Glass, 
 Book. 
 
 COPYRIGHT DEPOSIT 
 
■/ 
 
 The International 
 
 "p^CYc T0P EDl/\ 
 
 — OF — 
 
 Scientific Tailor Principles, 
 
 — FOR — 
 
 All Kinds and Styles of Garment-Making. 
 
 — AND — 
 
 Drafting the Actual Measures or Indices 
 
 — The Absolute Mathematical Mould or Perfect Fit 
 of the Human Form — 
 
 TRUE TO ANY DESIGN OR FASHION PLATE, 
 
 By Scientific Square Measurement, either 
 
 Directly or Indirectly Upon the Goods, 
 
 WITH ANT MATHEMATICAL INOH-EIJLE AND TAPE MEASUEE ALONE. 
 
 — also — 
 
 Designing, Copying, Basting, Seaming, Stitching, Tailor Finishings, Tailor Buttonholes, Trimming, 
 
 Draping, Stamping, Embroidery, Crocheting, Knitting, Worsted Work, Fancy and Artistic 
 
 Needle Work, Lace Work, Bead Work, Millinery, Hair Work, Feather Work, 
 
 Wax Flowers and Wax Work, Shell Flowers and Shell Work, Transfer 
 
 Work, Tramsparencies, Leap Work, Leather Work, Fancy 
 
 Dyeing, Water-Color Painting, China and Pottery 
 
 Painting, Greclln Oil Painting, Lustre-Painting, , v (jjf '^^A/T;?**^ 
 
 LiNCRusTRA Painting, Kensington Painting, ^I'T.ari;. i- , 
 
 Utility and Decorative Arts. 
 
 IN ONE VOLUME OF FOUR PARTS, ' // / / 
 
 Illustrated and SELF-lNSTRUCTivEr'""^'"' 
 
 / — BY — ' .', 
 
 PROF. D. C. CHRISTNE R, V. D. M. 
 
 PHILiiriELPHIii ! 
 
 laaa. 
 

 <.. 
 
 COPYRIGHTED IN FULL, 
 AND 
 
 Entered according to the act of Congress, in the year A. D. 18S5, by D. C. Christner, in the office of the Librarian of 
 
 Congress, at Washington, D. C. 
 
 ALL RIGHTS RESERVED. 
 
 n 
 
 )" //?/ 
 
To the millions in the Work-room and the Home, who are striving for excellence 
 — in its province — and who would and ma^ educate, refine, and ennoble humanity, by 
 giving the most beautiful, impressive, and perfect expression to the best, most 
 appropriate, and perfect conceptions of thought, through the characters and language of 
 UTILITY and DECORATIVE ART— this book is respectfully dedicated, by 
 
 THE AUTHOR. 
 
MVISIONAL COMf^WS' 
 
 Part I. — All branches of Ladies' and Children's Dress Cutting and Basting. 
 Part II. — All branches of Ladies' and Children's Cloak and Wrap Cutting and 
 Basti7ig. 
 
 Part III. — All branches of Designing Ladies' and Childreiis Garments, Copying, 
 Basting, Seaming, Stitching, Tailor Finishings, Tailor Buttonholes, 
 Trimming, Draping, Stamping, Embroidery, Crocheting, Knitting, 
 Worsted Work, Fancy and Artistic Needlework, Lace Work, Bead 
 Work, Millinery, Hair Work, Feather Work, Wax Flowers and Wax 
 Work, Shell Flowers and Shell Work, Transfer Work, Transparencies, 
 Leaf Work, Leather Work, Fancy Dyeing, Water- Color Painting, 
 China and Pottery Painting, Grecia7i Oil Painting, Lustre Painting- 
 Lincrusta Painting, Kensington Painting, Utility and Decorative Art. 
 
 Part IV. — All branches of Gentlemen! s and Boys' Coat, Vest, Pantaloon, and Over- 
 coat Ctitting. 
 
M<IC^-LI$1'-"AM> OCMJ^NA-riOM' 
 
 •»-:?»t^'^5<^ 
 
 ENCYCLOPEDIA, printed on extra fine heavy paper, elegantly bound in fine 
 cloth ; stamped in gold, with heavy gilt edges ; price, $5.00. 
 
 "The Scientific Tailor Principles of Garment- drafting''' alone, as contained in 
 The Encyclopedia, have an actual and positive standard commercial value — among 
 the professional connoisseurs and leading tailors throughout Europe and America — 
 ranging in price, all the way firom $50 to $100 ; and in order to obtain a knowledge 
 of each and all of the various other Arts and Sciences, fully and clearly taught and 
 beautifully illustrated in the work — if learned in the usual and ordinary way and 
 manner, and at the usual and standard prices, which range from $2.50 to $10.00, 
 for each special department — a still greater expense would necessarily be incurred 
 thereby ! It will thus be seen at once, by all thoughtful and fair-minded persons, 
 that through The Encyclopedia, a complete, scientific, and exhaustive manual of 
 instruction is now furnished to the public, in all of these valuable, costly, and eagerly 
 sought arts and sciences at an exceedingly and surprisingly small cost, when we fix 
 the price at only $5.00, for what would otherwise cost the student or public — through 
 the channel of the conservative and exorbitant prices of the former and once popular, 
 but now rapidly waning, "Oral school" of Teachers — several hundred dollars ! All 
 of which is at least, more thoroughly and accurately taught, in theory ; and certainly 
 by means of our lucid and exhaustive system of diagrams, equally as well if not 
 better, in practice. If we are asked: "Do you mean to convey the idea — accepting 
 the principles of your system of drafting as being absolutely correct, that all persons 
 can, through it, be taught to measure, and to use it, absolutely correct ? " If the 
 question is asked, as pertaining to such persons who are capable of receiving, 
 retaining, and practically using any knowledge whatever — either orally or from 
 books — we ask in return, "why not? — through careful study and experiment, 
 coupled with a determined care for accuracy, subject to the same mistakes only, that 
 occur in other mechanical operations ! " 
 
 Is it not strange, yea, passing strange, that such a question, should even be 
 asked by an intelligent mind, in this age? Show us any principle, either in Science 
 or Philosophy, which is correct in the abstract, and we will show you one which can 
 
 (9) 
 
lO 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 be reduced to practice ! And as touching the demonstration and proof, in this case, 
 we verify the same, in the given references— from those whose experience and testi- 
 mony should certainly be a satisfactory answer to any intelligent mind. Of this we 
 are certain : If we could not assure a practical knowledge of these Arts and Sciences 
 to any ambitious, industrious, and patient student— through the printed and illustrated 
 instructions of TIieEiicycIopedia—citn^anlywQCOxxXd not conscientiously promise and 
 assure a practical knowledge of the same to such, in any other way ! Hence logically, 
 practically, and by demonstrated proof we sustain our claim, of furnishing to the 
 public— through The Encyclopedia, the same practical knowledge and commercial 
 value, and that too in a more exhausti\-e and permanent form, for the mere nominal 
 price of $5.00, which would, through any and every other available avenue, cost the 
 public at least, several hundred dollars ! No one, therefore— not even the most 
 obtuse mind— capable of receiving, retaining, and practically using any knowledge 
 either orally or from any book or books whatever, and who is industrious and patient, 
 need have any fears but that— by devoting the spare hours of each day, or the 
 evenings of a few weeks, to the study and practice of the given problems, and the 
 instructions and illustrations for their solution, and in their natural and given order 
 
 all can be easily and thoroughly comprehended and perfecdy reduced to practice, 
 
 without being necessitated to expend either time or money on oral instructions. For 
 the oral instructions would of necessity be simply the oral repetition of the printed 
 and illustrated instructions — all being able to comprehend these, if they but will : the 
 question therefore, simply resolving itself into this : "Whether or not the student is 
 willing to exercise a sufficient degree of industry, patience, accuracy, and care?" 
 The time, in which said knowledge is attained by each, depending entirely upon the 
 degree of said properties possessed and exercised, by said student ! But as a 
 provision for those who can not, dare not, or will not trust their own industry and 
 patience, to comprehend and practically master the printed and illustrated instruc- 
 tions, and who wish or insist upon the additional help of extra and oral instructions; 
 in any part or parts of the work ; and who are willing to pay for said time and 
 service — such can arrange for said instructions with the agent from whom The 
 Eyicyclopcdia is purchased, at such times and places as may be mutually agreed 
 upon ; and in any department of the work that may be desired by said purchaser, 
 and that may be mutually decided upon. Furthermore, arrangements can be made 
 thereafter, and at any time, with any manager or agent of any of our metropolitan 
 offices nearest and most convenient to and for said purchaser, for any number of 
 lessons in any department of The Encyclopedia, as may be mutually agreed upon. 
 The terms for said lessons or instructions, to be uniform in price throughout the 
 United States, and not to exceed nor to be less in rate than fifty cents per hour ; said 
 lessons to be taken at the offices of said agents, unless otherwise and especially 
 arranged for. 
 
 Believing in and practicing the principles of "live and let live," and "one and 
 the same price to all," and having spared no cost — either in time, labor or money — 
 in the preparation, arrangement and completion of a work for the small sum of $5.00, 
 which contains and represents a positive and standard commercial A-alue of at least 
 several hundred dollars to the public, we solicit the patronage and influence of the 
 profession, and an intelligent and fair-minded public everywhere — and especially that 
 
UTILITY AND DECORATIVE ART. II 
 
 of our patrons, in its introduction ; which will insure to us a constant, permanent, 
 and a grateful patronage thereafter. 
 
 Squares, inch-rules, tape-measures, tracing wheels, etc., are things entirely- 
 separate and distinct from The Ejicyclopedia, or book of instructions — as much so, 
 as the sewing machine, the plaiter, the dress-form, the scissors, the crochet-hook, or 
 needles,, etc. ; and must each and all be provided for, and arranged and paid for, 
 separately. The system of drafting is not founded on any particular kind or form of 
 the square, or inch-rule, or any special form of the "inch-instrument" whatever. 
 Nor yet is it based as some systems are — simply and solely upon twelfths or 
 sixteenths, etc., as integral parts of the mathematical inch ; thus requiring a special 
 square or inch-rule, upon which said divisions are especially graded — along with or 
 without various other fixed proportions, numbers, divisions, etc. ; but the system is 
 in every way, entirely, and in a preeminent sense independent of all such unscientific 
 and deceptive proportional gradings, whatever. In all its elements of construction 
 and principles of application, it is purely, simply, and positively, actual measurement, 
 alone ; and it is not based upon any special form of the square or inch -rule, but upon 
 the mathematical inch itself — and upon this alone ! Since the greater necessarily 
 includes the lesser — and the whole its parts — we of course include all its scientific, 
 mathematical, and natural divisions ; and nothing more, and nothing less ! 
 
 It will readily be seen, therefore, by any intelligent mind, that any form of the 
 inch instrument, by means of which straight lines can be drawn of sufficient length, 
 and at right angles with each other, will satisfy all demands — in connection with the 
 tape-measure — as the instrument of execution, in drafting. Any square or inch-rule 
 therefore, even a school child's penny inch-rule, or otherwise a YARD stick, will be 
 sufficient, in the hands of the experienced student ! But as a matter of the highest 
 convenience, preference, and general adaptability, for all kinds of work, under all 
 circumstances, the author both recommends and personally uses, the common, plain, 
 hardwood, mathematical inch square, having the inch and its mathematical 
 divisions — down to sixteeths — repeated twelve times on the short arm, and twenty- 
 four times on the long arm ; — "sixteenths" being a sufficiently close division of the 
 inch, for all ordinary practical purposes. 
 
 The inside of the end of the long arm should be neatly and evenly curved, com- 
 mencing from a point four inches from the end and curving to the depth of one-half 
 inch, at the end, so as to give the ordinary and standard curves for the curved lines 
 in the darts, and also at and below the waist line, and as these same lines are illus- 
 trated in the engravings. But any one having a mathematical inch-rule of any kind 
 — as given above — need not necessarily be at any extra expense in the purchasing of 
 new or different instruments, in accepting and adopting this system of drafting. 
 But if straight rules are used, the same curve should be given to the inside of one of 
 the ends — as described above, on the plain, common square. Students can purchase 
 Rules and Squares, all the way from fifty cents to five dollars — according to style, 
 quality, convenience, and finish. The Encyclopedia simply teaches the student the 
 scientific and practical use of any mathematical inch-rule and tape-measure — alone. 
 It teaches the science of garment-drafting, by actual mathematical inch measure- 
 ment ! Great care must however be taken in so drafting that the lines will be exactly 
 at right angles with each other — where called for in the instructions — if a straight 
 inch-rule is used. We furnish through our agents, or at our offices, all kinds and 
 
12 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 grades of Rules, Squares, Tape-Measures, Tracing-Wheels, Tailors' and Dress- 
 makers' Furnishing Supplies, and indeed all supplies or necessaries pertaining to the 
 arts and sciences taught in The Encyclopedia^ at a very small margin of profit; and 
 will always furnish our customers the best, and the most that is possible, for their 
 money, promptly, and according to order. We do a strictly cash business, on 
 business principles, only. Agents pay cash for all goods received, and our customers 
 must expect the same terms only, either from them or from us. Agents are strictly 
 confined to tabulated prices. B@°" Agents found guilty of deception, falsehood, 
 dishonesty, or immorality, will immediately be discharged, regardless of any sacrifice 
 whatever to ourselves, in a financial view.°^|[ Hence the public can rely implicitly 
 upon the statements, business transactions, and character of our Agents ; and we 
 bespeak for them the courtesies due a lady or gentleman, unless they should prove 
 themselves other than such, in which case, the reporting of their names and conduct 
 at our office will be accepted as a favor by The Author. 
 
UTILITY AND DECORATIVE ART. 
 
 13 
 
 $ul>^Lm^WAKy m^ic^-lis-t. 
 
 ■t-^>i:^<?^H£~'- 
 
 I Plain Straight Inch-Rule, (18 inches long) $0 50 
 
 I Plain Straight Inch-Rule, (21 inches long), .... o 75 
 
 I Plain Straight Inch-Rule, (24 inches long), .... i 00 
 I Plain Straight Folding Inch-Rule, (24 inches long), i 25 
 
 I Plain Hardwood Square, (24x12 inches), i 50 
 
 I Plain Hardwood Square, with Brace, (24x12), . . i 75 
 I Plain Hardwood Square, highly polished, with 
 
 Hinges for folding, 2 50 
 
 I Fine Sateen Tape Measure, (60 inches), 25 
 
 I Best Sateen Tape Measure, with "Spring-fold," i 00 
 I Best Steel Tape Measure, with " Spring-fold," 
 
 (60 inches), 2 25 
 
 I Measure Book 50 
 
 I Good Single Tracing Wheel, 35 
 
 I Best Quality Single Tracing Wheel, 65 
 
 I Good Double Tracing Wheel, i 00 
 
 I Best Quality Double Tracing Wheel i 25 
 
 I Pair Best Steel Scissors, 8% inches i 75 
 
 I Pair Best Steel Scissors, 9 inches, 200 
 
 I Pair Best Steel Scissors, 10 inches 2 25 
 
 I Pair Best Steel Scissors, 11 inches 250 
 
 I Pair Best Steel Scissors, 12 inches 3 50 
 
 I Pair Best Steel Tailors' Shears, 14 inches, .... 5 50 
 
 I Plain Wire Draping Form 5 00 
 
 I Patent Adjustable Draping Form, changeable 
 neck, bust, waist and skirt, from 32 to 44 
 inches at the bust, and 20 to 32 inches at 
 
 the waist, 12 50 
 
 I Best and Latest Plaiter, 5 00 
 
 I Plain Gauge for Biais Cutting, 2 00 
 
 I Jointed Gauge for Bias Cutting, 2 50 
 
 I Beautiful Stamped Leather or Morocco "Port- 
 folio" for carrying book, folding-square, 
 fashion journal, measure book, scissors, 
 and sewing outfit — on going out to sew in 
 
 families 4 50 
 
 I Quire good Manilla Drafting Paper 25 
 
 I Quire best Manilla Drafting Paper 35 
 
 I Box "Tailor'sChalk," (three colors) 25 
 
 I Box Best "Crayons" 35 
 
 I "Test Lining," cut and basted to measures ... i 00 
 I Cut Paper Pattern of Waist, for lady or child, 
 
 to measures 50 
 
 I Cut Paper Pattern of waist and sleeves, for lady 
 
 or child, to measures 75 
 
 I Cut Paper Pattern of Sleeve, for lady or child, 
 
 separately, to measures 35 
 
 I Cut Paper Pattern of Basque for lady or child, 
 
 toany Fashion Plate chosen, and to measures, i 00 
 
 I Cut Paper Pattern of Skirt and Over-Skirt for 
 lady or child, to any Fashion Plate chosen, 
 and to measures i 00 
 
