netc., all of which can be utilized in some way. The \nmoney allowed by a board or system of education, if a \nsmall amount, need not necessarily hamper the work. \nAlthough the amount granted does necessarily enter \nas a factor in the planning, and does sometimes \nregulate the amount of time to be devoted to the \nwork, it need not be the means of producing a poor \ncourse if the teacher be ingenious. It is far more \neconomical for a board to employ a well-trained, \ningenious woman than one who relies on a definite \nsum of money in order to get certain results. Time \nenters here as a factor in planning. The arrange- \n\n\n\n126 DOMESTIC ART \n\nment of the course of study will naturally be affected \nby the number of minutes or hours per week to be \ndevoted to the subject and the cost regulated some- \nwhat by this allowance. \n\nThe planning of the course of study is again \n\naffected by the ideals of the head of the particular \n\nschool where the work is to be eriven. \n\nInfluence of " \n\nhead of the Perhaps the teacher may not be given \n\nschool on \n\ndomestic-art the freedom to plan and correlate her \nwork with that of each grade, and again \nunjust demands may be made by the head which may \nnot be in keeping with the right ideals for domestic- \nart work. This problem must be handled tactfully by \nthe teacher, and she must plan so as to get the best \npossible results under the particular conditions. \nThe teacher may believe that in the lower grades \nthe best approach for the hand-work is from the \nneighborhood side, while the head of the school \nmay be deeply interested in industries or primitive \nlife. The teacher may wish the work of the upper \ngrades to prove of use in making girls better home- \nmakers, and the head may not feel the utilitarian \nvalue. The aim of each particular elementary \nschool will surely differ, and the domestic art should \nconform to the aims. The aim of some ele- \n\n\n\nTHE FACTORS INVOLVED 127 \n\nmentary schools is to send their boys and girls on to \nhigh school to continue their education, while others \nrealize that the children of their particular locality are \nforced to labor when the elementary course is com- \npleted or even before, and must be given all the \npossible help during that short period. When the \ndomestic-art teacher realizes the different aims, she \nwill plan her work so as to give to each group that \nwhich will be of greatest value as each proceeds into \nbusiness or higher school work. This may often \nmean the introduction, for instance, of machine-work \nquite early in the grade school, perhaps in the \nsixth or seventh year. \n\nThe introduction of vocational work into the \nupper grades of the elementary school is one of the \nVocational difficult problems which those dealing \n\nt6nd.6IlCi6S \xe2\x80\xa2 1 1 <\xe2\x80\xa2 1 r \xe2\x80\xa2 \n\nmust be con- With the courscs of study must face m \nsidered. ^-j^q near future. The readjustment \n\nmust surely come, considering the large percent- \nage of children who drop out of school at the close of \nthe elementary school and before, and those who \ncontinue their high school training for a short \nperiod only \xe2\x80\x94 for one or two years. The plan pro- \nposed by the City Club of New York for the read- \njustment of the years of study in the New York \n\n\n\n128 DOMESTIC ART \n\npublic schools is a very interesting one and if ever \nadopted will prove of interest to those studying the \ndevelopment of education. The plan is to divide \nthe twelve years of study (eight elementary and four \nhigh school years) into three parts: \n\n(i) Six years of elementary school work. \n\n(2) Three years of lower high school. \n\n(3) Three years of upper high school. \n\nThe majority of children might then continue \nthrough the ninth grade instead of leaving at the \nend of the eighth, a gain of one year, the main reason \nbeing to drop out at graduation from the eighth \ngrade. Few children have reached the compulsory \nschool age by the end of the sixth grade, so that the \ntemptation to drop out then would be slight. In \nthe lower high school or what would be the seventh, \neighth, or ninth grades would lie the opportunity for \nthe introduction of trade courses, the ninth grade \noffering both trade courses for those who must drop \nout and also regular high school subjects as at \npresent for those who will continue. This scheme \nis worthy of study and has been tried with excellent \nresults in some parts of the Middle West. This \npossible introduction of the vocational work as \n\n\n\nTHE FACTORS INVOLVED 129 \n\nearly as the seventh grade would mean the read- \njustment of the domestic-art course of study, or those \ntrades centring in the needle. \n\nThe social aspect of work should also govern the \ndomestic-art teacher in her plans. She should know \nThe social the home needs and conditions of her \naspect. particular children and should see the \n\nconnection that it is possible to make with the \nschool. There is a big question of economy of time \nright here. It is certainly not economical of the \npupil\'s time for a teacher to present those things, for \ninstance, which the child may be learning well at \nhome. Again, greater interest is taken if the prob- \nlems to be made are of value in the home or fit \ninto the school needs of the children. The social \nneeds of the locality may afford opportunity for the \nchildren to be of help and assistance to the hospitals, \nasylums, etc., by furnishing certain work for these \ninstitutions. In institutions of various types the \nneeds may be so great as to furnish occupation for \nall the domestic-art pupils. These and other social \naspects should determine the teacher\'s plan of action. \n\nThe question arises very often, who is to direct \nthis work \xe2\x80\x94 a trained specialist, or shall it be left to \nthe grade teacher to work out under the direction of \n\n\n\n130 DOMESTIC ART \n\nthe head of the school? The answer to this ques- \ntion surely enters as a factor in the planning of the \n\nhand-work for the lower errades and the \nWho is to \xc2\xb0 \n\ndirect the houschold-art work of the upper grades. \n\ndomestic art? \n\nThe trained specialist is needed to see \nthe breadth of the field and to make the proper \nconnections, but with training the grade teacher \nmay be able to give the industrial work of the \nlower grades. \n\nWith these numerous factors before us as influ- \nencing our plans and a good understanding of the \nWhat shall be ^^Id of subject-matter of domestic art, \npresented? ^^^^^ ^j^^^j^ ^^ ^^ difliculty in planning \n\na good course of study. The question so often \narises, what is the best thing to present, what shall I \ngive to my children? It is easily answered. One \ncannot give all of the subject-matter as outlined, but \none can choose from it that which will be of the \ngreatest possible help to the group under one\'s care. \nThere is another thought for consideration in the \nShall it be planning of the course of study \xe2\x80\x94 shall \n\nmerely prob- , , ^ 1 . \n\nlems or that coursc be a mere formal presenting \n\nthoughT\'\'\'*^ of a number of problems or shall it \ncontent? j^^ve the thought content which is to \n\nmake it of greater value ? \n\n\n\nTHE FACTORS INVOLVED 131 \n\nThere are two kinds of domestic-art teachers, \nthose who teach only sewing or its related subjects \nand those who feel and present the thought content \nin which this field is so very rich. The one teacher \nis cut and dried \xe2\x80\x94 the other type, ingenious, versatile, \nquick, and alert. She can accomplish much with \nlittle means because of the richness of this field of \nthought which she knows. Her main aim is the \nchild, the good of the child or girl, to give that \nwhich is of most value to her in this phase of her \neducation. This content of the thought side of the \nwork has already been discussed under the analysis \nof the subject-matter. The following outHnes may \nbe suggestive for domestic-art courses, and serve to \nshow the underlying thought content, the relation \nto local conditions as well as the possible relation- \nship to other grade work. Outline II gives only the \ndomestic-art phase of the industrial work for the \nlower grades. \n\n\n\n132 DOMESTIC ART \n\nOUTLINE I \n\nStudent Plan \n\nCourse of Study for Grades 1-4, illustrating the use of \nmany lines of hand-work, of which sewing forms a part. \n\nLocal Conditions \n\nLocation. \xe2\x80\x94 Rural school in northern New York. \n\nInstruction. \xe2\x80\x94 By grade teacher. \n\nTime. \xe2\x80\x94 Twenty minutes daily for class work, but children \nwill have spare time during session and outside of school \nhours for completing work begun in class lesson. \n\nMaterials. \xe2\x80\x94 The school board will furnish only drawing and \nmanila paper. It is not interested in hand-work and will \nallow no appropriation for other materials. The people \nof the district have given no attention to the subject, so the \nteacher will have to interest the children sufficiently to have \nthem contribute a little money for materials which will need \nto be bought, and to bring from home scraps of cloth, paper, \netc., as they are needed in the work. The people are farmers \nand nearly every house will have abundance of pieces in the \nstore-room. Most of them will also give the children a few \ncents at a time when they see them much interested. The \nteacher herself may have to contribute. \n\nNumber. \xe2\x80\x94 There will be about twenty children in the school. \n\nGrouping. \xe2\x80\x94 Grades i and 2 will work together. Grades 3 \nand 4 will work together. \n\nAim \n\nTo form taste for home life, to arouse the aesthetic faculty, \nto broaden the outlook on life. \n\n\n\nTHE FACTORS INVOLVED 133 \n\nSubjects \n\nDrawing. \xe2\x80\x94 Usually on Tuesday and Thursday. Preceding \nChristmas the days may be changed to accommodate the \nkind of work being done. Paper furnished by school board, \ncolored crayons and pencils by the children. \nHand-work. \xe2\x80\x94 Remaining three days. \nSand table. \n\nPaper-folding, cutting, construction. \nSimple sewing and weaving. \n\nGrades i and 2 \n\nFURNISHING DOLL\'S HOUSE \n\nThe greatest possible economy must be used, therefore \nscraps of material which children can bring from home \xe2\x80\x94 \nwithout expense to family \xe2\x80\x94 must be utilized. All the furni- \nture will be made from manila paper, the children varying \nthe style of chairs, etc., according to the rooms and their \noriginal ideas. \n\nScissors, needles, thread, thimbles will be brought from \nhome. \n\nSEPTEMBER \n\nDrawing. \xe2\x80\x94 Grasses and fall flowers \xe2\x80\x94 attention given to \ndirection and character of growth. \n\nSand table. \xe2\x80\x94 ^^Lay out farm \xe2\x80\x94 hills, meadows, fields, pasture, \norchard, pond or stream, sites for house, barns, etc., fences, \nrail and wire (thread can be used for wire, twigs for rails and \nposts). \n\nHouse. \xe2\x80\x94 A good-sized box will be found either at the school \nor among the farmers. Partitions can be put in by older \nchildren or teacher. \n\n\n\n134 DOMESTIC ART \n\nPlan rooms. \xe2\x80\x94 Downstairs \xe2\x80\x94 parlor, dining-room, kitchen; \nupstairs \xe2\x80\x94 two bedrooms. \n\nPaint. \xe2\x80\x94 Outside. \n\nInner walls. \xe2\x80\x94 Kitchen \xe2\x80\x94 paint \xe2\x80\x94 why ? Other rooms \xe2\x80\x94 paper. \nChildren can bring remnants of wall-paper from home. Dis- \ncuss color, style, etc., most suitable to each room. Children \ncan select from papers brought. Use either entire pattern or \nselections as best adapted to rooms. \n\nFloors. \xe2\x80\x94 Kitchen \xe2\x80\x94 paint \xe2\x80\x94 easily cleaned. Other rooms \xe2\x80\x94 \nstain. Paints and stain will probably have to be bought. \n\nOCTOBER \n\nDrawing. \xe2\x80\x94 Fruits, vegetables, autumn leaves \xe2\x80\x94 work for \npleasing arrangement. \n\nFurnishing of House. \xe2\x80\x94 Each child can make every article. \nWhat are necessary may be given to the house, and the others \ntaken home. Those giving to the house may make a second \nfor themselves. \n\nKitchen. \xe2\x80\x94 First, because most important room in farm- \nhouse. Chairs, table, cupboard \xe2\x80\x94 fold, cut, paste \xe2\x80\x94 cut legs, \ndoors. Stove \xe2\x80\x94 use black paper if possible; if not, mark for \nlids and doors. Roll paper for pipe. \n\nDining-room. \xe2\x80\x94 Chairs. Table. \n\nNOVEMBER \n\nDrawing. \xe2\x80\x94 Vegetables, Thanksgiving subjects and illustra- \ntions. Design borders for rugs. \n\nSideboard for dining-room. \n\nRugs. \xe2\x80\x94 Weave square mat from kindergarten papers. Plan \nrugs \xe2\x80\x94 colors for different rooms, borders on ends, materials. \n\nString small piece of cardboard with holes for kitchen rug. \n\nWarp \xe2\x80\x94 heavy thread or yarn. \n\n\n\nTHE FACTORS INVOLVED 135 \n\nWoof \xe2\x80\x94 rags. \n\nSand table. \xe2\x80\x94 Story of Pilgrims \xe2\x80\x94 sea, rocky shore, Plymouth \nRock, snow-covered land, forest, ship on sea, etc. \n\nDECEMBER \n\nDrawing. \xe2\x80\x94 Christmas subjects and illustrations. \n\nRugs. \xe2\x80\x94 Large for floors of all rooms except kitchen. \n\nLooms. \xe2\x80\x94 Four strips of wood \xe2\x80\x94 tacks to hold warp threads. \nSticks and tacks can be found in any country home \xe2\x80\x94 older \nchildren can nail them. \n\nDining-room. \xe2\x80\x94 Rags brought from home for this rug. \n\nParlor. \xe2\x80\x94 Some children will have macrame cord at home, if \nnot, buy. Use for parlor rug. \n\nBedrooms. \xe2\x80\x94 One of rags, one of cord. \n\nString looms. \xe2\x80\x94 Weave \xe2\x80\x94 the rugs for the four rooms can be \ndivided among the children according to the suitableness of \nthe material they bring. \n\nChristmas gifts. \xe2\x80\x94 Sachet bag \xe2\x80\x94 kindergarten weaving papers \n\xe2\x80\x94 cotton filling \xe2\x80\x94 powder. \n\nCalendars. \xe2\x80\x94 Cardboard with holly design \xe2\x80\x94 tiny calendar \npasted on \xe2\x80\x94 tie with red ribbon. \n\nToy Christmas tree. \xe2\x80\x94 Spool for standard, green tissue paper \nfor trunk and leaves. \n\nSchool Christmas tree. \xe2\x80\x94 Colored paper chains. \n\nJANUARY \n\nDrawing. \xe2\x80\x94 Christmas scenes, stories, and gifts. Winter \ngames and sports. \n\nDoll House. \xe2\x80\x94 Bedrooms. \xe2\x80\x94 bedsteads, chairs, washstands, \nbureaus, one cradle. \n\nMattresses. \xe2\x80\x94 Pillows \xe2\x80\x94 heavy cotton cloth \xe2\x80\x94 fill with cotton \nbatting \xe2\x80\x94 running stitch, \n\n\n\n136 DOMESTIC ART \n\nTalks on cotton plant and manufacture. \nSheets. \xe2\x80\x94 Fine cotton \xe2\x80\x94 run hems. \n\n\n\nFEBRUARY \n\nDrawing. \xe2\x80\x94 Illustrate stories \xe2\x80\x94 subjects relating to Lincoln \nand Washington. \n\nDoll House. \xe2\x80\x94 (i) Pillow cases. \xe2\x80\x94 Fine cotton \xe2\x80\x94 run hems \xe2\x80\x94 \ncare of mattress and pillows. \n\n(2) Blankets. \xe2\x80\x94 White flannel from home \xe2\x80\x94 blanket stitch in \nmercerized cotton or yarn as children may have. \n\nCare of blankets. \n\n(3) Wool. \xe2\x80\x94 Growth, manufacture. \n\n(4) Comfortable. \xe2\x80\x94 Cheesecloth \xe2\x80\x94 blanket stitch edges \xe2\x80\x94 tie. \nValentines. \xe2\x80\x94 Make simple valentines from drawing-paper \n\nand colored paper for decoration. \n\nMARCH \n\nDrawing. \xe2\x80\x94 Illustrated stories \xe2\x80\x94 objects of the season, kites, \netc. \n\nDoll House. \xe2\x80\x94 Bureau scarfs and washstand covers fancy \nmuslins \xe2\x80\x94 run hems. \n\nParlor. \xe2\x80\x94 Chairs, table, couch. \n\nCouch cover. \xe2\x80\x94 cretonne, denim, canvas, etc., as children \nmay bring. Blanket stitch on edge. \n\nCushions. \xe2\x80\x94 Bits of silk, denim, cretonne, etc. \xe2\x80\x94 fill with \ncotton \xe2\x80\x94 running stitch. \n\nAPRIL \n\nDrawing. \xe2\x80\x94 Spring growths \xe2\x80\x94 catkins, pussy-willows, etc. \xe2\x80\x94 \nEaster lilies, rabbits, etc. \n\nDoll House. \xe2\x80\x94 Window curtains for whole house \xe2\x80\x94 fancy \nmuslin or net as children may wish. \n\n\n\nTHE FACTORS INVOLVED 137 \n\nTable cloth and napkins. \xe2\x80\x94 Linen from home \xe2\x80\x94 run hems. \nUse and care of. \nTalks on flax and linen. \n\nMAY \n\nDrawing. \xe2\x80\x94 Spring growths \xe2\x80\x94 leaves, flowers. \nSewing for homes. \xe2\x80\x94 ^Napkin ring \xe2\x80\x94 canvas \xe2\x80\x94 blanket stitch \nedge. \nDust cloth \xe2\x80\x94 cheesecloth \xe2\x80\x94 turn \xe2\x80\x94 baste \xe2\x80\x94 run \xe2\x80\x94 ^proper use of. \nHair receiver \xe2\x80\x94 canvas \xe2\x80\x94 blanket stitch edges. \n\nJUNE \n\nDrawing. \xe2\x80\x94 Flowers. \n\nDrawings of April, May, and June made on sheets of uni- \nform size \xe2\x80\x94 tie together \xe2\x80\x94 children design cover. \nSewing. \xe2\x80\x94 Dish towel \xe2\x80\x94 turn \xe2\x80\x94 baste, run \xe2\x80\x94 care of. \n\nGrades 3 and 4 \n\nFOREIGN homes: INDIAN, ESQUIMAU, JAPANESE, TROPICAL \nSEPTEMBER, OCTOBER, NOVEMBER \n\nIndian Life \n\nDrawing. \xe2\x80\x94 Plants with flowers or seeds. \n\nRelative position and size of parts. \n\nAutumn leaves, fruit, vegetables \xe2\x80\x94 good arrangements. \n\nThanksgiving subjects and illustrations \xe2\x80\x94 proportion and \ngrouping \xe2\x80\x94 objects from Indian life. \n\nSand table. \xe2\x80\x94 Indian village \xe2\x80\x94 forest \xe2\x80\x94 make wigwams \xe2\x80\x94 \ncoarse canvas or bark \xe2\x80\x94 decorate with juice from berries. \n\nBows and arrows \xe2\x80\x94 feather arrows. \n\nDug-out canoe. \n\nBirch-bark canoe. \n\n\n\n138 DOMESTIC ART \n\nSnow-shoes. \nCradle-board. \nQuiver. \nMoccasins. \n\nMake and dress Indian doll \xe2\x80\x94 heavy cotton for body \xe2\x80\x94 stitch \n\xe2\x80\x94 fill with sawdust \xe2\x80\x94 trousers, coat, headpiece \xe2\x80\x94 running stitch. \nWeave Indian blanket \xe2\x80\x94 yarn \xe2\x80\x94 heddle. \n\nDECEMBER-JANUARY \n\nTropical Home \n\nDrawing. \xe2\x80\x94 Christmas illustrations, games, gifts, stories. \nLife in tropical homes. \n\nSand table. \xe2\x80\x94 Palm trees \xe2\x80\x94 green and brown tissue papers. \n\nHuts \xe2\x80\x94 sticks wattled with raffia or hay. \n\nWeave mats of straw for roofs. \n\nRaffia braided mat. \n\nHammock of cord. \n\nChristmas gifts. \xe2\x80\x94 Button bags \xe2\x80\x94 denim, canvas, cretonne, as \nchildren may have \xe2\x80\x94 stitch sides, run hem at top \xe2\x80\x94 may put on \ndesign in chain stitch. \n\nPicture frame \xe2\x80\x94 cardboard with raffia wound over it. \n\nCalendar \xe2\x80\x94 similar to those in i and 2. \n\nSchool Christmas tree \xe2\x80\x94 bell forms marked, cut, strung, red \ntissue paper. \n\nLanterns \xe2\x80\x94 red paper. \n\nFEBRUARY \n\nEsquimau Home \n\nDrawing. \xe2\x80\x94 Winter subjects \xe2\x80\x94 Lincoln, Washington \xe2\x80\x94 Make \ncover for a Lincoln- Washington book \xe2\x80\x94 make a single valen- \ntine. \n\n\n\nTHE FACTORS INVOLVED 139 \n\nSand table. \xe2\x80\x94 Esquimau village \xe2\x80\x94 -rock-salt for snow. Dress \nEsquimau doll in bits of fur \xe2\x80\x94 sled of wood. \n\nSewing. \xe2\x80\x94 Dust cloth \xe2\x80\x94 turn, baste, cross-stitch \xe2\x80\x94 proper use \nof. \n\nMARCH \n\nJapanese Home \n\nDrawing. \xe2\x80\x94 Appropriate to season \xe2\x80\x94 attention to grouping \xe2\x80\x94 \nJapanese objects \xe2\x80\x94 lantern, parasol, fan, etc. \n\nSewing. \xe2\x80\x94 Make kimono for doll \xe2\x80\x94 seams, running, hems, \nchain-stitch. \n\nIron-holder. \xe2\x80\x94 Denim, cretonne, etc., as children may have. \nBaste edge of each side \xe2\x80\x94 fold and baste interlining. Baste \nedges together. Blanket stitch edge. \n\nAPRIL, MAY, JUNE \n\nDrawing. \xe2\x80\x94 Spring growths. Easter cover for nature book. \nSewing. \xe2\x80\x94 Hand towel \xe2\x80\x94 linen\xe2\x80\x94 turn, baste, run hems. Care \nof. Talks on flax and linen. \nBean-bag \xe2\x80\x94 heavy cloth \xe2\x80\x94 stitch. \nTextile charts. \nWindow racks and plant sticks. \n\nCost of Materials not Brought from Home \n\nGrades i and 2 \n\nColored crayons (10 cents a package) $1.00 \n\nPaint and stain 50 \n\nKindergarten weaving paper 20 \n\nMacrame cord 10 \n\nSachet powder 25 \n\nCalendars 10 \n\n\n\nI40 DOMESTIC ART \n\nCardboard calendars 05 \n\nRibbon .10 \n\nTissue-paper \xe2\x80\x94 green .02 \n\nPaper for tree chains 05 \n\nTotal $2.37 \n\nPer child 23 J \n\nGrades 3 and 4 \n\nColored crayons . $1.00 \n\nRaffia . .20 \n\nCord .20 \n\nCalendars 10 \n\nTissue paper .05 \n\nValentine paper 10 \n\nCardboard for calendars 05 \n\nRibbon for calendars 10 \n\nTotal $1.80 \n\nPer child 18 \n\nNote. \xe2\x80\x94 The above plan of student\'s work illustrates what can be ac- \ncomplished with little money. \n\n\n\nTHE FACTORS INVOLVED 141 \n\nOUTLINE II \n\nStudent Plan \n\nNew York City Free Private Grade School. \xe2\x80\x94 General course \nparallel to public grade school. \n\nLocality. \xe2\x80\x94 Poor neighborhood \xe2\x80\x94 most of the children go to \nwork at the end of the elementary school. \n\nGeneral Aim. \xe2\x80\x94 To connect with the home and neighborhood \nto raise the standard of living. \n\nSome Ideas which Control the Course of Study \nGrade I {fifty minutes per week) \n\n(i) Some underlying ideas. \xe2\x80\x94 Home life and surrounding \noccupations. \n\nFall. \xe2\x80\x94 Farm life. Sand-table work. Houses, barns, sheds, \nfences, wagons, farm-animals. Materials of many kinds \nused. \n\nFarm life. A link extending to grocery, bakery, dairy, meat- \nmarket. \n\nWinter. \xe2\x80\x94 Study of a typical home of the neighborhood \n(apartment). Drawing, block-building, furnishing a play- \nhouse, activities of the home, dusting, cleaning, care of cloth- \ning. Care of play-house and some care of schoolroom fur- \nnishings. \n\n(2) Clothing and shelter. \xe2\x80\x94 In relation to activities of home. \nEmphasize care of clothing; materials of which clothing is \nmade: cotton, silk, flax, wool. Where comes from (very ele- \nmentary discussion of relation between plant or animal and \nfinished product). \n\n\n\n142 DOMESTIC ART \n\n(3)* Some underlying ideas in carrying out following things \nto he made. \xe2\x80\x94 Crude results are expected. The aim is to make \nthe child as creative as possible through use of principles \ntaught. \n\n{a) Paint cloths \xe2\x80\x94 basting. \n\n{h) Canvas work \xe2\x80\x94 blanket and running stitch, napkin ring, \netc. \n\n{c) Cord work. \n\n{d) Making of simple articles for play-houses \xe2\x80\x94 bedding, cur- \ntains, table covers, etc. \n\n{e) Farm life: \n\n(i) Basket. \n\n(2) Meal bag. \n\nGrade II {fifty minutes per week) \n\n(i) Some underlying ideas. \xe2\x80\x94 Home life and surrounding \noccupations. Comparison with lives of primitive people. \n\nFall. \xe2\x80\x94 Farm life as related to our fall activities in the home. \nFarm visited, fruit gathered and preserved for winter. Fall \nhousekeeping problems. \n\nWinter. \xe2\x80\x94 In place of a play-house, a \'\'real" room (rest- \nroom or living-room, third floor) to be partially furnished and \ncared for. \n\nEsquimau children\'s activities, those of early man and \nAmerican Indian, compared with our lives. \n\n(2) Clothing and shelter. \xe2\x80\x94 Comparison of clothing of primi- \ntive and modern people; of what made; how; tools used; \nnames of materials \xe2\x80\x94 bark cloth shown; practice in elemen- \ntary spinning and weaving. Care of clothing at home. Prac- \ntical work in simple household decoration. \n\n(3) Some underlying ideas in carrying out things to he made. \xe2\x80\x94 \nTo make the child creative through the use of ideas and prin- \nciples taught. \n\n\n\nTHE FACTORS INVOLVED 143 \n\n(a) Paint cloths \xe2\x80\x94 basting. \n\n(b) Canvas needle-book. \n\n(c) Pin-cushion. \n\n{d) Christmas stockings. \n\n(e) Iron-holder. \n\n(/) Bean-bags. \n\n(g) Fitting up sitting-room (co-operative work). % \n\n{h) Overshoe bags. \n\n(i) Weaving. \n\nGrade III {One hour forty minutes) \n\n(i) Some underlying ideas. \xe2\x80\x94 Study of neighborhood occupa- \ntions. Comparison with some primitive people. \n\n{a) Farm life. More intensive study. Dairy farm; truck- \ngarden; cultivation of fruits and cereals. \n\nLarge distribution centres \xe2\x80\x94 milk-depots; beef storage house; \nfreight station; wholesale vegetable market. \n\n(h) Comparison of modern agricultural and pastoral \nmethods with those of Eastern shepherd and Pueblo Indian. \n\n(c) Beginnings of local history. \n\n(2) Clothing and shelter. \xe2\x80\x94 Relation of farm life to clothing. \nComparison with that of Eastern shepherd and Pueblo Indian, \nHow and where made. Simple processes of spinning and weav- \ning in advance of the second grade. Use of heddle and other \ntools in evolution of these arts. Local history in relation to \narts of spinning and weaving and production of clothing. Care \nof clothing. \n\n(3) Some underlying ideas in making of following articles. \xe2\x80\x94 \nRelation of things made to home and school interests. Crea- \ntive side of child nature to be developed; care in threading of \nneedles, position, thimble, knotting thread. \n\n{a) Needle-book \xe2\x80\x94 canvas. \n\n\n\n144 DOMESTIC ART \n\n(b) Hand towels \xe2\x80\x94 running. Emphasis on threading, knot- \nting, holding needle. \n\n(c) Paint cloths. \n\n(d) Pin- cushions \xe2\x80\x94 canvas. \n\n(e) Shoe bags. \n\n(/) Paper dolls dressed. \n\n(g) Textjle chart: (i) Comparison of textiles, (2) adapta- \ntion to use. \n\nGrade IV (One hour forty minutes) \n\n(i) Some underlying ideas. \xe2\x80\x94 More definite study of New \nYork City as a whole. \n\nMain study: Some of the causes which led to its prominence \nand which tend to maintain it. \n\nSome study of various nationalities represented here. \n\nSome study of the commodities sent from other lands. \n\nStories of sea-faring people of long ago (in connection with \nnavigation). Norsemen, Phoenicians. \n\nNew York architecture \xe2\x80\x94 buildings, bridges, streets. \n\nStories of Greece and Rome, suggested by a simple study of \npolitical city organization. \n\nHousework \xe2\x80\x94 cooking, setting of table, care of rooms, care \nof clothes. Basis is found in trying to make the child his \nmother\'s \'^ helper." \n\n(2) Clothing and shelter. \xe2\x80\x94 Study of Greek and Roman dress. \nArts of spinning and weaving as done in Greece and Rome; \nmaterials used. \n\nCommodities for clothing sent from other lands. Produc- \ntion in New York \xe2\x80\x94 where \xe2\x80\x94 how. \n\n(3) Some underlying ideas in making following articles. \xe2\x80\x94 ^To \ninspire child to be mother\'s helper in home. Special atten- \ntion to proper use of tools in sewing; correct method of \nhemming. \n\n\n\nTHE FACTORS INVOLVED 145 \n\n(a) Paint cloths. \n\n(b) Pinball (2 circles overhanded; initials in chain stitch). \n\n(c) Hand-towels \xe2\x80\x94 hemming. \n\n(d) Christmas gifts, penwiper. \n\n(e) Clothespin bag. \n\n(/) Cover slips for home work. \n\n(g) Cushion top \xe2\x80\x94 design transferred \xe2\x80\x94 painted \xe2\x80\x94 couched. \n\n(h) Stuffed animals for stitching stitch. \n\nGrade V {one hour a week) \n\n(i) Some underlying ideas. \xe2\x80\x94 The dramatic development of \nour country. \n\nDiscovery and Exploration. \xe2\x80\x94 Present geographical knowl- \nedge compared with that of people of the fifteenth century. \n\nIndia, and the wonderful stories told about the East by \nthe Crusaders. \n\nPeriod of Colonization. (Up to the time of the quarrel with \nEngland.) \n\nTypical colonies studied. New England, New Amsterdam, \nSouthern Colony. \n\nBiography. Brave men who helped build our country. \n\nHousework. \xe2\x80\x94 Learning to be helpful at home, continued \nfrom Grade IV. \n\n(2) Clothing and shelter. \xe2\x80\x94 How made \xe2\x80\x94 beautiful fabrics \xe2\x80\x94 \nsimple tools. Columbus bartered for cotton. Materials and \nclothing in use in East. Herodotus\'s description of Indian \ncotton. Early travellers\' story of cotton as animal. Biogra- \nphy: Eli Whitney, Arkwright, Hargreaves, Crompton, etc. \n\n(3) Some underlying ideas in making following articles. \xe2\x80\x94 Cre- \nativity on part of child centring about helpfulness in home. \nMore careful work required \xe2\x80\x94 neatness, accuracy. Correct \nposition of body, tools, and work. Discussion of cost and \n\n\n\n146 DOMESTIC ART \n\nkind of materials used. Economy in buying and cutting. \nCare of materials and tools. \n\n(a) Duster \xe2\x80\x94 cross stitch. \n\n(b) Pinball (design