 I Cut Paper Pattern of Skirt, separately, for lady 
 or child, to any Fashion Plate chosen, and 
 to measures 50 
 
 I Cut Paper Pattern of ladies or misses Train- 
 skirt, to any Fashion Plate chosen, and to 
 measures, i 00 
 
 I Cut Paper Pattern for lady's or misses' polon- 
 aise, to any chosen Fashion Plate and to 
 measures i 25 
 
 I Cut Paper Pattern of ladies' or child's Short 
 Jacket or Coat, to any Fashion Plate, and 
 to measures, i 00 
 
 I Cut Paper Pattern of lady's or child 's long Coat 
 or Ulster, to any chosen Fashion Plate, and 
 to measures, i 50 
 
 I Cut Paper Pattern of lady's or misses' Dolman- 
 Sleeved Wrap, toany chosen Fashion Plate, 
 and to measures, i 75 
 
 I Cut Paper Pattern of lady's or child's Circular, 
 
 to any Fashion Plate, and to measures ... i 00 
 
 I Cut Paper Pattern of entire suit (complete) for 
 lady or child, to any chosen Fashion Plate, 
 and to measures 2 50 
 
 I Cut Tissue Paper Pattern for lady or child 
 (complete suit) to any Fashion Plate, and 
 and to measures, neatly pinned into posi- 
 tion, with draperies, etc., fixed and indicated, 3 00 
 
 " Show Patteens," in fine French Tissue Paper 
 — indicating the styles and combinations of 
 colors, etc., thoroughly and securely made 
 according to taste or order, /"or (he Trade, 
 ranging in price per suit, from $2.50 to . . . 20 00 
 
 I Cut Paper Pattern of gent's and boys Shirts, 
 
 to measures 50 
 
 I Cut Paper Pattern of gents' or boys' entire 
 
 Suit to measures, from $3.00 to 5 00 
 
 I Cut Paper Pattern of gents' or boys' Overcoat, 
 
 to measures 2 00 
 
14 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 N. B. — Any of the aforesaid articles along with any other articles needed, in any 
 of the arts and sciences taught in The Encyclopedia, not tabulated, sent, prepaid by 
 mail or express, to any address in the United States, on receipt of the price, by cash, 
 draft, or money order. 
 
 Any fashion journal in the world furnished by mail, on receipt of 20 per cent, 
 above cost and carriage — where foreign correspondence is required — otherwise, at 
 cost and carriage. 
 
 Dress goods, woolens, silks, trimmings, and all dressmakers', cloakmakers' and 
 merchant tailors' supplies, promptly furnished through mail or by express, according 
 to sample and order, on receipt of 5 per cent, above actual cost and carriage, by 
 cash, draft, or money order. 
 
 Where inquiries are made requiring answers through mail, postage must 
 invariably be inclosed to insure an answer. Do not forget, in ordering anything, to 
 be brief, and very explicit and plain in description, so that it is not possible to mis- 
 understand your wishes. No goods sent C. O. D. unless cost of carriage and 
 expressage, both ways, is paid in advance. Write very plainly your full name, 
 number, street, post-office, county, and State ; and address all orders and letters 
 very plainly. 
 
 Prof. D. C. Christner, 
 
 Philadelphia, Pa. 
 
 IMPORTANT NOTICE TO THE PUBLIC. 
 
 " The International Encyclopedia of Frcfich, Prussian, English and American 
 Scientific Tailor Principles, for all kinds and styles of gaDnent-making, and drafting 
 the actual 'measures or indices — the ac'.ual viatheniatical mould or perfect fit of the 
 human fo7'm — triie to any design or fashion plate, by scientifc square measurem.ent, 
 either directly or indirectly upon the goods, zvith any mathematical square or inch ride 
 and tape vieasure alone: Also, designing, copyi7ig, dasting, seaming, stitching, tailor 
 finishings, tailor buttonholes, trimming, draping, stamping, embroidery, crocheting, 
 knitting, worsted work, fancy and artistic needle-work, lace work, bead work, milliyiery, 
 hair work, leather work, wax flowers a7id wax work, shell flowers and shell work, 
 transfer work, transparencies, leaf work, leather work, fancy dyeing, water-color 
 painting, china and pottery painting, Grecian oil painting, bistre painti7ig, lincrusta 
 painting, Kensington painting, utility and decorative arts — in one volume of fotir 
 parts, illustrative and self-instructive — has been in all its parts and contents copy- 
 righted in full, with all rights reserved ; and has been entered in the office of the 
 Librarian of Congress, at Washington, D. C, in full and strict compliance witli 
 the late United States copyright laws. And a printed certificate showing the pur- 
 chase of said Encyclopedia, and the right of personal use and benefit of its contents, 
 will be given to each purchaser of said Encyclopedia — having the author's signature 
 attached thereto ; or, otherwise, the signature of his lawfully authorized representa- 
 tive or agent, bearing printed and dated certificate, authorizing him or her as such, 
 
UTILITY AND DECORATIVE ART. 
 
 15 
 
 as well as that of being the only rightful and lawful agent for the sale of said work in 
 the territory, where said sale is made, and at the time said sale is made; said certifi- 
 cate of said agent, having the author's signature attached thereto. Any person 
 using or selling said Encyclopedia, or any part or parts thereof, for personal interest 
 otherwise — or in any way whatever infringing by appropriation, or plagiarism, on the 
 author's copyrights thereon, will be prosecuted and will receive the full penalty of the 
 law. D. C. Christner, Author and Proprietor, 
 
 Philadelphia, Pa. 
 
 IMPORTANT NOTICE PERTAINING TO AGENTS AND AGENCIES. 
 
 Letters of application for terms and agencies must invariably contain a two-cent 
 postage stamp, with full name and P. O. address of " given reference, " touching 
 nioral character, honesty, and general mental and business qualifications, as well as 
 the stated amount of cash capital that could or would be invested in the business; 
 provided the terms and conditions offered proved sufficiently inducive and were ac- 
 cepted — otherwise they will remain unanswered. The author is too busy, and his 
 time too valuable to waste in either talking or writing (in his office and on business 
 matters) to any one who is merely curious and does not strictly mean business ; or 
 who does not propose business on business principles — and to whom, in return, he 
 cannot propose business in a direct and business-like way, on a definite and ready 
 capital and on stated goods and territory. 
 
 Letters with the above qualifications will be treated bona fide — and their 
 authors will, by return mail, receive confidential papers, circulars, propositions, etc. , 
 which are submitted strictly for personal and private knowledge, and for private and 
 personal use, only — and for a Hmited time only. And should their contents and 
 propositions not be accepted, said papers, circulars etc., must — at the request or 
 demand of their author, and on receipt of return postage for the same — be returned 
 immediately, thereupon. We ask or expect no one to accept our propositions — 
 only voluntarily, and from self interest and purely selfish motives alone ; neither do 
 we deal dishonestly or make better propositions on the same capital, stock, and 
 territory, to one than to another ; neither have we any business secrets, other than 
 such as are just, honest, and fair to all, or the publicity of which could reflect upon 
 us in the least, or that would injure us legally or morally — nor which we in any way 
 fear or dread. But from the past teachings of an extensive experience in this 
 particular line of business, and for the best of reasons — which are best known to 
 ourselves — as a protection to our agents, and against the impositions of envious, 
 intriguing, financially interested, and unprincipled persons, who under the false pre- 
 tence of business, seek information only for the purpose of eff'ecting possible financial 
 injury thereby ; and also for other, and the very best of reasons, we have a "decided 
 preference ' ' not to gratify either idle curiosity, envy, or selfish deceit ; and, therefore, 
 the above prerogative, touching "confidential papers," will in all cases be strictly 
 and positively reserved — and when made necessary, by the circumstances in t^e 
 
1 6 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 case, will be fully enforced by law. Immoral and dishonest persons will neither be 
 accepted knowingly, nor retained if accepted through deception and by mistake — 
 regardless of any financial loss or sacrifice whatever, to the author. Although very 
 select and choice in the securing and retaining of agents, nevertheless true moral 
 worth and intelligence, wedded to honesty and industry, will always find a most 
 hearty welcome; and such will receive, as a token of appreciation, a certain and rapid 
 advancement to the highest, most lucrative, and most promising positions — and with 
 exclusive benefits, under legal protection ! We do not sell territory, but give it 
 away — to be possessed and controled, legally — to the extent and degree of value, 
 expressed in the ratio and proportion of money invested in stock (consisting of Ency- 
 clopedias, Supplies, etc.,) when entering into the business. To the right parties, 
 and in the ratio of their investment, unparalleled inducements are offered and given, 
 for a certain and rapid accumulation of wealth ; and that too, in an easy, polite, 
 legitimate, useful, and a thoroughly exclusive and protected business. An oppor- 
 tunity is thereby furnished for combining the pleasure of travel, with the pleasure of 
 accumulating wealth, and that of "doing good," at one and the same time! The 
 right persons will find places awaiting them as agents in villages, townships, county 
 seats, counties, towns, cities, and states ; and as organizers, principals, and managers 
 of schools and conservatories in the various metropolitan cities throughout the United 
 States, Canada, and foreign countries. All our agents were most happily and 
 astonishingly surprised, beyond even their highest and most brilliant anticipations 
 and hopes, in the degree of success that attended their immediate efforts, when they 
 first began to sell the work — which success is increasing, in the ratio of their 
 experience. Agents are ecstatic everywhere over its wonderful sale, and are wild in 
 their anxiety to secure and control more territory. It stands preeminently without 
 a rival, in its record in sales, and in the satisfaction it renders, and the profits it yields 
 to those who are introducing it. The universal verdict of our agents is: "It sells 
 at sight ! ' ' Those who have been in the habit of thinking it a difficult matter to sell 
 a book — have found out that it all depends upon the kind, the quality, and the 
 demand ! The contents of "The Encyclopedia" reduced to practice, bring gold to 
 the purchasers ; hence, they anxiously and gladly give gold for that which brings 
 them more. It is the old doctrine of human selfishness — a selfish reciprocity ! The 
 book is a grand compendium of new ideas, and new principles ; and it stands pre- 
 eminently by itself — in its line, as well as its success — and has long and anxiously 
 been waited for by thousands, who have painfully felt the need of just such a work ; 
 and who only need to be shown its title page and index, to become anxious patrons, 
 at any price. The author challenges the "world of agencies" to produce its equal, 
 in the ease and rapidity of its sale, the price it brings and for which it is so eagerly 
 sought, and the rich profits it yields to those whose fortune it has been to chance 
 upon its sale and introduction, under exclusive rights, in special and protected 
 territory. 
 
 Write full name, number, street, P. O. Address, County and State, with nearest 
 express office, as qualified above, and address all letters very plainly to 
 Prof. D. C. Christner, 
 
 Philadelphia, Pa. 
 
UTILITY AND DECORATIVE ART 
 
 17 
 
 AGENTS CAN BEGIN IMMEDIATELY! 
 
 They will however be expected to become industrious students. 
 
 Any lady or gentleman of mere ordinary intelligence and ability — however 
 inexperienced in the business — can at once proceed, and succeed in a very successful 
 canvass and sale of the work ; and by simply devoting the evenings of the first eight 
 or ten days to a careful reading, study, and practice of the various parts, and the 
 illustrated examples and solutions of the given problems — beginning at ' ' the very 
 beginning" and mastering everything on every page, and in the order given — any 
 agent can also prepare himseff or herself in advance, for any and every emergency; 
 in case they should be requested to give, or aid the purchaser through, oral instruc- 
 tions. But you might possibly sell the work successfully for many months, without 
 ever even being solicited or requested to give a single lesson of instruction. And 
 yet, it would certainly be to the agent's interest, in a financial sense, as well as to 
 the interest of the author and the patron, that the qualification existed in the agent ; 
 and that the giving of lessons — by sound argument and correct reasoning — was en- 
 couraged. For many persons, especially in measurement and garment-drafting, 
 tracing, basting, etc. , through a lack of sufficient industry, accuracy, and patience, most 
 probably would obtain as a result, in their first effort — a failure, which would dis- 
 hearten them ; and which would most probably discourage all further effort, in the 
 attainment of its true teaching and practice ; and which would in some cases, through 
 this ignorance and disappointment, create a prejudice and opposition against the 
 work — to the extent and in the exact ratio of said influence. All of which evil, under 
 more careful and wise management, might not only have been avoided, but the very 
 opposite result might have been obtained — and that too, at a profit to the agent ! 
 Here as elsewhere, therefore, "honesty is the best policy," and "merit brings its 
 reward ! ' ' 
 
 While it is possible, therefore, to oe very successful without even knowmg any- 
 thing about the contents — thus representing "The Automatic Agent" — nevertheless, 
 that success is increased in the exact ratio of the knowledge possessed of the work 
 and its contents, by the agent. And in justice to himself or herself financially, to 
 the reputation of the work, and to the financial interest of the author — who furnishes 
 profitable employment thereby — no agent accepting the opportunities and benefits of 
 its sale, should rest content until the entire work is thoroughly mastered and practi- 
 cally understood ; but which is by no means necessary at first, and for all of which 
 ample time and opportunity is afforded, by devoting one hour each evening to its 
 study and practice — while selling it, and making money rapidly at the same time. 
 
 To any intelligent mind, the evidence as given in our printed references — who 
 are living, and can be addressed or seen — is entirely sufficient, being unimpeachable 
 both in quality and kind ; and which is the highest possible evidence that can be 
 given. 
 
 It is simply infallable and exhaustive, to any fair-minded and intelligent person. 
 Those who ask that the system should be proved over and over, ten thousand times 
 
 2 
 
l8 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 repeated again and again, and to each individual to whom it is presented for sale — 
 make an unjust and unreasonable request or demand — unless they are willing to pay 
 for said time and service. 
 
 Generally speaking, we do not expect it of agents, neither do we advise it, as 
 being wisest and best under many circumstances — many unprincipled persons in this 
 manner, seeking only the principles and secrets of measurement, etc., at no cost to 
 themselves, under the pretence of testing the system, 
 
 The agent's business, therefore, is less proving the system than selling it — upon 
 its own merits and intrinsic worth, and the given and demonstrated proofs and 
 references within the work itself 
 
 Neither is it fair to hold either the work or the author responsible for the lack 
 of knowledge, the inexperience, the inabilities, or even the failures of any agent or 
 agents whatever. Nor yet does the reputation of the system depend either upon 
 the success or failure of the agent, in case an attempt is made to demonstrate the 
 accuracy of the system. A thing once proved and demonstrated openly and before 
 the eyes of the best and most disinterested critics — under the severest and most 
 crucial tests possible — ends the controversy, if their verdict is in its favor ! Such 
 are the proofs given and offered within The Encyclopedia. 
 
 Personally, we hold ourselves in readiness to place our system of measurement, 
 drafting, tracing, and basting (in garment-making) on test, against any respectable, 
 honorable, and well-known authors' system, and according to the printed instructions ; 
 or against any system or systems of the world — separately or collectively — and that 
 too, in the most public place and manner possible. 
 
 But we are not now engaged in the business of proving" our system ; that is 
 in the past with us. We are now "selling" the system, to an intelligent, discrimi- 
 nating and appreciative public, upon given proofs! 
 
 And we beg for ourselves and our agents, to be excused from paying any atten- 
 tion whatever, to the vulgar and cowardly boastings and so-called "challenges" of 
 such scientific (?) system-makers and system-venders, who can neither write a legible 
 challenge nor repeat the multiplication table, and who have neither system, reference, 
 reputation, character, or principle ; and who only wish to provoke notice, through 
 controversy, and gain free advertisement and public notoriety through the reputation 
 and influence of others. 
 
 But there are circumstances — which must be discerned by the wisdom and dis- 
 cretion of the agent — where an ocular demonstration and proof of its claims would 
 not only effect a sale, but win in its favor large and extensive influences, in the way 
 of its introduction, both in cities, towns, and communities; and where the investiga- 
 tion is honestly sought. Such opportunities no intelligent, right-thinking and honest 
 agent, would fail to improve and utilize, both for his or her own interest, as well as 
 those of the author and proprietor — who furnishes profitable employment thereby. 
 
 Any agent, therefore, who, having had a fair opportunity and a reasonable 
 amount of time in its sale and introduction, and who, under the above or similar 
 circumstances, lacks sufficient practical knowledge of its principles, or confidence, 
 either in himself or the system, to place it on test against anything and everything 
 in its line — -without any exception whatever — said agent is requested to immediately 
 abandon his or her position. It is due the author, the reputation of the work, and to 
 the public, that such an agent should voluntarily relinquish all claims to his or her 
 
UTILITY AND DECORATIVE ART. I9 
 
 place, in order that it might be filled by a more industrious, honorable, worthy, and 
 able representative — otherwise we will be compelled to insist upon their so-doing ! 
 In the above, and in similar cases, results only, should be submitted in the proofs 
 given — the process of drafting, basting, etc. , not being given or performed in the 
 presence of those who have not yet paid for the knowledge of said principles ! There 
 are, therefore, circumstances under which the public has a right to ask for proof and 
 evidence — in results obtained ; but there can be no circumstances under which the 
 public has any right whatever to see the process — until the price for the same has 
 been paid ! But while we expect the above qualifications and abilities in agents, 
 after extensive opportunity and experience, we neither expect it nor need it in those 
 just having entered upon its sale ; for The Encyclopedia might be very successfully 
 sold for six months or a year, without a similar circumstance presenting itself. The 
 business of the agent is to sell the work, and aid those who wish additional oral 
 instruction, in practically understanding it — for which service he or she is paid at the 
 rate of five dollars per day — independent and extra of all commissions on The 
 Encyclopedia and furnishing supplies ! To qualify for this requires but a few hours' 
 preparation, with any common and ordinarily intelligent person, however inexpe- 
 rienced they may be in this line. 
 
 Furthermore, all agents investing fifty dollars in goods, on entering upon the 
 business of its sale and introduction, are entitled to five lessons — free of charge — 
 either at our ofiices, or from the agent from whom the purchase is made. This 
 will doubly secure success. Most tailors will purchase the work merely on its pre- 
 sentation, without wishing any oral instructions — as they will readily comprehend its 
 principles and its value at a mere glance ; and lady agents are not prohibited from 
 soliciting tailors and selling The Encyclopedia to them, where the mere presentation 
 of the work induces them to purchase the work. But gentlemen can only receive 
 extra or oral instructions from our gentlemen agents or teachers ; or at our offices ! 
 And while we expect our gentlemen agents to qualify and become efficient instructors 
 to both ladies and gentlemen, at least in garment-drafting, it is not expected of our 
 lady agents to necessarily qualify themselves in part fourth. Nor are they allowed 
 to give oral instructions in said department of the work — to gentlemen tailors. 
 Which ruling is based upon sound principles of mental, moral, and business philoso- 
 phy, and practical experience and wisdom — as well as the general public common 
 sense of propriety — and will be found to be most wise and practical in all cases, and 
 under all circumstances ; and to result in the highest and best financial interests of 
 the author and proprietor, and for all parties concerned — and it will therefore be 
 strictly observed and enforced. Furthermore, no agent selling this work, is per- 
 mitted during said engagement, to give oral instructions on any art or science 
 treated in The Eiicyclopedia, to any person or persons not having first purchased 
 said Encyclopedia. Any agent violating any of the above rules, thereby forfeits any 
 and all claims and rights to the sale of said Encyclopedia — and will be dismissed. 
 
 Respectfully, 
 
 The Author. 
 
26 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PREFACE. 
 
 The author neither feels inclined nor deems it apropos, to do homage to the 
 false and stereotyped forms of an apologetic preface. No apologies were either 
 offered or expected when Harvey gave us the discovery and law of the circulation of 
 the blood, and Guttenberg that of metal type and the press ; or when Galileo, and 
 Howe, and Watts, gave us the telescope, the sewing machine, and the power of 
 steam ; or when Franklin brought electricity from the clouds, and Morse annihilated 
 distance thereby, making it the fleet messenger of the world ! When light is 
 given for darkness, truth for error, and liberty for slavery, apologies are uncalled for 
 and are out of place ; and when made under such circumstances reflect seriously, 
 either upon the head or the heart of their author, or otherwise upon the offer- 
 ing he would thereby introduce to the public. The title-page of the work in the 
 reader's hands, is a sufficient index to its province and character. 
 
 It was undertaken and completed in compliance with the wishes and oft-repeated 
 requests of many, who now occupy and adorn the most eminent positions in the 
 profession throughout the various metropolitan cities of America, as well as many of 
 the authors numerous customers, at his former establishments on Girard avenue, and 
 Market and Chestnut Streets, of Philadelphia ; and he feels it will at least be appre- 
 ciated by those. In combining with T/ie Science of Garment-making, what the 
 title-page indicates, he feels that he simply furnished its necessary counterpart ; and 
 that a deep and long-felt want is thereby supplied, hitherto almost entirely over- 
 looked and neglected. 
 
 The Sysiem of Garment- Drafting is based upon the world-renowned and 
 universally acknowledged and received principles of measurement and drafting, 
 honored and common to all the most eminent and learned French and Prussian, as 
 well as English and American tailors and connoisseurs in the art and science of 
 garment-cutting. And they are no longer problematic, but have been mathematically 
 proved by scientific square-measurement, to correct scientific bone and circumference 
 measures of the human form ; and they furthermore represent the science, experience, 
 and practical wisdom of centuries, fhey have long been practically tested and used 
 — as given — by the author, through an extensive and varied experience ; and they 
 have been found to invariably produce the same absolutely accurate result under all 
 circumstances, and under every conceivable complication of form and garment 
 possible. The author has therefore no hesitancy in announcing to the public, that 
 the principles of garment-drafting, as systemized and herein taught, are invariably, 
 absolutely, and mathematically perfect — in the broadest and deepest sense of that 
 term — when rightly understood and applied to absolutely accurate measures, and as 
 given and taught. And he challenges the world to a successful scientific demonstra- 
 tion and practical contradiction of these claims. In the plan and simplification of 
 the department for gentlemen's garments, the author was influenced by the most 
 advanced thought and practice of Parisian, Berlin, and London tailors, as foreign 
 factors ; and those of Philadelphia and New York, as American authorities, promi- 
 
UTILITY AND DECORATIVE ART. 21 
 
 nent among which in the latter field, we place the name of Lynthicum, the scholarly 
 and learned teacher of New York. In the department for ladies' and children's 
 garments are given in principle, those shades of thought common to science, and the 
 practice of such cutters as Pingat, Durnzean, Felix, Hantenaar, Martini, Tainturier, 
 Meyer, Sara, Lipperheide, and Pacaude ; with those of other foreign as well as 
 American authorities of equal or even greater ability, but of less notoriety. But the 
 measures and system are, entirely and in a preeminent sense, new and original. 
 
 Most cheerfully accepting scientific truth wherever found, the author has never- 
 theless chosen and adopted only such principles which proved themselves absolutely 
 true, in a purely mathematical sense, and from an independent and purely scientific 
 standpoint ; and he has founded, prosecuted, and completed the work under the 
 influence of a thorough conviction that any method, not equal to, or commensurate in 
 variation with that of fashion and form, is of necessity deficient to that extent ; and 
 is therefore utterly inadequate to the necessities and emergencies of the cutter. 
 Principia non homines has been the motto of the author, in all his investigations and 
 researches; and viulhim in parvo secundum artem, in the mode of construction. He 
 has studiously and conscientiously sought ' ' the truth, the whole truth, and nothing 
 but the truth," on this, to many, seemingly vexatious problem ; and he has aimed 
 to give expression to the practical use of its solution, in the most simple and easily 
 comprehended form possible. Accuracy, simplicity, economy of time, labor, 
 material, and money — wedded to ease of comprehension — have been the grand 
 watchwords of the author. 
 
 Those having thought absolute accuracy in garment-cutting from actual meas- 
 urement alone, as necessarily requiring a very complicated system of details, will be 
 happily surprised at the exceeding simplicity of science, as taught and applied in the 
 work. The system is truly and mathematically founded, in all its elements and 
 principles of application, in measurement and drafting — from the neck to the floor — 
 upon actual measurement, and nothing but, and all possible and necessary actual 
 measurement. It is unique, in that it is the first and only system in the world founded 
 on the practical common sense and scientific principle of the mathematical inch rule 
 and its mathematical divisions only, independent of any particular form of the 
 mathematical inch instrument whatever; which is the only true and proper instrument 
 assigned by science, philosophy, and mathematics, to the cutter, in transferring the 
 mathematical mould of the human form, as expressed by the measures or indices, 
 upon the goods — whether directly or indirectly. It is also unique, in that it is the 
 first and only system in the world based strictly upon scientific mathematical princi- 
 ples alone, absolutely independent of any fixed proportional forms or seams; thus 
 making fashion its perpetual slave! And it is for this very reason, and by virtue of 
 its purely scientific principles of construction, and the philosophy of their execution 
 through the only instruments assigned to the province of the cutter, by mathematics, 
 the first and only system in the world that is fully and truly commensurate with all 
 possible variation of form and fashion, whether past, present, or future. Provincial 
 to, and founded in its axiomatic principles of construction, and in its instruments of 
 execution, on the immovable rock of pure mathematics, and commensurate there- 
 with in variation of application and result, it is of necessity as immutable in its laws, 
 as those which goA^ern that science, when delineating the orbits of the planets, or in 
 measuring the cycles of the ages. 
 
22 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Deep down underneath the agitated and angry waters of the sea of confusion, 
 contradiction, and bitter strife — along the shores of its province, we have carefully- 
 laid its foundation upon this rock ; and out of its elements and principles, we 
 have reared the system, as a strong lighthouse, towering far above the loud roar 
 and confusing spray of the angry billows — of a bitter controversial strife ; and we 
 cannot but feel that, not only in the present, but in the far off and distant future, its 
 light will only shine with increased brilliancy and splendor, as its principles are 
 assailed and tested ; and that in each successive and retreating wave — which, having 
 spent its force against its immovable base, will only be more clearly revealed and 
 proclaimed the utter weakness and folly of its assailants, and its own inherent 
 and perpetual strength and utility. 
 
 We venture to say to all, that the work — in all its departments, will be found 
 replete with a spring-like newness in principle and method, which in a peculiar and a 
 preeminent sense, is its own. And from the intrinsic merit and utility of its princi- 
 ples and contents alone, it is truly believed and hoped — at least, that it will be hailed 
 with gladness by an intelligent and appreciative public ; and that it will accomplish 
 its intended mission of usefulness, upon which it is now sent — and to which it is here- 
 by sacredly dedicated by 
 
 The Author. 
 
UTILITY AND DECORATIVE ART. 23 
 
 INTRODUCTION. 
 
 Designing, draping, ornamental finishing, etc. , in garment-making, is the work 
 and ministration of art. In this province she is supreme lawgiver. Her scepter 
 gives command in all things, until the province of fitting is reached. Here she is 
 powerless, and must appeal to the inexorable laws of the science of mathematics ! 
 Drafting the actual mathematical mould or the measure upon the goods, true 
 to a certain style or fashion plate, and so combining all the measure and various 
 parts that, when cut and completed, the garment will conform truly and mathemati- 
 cally to the shape and contour of the person measured ; fitting the form, independent 
 of the degree of tightness or looseness, without wrinkles or distortion, and embody- 
 ing at one and the same time comfort, symmetry, grace, and perfection in style and 
 fit — this is the province of mathematics, and is a science, as much so as music, sur- 
 veying, or astronomy. And any method not commensurate with the laws of mathe- 
 matics governing that science — thereby constituted adequate to the above emer- 
 gencies, whether on perfect or imperfect forms — is to the science of garment-making, 
 what discord is to music ! Tailors having been the first to reduce these mathematical 
 principles to a "System," this science naturally received the name — "The Tailor 
 System." A correct definition, therefore, of the expression "The Tailor System," 
 is this, viz. : "The Tailor System" is the science of mathematics which teaches per- 
 fect garment- drafting and making, from the perfect indices or measures of the human 
 form, with the instruments assigned to that province by matheiiiatics ! In other 
 words, it is that system of principles in measurement and drafting, each and all of 
 which in all their elements of construction, as well as the instruments of their execu- 
 tion, are now, and in all ages have alone been, universally honored and practiced in 
 common by the vast majority of the world's most eminent, scholarly, and successful 
 tailors ; and which principles, in like manner have been, and are now, universally 
 accepted by the civilized and scientific world, as the voice and teachings of pure 
 mathematics alone, in the science of garment-drafting and making — in the same 
 manner as those universally received principles that constitute the science of survey- 
 ing, or any other science of mathematics, "A Tailor System" at most, is but the 
 best thought and experience of one individual tailor's principles systematized — and 
 may be only the system of a very erroneous and unsatisfactory tailor — having nothing 
 in common with either the true mathematical science of garment-drafting, or that of 
 any other individual tailor. Nor yet is ' ' The Taylor System ' ' anything more at most, 
 than the best thought and experience of one individual person, whose name chanced 
 to be Taylor. And although these terms sound alike, and much confusion and decep- 
 tion has been caused thereby, the thoughtful reader will detect a vast difference between 
 the provincial meanings of the terms ' ' The Taylor System, " " A Tailor System, ' ' and 
 "The Tailor System," as well as in their real and commercial values, relatively 
 and respectively considered ! And when the proposition, "Whether or not there is 
 or can be more than one genuine science of geometry, trigonometry, or surveying," 
 will be proposed, entertained, and discussed by the intelligent public, we will feel 
 
24 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 under obligations, and will hold ourselves in readiness to entertain and discuss the 
 proposition, ' ' Whether or not there is or can be more than one genuine scientific 
 tailor system, or science of garment-cutting — and not until then ! And furthermore, 
 when the proposition " Whether or not the instruments assigned by mathematics, 
 to the provinces of geometry, trigonometry, or surveying, as the means of applying 
 their principles in the elimination of truth, in each of these respective sciences, are 
 either imperfect, insufficient, superfluous, or can be substituted by proxy — or whether 
 or not absolute mathematical truth ever was, is, or can be obtained in the science of 
 surveying, by any other and different instruments than the compass and chain, ' ' will be 
 proposed, entertained, and discussed by the intelligent public, we will feel under obli- 
 gations, and will hold ourselves in readiness to entertain and discuss the proposition, 
 "Whether or not the mathematical inch-rule and tape-measure as used, and assigned 
 by mathematics to the province of the cutter, are either imperfect, insufficient, super- 
 fluous, or can be substituted by proxy ; or whether or not absolute mathematical 
 truth ever was, is, or can be obtained in the science of garment-cutting, by and 
 through any other instruments, in transferring the indices and reproducing the 
 mathematical mould or perfect fit of the human form upon the goods, by anything 
 other, different, more or less, than the mathematical inch-rule and tape-measure" — 
 and not until then ! 
 
 There is an eternal fitness as well as that of fixedness, in all the appointments 
 of mathematics, both as to the principles and the instruments of their execution — in 
 the elimination of truth — in each and all of her provincial sciences ; and ' ' the truth, 
 the whole truth, and nothing but the truth," in any department of her provinces, can 
 only be attained by full and perfect obedience to all her imperial behests — under 
 which circumstances the decision voiced by her court, is supreme ! The majesty 
 and immutability of her laws are constantly proclaimed by millions of revolving sys- 
 tems of suns, and are written in characters of fire — in the burning orbits of the flying 
 comets. And whether the question involved is, fixing the time of an eclipse, by 
 astronomy ; or locating the boundary lines between individuals or nations — involving 
 at times, the property, lives, and destinies of millions of human beings — by the com- 
 pass and the chain of the surveyor; or whether otherwise, it is simply that of guiding 
 the hand of the artist, in delineating the mathematical mould of the human form — 
 true to the mandate of fashion and taste — upon the rich and costly fabrics prepared 
 for its comfort and adornment — by means of the inch-rule and tape-measure of the 
 cutter; the decision of the court of mathematics, announced through her only 
 authorized and lawfully appointed instruments of interpretation, application, and 
 execution of her laws, is the voice of the Supreme Court; and is the end of all appeals, 
 and ends the controversy ! 
 