in Kensington stitch). \n\n(c) Christmas gifts. \n\n(d) Laundry bag (feather-stitch). \n\n(e) Doll dressing \xe2\x80\x94 simple notion of drafting and of gar- \nments in use. \n\n(J) Furnishings for doll\'s bed. \n\nGrade VI (one hour a week) \n\n(i) Some underlying ideas. \xe2\x80\x94 The development of the nation \nto the time of the slavery troubles and the division of the \nUnion. \n\nModern and immediate life remains the key-note here as in \nprevious grades. The past is drawn upon to illumine the \npresent. Problems of transportation, industrial development, \nand economic growth will be viewed from the stand-point of \nthe present. \n\nLiterature will deal largely with stories of heroism and \nchivalry. History and literature will frequently, though not \nalways, supplement each other. The mythical element slill \nappeals to this age, and the myths and sagas of the Northland, \nthe German tale, will be treated as carefully as will the purely \nbiographical material. Lives of great men studied: George \nWashington, Benjamin Franklin, Daniel Boone, Alexander \nHamilton, John Paul Jones, Thomas Jefferson. \n\nHousework \xe2\x80\x94 Girls. \n\nShopwork. \xe2\x80\x94 Boys. \n\nGeography of South America and Europe. \n\n(2) Clothing and shelter. \xe2\x80\x94 Districts located where clothing \nmaterials are produced. Manufacture of clothing in South \n\n\n\nTHE FACTORS INVOLVED 147 \n\nAmerica and Europe at this period. Now \xe2\x80\x94 where \xe2\x80\x94 history of \nit. Development of spinning and weaving. Economic rela- \ntion in United States between production of materials North \nand South. Their transportation, location of mills and fac- \ntories. Cotton, time of slavery. Silk, wool, flax. \n\n(3) Some underlying ideas in making following. \xe2\x80\x94 Careful \nwork \xe2\x80\x94 knowledge of home things \xe2\x80\x94 helpfulness and use in \nhome, neatness, accuracy. Machine work started. Discus- \nsion of simple machinery. Economic cutting, and buying of \nmaterials. Care of tools. Patterns made for skirt. Collec- \ntion of cotton and wool materials to be mounted in book for \nuse in grade. \n\n{a) Cuffs (cooking costume). \n\n(6) Needle-books. \n\n(c) Christmas gifts. \n\n{d) Darning. \n\n{e) Ironing-board cover. (Machine work.) \n\n(/) Cooking apron. (Machine work.) \n\n{g) Skirt. (Machine work.) \n\nGrade VII (one hour a week) \n\n(i) Some underlying ideas. \xe2\x80\x94 As in Grade VI. The develop- \nment of the nation is treated as a retrospect. The present \nmust be illumined. History is continued, up to the .current \nhistory, in the making. \n\nGeography deals not so much with familiar conditions. \nAsiatic and African lives are contrasted with our own. \n\n(2) Clothing and shelter. \xe2\x80\x94 Processes in manufacture and \nmaking cloth. Printing, dyeing, bleaching. Removal of \nstains from clothing \xe2\x80\x94 care of clothing. \n\n(3) Some underlying ideas in making following. \xe2\x80\x94 Home life \nand interests of girl as centre. Social consciousness to be \n\n\n\n148 DOMESTIC ART \n\ndeveloped through making for others besides those in home. \nEconomy in buying and cutting. Use of patterns. Neat- \nness, accuracy. Collection of materials, silk, and flax, for \nmounting in book. Hygiene of clothing \xe2\x80\x94 dressing of a \nbaby. \n\n(a) Broom cover. \n\n(b) Crocheted slippers. \n\n(c) Jelly bag. \n\n(d) Pot lifter. \n\n(e) Combing towel. \n(J) Baby wrappers. \n\nChristmas gifts for those who have time to make them. \n\nGrade VIII (one hour a week) \n\n(i) Some underlying ideas. \xe2\x80\x94 Main study: How other coun- \ntries influence our development. \n\nCivics furnish the point of departure for a study of Greece \nand Rome. \n\nSocial and economic conditions of western Europe which \ninfluence us most strongly. The development of guilds, trade \nunions. \n\n(2) Clothing. \xe2\x80\x94 Discussions. Development of factory life \nand conditions. Relation of old guilds to industries. Sweat- \nshop labor, Consumers\' League (continuation of idea of \ndevelopment of social consciousness starting in 7th grade). \nEconomy through care of clothing by repair, remaking, \netc. \n\n(3) Some underlying ideas in making following articles. \xe2\x80\x94 \nHome life and personal interests of girl considered. Use of \npatterns, care, and neatness in machine stitching. Economy \nin buying and cutting. Collection of samples of lace edges \nand insertions. Cutting lessons in paper (plaid). \n\n\n\nTHE FACTORS INVOLVED 149 \n\n\n\n(a) Hemstitched towels (lettering). \n(6) Patching begun. \n\n(c) Christmas gifts. \n\n(d) Remainder of patching. \n\n(e) Drawers or petticoat. \n\n(f) Shirtwaist. \n\n\n\nI50 \n\n\n\nDOMESTIC ART \n\n\n\nO > CO \n\n;3 \n\n\n\n<D \n\n\n\nI\xe2\x80\x94 H \n\nH \n\n\n\n3 \n\n\n\xe2\x96\xa04-> \n\n\n8 \n\n\no \n\n\n1\xe2\x80\x94 j \n\n\n13 \n\nC3 \n\n\n\n\n\n\n>^ \n\n\n\xe2\x80\xa2l-H \n\n\no \n\n\n\n\nCfi \n\xe2\x80\xa2I-H \n\n\n\xe2\x80\xa2 \xe2\x80\xa2-1 \n\n\n\n\nW) \n\n\no \n\n\nC! \n\n\no \n\n\n\n\n\xe2\x80\xa2s \n\n\n> \n\n\n\n\n\n\no ^ \n\n<U "^ \n\n\n\n*c3 S \n\n-" ^ \n\ntu o \n\nW) o \nW) -f3 \n\n.52 -5 \n\n\n\no \n\nCO \n\n\xe2\x80\xa2 I\xe2\x80\x94 I \n\nH \n\n\n\n\xe2\x80\xa2 l-H \n\no \n\n\n\n:3 \n\n\n\n\n\n\nCO \n(U \n\n\n\nCO \n\n;-( \n\no \n\nCO \n\n<u \n\nCO \n\nCO \n\n^ \'S \n\nO On \n\nCO \n\nO \n\nCO " \n\n\xc2\xab 00 \n\no -^ \n\n\xe2\x96\xa05 -^ \n\nO \'^ \n\n\n\nCO \n\nw \n\nI\xe2\x80\x94 I \n\nH \nXI \n\nH \n\n\n\nc3 \n\n\n\nO) \n\n\n\nto \n\n\xe2\x80\xa2 1-4 \n\n\xe2\x80\xa2 1-1 \n\no \na \n\n\n\n.2 \n\nCI. \n\n\n\nbX) \nO \n\n\n\ni \n\n\n\n% \n\n\n\n\n\n\n<^^ CO \n\n\n\nt3 .S \n"to \n\nI 2 \n\no \n\n\n\n\n\n\n"to \n\nc3 \n\n\n\nCO \n\no \n\n\n\nO \n\n\n\n\n\n\n\n\n\nHi \n\nH \n\n\n\no \n\n\n\nCO D \n\n1j o \no \n\n\n\n<D \n\n\n\nO 03 \n\n\xe2\x96\xa04-) CO \nj-j o \n\n^^ \n\n2 ^ \n\n\n\nCO \n\n\n\nr_, P^ \n\n\n\n\n\n\n5^ rs \n\n\n\n^ \n\nO \n\n\n\n> \no \n\n\n\n\n\n\n\n/ \n\n\n\n\n\n\n\n\nH \n\n\n\n\n\n\n\n\n\n\n\n\nH \nO \n\n\n\n\n\xe2\x80\xa24-i \n\n\n\n\n\n\n\n\nU \n\n\n\n\n3 \n\n\nCO \nCO \n\n\n\n\nbb \n\n\nH \n\n\n\n\n1 \n\n\nrt \n\n\n\n\n.s \n\n\no \nt2 \n\n\n\n\n\xe2\x80\xa243 \n\n\n\xe2\x80\xa2 -H \n\nc3 \n\n\n\'^ \n\n\n\n\no \n\nW \n\nH \n\n\n\n\nCO \n\nVh \n\ncd \n\n\n0) \n\ni-H \nU \n\n\n\xe2\x80\xa2c \n\nB \n\n\nVh \n\n1 \n\n\n\n\n\n\nCJ \n\n\nCj \n\n\n\n\nbO \n\n\n\n\n\n\n\n\n1 \n\n\no \n\n\n\xe2\x80\xa2 1-1 \n\n\n\n\n\n\nri \n\n\n\n\n\xe2\x80\xa2\xc2\xbb-> \n\n\n4-\xc2\xbb \n\n\n\n\n\n\n\xe2\x80\xa2 1\xe2\x80\x94 ( \n\n\na \n\n\n-4-> \n\no \n\n\nCO \n\nc3 \n\n\n\n\n\n\na. \n\n\nu \n\n\n^ \n\n\n\n\n\n\ncS \n\n\no \n\n\n<-l-l \n\n\n1 \n\n\n\n\n\n\nP! \n\n\n,x: \n\n\no \n\n\nCO \n\n\n\n\n\n\no \n\n\n\xe2\x80\xa21\xe2\x80\x94 1 \n\n\n\xe2\x80\xa2 1\xe2\x80\x941 \n\nbO \n\n\no \n\n\n\n\n\n\n0) \n\n\n(U \n\n\n\xe2\x80\xa2r^ \n\n\n-(-\xc2\xbb \n\n\n\n\n\n\nCO \n\n\nCO \n\n\nu-i \n\n\n\xe2\x80\xa2 l-l \n\n\n\n\n\n\nP P o \n\n\nH\xe2\x80\x94 > \n\nC/2 \n\n\nCO \n\n\n\n\n\n\n\n\n\n\n\n\nH \n\n\n\n\n\n\n\n\n\n\n\n\nU \n\n\n\n\n\n\n\n\n\n\n\n\nW \n\n\n\xe2\x80\xa2 \n\n\n\n\n\n\n\n\n\n\n5* \n\n\n\'co^ \n\n\n\n\n\n\n\n\n\n\nM \n\n\n::3 \n\n\n\n\n\n\n\n\n\n\nP4 \n\n\no \n\n\n\n\n\n\n\n\n\n\nQ \n\n\n\n\n, \n\n\n\n\n\n\n\n\ntz \n\n\no \n\n\nbD \n\n\n\n\n\n\n\n\n< \n\n\nM \n\n\nC3 \n\n\xe2\x80\xa2c \n\n\nJ3 \n\n\n\n\n\n\nCO \n\n\n1 \n\n\n\n\nO^ \n\n\n\n\n\n\nH \n\nCO \nCO \n\nW \n\nu \n\n\n8= \n\n\n\xe2\x80\xa2 -H \n\n\nCO \n\n:3 \n\n\n\n\n\n\no \n\n\nCo \n\n\n:? Q \n\n\n\n\n\n\np4 \n\n\n\n\nH \n\n\n<N \n\n\n\n\n\n\n\n\ni-A \n\n\n"" \n\n\n\n\n\n\n\n\n\nTHE FACTORS INVOLVED \n\n\n\n151 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<U \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\ntn \n\n\n\n\n\n\n\n\n\n\n-M \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nS3 \n\n\n\n\n\n\n\n\n\n\nt3 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\na \n\n\n\n\n\n\n\n\n\n\n\xc2\xa7 \n\n\n\n\n^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nen \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\noj \n\n\n\n\n\n\n\n\n\n\nen \n\n\n\n\ni\xe2\x80\x94j \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nen \n\n\n\n\nc^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xe2\x80\xa2s \n\n\n\n\n\n\n\n\n\n\n<u \n\n\n\n\n\xe2\x96\xa0j-\xc2\xbb \n\n\n\n\n\n\n\n\n\n\n\n\n\n\ntn \n\n0) \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n>% \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n2 \n\n\n\n\nf-4 \n\na \n\n\n\n\ntn \n\n\n\n\n\n\n\n\n\n\nti \n\n\n\n\n\n\n\n\n\n\na, \n\n\n\n\n\xe2\x96\xa0*-> \n\n\n\n\n1\xe2\x80\x941 \n\n\n\n\n\n\n\n\n\n\n4) \n\n\n\n\n\n\n\n\n\n\n\n\n\n\na \n\n\n\n\nc3 \n\n\n\n\n\n\n\n\n\n\n+-\xc2\xbb \n\n\n\n\n\n\n\n\n\n\nM-t \n\n\n\n\n\n\n\n\n\n\n-d \n\n\n\n\n\n\n\n\n\xc2\xa7\xe2\x80\xa2 \n\n\n\n\n\n\n\n\n\n\n\n\nbO \n\n\n\n\n<L> \n\n\n\n\nc5 \n\n\n\n\n\n\n\n\n\n\n\na \n\n\n\n\n* \n\n\n\n\n\n\nCJ \n\n\n\n\ns \n\n\n\n\na \n\n\n\n\xe2\x80\xa2 i-H \n\n\n\n\n\n\n\n\nt3 \n1\xe2\x80\x941 \n\n\n\n\n\n\n\n\nin \n\n<u \n\n\nc3 \n\n\n\n\n\xe2\x80\xa2oom. \n\xe2\x80\xa2lankets. \n\n\nCfi \n\n\nr3 o) \n\n\n\n\n\n\n^ \n1 \n\n\n\xe2\x96\xa05 \n\n\n\xe2\x80\xa2 I\xe2\x80\x94 1 \n\n\n\n\nen \ntn \n\n2 \n\n\nbC \n\n> \n\n\n5=1 \n\n\xe2\x80\xa2 I-H \n\n1 \n\n-3 \n\n\n4-> \n\n;3 \n\n\nbO \n\ni \n\n\n^ ^ \n\n\nt5 \n\n\n\xe2\x80\xa2-3 \n\n\nbO \n\n\n\n\n\n\nbX) \n\n\xe2\x80\xa2 I-H \n\n\n\xc2\xab+H \n\n\nIj \n\n\n\xc2\xab+H \n\n\ntn \n\n\nT3 \n\n\na \n\n\ntn \n\n\nu \n\n\n<u \n\n\nc3 \n\n\nti \n\n\n\n\n\n\n\n\n\nM-H \n\n\n\n\n\nXJ \n\n\nPi \n\n\ncj \n\n\n\n\n-^ \n\n\n^ \n\n\n\'3 \n\n\n\n\n\n\n\xe2\x96\xa04-.> \n\n\nri \n\n\n\n\n\nrt \n\n\nS \n\n\ncJ \n\n\nID \n\n\n\n\n\n\n\n\n\n\n>-i \n\n\n\n\n\n\n\n\n\xe2\x80\xa255 \n\ntn \n\n\ntn \n\n\n\n\ntn \n\n\nQ \n\n\no3 \n\n\n> \n\n\xe2\x80\xa2 I-H \n\nbC \n\n\n\n\n\nbX) 1 \n\n\n\n\nbB \n\n\nbb \n\n\n-3 \n\n\n\nio \n\n\n1:3 \n(J \n\n\n\xe2\x80\xa243 \n\n\n;3 \n\n\n\n\n\n^ \n\n\n\n\n\n\n\n\no. \n\n\n\n\n\n\n*^ \n\n\n\xe2\x80\xa2 I-H \n\n\n13 \n\n\n\xe2\x80\xa2 ^ \nJ3 \n\n\ntn \n\n\nC3 \n\ntn \n\n\ntn \n\n\xe2\x80\xa2 rH \n\n\n^ \n\n\ntn \n\n\xe2\x80\xa2I-H \n\n\n\n\n\nCare of bed( \nOrigin of w( \nOrigin of lir \nComparison \n\n\nen \n\n<v \n\n\n-4-> \n\xe2\x80\xa2 I-H \n\nC/3 \n\n\n\xc2\xab-M \n\n0) \nU \n\n\nu \n\nen \n\n\xe2\x80\xa2I-H \n\ntn \n\n\ntn \n\nen \n\n\n\n-4-> \n\n0) \n\n1\xe2\x80\x94 1 \n\n\n\xe2\x80\xa2S \n\n> \n\n\nM-H \n\n\n\n\ntn \n\n(L) \n\nH \n\n\n\xe2\x80\xa2a \n\ncu \n\n\n>-H \n\nr\xe2\x80\x94 I \n\n\na \n\n\xe2\x80\xa2S3 \n\n\n4) \n\nen \n\n-a \n\nbO \n\n2 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nTJ \n\n\n4> \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n0) \n\xe2\x96\xa04-) \n\n\n^-H \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n^ \n\n\n\n\n\n\n\n\n\n\n\'en^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\na \n\n<D \n\n\n\xe2\x80\xa2t^ \ntn \n\n\n\n\n\n\n\n\n\n\n\n\nii \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nX \n\n\nCu \n\n\n4) \n\n\n\n\n\n\n\n\nS \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<u \n\n\n\n\ni \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n2 \n\n\ntn \n03 \n\n\n\nt/i \n\n\n\n\n\n\n\n\n^ \n\nV \n\n\n\n\n\n\n\n\n\n\n\'a \n\n\n\xe2\x80\xa2 \n\n\n\n\ntn \n\n\n4) \n\n\xe2\x80\xa2^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nC3 \n\n\n\'oT \n\n\n\n\nI\xe2\x80\x94 1 \n\n\noj \n\n\n^\xe2\x80\x941 \n\n\n\n\n\n\n\n\nio \n\n\n\n\n\n\n\n\n\n\n\n\n\ntn \n\n\n\n\n\n::3 \n\n\n(U \n\n\n\xe2\x80\xa28 \n\n\n\n\n\n\n\n\nJ \n\n\n\n\n\n\n\n\n\n\n^ \n\n\n\n\ntn \n\n2\xc2\xa3 \n\n\n\n\n\n\n, \n\n\n\n\n\n\n\xe2\x96\xbag \n\n\n\n\n\n\n\n\n\n\n10 \n\n\n-a \n\n\n\n\n>-i \n\n\ntn \n\n\n. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n1 \n\n\n^cn \n\n\n\n\n4) \n\n\nc3 \n\n\nBedding i \nSheets. \n\n\n\n\nen \nen \n\n\n\xe2\x96\xa04J \n\ns \n\n\n1 \n\n1 \n\n\ntn \n\n1 \n\nu \n\n\n\n\n\n\n\n\n1 \n\n\n\n\n\n\n2 \nu \n\n1 \n\nw \n\nH \n\n\n\n\n2 \n\n\xe2\x80\xa2 l-H \n\n4> \n\n+-\xc2\xbb \n4> \n\n\n\'fO \'^ \n\n\ns^ \n\n\n\'^ \n\n\ng \n\n\n^ \n\n\n\n\n\n\n\n\n\n\n. \n\n\n^ \n\n\n\n\n^ \n\n\n-^ \n\n\n\n\n\n\n\n\n\n\nHH \n\n\n\n\n\n\n\n\n}-^ \n\n\n\n\n\n\na \n\n\n\n\n\n\n\n\n\n\nHH \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n152 \n\n\n\nDOMESTIC ART \n\n\n\nT3 \nO \n\na \n\nc3 \n\n\n\n\'P. O \n\n\n\n\xc2\xab+-! \n\n\nTi \n\n\no \n\n\n<U \n\n\n\n\nM \n\n\n<u \n\n\ncd \n\n\no \n\n\nU \n\n\n\n\nT3 \n\n\n> \n\n\nri \n\n\n\'V \n\n\nc3 \n\n\nc3 \n\n\nT3 \n\n\n\xe2\x80\xa2 I\xe2\x80\x94 1 \n\n\n0) \n\n-a \n\n\n\nto \n\n\n^ \n^ \n\n\n\n\nr^ \n\n\nm \n\n\n<u \n\n\n\n\nQJ \n\n\n^ \n\n\no \n\n\n\xe2\x80\xa2*-\xc2\xbb \n\n\n\n\n\'\'t \n\n\n\'> \n\n\no \n\n-4-> \n\n\n^iT \n\n\n-4-> \n\no \n\n\ns \n\n\n^ \n\n\naj \n\n\no \n\n\nK \n\n\n<U \n\n\no \n\n\n\n\nH \n\n\n-l-> \n\n\n\xe2\x80\xa2--H \n\n\no \n\n\n\n\n\xe2\x80\xa2--s \n\n\n^ \n\n\n*H \n\n\n^ \n\n\n4-> \n\n\ntfi \n\n\n\'\xc2\xa7 \n\n\n;3 \n\no \n\n\nci \n\n\nc3 \n\n\ncd \n\n\no \n\n\n\no ^ \nO ^ \n\nk; o \n\no \n\n\n\nC/3 \n\nH \nO \nH \nI\xe2\x80\x94 \xc2\xbb \n\nO \n\n<: \n\nen \nW \nc/3 \ny3 \n\nW \n\nu \no \n\xc2\xab \n\n\n\n^ I \nen \n\n-\xe2\x96\xa0^ 2 > \n\nCl o \n\n\n\n\xe2\x96\xa04-\xc2\xbb \n\no \n13 \n\n\n\ny^S \n\n\n\nen \n\n\n\na . \n\n\n\nM \n\n-\xc2\xab-> \xe2\x96\xa04-1 Cd \n\n<1> g ^-> \n\nJ? \xe2\x80\xa2- 3 \n\nn ^ -^ \n\nP g \xc2\xa7 \n\nR cj S \n\n1\xe2\x80\x941 \'i-H M \n\no a c3 \n\nO ^ Dh \n\n\n\no \n\n\n\n\n\n\nn3 \n03 \n\n\n\nTO -(-> \nO o \n\na s \n\n\n\n\xe2\x80\xa2 I\xe2\x80\x94 I \n\n\n\n\n\n\n\n\n\n!=1 . \ncd IS \n\n\n\nen ^ \n\n\xe2\x80\xa21-4 O \n\n\n\nbO \n\n\n\nc3 \n\n\n\n0) \n\na \n\nO \n\n\n\nJ2 "a \n\nS -^ \n\n4^ en \n\n.s ^ \n\n^ a \n\nen 2 \n\no \xe2\x80\xa2\xe2\x80\xa2 \n\n\n\nU \n\nO \no \n\nOh \nO \n\n.a -\xc2\xab \n\nI (U \n\n\n\nM-t \xe2\x80\xa2 \n\n\xc2\xb0 a \n\n^ IS \n\n(U o \n\n\n\nO c3 \n\n^ O. \n\nen ^ \n\n\'^ o3 \n\nen O \n\nen en \n\n!:^ en \n\n8 <U \n\n.en \xc2\xab4-i \n\n-X en \n\n^ a \n\ncd \n\n\n\no \nI Q \n\n\n\n1=5 Ci h?- \n\n\n\n.ti a \n\n\n\no \no \n\n;-i \n\nO o \n\nen \n\n\n\n(D \xe2\x80\xa2\xc2\xa3-! \n\na s \n\n\n\nen \n\n\n\n\n\n\nI \n\na \n\no \n\n\n\n\n\n\n\n\n\n:3 \n\no \n\n-a \n\n\n\nen \n\nM \n\nO \n\n-E3 \n\n\n\n5s en \nS O \n\n\n\nCO O \n\nw o \n\n\n\no \n\n\n\na \n\xe2\x80\xa21\xe2\x80\x941 \n\nO \n\n\n\nen \ncd \n\na \n\n\n\nCo \n\n\n\n\n\n\nd -rl \n\n\n\noj \n\n\n\nJ3 \n\n\n\nO \n\n\n\nPn U H=! \n\n\n\nHH M OJ CO \n\n\n\nTHE FACTORS INVOLVED \n\n\n\n153 \n\n\n\n\xe2\x80\xa2 \n\n\n\n\n\n\n\n\n\n\nJ \n\n\na \n\n43 \n\n\n1 \n43 \n\n\nb\xc2\xa3) \n\n\nCO \n\n\n\xe2\x80\xa2\xe2\x80\xa2g \n\n1 \n\n\n\n\n\n\n\n\n\n\n\n\nCO \n\nbO \n\nS3 \n\xe2\x80\xa2 1\xe2\x80\x94 ( \n\n\n1- \n\n\nCO \n\n\n^ \n\n\n(U \nM \n\n\nq \n\n\n\n\n, \n\n\n\'V \n\n\n4-J \n\n\n^ \n\n\n\xc2\xab+H \n\n\n.a \n\n\n3^ \n\n\n\n\n\n\na \n\n\n2 \n\n1 \n\nCO \n\na \n\n\n\n\nCO \n\n\n\n\n(U \nCO \n\n\n\n\n\nerhanding, and \nc use of materii \n\n\n\n\n\xe2\x80\xa21\xe2\x80\x94 1 \nbx) \n\n\xc2\xa7 \n\n43 \n\n\nt3 \n\n\n\n\n\n*co \n\na \n\n\n43 \n\n\n13 \n\na \n\nJ3 \n\nCO \n\n\nCO \n\n1 \n\na \n\n;-< \n\n\nCO \n\n\n<u \n\n43 \n+-\xc2\xbb \n\n\nCO \n\n\n\n\n\n\n\n\n\n\n\n\n.s \n\n\n1^ \n\nCO \n\n\na \n\n\n43 \n\n\nCO \n\n\n\xe2\x80\xa2 1\xe2\x80\x94 1 \n\n\n\n\n3 \n\n\xe2\x80\xa24-> \n\n\ni \n\n\n\n\n\n\na \n\n\n\n\n\n\n43 \n\n43 \n\n\n.a \n\n\n43 \nH \n\n\n\xc2\xa7 \n\n\n\n\nd \n\n\n3 \n\n\n\n\nM \n\n\nu \n\n\n-4-> \n\n\nnd \n\n\n\n\n\n\n\n\n4h \n\n\n\xe2\x80\xa2 i-H \n\n\n\n\n^ \n\n\n\xc2\xab-l-H \n\n\n\n^ \n\n\n\n\nbb \n\n\n\n\n43 \n\n4^ \n\n\nbB IS \n\n\n\n\nbO \n\n\n\n\n\n\nCO \n\n<u \n\n\nc3 \n\n\n\n\n;3 \n\n-4-> \n\nCO \n\n\nj3 \n43 \n\n\n\n\n\n: bastin \nc f urnis \n\n\n\xe2\x80\xa2 1\xe2\x80\x94 1 \n\n\n\n\n\n\xe2\x80\xa243 \n\n\nS3 \n\n\n\na \n\n\nCO \n\n\xe2\x80\xa2F-l \n\n\nCO \n0) \n\n\n\n\n-4\xe2\x80\x94 > \n\n\n\n\n\xc2\xab4-l \xe2\x80\xa2 \n\n^ . \nCO \n\nTO .1-1 \n\n\nhes \n[eni< \n\n\n\'6 \n\nb\xc2\xa3) \n\n\n^ \n>, \n\n\n\n\nbJD \n\n\nCO \n\nCO \n\n\nd \n\n\n\xe2\x80\xa2-2 \n\n\n03 \n\n\n;3 c^ \n\n\nStitc \nHyg: \nDesi \n\n\nu \n\n^ \n\n\n\n\n\n\n\nP CJ \n\n\n\n\n^ a \n\n\nii \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nCL, \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n6 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nen \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nbO \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\na \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xe2\x80\xa21-4 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nrSi \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nC/3 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nl-H \n\n\n\n\nto \n\n\nCO \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n;3 \n\n\n\n\nM \n\n\nM \n\n\n^ \n\n\n1^ \n\n\n\n\n\n\n\n\n\n\n*+-i \n\n\n\n\n(U \n\n\n<U \n\n\n\xc2\xbbH \n\n\n\n\n\n\n\n\n\n\n\n\n\ns ^ \n\n\n, \n\n\n> \n\n\n\n\xc2\xa7 \n\n\n^ \n\n\n(J \n\n3 \n\n\n\n\n\n\n\n\n\n\nRoo \n\nwork \n\n\nCO \n\n\n1 \n\n\n43 \n\n;3 \n\n\n8 \n\nCO \n\n\n\n\n\n\n\n\n\n\n\'T^ tLl \n\n\niU \n\n\n1\xe2\x80\x941 \n\n\n\n\n\n<D \n\n\ncj \n\n\n\n\n\n\n\n\n\n\n^ > \n\n\nu \n\n\nPM \n\n\nq H \n\n\n\n\n\n\n\n\n\n\nT3 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nnJ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n154 \n\n\n\nDOMESTIC ART \n\n\n\ncS \n\n\n\no \n\n\n\n\n\nw \n\n\n\n\n<U \n\n\n\n\n\xe2\x80\xa2 i-M \n\n\n\n\n-4-> \n\n\n\n\n\xe2\x80\xa2 I\xe2\x80\x94 1 \n\n\n\n\nP> \n\n\n\n\n\xe2\x80\xa2 1\xe2\x80\x94 1 \n\n\n\n\n\xe2\x96\xa0*-> \n\n\n\n\n(J \n\n\n\n\nrt \n\n\n\n\n\xc2\xab+H \n\n\n\n\n\n\n\n\n\na \n\n\n\n\n\n\n\n\n\n\xe2\x80\xa21\xe2\x80\x94 1 \n\n\n\n\n-^-* \n\n\n^.^ \n\n\n^ \n\n\n05 \n\n\n"aS \n\n\n1 \n\n\np:; \n\n\n^ \n\n\n\n\n\xe2\x96\xba^ \n\n\n\n\n\n\n\nwj \n\n\n-^ \n\n\nC! \n\n\n\n\n\n\n\n^J" \n\n\n\xe2\x80\xa2 1-4 \n\xe2\x96\xa04-> \n\n\n\xe2\x80\xa2t\xc2\xbb \n\n\nCj \nCU \n\n\nb \n\n\n^ \n\n\n\n\n\xe2\x96\xba-S \n\n\n\n\n\n\xe2\x80\xa2^ \n\xe2\x80\xa2^ \n\n\n\n\n\n<\xc2\xbb \n\n\n\n\n\n\'S \n\n\nJG \n\n\nQ \n\n\n*H \n\n\n\no \n-a \n\no \n>^ \n\nI.J \n\nVj (J \n\nQ CO \n\n\'^ _, \n\n\n\n\n\n\nB \no \n\n\n\n\n\n\n\n(=1 \n\n\n\n\n\n\n\n\nen \n\n\n\n\n\n\n\n\n\n\n\n\nxtile \nture \n\n\n\n\n\n\n\xe2\x80\xa2H \n\n\n\n\n\n\n\n\na> \n\n\n\n\n\n\n\n\n.\xc2\xa33 \n\n\n\n\n\xc2\xab w \n\n\n\n\n\n\n.^ \n\n\n\n\n\n\n\n\n-\xe2\x99\xa6-\xc2\xbb \n\n\n\n\n\n\n\n\nU \n\n\n\n\n+-\xe2\x80\xa2 aJ \n\n\n\n\n\n\ns \n\n\n\n\n\n\n\n\na \n\n\n\n\n\n\n\n\ntf \n\n\n\n\n3 S=i \n\n\n\n\n\n\n\n\n\n\n\xe2\x80\xa2nJ \n\n\n\n\n\xc2\xab+-( \n\n\n\n\n\n\n\n\n\n\n\n\n\na \n\n\n\n\n\n\n\xe2\x80\xa2 1\xe2\x80\x941 \n\n\na \n\n\n1 \n\n\n\n\nen \n\na \n\n\n\n\n\n\n\n\n3 \n\n\n\n\n^\xe2\x96\xa0s \n\n\n\n\n\n\n\n\n\n^ \n\n\n> \n\n\n\n\n\n\n\n\n\n\nbB \n\n\n\n\n\xc2\xab+H 03 \n\n\n\n\n\n\nM-l \n\n\n^ \n\n\n\n\n\n\n\nc^ \n\n\n\xe2\x80\xa2 \n\n\n\n\n\xe2\x80\xa2 \n\n\nfl \n\n\n\n\n\n\n\nH \n\nw \n\nH \n\n\n\n\n\n\n\nen \n\n\n\'S \n\n\n.a \n\n\n\n\n1\xe2\x80\x94 H \n\n\nen \n\n\n\n\n\nOh \n\n\n\n\n\n\nen .a \ni^ bb \nDh\'C \n\na ^ \n- g \n\n\n\n\n\n\nw \n\nH \n\n\n\n\na \n\n\n\n\nbJo \n\xe2\x80\xa21\xe2\x80\x94 1 \n\n\n\n\nOh ^ \n\n\xe2\x80\xa2 i-i ^M \n\n.a -^ \n\n\nen \nu \n\n4-> \n\n\n\xe2\x80\xa21-1 \n\nen \nen \nCJ \n\n\nen \n\nen \n\nO) \n\n\xe2\x80\xa2 1\xe2\x80\x94 1 \n\nen \n\n\n\n\nen \n\n\n\n\n\n\n\na3 \n\n\n\xe2\x80\xa243 \n\n\n\n\nJ3 \n\n\n\n\n<u \n\n\nc3 \n\n\n\n\n\n\nh P \n\n\n\n\n\n\nXI \n\n\n^ \n\n\nOJ \n\n\n\n\nV \n\n\nS \n\n\n\xe2\x80\xa2\xe2\x80\x94 < \n\n\n(U \n\n\n\n\n\n\nc3 t3 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xc2\xab+^ \n\n\nrt \n\n\n\n\n\n\n\nc^ \n\n\n\n\n\n\nC! \n\n\n** \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nen \n\n\n\n\n>-\xc2\xbb \n\n\n\n\n\n\n\xe2\x80\xa2f \n\n\nIfl \n\na \n\n\nbB \n\n\xe2\x80\xa2 i-H \n\n\ntn \n\n\nbO \n\n\nen \n\n\nbc \n\n\nbC \n\n\nP \nd \n\n\n\n\nT3 \n\n\n\n\n\n\nL \n\n\n<u \n\n\n<V \n\n\n\xe2\x80\xa21\xe2\x80\x94 1 \n\n\n\n\nC*] \n\n\nC \n\n\n\n\nrt \n\n\n\n\n\n\n-03 \n\n\n\n\xc2\xab-f-l \n\n\n\n\nCO \n\n\n(J \n\n4-> \n\xe2\x80\xa2 1\xe2\x80\x94 1 \n\xe2\x96\xa0*-> \n\n\n\n\n1-H \n\n\nc3 \n\n\n\xe2\x80\xa2 1\xe2\x80\x94 ( \n\n+-> \n\n\n\nen \n\n\'o \n\n\n\n\n\n\nbp u \n\nC2 13 J3 \n\n\n\n\n\n\n+-\xc2\xbb \n\n\nbC \n\n\n. . \n\n\n\n\n\xe2\x80\xa2 [ ,) \n\n\n\n\n1 \n\n\n\n\n-4-\xc2\xbb \n\n\n\n\np \'d \n\n\n\n\n\n\n\xe2\x80\xa2^ \n\n\n.a \n\n\nen \n<U \n\n\n.a \n\n\n\n\n\n\'tS \n\n\nP \n\n\nM-l \n\n\n\n^ \n\n\n\n\nO) ^ \n\n^ a "^ \n\n\n\n\n\n\n\n\n\'a \n\n\nX \n\n\n\'c3 \n\n\n\n\n(U \n\n\nbO \n\n\n\n\n\n\n\n\n\n\n\n\n4) \n\n\np \n\n\n\n\n-s \n\n\n\n\nen \n\n\n\xe2\x80\xa255 \n\n\n\n\nQJ \n\n\n\n\n\n\n\n\nU \n\n\nH \n\n\nin \n\n\n\n\nu \n\n\n\n\nfi \n\n\n\n\n?3 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nbO \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xc2\xab \n\n\nIII \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n"\xe2\x96\xa0i \n\n\nH \n\n\nTj- \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\'2 \n\n\n\n\n\nC^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n^ \n\n\nW \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<D \n\n\n1\xe2\x80\x94 \xc2\xbb \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n1\xc2\xbba \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\ntn \n\n\n\n\n\n\n\n\n^ \n\n\n\n\n\n\ntn \n\n\n\n\n\n\n\n\n\n\n\xc2\xa7 \n\n\n\n\n\n\n^ \n\n\n\n\nbo \n\n\n1 \n\nS \n\n\n\n\n0) \n\nXi \n\nM \n\nM \n\n\n\n\n\n\n\n\n\n\n\n\n\nbc \n\n\nen \n\n\n\nen \n\n\n\nen \n\n\xe2\x80\xa2c \n\ne3 \n\n\n03 \n\nH \n\n\n\n\xe2\x80\xa2i \n\n\n-4-> \n\xe2\x80\xa2 1\xe2\x80\x94 1 \n\n\n\n\n4h \n\n\n\n\n\n\n\n\n\n\n\xe2\x80\xa2\xe2\x96\xa0\xe2\x80\x941 \n\n\nr5 \nCJ \n\n\n-4-> \n\n\na, \n\na \n\n\n\n\nrt \n\n\nCo \n\n\n^W \n\n\n\n\npq \n\n\n\n\n\n\n\n\n\n\nC/3 \n\n\nflH \n\n\nU \n\n\n^ en \n\n\npi^ \n\n\n\n\n\n\n\n\n\n<N \n\n\n\n\n\n\n\n\n\n\n\'cO \n\n\n2 \n\n\nI/: \n\n\n\xc2\xab3 S \n\n\n\n\nHH \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nTHE FACTORS INVOLVED \n\n\n\n155 \n\n\n\n0-% \n\n\n\no ^ \n<" o \n\n\n\nc3 \n\n\n\n\n\n\na \n\n\n\n!\xe2\x96\xa0\xe2\x96\xa0\xc2\xa7 \n\n\n\nen \n\n\n\no \n\nO ^ \n\n\xe2\x80\xa2l-H M \n\nOh \xc2\xab \n\n\n\n\n\n\nen Q \n\n\n\nB \no \n\n\n\nnz) ^ "^ \n^ cn > \n\n\n\n\n\n\n\n\n\n\n\n\nO T3 \n\n\n\n\xe2\x80\xa2T3 \nO \n\na \n\n<=! \nen \n\n\n\n\n\n\n;3 \n\nn. en \n\n\n\n\n\n\n_r^ cn \nO O \n\n\n\nc3 \n\n\n\n\n\n\n\n\n\nO M ^ > tn \n\n5 ;2 .S ^H g \n;K nzj oj o 2 \n\n\n\n^ 5;J o \n\n1^ CI. .,\xe2\x96\xa0> \n\n\n\no \n\n\n\n^ ^s ^ \ncn <1> O \n\nP P u \n\n\n\no \n\nO eg \n\nf^ .a i^ \n\n\n\n<U \n\n\n\n> O \n\ncn v^ \n\nJH O <U \n\n\xc2\xab ^ bx) \n\nG cn \n\n(U \n\n.\'^ -^ O \n\n^\' iT \xe2\x96\xa0 " \nO X) \n\n\n\no \nu \n\n\n\n\n\n\nCO \n\nO \n\n\n\nw) -3 .S \n\n"^ cn \n\n\n\ncn \n\n\xe2\x80\xa2 r-l \nM \nO \n\n-t-> \n\no \n\n\n\n^ \n\nTd \n\n\n\n\xe2\x80\xa2l-H \n\ncn \n\n\n\n\n\n\nH cn \n\n"^ O S \n\n\n\nB \no \n\np ^ .^ \n\n^ ^ S r^ \n\n<r> ^ S o ^ \n\n\n\nI \xc2\xab 1 ," & \n\n> d ^ u O \n\n<=> -^ -^ -6 rt \n\n*" ri S o bx: \n\n03 p \xe2\x80\xa2\'-\' c3 tn QJ \n\n\n\no \n\n\n\n\n\n\n\n\n\nO \n\ncn \n\n\n\nbC \n\n1\xe2\x80\x941 \ncn \n\n\n\nCO \n\nCO \nCO \n\nd) \n\n2 \n\n\n\nrfS \n\n\n\no \n\n\n\n*-\xe2\x80\xa2 ^ \n\nbB a, \n\n- o \n\nbO ^ \n\n\n\nS S ^ .7^ \n\n\n\nbJD \n\n\n\n;^ C3 rt ^ \n\n\n\n\xc2\xabJ (Hi O \n\nCO CO \xc2\xab+H \n\n\n\n^.\xc2\xa7 \n\n\n\nCO \n\n53 \n\xe2\x80\xa2 I-I \n-\xe2\x99\xa6-\xc2\xbb \n\nj:! \nO \n\n\n\nbO \n\n*cn \n\n::3 \n\n\n\nc3 \n\nH a \n\n\n\n:3 \n\nO \n\n\n\nbO \n\n\n\n\n\nM \n\n\n\n\n\n\n\n\n\n^\xe2\x96\xa0\xe2\x96\xa0^^ \n\n\n<u \n\n\n\n\n+3 \n\n\nbo \n\n\n\xe2\x80\xa2 I-H \n\n\n. \n\n\n\n\ns? \n\n\n\n\nu\' \n\n\n0) \n\n\n^ \n\n\n,_, \n\n\n:3 \n\n\nOi \n\n\ng \n\n\n13 \n\n\ncn \n\n\n\n1 \n\n\n^ \n\nk \n\n\na \n\nC/2 \n\n\n13 \n\n\n\n\nu \n\n\n\n^ \xc2\xbb \n\n\n\n\xe2\x96\xa04-> \n\nd \n\na a \n\n\n\ncn \nI \n\n\xe2\x80\xa2l-H \n\n\n\n156 \n\n\n\nDOMESTIC ART \n\n\n\n\n\n(/} \n\n\n\n\n\n\n\n\n\n\nW) \n\n\n1 \n\n\n\n\ntn \n\n\nbO \n\n\n\n\n\n\n\n\n1 \n\n\n\n\n\n\n\n\n\'cS \n\n\n\n\n\xe2\x80\xa2* \n\n\n\n\n\n\n\n\ng \n\n\n\n\nr3 \n\n\n\xe2\x80\xa2a \n\n\n\n\n\n\n\n\nio \n\n\n\n\n\n\n\n\n\xe2\x80\xa2c \n\n\n\n\n\n\n\n\n\n\n\n\nu \n\n\n\n\ns \n\n\nt5 \n\n\n\n\n\n\n\n\nfl \n\n\n\n\n\n\n\n\n0) \n\n\n\n\n\n\n\n\n\xe2\x80\xa2 \n\n\n\xe2\x80\xa2 1\xe2\x80\x94 1 \n\n\n\n\n\n\n\n\n<u \n\n\n\n\n\n\n\n\n\xe2\x80\xa2ri \n\n\n\n\n\n\n\n\n*i \n\n\n\n\n\n\n\n\n^ \n\n\nfl \n\n\n\n\n\n\n\n\nen \n\n\n\n\n\n\n\n\n\xe2\x96\xa04-> \n\nen \n\n\n\n\n\n\n\n\nB \n1 \n\n\n\n\n\n\n\n\no \n\n}=! \n> \n\n\nith spool k \nby hand. \n\n\n\n\no \n\nen \n\n\xe2\x80\xa2 l-H \n\nPh \n\n\nen \n\nu \n\nen \n\nen \n\nO \n\n\n\n\n\n\n\n\n\xe2\x80\xa2e \n\n\n\n\n\n\n\n\n1 \n\n\n\n\nw \n\nH \n\n\xc2\xa7 \n\n(J \n\n\n\n\nn3 \n\n\n^ \n\n\n-t-> \n\n\nb \n\n\n\n\nPM \n\n\n\n\n\n\n\n\n\xe2\x80\xa2 l-H \n\nH-J \n\nen \n\n\n\n\n\n\n\n\nen \n\n\n\n\n\n\nc3 \n\n\xe2\x80\xa2I\xe2\x80\x94 ( \n\n\n\no \n\nen \n\na \n\nO \n\n\nen \n\n\nen \n\n\xe2\x96\xa0s \n\n\nDh \n\na \n\n8 \n\n\n\xe2\x80\xa255 \nen \nO \n\n\n\n\ni \n\no \n\n\n13 \n\nDh \nen \n\n1 \n\n\n1 \n1 \n\n\n\n\n\n\n\n\nB \n\n\n\n\n\n\n\n\n\n\nCJ \n\n\n-l-> \n\n\nen \n\n\nM-H \n\n\nbb \n\n\n*a3 \n\n\n^ \n\n\n\n\n\n\n\n\n\n\nd \n\n\n\n\no \n\n\n\n\n\xe2\x80\xa2 \xe2\x80\xa2s \n\n\n5 \n\n\n\'S \n\n\n-t-> \n\n\n\xe2\x80\xa2 \xc2\xabH \n\n\nd! \n\n\n^ \n\n\n\n\n\xe2\x80\xa2 \n\n\n\n\n\n\n^ \n\ns \n\n\n\xe2\x80\xa25b \n\n\n\n\no \n\nW \n\nH \n\n\n\n\n4-> \n\n\n\xe2\x80\xa2a \n\n\xe2\x80\xa2 1\xe2\x80\x941 \n\n\n\n\n\n\nCJ \n\na \n\n\n\xe2\x80\xa2 rH \n\na \n\n\n\xe2\x80\xa2 l-H \n\n\n\n\n\'a \n\nen \n^3 \n\n\n\xe2\x80\xa2l-H \n\n5=1 \n\n\nen \n\n\nen \nen \n<U \n\nPI \n\n\n\n\no \n\n\n\n\n\n\n\n\n4-> \n\n\n1 \n\n\n\n\nO \n\n\nOh \nTd \n\n\no \n\n\nc3 \n\n\nen \n\no \n\nen \nc3 \n\n\n6 \n\n\n-6 \n-t-> \n\n\n\xe2\x96\xa0\xe2\x99\xa6-> \n\n\nf \n\n\n\n\nto \nO \n\n\n\n\n\n\n\n\n<u \no \n\n\n<-M \n\n\nn3 \n\no \n\n\n\xe2\x80\xa2 l-H \n\n\n\xe2\x80\xa2a \n\n\n\xe2\x80\xa2a \n\n\nbc \n\xe2\x80\xa2J3 \n\n4-> \n\n\nM-H \n\no \n\n\n\xe2\x80\xa2I-H \n\n;-H \n\n\no \n\n\ni \n\n\nb \n\n\na. \n\n\n\n\n\n\n\n\nen \n\n\no \n\nen \n\nen \n\n\n\n\no \n\n\xe2\x80\xa2 l-H \n4-> \n\n\n\n\n\n\n\xe2\x80\xa2 l-H \n\n\n\n\no \n\n\xe2\x80\xa2S \n\nen \n\n\nu \n\n\nbX) \n\n\xe2\x80\xa2 \xc2\xbb-H \n\n\n\n\n^ \n\n\nu \n\n\n. \n\n\n\n\n\n\nOh \n\n\n<U \n\n\n\n\na \n\n\no \n\n\no \n\n\n\xe2\x80\xa2^ \n\n\no \n\n\n:3 \n\n\n1^ \na \no \n\n\n^ \n\n\n\n\n1 \n\n\no \n\no \no \n\no \n\n\ntn \n\n\n\n\n\n\na \n\no \n\n\na \n\nPL, \n\n\n^ \n\n\n\n\n^3 \nO \n\n\nJ3 \nen \n\n\n(X \n\nS \n\n\n\n\nen \n\n\nLh \n\nu \n\n\nen \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nrO \n\n\n\xe2\x80\xa2xJ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n^ \n\n\nC3 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\ny*i\xe2\x80\x94 \xc2\xab\xc2\xbb^ \n\n\n\n\n\n\n\n\nbJD \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n^*i \n\n\n\n\n\n\n\n\n\xe2\x80\xa2 1\xe2\x80\x94 t \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nK \n\n\n\n\n\n\n\n\n\n\n^ \n\n\nH \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xc2\xab4-4 \nO \n\n\nG \n\n\n\n\n\xe2\x80\xa2 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xe2\x80\xa2e \n\n\n\n\n\n\n\n\n-& \n\n\no \n\n\n\n\n:3 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n2 \n\nCO \n\n1 \n\n\n\n\nQ \n< \n\n\no \no \n\nM \n\n\no \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n1 \n\n\n\n\n> \n\n\n\n\ns \n\n\nXfi \n\n\nt/3 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nixo \n\n\n\n\no \n\n\n\n\n1 \n\n\no \no \n\n\xe2\x80\xa2 l-H \n\n\'S \n\n.s \n\n\nW \n\no \no \n\n\n\n\nM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nCo \n\nt-H \n\n\no \no \n\nCO \n\n\no \n\nen \n<L> \n\nPi \n\n^\xe2\x80\x94 <\xe2\x80\xa2 \n\nM \n\n\n\nTHE FACTORS INVOLVED \n\n\n\n157 \n\n\n\no \no \n\n-B \n\n.s \n\na) \n\nen bO \n\na \n\n\n\n\n\n\n<L> \n\ntn \n\nM \n\na \n\n^3 O \n\n^ a \n\nM O \n\no rt \n\n\xe2\x80\xa2 r-l \n\ns -^ \n\n\n\nbc \n\na \na \n\n<u \n\n\n\n\n\n\n\xe2\x80\xa2I\xe2\x80\x94 ( \n\na in \n\n\n\n-4-\xc2\xbb \n\no \n\nd \n\nu \n\n\n\na \n\na \n\no \n\n1 \n\n\n\nt/3 \n\nCO \n\nO \n\nO M \n\nO O \n\nOh \n\n\n\nbC \n\n\n\n\xc2\xbbH CO \n\n>. a \n\nbO \nC/3 \n\n\n\n\xe2\x80\xa2 rH *-< O \n\n-?? -^ ^2 \n\no \n\n\n\n? ^ \n\n\n\nbO \n\nPI \n\n\n\nbX) \n\xe2\x80\xa2 1\xe2\x80\x94 I \n\n\n\n\xe2\x80\xa2i-r C/3 \n\nbO <=^ \n\n\n\n\xe2\x80\xa2d \'^ \n\ng a \n\n\n\n2 d \n\no .Sf \nP Q \n\n\n\nbx) \n\nd \n\xe2\x80\xa2i-H \n\nd \no \no \n\n\n\nt3 \n\na \n\nCO \n\nd \n\nbO \n\xe2\x80\xa2 1\xe2\x80\x94 t \nm \n\n\n\n\'-\' d \n\n\n\nbp d \n\n\xe2\x80\xa2C o \n\no a \n\no o \n\n8 g \n\n\'^ a \n\nd ^ \n\n\n\nC/2 \n\n\n\n03 \n\n\n\n\nCj \n\n\n\n\n\n\n\n\n\n;-i \n\n\n\n\nM \n\n\n\n\n\xe2\x96\xa0*\xe2\x96\xa0\xc2\xbb \n\n\n\n\nX) \n\n\n\n\ng \n\n\n0) \n\n3 \n\n\n\n\n\xe2\x80\xa2 i-H \n\n\nto \n\'cS \n\n\ncn \n\n\n\n\xe2\x80\xa2m \n\n\nOh \n\n\n<u \n\n\n<4-i \n\n\n\xe2\x80\xa2\xc2\xbb-> \n\n\n\xe2\x80\xa2 1\xe2\x80\x94 1 \n\n\na \n\n\n\n\na \n\n\nwT \n\n\n\n\n1\xe2\x80\x94 ( \n\n\n\n\n\xe2\x80\xa2>^ \n\n\nd \n\n\n\na \n\n\n-4-> \n\n\n\n\n\n\n\n\n\nCfi \n\n\n\n\n-t-> \n\n\n\n\n\xe2\x80\xa2 1-H \n\n\n*4-4 \n\n\nCfi \n\n\n\n\n\n\xe2\x80\xa2^ \n\n\n0) \n\nd \n\n\n\n\n\xe2\x80\xa24-) \n\n\n\nd \n\n\n\n\n\n\nd \n\n\nCl, \n\n\nd \n\n\n\n\nd \n\n\n^ \n\n\na \n\n\n\n\n\nbO \n\n\nd \n\n\nd \n\n\n\n\n\nd \n\n\nCD \n\n\nd \n\n\nH \n\n\n\n\n\nd \n\nd \n\nd \n\no \n-d \nu \n\nC/2 \n\n\n\nc^ \n\n\n\ng \n\nd \nH \n\n\n\nCO o \n\ng ^ \n\nrd ^ \n\n10 d \n\n\n\n\n\n\n\n\nc3 \n\n\n\n\n\n\nro \n\n\nr\\ \n\n\n\n\n\n\n\n-*-> \n\n\n.LI \n\n\n\n\nOi \n\n\nC^ \n\n\nbO \n\n\n\n\n\n\n\n^ \n\n\n>-< \n\n\n^^ \xe2\x80\x94 s \n\n\n\n\n\nu \n\n\nU \n\n\nd \n\n\n\nu \n\n\n,,-^ \n\n\n,,-^ \n\n\n^^-^ \n\n\n10 \n\n\n\xc2\xab \n\n\n^ \n\n\n-0 \n\n\n\nro \n\n\n\n(U \ntn \n\n0) \n\n\'^ p a \n\nJh >-i O \n\nd Ph tJ \n\nrd U \n\n\n\niS8 \n\n\n\nDOMESTIC ART \n\n\n\nJ\xc2\xa7 \n\n\nCAl \n\n\nQ \n\n\na. \n\n\n\xe2\x80\xa2^ \n\n\n^ \n\n\no \n\n\nin \n\n\n\n\nO \n\n\n\n\n\n\n^ \n\n\n-*-> \n\n\n\n\n^ \n\n\n\n\nI\xe2\x80\x94 1 \n\n\n1^ \n\n\n<u \n\n\nt^ \n\n\n^ \n\n\n\n\nTi \n\n\n;^ \n\n\n>\xe2\x80\x94 H \n\n\n\n\nO \n\n\n\n\n^ \n\n\n1 \n\n\n\n\n\n0) \n\n\n\nUS \n\no \n\n\n\n?3 \n\n\n\n\n\n\n\nt \n\n\nbb bb \n\nfl (=1 \n\n\xe2\x80\xa2 t-1 \'I-l \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xe2\x80\xa2a \n\n\n\n\n\n\n\n\n\n\n\nCO \n0) \nCO \n\n\n\n\n\n\n\n\n\n\n\n\nh \n\n\n\n\n1" \n\n\n\n\n\n\n\n\n\n\n43 \n\n\no 5 \n\n\n\n\n\n\n\n\n\n\n<u \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJ3 \no \n\nei3 \n\n\n\n\no \n\n\n\n\nH \n\n\n\n\nI \n\n\xe2\x80\xa2I\xe2\x80\x94 1 \n\n\nCO d \n\nIt \n\nCO op \n\n<u d \n\n\n\n\n\n\nd \n\nCO \n\nQ \n\n\n1 \n\no \no \n\n\n-d \n-a \n\nCO \n\n\nM \n\n\n<u \n\n2 \n\n\n\n\n<=> \xc2\xa7 \n\nCO \n^ CO \n\n^ \'S \n\n\n\xc2\xa7 \n1 \n\n\n\n\n-C5 \n\n\n1 \xc2\xa7; \n\n\n\n\n\n\n\xe2\x80\xa2 r-4 \n\n\nCO \nCO \n\n\n\n\nc3 \n<U \n>>> \n\n\xc2\xab-M \nO \n\n\n\n\n\n\n\n\nO \nU \n\n\n\n\no \n\n\nbo O \n\n\n\n\n\n\n1^ \n\n\n\n\no \n\n\n\xc2\xab4-l \nO \n\n\n\n\n^ \n\n\no \no \n\nH \n\n\n\n\n\xe2\x80\xa2\xe2\x96\xa0+3 \n\na \n\n8 \n\n\n1 ^ \n\n3 \xc2\xab \n\n\n\n\nCO \n\n\xe2\x80\xa25 \no \n\nV-i \n\n\nbC \n\n.a \n\n\no \n\n\na \n\no \n\na \na \n\nbO \n\n2 \n\nj2 \n\n\n\n\nbO \n\n\nbb \n\n\xe2\x80\xa2 1-1 \n\n\n-d \n\n\xc2\xab a \n\n1) Co \n\n\n\n\n\n\n\xe2\x80\xa21\xe2\x80\x94 1 \n\ncn \n\n\n.a -s \n\nw 1 \n\n\no \n\nCO \n\n\nbO \n\xe2\x80\xa21\xe2\x80\x94 1 \n\na \n\n\n\n\n.a \n\nbo \n\n.a \n\n\na \n\no \no \n\n2 \n\n\nbb \n\xe2\x80\xa2i\xe2\x80\x94 1 \n\no \n\n\n-4-J \n\xe2\x80\xa2 i\xe2\x80\x94 1 \n\n\na 2 \n\nCO 8 \n\n\xe2\x80\xa24-1 *^-^ \n\n^ \n\nbO \'cS \n\n\n\n\n\n\nCO \n\n\nM-H CO \n\no <u \n\n\n.g \n\n\nbO \n\n\nCO \n\n\n^ \n\n\nbo \n\n\no \n\nCO \n\n\n^ \n\n\nZ \nd \n\n\n.a *ci \n\n\n\n\n\n\n\xe2\x80\xa2 1\xe2\x80\x94 1 \n\n\n\n\nCO \n\n\n3 \n\n\n\xe2\x80\xa2 I\xe2\x80\x94 1 \nC/2 \n\n\n0) \n\n\n\n\n\n\n\xe2\x80\xa2 r- 1 \nCO \n\n\n\n\nCO \n\n\n\n\n\n\n\n\n\n\nCO \n\n\n\n\n\n\n\n\n\n\no \n\n\xe2\x80\xa24-> \n\n\n\n\n\'d \'d \n\n\nH \n(J \n\n\n\n\n\'bJo \n\n\n? \n\n\n\n\nc3 \n\n\n\n\n\n\n\n\n\n\n\n\nc3 c3 \n\n\n\n\n\n\n\xe2\x80\xa2 I\xe2\x80\x94 1 \n\n\n\n\n\n\n\'o \n\nO \n\n\n\n\n\n\n\n\n\n\nO4 \n\n\n\n\na "5" \n\n\n\n\n\'S^ \n\n\no \n\n8 \n\n\n\xc2\xa7- \n\n\n\n\nC/2 \n\n\n\n\n\n\n\n\n\n\na \n\n\n\n\n\n\n^3 \nO \n\n\n\n\nCO \n\xc2\xab5 \n\n\n\n\nbo \n\n\n\n\n\n\nbb \n\n\n\n\n\n\nco^ \n^ <u \n\nCO CO \n\n^ \n\n\nM \n\n\nT3 \n\n\n1 \n\n\n\n\nCO \n\na \n\n\n\n\nbb \n\n\no \n\no \n\n\n\n\nbO \n\n\n\n\nCO \n\n\nO \nO \n\n\n\xe2\x80\xa2i \n\n\n\n\nCO \n\n\n\n\n\xe2\x96\xa04\xe2\x80\x94 \xc2\xbb \nCO \n\n\n\n\n\xe2\x80\xa2 r\xe2\x80\x94 ( \n\n\nCO \n\nbo \n\n\n\n\n\xe2\x80\xa2S3 \n\n\n-)-\xc2\xbb \n\n\n\n\n^ \n\n\nCo \n\n\n(J \n\n\n\n\nU \n\n\n\n\np^ \n\n\n\'s \n\n\n\n\nf^ \n\n\na \n\n<r3 \n\n\n\n\n\n\n\n\n/\xe2\x80\x94 >, \n\n\n(U \n\n\n\n\n/\xe2\x80\x94^ \n\n\n\n\n,,\xe2\x80\x94 V \n\n\nc3 \n\n\n\n\n^-~^ \n\n\n\'^ \xe2\x80\x94 . -^ \n\n\n\n\nhA \n\n\nH \n\n\n\n\n\n\nCN \n\n\n\n\nfO \n\n\nft \n\n\n\n\n^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nTHE FACTORS INVOLVED \n\n\n\n159 \n\n\n\n\n\n\n:3 \nu \n\na> \n\n^-^ \no \n\nI \n\nO \n\n\xe2\x96\xa0*-\xc2\xbb \n\xe2\x96\xa0*-> \n\nbB \n\na \n\xe2\x80\xa2a \n\n<v \n\nto \n\na \n\nwT bb \n\n\n\no ci \nAh \n\n\n\nlO \n\n\n\n8 \n\nI \nI \n\n\n\n\n\n\n> \n\nV \n\nI \n\nO \n\n\n\nbC \n\nC \n\xe2\x80\xa2i-i \n\nCO \n\n\n\no \n\n\n\n6 ^ \n\nsi \xc2\xab^ \n\nto \nV O \n\n2 g J \n\n^.2 o \n\n^ -^ \xe2\x80\xa2*^ \n\n0) O __( \n\n\xe2\x80\xa2^ a \n\no S 2 \n\nbO \'^ \n\n\xe2\x96\xa0 ^ i \n\nrt .a \n\n.2 bO \n\n\n\nto \n\na> \n\n\n\n^3 \n\n^ o .S \n\nrt fl u \n\nc^ 8 ^ \n\n\n\na \n\no \n2 \n\n\n\n\xe2\x80\xa2 1\xe2\x80\x94 I \n\nu \n.0 \n\n\n\no \n\nT3 \n\n5=! \n\ntn \nO \n\nH \n\n\n\n^ \n\n\n\nSl :3 3 ti c^ \n?^ o O ra CD \n\ncq PQ H CJ &. \n\n\n\n^ >\xe2\x80\x94 < \n\na -H \n\n\n\n\n\n\n. O <u <U c^ \n,\xe2\x80\xa2 crt O ^ -\xe2\x80\x94 J rj \n\nO P Ah P c^ ^ \n\n\n\n^3 \n\n\n\n\n\n0) \n\n\n\n\nu \n\n\n\n\n\n\n\n\n\ni-i \n\n\n\n\n& \n\n\n\n\n\xe2\x80\xa2\xe2\x80\x941 \n\n\n\n\ncd \n\n\n\n\niJ \n\n\n\n\n-4-\xc2\xbb \n\n\n\n\ntn \n\n\n^^^ \n\n\n;3 \n\n\nV3 \n\n\nTl \n\n\n^ \nS \n\n\nC3 \n\n\xe2\x80\xa2l-H \n\n\n<a \n\n\n\n\n-^ \n\n\n\n-4-> \n\n\n\n\n\nr! \n\n\nfO \n\n\n\n\n\n\n\n\n\n\xe2\x96\xa0| \n\n\n-4-\xc2\xbb \n\n\nu \n\n\n\n-I 2 \n\na \na \n\n\n\n<u \n\n\n\n\n\n\nW \nH \n\n12; \no \n\no \n\nH \n\nw \no \nt2 \no \n\nW \n\nH \n\n\n\nC/3 \nH \nO \n\nW \n\nQ \n\nCO \n\nw \n\nCO \nCO \n\nW \n\no \no \np^ \n\n\n\nCO \nCO . \n\n(J \n\n2 \n\n\n\nd \n\xe2\x80\xa2I\xe2\x80\x94 I \n-a \nu \n\nc3 \n\n\n\nbo \n\n.\xc2\xa7) i^ \n*co Vj \n\n<U CO \n\nP ^^ \n.0 \n\n\n\nOh \n\n\n\nbiD \n\n\n\n^3 \n\n\n\n<u \n\nCO \n\n\'^ bO \n. d \n-^ IS \n\nO -t-> \n\n\xe2\x80\xa2^ CO \n4) \n\n.a ^ \n\n-d .SP \n\n\n\no \n\n\xe2\x80\xa2i-H \n\nM \n\nOh \n\nOh \n\n\n\nbO bp \n\nJ3 CO \n\n^ pq o \n\nO c\xc2\xab \n\nCO d \n\n\n\na \n\n\n\nc3 \n\n\n\n1^ \n\nO \nC! \nO \no \n\n\n\n.^ C/2 U C/2 W \n\n\n\na \n\n\xe2\x80\xa2 rH \n\nCJ \n\na \n\na \n\nT3 \n\n\n\n\'d \n\n\n\n\nd \n\n\n\n\nci \n\n\n^1 \n\n\nJ3 \n\n\nf" \n\n\n\n\nM \n\n\n\n\n;3 \n\n\n<^ \n\n\n\n\n\nS \n\n\n^ \n\n\n\n\n\n\n^ \n\n\n^ \n\n\n^ \n\n\nrj \n\n\n^ \n\n\n\'^-\' \n\n\n\nb\xc2\xa3\xc2\xbb O \nc;i ^ \n\n3 O \ncJ O \n\nH-1 H \n\n\n\no ^^ \n\n\n\ni6o \n\n\n\nDOMESTIC ART \n\n\n\n\n\n\n5^ \n\n\n\nH \n\nw \n\nH \n"A \nO \nU \n\nH \nW \nO \n& \n\no \n\nW \n\nH \n\n\n\n\n\n\n\n\n\n<u o \n\nO x) \n\n\n\n03 \n\n\n\n\n\n\no \n\n\n\n\n\n\n\n\n\n\n\n\n-B rt \n\n\n\nCI. \n\n\n\n<u \n\n\n\n-3 o \nO H \n\n\n\na \n\no \n\nO \n\n\n\no <u \n\no .\xc2\xbb bo \n\n-^ 3 .s \n\ns \xe2\x80\xa2 ^ \n\no ^ o \n\n^ .S3 "^^ \n\no \'C o \n\n^ <U rti \n\n.iJ S U \n\n\n\n\n\n\n.X3 \n\n\n\n\n\n\n\xc2\xa7 \n\n. bO \n\n\xc2\xab .s \n\nft Pi \n^ Jn \n\n\n\nc^ r^ \n\n\n\n\n\n\nen \n\ns \n\no \no \n\n\n\no \n\nO \n\nu \no \n\n\n\nbo \n\no -^ \nT3 Td \n\no \xe2\x96\xa0tj \n\nft \n\n\n\no \no \n\n\n\n\n\n\no \n\n& \xc2\xb0 I \n\n^ So \n\nCO Cfi tn \n\n>H 5:^ O \n\nO P tn \n\n+3 cfl "^ \n\n\n\n<U \n\n\n\n\'o \n\no \no \n\n(73 \n\n\n\nO \n\n\'o \n\no s \n\nbC ri:1 \n\nCU13 \no Td \n\n\xe2\x80\xa2 i-H \n> \n\n\xe2\x80\xa2 1\xe2\x80\x94 I \n\n\n\nen \nO \n\n\n\n\n\n\n\n\n\n(U \n\n-4-> \n-4-> \n\no \n\nbb -^ \n\nl-g \n\n& o \nH \n\n\n\n<U \n\nen \n<U \nCJ \nO \n\nOh \n\nO T? \n\nbp c3 \nfl O \n\n\n\n\n\n\nd \n\nen \n;-( \n\n\'bb \n\n\n\nU \n\nO \nbO \n\n\xe2\x80\xa2 1\xe2\x80\x94 ( \n\n-t-> \n\n\n\n\n\n\nH \nU \n\nW \n\no \nPi \n\nw \n\nen \n\nW \n\no \no \n\nPi \n\n\n\nen \nbO \n\n\n\n\n\n\n_1 en \ntn \'-\' \n\nO c3 \n\n\n\nCJ \n\n(U \n\nc3 bJD \nO .J::! \n\n\n\nbO \n\n\xe2\x80\xa21\xe2\x80\x94 I \n\n\n\nbiO W) \n.S (U \n\n\n\nen \n\nO . \n\n-^ S \n\n^^ O \n\n\xe2\x80\xa2IS c3 \n\n\n\n> \n\n\xe2\x80\xa2 1\xe2\x80\x94 t \n\n-4-J \n\nc3 \n(U \n\no. \n\nO \nI \n\no \no \n\n\n\nbiD \n\n\n\nbO \n\n1 \n\nTd \n\nS bJD \n\n2 -a \n\no a, \n\n\' \xe2\x96\xa0 en \n\n\n\no o \n\n\n\n. en \nen <u \n\n\n\nbX) \nill \n\n\n\nen \n\n:^ c M !:5 ti \n\na <u c3 5? d \n\nM Td ^ \xe2\x96\xba^ -n \n\nW ^ O ^ Ah \n\n\n\nro \'S -Cs \n\n\n\nTHE FACTORS INVOLVED i6l \n\n\n\nT3 4) \n\nto ^ \n\nCo \n\n\n\n& \n\n\n\n\n\n\no g \n\nS ^ s \n\n> "^ e ss ? I 3 \n\n\xe2\x80\xa2-3 <U 2 <I) S \n\n8 ^ g 8 I \n\n\n\n+3 .-g \xc2\xab4-i "^ ^3 \n\n\xc2\xa7 i^ S^ \n\n\n\nS \xc2\xa7 .^ 11 Mo \n\nc 00 .t^ i::^ \xc2\xbb-i HH ^ M \n\nH O \n\n\n\nl62 \n\n\n\nDOMESTIC ART \n\n\n\n-^ \n^ \n^ \n\n\n\nHi \n\n\n\nO \n\n\n\n\n\n\n\n\n\n\n\no \n\n\n\n\nP4 \n\n\n2 4i \n\n\n\n\nO M \n\n\n\n\n\xe2\x80\xa2- y \n\n\n\n\n^-< ;3 \n\n\n\n\nt3 - \n\n\n\n\nP^ \n\n\n\nTHE FACTORS INVOLVED 163 \n\n\n\n\n\n\n\n\n\n\n\n, \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nen \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\ng \n\n\n\n\n\n\n>^ \n\n\n\n\n\n\n\n\n\n\np:^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n>L, \n\n\n\n\n\n\n\n\n\n\n\n\n\xe2\x80\xa2<-i \n\n\n\n\n\n\nbO \n\n\n\n\n\n\n\n\n\n\nbo \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nu \n\n\n\n\n\n\n\n\n\n\n\n\nen \n\n\n\n\n\n\n^ \n\n\n\n\n\n\n\n\n\n\nI\xe2\x80\x94 \xc2\xab \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nen \n\n\n\n\n\n\n\n\n\n\n\n\nrt \n\n\n\n\n\n\n.2 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n*a \n\n\n\n\n\n\n\n\n\n\n\n\n^ \n\n\n\n\n\n\n\'\xc2\xab \n\n\n\n\n\n\n\n\n\n\n\'S \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nB \nC/3 \n\n\n\n\n\n\n>\xc2\xbb \n\n\n\n\n\n\n\n\n^J \n\n\n>\xc2\xbb \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n2 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nX3 \n\n\n\n\n\n\n\n\n>- \n\n\njC \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nX \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPh \n\n\n\n\n\n\n\n\n<: Pk \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nU \n\n\n\n\n10 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nto \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nto \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nt^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n- \n\n\n\n\n\n\n\n\n\n\n\n\n\n\na \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xe2\x80\xa24-J \n\n\n\n\nli \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n.2 \n\n-4-\xc2\xab \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xc2\xa7 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nu \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n3 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\na \n\n\n\n\n^ \n\n\n\n\n\n\n\n\n\n\n\n\n4^ \n\n\n\n\n\n\n*-> \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nd \n\n\n\n\n\n\n\n\n\n\n1 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nrt \n\n\n\n\n\'w^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n!3 \n\n\n\n\n^0 \n\n\n\n\n\n\n\n\n>^ \n\n\n\n\n\n\n\n\n\n\n\n\n1 \n\n\nen \n\n\n13 \n\nc3 \n\n\nbO \n\n\n\n\n\n\n(i3 \n\n\xe2\x80\xa2T3 \n\n\nen \n\n\ni \n\n\n\n\n\xe2\x80\xa24-> \n\n.2 \n\n\n\n\n\n\nbO \n\n\n\n\ni \n\n\n\n\n\n\n\ntn \n\n\n\n\n\n\n\n\na B \n\n\nX3 \n\n\n\n\nXI \nC! \n\n\n1 \n\n\nen \n\n\nX) \n\na \n\n\na \n\n1 \n\n(U \n\n\n\n\n\n>-4 \n\nXI \n\n\n\n\n\n\n\n\n\n\n.a \n\nX5 \n\n\n\n\n\n\n.1-1 \n\n\n\n\n\n\n\n\n\n\n\n\na, \n\n\n_^ \n\n\n\n\nC \n\nX) \n\nen \n\nS5 \n\n\n4-> \n\nC! \n<L) \n\nB \n\nbO \n\n\ng \n\n\na. \n\n\n^ \n\n\n^ \n\n\nrt \n\n\n\n\n\n\n^ \n\n\n\n\nX3 \n\n\n\n\nen \n\n\n\n\n\n\n\n\nter skil \nroidery \n\n\n(U \n\n\'0 \n\n>-> \n\n\nc \n\nen \n\n73 \n\n\n13 \n\nen \n\n\n1 \n\n\na \n\n\nT3 \n\nen \n\nXl \n\n\n0) \n\n\nXI \n\n\n\nX \n\n\n\'en \n\n<L) \n\nQ \n\n\n\n\n\n\n\n\n<L> \n\n\n\n\nen \nen \n(U \n\n\nbb \n\nX) \n\n\n> \n\n\n\n\n\n\n\n\n\n\nGrea \nEmb \nEmb \n\n\n\n\n(U \n\n\n\n\n2^ \n\nu \n\n\n*S \n\n\n<u \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nc3 3 a \n\naj rt (u \n\n\n\n\n\n\n\n\n\n\n0) \n\n.s \n\nIS \n\na \n\n73 \n\n\n\n\n43 \n\n\nIS \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nen \n\na \n\n1-4 \n\na. \n\n\n4.J \n\n\nC \n\n\na \n\nX3 \n\n\n1 \n\n<U \n\nC \n\n\n1 \n\nXI \n\n\'o \n\na \n\n\n\n1 \n\n\'a, \n\nOh \n\n\nen \n\nC! \n\n\nXJ \n\nsi \n\nX CO \n\n\nen \nbX3 \nC3 \n\n\n\n5 \n\nen \n\n\nen \n\nC! \n\n.2 \n\n\'en \nen \n\n\nd \n\n\na \n\nCU \n\n\nbb \n\n\na \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<4-l \n\n\nJ3 \n\n\nC! \n\n\n. \n\n\nen lU \n\n\nrt \n\n\n<U \n\n\n\n\n\n\n\'O \n\n\nX) . \n\n\nraftin \nitting. \n\n\nc3 \n\nC \nC3 \n\n\nu \n\n1 \n\n\n.s \n\n\'S \n*o \n\n\nbO \n\n\n0. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nbC \n\n\n\nX) \nnJ \n\n\nlis \n\na, \n\n^.a \n\n\nX \n\n\n\na \n\nbo \n\n\nen \n\nX \n\n\n\nen" \ni-i \n\n\nen \n\nen \nc3 \n\n\nen \n\nc! .2 \n\nd \xe2\x96\xa0^-> \n\n\nP Ph W \n\n\n\n\n^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\np \n\n\n\n\nW \n\n\nen \n\n\n\n\nh \n\n\n\n\nQO \n\n\n\n\n\n\na \n\n\nen \n\ni \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nslip-over, \nsign em- \n\n\n\n\n\n\n\n\ni \n\n\'2 \n\n\n\n\n\n\n\n\n\n\n\n\n(U u \n> *-\' \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nc \n\n\nXJ \n\n\n^ \n\n\n\n\n\n\n3 \n\n\n\n\n\n\n\n\n\n\n\n\n.\'-s \n\n\n;:3 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n& \n\n\n\n\nSi \n\n(U \n\n2 \n\nXI \n\n\n\n\n\n\n<4-l \n\n\n\n\n\n\n\n\n\n\n\n\norset C \n\n(Simpl \n\nlace. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\night-go \nSimple \n\n\n\n\n\n\n\n\n\n\n\n\n\ni \n\nX \n\n\n\na \n\nc3 \n\n\n\n\n\n\nU \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n12; \n\n\n\n\n\n\n\n\n\n\np^ \n\n\n\n\nPh \n\n\nQ \n\n\n\n\n\n\n\ni64 \n\n\n\nDOMESTIC ART \n\n\n\nI \n\n\n\n\n\n\nCo \n\n\n\nw \n\nw \n\nH \n\nO en \n\nH pq \n\xc2\xbb5 CO \n\n<I \nH \n\n\nArt \nHygiene. \n\n\n\n\nO \n\n\no \n\n\n\n\n1 \n\nH \n\n;?; \no \nu \n\nS \n\no \np \n\ns \n\nH \n\n\nSuitable and appropriate bedroom \n\nfurnishings. Cost. \nArtistic furnishing. \nGreater interest and knowledge. \n\nHome life and activities. \nBed furnishings. \nMaterial. \nCare. \n\n\n\n\nen \n\nU \nO \n\n\nOriginal design ap- \nplied. \n\nDiscussions, etc. \n\nCollection of sam- \nples. \n\n\n\n\ni \n\n\n1 \nS \n\ni s \n\n\n\n\n\n\n\n\n\n\n\n\xc2\xab0 \n\n\n\nbo \n\n\n\n\n\nw \n\nw \n\nH \n\nO en \n\nw CQ \n\n\nArt. \n\nArithmetic. \n\nIndustries. \n\n\n\n\nH \n\nen \nO \nU \n\n\n\n\n- \n\n\n1 \n\nH \n\nO \nU \n\ng \n\ns \n\nH \n\n\nDesign. \n\nGood taste in dress for school. \nTextile. \n\nShirtwaist material (quality, width, \nprice). \n\n\n\n\nen \nen \n\nM \nO \nO \n\nP4 \n\n\nTaking measures. \nDrafting. \nFitting. \n\nCollection of sam- \nples. \n\n\n\n\nPROBLEM \n\n\n\xe2\x80\xa2a \n\n\n\nTHE FACTORS INVOLVED \n\n\n\n165 \n\n\n\n3 \n\n\n\n\n\n\nc \nto \n\nc \n\nbO \n\nc \n\n\n\n13 \n\nOn \n\n\n\n\n\na \n\n\n\xe2\x80\xa2 \n\n\nhn \n\n\nrrt \n\n\nX) \n\n\n\n\n3 \n\n\n>-i \n\n\n\n\nOJ \n\n\n\n\n-t-> \n\n\ni-i \n\n\nISJ \n\n\n<u \n\n\ns \n\n\n4-1 \n\n\n\n\nm \n\n\n\nO en \n\n^ 3 \n\nen O \n\nC en \n\n1) 3 \n\nbO O \n\n\n\n\xc2\xa33 \nV \n\na \n\nbO \n\n3 \n\n\n\n\n\n\n<1J _ \n1^ O) \n\n\n\nbC tn \n\n\xe2\x96\xa05 \xc2\xab \n\n\n\n43 \xc2\xab \n\n\n\nbO \n\ng \n\nIS \n\n\'-I \xe2\x80\x94^ \no \n\n\n\n(D \n\n\n\n.2 \n\n\n\n. \xc2\xab5 \ntn u \n\n\n\n\n\nI-I \n3 \n\n\n1^ \na \n\n\n.S2 \n\n\n3 \n\n\nOJ flj \n\n\n\n\n\n\n\n\n\n\n4-> -M \n\n\na \n\n\n\xc2\xab4-l \n\n\n(Tl \n\n\nD \n\n\nu \no3 o3 \n\n\n-^ \n\n\na \n\n\n3 \n\n\nu u \n\n\n\n\n3 \n\n\xe2\x96\xa0!-> \n\n\n\n\n\nB- \n\n\n, \n\n\n\n\n\n\n\n\n\n\n\n\n\na \n\n\n\n\n\n\n\n\n\nbO \n\n\n\no \n\nId \n3 \n\na \n\no \n\n3 \nO \nO \n\nW \n\n\n\n4; 3 \n3-2 \n\nfa <-> \n\na, \'^^ \n\nen \n\n.a \'^ \n\n"t bO \nen Ji. \nen .g \n\n4-\' CO \n\n\n\n^n c^ 3 \n\nw) c -n .2 \n\n.a bb|3 ii -g to- \n\n4i 3 nd ej oj cS \n\nJ2 .+i Oil \xc2\xab o ^ \n\nO P^ W U \n\n\n\n\xe2\x80\xa2Si \nI\xe2\x80\x94 t \xe2\x80\xa2 \n\nD4 en \nS3 \n\n\n\n-CJ 3 \n\n3 \n\xc2\xab3 \n\n\n\ndj 1\xe2\x80\x94 I \n\n\n\n<L) 3 \xe2\x80\xa2 i; .t: g .a \n\n\n\n\n\n\n3^^ \n\nI -S .a \n\n3 \xe2\x96\xa0\xc2\xbb-\xe2\x80\xa2 3 \n\n\n\ni66 \n\n\n\nDOMESTIC ART \n\n\n\n\n\ng \n\n\n\n\n\xe2\x80\xa2s \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nH \nO M \n\n\n\n\n3 \n\n\n\n\n\n\n\n\n\n\ni \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nya \n\n\n^ \n\n\n\n\n\n\n\n\n53 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n>1 \nS3 \n.S \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\'B \n\n\n\n\n\n\nX! \nci \n\n<u \n\no \n\n\n\n\n< \nW \n\n\n\n\n\n\n1 \n\n\n\n\n\n\n\n\n1 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nen \n\nTd \na \nI\xe2\x80\x94 ( \n\n\n< \n\n\n\n\n\n\n\n\n\n\nO \n\n\n\n\n\n\n\n\n\n\no \n\n\no \n\n\n\n\n\n\n\n\n\n\no \n\n\n\n\n\n\no \n\n\n. \n\n\n\n\n\n\n\n\nH \n\n\n\n\nvn \n\n\n\n\n\n\n\n\n\n\no \n\n\no \n\n\n\n\n\n\n\n\n\n\no \n\n\n\n\n\n\no \n\n\nen \n\n\n\n\n\n\n\n\nw \n\n\n\n\n\xe2\x80\xa2 \n\n\n\n\n\n\n\n\n\n\nt \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\na; \n\n\n\n\n\n\n\n\nO \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nCO \n\n\n4 \n\n\n\n\n\n\n\n\n\n\nfO \n\n\n\n\n\n\nd \n\n\n\n\n\n\n\n\n\n\nU \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xc2\xab\xc2\xa9= \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nM \n\n\ns \n\n\n\n\n\n\nyl^-m^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nr^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n^ \n\n\n\n\n\n\n<L> \n\n\n\n\n\n\n\n\n\n\nv \n\n\n\n\n\n\n\n\nTJ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nQ \n^ \n\n\n\n\n\n\na \n\n73 \n\n\n\n\n!8 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\na \n.a \n\n\n\n\n.^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nU \n\n^ \n\n\nH \n\nw \n\no \nu \n\n\n\n\n\'o \no \n\n\n\n\nl4 \n\n\n\n\n\n\n\xe2\x80\xa24-1 \n\nO \n\n4-> \n\n\n\n\n\n\n\n\nn \n\n1 \n\n\n\n\nIS \n\n\n\n\n\n\n\n\n\n\n\n\n1 \n\n\n1 \n\n\n\n\nC3 \n\n.2 \n\nN \n\n\xe2\x96\xa0*-> \n\nc \n\n\n\n\nO \nen \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n1-4 \n\n\n\n\n\n\n\n\n\n\n\n\nen* \n\nen <U \n\n\n\n\n1-4 \n\ni2 bb \n\n\n\n\n\n\n\n\n\n\n\xe2\x80\xa24-> \n\n\n\n\n\n\n.a \n\n\n\n\n.2 \n\n\n\n\n\n\n\n\n0) \n\no \n\n\nen \n\ni-< \n0) \n\nXI \n\n4-> \n\n\n2 \n\n\na \n\n3 \n\n\nen \xc2\xb1i \n\nU \'^ \n\nTd _g \n\nG gj \n\n\n>. \n\n\nrt a, \nX &, \n*^ o \n\nO X \n\n\nr^ \n\n\no \n\n\n\n\n\n\nC3 \n\n\n\n\n\n\n.c \n\n\n\n\n\n\nc \n\n\n\n\n,i4 \n\n\no \n\n\nTd \n\n\n1n \n\n\n\xc2\xab^ \xc2\xab3 \n\n\n3 \n\n\n-4-> en \n\n\n^ \n\n\nW \n\n\n\n\n\n\n0^ \n\na \n\n\n\n\n\n\n\n\nto \n\n\n-55 \n\n\n\n\n^ \n\n\n\n\nnd \n\n\no \n\n\n\n\nO \nu \n\n\n0) --H \n\n-4-> \' 1 \n\nen ,, . \n\n\n3 \nen \n\n\nc3 C5 \n\n\nt \n\n\n\n\n\n\na \n\no \nc \no \n\n(J \n\n\n\n\n> \n\n0) \n\n\n\n\n\n\n3 a \n\n\n8 \n\n\n\n\n\'g \n\na \n\no \n\n\nen \n\n\n0) \nen \n\n<U \nu \n\na \n\n\ns5 \nbO \n\n.a \n\n\'o \n\n\n*3 \n\nen \n\n\n\n\n1) \n\n\nr3 <L) \n\nc^ 13 \n\n\n\n\n\n\nW \n\n\n\n\nQ \n\n\n\n\n\n\nC/3 \n\n\n\n\nooo \n\n\n\n\n1\xe2\x80\x94 1 \n\n\np \n\n\n-t-J \nCO \n\n\nQO^ \n\n\nH \n\n\nl-H \n\n\n<\xc2\xbb \n\n1 \n\n\n\n\n\n\no \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n8 \n\n\xc2\xab4-l \n\no \n\nG \n\n.2 \n\n3 \njj \n\n3 \n\n\nen \n\n\n\n\n\n\n\n\n1 \n"13 \n\n\nO \n\n\nen \n\nC \n\n1-4 \n\nti \n\nc3 \n\nPh \n\n-t-> \n\nX \n\nto \n\np \no \n\nX! \n\n\n13 \n\nG \n\n\n(3 \n\n\nW \n\no \no \n\n\n\n\nOh \n\no \n\n\n\n\n1 \n13 \n\n\n(11 \n\n\no5 \n\no \n\n\n6 \n\nG \nO \n\nX! \n\n\n1 \n\na \n\nu \n\n3 \n\n\n.a \n\n> \n\no \n\n\nbb \n\nc \n\n\'a \n.a \n\n\n\xe2\x80\xa2^ \nbO \n.3 \n\nIB \n\nu \nCO \n\n\n\n\n\n\n\n\na \n.a \n\n\nG \n\nO \n\n-M \n\n-4-> \n\nG ^ \n\'^ Td \n\n\n.G \n\n*n \n\no \n\n.a c \n\nC bO \nS \'53 \n\n\n\n\n\n\n\n\nH \n\n\n\n\n>PM5pi;muHo \n\n\n\n\n\n\n\n\nu \n\n\n< \n\n\n\n\nH \n\n\n\n\n\n\n\n\n\n\n\n\n1 \n\n\n1 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nv-l \n\n\nen < \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nej \n\na \n\n\n\n\nen \nen \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\no \n\nen \nen \n\n\n1\xe2\x80\x94 1 -\'-\' \n\n\n\n\nG \n\na, \n\n\n\n\n\n\n\n\n\n\n\n\nO \n\n\nXi \n\n\xe2\x96\xa0*-> \n\no \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\no \n\na \n\n\n\n\n\n\n\n\n\xe2\x80\xa2S* \n\n\n\n\n\n\nO \n\n\n1 \n\n\xe2\x80\xa2S \n\n\ntc . > \ncj O iJ^ \n\nP^ fjH P^ \n\n\nc \nis \n\n\'5h \n\n\n2 \n\nid \n\nC! \n\n(U \n\ntn \n\n\n1 \n\nfe \n^ \n\ng \n\n\n\n\n\n\n\n\n\n\n\n\nX3 \n\n\n\n\n\n\n\'en \n\nl-l \n\no \n\nO \nO \n\n\na \xe2\x80\xa2- \n\nK en \n\n^ Si \n\nX Oh \n\nO a> \n\n\nbb \n\n.a \n\nG \n\ni \n\n\n1 \n\n.SP \n\n*en \n\na \n\n\n\nTHE FACTORS INVOLVED \n\n\n\n167 \n\n\n\nW \n\n\n\n. :3 \n\n\n\nJ3 \n\n\n\n\n\n\n\n\nC! \n\n\n\n\n\n\n\n\n\n\n\n\n\n\xe2\x96\xa0*-\xc2\xbb \n\n\n\n\nc3 \n\n\n\n\nu \n\n\n\n\n\n\n\n\n\n> \n\n\n\n\ncj \n\n\n(U \n\n\nm \n\n\n\n\nrrt \n\n\n\'0 \n\n\n\n\n\n\nbn \n\n\n.s \n\n\n\n\ns \n\n\n\nC \n\n\nb3 \n\na \n\nen \nfn \n\n\n\n\n\n<u \n\n\n\nH Q \n\n\n\ng c3 \n\n\n\n\xe2\x99\xa6- MH \xe2\x96\xa0kr> \n\n\n\nli \xe2\x80\xa2*-\xe2\x80\xa2 \n\n\n\no \n\nu \n\n\n\nS J3 \n\n\n\n4j tn \n\n\n\n^ v^ \n\n\n\n73 a. \n\nej O \n\n\n\n\n\n\no c^ <u \n\n\n\nbO \n\nCD \n\n\n\no \n\n;3 \n\n\n\n300 \n\n\n\nH O P^ O t/2U U \n\n\n\n\n\n\nCD bO \n\n\n\n<1> \n\n\n\n<u O -CI \n\n\n\n0) \n\n\n\nM)8 \n\n\n\n5S C3 \n\n\n\no \xe2\x96\xa0*-" \no o \n\n\n\n^ 42 \nP^ p:: \n\n\n\n(U \n\n\n\nto \n\no 3 \n\n\n\nt3 13 ,2 \np:^ P^ ^ \n\n\n\n\n\n\nl-^ -i-> w-i !^ \xe2\x96\xa0*\xe2\x96\xa0\' \n\ncu.-ti a o \'^ \n< fe U U \n\n\n\n.2- \n"a. \n\nOh \n\nu \n\n\n\nPh \n\n\n\no -s \n\n\n\n\n\n\n.bp f \n\n"55 "xj \n\nc3 \n\n\n\nS \xc2\xab \n\n73 ,i<i +3 ^^ \n\n\n\nfl (o i: 1-! o \'o \n\n\xe2\x96\xa0\xc2\xa7= \xc2\xab S i ;^ 5 \n\n\n\no \n\nu \n\nO rt \n\n3 o \na. -^ \n\no \'J \nU \n\n\n\nnJ \n\n\n\n:3 . \n\nCLi -w \n\n\n\n\xc2\xab5 \nOh \n\nbO"5 \n\n\n\n4> \n\no <u \xc2\xab \n\no \n\n\n\n\n\n\n\n\n\n\xe2\x80\xa2So. \n\n\n\no \n\n\n\n\n\nbO \nC! \n\n\n\n3 \n\no \n\n\n\nl68 DOMESTIC ART \n\nOUTLINE V \n\nStudent Plan \n\ncourse of study for the elementary schools \nFifth, Sixth, Seventh, and Eighth Grades \n\nThe city for which this course is planned is located in the \nwestern part of the United States, in a beautiful valley, one \nof the most fertile and prosperous farming districts of the \nState. The city was first settled about fifty years ago, and \nhas at present a population of six to seven thousand inhabitants. \n\nIt contains three knitting factories, several stores, and three \nor four respectable places of amusement, a public library, \nseveral churches, etc. \n\nThe nationalities represented are Scandinavians, English, \nand Americans. \n\nThe largest percentage of the population make their living \nby farming, many of them living out on their farms in the \nsummer and moving into the city for the winter, so as to send \nthe children to school. \n\nThe public schools have two large central school buildings, \nwith eight smaller ones scattered through the city, some of \nwhich contain only two rooms. The number of pupils en- \nrolled is about 1,496, with an average number per teacher of 50. \n\nThe schools are very crowded and in great need of more \nbuildings, which will be put up as soon as financial circum- \nstances will allow it. \n\nA special supervisor for primary grades has been provided, \nand excellent plans for constructive work, clay modelling, etc., \nhave been introduced with very good results. \n\nOther manual training work has not yet been introduced, \nowing to the lack of funds; so this course of study for the \n\n\n\nTHE FACTORS INVOLVED 1 69 \n\nupper grades has been planned with the end in view of making \nas few expenses for the school as possible, and still giving the \ngirls a course of study which would be of value to them. \n\nThe work is to be given by the grade teacher, under the \ndirection of a domestic-art supervisor, and will have to be \ngiven in the regular class-rooms until more buildings are put \nup. \n\nMachine sewing has been left out, partly on account of the \nexpense involved in getting machines and of finding room for \nthem, and also because two-thirds of the girls will continue \none or more years in one or the other of the high schools. \n\nThe material is to be purchased by the children; they are \nnot poor, and the parents will be perfectly willing and glad to \npay for it. \n\nThe aim of the course is to make the girls helpful at home \nand in society, independent, and appreciative of good work, as \nwell as the many opportunities they have over those of their \nparents. In the study of textiles, comparisons may be made \nof the past and present conditions in the West with those of \nlarge manufacturing centres in the East, and reasons shown \nwhy the woollen mills in the West cannot successfully compete \nwith those in the East, and foreign lands, etc. \n\nWhenever possible, the work in domestic art is to be cor- \nrelated with drawing, nature study, arithmetic, history, and \ngeography. \n\nEquipment, such as needles, thimbles, scissors, etc., will \nbe provided by the children, while illustrative material and a \nfew boxes for supplies and finished work will be provided by \nthe school. Most of the work should be kept for exhibition \nto be given at the end of the year, especially for the first two \nor three years. \n\nFor between work the children could make a second article, \nand at the end of the year this could be disposed of in some \n\n\n\nlyo DOMESTIC ART \n\nway, and the money go to an equipment fund , which should \nbe kept until more buildings are put up, and rooms fitted \nequipped for sewing. \nThe schools are in session thirty-four weeks of the year. \n\nGrade V (Fifty Minutes per Week) \n\nSome Underlying Ideas. \xe2\x80\x94 \n\n(i) Home life and siurrounding occupations. The sheep in- \ndustry. Indians and the early settlers. \n\n(2) Clothing and shelter. \xe2\x80\x94 Relation of farm life to clothing. \nComparison of early pioneer life with present time. A study \nof wool, cotton, linen, silk \xe2\x80\x94 making a chart. \n\n(3) The underlying thought in making the following articles. \nCare of clothing and furniture. Tools. Also care of what \nbelongs to others. School property. \n\nHOURS COST \n\n8 Work-basket. (For tools) $0.05 \n\n3 Canvas pin-cushion. (Basting and blanket \n\nstitch) . . \xc2\xbb . 0.05 \n\n3 Dust-cloth. (Basting and rimning) .... 0.03 \n8 Book-cover. (Stencilling with outhne \xe2\x80\x94 over- \nhanding) original design 0.15 \n\n8 Laundry-bag. Basting, hemming, stitching \n\nstitch) 0.25 \n\n4 Preparation of textile chart . 0.02 \n\n\n\n34 $0.55 \n\nFor between work initials may be made on the laundry-bag \nin cross-stitch or outline. Design made in class. \n\n\n\nTHE FACTORS INVOLVED 171 \n\nGrade VI (Fifty Minutes per Week) \n\nSome Underlying Ideas. \xe2\x80\x94 \n\n(i) Study of the development of West. Problems in rela- \ntion to transportation. Comparison of conditions in the East \nand West. Comparison of prices of material with those in \nearly days (as much as a dollar was paid for a yard of calico). \n\n(2) Clothing and shelter. \xe2\x80\x94 Industrial resources. Processes \nof wool and cotton before weaving. The suitability of these \nfibres to clothing. Visits to knitting factories. Simple \nmachinery discussion. \n\n(3) Underlying thought in making the following articles. \nHelpfulness in the home. Cleanliness, neatness, accuracy. \nCorrect position. Simple drafting. \n\nHOURS COST \n\n3 Needle-case canvas. Blanket and cross stitch $0.05 \n\n4 Jelly-bag. Hemming and overhanding. Tape o. 10 \n\n9 Wash-cloth. Knitting 0.05 \n\n4 Darning. Stockinet \n\n10 Short kimono. French seams. Facings . . 0.35 \n4 Dish-towel. Hemming o.io \n\n34 I0.65 \n\nGrade VII (Fifty Minutes per Week) \n\nSome Underlying Ideas. \xe2\x80\x94 \n\n(i) The development of the nation. Large industrial cen- \ntres. How other countries influenced our development. \n\n(2) Clothing and shelter. \xe2\x80\x94 Weaving. Primitive methods \nused by the Indians. Printing, dyeing. Study of silk and \nlinen. Properties. Suitability of materials for different uses. \n\n\n\n172 DOMESTIC ART \n\n(3) Underlying thoughts in making the following articles. \nSocial consciousness through making for others besides those \nat home. Economy in buying materials. Cleanliness, orderly \nhousekeeping. Original designs for weaving and table-cover. \nThe artistic side of decoration emphasized. \n\nHOURS. COST. \n\n7 Cooking apron. Gathering, band, button- \nholes . . . $0.25 \n\n10 Rug. Weaving 0.20 \n\n10 Table-cover. Applique 0.40 \n\n4 Patching. Overhand. Hemmed . . . . .... \n\n3 Work-bag. Free construction o.io \n\n34 $0.95 \n\nCollection of samples of materials, with price and width. \n\nThe rug is to be made in a certain number of squares of a \ndefinite size. Each girl makes a design and the best one is \nselected. The rug when finished is to be disposed of and the \nmoney to be kept for equipment. \n\nGrade VIII {Fifty Minutes per Week) \n\nSome Underlying Ideas. \xe2\x80\x94 \n\n(i) European countries which influence our market. Com- \nmodities for clothing sent from other lands. \n\n(2) Clothing and shelter. \xe2\x80\x94 Development of factory life and \nconditions. Economy through care of clothing by repair, re- \nmaking, removal of spots, etc. \n\n(3) Underlying thoughts in making the following articles. \nHome Hfe and personal interest of girl considered. Economy in \nbuying and cutting. Home decoration. Simple drafting for \n\n\n\nTHE FACTORS INVOLVED 1 73 \n\nunderwaist. Design for embroidery. Neatness in dress. \nChoice of color. Collection of samples of lace edges and \ninsertion. \n\nHOURS. COST. \n\n6 Towel \xe2\x80\x94 hemstitched $0.20 \n\n10 Underwaist \xe2\x80\x94 simple design in eyelet .... 0.40 \n\n4 Repairing \xe2\x80\x94 ^various kinds \n\n4 Napkin 0.30 \n\n10 Cushion-cover 0.50 \n\n34 $1.40 \n\nThese outlines deal with the domestic-art work \nas it is related to the present elementary school cur- \nriculum. In the near future the writer believes it \nwill be necessary to so readjust the studies of the \nelementary and high schools that there may be a \nbetter relationship and continuity of study for those \nwho will go on to high school for a short period \nonly and a decided change of course of study for \nthe large percentage of children who leave school \nat the end of the sixth or eighth grade. For those \nwho must leave at so young an age, a course of \nstudy should be planned which will consider the \nneeds of those children who must join the large \narmy of wage-earners at the earHest possible moment. \nThey must be prepared for citizenship and social \nliving. The best which can possibly be given them \n\n\n\n174 DOMESTIC ART \n\nin this short period should be theirs. The most \nimportant phases of hygiene and knowledge of the \nlaws governing health can be given, they can receive \nsome kind of training in skill along some line of \nuseful vocation. In domestic-art work for girls this \nwould mean training in the trades centring about the \nneedle, and the spending of as much time as possi- \nble on the art, music, English, and mathematics \nwhich bear a relationship to the special line of \ninterest. Women of originality of thought and pur- \npose who have studied the field of industry open to \nyoung wage-earners, as well as the field of general \neducation, should be chosen to plan and conduct \nthis work. It will be largely experimental for a while, \nbut must be so conducted until the results have \nbeen studied. The work undertaken in Boston at \nthe North Bennett Street Industrial School is of this \nexperimental nature and the results are being watched \nwith much interest. Opportunity is there given in \nthe seventh and eighth grades for intensive industrial \nwork during half of each day. Outline IV is sug- \ngestive of possibilities if the reconstruction of the \ncurriculum of the first six grades gives opportunity \nfor vocational work to follow in the seventh, eighth, \nand ninth grades. \n\n\n\nPART III \n\nTHE RELATION OF DOMESTIC ART TO \nSECONDARY EDUCATION \n\nCHAPTER X \n\nCAN DOMESTIC ART CONTRIBUTE TO THE GEN- \nERAL AIMS OF SECONDARY EDUCATION? \n\nBefore it is possible to decide whether domestic \nart can contribute to secondary education, one must \nhave an understanding of the general meaning and \naims of secondary school work. As the term is gener- \nally accepted it means the four years course of train- \ning which connects the elementary school with higher \nschools. This may be in secondary schools of vari- \n\'^us types both public and private. In the broader \nsense, secondary education may mean all kinds of \ncourses of one, two, three, or more years, which \nfollow the work of the elementary school, evening \nor day continuation classes in public schools or asso- \nciations which contribute to the advance of one\'s \neducation beyond the accompHshments of the eighth \n\n175 \n\n\n\n176 DOMESTIC ART \n\ngrade. This work may be literary, scientific, or \nartistic, and of a practical or technical character. \n\n"The education demanded by a democratic society \nis, therefore, an education that prepares an indi- \nvidual to overcome the inevitable diffi- \n\nGeneral aim \n\nof secondary CUlticS that Stand in the way of his mate- \neducation. \n\nrial and spiritual advancement." While \nthis defines education generally, it seems also to be \nparticularly apt in application to this field of work, \nfor it is during this period of education that youth \nis so often brought face to face with the difficulties \nof life, especially in relation to livelihood. Mr. \nHanus has outlined the general aims of secondary \neducation very fully. Life in order to be worth while \nmust show growth and an ever-increasing usefulness \nin the world, so that the secondary education of to- \nday must be a preparation for life which is to be one \nof helpfulness and service, both to the individual and \nto society. \n\nAs the life interests of individuals are so various, \n^ , ^ secondary education should offer pos- \n\nPupils to be -^ ^ \n\n\xe2\x80\xa2\xe2\x80\xa2 led to the sibilities of choice so that during that \n\ndiscovery of . \n\ndominant period the pupil may discover the path \n\nof life which his interests direct him to \n\nfollow. This thought of discovery of life purpose, \n\n\n\nGENERAL AIMS OF SECONDARY EDUCATION 177 \n\nwhich should be the key one, makes the planning of \nwork very difficult. This interest may lead the pupil \nto self-support or to a life of study or invention which \nmay count for service to himself and others. Sec- \nondary education should so stimulate the pupil that \nhe will realize his duty and responsibility toward \nsociety at large, and see that ultimately he must figure \nin the making of the laws of his country and in the \nfulfilment of duties of public trust in all fields of \nwork. Early encouragement to take part in the social \nwork of the community may be a guide to leadership \nand an incentive to intelligent and helpful participa- \ntion later in life. \n\nThe above definition of education calls attention \nto the spiritual advancement of the individual. \nSecondary school work should introduce the indi- \nvidual to an appreciation of the beauties of the \n"refined pleasures of life," those things in art, letters, \nscience, and religion which contribute to higher and \nmore spiritual living. Education which omits this \nentirely deprives the individual of those inner re- \nsources which count for so much when the practical \nissues of life sometimes do not bear fruit. They are \nthe inward life and strength which often impel the \nindividual to greater things. Secondary work should \n\n\n\n178 DOMESTIC ART \n\nSO interest the pupil in this field of thought that he \nwill continue to be interested and to develop along \nthese lines as he proceeds in life. \n\nSecondary education should not neglect the phys- \nical advancement. Opportunity should be given \nPhysical the pupil for physical development and \n\nadvancement ... . . ^ r .i i . t^ \n\nof great mtimatc study of the laws governmg life \n\nimportance. ^^^ -^^ ^^^^^ ^j^.^ ]^nOwledge is the \n\nmost vital and important if the individual is to ac- \ncomplish anything in the world. This period of ado- \nlescence adds another difficulty which must be consid- \nered by those planning the secondary school courses. \n\nThese aims which contribute to the development \nof the individual count also for the development of \nsociety and for the betterment of living. The func- \ntion of secondary education has been given as "the \nmost widely available organized force for elevating, \nrefining, and unifying a democratic society." \n\nAll phases of work of secondary nature should \ncontribute to these general aims. If these aims are \nanalyzed more specifically, they are \n\n(i) Those which relate the individual to society \nand help him to take his place among his fellows. \n\n(2) Those which give him the broader view of \nlife, of its accumulation of culture, or aesthetics. \n\n\n\nGENERAL AIMS OF SECONDARY EDUCATION 179 \n\n(3) Those which are practical and enable him to \nselect a vocation which will be his life interest or \nmeans of livelihood. \n\nIn considering the field of domestic \n\nDomestic art \n\nin relation to art in relation to these aims, it is possi- \n\nthese aims. n -t ^\xe2\x80\xa2 <\xe2\x80\xa2 -i 1 t\xc2\xabi \n\nble to find many Imes of thought which \nwill contribute to their accomplishment. \n\nA knowledge of domestic-art work will enable any \nwoman to be a better consumer, producer, and home- \nmaker in any community. It will enable her to buy \neconomically and wisely, to select with wisdom and \ngood taste the best and most appropriate clothing \nand furnishings for her home, to manage it sys- \ntematically for the good of all its members, and to \nenter into the problems of social life intelligently. \nCan all this be accomplished by means of domestic- \nart work in secondary education? There are many \npossibilities. The teacher\'s example will be one of \nthe most dominant factors. Her interest in life, in \nsociety will be an impelling force. Talks and sug- \ngestions in relation to woman\'s work, wages, sweat- \nshop labor bargains. Consumers\' League, open the \nmind of the awakening girlish consciousness to a new \nfield of thought. Woman\'s relations to the better- \nment of conditions of the working-woman, of better \n\n\n\nl8o DOMESTIC ART \n\nlaws, of economic relations, suggest to her fields \nof work for the future. The teacher\'s direct inter- \nest in and support of these in her own \n\nDomestic art \n\nin relation to towu are factors which count for influ- \n\nsocial life. \n\nencing the girl to participate in such \nlife-work. Talks from officials and others interested \nin betterment, and in economic conditions, are an- \nother avenue of possible connection. Visits to insti- \ntutions, factories, or shops are often possible for \nstudy \xe2\x80\x94 the clothing, food, etc., of children and adults \nin institutions, suggestions for betterment \xe2\x80\x94 the pur- \nchasing power of a dollar \xe2\x80\x94 the best for the least \namount, all suggest ways of arousing interest which \nmay later lead to an active interest in the work of \nsocial welfare. This may be as life-work or voca- \ntion either for a means of livelihood or not. As a \nmeans of livelihood the field offers many opportu- \nnities for institutional buyers, philanthropic and wel- \nfare workers in school systems, charities and better- \nment work of the large factories connected with the \nt.extile industries, or in various other fields of work. \nSecondary education should in this social connec- \ntion aim to give the girls true knowledge of the \norganization of the institutions and activities of gov- \nernment. Courses in history, civics, economics, and \n\n\n\nGENERAL AIMS OF SECONDARY EDUCATION l8l \n\nsocial studies all contribute. This is not the function \nof domestic-art work, but the teacher of this subject \ncan relate her work intelligently to it and lend a \nhearty co-operation in the general training for good \ncitizenship. \n\nVocational education has been defined as "that \nwhich equips an individual for self-support. Self- \nsupport may not necessarily mean a \n\nDomestic art ^ ^ ^ \'\' ^ "^ ^ \n\nin relation to wage-camiug Capacity, it might be \n\nvocational aim. . i t r \n\nnome-makmg or work along the line of \none\'s dominant interest." Not all of our girls are \nprivileged to proceed to college and enter upon \ncourses of work which may lead later to their life \nvocations in large fields of professional interest and \nstudy. The secondary school should provide some \nmeans of enabling the girl to find herself in relation \nto her life-work as a vocation along other lines than \nthose of the higher professions. Courses in house- \nhold arts, commercial and other business courses, \nare needed in order that if the girl have ability in these \ndirections, she may discover it and her relationship \nto them, that she may emerge into larger life and \nunder wise direction learn the source of her pleasures \nor the life-work in which she will voluntarily engage. \nSecondary education should acquaint the girl with \n\n\n\nl82 DOMESTIC ART \n\nthe importance of the discovery of a vocation so that \nshe may begin her Hfe-work early. "The great \nmass of human happiness will always arise out of \ndoing well the common things of life, and the happi- \nness of the individual will lie in that creative genius \nwhich does to-day the same thing it did yesterday, \nbut does it better." \n\nSecondary education for girls must offer courses \nwhich deal with the common things of life, as well \nas the literary and aesthetic work. The two should \ngo hand in hand and one supplement the other. \nVocations may be the direct outgrowth of the house- \nhold arts courses or may spring from the so-called \nmore cultural courses of the school. The aim of \neither is for greater service and efficiency. \n\nCourses in domestic art may lead directly into many \nvocational fields. That of the home-maker is the \nfirst and foremost in our consideration, for it is she \nupon whom we depend for the growth and develop- \nment of the homes of the future and the rearing and \neducation of our children. There can be no greater \nvocation, and any secondary school entirely fails in \nits mission which neglects to give the girls an oppor- \ntunity for studying it. Courses in dressmaking, \ncostume designing, or millinery may lead directly to \n\n\n\nGENERAL AIMS OF SECONDARY EDUCATION 183 \n\nlife-work along these lines. The secondary schools, \naccording to their type, may only introduce or offer \nmore intensive study in these fields of work. These \nintensive courses will prepare for direct application \nin establishments of trade. They may not give a \nfull trade experience, but they do give the girl a \nfoundation for later training which will cause her to \nrise rapidly as she gains in experience. \n\nCourses in domestic art can contribute to the so- \ncalled general culture work and thought of the \nDommticart school. The modcm idea of culture is \nthe to*cSed ^^ch broader than that formerly in use, \ncultural studies, an^j the ncw social relationships and \ncivilization call for a change in adjustment of our \nso-called cultural courses. The practical studies ap- \npeal most thoroughly to many girls and it may be \nthat through these only can the introduction be \ngiven to the more general cultural studies. For the \ngirls who do not intend to go to college, Latin and \nGreek are a waste of time. It is far better for \nthese to study the more modern subjects which are \nadapted to their needs: the history of industry and \ncommerce, politics and education, art and phi- \nlanthropy, modern foreign languages, literature of the \nmother-tongue, the elements of commercial training, \n\n\n\nl84 DOMESTIC ART \n\nfine arts and mechanic arts, economics and govern- \nment. This scope of programme offers difficulties \nto those who must prepare the course of study for \nthe individual. General culture has been defined \nas ^\'the capacity to understand, appreciate, and \nreact on the resources and problems of modern \ncivilization." No one individual can choose all the \nwork offered, but should be taught to think about his \nchoices and do so under guidance. This direction of \nchoice will depend largely upon the tact and good \njudgment of the teachers. Secondary education \nshould be a constant training in foresight and re- \nsponsibility, these two great giants which make for \nthe formation of character and good citizenship. \n\nDomestic art in this sense may be cultural in many \nways. The various courses in art, design, costume \nand millinery designing, all have as their foundation \nthe general principles of design. Garment -making, \ntrimming, and decoration are truly studies in line \nand space, balance, rhythm, and harmony of color. \nA beautiful gown or hat is a true study in art and \nrequires artistic sense and feeling to produce it. The \nstudy of fabrics, their manufacture, composition, \nand adulteration opens up the whole field of science. \nThe dyeing, cleansing, and laundering of materials \n\n\n\nGENERAL AIMS OF SECONDARY EDUCATION 185 \n\noffer a practical application of chemistry and its \nprinciples. The hygiene of clothing relates directly \nto the studies in physiology, and some of the princi- \nples of physics and geometry are exemplified in the \ndrafting of garments and the use of machines. \n\nHistory has a decided connection with the domes- \ntic-art field. The history of industry is most interest- \ning and vital in relation to the evolution of textile \nmanufacture. The history of rugs, old textiles, and \ncostume are as interesting as studies of ancient Greek \nor Roman life and may be connected with these. \nEconomics and sociology bear directly on many \nphases of domestic-art work, and commercial geog- \nraphy makes the study of fabrics of much more \n\\ value and interest to the pupil. \n\nThe possible so-called cultural relationships are \nvery many, but it depends entirely on the skill and \ntact of the domestic-art teacher in her co-operation \nwith the other instructors to make these relation- \nships vital. \n\nWith these general aims for secondary education \nin mind, and the possible scope of domestic-art \nwork as it contributes to the accomplishment of these \naims, it is possible to turn to the selection of material \nfor various types of secondary schools, according to \ntheir needs. \n\n\n\n1 86 DOMESTIC ART \n\nReferences for Study \n\n"A Modern School," Hanus.\' \n\n"Secondary Education in a Democratic Community," \nHanus. Vol. XI "English Reports on Education." \n\n"Report of Lake Placid Conference on Home Economics," \n1908. \n\n"The American High School," J. F. Brown. \n\n\n\nCHAPTER XI \n\nTHE SELECTION AND PLANNING OF WORK \nFOR THE SECONDARY SCHOOLS \n\nWith the previous chapter in mind, we are ready \nto turn to the selection and planning of work for \nsecondary schools. \n\nWe are at once confronted by the numerous factors \nwhich must be considered in the planning of work. \nThey are somewhat similar to those affecting the ele- \nmentary course and yet more difficult. Our primary \nconsideration is the girl \xe2\x80\x94 our girl with all her aspira- \ntions, hopes, and fears. She is very appealing at \nthis period, for she is so very human in the develop- \ning and unfolding of her nature. We are to guard \nand guide her, and to watch her physical and psy- \nchological development. The teacher of domestic \nart has an unusual opportunity to help and protect \nin her close association. She must be guarded \nagainst too great physical and mental strain when \n\nshe is in need of rest and relaxation. Her ambitions \n\n187 \n\n\n\n1 88 DOMESTIC ART \n\nare to be encouraged, her fears allayed, her hopes \nrenewed. The teacher should be wise in her selec- \ntion of problems during the early high school years \nand should bear distinctly in mind the peculiar \ncharacter of this period of mental and physical de- \nvelopment. The good of the girl is the ultimate goal, \nand without health nothing can be accomplished. \n\nThe social ideals and life of the community should \n\nbe kept in mind in planning the work for this course, \n\nfor after all we are preparinpr the sfirl \n\nSocial life of ^ ^ ^ ^ ^ ^ \n\nthe commu- to take her place in the community and \n\nnity a factor. . \n\nto promote its welfare. The needs of \nthe home, of the school, and neighborhood institu- \ntions should be considered. Problems may be intro- \nduced into the course which may be of use and value \nin those institutions and develop an interest in them. \nAny connection which the domestic-art teacher can \nmake to arouse the social consciousness of the girl \nand put her in touch with useful life will be of great \nvalue to her. This added interest which is the only \ntrue interest certainly touches life and enables the \ngirl to see her relationship to some of its problems. \nTime and locality enter as factors in relation to \nthe planning of this work. The local school board \nmay be authorized to decide the number of hours \n\n\n\nWORK FOR SECONDARY SCHOOLS 189 \n\nper week which are to be devoted to the domestic- \nart work. This may handicap the teacher, for either \nTime and too much or too little time may be al- \n\n\'\'\'\'^^\'*^\' lowed and the proper balance be lost \n\nbetween the academic and household arts studies. \nThe time should naturally be regulated by the aim \nof the particular school and local conditions, but \nvery often those who are entrusted with the regula- \ntion of time are not alive to the differences to be \nkept in mind and do not understand the proper \nrelationships or aims of the various types of schools. \nThe course of study is always more or less influ- \nenced by the particular locality or environment\xe2\x80\x94 by \nenvironment is meant all the peculiar local condi- \ntions which affect planning. A private school, for \nexample, located in a suburb where there is oppor- \ntunity for more or less outdoor life, may introduce \ninto its course problems of a different character from \nthose which may be of particular value in the city \nschool under other conditions. \n\nThe cost of the introduction of the work may be a \n\nCost often Problem for consideration, but in the \n\n^fans\' """^\'^ majority of secondary schools the pupils \n\nsupply most of their own materials. The \n\nboard of education or school often supplies the tem- \n\n\n\n190 DOMESTIC ART \n\nporary equipment of needles, thread, etc., and nearly \nalways the permanent equipment of machines, tables, \nand other articles of furniture. Parents are usu- \nally quite willing to supply the necessary materials, \nfor the garments produced have as a rule a utilitarian \nvalue and are to the mother an economic saving of \ntime, labor, and money. In the case of the introduc- \ntion of more technical or trade work, it is not possible \nfor the home to furnish the necessary supplies. The \nwork in order to be of most value must be of a \ncertain variety, and the materials used must be such \nas will be worth while handling. The problem of \nfunds to meet the needs is a serious one, but is met \nin many ways by the ingenuity of those in charge. \nShops and order work seem to be the best solu- \ntion, but also have difficulties, for patrons wish well- \nfinished results, and often in the process of learning \nmany efforts must be made by some children before \na creditable piece of work is produced. These in- \nferior articles may be sold for little, perhaps just to \ncover costs of materials \xe2\x80\x94 and must often be sold at \na sacrifice. This makes the trade school course of \nstudy a particular problem in itself in relation to cost, \nand a trade school will always be an additional cost \nto the management for materials on account of the \n\n\n\nWORK FOR SECONDARY SCHOOLS I91 \n\nunavoidable waste during the process of learning. \nIn many schools of classical and manual training type \nstudents make articles for sale which are given to \nthe school, or take orders for household linen or \nother articles for neighboring institutions. This \nmay or may not be an excellent plan according to \nmanagement, but often enables a school to purchase \nthe necessary permanent equipment of chairs, ta- \nbles, machines, etc., when the local authorities may \nnot be able to do so. \n\nAnother factor to be considered is the final goal \nof the secondary school. This will be more fully dis- \nAim of each cussed in considering the types of school, \nto^be ke^^un^ Is the coursc to prepare for college en- \n^^^^\' trance and will any credit be given for \n\nit ? is a question which the domestic-art teacher faces \nin the planning of her work. The selection of sub- \nject-matter will be influenced as well by what has \ngone before as by that which is to follow. Have the \npupils had any domestic-art training in the grades, \nwhat has been its scope, in what grades was it given, \nwill a lengthy review be necessary? The course \nmust be moulded accordingly to meet these con- \nsiderations, which must be kept in mind if the \ncourse is to be well planned. Very often the do- \n\n\n\n192 DOMESTIC ART \n\nmestic-art teacher discovers that the grade work has \nbeen almost entirely forgotten because of its dis- \ncontinuance during the seventh and eighth years of \nstudy. \n\n^\'When society enters distinctively into a new \nphase of its evolution, there must be a new distri- \nbution of educational values." The greatest diffi- \nculty which the teacher of domestic art must face \nis the differentiation of courses for various types of \nsecondary schools, for unless she understands the \naims and conditions which affect the various types \nshe is not apt to be wise in her selection of subject- \nmatter to meet those needs. As society has entered \nthis new phase of its evolution, the industrial era, one \nfinds such a variety of types of secondary schools that \nit is difficult to distinguish and to differentiate the \nwork for the various kinds, because of the general \nfeeling of uncertainty as to the real goal of each \ntype. Unless the aims are understood the distri- \nbution of values will lack balance and proportion. \nThe teacher of household arts must guard against \nthe temptation to think that her subject is the only \none in the curriculum for consideration. \n\nIt may be well to analyze somewhat briefly the \nmain aims of some of the types of secondary schools \n\n\n\nWORK FOR SECONDARY SCHOOLS 193 \n\nand to follow these with suggestive outlines for \ncourses of study under varying conditions. \n\nThe classical high school or the classical course \nin high school seldom permits of very much work in \nDomestic art houschold arts. As a rule the girls are \n\nin a classical \xe2\x80\xa2 p n 1 n 1 \n\nhigh school preparing for college and all the avail- \ncourse. ^-^Yq time must be spent in working off \nthe necessary requirements. If the college entrance \nboard would accept certain work in household arts, \nit might be possible for a course to be arranged \nwhich would not only have a classical bearing, but \nbe of great value to the girl in her development and \nlife in society. When household arts work is given \nin the classical courses it is nearly always elective, \nand not required, as it should be. Fortunately, how- \never, girls feel instinctively the need of this work, and \ntheir natural interest leads them to pursue it when- \never it is possible for them to do so. The time at \nmost is very short. \n\nThe outline submitted for the classical type of \ncourse is for two hundred and forty hours of work, \nto be distributed as seems best in relation to the \nother work of the school. As a part of a household \narts course the same amount of time should be \ngiven to the so-called domestic science phases of the \n\n\n\n194 DOMESTIC ART \n\nwork. The work of the classical domestic-art course \nshould be interesting and offer variety. The girls \nwork as a rule on problems of personal interest and \nthe main aim of the work is training the girl for \nusefulness in her home and in her relationships with \nothers. \n\nCOURSE IN DOMESTIC ART \n\nPART OF HOUSEHOLD ARTS COURSE FOR SECONDARY SCHOOL OF \n\nCLASSICAL TYPE \n\nI. Factors governing the selection of this subject-matter \nfor .a possible condition. \n\n(i) Previous Training. \xe2\x80\x94 Hand-sewing given in sixth and \nseventh grades of elementary school. \n\n(2) Secondary Course to count toward college entrance. \n\n(3) Location of School. \xe2\x80\x94 Suburb of Philadelphia. \n\n(4) Girls. \xe2\x80\x94 From homes of best middle class. Some go to \ncollege, others to be prepared for home duties. \n\n(5) Time. \xe2\x80\x94 Two himdred and forty hours, to be distri- \nbuted as seems best in working out programme of all studies, \npossibly three hours per week for two years. \n\n(6) Cost. \xe2\x80\x94 Pupils supply nearly all materials. \n\nII. Course of study. \xe2\x80\x94 Clothing, \n(i) Problems. \n\n{a) Underwear (three pieces). \n\n(h) Shirtwaist gown or simple lingerie gown (one piece or \nwaist and skirt). \n\n\n\nWORK FOR SECONDARY SCHOOLS I95 \n\n(c) Making