 Recognizing both the fitness, fixedness, and majesty of her appointments, and 
 having cheerfully accepted them in our province, the question ' ' Why she has placed 
 into the hands of the architect, the square and the compasses ; into those of the sur- 
 veyor, the compass and the chain ; and into those of the cutter, the square or 
 inch-rule and tapemeasure — rather than something different — is a question which 
 the author deems of less importance, than the attainment of a correct knowledge of 
 their use ; and the correct knowledge of the laws which they interpret, apply, and 
 execute : and which question, will be left to be discussed and disputed with her, by 
 those who are in controversy with her touching our subject — and whose teaching and 
 
UTILITY AND DECORATIVE ART. 
 
 25 
 
 practice is at variance and in direct antagonism with the voice and teachings of the 
 world's practical experience and sound philosophy, as well as with that of the science 
 of mathematics ! To feign contempt for her appointments, whether as pertaining to 
 principles or instruments, in any of her provinces, is the superlative degree of both 
 folly and ignorance — no matter in what garb or form of dress it comes! Quickly as 
 a flash of lightning, science brings millions of worlds, millions of miles distant, with- 
 in the compass of man's naturally limited vision : but she brings them through the 
 telescope, or pieces of glass ! Again, instantly she brings us into direct communi- 
 cation with the nations beyond the outstretched and stormy waters of the vast ocean 
 — with whom we can converse, as if they were our guests and seated with us in our 
 parlors ; but she has seen fit to vouchsafe this privilege to us, through the means of 
 the telegraph — or a piece of wire ! Those who quarrel with science and refuse 
 to look through glass, will have a limited vision ! And those who refuse to hear 
 through wire, have even a much more limited circle of sound ! 
 
 And the cutter, who out of either a lack of industry, or ignorance, conceit or 
 prejudice, refuses to be guided by science through the mathematical inch-rule and 
 tapemeasure — and these alone — will always find every problem, "a tangled skein !" 
 
 Our first "inventors" in this line, treated the world to "the one pattern for all." 
 Then to patterns innumerable, fitting none! Then came the swarms of "charts" 
 and "models," and even "machines" — like the plagues of Egypt, whose name is 
 legion ! then followed ' ' scales ' ' ; and as these dropped from off the cutter' s eyes, he 
 began to see the faint outlines of the square or inch-rule in picture-form, around the 
 edges of the various paste-boards, and so-called "scales " ; and which, finally appeared 
 in wood — underneath a confusing shower of "numbers" ! But from "the one pattern 
 for all" down to the various so-called "systems" of squares or inch-rules with 
 "numbers," one and the same erroneous and deceptive principle of proportion pre- 
 vails in and through all. There is not a single element of sound reason, philosophy, 
 science, or actual measurement, in any or all of them, separately or collectly. And 
 there is no more excuse or reason for abandoning "the mathematical inch," in the 
 science of garment-cutting for those nonsensical, erroneous, and fixed proportions 
 represented by "scales" or "numbers" than there would be in substituting them 
 for the mathematical inch in mechanics, architecture, or surveying ! The incon- 
 sistency is so palpable and so great, that we are astonished to think that it ever 
 received even a passing recognition, from the profession ; but we are not surprised, 
 however, on the other hand, that those who are financially interested, and therefore 
 the advocates of "scales" and "numbers," that such, when closly questioned by the 
 intelligent public and asked to give a reason for their abandonment of the mathe- 
 matical inch for such a supreme absurdity — we are not surprised, we say, that 
 these, under such circumstances, should at once proceed to "throw dust in the air," 
 and attempt to confuse and over-awe the general public into a certain degree of rev- 
 erence for these said mysterious "scales" and "numbers," claiming for them both 
 a hoary age and the honor of a heritage handed down to us, from the ancient Egyp- 
 tians ! But where, when, and by whom this important discovery was made always 
 was, is now, and always will remain, a secret — known only to those who assert it ! 
 The author nevertheless holds himself in readiness to prove from all the records ex- 
 tant touching this subject, that such statements are not only without ,any foundation 
 whatever in fact, or even based upon anything that has the faintest shadow of infer- 
 
26 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 ence in their favor, but that the very opposite is true ; and can be substantiated be- 
 yond even a shadow of doubt, to any intelligent and unbiased mind. But alas ! for 
 the Egyptians ; they must suffer in profound silence, this insolent reflection upon 
 their hitherto unsullied name and reputation, both for wisdom and science ; only as 
 they have engraven their testimony in tables of stone against it, in the towering pyra- 
 mids that perpetually proclaim their knowledge, use, recognition, and honor, of the 
 "mathematical inch," and this alone as a unit, in computing height, and depth, and 
 length, and breadth ! But ' ' scales ' ' on the contrary, are of recent date ; and had it 
 not been for the "scales" on these inventors eyes, "scales" would never have had an 
 existence, in the science of garment cutting — no more than in architecture, mechanics, 
 or surveying ! 
 
 We ask and demand in the name of pure mathematics, correct science, sound 
 philosophy, and practical experience, for "the mathematical inch and its mathe- 
 matical divisions" — and this alone — in the art and science of garment cutting! 
 
 Furthermore, the half-filled chalice of wine, when filled with water, ceases 
 chemically to be either wine or water ; and in like manner the decoy-square, or inch- 
 rule, printed or fastened upon the edges of these so-called " scales," or " charts " 
 and "models," is not the square or inch-rule of mathematics, either in form or 
 principle ; neither does this ' ' shadow of the mathematical inch " falling upon such 
 " systems ", heal their deformities nor change their delusive principles of proportion 
 into those of actual measurement. The instant the square or inch-rule receives the 
 impress of division marks, other than those of the mathematical inch and its divisions 
 repeated, whether in the form of so-called " neck numbers," " chest numbers," "bust 
 numbers," "waist numbers," etc., either stamped upon it or upon "scales", or other- 
 wise arranged in " tables, " and used either separately or jointly in connection with 
 the mathematical inch rule, as means of obtaining results, at that instant it becomes 
 a medium of proportion ; and its identity, both in form and principle, with that of the 
 mathematical inch is lost — and ceases de facto ; and at that very instant, such a pro- 
 cess drops out of the mathematical domain of actual measurement into the domain 
 of proportion, and that of proportion alone ; which principle in garment cutting, is 
 no less inconsistent in its province than the process of measuring the trunk of a tree 
 and attempting to base thereon, as a " scale, " a correct estimate of its true height, 
 or the number of cubic feet contained in its branches ; basing said estimate, on the 
 exact ratio of the expression of said circumference ! Or, again, to measure the 
 circumference of a lady's waist, to compute the circumference of a ring that will fit 
 her finger. Nor is it any more reasonable and consistent, as a process, than that of 
 an artist who would attempt from the portrait of some perfect and beautiful face, to 
 truthfully paint the faces of all ! And notwithstanding the frequently brilliant, but 
 brief and local newspaper reputation and notoriety — great or small, in the exact ratio 
 of the money and business sagacity invested — which is sometimes attained by sys- 
 tems founded on such principles and instruments ; or even if attained from the seem- 
 ing degree of success sometimes approximated in their use, by those who may have 
 adopted them ; in both cases, the facts admit of an easy solution, viz : the first is 
 simply the natural order of things, and only proves that by shrewd and extensive 
 newspaper advertisement the most worthless nostrum can, for a time, be popularized 
 as a princely m,edicine. But reputation built upon such a foundation, is short-lived. 
 The second fact is invariably due, to the superabundance of good " common sense" 
 
UTILITY AND DECORATIVE ART. 27 
 
 practical knowledge and experience — Inherent in the cutter using it — in knowing 
 when, where, and how, to make the necessary changes ; and just how, to supply the 
 natural defects in each and every particular case. Therefore, whatever success might 
 possibly fall from such hands upon said "system" or "systems." it is wholly or 
 entirely due to the cutter; and not to the inventor of said " system," nor because of 
 any merit contained in any such " system " whatever. 
 
 Had said cutter lived in the halcyon days of yore, he or she might have reflected 
 the same credit upon the " one pattern for all system ! " 
 
 Again, it will not suffice for these inventors with such conceptions of the science 
 of garment-cutting, when driven from behind this gauzy veil of" numbers," "scales," 
 " forms," "curvatures," "curvalinears," etc. , used as adjuncts, at least, in drafting, 
 to hold up a square or inch rule, and claim that their systems are inch measurement. 
 Indeed ! Why not then consign these false and deceptive things to the flames, and 
 let the winds scatter their ashes far and wide, that their very existence may be for- 
 gotten? for they have only proved themselves a sore and grievous plague to all 
 who ever attempted to use such systems; and they have discouraged thousands from 
 even hoping to ever understand the science of garment-cutting, and have hopelessly 
 ruined cloths, silks, and velvets, to the amount of millions of dollars ! Furthermore, 
 it will not better the case by throwing even all of these away, and adopting the inch 
 rule alone, and then basing a system, simply and alone, either on twelfths or six- 
 teenths, as integral parts of the inch. This is simply building a system on "scales" 
 again, the scales being based either only on the twelfth of the inch, or otherwise on 
 the sixteenth, thus ignoring all other mathematical divisions of the inch, and insist- 
 ing upon using the twelfth, or otherwise the sixteenth of an inch where the facts of 
 the case, mathematically, might demand neither of these ; but instead of them some 
 other division, called for, and demanded by the actual measure, in the measure 
 book. 
 
 Such systems and methods are anything but actual measurement. 
 
 Neither does the sole and actual use of the inch and its mathematical divisions 
 alone, prove anything whatever ; for the methods of drafting might be unscientific 
 and inadequate to cover every possible emergency. 
 
 Many persons, doubtless, have plain simple mathematical squares or inch 
 rules, who know not the first elements of their scientific use. And in like manner, 
 teachers whose principles are both erroneous and utterly worthless might — and such 
 most likely will, in the future — in order to weaken criticism and to cover the deform- 
 ity of their "systems," take refuge behind the inch rule alone. But the possession, 
 or even the fact of going through the process of using the compass and chain, does 
 not by any means prove that the possessor has any true and correct scientific know- 
 ledge of surveying whatever. Again, the drafting might even be correct, while the 
 fatal deficiency might be in the method of measurement of the human form. Not 
 only has mathematical law fixed the principles and instruments to be used in the 
 science of garment-drafting, but also the method of measurement, or the mathemati- 
 cal indices, which alone can possibly express the correct and absolute mathematical 
 mould or perfect fit of the human form. Under the same law and with equal cer- 
 tainty that light reflects and reproduces, through the camera, the exact image of the 
 object before it, that "mathematical mould" which is expressed by the given in- 
 dices or measures, whether those measures express either truth or error, or a mix- 
 
28 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 ture of both, will be mathematically reflected by the draft upon the goods — provided 
 the correct scientific instruments are used in the correct scientific method in con- 
 structing said draft from said measures. 
 
 It is, therefore, all-important that the method of reading the measures from the 
 human form, is mathematically correct and truly scientific, as well as the instruments 
 used both in measuring and drafting ; and the method or process, in each. How- 
 ever perfect, therefore, the instruments, the system of measuring and that of drafting 
 may be, if the measures are wrong the draft will be wrong to the same extent — and 
 in the exact same ratio. The tape-measure, the measures or indices, and the 
 mathematical square or inch-rule, are to the cutter, what the chain, the field-notes, 
 and the compass are to the surveyor ; and in the province of either, the draft is an 
 expression of mathematical truth in the exact ratio that the indices are the mathe- 
 matical expression of the truth sought. 
 
 Hence in this province, as everywhere in her dominion, mathematics has fixed 
 under the imperial seal of an immutable decree : 
 
 1. The Measurement or Indices. 
 
 2. The Instruments, or the means of obtaining, conveying, and interpreting 
 the Indices. 
 
 3. The Law of Government in each and over all. 
 
 And until twice one ceases to be two ; until we can trample upon the law of 
 gravitation by walking upon the air ; until the microscope can be substituted for the 
 telescope, and discord becomes enchanting music ; until the law of light produces 
 darkness; until motion is self-productive, and eflfect is produced without cause ; until 
 style can effect the needle of the compass, or turn the countless systems of stars and 
 their planets out of the orbits described for them, on the face of ' ' The Mathematical 
 Clock of the Heavens;" — until then, upon the throne erected by mathematics, in the 
 royal palace within her temple, and resting upon these pillars. Fashion, arrayed in 
 the princely gifts of the world's choicest looms, and crowned with the earth's richest 
 minerals and most precious stones, sits, the queen of beauty, the adored empress of 
 the world. 
 
 Respectfully, 
 
 The Author, 
 
 Philadelphia, Pa. 
 
UTILITY AND DECORATIVE ART. 
 
 . 29 
 
 Introductory From The Profession, 
 
 OR 
 
 The Voice of our Patrons, 
 
 AND 
 
 "To the Public: 
 
 We join in the highest praise of Prof. Christner's In- 
 ternational System of Garment-Cutting, with any square 
 and tape alone. He has given the most convincing proofs 
 of his system fitting the most difficult forms perfectly; 
 in waists, sleeves, coats, wraps, etc., purely, and abso- 
 lutely from the measures alone, drafted with any square 
 and tape alone. It is absolutely accurate and perfect, in 
 the ratio that the measures «re taken accurate, and per- 
 fect and true — all of which is easily learned. Time, 
 fashion, and form cannot affect its principles, which are 
 magnificently perfect and exhaustive. Its province em- 
 braces economy of time, labor, and money, to any dress- 
 maker. We would not part with it for many times its 
 cost; and can most cordially recommend both the system 
 and its urbane author as worthy of the fullest confidence 
 of all who are interested in learning the true science and 
 art of garment making. 
 
 Very Respectfully, 
 MRS. M. WOOD and MISS M. WOOD, Modists, 
 No. 1320 Poplar St., Philadelphia, Pa." 
 
 "To the general public and professional cutters : 
 
 I have learned and used Prof. Christner's Interna- 
 tional Scientific Tailor System of Garment-Cutting, with 
 any square and tape-measure alone ; and having thor- 
 oughly tested it, I pronounce it absolutely perfect and 
 graceful in result, to all styles; and very simple and easy 
 to learn. 
 
 MISS J. MILLER, Dressmaker, 
 No. 2032 Warnock St., Philadelphia, Pa." 
 
 "To all who are interested : 
 
 I learned and used quite a large number of 'systems;' 
 and have been an extensive and practical dressmaker 
 for twenty years. I know what is a perfect fit. I learned 
 Prof. Christner's International Tailor System, after see- 
 ing it thoroughly tested. I can conscientiously recom- 
 mend it to be all the author claims for it. Ladies will 
 find Prof. Christner a master cutter, and a thorough and 
 honest teacher. The price is money well spent. 
 
 MRS. A. A. FISH, Modiste, 
 No. 122S Poplar St., Philadelphia, Pa." 
 
 " To all whom it concerns : 
 
 I learned Prof. Christner's International Scientific 
 Tailor System of Garment-Cutting. It is simple and 
 easy to learn, and is perfect. It makes most exquisitely 
 beautiful fits, from the measures alone, and that too, in 
 about ten minutes, with any square and tape alone. I 
 cannot say too much for it ; and I would not part with it 
 for many times its cost. Mr. Christner is an honorable 
 and fair dealing gentleman ; and ladies can rely upon 
 what he claims, and that he will do and as he agrees. 
 Respectfully, 
 ' MISS CHRISTINE POEHNER, Dressmaker, 
 No. 1219 Girard Ave., Philadelphia, Pa." 
 
 " No. 600 Parrish St., Philadelphia, Pa. 
 Having learned Prof Christner's International Scien- 
 tific Tailor System of Garment-Cutting, with any square 
 and tape alone, I wish to say : I saw it tested, and tested 
 it myself, both in body, sleeve, and coat-cutting; and 
 testify to its marvelous accuracy and perfection. I cheer- 
 fully recommend both the author and the system, as 
 worthy of the highest confidence of the profession and 
 public. I learned it in four lessons. 
 
 MISS M. SCHLESINGER, Dressmaker." 
 