of lined gown. \xe2\x80\x94 (i) Skirt \xe2\x80\x94 drop skirt. \xe2\x80\x94 (2) \nWaist. \n\n(d) Millinery. \xe2\x80\x94 (i) Fall or winter hat. (2) Summer hat \xe2\x80\x94 \nstraw or lingerie. \n\n(e) Embroidery. \xe2\x80\x94 (i) Table cover or pillow top. (2) \nLingerie hat or underwear (above mentioned), or Christmas \ngift. \n\n(2) Processes involved in working out above problems. \n\n(a) Hand-sewing (review). \n\n(b) Machine-sewing. \n\n(c) Drafting with use of patterns. \n\n(d) Fitting and hanging of garment. \n\n(e) Designing for decoration and draft of patterns. \n(J) Computations of costs. \n\n(3) Thought Content to be developed while presenting above \nproblems. \n\n(a) Textile study. Source of materials, properties, manu- \nfacture, design, and workmanship of textiles. \n\n(b) Use and adaptation of commerical patterns and relation \nto drafting. \n\n(c) Hygiene in relation to wearing apparel. Sweatshop \nlabor. \n\n(d) Study of relative values of hand and machine work. \n\n(e) Suitability of apparel in relation to use and income. \nLine and color to be adapted to wearer. Economics of the \npurchase of materials, prices, widths, quality, etc., in rela- \ntion to use and planning of the wardrobe. How to reduce \ncost with good effect. \n\n(f) Training for accuracy, neatness, foresight, and respon- \nsibility. Development of social consciousness. \n\n(4) Allied Subjects. \n\n\n\n196 DOMESTIC ART \n\n(a) Art in specific design, color, adaptation of line to space \xe2\x80\x94 \nrelation to human form. History of costume as expression \nof social development; appropriateness of clothing and beauty. \n\n(b) Physics. \n\n(c) Commercial geography. \n\n(d) Industrial history. \n\n(e) Economics (simple form). \n\n(J) Physiology (hygiene of clothing). \n(g) Chemistry (dyeing of materials). \n\n(5) Related Interests. \xe2\x80\x94 To be developed while teaching above \nproblems. \n\n(a) Visits to shops, factories, museums, and libraries. \n\n(b) Use of books and current magazines as of value in above \nstudy. \n\n(c) Work of organizations, as Municipal League, Consum- \ners\' League, Board of Health, Trades Unions (relation of \nemployer and employees). \n\n(d) Sweatshop problems, duties, customs (imported gowns, \netc.). \n\nHI. Shelter and household management, \n(i) Problems. \n\n(a) Making of charts showing relation of cost of clothing \nto income, also charts of color schemes for rooms and fur- \nnishings. \n\n(b) Making of furnishings. \xe2\x80\x94 (i) Scarf for table or pillow. \n(2) Curtains. (3) Weaving of cover. \n\n(c) Keeping of accounts \xe2\x80\x94 informal talks on house manage- \nment in relation to furnishings and clothing. \n\n(d) Laundering of materials (cleansing, dyeing), \n\n(2) Processes involved in working out the above problems. \n\n\n\nWORK FOR SECONDARY SCHOOLS 197 \n\n(a) Stencilling. \n\n(b) Block printing. \n\n(c) Hand-loom weaving. Co-operative work. \n\n(d) Exhibits in school of rooms furnished. \n\n(e) Trial of method of keeping personal accounts. \n\n(f) Cleansing and dyeing of old materials. \n\n(3) Thought Content to be developed while presenting above \nproblems. \n\n{a) Artistic and beautiful furnishings of home; spirit of \nhome-making.; ethical and social side; kind of home in rela- \ntion to income. \n\n(b) Management in relation to repairs of clothing, linen, \nrugs, etc. Care of clothing and house furnishings. Launder- \ning of materials. \n\n(c) Keeping accounts. Clothing and furnishings, their rela- \ntion to income. \n\n(d) Economy of time in relation to making and use of home \nthings. \n\n(e) Business management. Simple business rules, and law \nfor women. \n\n(4) Allied Subjects. \n\n(a) Art \xe2\x80\x94 study of design materials, color in relation to rooms. \n\n(b) lu-ousehold sanitation \xe2\x80\x94 in relation to furnishings. \n\n(c) Chemistry \xe2\x80\x94 color; cleansing of wood and materials; \ndyeing, laundering. \n\n(d) Economics (very simple). Law of supply and demand; \nifioney \xe2\x80\x94 fall of price. \n\n(5) Related Interests. \n\n(Same as above subject, (II) Course of Study. Clothing.) \n\n\n\n198 DOMESTIC ART \n\nThe domestic-art work in a manual training high \nschool course differs principally from the classical in \n\nthe amount of time ffiven to the sub- \nManual *-* \n\ntraining high ject. The work is generally required, at \n\nschool course. \n\nleast a certam number of points of it, \nand opportunity given for more elective work where \nthe girl is interested in a specialty and is contem- \nplating more advanced training after leaving the \nschool. The main aim of such work is proficiency \nwhich will enable the girl to run her household affairs \nintelligently and well, or make it possible for her to \ngo into other schools or professional establishments \nfor further study along such lines. Many of the \ndomestic-art graduates of the manual departments of \nhigh schools enter dressmaking or millinery estab- \nlishments in order to become more proficient along \nthese lines, or continue into higher schools and later \nteach this specialty. The aim of the manual train- \ning course, as the work has been planned in most \nmanual training schools, is to keep in mind the \ndevelopment of the girl without especial emphasis \non the vocational aspect of the work. The aim of \nthe work is not to train for a trade, although very \noften some of the students do specialize in such a \ndirection because of the interest awakened. The \n\n\n\nWORK FOR SECONDARY SCHOOLS 199 \n\nwork generally offers variety, and the course for girls \npermits of many phases of industrial arts, such as \nmetal work and clay modelling, as well as the \nhousehold arts work of cooking and sewing. The \npossibilities for such courses have already been \nenumerated and will be regulated by the local con- \nditions determining the formation of plans. \n\nSTUDENT PLAN, TEACHERS COLLEGE \n\nDomestic-Art Course for Manual Training High \n\nSchool \n\nconditions \n\nSi^e of City. \xe2\x80\x94 From 90,000-100,000 inhabitants. \n\nNationalities. \xe2\x80\x94 American, English, German, and Scandina- \nvian. \n\nElementary Schools. \xe2\x80\x94 Some hand-work is given in the ele- \nmentary schools in this city, but children coming from outside \nsettlements and smaller cities may not have had any hand- \nwork at all. \n\nHigher Institutions of Learning. \xe2\x80\x94 A State university, a \nhigh school, and several church high schools and colleges. \n\nFurther Description of Environment. \xe2\x80\x94 The largest enterprises \nof the State are agriculture, mining, and sheep industry, and \nthis city being the centre of attraction, a good deal of business \nis carried on there. The city has several large department \nstores, but no factories of great importance. Most of the \npeople have their own homes, and as a rule Hve under favor- \nable circumstances. \n\n\n\n200 DOMESTIC ART \n\nAIM OF THE SCHOOL \n\nThe aim of this manual training high school course in \ndomestic art is to offer to girls a practical education, in order \nthat they may discover and exercise their best powers, while \nobtaining accurate information in many practical problems of \nlife. \n\nThe special aim of this course in domestic art is to prepare \nthe girls to be more efficient home-makers, and to be better \nprepared to take their place in society; to cultivate an \nappreciation of home, and to dignify housework by improving \nthe method of work as well as the articles made. \n\nThroughout the course emphasis is to be placed upon \neconomy, suitability, and as far as possible, upon the culti- \nvation of order, neatness, responsibility, and unselfishness \nwhenever there is a natural relationship. \n\nThe subject-matter is to be correlated with art, history, \ngeography, nature study, arithmetic, etc. \n\nTwenty periods a week are to be devoted to academic studies \nsuch as English, mathematics, science, history, language, \nmusic, and elocution. By a wise selection of studies it would \nbe possible for those who intend to go on to college, to meet \nthe requirements. \n\nTen periods a week are given to domestic art, domestic \nscience, and drawing. Physical training will have to be given \noutside of the ten periods, unless the hours can be arranged \ndifferently. \n\nThe work is planned for one-hour-and-forty-minute periods, \nwhich may seem long for the first year; but as a rule the first \nyear high school girls are not imder fifteen years old and \nwould be able to stand it. \n\nA good deal of garment and dress making have been ar- \nranged for in this course^ for the reason that the parents are \n\n\n\nWORK FOR SECONDARY SCHOOLS 201 \n\ninclined to appreciate the utilitarian value of this subject more \nthan the educational; hence an attempt is made to meet the \napproval of the parents as well as to fulfil the aim of the school. \nMany mothers depend on and greatly appreciate the help the \ndaughters can give them during vacation periods, especially the \nhelp with the family sewing. This is one of the reasons for \nintroducing children\'s clothing. \nThe school year is thirty-four weeks. \n\n\n\n202 \n\n\n\nDOMESTIC ART \n\n\n\nCO .2 \n\n\n\n\n\nO \n\n\na, \n\n\n\n\n<1 \n\n\n(V \n\n\nB \n\n\n\n\ny \n\n\n\n\n^ \n\n\n\n\n>< \n\n\no \n\n\na \n\n\n\n\n\n\n-l-> \n\n\n\xe2\x80\xa2 r-l \n\n\n\n\nH \n\n\n^ \n\n\ns \n\n1 \n\n:-4 \n\n\n\n\nw \nrt \n\nS \n\n\n\n\n\n\n\n\n-b \n\n\no \n\n\xc2\xab4-l \n\n\nj^ \n\n\n\n\no \n\n\n\'O \n\n\n(^ \n\n\n\n\n^ \n\n\nsH \n\n\nr/) \n\n\n\n\n1 \n\nc3 \n\n\nc3 \n1 \n\n\nT3 \n\n.2 \n\n\n\n\n1 \n\n\no \n\n\nCJ \n\n\n\n\n;3 \n\n\n1 \n\n\nCi. \n\n\n\n\no \n\n\n<u \n\n\n(L> \n\n\n\n\n^ \n\n\nn \n\n\n\xe2\x80\xa24-> \n\n\n\n\n<u \n\n\n\n\nfl \n\n\n\n\n\xc2\xa7 \n\n\nO \n\n\na \n\n\n\n\no \n1 \n\n\nH \n\n\n^ \n\n\n\n\n^ \n\n\ny3 \np \n\n\n\n\n1 \n\n\n\n\nt^ \n\n\n\n\n\xe2\x80\xa25^ \n\n\n\xe2\x80\xa2r^ \n\n\nH \n\n\n\n^ Co \n\n\n\n\xc2\xa7: l:: ^ \nCi c> V. \n\nCj Q Q \n\n\n\n\n\nlO \n\n\nfO \n\n\nlO \n\n\nlO \n\n\n1 \n\n\no \n\n\ni o \n\n\n^ \n\n\nw \n\n\no \n\n\n\xc2\xab \n\n\nCO \n\n\n\xc2\xab \n\n\nfO \n\n\no o \n\n\nu \n\n\no \n\n\no \n\n\nO \n\n\nO \n\n\nO \n\n\no \n\n\nVOVO \n\n\nM \n\n\n\n\n\n\n\n\nen \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\no \n\n\n\n\n\n\n, \n\n\n>-> \n\n\n\n\n\n\n\n\n-*-> \n\n\n\n\n\n\n^ >. \n\n\n\n\n\n\n\n\nrt \n\n\n\n\n\n\n-5 ^ . \n\n\nn \n\n\n\n\n\n\n\xe2\x80\xa2 \n\n\ns \n\n\n\n\n\n\n\xe2\x80\xa2 Ph O <u \n\n\n\n\n\n\n\n\n\n"^ \n\n\n\n\n\n\n^ 6 o S \n\n\n\n\n\n\n\n\n\n\n^ \n\n\n\n\n\n\no bb-;^ .iJ \n\n\nH \n\n\n\xe2\x96\xa04^ \n\n< \n\n\n\n\nPL. \n\n\n\n\n\n\n\n\nW O Ph a \n\n\n<; \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nC/2 \n\n\n\nS o \n^ S \n\nW M \n\n\n\nW3 52 \n\n\n\nbo \n\nCI \n\n\n\n\n\n\nJ3 \n\n\n\nC/2 --j S \n\n\n\n\xc2\xa7 C) !=! (^ \n\n> U J:; \xc2\xbbH OJ >, 5 \n\n..w g:o_g i! \n\n4_r "-r \xe2\x80\xa2-\'5 o) \n\n\n\nen en \n.^ IS \n\xe2\x96\xa0X3 i-< \n\n\n\nD \n\n\n\nOh OT _2 \nP^ 43 4^ \n\n\n\n\n\n\nen rii; \n\nI O \n\n\'V 03 \n\nk3 \n\n\n\nw \n\n\n\nen \nen \n\nO \n. u \n\nbb " \n\n\xe2\x80\xa2a tp \n\nen K \n\no in \n^ <u \n\nbo > \n.B O \n\n\n\ns a \n\n\n\nB \n\nen \n\n\n\nc3 \n\n\n\na \nto B \n\n\n\nen rr-I \n\nO ej \n\n\n\nbO \n\n\n\nQ \n\n\n\n03 \n\n\n\n> \'pirj \n\n-I-\' \nCO \n\n\n\nO. TO \n\n\n\no \n\nbo\'^ \n\nen hH \n\n\n\n1^ \n\nt\xc2\xa3 fl bfl \n\n.g o fl \n\n<U 3 m \nen .J-i en \n\n\n\nO \n\n\n\nbo \n\n\n\n\n\n\n.2 \nIS \n\nen \n\nCJ \n\nI \n\n\n\no \n\nPh \n\nrt \nI \n\nbO \n\n\xe2\x80\xa2S \n13 \no \no \nU \n\n\n\no \no \n\na \n\n\n\no \n\nXi \n\n\n\nen 3 ^H \n\nfl \xc2\xb0 > \n\nS^ ^ 8 \n\n<^ .B 1 \n\nP^ ti . <U \n\n(X3 t^ to \n\n^"i D J-i \n\nrt ^ en O \n\na 5 \xc2\xabJ \n\n^ .S \'^ \xe2\x80\xa2- ^ \n\n\n\nto \n\n4 \n\n\n\nI \n00 \n\n\n\nto \n\n\n\nWORK FOR SECONDARY SCHOOLS \n\n\n\n203 \n\n\n\n:3 o \n\nO C3 \n\xe2\x96\xa0^ cj \n\n-t-> \n\no \ncu \n\n\n\n.2 tJ \n\n\n\no o \n\no \xe2\x96\xa0\'-\' \n\n\n\n^ 5^ O \n\n\n\n<D \n\n\n\nGh \n\n\n\n^ CI. \n\nen rQ \n\n^ en \n\no .ti \n\n\n\n(U \n\n\n\n1) \n\n\n\no \nu C3 o \n\n\n\n5 C o \n\nW ^ X) \n\n(J c3 ^ \n\n\n\nk5 \n\n\n\n<-\xe2\x80\xa2 S Oh \n\n.5 \xc2\xbb^ ^ \n\nOX) \n\no ^ \n\n\n\n.S \xc2\xb0 \n\nO \nbJDXJ \n.S en \n\n\n\nrt \nO \n\n\n\n(U \n\na \n\no \n\n,CI \n\n\n\nW \n>^ \n\nQ \n\nO \nO \n\nw \n\n\n\n(U |> \n1 -I-\' \n\n\n\n>-. \n\n\nS \n\n\nu \n\n\nM-* \n\n\n\n\n\nTi \n\n\n\n\na \n\n\n\'U \n\n\nrrt \n\n\n(=! \n\n\n\n\n1 \n\n\n^ \n\n\n\xc2\xbb-i \n\n\nn \n\n\n\n\n\n1 \n\n\nrSH \n\n\n<u \n\n\n1 \n\n\nn \n\n\n<u \n\n\nn \n\n\nji! \n\n\n\n\nn \n\n\n\n\n\nfli \n\n\n1^ \n\n\n\nCU H \n^ I \n\n\xe2\x80\xa2 ^ \n\n\n\n\n\n\nt o t\xc2\xab \n\nw z 9 \n\ntn G O \n\nW W 2 \n\nrt < M \n\nOS \n\n\n\nM \n\n\n\no \n\n\n\nO \n\n\n\n3 \n\n\n\n\n\n\nI \'a \n^ 2 \n\nUh (J \n\nP (U \n\nCl, en \n\n<en \n(U \n\n)-i \nXI \n\n\n\n2 a \n\no \n\n\n\n\xc2\xab+H (-1 \n\nO e\xc2\xab \n\n(J \xe2\x96\xba-\' \n\nC 0) \n\n.a g \n\n\n\n^S bO \n\n. a M <-\xe2\x80\xa2 \n\n\xe2\x96\xa05 .a bB \n\n2 bO C \n\n.in .Sr \nO en \n\n\n\nbO \ng \n\n\'S \nbO \n\n\n\n^ bb \n\nQ .a \na \n\n\n\n.a \n\n\n\nbO \n\n\n\nXl \n\no \n\n\n\na \n\'o \n\n.a \n\n\n\nI \n\n00 \n\n\n\n4 \n\n\n\n204 \n\n\n\nDOMESTIC ART \n\n\n\nQ \nH \n\nM \n\nH \nO \n\nu \n\n\n\nH \n\no \n\nO \n\n\n\n\n\ni O \n\n\n\n\ni o \n\n\ni o \n\n\n\n\no o \n\n\n\n\nlO O \n\n\no o \n\n\n\n\nO \n\n\nvnco \n\n\n\n\nd H \n\n\nroO \n\n\n\n\nw \n\n\ntn \n\n\n\n\n\n\n\n\n\n\n\n\n. o \n\n\n\n\n\n\n\n\n\n\n5- \n\n\nO 0) \n\n\'55 ^ \n\n\n\n\n2 \n\n\n\n\n\n\n\n\n\n>-\xc2\xbb -y \n\n\n\n\nbo \n\n\n\n\n\n\nw \n\n\n\n\n\n\no \n\n\n\n\n\n\n< \n\n\n\n\no \n\n\n\n\n\n\ns \ng \n\n\nSm 0) CA *-l \n\xe2\x80\xa2r^ <D (D Oj \n\nO w \xc2\xab i^ \n\n\nB \n\n\n^11 \n\no ^ o \n\n\nH en \n\n\n\n\n\n\n-S S ^ o \n^ -^ ^ -55 \n\n\nO \n\n\no; .S X! TD \n\n\n\n\nH \n\nw \n\no \no \n\ns \n\n\no ^ S o \n\nc\xc2\xab o ^ U \n\nII -^. \n\n\nS \no \n\n8 \n\n\n\n\n;^ \n\n\nH \n\n\n"fill \n\n\nH \n\n\n"^ U (lT "S ^\' \n\n\nPh ^ \n\n\nO \n\n\n\n\n\n\nnS Sow \n\n\n13 \n\n\n\n\ni <u cT \n\n\n\n\n\xe2\x80\xa2^ i \n\n\nfl ^ \n\n\n\n\n\n\n1^-^ S3 \n\n\n\n\n.s \n\n\n\n\n\n\nOh tJ \xc2\xab \n\n\n\n\nq Oh \n\n\n1-1 1) \n\n\n\n\nP4 \n\n\n\n\n5P bO fl \n\n\n1^ \n\n\nto \n\na \n\n\n\n\n\n\n\n\n\n\n0) \n\no \n\n\na, \n\n\n\n\n.2 .SP.S \n\n\n\n\nS bbO-^ \n\n\na.r \n\n\n\n\n\n\n\'n \'55 \'co \n\n\n\n\n.S rt \n\n\ns \n\n\n\n\n_^ \n\n\n\n\n^ \n\n\n\n\n\n\n\n\no \n\n\n\n\nen \n\n\n\n\n\n\n\n\no \n\n\n\n\na \n\n\n\n\n\n\n\n\n^ \n\n\n\n\no \n\n\n\n\n\n\n\n\n0) \n\n\n\n\n.^ Ui *^ \n\n"--OS \n\n\nen \n\nen \n\n\n\n\n\n\n13 \n\n\n\n\nU \n\n\n\n\nH \n\n< \n\n\nC en \n\n\n\n\n\'O .t; 2 \n\n\na \n\n\n\n\n\n\n"2 *-< \n\n\n\n\nS\'aa \n\n\na \n\nin \n\n\n\n\n\n\n^ \n\n\n\n\n+-> \n\n\n\n\n\n\n\n\nO \n\n\n\n\n\n\n\n\n\n\n\n\nlO \n\n\n\n\no \n\n\nto \n\n\n\n\nDRES \nMAKi: \nPERIC \n\n\nCO \n\n\n\n\nM to \n\n\n6 \n\nCO \n\n\n\n\n\nWORK FOR SECONDARY SCHOOLS \n\n\n\n205 \n\n\n\n< \nP \n\nw \n\nH \n\n\n\n.2 \n\n\n\nri4 \n\n<L) \n\n\n\n> \n<u \n\n(=1 \n\n\'5b \n\n\n\n\'a \n\n.2 \na. \n\n\n\no \n\nI \n\nu \n\n13 \no \n\nI \n\no \no \n\n\n\nCO ^ \n\ni-* -*-> \n\n<1^ . \n\np . u \n\n-4-J \n\n\'. ^ \n*k ^ \n\n^ \'S \n\n13 ^ \n\nto \n\n\n\nCi !^ Q \n\n\n\n\n\n\n\n\nh \n\n\n\n\nh \n\n\n\n\n\n\n\n\nH \n\n\nCO m \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n^ \n\n\nd d \n\n\n\n\nH \xc2\xab \n\n\n\n\n\n\n03 \n\n\n\n\n\'2 \n\n\n\n\n\n\n\n\n\xe2\x80\xa2 i \n\n\nH \n\n\n\n\na \n\n\n\n\n\n\n\n\n\'3 \n\n\nU \n\n\n\n\nci \n\n\n\n\n\n\n\n\nu \n\n\nW , \n\n\n\n\n\n\n\n\n\n\n\n\n3 \n\n\nm \n\n\n\n\n\n\n\n\n\n\n\n\n\n\'*-\' cn \n\n\nen \n\nQ \nH \n\n\n4J \n\n\n\n\n\n\n\n\n\n\n^ \ntn tn \n\n\n3 \n\n< \n\n\n< \n\n\nQ^ W \n\n\n\n\n\n\n\n\n> g \n\n\n\n\n\n\n\n\n\n\n\n\n\n3 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xe2\x96\xa04-> \n\n\nH \n\n\n1 \n\nu \n\n\n^ <^ \n\n\ncn -i \n\n.2 S \n\n\n\n\n2 ^ \n\n\n^ 1 \n\n10 , \n\n\nH \nH \n\n\n\n\nen ^ \n^ S ^ \n\nCJ OJ p \n\nQ g *S \np 3 \n\n\n^^ \n\n\n.0 bO \n\nPh \n\n\n^ \xc2\xa7 \n\n\n2: \n\n\n\n\n.s \n\n\n.ti \n\n\n^ \n\n3 \n\n\n2 \'^ \n\n\n\xc2\xa7 2 \nI. \n\n\nH \n\nK \n\n\n\nPi \n\n\n. \n\n\nej \n\nCh -hi \nD cn \n\n\n*o5 \n\na. \n\n\xc2\xbb4H \n\n\nC! +j op \n\n.2 oj V .S \n\n3 S ^ .S >; \n\n\nH \n\n\n^1 \n\n\nIs \n\n\n1 \n\n\ngp J3 \n\n\n\n\n4-> to \n\n\n1 \n\n\n\n\n1 \n\n\nIS \n\nc<3 \n\n\n\n\n\n\n?i \n\n\n\n\n\n\nIn \n\n\n\n\nS \n\n\n\n\nbO \n\n\n\n\nc3 \n\n\n< \n\n\n\n\n\n\n\n+j \n\n\n\n\n\n\n^ \n\n\n\n\n\n\n\nP* \n\n\nil. \n\n\nCO en \n\n\n\n\n\'a \n\nS bb \n\n\n\n\n\n\n\n\n\n\n0) ?M \n\n\'0 \n\n\n0) \n\n\n\n\n\n\n\n\n-4-> \n\n\n\n\n\n\n\n\n\n\n\n\n6 \n\n\nlU \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n_o \n\n\n0) \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n>, \n\n\n\n\n\n\n\n\n\n\n\n\n\'&! \n\n\n5/ \n\n\n\n\n\n\n\n\n\n\n\n\n(U \n\n\nM \n\n\n\n\n\n\n\n\n\n\nin \n\n\n.y \n\n\n\n\n\n\n\nc \n\n\n\n\n\n\nH \n\n\n\xe2\x96\xa04-J \n\n\n\n\n\n\ns \n\n\n\n\n\n\n\n\ng \n\n< \n\n\nCJ \n\n\nbO \n\n\xc2\xabJ .Si \n\n\n\n\nC3 \n\n\n\xc2\xa7 \n\n\n\n\n\n\n\'3 \n\n\n\n\n\n\n3 \n\n\n^ \n\n\n\n\n\n\nC/3 \n\n\nrt S \n\n\n\n\nrt \xe2\x80\xa2 \n\n\n3 \n\n\n\n\n\n\nw ^ \n\n\n\n\nH \n\n\n\n\n\n\n\n\n\n\n\n0) \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n>< \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n(K - \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nM \n\n\nvO \n\n\n\n\n\n\n\n\xe2\x80\xa2\xc2\xab*\xe2\x80\xa2 \n\n\nt^ \n\n\n\n\n1 \n\n\nH \n\n\n\n\n\n\nM \n\n\n\n\n2 2 \n\n\n4l- \n\n\n\n\n\n\n\n\n1 \n\n\n\n\nS w \n\n\n\n\n\n\n\n\n\n\n\xc2\xbbo \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nH \n\n\n\n\nM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n2o6 \n\n\n\nDOMESTIC ART \n\n\n\n\n\n\nen \n\n\n\nH \n\nM \n\nH \n\n!z; \no \no \n\n\n\nS ^ \n\n\n\n.5 S \n\n\n\n\n\n\nD \n\n\n\nCI \n\no ^ \nc \n\n\n\nS ^ \nc \n\no tJO \n\nSo \no \n\nO O \n\n\n\n\n\n\n^ \n\n\n\n\n\xe2\x80\xa2!-> \n\n\n\n\n\nf ) \n\n\nX) \n\n\n\n\nCI \n\n\n<4-l \n\n\n01 \n\n\n\n\n\n\n\n\n\nen \nu \n\n\n;3 \n\n\nc \n\n\nu \n\n\n3 \n\n\n03 \n\n\n\n\n<4-l \n\n\n\n\nCi \n\n\n-l-> \n\n\ncj \n\n\n\n^ B \n\n\n\nO M \n\'c3 Cj \n\n&, is \n\nC (U ^^ \n\na u \xe2\x80\xa2>-> \n\nflj +-> Co \n\n^ -^ a \n\no3 O "^ \n\no ^ -a \n\n3 03 \n\n\n\n\xe2\x80\xa273 \nCJ \no3 ^j^ \n\nG a, \n\n\n\n\n\n\no \n\n\n\no \ncl \n\n\n\no \na. \n\n\n\ng \n\no \n\ns \n\na \na \n\ni \n\no3 \n\n\n\n4) \n\n\n\nfl< \n\n\n\nSo \n\na * \n\n\n\n\n\n(U \n\n\n\n\n^ \n\n\n\n\n\n\n\nCO \n\n\nh \n\n\nH \n\n\nen \n\n\nU \n\n\na \n\n\nu \n\n\n\n\nS \n\n\n. \'^ \n\n\nfl 2- \n\n\n< \n\n\n\xe2\x80\xa2 S o3 \n\n\n\n\n^ CJ \n\n\n\n\nc^ _ \n\n\n\n\n03 a \n\n\n\n\n:z; S \n\n\n\no \n\nC3 \n\n\n\no \n,c! \n\na, \n\n;3 \n\n\n\no \n\na, \n\n\n\n\n\n\nI \n\n00 \n\n\n\nO u \n\n\n\n\n\n\nI \n\nto \n\n\n\n\xe2\x80\xa24-> \n\n\n\n\n\n\no \no \n\no \n\n\xe2\x96\xa0<-> \n\nQ \n\n\n\nWORK FOR SECONDARY SCHOOLS \n\n\n\n207 \n\n\n\nPi \n\n< \n\nW \n\nH \nO \n\n\n\n(U \n\nC3 \nm \n\nO ^ \n\n\xe2\x80\xa2\xc2\xa7\xe2\x80\xa2\xc2\xa7 \n\n\n\no \n\nni \nPI \n\nI \n\nt-i \n\n;=! \no \n\nI \n\n\n\n\n\n\no ^ \nH \n\n\n\ncr7 <^ \n^ Co \n\n\n\nCo to \n\n\n\n\n\n\n\n\n\n\n\n\ni \n\n\n\n\n\n\ni \n\n\n\n\n\ni \n\n\n\n\n\n\n\n\nIT) \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n8 \n\n\n\n\n\n\nW M \n\n\n\n\n\n\nw \n\n\nfO \n\n\n00 N \n\n\nCO \n\n\n\n\n\n\nen -i* \n\n\n\n\n\n\ntn \n\n\n\n\n\n\nH \n\n\n\n\n\n\nI\'s \n\n\ncn \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n5 ^ \n\n\n\n\n\n\n\nt+-i \n\n\n\n\n\n\ng \n\n\n\n\n\n\na 5 \n\n\nIn \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<u \n\n\n\n\n\n\n>. \n\n\n\n\n\n\n\n\n\n\n\n\nrj tn \n\n\ns^ \n\n\n\n\nu \n\n\n\n\n\n\nQ \n\n\n^ \n\n\n\n\n+^ .ti \n\n\nV-l \n\n\n\n\n\n\n\n\n\n\n\n\n\n-i-i \n\n< \n\n\n\n\nc3 tn \n\n\n\n\n\n\n1n \n\n\na \n\nB \n\n\n\n\n\n\nB \n\n\n\n\nS-^ \n\n\n\xe2\x80\xa273 ^ \n\n\na? \n\n\n0) \n\n\n\n\n\xc2\xab\xc2\xab ^ \n\n\n\n\n\n\nM-4 \n\n\n\n\n.:: \n\n\n\n\n\xc2\xab3 \n\n\n\n\nOh \n\n\n\n\ntn XJ \n\n\n\nU \n\n\n\n\n\n\n\n\n\n\'+-I tn \n\n\n\n\nen \n\n\n. a \n\n\n\n\n\n\nH \n\n\n\n\n\n\n-J2 \n\n\n-1 1^ \n\n\n\'n *=! \n\n\n\n\n\xe2\x80\x94. "^ \n\n\nK \n\n\n\n\n\n-d \n\n\na| \n\n\nc3 \nen ^ \n\n. > \n\n\nG -t-J \n.0 c3 iS \n\n\n\n\n\n\n\n\n\nW \n\n\n\n\n.a \n\n\n03 \n\n\n^ \n\n\n*cn \'aj -y \n\n\n>-< d \n\n\n\n\nH \n\n\n^ \n\n\n\n\n\'a \n\n\n. tn \n\n\n\n\n\ntn \n\n\n\n\ntUD \n\n\n\n\ntn TJ \n\n\nbO cJ \n\n\nOJ \n\n\nOJ \n\n\n^ \n\n\nc ^ .S \n\n\n\n\nen \n\n\n\n\n\n\nCh <U \n\na 2 \n\nen" \n\nbo2 \n\nH en \n\n5^ \n\n\na \n\n\n\n\nbC \n\n\nw \nM \n\n\n\nn3 \n\n.s \nu \n\n\n;-! \n\n\xe2\x96\xa0^ \n\nCI \n\n\n\nbO ^ \n\nfl \n\nn3 bo \n\n\nbO \n\n"s a \n\nc3 \n\n\n1 \n\n(I \n\n\nu \n\n\n.s \n\n> \n\nt \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\ntn cj \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n(U \n\n\n\n\n\n\n\n\n4J \'T3 \n\n\n\n\n\n\n\n\n\n\n^ 43 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nX) iJ \n\n\nCO \n\n\n\nH \n\n\n3 \n\n\n\n\no3 0) \n\xe2\x80\xa2+-1 c3 \n\n\n\n\nbb \n\n.a \n\n\n-M \n\na \n\n\n\n\na +j \n\n\'\xe2\x96\xa05 \'3 \n\n\nPi \n\n< \n\n\n\n\n\n\n\n\n-d \n\n\n1 \n\n\nbjo \n\n.a \n\na, \n\nCO \n\n\n\n\nrt 4J tn \n\n2^ a \n\n\n\n\nM \n\n\n\n\n\n\nM \n\n\nP^ \n\n\n\n\no-^ a \n\n\n\n\n\n\n\n\nl-H \n\n\n)_i \n\n\n\n\n\n\n\n\nS 3 \n\n\n\n\n\n\n\n\n(U \n\n\n\xe2\x96\xa0M \n\n\n\n\n\n\n\n\ncJ en \n\n\n> Ja \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMILLINER \n\nAND DRES \n\nMAKING \n\nPERIODS \n\n\nc< \n\n\n\n\nM \n\n\n\n\n10 \n\n4 \n\n\nH \n1 \n\n\n\n\n\n1 \n\nto \n\n\n\n\n\n\nH \n\n\n\n\n\n\nH \n\n\n\n\nro \n\n\n\n2o8 DOMESTIC ART \n\n\n\nSTUDENT PLAN, TEACHERS COLLEGE \n\nDomestic- Art Course of Study for a Manual Training \n\nHigh School \n\nThis course of study in domestic art is plann d for a manual \ntraining high school in a Western town of a population of about \nsixty thousand. A large part of this population is made up of \nGermans who are comfortably well-to-do and home-loving \npeople. The school, which is splendidly equipped in every \nway, is located in the central part of the city directly across \nthe street from the classical high school and furnishes to the \nstudents of this classical high school whatever manual work \nthey may elect to take as well as regular courses in the manual \narts which are arranged for its own students. \n\nMost of the girls who attend the manual training high \nschool come from thrifty families with comfortable homes. \nAbout three-fourths of these girls remain at home after gradu- \nation and many of them eventually marry and have homes of \ntheir own. Of the remaining quarter, some go on to higher \neducation, usually technical, some wishing to become teachers \ntake normal courses, and others enter the trade or business \nworld. Domestic art is taught in the seventh and eighth \ngrades of the elementary school so that the girls on entering \nhigh school have some knowledge of the different stitches and \ntheir applications. \n\nThere are two teachers of domestic art in this high school. \nThe average number of girls in a class varies from ten to \nfifteen, rarely exceeding fifteen. \n\n\n\nWORK FOR SECONDARY SCHOOLS 209 \n\nAIM OF COURSE IN DOMESTIC ART \n\nTo help the girls to grow into well-rounded women who \nwill be equipped to meet home and social problems in an \nintelligent and practical manner. \n\nTo develop in the girls a higher appreciation and enjoyment \nof beauty and harmony and to offer practical work which shall \naid them in attaining this harmony and beauty in their own \nlives. \n\n\n\n2IO \n\n\n\nDOMESTIC ART \n\n\n\nto \n\n\n\n.\xc2\xab3 \n\n\n\n\n\n6 \n\n\n1^ \n\n\n\n\nr^ \n\n\n""S \n\n\n\n\nS^ \n\n\n\xe2\x80\xa2ri \n\n\n\xc2\xab \n\n\n\n\n^ \n\n\n<i \n\n\nh-^ \n\n\n\n\nw \n\n\n\n\n\'^ \n\n\n>* \n\n\n1^ \n\n\nS \n\n\n\n\n\xe2\x80\xa2^ \n\n\no \n\n\nH \n\n\n\n\n\n\nPi \n\n\n-^ \n\n\ns \n\n\nM \n\n\nO \n\n\nG \n\n\ni^ \n\n\n\'?* \n\n\n\xe2\x80\xa2r^ \n\n\n\n\n1 \n\n\n\n\n\n<2> \n\n\n\n\n\n\nO \n\n^3 \n\n\n\nQ \n\na \n\n\n\n< w \n2q \n\n\n\nOS \n\n\n\n(U (D \n\nO .-y \n\n\n\n\n\n\no -^ \n\n\n\n\'"^ c! \n\n\n\n\n\n\nO \no \n\nen "TJ \n\n\n\nuj ra tn \n\n\n\n173 i-i \n\n\n\n0) ^y \n\n\n\na, \n\n\n\n__U^ V- Q \n\n\n\n\n\n\n-tJ ^ -^ \n\n\n\na \n\n\xe2\x96\xa0I-; en \n*bb ^ \n\n\n\nO aj <^ \n\n-*-> G en \n\n.2 &.^ \n\nt^ ^ -^ \n\n{5 TO en \n\n\xe2\x80\xa2D ^3 O \n\nen .FH T:? en \n\n<u H m -3 \n\n\n\no .Si; \n\n3 -1=1 \nen O \n\n\n\n\n\n\n*c a <-5 \n\n^ eg m \n\n. o \xe2\x80\x9e o \n\nd en ra ^ \n\nA, t^ ^ \n\n)-i ^\xe2\x80\xa2\' en (U \n\n\xe2\x80\xa2*-> rt rd \n\n\n\nbO \n\n\n\no \n\n\n\nen \n\n\n\nt^ en ^ \n\nS\xc2\xb0 ^ n. >- \n\nO \n\n\n\n0) \n\n\n\n\xe2\x96\xa0\'T^ tn _5^ \n\nH Ph S \n\nbO \nO \n\n\n\n_ 1^ \n\nen \n\nen \n\n<4-l O \n\nO O \n\n_en \xc2\xa7 \n\nc^ u \nu \n\n\n\n0) CO -T-j \n\n(-1 (U ^ \n\nr5 d " \n\nU o \n\n\n\noi \n\n\n\n(L> .. \nTi en \n\n\n\nO <U \nO .1=1 \n\n-" -d \n\nO \xc2\xab4-t \n\no \n\n\n\n\n\n\nd <" \n\nd > \n\n.a V \n\n\n\n\n\n\na . \n\nO \'T3 \n\nrd (U \n\na S \no a \n\nd \n\nrd rrt \n\nbo 5 \n\n3 ,d \n\no \'d \nI-I Rj \n\n\n\nd \n\nbJD \n\n^ "S \n\no d \n\nen \n\nd iss \n\n\n\no "^ \n\n2 .-a \n\nQ. en \nU \n\n\n\nd \n\n\n\n\n\n\n\n\n\n\nU \n\n\nd \n\n\n\n\nd \n\n\nhn \n\n\n\n\n\nd \n\n\nh \n\n\n\n\n< \n\n\nrt \n\n\n\n\nVh \n\n\n\n\nTl \n\n\n\xe2\x96\xa0\xc2\xbb-> \n\n\n\n\n)-i \n\n\nd \n\n\nrn \n\n\nc3 \n\n\n<-M \n\n\nbfi \n\n\n\n\n\nd \n\n\nd \n\n\n)H \n\n\n\n\n\nd \n\n\n\n\ne/l \n\n\n< ) \n\n\nrt \n\n\nd \n\n\n\np \n\n\n\n. d .1:^ \n\nCT en" \n\n(U . (U \n\n\xc2\xbb-i en Ch \n\nD .d \n\n\xc2\xbb-l rd \n\nen O o \n\nS bO 03 \n\nd \n\n\n\n45 .d d \n\n\n\n2^ \n\n\n\n\'3 ^ \n\nIq \n\nd \n\no \xe2\x80\xa2 \n\no bO \n\nH d \n\n\'^ FT-. \n\nx) a \n\nd ^ \n\nc3 bJD \n\noT.a \n\nen >-, \n\nd d \n-^ \n\nd _ \n\n.2 13 \n\n\n\n< .a bo \n\nen +j d \n\nbb S d ^ \n\nen ^ 0) \n\ni^ a t^ \n\n\n\nd bo \n\nd \n\n\n\nns \xe2\x80\x9e ^ \n\n<U D .d \n\n\n\na 5 \n\n\n\n03 oS \n\xc2\xab4-( n, \xc2\xbb-i \n\nbo \xc2\xabi \n\nd [t. \n\n3 \xc2\xa5 \n\n\n\n^ \n\n\n\n(U \n\n\n\na3 bb*\xc2\xa9 \n\nd d \n\n<J .1=! d \n\nrt fl4 0) \n\n\n\n\n\n\nU< \n\n\n\ni-i \xe2\x96\xa07"! tn en o \n\nlU ?5 <U (U _\xc2\xbb-\xc2\xab \n\n> 3 ^ tn "ti \n\nO _g u V5 \n\n\n\n\' >> "So \n\n\n\n\'^ o a \n\n\n\n\n\n\n4J d \n\n=! \'fl \n\nd ^ \n\n\'^ TO \n\nis a \n\n\n\na S \'^ S 55 \n\nO- 2 oi ii bC \n\n\n\n,i\xc2\xbbi \n\n\n\n,i4 \n\n\n\nd o \n\n\n\n,i\xc2\xab^ \n\n\n\nWORK FOR SECONDARY SCHOOLS 211 \n\n\n\n^ ^ tJD-2 \xc2\xbb-S."" iS^ac \'^ ^ \'^ B ^ \n\n\n\n\n\n\n\n\n\no \n\n\nlU \n\n\n\n\n\n\nO \n\n\nho \n\n\n\n\n\n\nrC3 \n\n\nhn \n\n\nu \n\n\n\n\n>-l \n\n\n:3 \n\n\n-M \n\n\n(-] \n\n\n-*-> \n\n\n(U \n\n\n(U \n\n\ncr \n\n\n\n\n\n\nfl> \n\n\n,nl \n\n\nXi \n\n\n<u \n\n\nTl \n\n\n\n\n\n\nIff \n\n\nB \n\n\nen \n\n(U \n\n\n\n\n\n\n<u \n\n\n(U \n\n\n\n\n( ) \n\n\nu \n\n\n\n\n> \n\n\ni% \n\n\n\n\n\n\nCj \n\n\n(U \n\n\nU \n\n\n2 \n\n\n111 \n\n\nL \n\n\n(U \n\n\n\n\nu \n\n\n-*-> \n\n\n05 \n\n\n\'^ \n\n\n\xc2\xab4H \n\n\n\n\nT3 \nTd \n\n\n\n\nii \n\n\n-s \n\n\n\n\no \n\n\ni-l \n\n\ntfl \n\n\nn \n\n\nOJ \n\n\n\n\nCJ \n\n\nrt \n\n\n<u \n\n\n-(-> \n\n\n(U \n\n\n\nS q3 \n\n\n\n(U tn ^"^ O \n\n\n\n< C 53 S J2 S X) \n\n\n\nm \n\n\n\n.s 3 u :^ c5! \n\n\n\nen lU \n\n\n\n!\xe2\x80\xa2- 1\':;;-l\xc2\xbb?" "s^^i^ \xc2\xb0^s-o \n\n\n\nSOg oCtnjUaJO .S2o\xc2\xa7 JiJj^d\'l:! \n\n\n\ntijj tn en en "ij \n\n\n\nbC \n\n\n\n>> -S o b o ^ g \n\n^^ 2 8 -^ .\xc2\xa7 o 13 ^ \n\nA. ffl p m jg \xc2\xa3 -^ g g \n\n\n\nct;!r!\xc2\xab S-Q^^t\'^IlJ ^rtLfif^ >.\'^S\'aT3 \n\n\n\ncnM\'^.2"^\'^ l^\'^fi\'"-\xc2\xabS-^\xc2\xa7\'S.- ^lo.^S \n\n\'S?;^^^,\'^, g^^^t^Js g\xc2\xa7^fld-S8g 2ig^53& \n\n\n\n\n\n\n^ S^"^-^ lis S \n\n\n\nu \n\n\n\n(11 zr jj H \n\n\n\nrH^_> raC.3 rtri4(-i C*- \n\nis \xc2\xab\xc2\xbb-3g ^s| <\xc2\xa7 \n\n\n\n^ \n\n\n\n\n\n\n\n\n\n\n\n\n2 C rt \n\n\n\n(]j (1^ tVj yj Vjy \xe2\x96\xa0TT- _ >i; II \n\n^ w as a-q g^ -^u \n\n\n\n212 \n\n\n\nDOMESTIC ART \n\n\n\nM \n\nH \n\no \n\nu \n\n\n\no \n\n& \n\nu \nQ \n\n\nkept in the room con- \ntinually. It is possible \nto secure the co-opera- \ntion of the stores and \nneighborhood. A part \nof the exhibition-room \nis to be furnished as a \ndining-room. Study of \n\n\n1 \n\n2 \n\nen \n\nD \n\n-tj \n\n(U \n\nCI \n\n\n1 \n\n-4-J \n\nu \n\nd \n\nC! \n\na \n\nd \n\ncT \n.2 \n\n\n\ni \n\n\n\n\n\n\n\n\n9H \n\nIS \n\n\nI . r 1 \' 1 \n\ni-i tj ^-i O O \n\n:3 J3 o u 1^ \xc2\xab \n\n\xc2\xab+-! < (J P o \n\no fj <u d . \xc2\xab \n\n^ ^ -5 c o W \n\n^B b^ fe| \n\nC! -^ S^ ^ S^ S \n.a C! > 1-4 O H \n\n\n\n\nz \n\nM \nH \nZ \nO \n\nH \n\no \n\nD \n\no \n\xc2\xbb \n\n\n\xe2\x80\xa2 1 I W 17-) 4> \n\n\'^ j3 \xc2\xab2 \n\n\'0 ^ Ch +3 (u rt 3 \n\n1 .s ^ -^ ^ & a ^ \nS" ^ ^ 5 s s .b -^ \n\nC^ tn Ph -^ Oh Td S \n\n\n\n\n\n\n4H a ^ \na ^\'s \n\n\n<u \n\n.a \n\n\n\n\n\n\nd \n.2 \n\nIS \n\na \n\n\n\n\nr \n\n\n\nc \n8 \nw \n\nb \n\nCI \n\na \n\xe2\x80\xa2^ !^ \n\n^ (U \n\nM Td \n\nu .a \n\n\n\n\nU \n\nW \nu \no \n\nPi \n\n\n^ bO \n\nbb.S ^ . \n\n\n\n\no \n\ni \n\n< \n\n\n-o \n\nen t \ntn 0) \n\n\xe2\x80\xa2 ^ b s" \n-t-> -!-\xc2\xab s \n\n!5 t^ -^ 2 \nc \n(J c >:; \n\n\n\n\n\n\n>>o a \n\n^ ^a \n\n\n\n\n\n\n\n\n\nWORK FOR SECONDARY SCHOOLS \n\n\n\n213 \n\n\n\nPi \n< \n\nO \nU \n\nw \n\nC/2 \n\n\n\n\n\n\nI \n\n^ Is \n\n\n\n\n\n\nIS \n\n\n\nO \nI \n\nI \n\nI \n\no \n\nI \n\n\n\n< w \n\n\n\n3Q \no a \n\n\n\nO <u \n\n\xc2\xab4H O \n\no o \n\n.a a \n\n\n\n\n\n\n\nS \n\n\n\nu \n\n\n-9 \n\n\n\n\n\nT3 \n\n\n(U \n\n\nen \n\n\na \n\n\n\xe2\x80\xa2?=; \n\n\n(U \n\n\na \n\n\nz \n\n\nP- \n\n\n\n\n\n\nnJ \n\n\ntfl \n\n\nB \n\n\n\n\n3 \n\n\n\n\n\n\n\n\ntfl \xe2\x80\xa2\xe2\x99\xa6J \n\n\n2 \n\n\n\':3 "5 \n\n\n\nCI p. p. \n\n\n\n*=; .S .1-1 .M o \n\n\n\npCj CIS \n\n\n\n\n\n\nO Si +J DO to ?^ +-\xe2\x80\xa2 \n\ndj 6 \xc2\xab fi .^ 43 o \n\n^ g ^ w W p^m \n\no c \n\n\n\no <u \n-o.S \n\nM-l \n\n13 O \n\nId \n:3 \n\xe2\x96\xa0*-> \n\nin \n\n\n\nO \n\n\n\nd . \n\n+-> \nO c3 \n\xe2\x80\xa2*-\' ,cl \n\nO .S \n\n\n\n\n\n\n^ 8 \n\n\n\n\'S ^ ^ \n.S o \n\n.S-gW \n\n^ .. . <u \n\n\n\n4) .^ \n\n\n\no .a \no ^ \n\no a \n\no \nu \n\n\n\n(U \n\n\n\n\n\n\nO O \n\n\n\nu o o \n\n\n\n.S o \n\ntj:3 \n\n\n\n? ^ \'5 -^ tJ3 \n\n\n\n0) 3 \n\n\n\na, rd \n\n\n\nO Q \n\n\n\no <u \n\n\n\n4J -t-" "^ \n^ 2 \n\n>. Oh \n\nXl -. \n\ntn (J \n\n\n\n\n\n\n3 \n(U O \n\n^ 2 \n\xc2\xa7 -^ \n\n\n\n\xc2\xa7 bb \n\n.s a \n\n\n\nc o \n\n\n\n5 -^ \n\n\n\n^ x) \n\n\n\nCI, >-, \n\n.2 \'^ \n\n\n\nc3 \n\n\n\n^ a \n\n<u . \ntn tn \n\n0) \n\n\n\n9. =^ \n\nPi 0) \n\n2^ \n\n\n\nO \n\n. -^ <U \n\nbp bo\'^ \n\n\n\no \n5 o o \n\n\n\nii oj O \n\n\n\nbO \n\nc a \xc2\xabj 5^ "^ \n\n\n\n^, o 5^ o a -^ \n\n-Q bJD*"^ > H bb*^ \nS Oh c \n\n^ :^ "o :s . \n\n\n\nbO \n\n\n\nr^^.-^ \n^ ^ \n\n^ \n\n\n\nS .-^\'g u \n\n\n\n2 ^^ \n\n<H-I th U \n\n\n\nc/2 bo ^^ .S \n\n\xe2\x80\xa2 Td S bo d \n\n^ ph u a \n\n\n\n:=: Sf=^ a \n^ 3 ^ S \n\n\n\n\n\n\nc3 ed \n\n\n\nTd \na \n\n\n\n^ U \n\n\n\nbO |5 \n\n\n\na x) \n\n\n\no \nbO \n\n\n\nm \n\n\n\nO :^ \ncj tn \n\n\n\n;h TO 4:, \nO \n\n\n\n-S) \n\n\n\nTd \n\n\n\n214 \n\n\n\nDOMESTIC ART \n\n\n\n\n\n\nO -Q \n\n^ 1/1 en \nO -*t! \n\n\n\nCO en \n\nw ^ \n\nO <U \n\nO +j \n\nU bD-rl \n\n^ S C \n\nO o \n\n^ P \n\n\n\nlU \n\n\n\nQ \nW \n\nM \n\nH \n\no \no \n\n\n\n^ \n\n\n\nU) en \n\ntn i-i \n^^ \n\n\n\nC/3 O \n\no .12 \n\n\n\n<u fl fl \nS H \xe2\x80\xa21-1 \n\n\xe2\x96\xa0 S I \n\n\n\nlU \n\n\n\n&. \n\n\n\n-t-> ?j \n\n\n\nJ; C C \n\nc Q \'^ \n\n-^ "3 -S \n\xc2\xab+:: ^ .1=1 \n\n\xc2\xab^ \xe2\x80\xa2 \n\nt^ O \'rt \n\no w ^ \nex D +-> \n\no c .iu \nP^ \'h3 ^ \n\n\n\no c \no \n\na \n\nS .J2 \na, j5 \n\nO >s \n\n-a i: \n\nO u \n\n\n\na \n\no \no ^ \n\n\n\nT3 \xe2\x96\xa0\'t; \xc2\xbb-i \n\n\n\nW \n\n\n\n13 \nO \n\na X) \n\nm \nO bO \n\n\n\ntrt en \n\n^ O .S \n\n^ .a ^ \n\'a \n\n\n\n(V \n\n\n\n\n\n\nO bO \n\ntn +j \n\nto i^ \n\n\n\nis +-> \n\nC tn \n\n\n\n.S ri^ \n\n\n\n^(^ \n\n\n\nrt ^ ^ \n\nc3 tn cd \n\n\n\nCI \nO \n\ntn \n\nO \nO \n\n\n\n03 \n\n\n\nX J2 \n\n\n\n(U \n\n\n\n(U \n\n\n\nOh \n\n\n\n\xe2\x80\xa2-< >-^"r! t? \n\n\n\ntn aJ \n\n<u c \n\ntn X5 \n\nO 03 \n\n\n\n*en .a \nD ,\xe2\x80\x941 \n\n^ c3 \n\n\n\nt:; o3 \n\n\n\n<u D S \n\n\n\n^^ .a \n\n\n\no3 \n\nCI. \n\n\n\n\xe2\x80\xa2S >.\'S \n\n\n\n(U \n\n\n\nO \'-*-> c^ \n\n\n\nto to \n\n.a a \ni M \n\n.a . c \n\nc3 C tn \n\nQ .s.a \n\n\n\npq ^ f^ \n\nhV, ^ ^ \n\n.a \'5 M \n.a "Xj .2 \n\n\n\n(U \n\n\n\nrC Cm \n\ntn oj \n\nS a \n\nt-t \xe2\x96\xa0\';3 +j \n\n^ ex, \n\n\n\nOh \n\n\n\nC/3 \n\n\n\nWORK FOR SECONDARY SCHOOLS 21$ \n\n\n\nood \nolor \nfore \n\n\n\n\n\n\n.2 \n\n\nOC U (U \n\n\n\n\n-s S \'^^U \n\n\nc3 \n\n\nr^ -^ \n\n\n\n\nC \n\n\n\xe2\x96\xa0^st \n\n\n\n\n\xe2\x80\xa2-< "^ bo TO \n\n\n\'1 s \n\nS o \n\n\n\n\n\n\n\n\n8 2 \n\n\n\n\n\n\n\n\nfe.S \n\n\nS "* \xc2\xa7 \n\n\ntn \n\n\n^ -o a ^ \xc2\xab^ \n\n\n\'o &I \n\n\nc3 C3 O \n\n\n(-1 \n\n\n:=: d i5 (u. \n\n\nO 13 \n\n\nX bO^ \n\n\nbfi \n\n\n.9 \xc2\xab5 w 2 b \n\n\nX) ->-> \n\n\nE \n\ndesi \nkep \n\n\n\n\nfe \'C (in C \n\n\nO Cu \n\no <u \n\nWJ4 \n\n\n\n\n\n\no i: o \n\n\n\n\n\n\nlati \nin wo \ncol \n, etc. \n\n\n\n\n\xe2\x80\xa2a t: \n\n\n\n\n\n\n\n\n\n\nS -r - s 6 g \n\n\n\n\xe2\x96\xa08 S.s !^ \n\n\n\n^\xe2\x96\xa0^ (-\xe2\x96\xa0 (J \'-\' OJ3 S-! \n\n.^ ^ fi \'t ^ 2 ^ o \n\nc fl .2 -^ -\xc2\xb0 \n\n\xe2\x80\xa2^ O \xc2\xab C3 "^ \n\n\xe2\x80\xa22^ ^ :5 -b "S \n\n!>^2 .-? ^ \xc2\xa7 g \n\n:=! S ^ ^3 ^ tJD \n\n= S o s ^ > s \n\nO 1^ /C"^ *j +-" ir:^ w3 \n\n\n\n\n\n\n\n\n\n\n(D -rt \n02 o \n\n\n\n^ 2 ^ 3 :\xc2\xa7 ^ S 8 g 3 \n\n\n\n2l6 \n\n\n\nDOMESTIC ART \n\n\n\n\n\n\n\n\n\n\n\n\n\nsible \n\nur- \n\nbed- \n\nim- \n\n\nrls is \n\nas \n\nwith \n\n\nbiD^O \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\ntn "^H o \n\n\n\xe2\x80\xa2B,\'o \n\n\no^ \n\n\n4-J \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n-filH \n\n\nbe <u OJ \n\n\n> \n\n\n\n\n\n\n\n\n\n\n1 \n\n\n\n\n\n\n\n\ntion of the \ne develop \nas possibl \n\n\n13 \n\n\n\n\n\n\n\n\n\n\nI-I \nCO \n\n\n\n\n\n\n\n\nr as \nn-roo \no sh \nings. \n\n\no \n\n\nd \n\n\'^ \n"> \n\n\nt^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nc3 o \xe2\x96\xa0^^ t: \n^ -^ ^ qq \n\n\n^ \n\n\n\n\n_4-> \n\n13 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nCd rO ^ \n\n\n(U \n\n\n^ \n\n\nc \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xe2\x80\xa2% ^ \n\n\n\'> \n\n\n*S \n\n\n\xe2\x96\xa0\xc2\xa7) \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<U C M \n\n\n^2 B \n\n\nCj \n\n\nrl5 \n\n\nO \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\ntion \nestic \nven- \ncare \n\n\n. ^^ I-I \ntn o \n\n\n13 \n\nCI \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nrrelai \ndom \nce in \non and \n\n\n;droom \nsits to \ne and \n\n\nc4 \nt/5 \n\n\nbb \n\n\n\n\n\n\n\n\nM \n\nH \n\nO \nU \n\n\n\n\n\n\n\n\n\n\nCo \n\nwith \nscien \ntilati \n\n\nof be \n\nVi: \nnitur \n\n\ncx \n\n1 \n\n\n\'3 \n\'c3 \n\n4-> \n\n\n\n\n\n\n\n\n\n\n\xc2\xab+-i \n\n\n)h \n\n\n\n\ntfl r> m 1 \n\n\nffect on health \nLabor-saving \noom. \n\n\n\n\n\n\n\xc2\xab+-\xc2\xab \xe2\x80\xa24-> \n\n\n1 \n\n\n\n\nO \n\n\nO \no \n\n"o \n\nU \n\n+-> \n\n8 \n\n\no \n\nex \nex \n\nbB \n\n\n\n\nNecessity for bedroom \nwhich are healthful, restful \nhygienic, and beautiful. Th \namount of time spent in bed \n\n\n\n\n\n\nre, and cost o \nessity for ligh \n\n\nT3 \n\no \n\n\n\n\n<1 \n\n\nH \nW \n\no \np \no \n\n\nt/5 \n\n\n\n\nm and its e \nindividual, \nices in bedr \n\n\n\n\n\n\n(J (U \n\n.2 \n\n\nhing. \nending. \n\n\n\n\n8 \n\n\nH \n\n\n^-1 \n\n-4-> \n\n\'S \n\n\nbO \ng \n*bb \n\n\n\n\n\n\n\n\nelect \nding \n\n\no B \n\n\n\n\ntil \n\n\n\n\n\n\n1 \n\n\no > \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nbO \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nd \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xe2\x80\xa2?; \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xe2\x96\xa0M \n\n\n\n\n\n\n\n\nU \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n-a \n\n\n\n\n\n\n\n\nw \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSh \n\n\n\n\n\n\n\n\nW \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\ncd \n\n\n\n\n\n\n\n\no \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nbo _: \n\n\n\n\n\n\n\n\ni \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\na% \n\n\n\n\n\n\n\n\np\xc2\xab \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nk3 8 \n\no \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\ni.^ cn \n4) o \n\n>-l \n\nO ;^ \n\n\nCo-op- \nork.) \n\n\n\n\n\n\n^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n"r -S \n\n\n-- ^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\na \n\n\n(1) \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nB \n\n\n\'^ >-i \nex (u \n\n\n\n\n\nWORK FOR SECONDARY SCHOOLS \n\n\n\n217 \n\n\n\n< \n>^ \nP \n\nM \n\nw \n\n\n\n:3 \n\n\n\n\n\n\n\xc2\xab0 \n\n\n\n\n\n\n53 \n\n\n\n115 \n\nO \n\n\xc2\xa7 \n\nS \n\no \n\ni \n\n\n\n< n \n\n\n\np .2 W \n\n2 2 \n\n>^ a, i^ \n\nd \n\n\n\nw \n\n\n\n(U \n\n\n\no a \n\nO <u \n\n\n\n\n\n\n\xe2\x96\xa0 r-l Co \n\n\n\n3 o \n\n-4-> \n\nU 4-1 \n\n\n\nC <u bO d \n\no ;=! . H \n\nn o >^ w \n\no o -^ ^ \n\n\xc2\xab ^ <D "" \n\n\xe2\x80\xa2^ O J3 N \n\n"\xe2\x96\xa0^ en S \'C \n\n&\'^ rd \n\nbb S \'C \xc2\xa7 \n\nC3 OJ (L> cj \n\n\n\nCI, Q^ \n\n\n\nQ^ O \n\n\n\ntn \n\n\n\n\n\n\nc3 a \n\n\n\n\n\n\ns 5 \n\n\n\n:ri O cfl y \n\nH W pq :\xc2\xa7 \n\no3 \n\n\n\n(-1 \'\'^ \n\ns ^ \n\nO \'X3 \n\n\n\nC \nO \nu \n\n\n\n,2 tfl 4-J \n\n-H CO \n\n\n\n03 U( cl \n\n-71 .0 -; fi \n\n\n\n:3 S \n\n\n\n\n\n\n73 \nO . \n\nW) bO \n\n\n\nbO \n\nc \no \n&, \n\nC/2 \' \n\n\n\nO \nbO >% \n\n\n\n4) M \n\n\n\n^ fe \n\n\n\n\n\n\nd \n\n\n\nv a (D jo \n\n\n\no U \n\n\n\nto* \n2 \' \n\na \n\n15 \n\n\n\n\xc2\xab3 a \n\n\n\no \no \n\nu \n\nbbW \n\n\n\nt3 *-\' "5: \n^ .\xc2\xab ^ \n\n\n\n\xe2\x80\xa2r::^ bc \n\n.a :3 .a \n\n\n\nb *-< *i \n\nbO t! \n\n\n\nto o \no o \n\nto \nrt bp \n\nB| \n\n\xe2\x96\xa0?! \n\nnS &, \n\n(U (U \nCJ en \n\n\n\nbc bO \n\nG G \n\n\n\n\n\na, \n\n\nbo \n\nG \n\'bin \n\n\na \n\n\nt+-l \n\n\nhn \n\n\nG \noj \n\n\n^G \n>-i \'g \n\n\nu \n\n\nri \n\n\nrG \n\n\nu, \n\n\n\n\n\n\n\n\n\xc2\xab+H c3 \n\n\n\n\nG \n\n\n\n\n\n\n.-\xc2\xb0 \n\n\nu \n\n\na. \n\ntn \n\n\nen \n\n\n^ en \n\n\n, \n\n\nbfi \n\n\nbD \n\n\n\'S \n\n\nbf \n\n\nG \n\n\nG \n\n\nbD 2 \n\n\nG \n\n\n,G \n\n\n> \n\n\nG ^ \n\n\n,G \n-t-> \n\n\n\n\n(J \n\na \n\n2^ \n\n\n\n\n\n^-^ \'^i\'S a:2 \n\n\n\n. ^ &, o -^ \n. bo !2 < -^ \n\n^.a -s \xe2\x96\xa0- \n\n\n\n^e/1 \n\n>-< ^ \n\nO ^ \n\nbb \xc2\xab^ >% ^ \n\nG 14-1 ^-1 " \n\n.G 75 IJ O \n\nen O ^3 \'-\' \nen _, .y \n" ^ O \n\n\n\n\xe2\x80\xa2 r-l \n\n\n\nbO \n\nG \n\n\n\n\xe2\x80\xa2^ .a PM -^ ^ .a t! \n\n\n\nbb^ \n\n.a S^en \n\nM H tn \n\n"73 .b <u \n\n2 en v-t \n\n\n\nn \n\n\n\nVh Gh \n\n\n\n2l8 \n\n\n\nDOMESTIC ART \n\n\n\no ^ \n60.O \n\n\n\n5 -^ \n\n\n\nCO c\xc2\xab ^ \n\n\n\no \n\n\n\n3-0 \n\n\n\n\n\n\nO \xe2\x80\xa2-\' \n\n\n\nB "o \n\no ^ \n\n2 o \n\nu \n\n\n\n^ S^S \n\n\n\no \n\n-M N \n\nCO O > \ntU O O \n\n,s!3 \n\n\n\no \n\n\n\na \n\n\n\n\xe2\x96\xa0 \'r-4 \n\n\n\n^ tCXi \n\n\n\na \n\n\n1 \n\n\ncri \n\n\n3 \n\n\n\xe2\x96\xa04-> \n\n\nu \n\n\n\n\nrn \n\n\n3 \n\n\nX) \n\n\n\xe2\x80\xa24-( \n\n\n\n\nO X! \n\n\nC \n\n\n\n\no \n\n\n\n\n\n\n\n\n-<-> \n\n\nrO \n\n\no \n\n\n\n\no; \n\n\nd \n\n\n\n\n\n\n\n\nIH \n\n\nO \n\n\n0} \n\n\nU \n\n\n-4-1 \n\n\n\n\na \n\n\n\ntn o bO \n\n3 C \n\n2S g \n\nO <D ^ \n\nen 1^ rr-l \n\n.2 \xc2\xab+-< o \n\ncn O bO \n\n\n\nQ \nH \n\nH \n\nO \nU \n\n\n\nQ \n\nM \n\nM \n\nH \n\n\n\nD \n\n\nH \n\n\n?; \n\n\nC/2 \n\n\n<: \n\n\nM \n\n\n\n\nC4 \n\n\n?: \n\n\nM \n\n\nn \n\n\nH \n\n\n\n\n?; \n\n\nH \n\n\nh-( \n\n\n< \n\n\n\n5 \n\n\n\n\n\n\nen c\xc2\xab c3 T-i \n\n> 2 S ^ \n\no "^ \xc2\xa7 \n\n^ o a ^ \n\n\n\nU \n\n\n\n\xe2\x80\xa2li \n\n\n\nen *-i "^ \n\n\n\n3 cj \n\n"5 ti).2 \n.1=; i< .a en \n\n\n\n\n\n\nen OJ \nOJ O \n\no \n\n^ \'+^ \n^v o \n\n.S bO \n\n\n\nO O \n\n\n\n2; o \n\n\n\nU .S \n\'d t>. \n\n55 "^ \n\'P . \n\n\'^ 2 \n\ng \nIB \n\n\n\nO \n\n\n\n>, en \n\nC \n\no \xe2\x80\x94 r \nUS \n\n\n\no ^: \no \n\n\n\nen \n\nC -^ \nci \n\n\n\nrt 0) \n\n\n\nen o \n\n\n\np. \n\n\n\n3 -5^ \n\n\n\nbO \xc2\xab \n\n.5 M \n\njd ci \n\n\n\n^-5 \n\n<L> en \n\n\'ax \n\n\n\nS \'en \n\n\n\niH Ph \n\np. .2 \n\n\n\nX \n\n\n\nd ^ \n\n\n\nen \'C5 \n\n\n\no d \n\n\n\nX \n\n\n\nen \n\n\n\nen \n\n\n\n^ .y -^ \n\nen iH -^^ \n\n\xe2\x80\xa2am \n\n\n\no \n\nil \n\n\n\nen bJ3 oj \n\nn\xc2\xb0 \xc2\xab a \n\n(J D +j \n\n^|x \n\nP. Cj \n\n\xe2\x96\xa0^ S O \n^ d w \n5 .d (u \n\nd \'^ \nX .5 ^ \n\nS "5 \'^ \n\n:2 \'ra en \' \nen o bO\' \n\nd ^ d \n.d en .d \n\n\n\nbO \n\n,d \n\n"en \n\nd \n<u \n\n\n\n>.u \n\n\n\nS \xc2\xab3 \xc2\xab \n\n\n\n\'-\' .d \n\n\n\nu \n\ni \n\n.o\'x \n\np.^ \n< a \n\n\n\nd \n\n\n\no 8 W) \n\n^ d \n\nCj \n\nrd \n\n3 \'^ \n\n\xe2\x80\xa2^ a \n\n4-> CO \n\n\n\ncj \n\n^.a \n\n\n\n\'2cJ\'SobDi5en>!{ \n\no ^ -^ Q -i S S H \n\n\n\n<u \n\nen \n\nd \no \n\nw \n\n\n\n^ <U ^ cJ O \n\nX ^ d o 2 \n\n\n\n\n\n\n.2 .2 \n\n"en "en \n\nen Ui \n\nd d \n\n(J O \n\n\n\n>H c d \nd bjo \n\nO \'en +j \n\nX d \n\n\n\na, \no \n\n6 M \n\n\n\nO c3 \n\n\n\nWORK FOR SECONDARY SCHOOLS \n\n\n\n219 \n\n\n\n0) \n\n73 \n\n\n\nei \n\n\'X3 \n\n\n\n\n\n\n2 ^ \n\nXi \n\nB 2 \n\n\xe2\x80\xa21-1 03 \n\nbO \n\n\n\np3 \xc2\xab^ \n\n\n\n2 a S \n\n\n\nII \n\n\n\nb3 \n\n\n\n>^ \n\n\n\n\xe2\x80\xa2 > .S \n\nbO o i-i \n\n.SOH \n\n\n\n>^ \n\n\noj \n\n\n\n\n>^ \n\n\nXi \n\n\n\n\n(1) \n\n\n\n\n\n\nfl \n\n\nD \n\n\n<u \n\n\n\xe2\x80\xa2 1-1 \n\n\na \n\n\n1\xe2\x80\x944 \n\n\n\n\ng3 \n\n\n\n\n\n\n\n\n\n\nbC \n\n\nm \n\n\n^ \n\n\nCI \n\n\na) \nt-i \n\n\n\n\n2 \n\n\n^ \n\n\n\nC4 \n\n< \n\nw \n\nH \n\nP \nO \n\n\n\n<43 \n\n\n\n\n\n\nto \n<3 \n\n\n\n\n\n\n\n\n\n^ :^ \n\n\n\n\xc2\xabo \n\n\n\nI \n\no \n\nI \n\nO \n\n\n\n1:5 \n\n\n\nQ H \n\n< w \n\n\n\n8\xc2\xab \n\n\n\no tl \n\n\n\nbO bO \n\n\n\n(O ?3 <u \n\nH \'5b =\xc2\xab \n\no ^ \n\n\n\n\xe2\x80\xa2^ o \n\n.\'^ 2 \n\nCO 13 .^ \n\n\n\n4-> JA \n\no S \n\n, bO 0) \n\no \xe2\x80\xa2*-> \n\nxi c \n^ o \n\n\n\nO X3 \n\n\n\nen (U \n\n\n\n^ a .s \n\n\n\n\n\n\na \n\n\n\ncd \n\n\n\nbC \n\n\n\nC .2 \nO ^ \n\n\n\nC \nbC en \n\n\n\n03 \n\n\n\n0) \n\nbO \n\n\n\n.rH "" \n\nO I! \n\n\xe2\x80\xa2^ O \nO \n\n\n\nC CI \n\n\n\n^ \'S \n\n\n\nH g \n\n\n\nr; c^ u< \n\n.1=! >% O \n\no \n\n\n\n>% \n\n\n\no tJ \n\n\n\no O ^ \n\n8 .2^ y \n\nW 3 T^ \n\nX5 rt \n\n\n\nS W \n\n\n\nc3 \n\n\n\nC! \nC/2 \n\n\n\nOc75 B \n\n^ . cd \n\xe2\x80\xa2M tfJ 5^ \n\no ^^ \nbe ;-! ry-) \n\nS \'7^ ^f -S \n\n\n\ncd >>. \n\n\n\nen O \n\n(-1 D \n\n\n\n^ -a^ --^ -i2 O \n\n\n\nen <ii o, \n\n(^ bb\'^ \n. CI \n\n.S \xc2\xa7 \xc2\xb0 \nbbii \n\n\xc2\xa7^ \n\nCI, \n\n\n\nbO bO bO \n\n.s .s .s \n\n"ti ."S en \n\n\n\n.^ ^to \n\n\n\nP4 \n\n\n\nc \'-\' "^ Ij .ti rt \n\n\n\ns ^ H p S P^ \n\n\n\n\n\n..\xe2\x80\xa2 \'+-\' \n\n\n^ \n\n\n\n\n>% \n\n\n-t-> \n\n\nen \n\n2; \n\n\n\n\n^ \n\n\n\n\n1\xe2\x80\x94 1 \n\nH \n\n\nfH C en \n\'-I^ "-t^ _\xc2\xa7 \n\n\nen \nen \n\n2 \n\n\nS! \n\n\n"^ <D \n\n\n^ W) \n\n\n< \n\n\nS g.a \n\n\n^1 \n\n\n\n\np^ ^ \n\n\n\n220 \n\n\n\nDOMESTIC ART \n\n\n\nW \n\no \no \n\n\n\nP4 \n\nW \n\nH \nO \n\n\n\n\n\no \n\n\no \n(J \n\n0) \n\n\n1 \n\n\n\n\nu \n\n\n\n\n\n\n0) \n\n\nto un- \nlly her \n\n\n*tn \n\n\n1 \no \n\nen \n\n(U \n\n,d \n\n\n2 \no \n\nm \n\n\nd \no \n\no \n\nd \n\n\nID \n\na \n\nd \n\nm \n\n\nd \n\na \n\n\n\'(-I \n\nd \n\n\n4) \n\n\nT3 \n0) \n\nd \n\n\n\n\n\n\no \n\nto \n\n\n\n\n\n\n\n\nM-l \nO \n\n\no \n\n\n\n\n\n\n\n\n2 2 \n\n\nO \ntn \n\n(U \n\n\n03 \n\n\n,d \n\n\nd \nd \n\n\nd \nO \n\nCJ \n\n\n.a \n\ntn \n\n\n73 \n\n.a \n\n\nrd \nM-l \n\no \n\n\n03 \n\n\n\n\n\n\n\n\n\n\n-4-> \n\n\nu \n\nF! \n\n\nm \n\n-4-1 \n\n\n\n\n\n\n\n\nIS \n1\xe2\x80\x94 1 \n\n\nd \n\nm \n\nd \n\n\nen \n\nen \n\n\n\'d \nd \n\n\n\n\n>^ \n\ni-i \n\nen \n\nd \n\nT1 \n\n\n\xe2\x96\xa04-> \n\n.a \n\n(1) \n\n\nd \n\'o \n\n\nen \n\nd \ntn \n\nd \n\n\nID \n\nXi \n\n12 \no \n\n\n\n\n\n\n\n\ns \n\n\n^ \n\n\n\n\n\n\n^ \n\n\n\n\n\n\n\n\n.s-S \n\n\n+-) \n\n\n\n\n.a \n\n\ntn^ \n\n\nS \n\n\n-S \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n1 \n\n\'o \nen \n\n\n\n\n\n\n\n\n1 \n\nd \n\n\'n1 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\xc2\xab \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n-M \n\n\n\n\n\n\n\n\n\n\n^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n&; W \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nr\xc2\xab \n\n\n\n\n\n\n\n\n\n\n+J \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\'s \n\n\n-t-i \n\n\nzn \n\n\n\xe2\x80\xa213 \n\n\n\n\n-1 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n^S \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n(U \n\n\nFi \n\n\nu \n\n\n."tJ \n\n\n>! \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n8\xc2\xa7 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nUP 8 \n\nd \n\n0) \n\n\n\n\na \n\no \nd \no \n\n\nS \n\n\nfci) \n\n.a \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nH \n2 \nM \nH \n\nO \nU \n\nH \n\na \n\no \no \n\nH \n\nw \n\nCO \n\nCO \n\nH \n\n\n1 \n\n.s \n\no \n.2 \n\ncfi \n\nd) \n\n^-1 \n\n(U \n(U \n\n\n1 \n\na \n\no \n\nU \n*-> \n\n\no \n\nD \ni-i \n\nu \n\nbb \n\n-t-> \n\n\n\'55 \n\no \nbO \n\n.s \n\nd \n\nu \n\n\n0) \n%-> \n\no \n\nO \nen \n\n\nC5 \n\ne \n% \n\ntt-i \nO \n\n(J \n\na \n\naj \nt\xe2\x80\x94 1 \n\n\n\n\n1 \nbD \n\n\xe2\x80\xa25 \n\nO \n\nd \n\n4) \n\na \n\nd \n.2 \n\n\nen m \n1 \xc2\xa7 \n\nd dj \n\n8 S \n\n<^-. d \nO O \n\nbO.S \n\nd ^ \n\n0) s \n\n\n1 en \n\n>-; en \n\n. en \n\nS PQ \nO \n\n\xe2\x80\xa2^ a \n\n\noJ \n\nU \n\na \n\no \n\nrd \n\nT3 \n\n\ntn \nbD \n\nd \n\nId \n\n^en \n\n*d \n\nd \n\ntn \nX! \n\nd \n\n\nX) \n\nd \n\na \n\no \n\nrd \n\n<D \nX) \n\n\ntn \n\n(U \n\n-M \n\n03 \n\na \n\n.d \n\nen \n\nd \no \n\no \n\nd \n\nd \n\n\na \n\no \nrd \n\n\xe2\x80\xa2^ \n>^ \n\nd \n\no3 \n\nX) \n\nd \n\n\na \n\no \nd \no \nu \n\nH \n\n\no \n\n*^ \na \n\n>> \n\ntn \n\nd \n\xe2\x80\xa2I-I \n\n<D \n\n\nbb \n\nd \n\ng \n\nd \n\n03 \nbc \n\nd \n\no \n\n\n1 \n\no \n\n\ntn \n\n\n\'""1 \n\n\n\n\nbe \n\n\ntn \n\n\n\n\n\n\nti \n\n\n<u \n\n\n\n\n<1) \n\n\n<u \n\n\ni) \n\n\nd \n\n\n<tt \n\n\n\n\n, \n\n\nri \n\n\ntn \n\n\n\n\n\n*> \n\n\n3 \n\nc3 \n\n\no \nU \n\n\no \nbiD \n\n\nd \no \n\n\no \n\nOh \nOh \n< \n\n\nM bc \n\nd \n\'> \n\n\nbb \n\n.S \n\'> \n\nCO \n\n\na \n\nbD \n\nd \n\n_2_ \n\n\nu \n\n(U \n\nd \nd \n\n8 \n\n\na \n\no \n,d \n\nO \n\n\n\'C \n\n\n_d \n\n\'S \n\nrd \n\n\n\'d \nbo \n\nS \n\n\nbO \n\n.a \n\n13 \n\na \n\n\nd \noJ \n\n\nO tn \n\n-i-> CJ \n\n(U <u \n\na^ \n\n\ni \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nT3 \n\n\no3 \n\n\nrn \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nO \n\n\n^^ \n\n\n^ \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\no \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nrd \n\n\n^ ^ \n\n\nXi \n\n\nen \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\ntn \n\n3 \n\n\n(u d \nbO ti \n\n\nU \n\n\nd \n.2 \n\n\'en \nen \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\ne* \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nO \n\n\nJ2 ^ \n\n\n\n\nd \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\na* \n< \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nw \n\n\nen \n\nfrl \n\n\no \n\nen \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nS \n\n\n&. \n\n\nP \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWORK FOR SECONDARY SCHOOLS \n\n\n\n221 \n\n\n\nI en 0) \n\n-M \xc2\xbb-^ O -(3 \n\n\xe2\x80\xa25 -o -^ ^ \n\n\xe2\x80\xa2\xc2\xa7) \'^ \xc2\xa7 .\xc2\xa7 \n\n\'\xc2\xa7 \xc2\xa7 \'S ^ \n\n\xc2\xab-\xe2\x96\xa0 ti > -^ \n\n4> <^ e -y \n\n\n\n\n222 DOMESTIC ART \n\nDomestic-art \'work in the technical high school \n\ncourses should differ from the manual training in \n\nthat it should offer not so great a variety \n\nTechnical \n\nhigh school of hand-work for each student, but \nallow opportunity for intensive v^ork \nalong some particular line of interest, such as dress- \nmaking, millinery, costume designing, etc., at the \nsame time allowing opportunity for some academic \nwork to be pursued. The plans for real technical \nwork in high schools seem to differ with leading \nauthorities. The Washington Irving High School \nin New York offers some of the best technical high \nschool work for girls given in this country. As yet \nthe technical lines of specialization are not many in \nnumber, but those offered lead the students into \nmany fields of work. Commercial courses and libra- \nry assistance, specialization in various fields of art \nsuch as designing and sketching for wall papers, \ntextiles, stained glass, and cataloguing, dressmaking \nand millinery, present a number of opportunities for \nselection. \n\nThere are many fields for specialization in the \nhousehold arts work which have not as yet been \nappreciated by controlling boards and which in the \nfuture will give wonaen an opportunity for means of \n\n\n\nWORK FOR SECONDARY SCHOOLS 223 \n\nlivelihood. The technical courses offered in high \nschool may lead later to higher technical schools for \nwomen. At present few are established. The House- \nhold Arts School of Columbia University/Pratt In- \nstitute in Brooklyn, and Simmons College in Boston \noffer such opportunity for further study. \n\nThe technical high school course of study is gen- \nerally three or four years in length, and about two- \nthirds of the periods are devoted to the special tech- \nnical line of interest. The academic studies will be \nof most value in such a school when they are dis- \ntinctly related to and correlated with the lines of \nthought of these special fields. The work of the \nfirst year will naturally be the least specialized, for as \na rule the student must get her bearing and discover \nher peculiar interest. Opportunity should be given, \nhowever, in elective periods for those who have early \ndiscovered their dominant line of interest. So-called \ntechnical high school courses are often offered at \nnight, but sometimes fail to make the work as in- \ntensive as that given in day courses, and offer no \nacademic studies in connection. Such courses would \nbetter ^be called continuation courses, or home- \nmaker\'s courses, rather than technical high school \nwork. \n\n\n\n224 DOMESTIC ART \n\nThe following outline of one specialty \xe2\x80\x94 dress- \nmaking \xe2\x80\x94 for the technical high school will give \nsome idea of the kind and degree of intensity of \nwork which should be offered in a technical course. \nSimilar courses along the lines of costume-designing, \ncommercial branches, designing for other special \nfields, millinery, etc., should be offered. The aca- \ndemic work should be closely related and correlated \nwith the special line of interest. The following \ncourse is planned for three years. It might extend \nover four, or additional work be added, if the high \nschool course is of four years\' duration. \n\nCOURSE OF STUDY IN DRESSMAKING FOR A \nTECHNICAL HIGH SCHOOL \n\nStudent Plan, Teachers College \n\nI. Conditions. \n\n(i) Population. \xe2\x80\x94 200,000. \n\n(2) Nationalities. \xe2\x80\x94 {a) American, very largely. \n\n(h) Foreign, Outside the original American stock the Ger- \nman and Irish elements predominate. Of the 35,000 wage- \nearners employed in manufacturing, over 30,000 are of Ameri- \ncan birth. \n\n(3) Industries. \xe2\x80\x94 {a) Importance. Occupies sixth place in \nmanufacturing in proportion to population in the United \nStates. The geographical centre of the workshop of the \nUnited States. \n\nQ)) Articles manufactured and produced. Shoes, clothing. \n\n\n\nWORK FOR SECONDARY SCHOOLS 225 \n\nphotographic supplies, canned goods, buttons, optical goods, \nflour, fruit products, seeds, chairs, nursery stock, office and \ntelephone supplies, carriages, lithographing, machinery, etc. \n\n(4) Labor. \xe2\x80\x94 ^A high percentage of the labor is skilled and \ncommands a higher price than in most cities and demands a \nhigher order of intelligence because of the skill required and \nthe diversity of articles manufactured. Owing to this pre- \nponderance of skilled workmen the standard of intelligence \nthroughout the city is high, and there is a small percentage \nof illiteracy and of foreign-born residents as compared to \nother cities. \n\n(5) Civic. \xe2\x80\x94 {a) Spirit. The citizens possess to a high degree \na spirit of local pride and civic loyalty, which is manifest in \ncity improvements, parks, public buildings, etc., and also in \nthe schools. \n\n(p) Residential section. It is so situated that it has become \none of the handsomest residence cities of America. There is \nno special district devoted to manufacturing enterprises. The \nfactories are as scattered as their products are diversified. \nNaturally, this scattering of families has tended to scatter the \nworkingmen of the city and prevented congestion of the houses \nin any single section of the city. There are no slums as com- \npared to other cities and few large crowded tenement houses. \n\n{c) Environment. It has many parks, and its suburban \nsites and natural environment tend to make the life of the \nworkingman pleasant and healthful and have tended to ele- \nvate the character of the workingman as a class. \n\n(6) Educational. \xe2\x80\x94 {a) Public institutions. There are thirty- \neight public schools and two high schools; also a number of \nevening schools in the various parts of the city where they are \nmost needed. Factory schools have recently been started, but \nso far instruction is only for boys. \n\n(h) Private institutions. Eighteen parochial schools, a uni- \n\n\n\n226 DOMESTIC ART \n\nversity, and theological seminary, (a) A Mechanics \' Institute \nwhich trains boys and girls, and men and women, for useful \ntrades. \n\n(c) Scope. These institutions give ample opportunity for \nsecuring a common school and classical education. \n\n(7) Industrial Training. \xe2\x80\x94 The existing high schools give an \nindispensable preparation for high professional study and still \nmore immediate preparation for business pursuits, but they \ndo next to nothing to fit their pupils for the fundamental in- \ndustries. About thirty per cent of the number in the grades \ngo to the high school. There is, therefore, need of practical \ninstruction in the high schools so that, when the pupils leave \nthe school, they vdll not have to resort to other means to get \nwhat they must know in order to go out into the business world \nsuccessfully. There is need of high school technical training \nin this city. \n\nII. Aims. \n\n(i) General. \xe2\x80\x94 (a) To give a practical training in the high \nschool, which will produce practical results for girls, who in \nthe majority of cases are soon to be put to the necessity of \napplying their learning to the practical affairs of life. \n\n(&) To train the girls in the fundamentals and provide \nspecial trade instruction commensurate with the demands of a \nmanufacturing city. \n\n(c) To encourage girls to become self-supporting and to \nlead useful, happy, dignified, and progressive lives. \n\n(2) Specific. \xe2\x80\x94 (a) Formation of right habits, (i) To en- \ncourage habits of honesty, neatness, attention, accuracy, love \nof work, speed, promptness, economy of time and material. \n(2) To develop reasoning, originality, invention, imagination, \nand ability to express an idea in concrete form. (3) To incul- \ncate poUteness, kindliness, and pleasing manners. \n\n\n\nWORK FOR SECONDARY SCHOOLS 227 \n\n(b) Home management, (i) To encourage neatness and \norderliness in the home and promote a love for it. (2) To \nteach economy in buying and the use of materials and a judi- \ncious use of time. (3) To cultivate judgment and skill in the \nuse of tools and selection of materials. (4) To develop good \ntaste and promote a desire for beautiful, harmonious, simple, \nand restful surroundings. (5) To lead to consideration of \nphysical conditions. \n\n{c) A preparation for trade, (i) Care and use of utensils, \nand skill in handling same. (2) Economy of time and mate- \nrial. (3) Ability to make and interpret working drawings and \npatterns. (4) Some knowledge of trade and every-day busi- \nness transactions. (5) Some practical information of the \nnames, use, fitness, etc., of the tools to be used in their trades, \nand the materials handled. \n\n\n\nDRESSMAKERS\' COURSE\xe2\x80\x94 FIRST YEAR \n\n* (Required Course) \n\nTime. \xe2\x80\x94 Five periods per week for one half year. Periods, \nfifty minutes each. \n\nNote. \xe2\x80\x94 This course is preceded by an elementary school course of \nfour years, in which the leading fundamental principles and stitches used \nin hand-sewing are given. There has been some garment-making by \nhand, a little free pattern-cutting, and the use of patterns, but no drafting. \nSo far in the course machine-work has not been introduced. \n\nI. Problems. \n\n(i) Machine, (a) Work-bag. \n\n(b) Apron. \n\n(c) Underskirt. White muslin. \n\n(d) Night-gown. \n\n(e) Shirtwaist. Plain. \n\n\n\n228 DOMESTIC ART \n\n(f) Between work, (i) Short skirt. (2) Corset-cover. \n\n(g) Shirtwaist. Tucked. This problem is designed for the \ngirl who finishes the first five problems before the time of the \nterm expires. \n\nII. Principles and Processes Involved. \n\n(i) Care and use of machines, (a) Kinds, (i) Single- \nthread. (2) Double-thread. \n\n(b) Threading, treadling, oiling, parts, etc. \n\n(2) Drafting. \n\n(3) Cutting. \n\n(4) Fitting. \n\n(5) Stitching. \n\n(6) Designing. \n\n(7) Decoration, (a) Tucking. \n\n(b) Ruffling, (i) Calculating fulness. (2) Joining, etc. \n\n(c) Hemstitching. \n\n(d) Lace and embroidery, (i) Mitering. (2) Curving. \n(3) Joining. \n\n(8) Seams, (a) French. \n{b) Flat fell. \n\n(c) Tailor. \n\n(9) Hems. \n\n(10) Facings, (a) Straight. \n(b) Bias. \n\n(11) Fastenings, (a) Buttons and