 " To whom it may concern : 
 
 Believing in the motto, 'Honor to whom honoris 
 due,' I wish to say I learned Prof. Christner's Interna- 
 tional System of Garment-Cutting with any square and 
 tape alone, after an expensive experience and disap- 
 pointment, in other pretentious and so-called 'systems.' 
 I found Mr. Christner's system a panacea for all my for- 
 mer losses, and my disappointments. His instructions 
 have forever simplified that seemingly difficult subject of 
 wrap-cutting. I now feel equal to any emergency of form 
 or fashion in Dolman-sleeved wraps, as well as plain cut- 
 ting, along with all those difficult 'little things,' such as 
 capes, collars, cuffs, circulars, etc. Ladies can feel assur- 
 ed that Prof. Christner's system is all he claims for it; 
 and will find his dealings honest and fair, in every way. 
 MISS ROSE McELWEE, Dressmaker, 
 No. 705 N. iSth St., Philadelphia, Pa." 
 
30 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 " No. 2iS Girard Ave. Philadelphia, Pa. 
 Prof. D. C. Christner took my measures and cut me 
 a waist and sleeves, which fit exquisitely, without change. 
 I know what is a fit. I have learned his International 
 Tailor System, and unhesitatingly pronounce it the most 
 perfect system ever invented. The sleeves are exquis- 
 itely beautiful and grand. Prof. Christner is a perfect 
 Christian gentleman ; and ladies can rely upon what he 
 advertises and agrees to do — and even more. Any one 
 can more fully convince themselves by either calling 
 upon, or writing to me. 
 
 MRS. M.J. WARD, Dressmaker, 
 No. 2iS Girard Ave., Philadelphia, Pa." 
 
 " To whom it may concern : 
 
 I learned the International System of Garment-Cut- 
 ting of Prof. Christner, the inventor, in five lessons. I 
 saw it tested, and tested it myself. It is very easy to 
 learn, quick and exceedingly accurate; and is simply 
 perfect. I speak from actual knowledge. The sleeves 
 are par excellence. All styles are easily and quickly 
 drafted to any form. Too much cannot be said for the 
 author and the system. No lady should be without it 
 for ten times its cost. 
 
 Very Respecifully, 
 
 MRS. S. McCARTY, Dressmaker, 
 No. 1521 Ogden St., Philadelphia, Pa." 
 
 ■' To whom it may concern: 
 
 Prof. Christner cut a waist and sleeves for us. from 
 the measures alone, which were charmingly beautiful 
 and perfect in design and fit. We join in recommending 
 his International System above anything we ever saw in 
 its line; and having learned it of the inventor, we can 
 now heartily recommend the system to all, and as being 
 all its accomplished author claims. Ladies will find 
 Mr. Christner a thorough gentleman, and can rely upon 
 his business agreements. The system is easy, simple, 
 comprehensive, quick, and absolutely perfect, if the 
 measures are taken accurately and perfectly. 
 
 MISS M. M. WILEY, ) „ ,. ^ 
 
 MISS A. RICHARDETTE, j" ^odists, 
 
 No. 817 N. i6th St., Philadelphia, Pa." 
 
 " No. 416 Girard Ave., Philadelphia, Pa. 
 To all who may be interested ; 
 
 I learned Prof. Christner's International System of 
 Drafting and Cutting; and I wish to say it is easy to 
 learn, and exceedingly accurate and perfect, as he claims. 
 I can cut a basque in ten minutes. The sleeves are ex- 
 quisite and grand. The author is a true gentleman, and 
 does what he agrees, and claims, and promises. I would 
 not part with his system for many times its price ; and I 
 recommend it above anything and everything in the 
 market— in its line — and to all. 
 
 MISS MARY M. PHILIPBAR, 
 
 Corset and Dressmaker." 
 
 "To all who are interested : 
 
 This is to certify that I have learned the Interna- 
 tional Scientific Tailor System of Garment-Cutting, of 
 Prof. D. C. Christner, and pronounce it by far the best 
 system ever offered, and as being equal to all forms and 
 styles of garments; and having a grace and beauty of 
 seams and shape, peculiarly its own. Mr. Christner is 
 an honorable gentleman, and ladies can rest assured he 
 will do as he agrees. 
 
 MRS. E. B. DURR, Dressmaker, 
 No. 1518 Stiles St., Philadelphia, Pa. 
 
 " To the public: 
 
 I learned Prof. Christner's International System of 
 Garment-Cutting, and pronounce it perfect. It is very 
 simple and yet comprehensive. It all depends on the 
 accuracy of the measures, and accuracy in the cutter. 
 The system is certain to be perfect, every time ; and 
 ladies can depend on this system as being what it is re- 
 presented, viz: a thoroughly exhaustive, scientific, 
 practical, and perfect system; which teaches you to cut 
 all kinds and styles of garments. I advise all who wish 
 such a system, to investigate Prof. Christner's Foreign 
 and American Tailor Methods, and they will find The 
 System of the World ; and that which is certainly des- 
 tined to become ' The Universal Standard.' 
 
 MRS. F. STEVENSON, Modiste, 
 No. 1302 Brown St., Philadelphia, Pa." 
 
 " To all whom it may concern : 
 
 I learned the International Scientific Tailor System 
 with any square and tape alone, of Prof. D. C. Christner 
 the inventor. My first effort was a polonaise; which, was 
 charmingly beautiful and perfect. It is a marvel of per- 
 fection and simplicity ; and must become notedly, as it 
 is in reality, 'The Standard of Standards:' and 'The 
 King of all Systems.' Having carefully investigated all 
 the many systems in Philadelphia, I became convinced 
 of the superiority of this great system in every way, over 
 all the others; and having learned it, I am delighted 
 with it; and I advise every lady to convince herself by 
 comparing all with it, and judging for themselves. Prof. 
 Christner is a thorough and master teacher, and a gen- 
 tleman of honor— who will do just as he agrees. 
 
 MRS. M. A. MARONEY, Dressmaker, 
 No. 1227 N. i6th St., Philadelphia, Pa." 
 
 Philadelphia, April 28, '85. 
 " To all interested in systems of cutting, I can truly say. 
 Prof. D. C. Christner's system of drafting is exceedingly 
 accurate, and has a matchless grace and style ; and that 
 it is superior to anything I ever saw or used. The 
 sleeves are most beautiful ; and the system moreover, is 
 not difficult. Ladies will find its author a thorough Cut- 
 ter, and an honest and courteous gentleman. Am de- 
 lighted with the system in every way. 
 Respectfully, 
 MRS. IDA M. BROWN, Modiste and Draper, 
 No. 1323 Davis St., Philadelphia, Pa. 
 
 " No. 912 Ontario St., Philadelphia, Pa. 
 Prof. Christner cut a basque-body and sleeves for me, 
 from the measures alone; which, were artistic in design, 
 and fit perfectly without change. I learned his Interna- 
 tional System with any square and tape alone, in five 
 lessons. Am delighted with it; and I consider it the 
 solution of that vexatious problem, of a system of fitting 
 whch is commensurate with, and equal to all the de- 
 mands in irregularity ofform and the fluctuations of style. 
 MRS. J. MOSS, Modiste." 
 
 " To whom it may concern : 
 
 I learned Prof Christner's International Tailor Sys- 
 tem of Garment-Cutting, after seeing it thoroughly 
 tested. His system is perfect, and quite simple and easy 
 to learn. Ladies will find Mr. Christner a thorough 
 Christian gentleman. He does as he agrees, and what 
 he claims. 
 
 MRS. A. H. KNIGHT, Dressmaker. 
 No. 1122 N. Aih St., Philadelphia, Pa." 
 
UTILITY AND DECORATIVE ART. 
 
 31 
 
 " Philadelphia, Pa. : 
 Prof. D. C. Christner : 
 
 Dear Sir— I have been in business for a number of 
 years, and learned several systems. I find your system 
 by far ahead of all others I ever used or saw— and very 
 perfect and accurate. 
 
 Yours, Respectfully, 
 
 MRS. A. DOWNS, Modiste, 
 
 No. H18 Brown St., Phila." 
 
 " I learned Prof. Christner's International Scientific 
 Tailor System with any square and tape alone ; and cut 
 my first waist and sleeves, in fifteen minutes, which were 
 elegant and very perfect. It is the most perfect system 
 I ever saw, and I am perfectly delighted with it. I can 
 say truthfully, that it is all that is claimed for it by its 
 author, who is a gentleman both of ability and honor ; 
 and whodeals 'on the square,' as accurately and carefully, 
 as he teaches 'on the square.' 
 
 MRS. JULIA WACHTER, Dressmaker, 
 
 No. 1333 Myrt e St., Philadelphia, Pa." 
 
 " To any who are desirous of learning Garment-Cutting : 
 Having learned Prof. Christner's International Tailor 
 System of Drafting by square and tape alone, and having 
 seen Mr. Christner test it thoroughly, and having tested 
 it myself with like results, I can say truthfully to all, that 
 it is the simplest, quickest, and most perfect system 
 taught. It is grand ! Equally perfect to all forms, and 
 to all styles. It is refreshing to find as courteous and 
 honorable a gentleman in that line of business as its 
 author, whose word can be depended upon, in all that he 
 agrees and promises, as well as his system. 
 Very Respectfully, 
 
 MRS. E. V. MAXWELL, Modiste, 
 
 No. 908 N. 12th St., Philadelphia." 
 
 No. 127 N. Howard St., Baltimore, Md. 
 "To all whom it may concern : 
 
 I learned Prof. D. C. Christner's International Scien- 
 tific Tailor System of Garment-Cutting by square and 
 tape alone. I pronounce it one of the grandest achieve- 
 ments of the age, in its province. It is simple, compre- 
 hensive, and grandly perfect. It is destined to become 
 universal; and will receive a glad welcome from the pro- 
 fession, which has long waited for just such a work. Am 
 more than delighted with it. 
 
 MRS. H. H. WARDD, Modiste and Draper." 
 
 " To all who are interested in learning the art of Gar- 
 ment-Cutting: 
 
 Common sense taught me long since that ladies' gar- 
 ments could not be cut perfectly-fitting— and as the scien- 
 tific tailor cuts— until the same scientific principles and 
 instruments were used, to the exclusion of all others: 
 such as patterns, charts, models, machines, etc. I am 
 the wife of a first-class tailor, and have been a practical 
 dressmaker for twenty-five years, in experience and 
 time. I have watched and studied with exceeding great 
 care and anxiety, the multitude of so-called ''systems," 
 "tailor systems," " Taylor system," and ''charts," and 
 "models," and ''machines," innumerable— as each was 
 ofi"ered, and imposed upon the ladies of Philadelphia; 
 as well as in New York, and other cities. I investigated, 
 studied and proved all the latest and most generally 
 received systems, both here and elsewhere; and must if 
 I wish to be truthful, confess that I found them anything 
 but what they professed to be; and in the main, utterly 
 worthless and deceptive, and a libel on the name " The 
 Tailor System." Not even knowing the meaning of the 
 
 term, nor the use of the tailors' instruments, all sorts of 
 devices have been resorted to, in order to ensnare and 
 confuse the public ; and in many instances, unsuspecting 
 and poor hard-working girls have been literally robbed 
 of their hard earnings, in being induced to buy or learn 
 these so-called "tailor systems." I therefore feel it a 
 duty to say to all who are seeking to learn ladies' gar- 
 ment-cutting, by the same instruments and in the same 
 manner that the scientific tailor does, to avail themselves 
 of Prof. Christner's great International System. It is the 
 standard among standards, and cannot be too highly 
 praised. He has done a great work for the profession ; 
 and in such a thorough masterly way, that he should 
 receive the aid and gratitude of all who love truth, jus- 
 tice, and right. It should be published free, and far, and 
 wide ! It gives the same principles, both for ladies and 
 gentlemen; and with the same instruments. I learned 
 the "ladies' department" in three lessons; and can cut 
 any garment perfectly with it, in from ten to fifteen min- 
 utes. I would not part with it for ten times its cost. It 
 is simply the end of this whole matter, and the end of all 
 perfection. It saves more time, labor and money, than 
 many times its cost, every month, whether in the estab- 
 lishment, or in the home. In its accuracy, comprehen- 
 siveness, and simplicity, with economy of time, material, 
 labor, and money, along with a matchless excellency and 
 grace of result, it outshines all other systems ever oflTered • 
 in America, as the sun outshines the stars. 
 
 MRS. S. C. B AITENGER, Modiste and Draper. 
 No. 331 W. Thompson St., Philadelphia, Pa." 
 
 We have above 500 more references throughout this 
 and other American cities, similar and even more ex- 
 pressive than some of the above, and could fill a volume 
 with references alone. But we must beg to be excused 
 from granting any more space to references. One's 
 character, ability, and reputation, are best known to his 
 neighbors and patrons; and in the city and place where 
 he has his home and business. We have therefore 
 chosen the above few from among the many— not be- 
 cause they are more flattering in their praise of the work, 
 but because of the peculiar weight of influence they have, 
 or should have, being residents of the same or adjacent 
 wards, and in the same line of business. We have many 
 similar references from the highest and most influential 
 and leading tailors both in this and in other cities, as 
 well as from the leading commercial houses. We have 
 their letters from their own hands, and they can be seen 
 by those who are sufficiently interested, along with all 
 the others and those given above ; whom can be seen or 
 addressed, if postage is enclosed, as given above. And 
 while unwilling to offer a sufficient inducement to tempt 
 any one to do wrong; nevertheless, to show that we are 
 not offering manufactured reference, we hereby challenge 
 anyone to investigate for themselves ; and we offer to 
 forfeit |ioo for any reference given above, the original of 
 which we cannot produce, and as written in their own 
 hand over their own signatures; or if ever lost, that we 
 will not substantiate and testify to, under oath. 
 Very Respectfully, 
 
 The Author. 
 
32 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 IN>8( fO COM^MfS. 
 
 ♦^s*^^*^**?* 
 
 Agents and Agencies, Important Notice to . . . 15, 16 
 
 Agents, can begin Immediately i", 19 
 
 Art, The Coming or Future 220, 221 
 
 Ball Dresses and Low Bodices 112, 149, 150 
 
 Basting tlie Linings, Rules for 116, 117 
 
 Basting the Materials, Rules for 117,118,138 
 
 Basting the Sleeves, Rules for iiS 
 
 Basque, How to cut Drapery for 112 
 
 Basques, Rules for Cutting 112 
 
 Basques, Rules for Cutting Plain Round 112 
 
 Basques, Rules for Cutting Pointed 112 
 
 Basques, Rules for Cutting Vests for 112 
 
 Bead Work, Rules for making Bracelets and Chains 
 
 194. 195 
 
 Bead Work, Rules for making leaves, flowers, buds, 195 
 Bead Work, How to make French Card-Case in 
 
 Gold Thread and Steel Beads 194 
 
 Bead Work, Rules for making Toilet-Cushion, . . . 195 
 
 Berthae, Rules for making the 150 
 
 Binding 147. 14S 
 
 Bias Cutting 115 
 
 Bias Cutting on Twill 115 
 
 Bias, Rules for making the Fourfold 165 
 
 Bodices and Ball Dresses. Low Combination .... 150 
 Bodices and Ball Dresses, Low, Pointed Basque . . 150 
 Bodices and Ball Dresses, Low, Round Basque . . . 150 
 
 Bodices and Ball Dresses, Rules for Low 150 
 
 Bows, Principles of Making 166 
 
 Boys Pantaloons, International Tailor rules for Cut- 
 ting Vest and Over-coat Knee-pants, Coat, 71, 76, 222, 
 
 251, 152 
 
 Bouillion, Rules for the gathered 145, 146 
 
 Buttonholes 152, 155 
 
 Buttonholes, Rules for making Herring-bone .... 155 
 
 Buttonholes, Rules for making Piped 155 
 
 Buttonholes, Rules for making Plain 154 
 
 Buttonholes, Rules for making Pointed 155 
 
 Buttonholes, Rules for making Round 154 
 
 Buttonholes, Rules for making Double-Stitch . . . 154 
 
 Buttonholes, Rules for making Tatted 154, 155 
 
 Buttonholes, American Tailor, Prussian Tailor, 
 
 French Tailor, and English Tailor 152, 153 
 
 Buttonholes, Rules for making Twisted Stitch . . . 155 
 
 Buttons, Rules for sewing-on Covered 150, 151 
 
 Buttons, Rules for sewing-on Linen 151 
 
 Buttons, Rules for sewing-on Metal-shanked .... 151 
 Buttons, Rules for sewing-on Woven 151 
 