button-holes. \n\n(b) Tapes. \n\n(c) Ribbons. \n\n(12) Sleeve-making, (a) Finishing, (i) Tailor cuff. (2) \nPlacket. (3) Putting in, gathering, etc. \n\n(13) Practice in using commercial patterns. \n\n(14) Adaptation of patterns to figure. \n\n(15) Study of form and line as appHed to individual figures. \n\n\n\nWORK FOR SECONDARY SCHOOLS 229 \n\nIII. Related Subject-matter. \n\n(i) Design, (a) Trimming of garments with lace and hand- \nembroidery. \n\n(b) Space relation, (i) Study of line. (2) Breaking up \nspaces to give long effects, short effects, etc. \n\n(c) Proportion. \n\nIV. Thought Content. \n\n(i) Use of machines, (a) Economy of time. \n(6) Strength of sewing. \n\n(c) Value in trade. \n\n(d) Beauty in fine stitching. \n\n(e) Comparison of machine- and hand-sewing. \n\n(2) Materials, (a) Suitability, (i) Fitness as to use. \n(2) Wearing qualities. (3) Laundering qualities. \n\n(b) Cost. \n\n(c) Good taste, (i) In selection. (2) In decoration. \n\n(d) Economy in use of materials. \n\n(e) Combination of materials. \n\n(3) Garment-making, (a) Choice of materials. \n\n(b) Undergarments to correspond to outer garments. \n{c) Estimate cosf of complete garment and time required to \nmake each. \n\nV. Outside Interests, Talks, Excursions, Etc. \n\nNote. \xe2\x80\x94 One period of fifty minutes each to be set aside each week \nfor talks, excursions, visits, etc. This time may be used for demon- \nstration of some thought to be brought out in connection with garment- \nmaking. Otherwise the time is to be spent in discussion of following \ntopics. These may be subdivided and extended over more than one \nperiod at discretion of teacher. Each teacher to decide as to topics most \nneeded by her individual class. \n\n(i) The keeping of accounts, (a) Advisability, use, etc. \n(&) Each girl to be required to keep an account of her ex- \npenditures for one month. \n\n\n\n230 DOMESTIC ART \n\n(c) Lead girl to see where in her individual case the money \ncould have been more wisely spent. \n\n(d) Economy of time as opposed to money. \n\n(2) Problems dealing with the purchase of materials, (a) \nRelations of consumer and dealer. \n\n(b) Relative values, bargains, etc. \n\n(c) Comparison of samples brought in by girls; use of \nprice lists; learn names and widths of materials. \n\n(d) Some means of judging materials. \n\n(e) Use of lists in shopping. \n\n(J) Shopping etiquette; how to ask for what you wish. \n\n(3) General appearance, (a) Good taste, (i) Color com- \nbinations. (2) Textile combinations. (3) Suitability of gar- \nment to occasion. \n\n(b) Good and bad hair dressing, (i) Hair ribbons, orna- \nments, combs, etc. \n\n(c) Ornamentation, (i) Use of cheap jewelry. (2) Cheap \nlaces, embroideries, etc. \n\n(d) Shoes, (i) Well cleaned. (2) Heels in good condi- \ntion. \n\n(e) Gloves, (i) Clean, well-mended. \n\n(4) Hygiene, (a) Care of the body. \n\n(b) Hands, (i) Nails \xe2\x80\x94 clean, well-shaped. (2) Necessity \nfor business woman to have good-looking hands. (3) Care \xe2\x80\x94 \nsoaps, brushing, etc. \n\n(c) Selection of garments that will launder easily. \n\n(d) Frequent changes of underwear, (i) Necessity in shop- \nwork; use in this connection of knit, one-piece underwear. \n\n(5) Excursions, etc. (a) Visits to neighboring stores in \nrelation to shopping, etc. \n\n(b) Exhibit of undergarments in connection with making of \nundergarments. \n\n\n\nWORK FOR SECONDARY SCHOOLS 231 \n\n\n\nDRESSMAKERS\' COURSE\xe2\x80\x94 SECOND YEAR \n\n{Required Course) \n\nTime. \xe2\x80\x94 Fifteen periods per week throughout year. Periods, \nfifty minutes each. \n\nI. Problems. \n\n(i) Construction, (a) Shirtwaist (cotton or linen, tucked). \n\n{b) Kimono. \n\n(c) Unlined cotton dress. \n\n{d) Shirtwaist (fancy tucked, lace-trimmed). \n\n{e) Silk petticoat. \n\n(/) Plain tailored skirt. \n\nfe) Gymnasium suit. \n\n{h) Tight-fitting lined waist. \n\n{i) Simple wool dress. \n\n(2) Drafting, (a) Shirtwaists. \nQ)) Close-fitting waists. \n\n(c) Sleeves. \n{d) Collars and cuffs. \n\n{e) Skirts, (i) Gored (seven, nine, eleven). (2) Circular \n(plain and gored). (3) Plaited. \n\n(3) Adaptation of bought patterns to fit individual needs. \n\nII. Principles and Processes Involved. \n(i) Drafting. \n\n(2) Cutting. \n\n(3) Tracing. \n\n(4) Marking. \n\n(5) Basting, {a) Running. \n{h) Tailor. \n\n\n\n232 DOMESTIC ART \n\n(6) Seams, (a) Kinds, (i) Welt. (2) Flat stitched. (3) \nStrapped. (4) Lapped. (5) Slot. \n\n(b) Finishing, (i) Overcast. (2) Bound. (3) Turned in. \n\n(7) Boning. \n\n(8) Pressing. \n\n(9) Pockets. \n\n(10) Making of button-holes. \n\n(11) Sewing on hooks and eyes. \n\n(12) Hanging skirts. \n\n(13) Finishing skirts. \n\n(14) Decorating, (a) Machine. (i) Hemstitching. (2) \nTucking. (3) Stitching. (4) RufSing. \n\n(b) Hand, (i) French embroidery. (2) Coarse stitches. \n\n(c) Trimmings for gowns, (i) Smocking. (2) Cording. \n(3) Plaiting. (4) Braiding. (5) AppHcation of previously \nlearned stitches to collars, belts, cuffs, shirtwaists, etc. \n\n(15) Study of line and form to fit individual figures. Adjust- \ning garments to variety of figures. Much practice in taking \nmeasures. \n\nni. Related Subject-matter. \n(i) Design, (a) Space relation. \n\n(b) Proportion. \n\n(c) Relative values. \n\n(d) Color harmonies. \n\n(e) Sketching, (i) Waists, gowns, and shirtwaists. \n\n(2) Commercial and industrial geography. \n\n(3) Commercial and industrial history. \n\nIV. Thought Content. \n(i) Materials, (a) Cost. \n\n(b) Economy in use and cutting. \n\n(c) Good taste in selection. \n\n\n\nWORK FOR SECONDARY SCHOOLS 233 \n\n(d) Wearing qualities. \n\n(e) Suitability to garment. \n\n(2) Garments, (a) Appropriateness. \n\n(b) Economy in planning a wardrobe. \n\n(c) Combination of textiles. \n{d) Combination of colors. \n\n(e) Independence of draft and workmanship. \n(/) Utilities and varieties of shirtwaists. \n\nV. Textile Study. \n\nNote. \xe2\x80\x94 Twenty lessons during the year to be given on textiles. If \npossible, class to visit a silk or cotton or woollen mill in the vicinity of the \nschool. \n\nAim. \xe2\x80\x94 To give a practical understanding of the various \ntextile fibres and the processes of their manufacture, that shall \nlead to judgment and taste in selection as suited in wearing \nquality, adaptability to use, permanence of color, and har- \nmony of design to the particular use for which they are intended. \n\n(i) Development and preparation of fibres, (a) Spinning, \n(i) Early history. (2) Processes. (3) Comparison of old \nand new methods. \n\n(&) Weaving, (i) Movements. (2) Early forms. (3) \nLooms. \n\n{c) Weaves and kinds of cloths in which used, (i) Twill. \n(2) Plain. (3) Rib. (4) Basket. (5) Satin. \n\n(2) Cotton, (a) Distribution and production, influence on \ncost, quality, etc. \n\n(b) Steps of manufacture through milling. \n\n(c) Products of milling. \n\n(d) Seed products. \n\n(e) Properties, (i) Wearing qualities. (2) Adaptations to \nuse. (3) As substitute in other textiles. \n\n(/) Prices. \n\n\n\n234 DOMESTIC ART \n\n(3) Flax, (a) Production. \n\n(b) Processes. \n\n(c) Properties. \n\n(d) Adaptations to use. \n\n(e) Materials made from flax. \n(J) Wearing qualities. \n\n(g) Price as compared with cotton. \' \n\n(4) Silk, {a) Countries producing. \n\n(b) Milling operations. \n\n(c) Characteristics. \n\n(d) Wearing qualities. \n\n(e) Artificial silks. \n\n(J) Mercerized materials. \n\n(g) Price as compared with other textiles. \n\n(5) Wool, (a) About the same as for other textiles. \n\n(b) Cleansing properties, shrinkage, etc. \n\n(c) Utility for warmth. \n\n(d) Adulterations. \n\n(6) Dyeing, (a) Effect upon fibres. \n\n(b) Fast and fugitive colors. \n\n(c) Chemicals used, mordants, etc. \n\n\n\nDRESSMAKERS\' COURSE\xe2\x80\x94 THIRD YEAR \n\n{Required Course) \n\nTime. \xe2\x80\x94 Fifteen periods per week throughout year. Periods, \nfifty minutes each. \n\nI. Problems. \n\n(i) Pattern modelling and draping, {a) Tight-fitting lining. \n\n(b) One-piece dress. \n\n{c) Sleeves, collars, guimpes, and yokes. \n\n\n\nWORK FOR SECONDARY SCHOOLS 235 \n\n(2) Construction, (a) Hand-sewing, (i) Baby\'s under- \nskirt; some hand-embroidery. (2) Baby\'s dress. \n\n(b) Machine, (i) Silk or wool shirtwaist. (2) Princess tight- \nfitting boned lining (of silk or material suitable for lining wool \ngown). (3) One-piece wool dress (to be used over princess \nlining). (4) Guimpe of silk, lace, and net, decorated with fancy \nstitches. (5) Simple silk or wool dress to be used with guimpe. \n(6) Linen suit (gored skirt and coat). (7) Inexpensive cotton \nor wash dress. (8) Remodelling of an old gown. (9) Fresh- \nening of old waists, gowns, suits. (10) Graduation gown. \n(11) Between work (hand-made lingerie waist using tucks, \nlace, and hand-embroidery). (12) Order work, (a) Lingerie \n(6) Baby\'s garments and pillows (c) Shirtwaists and cotton \ndresses. \n\nn. Principles and Processes Involved. \n(i) Largely review of principles and processes learned in \nfirst two years of course. \n\n(2) Skirts, (a) Lining, (i) Drop. (2) In one piece with \nwaist lining. . \n\n(b) Finishing, (i) Braid or velveteen. \n\n(c) Fastenings, (i) Hooks and eyes. (2) Snaps. (3) \nButtons and button-holes. \n\n(3) Coats, (a) Binding inside seams. \n\n(b) Pressing. \n\n(c) Pockets. \n\n(4) Shop methods, (a) Tests in workmanship, (i) Stand- \nard set by factory and trade. \n\n(b) Tests in speed. \n\n(c) Piecework. \n\n(d) Order-work. \n\n(5) Practice in modelling gowns on figure. \n\n(6) Adjusting garments to individuals. \n\n\n\n236 DOMESTIC ART \n\n(7) Drafting waists to different measures. Taking measures \nof members of class until familiar with draft and its applica- \ntion to other garments. \n\n(8) Study of design, color, proportion, etc., as related to \ngarment-making. \n\nIII. Related Subject-matter. \n(i) Design, (a) Costume. \n\n(b) Decorative. \n\n(c) Color harmony. \n\n(2) Commercial and industrial history. \n\n(3) History of costume. \n\n(4) Commercial arithmetic. \n\n(5) Drawing and sketching. \n\nIV. Thought Content. \n\n(i) Materials, (a) Varieties; suitability for use in garments. \n\n(b) Texture and wearing qualities. \n\n(c) Color combinations. \n\n(d) Suitability of material to individual. \n\n(e) Cost, widths, etc. \n\n(f) Care of garments, (i) Cleansing and taking out spots. \n(2) Taking off shine and worn appearance. (3) Mending and \npressing. \n\n(2) Preparation for trade, (a) Keeping of accounts. \n\n(b) Estimating cost of garments, (i) Ability to do so \nquickly. \n\n{c) Estimating amount of time required to make certain \ngarments. \n\n(d) Keeping time accounts. \n\n(e) Business-like manners and ways of working. \n(J) Independence of workmanship. \n\n\n\nWORK FOR SECONDARY SCHOOLS 237 \n\nDRESSMAKERS\' COURSE\xe2\x80\x94 THIRD YEAR \n\n{Required Course) \nHousehold Management and Home Furnishing \n\nTime. \xe2\x80\x94 One period per week throughout year. Periods, \nfifty minutes each. \n\njIIpi^ \xe2\x80\x94 Xo improve the home conditions as far as possible \nby discussions and practical demonstrations of the following \ntopics. \n\nI. Problems. \n\n(i) Economic aspect of study of the home, (a) Labor, \n(i) Organized. (2) Systematic. (3) Regular times for doing \ncertain tasks. (4) Economy of time and energy by careful \nplanning. (5) Sharing of responsibiHties. (6) Division of \nlabor. \n\n{b) Home industries, (i) Ethical value. (2) Economic \nvalue. \n\n(c) Income, (i) Division according to value and necessity. \n(2) Keeping of accounts. (3) Importance of wise spending. \n(4) Relation of spender to community, to family, to quality of \ncommodity purchased, to condition of business. (5) Ele- \nments which regulate apportionment of income. (6) Use of \nbusiness methods in the home. (7) Some ideas of banking, \nchecking, drafts, etc. \n\n(2) Furnishing of the home, (a) Fundamental principles of \ngood furnishing, (i) Effect of furnishings upon health, com- \nfort, and development of family. (2) Artistic furnishings as \nwell as hygienic. (3) Choice of materials as to color, suita- \nbility, design, wearing qualities. \n\n\n\n238 DOMESTIC ART \n\n(b) Care of rooms, (i) Weekly sweeping and dusting \xe2\x80\x94 best \nmethods. (2) Lighting. (3) Heat and ventilation. (4) \nSleeping-rooms. Bed furnishings and removal of soiled \nclothes, etc. (5) Use of disinfectants and deodorants. \n\nII. Processes. \n\n(i) Largely class discussions. \n\n(2) Free use of charts. \n\n(3) Let class plan ways of dividing income. \n\n(4) Practice in keeping accounts. \n\n(5) Some practice in making out checks, drafts, etc., with \nrelation to banking, trade, etc. \n\n(6) Visit if possible a good model apartment. \n\n(7) Plan good division of daily household tasks. \n\n\n\nDRESSMAKERS\' COURSE\xe2\x80\x94 SECOND OR THIRD \n\nYEAR \n\n(Elective Course) \n\nTime. \xe2\x80\x94 Five periods per week throughout year. Periods, \nfifty minutes each. \n\nPrerequisite. \xe2\x80\x94 Dressmakers\' course first year. \n\nAim. \xe2\x80\x94 To enable girls to earn money at home making under- \ngarments for private trade. This course is for a girl who will \nbe needed at home part or all of the day, and yet have sufficient \ntime to enable her to help in the support of herself or family. \nIn most large cities there is ample opportunity for the employ- \nment of such girls, and need for their training. \n\nI. Problems. \n\n(i) Combination of hand- and machine-work, {a) Corset \ncover, (i) Plain. (2) Lace-trimmed. \n\n\n\nWORK FOR SECONDARY SCHOOLS 239 \n\n(b) Chemise, (i) Hand-embroidered. \n\n(c) Underdrawers. (i) RulEfle trimmed with machine- tucks \nor hemstitching. (2) Ruffle of lace or embroidery. \n\n(d) Combination drawers and corset-cover, (i) Tight-fit- \nting and very plain. \n\n(e) Night-gowns, (i) Plain. (2) Lace-trimmed or hand- \nembroidered. \n\n(J) Underskirts, (i) Plain (ruffle of same material trimmed \nwith machine tucking). (2) Fancy (ruffle of embroidery with \nheading of beading, or lace- trimmed) . \n\n(g) Kimonos and dressing-jackets, (i) Daintily trimmed \nwith lace, etc. (2) This problem is for those finishing the first \nsix problems before the time of the term expires. \n\nn. Principles and Processes Involved. \n\n(i) Review of principles and processes as planned for first \nyear course. \n\n(2) Extra stress laid on the finishing and decoration of \ngarments. \n\nIII. Related Subject-matter. \n(i) Same as for first-year course. \n\nIV. Thought Content. \n(i) Materials. \n\n(a) Cost. \n\n(b) Suitability as to use. \n\n(c) Laundering and wearing qualities. \n\n(d) Trimmings adapted to various qualities of materials. \n\n(e) Fitness of decoration (hand) to material and garment. \n(2) Garment-making. \n\n(a) Various shapes and kinds. \n\n(b) Suitability as to age and size. \n\n(c) Economical use of cloth. \n\n\n\n240 DOMESTIC ART \n\n(d) Estimation of cost. \n(3) Suggestive exercises. \n\n(a) Training in quickly estimating cost of a finished garment \nwith relation to trade. \n\n(b) How to take orders for garments. \n\n(c) Keeping of time accounts. \n\n{d) Estimate cost of making garment as to time required. \n\n(e) Quick drill in designing and suggesting ways of making \nimdergarments. \n\nThe trade schools for women in this country are \n\nfew and have a distinct aim. They have been until \n\nrecently under private management and \n\nDomestic art \n\nin trade largely experimental. The aim is to \n\nschools. . r 1 i \n\ntram the young wage-earner for a snort \nperiod in order that a certain amount of skill may be \ndeveloped before she enters a trade, and that she \nmay have an appreciation of the relationship of this \ntrade to other work of the world. This cuts short \nthe long apprenticeship period through which many \nof the girls must pass if they enter the shop or factory \nas soon as their working papers are obtained. The \ngirls in such a school are naturally young, poor, and \noften in bad health. They cannot stay long in such \na school and the course is often accomplished at \ngreat sacrifice. Such a school should aim to give \nthe girl a knowledge of the fundamental laws of \n\n\n\nWORK FOR SECONDARY SCHOOLS 241 \n\nhealth, all the technical skill and speed along the \nline of some specialty which time will permit, and as \nmuch of an outlook on the business and related \ninterests of that specialty as possible. The Man- \nhattan Trade School for Girls in New York aims to \naccomplish this purpose. At present there are but \nfour specialties offered \xe2\x80\x94 hand-sewing and dress- \nmaking, millinery, machine-operating, and pasting. \nThe course of study in such a school is necessarily \nshort, but leads directly to work. This school is \nopen to girls who have left the elementary school \nbecause they are either graduated or have passed the \ncompulsory school age. The physical training is a \ndistinct part of the work of each day, as well as the \nacademic features of study which give the girls an \nopportunity to learn to write a business letter, to \nreply to an advertisement, or to gain some knowledge \nof the origin and manufacture of the various textiles \nhandled. The art work is also closely related and \nhas a strong cultural value as well. \n\nThe Hebrew Technical School for Girls of New \nYork is a higher type of trade school and may be \nplaced in a distinct class between such work as that \noffered in the Manhattan Trade School and that of \nthe technical high schools. This course differs from \n\n\n\n242 DOMESTIC ART \n\nthe above in that it takes mainly graduates from \nthe elementary school, while the Manhattan Trade \nSchool admits girls who have obtained their working \npapers whether they have completed all or only part \nof the elementary school work. The consequence \nis that one finds a higher type of scholarship in the \nlatter school. The course is only eighteen months \nin length, but is continuous. The girls are given \nmuch more instruction in academic work than in \nthe Manhattan Trade School and there is also train- \ning in housekeeping. About two-thirds of the time \nis devoted to technical work including design. \nOpportunity is given for election of the commercial \ncourse, or work in manual training, which means \nspecialization in sewing and dressmaking. Oppor- \ntunity is also given for some trade experience, as or- \nders for garments are executed by this department. \nThe graduates from this school enter business as \nstenographers, and bookkeepers, or as dressmakers\' \nassistants. Some remain at home and a few go on \nto higher schools. \n\nThe Boston Trade School for Girls is similar in \norganization to the Manhattan Trade School and \noffers an opportunity for the study of this phase of \ndomestic-art work. \n\n\n\nWORK FOR SECONDARY SCHOOLS 243 \n\nThe catalogues of these schools will illustrate the \namount of time devoted to the special lines of interest \nas well as to academic work. \n\nThe evening and day classes of the Young Women\'s \nChristian Association, and the industrial classes of \nchurch schools and settlements, as well as the \npublic evening high schools, all offer a certain \ntype of domestic-art work. Much of this may be \nclassed as of secondary nature in that it offers \nopportunity for students to continue courses of study \nalong these lines while engaged in business pursuits. \nThese courses of study are most like the continua- \ntion classes of the foreign schools, but as a rule do \nnot offer as good trade instruction as those abroad, \nwhere the courses offered at night aim to supplement \nthe trade in which the workers are engaged. These \nschools and settlements also offer courses in domes- \ntic art which are not as highly specialized and may \nbe better termed home-making courses, in that the \naim is to offer such work as will make the girl more \nefhcient in her home. They are as a rule short in \nlength and offer instruction in dressmaking, milli- \nnery, embroidery, and garment -making. \n\nOne difficulty which should be guarded against \nby those in authority in these schools is the misin- \n\n\n\n244 DOMESTIC ART \n\nterpretation of aims of courses by those entering. \nThe writer has known of young girls placed in the \nhome-making courses who really desired more tech- \nnical instruction and who were disappointed because \nat the completion of the course it was impossible to \nfind work as a milliner\'s or dressmaker\'s assistant. \nThe aims of courses should be distinctly stated, \nand advanced as well as elementary work offered in \nboth the home-maker\'s and trade sections of the \ndomestic-art work. \n\nCatalogues of Christian Associations and settle- \nments will illustrate the courses offered by these \norganizations. \n\nReferences for Study \n\n"Report of Lake Placid Conference on Home Economics," \n1908. \n\n\'\' Catalogues of Type Schools and Settlements." \n\n"Trade and Technical Education," Seventeenth Annual \nReport of United States Commissioner of Labor, 1902. \n\n"The Manhattan Trade School for Girls," Mary S. Wool- \nman. Educational Review, Vol. XXX, September, 1905. \n\n"Trade Schools. An Educational and Industrial Necessity," \nMary S. Woolman. The Social Education Quarterly, Vol. I, \nMarch, 1907. \n\n"Report of Massachusetts Commission on Industrial and \nTechnical Education," Boston, 1906. \n\n\n\nWORK FOR SECONDARY SCHOOLS 245 \n\n"Industrial Education. With Reference to the High \nSchool," E. Davenport, University of Illinois. \n\n"Education for Efficiency." Vol. XI, English Reports on \nEducation. Curriculum of Secondary Schools. Sandford. \n\n"Our Children, Our Schools, and Our Industries." Report \n1908, Andrew Draper, Commissioner of Education, Al- \nbany, N. Y. \n\n"Industrial Education and the Public Schools," George H. \nMartin, Secretary Massachusetts Board of Education, 1908. \n\n"The Making of a Girl\'s Trade School," Mary S. Wool- \nman, 1 9 10. \n\n\n\nPART IV \nDOMESTIC ART IN HIGHER EDUCATION \n\nCHAPTER XII \n\nDOMESTIC ART AS A PART OF COLLEGE \nTRAINING FOR WOMEN \n\nHousehold arts work as a part of college training \nfor women is being introduced in many of the West- \nern State and agricultural colleges. It is \n\nIntroduction ^ ^ \n\nof household gradually winning its way against the \n\narts in state \n\nandagricuit- old-timc couscrvatism which made a \n\nural colleges. ,, - , i ^ , \n\ncollege course for women exactly parallel \nto that for men. The changes which have come about \nin college courses for men are bound to affect those \nfor women and eventually relate the work more direct- \nly to the life which the woman will enter after leaving \ncollege. The Eastern colleges for women are slow \nto adopt such a course, but before many years they \nwill feel the necessity of offering what the students \n\nwill demand and of readjusting their courses of study \n\n246 \n\n\n\nDOMESTIC ART AS A PART OF COLLEGE TRAINING 247 \n\nSO as to meet the needs of girls interested in the \nhome and its beautifying, organization, and improve- \nment. The majority of college women are far from \npractical, and few see the real relationship of the \narts and sciences studied at college to the practical \naffairs of life. The writer believes that college \nwomen would marry earlier in life if their interests \nwere enlisted in the study of the problems directly \nconnected with home-making; there can be nothing \nmore interesting for the average normal woman. If \nthe well-trained, intelligent college women, the \nleaders of affairs in the world\'s work for women, \nwould give their thoughts and energy to solving the \nproblems of domestic science, proper food, proper \nclothing and shelter \xe2\x80\x94 in fact, "right living\'\' \xe2\x80\x94 with \nthe least amount of expenditure of time, energy, and \nmoney, the study would not only be interesting to \nthem, but benefit humanity more than years of study \nof Greek and Latin classics, for it stands for economy \nof health as well as economy of wealth. The college \nwoman is beginning to feel this and to make her \ndemands. It is only in very recent years that any \nprovision has been made in colleges for the women \nwho wished or were compelled to make teaching \ntheir life-work. The women were filled with sub- \n\n\n\n248 DOMESTIC ART \n\nject-matter and graduated and expected to know \nintuitively how to present all the college subjects. \nMany college women go into the teaching field in \nthis way utterly unprepared to present their subjects \nintelligently. The fact that many of the superior \nones feel their lack of proper preparation is evi- \ndenced by the statistics of normal training schools, \nColleges slow v^hcre these women register for study \nto provide for -^^ education and methods of teaching. \n\nthose who must *=* \n\nseek livelihood, ^he coUcge for women, of the past, has \nmade no provision for training women who must \nseek some means of livelihood after graduation, \nother than to point the way to the teaching field. \nThe world offers so many fields to college women of \nto-day that the least the college can do is to open \nup the possibilities and give some opportunities for \nspecialization. Surely by the time a woman reaches \ncollege, her dominant interests should have been \ndeveloped or she should at least begin to take an \ninterest in what they are likely to be. \n\nHousehold arts education is not very old. It \nConservatism ^as been a part of our educational \nprevents schools for Only twenty years \xe2\x80\x94 in some \n\nintroduction of j j j \n\nhousehold arts, places it is not yet incorporated as a \npart of the general curriculum. That the colleges \n\n\n\nDOMESTIC ART AS A PART OF COLLEGE TRAINING 249 \n\nare slow to adopt it is due largely to the old-time \nconservatism and lack of understanding of the real \nmeaning of "cultural" \xe2\x80\x94 for it has been claimed that \nthe college courses must be cultural. Regarding \nthe proposed college course in home economics of \nthe Lake Placid Conference, Dr. Balliet said: "The \nwork mapped out has as high cultural value as the \nbest courses now given in college, if we must keep \non contrasting the * cultural\' and the \'practical,\' as \nif they were mutually hostile to each other. Some \nday \xe2\x80\x94 several thousand years to come \xe2\x80\x94 ^when spec- \ntacled professors shall study \'American antiquities,\' \nall these \'common\' \'practical\' processes \xe2\x80\x94 the ways \nof cooking meals, manufacturing clothes, etc. \xe2\x80\x94 will \nbe \'cultural\' subjects on which learned courses of \nlectures will be given, and which will be accepted \nas proper subjects for theses for the degree of doctor \nof philosophy. . . . Somehow, according to college \nstudents, knowledge must have a certain age before \nit becomes \'cultural.\' When it is so far behind the \ntime that it ceases to be practical, then it becomes \ncultural." \n\nCollege authorities often have a singular method \nof differentiating between the value of studies in the \ncurriculum. Mrs. Ellen Richards once said: "The \n\n\n\n250 DOMESTIC ART \n\nhousing of the poor is already allowed as a college \n\ncourse. Why not the housing of college students? \n\nWe have condescended to study the \n\nImportance of \xe2\x96\xa0\' \n\nthe home as slums, it IS time we studied ourselves.