 Buttons, Rules for sewing-on. With Eyes 151 
 
 Capes, Rules and principles for cutting .... 123, 126 
 
 Cape, Rales for cutting the Dolman 125 
 
 Casings, Rules for making Whalebone 148 
 
 Children, Arranging the seams, styles and degrees 
 
 of fit in drafting for 71 
 
 Children's Dresses, open at the back or at the front . 71 
 Children, Franco-Prussian method of drafting for . 68, 76 
 Children, Instructions to draft all kinds and styles 
 
 of costumes for 68, 76 
 
 Children, Measures for 68, 69 
 
 Circulars, Rules and principles for cutting 126 
 
 Cloaks, Rules for Cutting 127, 131 
 
 Coats, Rules for cutting 127, 131 
 
 Coats, Rules for increasing the measures .... 12S, 129 
 
 Coats, To cut with one dart 129 
 
 Coat, The English or Ulster Skirt 131 
 
 Collar, method and rule for drafting "The Berlin," . loi 
 Collar, method and rule for drafting, "The Byron," . 102 
 Collar, method and rule for drafting "The Circular," 104 
 Collar, method and rule for drafting "The English 
 
 Rolling," 103, 104 
 
 Collar, method and rule for drafting "The French 
 
 "Coat," 104, 105 
 
 Collar, "The Rolling Choker," Method and rule for 
 
 drafting loi, 102 
 
 Collar, "The Sailor," method and rule for drafting . 105 
 
 Color, Harmony of Complexion with 200, 201 
 
 Computation of required material 41 
 
 Copying, Principles and rules for 121 
 
 Copyright notices 7, 14, 15, 48 
 
 Cording and Binding, Rules for 146, 14S 
 
 Cording, Rules for making Double . . . 146, 147, 162, 163 
 
 Cording, Rules for making Single 147 
 
 Cording, Treble and Quadruple 146, 148 
 
 Crazy Patch-Work, Principles and rules for making 
 
 the 178, 179 
 
 Crazy Patch- Work, Stitches used in 179 
 
 Crazy Patch-Work Stitch, "The Border." 179 
 
 Crazy Patch-Work Stitch, "The Brier," 179 
 
 Crazy Patch-Work Stitch, "The Chain Satin." . . . 179 
 
 Crazy Patch-Work Stitch, "The Coral," 179 
 
 Crazy Patch- Work Stitch, "The Cross," 179 
 
 Crazy Patch-Work Stitch, "The Crow's-foot." ... 179 
 Crazy Patch-Work Stitch, "The Diagonal," .... 179 
 Crazy Patch-Work Stitch, "The Double Feather," . 179 
 Crazy Patch- Work Stitch, "The Feather," 179 
 
UTILITY AND DECORATIVE ART. 
 
 33 
 
 Crazy Patch-Work Stitch, "The Knot," 179 
 
 Crazy Patch-Work Stitch, "The Loop," 179 
 
 Crazy Patch-Work Stitch, "The Point Russe," ... 179 
 
 Crocheting, Principles and rules for 179, 1S6 
 
 Crocheting, Rules for Chain 179 
 
 Crocheting, Rules for Double 179 
 
 Crocheting, Rules for Double-Long iSo 
 
 Crocheting, Rules for Long 179 
 
 Crocheting, Materials and instruments used for . . 179 
 
 Crocheting, Rules for Open 180 
 
 Crocheting, Rules for Single 179 
 
 Crocheting, The Stitches used in, and how to make 
 
 them 179 
 
 Crocheting, Rules tor Treble-Long 180 
 
 Crochet Work, Rules and regulations for Clover-Leaf 
 
 Stitch 181 
 
 Crochet Work, Rules for American Tidy 181 
 
 Crochet Work, Rules and explanations for the Forget- 
 me-not Flowers 184 
 
 Crochet Work, Prussian Edging 180 
 
 Crochet Work, Russian Carriage Rug 180 
 
 Crochet Work, the Louise-Collar 180 
 
 Crochet Work, Crazy-Stitches 183 
 
 Crochet Work, in Wavy-Braid 184 
 
 Crochet Work, Rules and explanations for the Labur- 
 num Flower 184 
 
 Crochet Work, Rules and explanations for Geometri- 
 cal or Honey-Combed Netting 186 
 
 Crochet Work, Rules and explanations for Grecian 
 
 Netting 185 
 
 Crochet Work, Rules and explanations for the Snow- 
 Drop, Knitted Flowers etc 185 
 
 Crochet Work, Rules for Knitted Spanish Wheat-ear 
 
 Edging iSi, 182 
 
 Crochet Work, Rules and explanations for Mig- 
 
 nardise-Work 181 
 
 Crochet Work, Rules and explanations for Narrow 
 
 Scotch Edging 180 
 
 Crochet Work, Rules and explanations for Grecian 
 
 Netted-Border 185 
 
 Crochet Work, Rules and explanations for Oriental 
 
 or Persian Netting 186 
 
 Crochet Work, Rules for American Raspberry Stitch, 182 
 Crochet Work, Rules and explanations for the New 
 
 Berlin-Stitch 180 
 
 Cuff, rule for drafting the French Tailor 105 
 
 Curves, Indications for the proper Method of bast- 
 ing 63, 71 
 
 Cutting Gores, Rules for 116 
 
 Cutting Gores of Train Skirts, Rules for 116 
 
 Cutting Material, Rules for 115 
 
 Cutting Skirts, Rules for 92, 95 
 
 Cutting Train Skirts, Rules for 94, 95, 116 
 
 Dart, Rules for Drafting with one 81 
 
 Dart, Rules for the back, or the arms eye 88 
 
 Decorative Arts-Utilito, Rules and principles of 212, 221 j 
 
 Decorative Art, Electro Glass-Engraving 213 
 
 Decorative Art, Paper Flowers, Art of making ... 216 
 
 Decorative Art, Gold-Liquid in 214 
 
 Decorative Art, To Stain Wood Black, Marble, and 
 
 Mahogony 214 
 
 Decorative Art, Pendrawing 218, 216 
 
 Decorative Art, on Glass 217, 218 
 
 Decorative Art, on Metal 219 
 
 Decorative Art, on Linen 219 
 
 Decorative Art, Decorating Christmas Cards .... 216 
 Decorative Art, Method of Preservation of natural 
 flowers 217 
 
 3 
 
 Decorative Art, for decorating Lamp Shades .... 217 
 Decorative Art, Method of Japanese Decorations . 215 
 
 Decorative Art, Table Covers in 215 
 
 Decorative Art, in Embroidered Chair Backs ... 219 
 Decorative Art, in Satin and Plush Portieres .... 220 
 
 Dedication 5 
 
 Designing, Principles and rules for 121, 122 
 
 Divisional Contents 8 
 
 Diagonals, Rules for Drafting and Cutting 81 
 
 Double-breast, Rules for drafting the 81 
 
 Dolmans, Rules for drafting and cutting .... 132, 138 
 Dolman, Rules for drafting the Standard English. 132, 136 
 Dolman-Sleeve, Rules for drafting the Princess 
 
 Louise 136, 137 
 
 Dolman-Sleeve, Rules for cutting the Joined- Back . 138 
 Drafting, Rules for English and American direct 
 
 body, front and side-front 78, 84 
 
 Drafting, Rules for English and American direct 
 
 body, the back 84, 86 
 
 Drafting, Rules for English and American direct 
 
 body, the side-back 86, 88 
 
 Drafting, Requisites and preparations for 55, 56 
 
 Drafting, Direct and Indirect 77. 91, 57, 75 
 
 Drafting, French and Prussian Compound Body . 57, 58 
 Drafting, Instructions for French and Prussian Com- 
 pound 58, 63 
 
 Drafting, All Kinds of Styles of Ladies Costumes . 42, 138 
 
 Drapery, Rules and principles of Back 169, 170 
 
 Drapery, Rules and principles of Boufante 170 
 
 Deapery, Rules and principles of En Biais 170 
 
 Drapen,-, Rules and principles of Front 169, 170 
 
 Drapery, Rules and principles of Cascade 170 
 
 Drapery, Rule,s and principles of En Chale 170 
 
 Drapery, Rules and principles of En Coquille . . . 170 
 Drapery, Rules and principles of En Eventail . . . 170 
 Drapery, Rules and principles of Flots Coques . . . 170 
 
 Drapery, Rules and principles of High i6g, r70 
 
 Drapery, Rules and principles of Low 169, 170 
 
 Drapery, Rules and principles of Medium . . . 169, 170 
 
 Draper)', Rules and principles of Pannier 170 
 
 Drapery, Rules and principles of Side 169, 170 
 
 Draping, Rules and principles for 168, 171 
 
 Dress Fabrics and Table of widths 40, 41 
 
 Dress Linings, Table of 41 
 
 Dressmaking, the principal stitches used in . . . 142, 143 
 Dressmaking, The Principal Seams used in . . . 144, 145 
 
 Dressmaking, Stitches used in 142, 143 
 
 Dressmaking, Terms used in 37i 40 
 
 Dyeing Fancy Blue, Black, Gray, Crimson, Golden- 
 Yellow, Imperial-Blue, Sky-Blue Claret, Fawn- 
 Drab, Flesh-Color, Salmon, Mauve, Violet, Ma- 
 genta, Plum, Peagreen, Grey, Lilac, Pink, Purple, 
 Scarlet, Red, Nankeen, Orange, Lavender, and 
 
 Blue-Black 201, 203 
 
 Emliroldery, Rules and principles for ... 173, 179 
 
 Embroidery, Fabrics used for 173 
 
 Embroidery, Object and aim of 173 
 
 Embroidery, The various kinds 173 
 
 Embroidery, The Instruments used in 173 
 
 Embroidery, Method for the stamens and veins . . 175 
 
 Embroidery, Tacking down the edges in 175 
 
 Embroidery, Rules for making Stitches used in . 175, 177 
 Embroiderj'-Stitch, Rules for making the Skeleton . 175 
 
 Embroidery-Stitch, The Tracing 175 
 
 Embroidery-Stitch, Rules for making the French- 
 Knot 175 
 
 Embroidery-Stitch, Rules for making Darning . 175, 176 
 Embroideo'-Stitch, Rules for making the Weaving . 176 
 
34 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Embroiderj'-Stitch, Rules for making the Plush . . 176 
 Embroidery-Stitch, Rules for making the Kensington 176 
 
 Embroidery-Stitch, The Outline 176 
 
 Embroidery-Stitch, The Satin 176 
 
 Embroidery-Stitch, The Appliqued 176 
 
 Embroidery-Stitch, Rules for making the French 
 
 Knot 174 
 
 Embroidery-Stitch, the Arasene 176 
 
 Embroidery-Stitch, The Grecian 176 
 
 Embroidery-Stitch, The Persian 176 
 
 Embroidery-Stitch, The Tent 176 
 
 Embroidery-Stitch, The Star 176 
 
 Embroidery-Stitch, The Feather 176 
 
 Embroidery-Work, Rules for making Rick-Rack- 
 Daisy 178 
 
 Embroidery-Work, Rules for making the Wild Rose 178 
 Embroidery-Work, Rules for making the Snow Ball 178 
 Embroidery-Work, Rules for making Wild Clematis 178 
 Embroidery-Work, Rules for making the Trans- 
 parent-Tidy 17S 
 
 Engravings, To transfer 213 
 
 Explanations for eliminating the various parts of 
 
 the draft 113, 114, 94, 95, 99, 100, 136, 138 
 
 Extensions, Rules and pointed lines for finishing 
 
 the 63, 71 
 
 Extensions, Rules for Plaiting and Drapery . . . 100, iii 
 
 Fabrics, Table of widths 40, 41 
 
 Fancy and Artistic Needle Work, Principles and 
 
 Instructions for 193 
 
 Feather Work, The art of Making Flowers in . 193, 194 
 
 Feathers, To clean 193, 194 
 
 Feathers, To curl 193, 194 
 
 Feathers, To dye : Blue, Green, Lilac, Red, Yellow, and 
 
 Scarlet, etc 193, 194 
 
 Finishings, Rules for Tailor 157, 158 
 
 Flounce, Rules for making the Plain Gathered . . . 161 
 
 Flounce-Heading 165 
 
 Fold, Rules for making the French 163 
 
 Fringe, Rules for making Raveled 166 
 
 Fringe, Rules for.making Berlin 166 
 
 French Seam 144 
 
 Garments, How to draft Gents' and Boys' . 222, 251 
 
 Garments, Half-fitting , Si 
 
 Garments, Two-third-fitting Si 
 
 Garments, Three-fourth-fitting Si 
 
 Garniture, For Sleeves and Bodice 159, 160 
 
 Gathering, Rules for the Bouillion 145, 146 
 
 Gathers, Rules for Sewing in the 146 
 
 Gauging or Gathering, Explantions for .... 145, 146 
 
 Gauging, Rules for Double 146 
 
 Gold Liquid, Receipt for making 214 
 
 Goods, How to proceed for very narrow 115 
 
 Goods, Having Geometric Patterns, How to proceed 
 
 with 115, 1x6 
 
 Gores Two under arm — Rules for, in large forms . 83, 84 
 
 Habits, How to cut Riding 131 
 
 Hair Work, Principles and instructions for 193 
 
 Hem, The False 145 
 
 Hem, The French half 145 
 
 Hem, The Stitched 144 
 
 Hemming, Rules for 160, 165 
 
 Hoods, Rules and methods of drafting all kinds and 
 
 styles 105, 106 
 
 Hose, Fancy pattern, for open worked French ... 191 
 
 Introductions 23, 28, 120, 141, 223 
 
 Introductory, From the Public and Profession . . 29, 31 
 Ivory and Bone, To stain. Black, Blue, Green, and 
 Purple, Receipt for 214 
 
 Jackets, Rules for cutting 119, 131 
 
 Kaleidoscope "Work, Rules and explanations 
 
 for 179 
 
 liace ^Tork, Its origin, object, aim, and principles 
 
 for making 186, 190 
 
 Lace, Description and rules for Brussels .... 186, 187 
 
 Lace, Rules for making Point d' Alencon 187 
 
 Lace, Rules for making Brussels Point 187 
 
 Lace, Rules for making Scotch 187 
 
 Lace, Rules for making Berlin Insertion 188 
 
 Lace, Rules for making Venetian 188 
 
 Lace, Rules for making Sorento 188 
 
 Lace, Rules for making Torchon 18S 
 
 Lace, Rules for making Spanish Point 188 
 
 Lace, Rules for making English Point 188 
 
 Lace, Rules for making Open English Point .... 188 
 
 Lace, Rules for making Spanish Bar 188 
 
 Lace, Rules for making French Rosette 188 
 
 Lace, Rules for making Portugese 188 
 
 Lace, Rules for making Saw T.eeth Edging .... 189 
 
 Lace, Rules for making Double Oak-Leaf 189 
 
 Lace, Rules for making Clydesdale 189 
 
 Lace, Rules for making wide Normandy 189 
 
 Lace, Rules to make Collar in Waved-Braid . . 189, 190 
 
 Leaf- Work, Rules and principles for 196, 197 
 
 Leather-Work 194 
 
 Leather, To clean 194 
 
 Leather, To join 194 
 
 Leather, To make water-proof 194 
 
 Linings, Table of 41 
 
 Loops, Rules for 155 
 
 Making-np the dress 142, 171 
 
 Mantelets, Rules for drafting and cutting . . . 132, 138 
 Mantaux, Rules for drafting and cutting .... 132, 138 
 Mantilla, Rules for drafting the Standard French 137, 138 
 
 Mantles, Rules for cutting 115,133,138 
 
 Material, How to fold Double width 115 
 
 Material, Method for computing the number of yards 41 
 
 Measures, Introductory to taking the 44, 46 
 
 Measures, Rules for taking the • • • • • 47, 53 
 
 Measures, Rules for taking the Sleeve 53, 54 
 
 Measures, The Extra 52, 5.^, 54 
 
 Measures, Methods of proving the 52 
 
 Measures, The 42, 43 
 
 Measures, The International System of 47, 48 
 
 Measure-Book, plan of, for Gentlemen's Measures . 251 
 
 Measures for practice 56, 69, 12S 
 
 Measure-Book, plan of. Ladies' Measures 244 
 
 Millinery, Rules and Principles for 197, 200 
 
 Mourning, Dresses for 167, 118 
 
 Narrow Fabrics, niodeof adding to the width . 115 
 
 Notice, Important to the public 14, 15 
 
 Notice, Pertaining to Agencies and Agents . . . . 15, 19 
 Nomenclature, Of the Art and Science of Dress- 
 making 37i 40 
 
 New-Markets, Rules for drafting 99, 131 
 
 Neck, Rules for Binding the 148, 149 
 
 Needlework, Rules and instructions for Fancy and 
 
 Artistic 193 
 
 Needlework, Rules for working Table Covers . . . 215 
 Overskirts, Rules for cutting Drapery of . ... 115 
 
 Painting, China and Pottery 205 
 
 Painting, Embossed Pottery 205 
 
 Painting, Embroidery 204 
 
 Painting, on Glass 212, 213 
 
 Painting, Grecian Oil 205, 207 
 
 Painting, In Gold and Silver 20S 
 
 Painting, on Ivory 218 
 
UTILITY AND DECORATIVE ART. 
 
 35 
 
 Painting, Lace in Water-Colors 204 
 
 Painting, Lustre 209, 210 
 
 Painting, Kensington 211, 212 
 
 Painting, Lincrusta 210, 211 
 
 Painting, Oil Photograph 208, 209 
 
 Paletots, Rules for cutting 127, 131 
 
 Paletots, Rules for increasing the measures .... 128 
 
 Painting, Tapestry 207, 20S 
 
 Painting, in Water-Colors 203, 204 
 
 Pencil and Chalk Drawings — To fix 214 
 
 Pelisses, Rules for drafting and cutting 132, 13S 
 
 Pelisses, Rules for drafting the Standard RomanofT . 138 
 
 Peplumes, How to cut 1-15 
 
 Piping, Rules for making Bias 161 
 
 Piping, Rules for making Double-materialed .... 162 
 
 Piping, Rules for making Double 162 
 
 Plait, Rules for the Greek 150 
 
 Plaiting, Rules for making Kilt 169 
 
 Plaiting, Knife 167 
 
 Plate, Showing Embroidery and Fancy Needlework 174 
 
 Plate, Showing Skirt Trimmings 164 
 
 Plate, Showing Sleeve and Bodice Trimmings . . . 159 
 Polonaises, Rules for drafting all kinds and styles 
 
 of 107, III 
 
 Polonaise, Rules for drafting Special darts for . . . iii 
 Polonaise, Rules for drafting Front drapery of . . . iii 
 Polonaise, Rules for drafting Back drapery of . . . iii 
 Polonaise, Rules for drafting Side drapery of ... iii 
 Polonaise, Rules for drafting Vest Fronts of . ... iii 
 Polonaise, Methods of draping for remodeling ... 11 1 
 Polonaise, Rules for Pleating and drapery of . ... iii 
 
 Prefaces 20, 22, 120, 140, 223 
 
 Price-List and Explanation 9, 12 
 
 Princess, the Franco-Prussian Method of Drafting . 95, 99 
 
 Princess, Front of the Promenade 98, 99 
 
 Princess, Side-back of the Promenade 98, 99 
 
 Princess, the Back of the promenade 98, 99 
 
 Princess, Rules for the Demi-train 100 
 
 Princess, Rules for the Train 100 
 
 Principles, not rules. System built upon . . .21, 23, 28 
 
 45, 55. 81, 223 
 
 Riding Habits, How to cut 131 
 
 Roses, How to improve their color 217 
 
 Rouleaux 165 
 
 Ruffle, Rules for making the plain gathered .... 161 
 
 RufYles, The French and English 161 
 
 Ruffle, Rules for making the Corded 162 
 
 Running-Stitch, The 142 
 
 Sacq^ues, Rules for cutting 115, 127, 138 
 
 Seams, The principal 144, 145 
 
 Seams, To change the 55 
 
 Seams, To the shoulder in front 63 
 
 Seams and Spacings, How to govern, not fixed . . . 67 
 
 Seams, Rule for allowing the 63 
 
 Seams, The kinds, their names and descriptions 144, 145 
 
 Seam, The plain 144 
 
 Seam, The flat 144 
 
 Seam, The French 144 
 
 Seam, The Invisible cloth 144 
 
 Seam, The double 144 
 
 Seam, Corded 144 
 
 Seam, The stitched-hem 144 
 
 Seam, The pocket-slit 145 
 
 Shell Flowers and Shell Work, Rules and principles 
 
 for 195, 196 
 
 Shirts, Rules for Cutting 75, 76 
 
 Shirts, Drafting and rules for cutting Gents' and 
 
 Boys' 75, 76 
 
 Shoulder, Curved line for the 63 
 
 Skirts, How to trace the 94, 113 
 
 Skirts, Rules for cutting Walking or promenade . 92, 94 
 
 Skirts, Rules for cutting Demi-promenade 94 
 
 Skirts, Rules for cutting Demi-train 94 
 
 Skirts, Rules for cutting Full train 94 
 
 Skirts, Rules for cutting Square-train 94, 95 
 
 Skirts, Rules for cutting their widths 95 
 
 Skirts, Cutting out the goods 116 
 
 Skirts, Trimmings and Finishing 160, 167 
 
 Skirts, Train 94, 116 
 
 Skirt, Sleeve, 116 
 
 Skirts, Rules for Gathered 146 
 
 Skirts, Franco- Prussian Method of drafting all kinds 
 
 and styles 92, 95 
 
 Sleeve, Methods of Drafting French and Prussian 
 
 Compound 64, 67 
 
 Sleeves, Methods of making 148, 149 
 
 Sleeves, The Coat 66, 67 
 
 Sleeve, The close 64, 66, 88, 91 
 
 Sleeves, The open 149 
 
 Sleeves, How to cut Draped 149 
 
 Sleeves, Rules for drafting 64, 67, 88, 91 
 
 Sleeves, Rules for Binding the 148 
 
 Sleeves, Rules for Opening 149 
 
 Sleeves, Oriental 149 
 
 Sleeve, Mediaeval 149 
 
 Sleeves, Greek 149 
 
 Sleeves, Roman 149 
 
 Sleeves, Cassock 149 
 
 Sleeves, The Judge 149 
 
 Sleeves, The.Religious 149 
 
 Sleeves, The Leg of Mutton 149 
 
 Sleeves, The Engageantes 149 
 
 riocves, Rules to trim open 148,149 
 
 S ;vcs, for children Dress and Coat 71 
 
 Sp .'.ter-Work, Rules for 213, 214 
 
 Stamping, Rules and principles of 171, 172 
 
 Stitching and Basting Back 117, 118 
 
 Stitches, The principal dressmaking 142, 143 
 
 Stitch, The Running 142 
 
 Stitch, The Back 142 
 
 Stitch, The Overcast 142 
 
 Stitch, The French Invisible 142 
 
 Stitch, The Chain 142 
 
 Stitch, The Buttonhole 142 
 
 Stitch, The Embroidery 142 
 
 Stitching, The grand secrets of 142 
 
 Supplementary Price-List 13, 14 
 
 Tabliers, Rules for cutting 115 
 
 Tailor-Finishings 156, 158 
 
 Tapes, Rules for Sewing-on 165, 166 
 
 Title Page, 3, 6 
 
 Tracing, Introductory rules for 113 
 
 Tracing, How and what seams to allow in 113 
 
 Tracing, Rules for the front 113 
 
 Tracing, Rules for the back 113 
 
 Tracing, Rules for the side-back 113 
 
 Tracing, Rules for the side-front 113 
 
 Tracing, Rules for the Princess-back and side-back . 113 
 
 Tracing, Rules for the vest-front 114 
 
 Tracing, Rules forthe French sleeve • 114 
 
 Tracing, Rules for the English sleeve 114 
 
 Tracing, Rules for the Children's draft, Gabrielle . 114 
 Tracing, Rules for the Children's draft, Gabrielle 
 
 side-front 114 
 
 Tracing, Rules for the Children's draft, Gabrielle, 
 
 the back 114 
 
36 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Tracing, Rules for the Children's draft, Gabrielle, 
 
 the side-back 114 
 
 Tracing, Rules for the Children's draft, Gabrielle, 
 
 the English Back 114 
 
 Tracing, Rules for the Children's draft, Gabrielle, 
 
 the French back 114 
 
 Tracing, Rules for the Children's draft. All kinds 
 
 and styles of Garments 114 
 
 Trains, Principles and Methods of cutting 94 
 
 Trains, Lengths of 116 
 
 Transparencies, Rules for 196 
 
 Transfer- Work, Rules for 196 
 
 Trousseaux, Rules for Wedding 149 
 
 Trimmings, Rules for making the 160, 167 
 
 Trimmings, The proper choice of materials for 
 
 the 160, 161 
 
 Trimmings, Rules of good taste for 160, 167 
 
 Tunics, Rules for cutting 115 
 
 Ulsters, Rules for drafting 99, 127, 131 
 
 Ulsters, Rules for drafting Demi 99, 127, 131 
 
 Ulsters, Rules for increasing the measures of . . . . 128 
 Underwear, Rules for cutting and making ladies' 
 
 and children's 75 
 
 Vests, Lines and rules for tracing and cutting . . 63 
 
 "Wadding, Rules for 1S4 
 
 Waterproofs, Rules for drafting 99 
 
 Wax Flowers, Rules and principles for making ... 195 
 
 Whalesbones, 14S 
 
 Wraps, Rules to cut from double fold material ... 115 
 Wraps, Rules for drafting and cutting Dolman- 
 sleeved 132, 13S 
 
 Wrappers, Method and rules for drafting 99 
 
 Wedding Trousseaux 149 
 
 Worsted Work, Rules and principles for .... 190, 193 
 Worsted Work Mosaic Knitting, Rules for making . 190 
 
 Worsted Work, Rules for making "Berlin" 190 
 
 Worsted Work, Rules for working fancy mittens . . 191 
 Worsted Work, Rules for knitting Spanish fringe . 191 
 
 Worsted Work, The Violet 190 
 
 Worsted Work, Saxony Edging 191 
 
 Worsted Work, Forest-Moss-Border 191 
 
 Worsted Work, French Half-Hose 191 
 
 Worsted Work, Rules for knitting ladies' French 
 
 hood 191 
 
 Worsted Work, Rules for knitting gentlemen's Eng- 
 lish scarf 191 
 
 Worsted Work, Rules for knitting "French open- 
 hose" 191 
 
 Worsted Work, Rules for knitting wristlets .... 191 
 Worsted Work, Rules for knitting Persian afghans . 192 
 Yokes, How to draft and cut 112 
 
UTILITY AND DECORATIVE ART. 37 
 
 THE NOMENCLATURE OF THE ART AND SCIENCE 
 OF DRESSMAKING. 
 
 No science or art is without a language peculiarly its own, which must be mas- 
 tered by the student who would excel. The nomenclatures of chemistry and botany 
 have their sources in the dead languages, the Greek and Latin ; while musical 
 terms are chiefly Italian. The connoisseur of the kitchen unlocks the secrets of his 
 profession and art, in modern times, with a French key. And to France, as the 
 author and founder of modern Fashion's throne and empire, we turn for instruction 
 in the alphabet and nomenclature of dressmaking. 
 
 We call attention to such terms only, as have become anglicised, and are univer- 
 sally accepted and understood by the profession. We may instance the word, 
 Bouillion, as one of these terms, which it is almost impossible to correctly translate 
 into English, and which is nevertheless in universal use by professional and artistic 
 dressmakers, modistes, and drapers. 
 
 In the following alphabetical list we give : ist, the exact or literal meaning of 
 the word ; 2d, the explanation when necessary ; and 3d, an example of the applica- 
 tion also, when necessary. There are others of less importance and much less 
 frequently used, which are omitted. Novelties constantly arise, for which new terms 
 are coined, and which soon become universal. The following are therefore the prin- 
 cipal and universally adopted technical terms used by the profession, at the present 
 time. 
 
 LIST OF FRENCH TERMS USED IN DRESSMAKING. 
 
 ■^g^(^ff^- — A clasp ; applied also to gimp fastening. 
 
 ApprU. — I. Finish ; the dressing put into calicoes, etc. Ex. : Percale sans appret, 
 
 undressed cambric. 2. Also, the trimming at the back of a bonnet, either a 
 
 lace lappet, or any finish to a head-dress. 
 A rez de chausee. — Even with the ground. 
 Au fond. — To the bottom. 
 
 Aumoni^re. — Alms-bag ; a small bag hanging from the w^ist. 
 Baleine. — Whalebone. 
 
 Bandeaux. — Bands ; applied also to bands of hair. 
 Bos. — I. The lower edge. 2. Stockings. 
 Basques. — Applied to the ends of a jacket or bodice falling below the line of the 
 
 waist. 
 Biais. — I. Bias, on the cross. 2. Crossways. 
 Bombe. — Rounded or puffed. 
 Borde. — Round ; edged with. 
 Borde a cheval. — Binding of equal depth on both sides. 
 
38 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Boiirre. — Wadded or stuffed ; a term often applied to quilted articles. 
 
 Boutez en avant. — Push forward. 
 
 Calotte. — Crown ; the crown of a cap or a bonnet. 
 
 Camisole. — A loose jacket; applied to dressing and morning jackets. 
 
 Capito^ne. — Drawn in like the seat of a chair or sofa ; buttoned down. 
 
 Capucho7i. — A hood on a mantle. 
 
 Cascade. — A fall of lace ; generally used in speaking of lace that is made to flow, 
 with zigzag bends, like a river. 
 
 Ceinture. — Belt, waistband, or sash. 
 
 Chemise. — Shift; chemise de joiir, day chemise; chemise de nuit, night dress; che- 
 mise d'homme, a night shirt. 
 
 Chiquette. — Pinked out. 
 
 Clos. — Closed or fastened. 
 
 Coiffure. — A head-dress ; manner of dressing the hair. 
 
 Coive. — Bonnet lining. 
 
 Co7ifection. — A term applied to all kinds of made-up mantles, cloaks, and jackets, 
 and all out-door garments. 
 
 Cogues. — Looped bows of ribbon. 
 
 Cornet. — The cuff of a sleeve opening like the large end of a trumpet, larger at the 
 wrist than above. 
 
 Corsage — Bodice. 
 
 Corset. — Stays. 
 
 Costtime. — Complete dress. 
 
 Coulisse. — Small slip-stitched plaiting, sewn on the dress by slip-stitches. 
 
 Crenele. — Crenelated ; cut in square scallops, like battlements. 
 
 Dentclle. — Lace. 
 
 Dentclle. — Scalloped. 
 
 Dents. — Scallops ; either pointed or square. 
 
 Dessotis. — Underneath. 
 
 Dessus. — Above. 
 
 Devant. — Front. 
 
 Dos. — Back, 
 
 Droit et avant. — Right, and forward. 
 
 Echarpe. — A scarf; applied also to scarves tied round the hat. 
 
 Ecrti. — The color of raw silk. 
 
 Effile. — Fringe; generally a narrow one. 
 
 En biais. — On the cross. j 
 
 Encolure. — The opening at the neck of a dress, or the arm's-eye. ' 
 
 En chdle. — Resembling a shawl ; applied to bodices and drapery. 
 
 En coe7ir.— Heart or V-shaped ; applied to bodices. 
 
 Eft coquille. — Folded backwards and forwards in zigzags. Shell points. 
 
 En echelle. — Like a ladder. 
 
 En eventail. — Like a fan. 
 
 E71 tablier. — To look like or imitate a tablier. 
 
 Envcrs. — The wrong side. 
 
 Epaisc. — Thick. 
 
 Epaissetir. — Thickness. 
 
UTILITY AND DECORATIVE ART. 39 
 
 Essay ez. — Try; attempt. 
 
 Farretiere. — Garter. 
 
 Fendu. — Slashed, cut open; applied to a jacket. 
 
 Fichu. — A half-square, cut from corner to corner; any small covering for the 
 shoulders. 
 
 Flots. — Quantities of lace or ribbon so arranged as to fall over each other like waves. 
 Ex. — Flots de de^itclle, rows of gathered lace falling one over the other. 
 
 Frange grillee. — A rather deep fringe, with an open heading, like net- work. 
 
 Frances. — Gathers. Fro7ice ; gathered. 
 
 Fro7it-a-front. — Face to face: — basques, sleeves, etc. 
 