\'\' \n\na study. \n\nTo this might be added not only the \nstudy of ourselves in relation to shelter, but also \nin regard to proper food and clothing, the admin- \nistration of our homes and the care and nurture \nof our children. There can be no more impor- \ntant college subject than the home. It covers the \nearth as far as fulness of subject-matter is con- \ncerned, and all the arts and sciences may be applied \nto home practices. In this age and era of educa- \ntion, the practical must be reckoned with by all \nwho are planning courses. The home stands as \nthe very centre, in training for the upbuilding of \ncharacter or for good citizenship; and if this effi- \nciency is the aim of the education for women, then \nthe home subjects must be better represented in \nour college courses. \n\nThere have been many difficulties which those \nDifficulties interested in the introduction of house- \nintroducing ^^^^ ^^^^ ^^^^ ^^^^ colleges have had \nhousehold arts, to facc. Perhaps the old-time conserv- \natism mentioned above has been the most diffi- \n\n\n\nDOMESTIC ART AS A PART OF COLLEGE TRAINING 251 \n\ncult. This will soon pass away when those inter- \nested in this field of work are able to present the \nsubjects in such a manner as to appeal to college \nauthorities. There may be objection at first to the \nintroduction of any practical work, but at least \nsome subject-matter may be presented in lecture \ncourses and an introduction given to this field. It \nvery often happens that high school girls preparing \nfor college have no opportunity for the study of house- \nhold arts, since their courses of study must be gov- \nerned to a great extent by the college entrance re- \nquirements. A girl who fails to get this work in \nhigh school naturally goes through college with no \nknowledge of the practical affairs of the home, and \nif she is at college away from home there is no \nopportunity for her to come in touch with the prac- \ntical things of life. The results are often truly \npitiable. The author has known a good many such \ngirls and they have made a strong appeal to her for \nsome knowledge of the practical. As one girl re- \nmarked, "If I only knew how to make my own \nshirtwaists and summer dresses and trim my own \nhats, what a saving it would mean to father! And \nall I can cook is fudge." This came from a girl \nof fine mind, a graduate of one of the Eastern col- \n\n\n\n252 DOMESTIC ART \n\nleges for women, perfectly prepared in mathematics \nand interested in her subject, but totally ignorant of \nMeeting the home affairs. This girl is one of the mar- \n\naSirs\'ofiife ^^^^^ ^Y^^\' ^hat results are likely to \nis inevitable, follow! She must meet the practical af- \nfairs : they are inevitable. She will be obliged to learn \nthrough sad experience in a more or less painful \nway and at the sacrifice of her own health, time, \nenergy, and money, as well as that of her family. \nShe is only one of many such girls who must face \nthe home problems. The fact that colleges have not \nrecognized for credit the high school work in house- \nhold science has greatly hindered the development \nof this work in both college and high school. The \ntime is almost here when college entrance boards \nwill accept for credit certain courses given in house- \nhold arts in the high school. The fact that it has \nnot been credited in the past is due to poor teaching \nrather than to insufficient value in the subject- \nmatter. Some associations for college entrance are \nshowing interest by requesting the formulation of \npossible schemes of work for credit. \n\nAnother difficulty has been the lack of properly \ntrained teachers to present this work. It is only \nvery recently that women with college degrees have \n\n\n\nDOMESTIC ART AS A PART OF COLLEGE TRAINING 253 \n\nbecome interested in the household arts work. \nMany have previously considered it undignified \nQtijgj. and have turned from it to other fields \n\ndifficulties. q\xc2\xa3 teaching. We must have our in- \nstructors in literature and the classics in order that \nour girls may know this field of spiritual possession, \nbut we need strong women to take an interest in \nthe development of the home subjects as well. Each \nyear produces a few more and the time will surely \ncome when we shall have competent instruction for \ncollege work in home economics. The field is very \nbroad and the opportunity very large for any one \nwho will prepare herself for this work. House- \nkeeping and home-making are certainly a profes- \nsion, and intelligent, thoughtful preparation must be \ndemanded from those who are to present this sub- \nject to the next generation, for their health and hap- \npiness are at stake. \n\nAnother difficulty is the readjustment of subject- \nmatter in order that this work may find a place. \nThis is easily managed when the authorities are \ninterested and face the value of this work. The \narrangement of periods, the opportunity for courses \nin appKed science instead of all pure science work, \nthe chance for elective courses, make possible the \n\n\n\n254 DOMESTIC ART \n\nintroduction, if there is a willingness to have it in \nthe curriculum. \n\nThere are many possibilities in relation to subject- \nmatter on both the artistic and scientific sides \nof home management and study. In \n\nPossibilities in "^ \n\ncollege courses relation to the domestic-art work there \n\nfor women. \xe2\x80\xa2 i i ^ n \n\nare many phases suitable for college. \nThe economic side of clothing and shelter offer \nopportunities in connection with a general course in \ncollege economics. Woman as spender \xe2\x80\x94 what \nshould her knowledge be of materials, their manu- \nfacture; how to purchase and regulate her expend- \nitures; how to judge of the wage and demands \nmade of the worker or seamstress? Should she \nknow and study the relative expenditure for gowns, \nshoes, hats, gloves, as well as household furnish- \ning? Should she be taught to think of economy of \ntime, money, and energy in order that she may have \ntime to enter into philanthropic study and service? \n\nThe home as a sociological study offers opportunity \nfor courses in this field \xe2\x80\x94 the family, the home-maker, \ntrue and false standards of living, luxury, relation- \nship of members in the home, the true home spirit. \n\nFrom an artistic point of view much of interest \ncan be offered \xe2\x80\x94 the history of architecture, and of \n\n\n\nDOMESTIC ART AS A PART OF COLLEGE TRAINING 255 \n\nthe various periods of decoration; history of tapes- \ntries, and of other textiles; Ruskin and Morris and \ntheir influence on art and its development ; the his- \ntory of costume and evolution of dress. Work in \npractical design should be offered in connection \nwith such a course. \n\nSome practical work in the study of materials, \ntheir composition and adulteration, will prove of \ninterest and value in college work. The standard- \nizing of textiles may be brought about when women \nhave an intelligent understanding of their composi- \ntion and can judge between values; this will lead \nnaturally to a demand for proper labelling and \nrepresentation of their composition. Some practical \nwork in garment-making may well find a place in a \ncollege course if the girls have had no high school \ninstruction in sewing. The work should be of value \nand adapted to the needs and interests of the \nstudents. \n\nThese arguments for the introduction of house- \nhold arts work into the college have been made \nbecause the home is the dominant interest in the \nlives of most women. The writer has not lost sight \nof the other college courses which the woman if \nwell educated should surely have \xe2\x80\x94 those studies in \n\n\n\n256\' DOMESTIC ART \n\nliterature and language which make for freedom of \nspirit and help in developing the imagination and \nworld of thought and feeling. These should not be \nneglected when a woman leaves college, but should \nbe the foundation for her later study and develop- \nment. The difficulty, however, in so many homes is \nthat the women are hampered by their so-called \nhome duties and have little or no time to soar into \nthe realms of literature or art. This is nearly always \ndue to a lack of understanding of relative values and \nof economy of time in home management. House- \nhold arts and economics should stand for simplicity \nin material things so that there will be time for \nother life-interests. If the college woman knows \nnothing of household economics, how can she be free \nfrom the dominance of things ? If she knows noth- \ning of the resources of modern science, how can she \napply them to her home and its improvement ? It is \nonly through such a scientific study that she can \nmake the ideal home of the future \xe2\x80\x94 the home which \nwill surely be the solace of the nation. \n\nThe following scheme may be suggestive of some \nof the possibilities for a college course for women. \nThis outline gives only the domestic-art phases of \na possible course in household arts. \n\n\n\nDOMESTIC ART AS A PART OF COLLEGE TRAINING 257 \n\nDOMESTIC ART AS PART OF A COURSE IN HOUSE- \nHOLD ARTS, IN COLLEGES FOR WOMEN \n\n\n\nHousehold \nArts \n\n\n\nDomestic science \nDomestic art \n\n\n\nFood \nShelter \n. Clothing \n\n\n\nHome management. \n\n\n\nThe courses following in domestic art are numbered I and II, \nand could be given in the ist and 3d or 2d and 4th college \nyears, leaving the alternate years for work in domestic science. \n\nCourse I. \xe2\x80\x94 Clothing and Design \n\nThree Periods Weekly- One-hour Lecture. Two Hours Prac- \ntical Work. Throughout the Year \n\nI. Clothing \xe2\x80\x94 \n\n(i) Economics of spending. \n\n(i) Woman as spender. \n\n(2) Cost of clothing. \n\n{a) Materials. Affected by adulterations, bargain sales, sec- \nonds, out of season and style, sweatshop labor, quality, econ- \nomy in selection. \n\n{h) Making, (i) Dressmaker, seamstress, time, wage. \n(2) Home-made by self \xe2\x80\x94 hand-work on gowns. (3) Time for \nvarious garments. (4) In harmony with means, occasion, and \npersonality\xe2\x80\x94 style, comfort, beauty. (5) Color in relation to \ndress. \n\n(c) Care and cleansing of clothes. Repairing. (Chemistry \nof cleansing and textiles \xe2\x80\x94 related course.) \n\n(3) Relation of cost of clothing to income. Proportion for \ngowns, hats, coats, shoes, gloves, etc. Depending on life, \nposition, climate, etc. \n\n\n\n258 DOMESTIC ART \n\n(ii) Hygiene in relation to clothing. \n\n(i) Comparison of leading textile fibres. \n\n(a) Chemically and microscopically. \n\n(&) History, growth, manufacture, properties and qualities \nas affecting health. \n\n(c) In respect to suitability of clothing dependent on climate, \noccupation, general health, etc. \n\n(iii) Ethics of shopping. \n\n(i) Consumers\' League. \n\n(2) Sweatshop labor. \n\n(3) Co-operatives. \n\n(4) Economy of time, energy, money, through system, and \nconsideration of others. \n\n(iv) History of clothing, \n(i) Evolution of dress. \n\n(a) Relation to growth, education, and environment of differ- \nent periods. \n\nII. Design. (Practical work, two periods weekly, first \nsemester) \xe2\x80\x94 \n\n(i) Principles of design and combination of colors. \n\n(2) Block printing, stencilling for scarfs, cushions, book- \ncovers, draperies, etc. \n\n(3) Designs for simple hand-work on gowns. \n\n(4) Drawing human figure. Proportions, draping, lines in \nrelation to figure, effects on appearance, showing art in lines \nof dress, costume design. \n\nIII. Clothing. (Practical work two periods weekly, sec- \nond semester) \xe2\x80\x94 \n\n(i) Economy in ability to do. \n\n(a) Making of shirtwaist and simple summer gowns such as \nwould appeal to college girls. \n\n\n\nDOMESTIC ART AS A PART OF COLLEGE TRAINING 259 \n\nCourse II. \xe2\x80\x94 Shelter \n\n{Two Periods per Week for One Year) \n\nI. The House \xe2\x80\x94 \n\n(i) The exterior. (History of architecture a related course.) \n\n(i) Appearance, location, city, country, suburb. \n\n(2) Rents. Proportion of rent to income, number of indi- \nviduals, etc. \n\n{a) Adaptation to needs, position, etc., of occupants. \n(b) False standards. \n\n(3) Municipal art. Municipal League. Woman in rela- \ntion to civic affairs. (Social economics a related course.) \n\n(ii) The interior. \n\n(i) The home. \n\n{a) Meaning, atmosphere, affected by social changes; effi- \nciency, happiness dependent on. \n\n(h) The family, the home-maker, false standards; desire for \nluxury. \n\n(2) The decoration and furnishing. \n\n{a) Economy, (i) Respect to beauty, comfort, and health; \nposition and needs of occupants. (2) Making most of existing \ncircumstances. Dealing with and planning for specific prob- \nlems. (3) Least expenditure of time, energy, money. \n\n(h) Specific rooms, (i) Bedrooms, living-rooms, dining- \nroom, etc. Ceilings, walls, floors, arrangement. (2) Decora- \ntion and furnishing. Floor coverings, walls, draperies, lighting, \nfurniture, glass, pottery, tapestries, coloring, materials, quahty, \namount, cost. \n\n(3) Proportioning of household expenditures. Repairs. \nNew furnishing. \n\n\n\n26o DOMESTIC ART \n\nII. History of Periods of Decoration \xe2\x80\x94 \n\n(i) Handicraft movement. Ruskin and Morris in relation \nto household art. \n\n(2) History of tapestries and other textiles. \n\n(3) History of silver, glass, etc. \n\nIII. Excursions \xe2\x80\x94 \n\nStores, factories, museums, study of furniture, stained glass, \ntapestry, etc. \n\nReferences for Study \n\n"Report of Lake Placid Conference on Home Economics,\'* \n1907. \n\n\n\nCHAPTER XIII \n\nDOMESTIC ART IN OTHER HIGHER INSTITU- \nTIONS OF LEARNING \n\nDomestic art may or may not be a phase of a \ngirl\'s general training in college, but it now forms a \ndecided part of the work open to women in other \nhigher institutions of learning. \n\nIt is offered in many of the state and agricultural \ncolleges as work of educational value open to women \nin the general course and counts for credit toward \ngraduation. This is often designated as a home- \nmaker\'s course and presents work in the various \nphases of domestic art as previously outlined. The \nwork is often required as part of the general course, \nwith opportunity for electives if there is particular \ninterest in this specialty. In other instances this \nwork is entirely elective. The courses offered are \ngenerally of a practical nature^garment and dress \nmaking, millinery and embroidery, designing and \nwork in textiles. As yet little attention has been \n\npaid to the economic and ethical phases of the \n\n261 \n\n\n\n262 DOMESTIC ART \n\nwork, although the artistic and scientific sides have \nreceived some attention. These should be of par- \nticular interest in higher education and make woman \na wiser administrator of the funds which it will be \nher duty to disburse as she carries on the business \nof home-making. The courses offered in the State \nand agricultural colleges should aim to give this \ndirection to the work. It is fatal to the cause for \nstudents graduating from this general course in \nthe State college to go into this teaching field \nwithout additional preparation. Many of these \nState colleges have normal departments where \nadditional training may be had in the more strictly \neducational phases of the work. Examples of the \nState and agricultural colleges giving work in do- \nmestic art are Ohio State University; University of \nIllinois; Ames Agricultural College, Ames, la; Mich- \nigan State Agricultural College; University of Ten- \nnessee. \n\nHo\'me-maker\'s courses are offered in many of the \nhigher institutions besides the State and agricultural \ncollege. They are open, as a rule, to girls with \nand without previous high school training, and may \nbe of an elementary or advanced nature. The work \noffered covers practical courses in household man- \n\n\n\nDOMESTIC ART IN OTHER INSTITUTIONS 263 \n\nagement, care of children, home nursing, elementary \nand advanced cookery for household use, garment- \nmaking, dressmaking, millinery, costume design, \nhouse sanitation, housewifery, and others. These \nstudies group themselves about the shelter, nutri- \ntion, and clothing of the family, and reach a large \nclass of girls v^ho will probably marry early and \ndo not care for the more academic studies, but are \ninterested in the practical things of life. Such \ncourses cannot fail to produce better and more in- \ntelligent homekeepers. Domestic art offers such \nstudents courses in dressmaking, garment-making, \nmillinery, and embroidery. Courses in costume \ndesigning, color harmony, elementary design, and \nhouse decoration, study in the fabrics for use both for \nclothing and furnishings, and distinctive study in- the \nwise purchase of articles of clothing and furnishings. \nThe hygiene, cost, durability, repair, and selection \nof materials are all closely allied in this economic \nstudy. Examples of this type of course may be \nfound at the School of Household Arts, Teachers \nCollege, Columbia University; Pratt Institute, Brook- \nlyn; Stout Training School for Homemakers, Me- \nnominee, Wis.; Drexel Institute, Philadelphia; Uni- \nversity of Chicago, and others. \n\n\n\n264 DOMESTIC ART \n\nNormal domestic-art trainiug is offered in many of \nour universities, colleges, and technical institutions. \nIn most of these the course is open to high school \ngraduates, although some require two years of work \nin advance of the high school training. This, as a \nrule, insures a better grade of teacher and the course \nproves of greater value than when taken without \nadditional training or experience. It is very wise \nfor young students expecting ultimately to specialize \nin domestic-art teaching to have some experience in \ngeneral teaching before undertaking the specialty. \nAs a rule they make much better teachers when they \npossess some knowledge of general class-room man- \nagement. A normal course in domestic art should of- \nfer instruction in the following subjects which cannot \npossibly receive just treatment in less than two years \nof intensive study. A three years\' course is advisable. \n\n(i) History and principles of education. \n\n(2) General and educational psychology. \n\n(3) Theory of teaching domestic art, with oppor- \ntunity for practical work in its various phases. \n\n(4) Supervision and organization of work in vari- \nous types of schools. \n\n(5) The study of textiles, their manufacture, eco- \nnomic purchase, durability, properties, and use. \n\n\n\nDOMESTIC ART IN OTHER INSTITUTIONS 265 \n\n(6) Garment-making, to include the application \nof all the hand-sewing stitches. \n\n(7) Dressmaking, both elementary and advanced, \nwith facilities for practice. \n\n(8) Millinery. \n\n(9) Miscellaneous hand-work, such as crocheting, \nknitting, and weaving. \n\n(10) Elementary design and color harmony. Ad- \nvanced work in design and color, with direct appli- \ncation to costume and home furnishings. \n\n(11) The home as a sociological study. Its spirit, \nplans for its artistic study, both on the exterior and \ninterior. \n\n(12) Economics of the home in relation to home \nmanagement, expenditures, purchase and repair of \nhousehold clothing and furnishings. \n\nSuch training prepares for the teaching of sewing \nin elementary or high schools and supervisory work \nin schools or higher institutions. Not all teachers, \nhowever, who pursue such a course are fitted to do \nsupervisory work. Much will depend on the pre- \nvious training and experience. The demand in the \nteaching field of higher education is at present for \nwomen who have college degrees as well as diplomas \nfor teaching the specialty. Such women must \npossess strong personalities and have the power of \n\n\n\n266 DOMESTIC ART \n\ninitiative. The demand for this type of woman \ncannot be met and the field is open to those who \nwill prepare themselves adequately for it. \n\nWith the development of trade school work in \nthis country will probably come a demand for \nteachers and directors for such schools. In addi- \ntion to the above outlined course, directors of trade \nschools should be students of general economics \nand sociology, as well as of the industrial conditions \nof women and children. They should be college \nwomen of the highest training with the spirit of \ninvestigation and a willingness to probe the diffi- \nculties in this particular field. So many of the \ntrades open to women group themselves about the \nneedle that it is preferable that the director be a \nwoman who knows well the domestic-art field of \nwork, although the future will see other lines of \ntrade for women introduced in this type of school. \nThe teachers in trade schools should be women with \nspecific intensive knowledge of the kind of work to \nbe taught. The general course in domestic art as \noutlined, with perhaps some omissions of the psy- \nchology and history of education, will make a good \nfoundation for future intensive practical work in \ntrade, of some phase of domestic art, or may sup- \n\n\n\nDOMESTIC ART IN OTHER INSTITUTIONS 267 \n\nplement the practical work of years of experience \nin trade. Normal training courses are given in \nTeachers College, Columbia University; Drexel \nInstitute, Philadelphia; Mechanics\' Institute, Roch- \nester; Stout Training School, Menominee, and \nother institutions. \n\nHousehold arts work in higher institutions is \nbeginning to offer opportunity to students to prepare \nthemselves for non-teaching positions. Courses are \nopen to those who wish to prepare for institutional \nand household administration, dietetics, manage- \nment of laundries, social work, nursing, costume \ndesign, house decoration, and other specific fields. \nDomestic-art work enters as a phase of the prepara- \ntion of institutional and household administrators \non the specific side of design, clothing, and textiles, \ntheir economic purchase, care, use, properties, etc. \nThis phase of domestic-art work enters also into the \ntraining of social workers, house decorators, and cos- \ntume designers. \n\nExamples of institutions offering such training are : \nHousehold Arts School, Columbia University; Sim- \nmons College, Boston; Pratt Institute, Brooklyn, \nand others. \n\n\n\nA SELECTED BIBLIOGRAPHY OF BOOKS \n\nHELPFUL IN THE STUDY OF THE \n\nVARIOUS PHASES OF DOMESTIC ART \n\n\n\nEDUCATIONAL \n\n(i) "The Method of the Recitation." McMurray. (Mac- \nmillan, 1904.) \n\n(2) "The Educative Process." Bagley. (Macmillan, 1905.) \n\n(3) "Principles of Teaching, Elements of Psychology." \n\nThorndike. (A. G. Seller, New York, 1907.) \n\n(4) "School and Society." Dewey. (Chicago University \n\nPress, 1899.) \n\n(5) "The Place of Industries in Elementary Education." \n\nK. E. Dopp. (Chicago University Press.) \n\n(6) "EngHsh Reports on Education." Sadler. (Vols. 10 and \n\nII, American Education.) \n\n(7) "TheMakingof Our Middle Schools." Brown. (Long- \n\nmans, 1903.) \n\n(8) "Youth. Its Education, Regimen, and Hygiene." G. S. \n\nHall. (Appleton, 1907.) \n\n(9) "Teachers College Records." (Teachers College, New \n\nYork.) \n\n(10) "The Child and the Curriculum." Dewey. (University \n\nof Chicago Press.) \n\n269 \n\n\n\n270 DOMESTIC ART \n\n(11) "Notes on Child Study." Thorndike. (Macmillan, \n\n1903-) \n\n(12) "Report of Massachusetts Commission on Industrial \n\nand Technical Education." (Boston, 1906.) \n\n(13) "Trade and Technical Education." (Seventeenth Annual \n\nReport of the United States Commissioner of Labor, \n1902, Washington.) \n\n(14) "The Manhattan Trade School for Girls." Mary S. \n\nWoolman. (Educational Review, September, 1905, \nvol. 30.) \n\n(15) "Trade Schools \xe2\x80\x94 ^An Educational and Industrial Neces- \n\nsity." Mary S. Woolman. (The Social Education \nQuarterly, vol. i, March, 1907.) \n\n(16) "The American High School." J. F. Brown. (Mac- \n\nmillan, 1 9 10.) \n\n(17) "Beginnings in Industrial Education." Paul Hanus. \n\n(Houghton Mifflin, 1908.) \n\n(18) "The Making of a Girls\' Trade School." Mary S. \n\nWoolman. (Whitcomb and Barrows, Boston.) \n\nSEWING AND DRESSMAKING \n\n(i) "School Needlework." O. C. Hapgood, 1893 (Teachers\' \nEdition). (Ginn.) \n\n(2) "A Sewing Course." Mary Schenck Woolman. (F. A. \n\nFrenald, Buffalo, N. Y., 1908.) \n\n(3) "Dressmaking Up to Date." (Butterick Publishing Com- \n\npany.) \n\n(4) "The Complete Dressmaker." (Edited by C. E. Laugh- \n\nlin, 1907.) \n\n(5) "Dress Cutting, Drafting, and French Pattern Modelling," \n\nM. Prince Brown. (Archibald Constable and Com- \npany, London.) \n\n\n\nBIBLIOGRAPHY 27 1 \n\n\n\nMISCELLANEOUS HAND-WORK \n\n(i) "How to Make Baskets." Mary White. (Doubleday, \nPage.) \n\n(2) "Varied Occupations in String Work." Louise Walker. \n\n(Macmillan, 1895.) \n\n(3) "Occupations for Little Fingers." Sage and Cooley. \n\n(Scribner, 1905.) \n\n(4) "Embroidery." W. G. Townsend. (Truslon, London, \n\n1899.) \n\n(5) "Embroideries and Their Stitches." (Butterick Publish- \n\ning Company, New York.) \n\n(6) "Practical Millinery." J. Ortner. (Whitaker, London, \n\n1897.) \n\n(7) "Columbia Book of the Use of Yarns." Wm. H. Horst- \n\nman Company, Philadelphia.) \n\n(8) "Woman\'s Library of Needlework." Ethel McKenna, \n\n1903. \n\n(9) "Lace." Goldenberg. (Brentano, 1904.) \n\nHOUSEHOLD ART \n\n(i) "Philosophy of Color." Clifford, 1904. \n\n(2) "Color, Dress, and Needlework." Lucy Crane. (Mac- \n\nmillan.) \n\n(3) "Suggestions for Instruction in Color." (Prang, 1893.) \n\n(4) "Art in Needlework." L.F.Day. (Scribner, 1900.) \n\n(5) "Household Art." Mrs. Candace Wheeler. (Harper, \n\n1893-) \n\n(6) " Some Principles of Every-Day Art." L. F. Day. (Scrib- \n\nner, 1900.) \n\n\n\n272 DOMESTIC ART \n\n(7) "Household Art." Mrs. Candace Wheeler. (Harper, \n\n1893.) \n\n(8) "Plea for Handicraft." Crane. (The Philistine Maga- \n\nzine, March, 1900.) \n\n(9) "Colonial Furniture in America." Lockwood. (Scribner, \n\n1901.) \n\n(10) "History of English Furniture." Percy Macquoid. \n\n(Putnam, 1904-6.) \n\n(11) "History of Architecture." Hamlin. (Longmans, 1895.) \n\n(12) "Houses in City and Country." H. Stone, 1903. \n\n(13) "The Art of Right Living." EUen H. Richards. \n\nDRESS \n\n(i) "Costumes of Colonial Times." Earle. (Scribner, 1894.) \n\n(2) "Two Centuries of Dress in America." Earle. (Mac- \n\nmillan, 1903.) \n\n(3) "What Dress Makes Us." Quigley. (Dutton, 1897.) \n\n(4) "English Costume." Callthorp. (A. and C. Black, Lon- \n\ndon, 1906.) \n\n(5) "The Human Body." Martin. (Holt, 1900.) \n\nECONOMIC AND SOCIOLOGICAL STUDIES \n\n(i) "Principles of Economics." Fetter. (Century, 1904.) \n\n(2) "The Woman Who Spends." Richardson. (Whitcomb, \n\n1904.) \n\n(3) "How to Keep Household Accounts." Haskins. (Har- \n\nper, 1903.) \n\n(4) "Home Economics." M. Parloa. (Century, 1898.) \n\n(5) "Encyclopedia of Household Economy." E. Holt. (Mc- \n\nClure, Philadelphia.) \n\n\n\nBIBLIOGRAPHY 273 \n\n(6) "Economic Function of Women." Edward De vine. (Pub- \n\nlished by American Academy of Political and Social \nScience, No. 133, Philadelphia.) \n\n(7) "Social Control." Ross. (Macmillan, 1901.) \n\n(8) "Democracy and Social Ethics." Jane Addams. (Mac- \n\nmillan, 1902.) \n\n(9) "The Level of Social Motion." Lowe. (Macmillan, \n\n1902.) \n\n(10) "New Basis of Civilization." Patten. (Macmillan, \n\n1907.) \n\n(11) "Cost of Living." Ellen H. Richards. \n\n(12) "Home Problems from a New Standpoint." Caroline \n\nL. Hunt. \n\n(13) "Vocations for the Trained Woman." (Women\'s Edu- \n\ncational and Industrial Union, of Boston, 19 10.) \n\nSTUDY OF TEXTILES \n\n(i) "The Story of the Cotton Plant." F.Wilkinson. (Apple- \nton, 1899.) \n\n(2) "Cotton Spinning." F. Marsden. (Macmillan, 1895.) \n\n(3) "Woolen Spinning." Charles Vickerman. (Macmillan, \n\n1894.) \n\n(4) "Textile Fibres." Matthews. (Wiley, 1904.) \n\n(5) "The Dyeing of Textile Fabrics." Hummel. (Cassell, \n\n1893-) \n\n(6) "Textiles and Clothing." Kate H. Watson. (American \n\nSchool of Home Economics, Chicago.) \n\n(7) "Woolen and Worsteds." McLaren. (Cassell, 1899.) \n\n(8) "Linen\xe2\x80\x94 How It Grows." (National Flax Fibre Com- \n\npany, 1900.) \n\n(9) "Linen Trade \xe2\x80\x94 Ancient and Modern." Warden. (Long- \n\nmans, 1867.) \n\n\n\n274 DOMESTIC ART \n\n(10) "Silk Culture in California." Carrie Williams. (Whit- \n\naker, 1902.) \n\n(11) "Weaving and Designing." Ashenhurst. (Simpkins, \n\nLondon, 1879.) \n\nThe following magazines give helpful suggestions for those \n\ninterested in domestic art: \n\n"The School Arts Book." $1.50 per year. (Davis Press, \nWorcester, Mass.) \n\n"The Manual Training Magazine." $1.50 per year. (Man- \nual Arts Press, Peoria, 111.) \n\n"The Ladies\' Home Journal." $1.50 per year. (Curtis Pub- \nlishing Company, Philadelphia.) \n\n"The Good Housekeeping Magazine." $1.50 per year. \n(Phelps Publishing Company, Springfield, Mass.) \n\n"The Woman\'s Home Companion." $1.25 per year. (Cro- \nvi^ell Publishing Company, New York.) \n\n"The Delineator." $1.00 per year. (Butterick PubHshing \nCompany, New York.) \n\n"Harper\'s Bazar." $1.25 per year. (Harper & Bros., New \n\nYork.) \n\n"L\'Art de la Mode." $3.50 per year. (Morse, Broughton Co., \n\nNew York.) \n\n"Elementary School Teacher." $1.50 per year. (University \nof Chicago Press, Chicago.) \n\n"Teachers College Record." $1.00 per year. (Teachers \nCollege, Columbia University, New York.) \n\n"Educational Review." $3.00 per year. (Educational Re- \nview Company, Columbia University, New York.) \n\n"The Survey," formerly " Charities and the Commons." $2.00 \nper year. (Charity Organization Society.) \n\n"The Craftsman." $3.00 per year. (Gustav Stickley, 41 \nWest Thirty-fourth Street, New York.) \n\n\n\n1911 \n\n\n\n'