 Fupe. — Skirt. 
 
 Fupou. — Petticoat. 
 
 Grande partire. — Full dress. , 
 
 Lmgerie. — Collars and cuffs, made either of linen, cambric, or muslin and lace. 
 
 Lisere. — A narrow edging or binding. 
 
 Lisiere. — Selvage ; applied also to the colored edges of silks. 
 
 Manche. — Sleeve. 
 
 Manchette. — Cuff. 
 
 Manteau. — Cloak. 
 
 Mauvais gout. — Bad taste. 
 
 Noeud. — A bow or knot. 
 
 Noue. — Tied, or knotted. 
 
 Ombrelle. — Parasol. 
 
 Parement.- — Cuff on the outside of a sleeve. 
 
 Parure. — A set of collars and cuffs ; applied also to a set of jewelry or ornaments. 
 
 Passant. — Piping with a cord. , 
 
 Passe. — The front of a bonnet or cap. 
 
 Peignoir. — Dressing-gown ; dressing-jacket. 
 
 Pelerhie. — A small mantle, rounded like a cape. 
 
 Petit ctte. — Side-piece. 
 
 Plastron. — Breast-piece ; a piece put on the front or back of a dress bodice, gener- 
 ally of a different color and material. 
 
 />//.— Fold. 
 
 Plis. — Folds. 
 
 Plisse. — A plait or fold. 
 
 Plisses. — Plaits. 
 
 Ras-terre. — ^Just touching the ground. 
 
 Robe. — Dress. 
 
 Robe de chambre. — Dressing or morning-gown. 
 
 Rouleazites. — The same. 
 
 Rouleaux. — Rolled trimming made of crossway strips of material. 
 
 Ruches. — Gathered trimmings ; called ruches. 
 
 Saut de lit. — Dressing-gown. 
 
 Simuler. — Simulate ; to imitate. 
 
 Soulier. — Shoe. 
 
 Tozirner casaqzie. — To turn the coat. 
 
40 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Toumure. — A bustle; also the general appearance of a dress, costume or person. 
 
 Ex. : Tourmire distinguie, lady-like appearance. 
 Tout ensemble. — The whole taken together. 
 Traine. — A train. A traine. With a train. 
 Tunique. — Tunic. 
 Tuyaux. — Fluted plaitings. 
 
 Tuyaux d'orgue. — Wide flutings, like the pipes of an organ. 
 Velours. — Velvet. 
 Veloute. — Soft, like velvet. 
 Vetement. — Garment. 
 Volant. — Flounce or frill. 
 
 DRESS FABRICS. 
 
 As materials for dresses vary so much in width, we submit a table of some of the 
 standards; as a help to beginners. Fancy names are often given by drapers to cer- 
 tain fancy goods, each season; and, in many cases, the same fabric is sold under four 
 or five different names. Special makes, too, in silks and cashmeres, present other diffi- 
 culties in classification, needing special instruction. Yet there are certain time- 
 honored dress materials, the widths of which are fixed by standard looms, and which 
 are unchanged from year to year. And as they are also the most useful and durable 
 in dressmaking, we will only tabulate these. Silk, poplin, merino, cashmere, 
 alpaca, velveteen, muslin, print, and pique form a sufficient amount of materials for 
 the amateur; who would do well to make prints and muslins the fabrics upon which 
 to experiment, in her first efforts. 
 
 TABLE OF FABRICS AND THE VARIOUS WIDTHS OF EACH. 
 
 Alpaca, I St quality. 
 
 Alpaca, 2d quality. 
 
 Barathea, 
 
 Black Silk, 
 
 Beige, 
 
 Crape, 
 
 Crepe de Chine, 
 
 Challe, 
 
 Cloth, 
 
 Cashmere, 
 
 Colored Silk, 
 
 Damask, 
 
 Foulard, - 
 
 Grenadine, 
 
 India Silks, 
 
 Inches. 
 
 
 30 
 
 36 
 
 — 
 
 24 
 
 36 
 
 — 
 
 42 
 
 
 
 — 
 
 21 
 
 27 
 
 — 
 
 25 
 
 28 
 
 — 
 
 23 
 
 42 
 
 — 
 
 24 
 
 
 
 — 
 
 28 
 
 
 
 — 
 
 28 
 
 54 
 
 60 
 
 23 
 
 46 
 
 — 
 
 22 
 
 26 
 
 — 
 
 24 
 
 — 
 
 — 
 
 24 
 
 — 
 
 — 
 
 18 
 
 26 
 
 — 
 
 32 
 
 34 
 
 — 
 
UTILITY AND DECORATIVE ART. 
 
 41 
 
 Janus Cord, 
 
 Merino, . . - 
 
 Mousseline de Laine, - 
 
 Muslin, 
 
 Ottoman and Turquoise Silks, 
 
 Paramatta, 
 
 Percales, 
 
 Piques, . . - 
 
 Prints, 
 
 Poplin, 
 
 Rep, - - - - 
 
 Satin, - _ - 
 
 Serge, 
 
 Tweed, . - - 
 
 Velvet, 
 
 Velveteen, 
 
 Inches 
 
 
 28 
 
 32 
 
 — 
 
 45 
 
 46 
 
 — 
 
 26 
 
 — 
 
 — 
 
 33 
 
 — 
 
 — 
 
 18 
 
 20 
 
 — 
 
 42 
 
 — 
 
 — 
 
 33 
 
 — 
 
 — 
 
 33 
 
 — 
 
 — 
 
 33 
 
 — 
 
 — 
 
 30 
 
 32 
 
 — 
 
 30 
 
 32 
 
 — 
 
 18 
 
 27 
 
 — 
 
 28 
 
 32 
 
 — 
 
 28 
 
 54 
 
 60 
 
 16 
 
 20 
 
 22 
 
 27 
 
 28 
 
 — 
 
 DRESS LININGS. 
 
 It is money well invested to purchase the best quality of lining, 
 bine the properties of strength, firmness, and pliability. 
 Among the standards we place, 
 
 1. The best drilling. 
 
 2. The firmest and best brands of Prussian silesia. 
 
 3. The double-faced silesias ; and 
 
 4. Best quality of foulard silks and cambrics. 
 
 It should com- 
 
 COMPUTATION OF MATERIAL REQUIRED. 
 
 The method of computing the number of yards, in plain garments, by founding 
 the basis upon the width of the largest pieces, and the length required for each, 
 according to the width of the goods, is so sensible and plain, that we deem it 
 unnecessaay to occupy more space than to merely hint it. All draperies and trim- 
 mings being allowed extra, as a matter of course. Furthermore, it is a work of 
 supererogation ; since all the plates and designs have the amounts required, given 
 under the same. 
 
42 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 THE MEASURES. 
 
 The measures are all-important. First, as to the elements and principles of 
 their foundation. Second, as to the accuracy with which they are taken and express 
 the truth sought. Third, as to the accuracy with which they are transferred 
 through the draft upon the goods, and reproduced in the completed garment. 
 
 The entire superstructure of the science of garment-making rests and depends 
 upon the measurement, as its chief corner-stone. They must cover every possible 
 emergency, contingency, and complication in the variations of form and fashion. 
 Mathematics has fixed their location and number; and the instruments for obtaining, 
 expressing, and transferring them. 
 
 To vary from her appointments, is suicidal to any possible hope of ever attain- 
 ing to anything higher than mere guess-work, in the science of garment-making. 
 To exceed her requirements, is only muddying a clear stream ; and is an inconsistent 
 work of supererogation. It is possible to found a very deficient * ' system of drafting ' ' 
 upon the correct measures ; but it is certainly utterly impossible to found, develop, 
 and complete the correct and truly scientific system of drafting, without — all and 
 only — the necessary and truly scientific measure or indices. Furthermore, both the 
 measures, the system of drafting, and the instruments may be mathematically and 
 scientifically correct, and yet the garment may come forth a total failure, and as a 
 misfit ; the fault being wholly in the careless manner of taking the measures, draft- 
 ing, basting, and stitching. 
 
 To the patient, accurate, and careful student, we promise a certain and sure re- 
 sult of perfection and grace of fit, that will abundantly repay all time and care ex- 
 pended ; but to the impatient, slovenly, and careless student, we promise nothing — 
 and expect nothing. 
 
 For instance, there are usually ten seams in a close-fitting garment, requiring 
 twenty lines, in indication, on the draft ; now, if by a blunt or illy-sharpened pencil, 
 crayon, or chalk — or even with a sharp-pointed pencil — the lines are drawn one- 
 eighth of an inch inside or outside of the points called for in the System, it will make 
 the garment two and one-half inches too small or too large, according to the varia- 
 tion from correct drafting, in either direction, from the given points. And yet such 
 students express astonishment that their efforts should end in complete failures; and 
 then sometimes are loud in their declamation against the system, which they really 
 think they followed. Because a careless and inexperienced marksman fails to hit the 
 mark, holding the rifle far from the centre of the mark or object, should the gun re- 
 ceive censure and condemnation, when all the others hit the centre of the same mark 
 every time, with the same gun or instrument? And what degree or extent of error 
 might we not expect of such, when the same degree of utter recklessness and care- 
 lessness, that is here shown in drafting, only, is also carried into the work of taking 
 the measures, tracing, basting, and stitching? In the same ratio of error, as ex- 
 
UTILITY AND DECORATIVE ART. 43 
 
 plained and seen in the process of drafting, the garment would, when completed, be 
 either twelve and one-half inches too small or too large. 
 
 We repeat, therefore, that to such persons we promise nothing, and of course 
 expect nothing ; and the work was neither intended nor prepared for those who have 
 neither the ambition to be perfect and excel, nor the required industry, patience, and 
 wiUingness to be accurate. We commend such people to the school of charts, pat- 
 terns, models, and machines. 
 
 Surely, if the world is willing to expend so much physical and mental labor, 
 time, patience, care, and money in the work of manufacturing, acquiring, and pos- 
 sessing the various expensive cloths, silks, velvets, etc. , it should not be considered 
 a ' ' waste of time ' ' (?) for the cutter to spend from ten to twenty, or even sixty min- 
 utes, if necessary, on careful, thoughtful, and accurate work in cutting the same, so 
 as to gracefully fit and adorn the form for which it was intended. 
 
 Science, in this province as elsewhere, crowns our efforts with an unerring de- 
 gree of success or failure, in the exact ratio of the honor or dishonor with which we 
 treat her laws. Neither science nor the author of this system is responsible for the 
 inglorious achievements, in this province, by many former authors who claimed to 
 represent science, and even praised her name, and then proceeded from the very 
 first step to the last, through their entire teachings, to violate not only every known 
 law of mathematics, but those of philosophy and common sense as well ; and ruth- 
 lessly trampled under foot all their most sacred precepts. We hold ourselves re- 
 sponsible for what we have taught and written — nothing more and nothing less. As 
 to actual proof of its superior merit, we refer to results ; and as to the elements, princi- 
 ples, and the process of our method and system, we appeal to the court of science 
 and mathematics, and are willing to abide by her decision. 
 
 Here as everywhere in mathematics, truth is much more simple, plain, beauti- 
 ful, and far less intricate, than error ; and both the measures, the method of taking 
 them, transferring them through the draft upon the goods, and reproducing them in 
 the completed garment, is an exceedingly simple process, when the elements and 
 principles are thoroughly mastered, understood, and honored with exceeding great 
 care and accuracy — all of which takes less time, and gives much less trouble, than 
 carelessness and in accurancy, in any thing ! Be studious ; be patient ; and be 
 accurate ; and your efforts will be crowned with abundant success. 
 
44 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 INTRODUCTORY TO TAKING THE MEASURES. 
 
 1. No instruments whatever are necessary, or should be used in obtaining, read- 
 ing, and interpreting the measures or indices of the human form, other than those 
 appointed by mathematics, viz. : the square or inch-rule and tape-measure. 
 
 2. Measures should only be taken over the corset intended to be worn with the 
 garment, for which the measures are taken ; including the desired wraps under- 
 neath ; and over a close and neat-fitting body garment. In establishments, it is well 
 to have a number of the principal average, with a few of the extreme sizes of thor- 
 oughly-stitched bodices of cheap but firm material, in readiness for those who come 
 to leave their orders and measures, whose garments worn are loose and ill-fitting. 
 Otherwise, use a leather or steel-jointed belt, drawing the garment well down on all 
 sides, and then adjusting said belt in a horizontal position around the waist and 
 fastening it firmly in that position by means of a buckle. It should be remembered, 
 however, that said belt has nothing to do with taking the measures, other than in 
 case of the above emergency, to firmly hold in a fixed position the loose covering of 
 the form intended to be measured, in order to locate fixed points ; from which and 
 by means of which, the accurate measures or indices can be obtained, by the use of 
 the tape-measure ; and as given and illustrated in the engraving that illustrates the 
 measures. 
 
 3. If the body or form to be measured is covered by heavy goods — even if 
 close-fitting — tha texture and weight of the same must be taken into consideration, 
 as touching the degree of tightness or looseness with which the tape-measure is 
 drawn, in comparison with the same, when measuring over lighter fabrics, before 
 each particular measure is decided upon and placed upon the measure-book ; as a 
 basis and data from which and upon which to found and form the draft, at each 
 respective and given point where each respective and given measure is taken. In- 
 dustry, patience, and accurate care, with a little experience, will soon make the 
 student completely master of all such circumstances. 
 
 4. Gi'eat care must be exercised by beginners to so take the circumference 
 measures of the chest and bust that they shall express a graceful neatness, and yet be 
 coupled with thorough ease and comfort ; and so that any looseness or folds of the 
 garment worn by the person being measured, and over which the measures are taken, 
 will not deceive them when obtaining the exact and correct measures. Also, so that 
 the position of the tape-measure on the form will not mislead them into error, in de- 
 ciding upon said measures, for they are very important factors in the indices ; and 
 the inexperienced may easily be deceived as to what would actually express the cor- 
 rect measure representing grace of fit and comfort combined, on account of the often 
 very ill-fitting garments worn by customers. All of which, indeed, applies with 
 equal force to the waist and arm's eye circumferences, as well as to all the measures; 
 but in a special manner to the above. 
 
 5. Too much care cannot be bestowed on the location of the points on the gar- 
 ment of the form to be measured, before measuring, as given and illustrated in the 
 
UTILITY AND DECORATIVE ART. 45 
 
 engraving that shows how to take the measures ; and also, in measuring from and to 
 said points, and on the indicated Hues passing from, to, and through said points ; so 
 that the expressions of the measures representing the various parts of the draft will 
 always, when added to their opposites, produce the expression of the measure repre- 
 senting the whole. For instance : the sum of the Back-shoulder height plus the 
 Front-shoulder height, must equal, or "balance," the entire measure from the posi- 
 tion of the Chest circumference line at the back, up the back and along the side of 
 the neck down the front, to the position of the Chest circumference line at the Front. 
 And this principle of "balance proofs" should be practiced on all parts of the 
 form where the measures are taken, by the beginner when taking, and before de- 
 ciding upon and placing the measures in the measure-book ; at least, until experience 
 will teach a greater degree of direct accuracy, and a certain and well-founded confi- 
 dence. 
 
 6. In the perfect form the blade width is equal to ^ of the chest circumference ; 
 but always locate point i according to instructions, and directly under the centre of 
 the junction of the arm with the body ; and as illustrated in the engraving, showing 
 the points and measures. The secret and philosophy of its location is the key that 
 unlocks and unravels the cutter's greatest mysteries ; and also makes it equally easy 
 to fit both the stooped, round-shouldered, and even hump-backed form, with that of 
 the erect and perfect form. For, the philosophy and principles upon which the 
 measures and draft are founded, of which this is the "chief corner-stone," are 
 such that the measures or indices are at one and the same time both "the proofs " 
 and the "balance proofs." We challenge the scientific world in garment-cutting, 
 to name and produce a system of measurement and drafting that even approaches 
 this truth and discovery, and foundation of our system ! It stands pre-eminently 
 alone in this ; and therein lies the secret of a large per cent, of its superlative 
 worth and superiority. Our common sense, as well as our philosophy and 
 practical experience, taught us long ago that if a measure is good to test the draft 
 by, when completed, it must of necessity be equally good and useful to make, or 
 help to form the draft by, directly and at once. Any principle of science and philos- 
 ophy that is true in the mathematics of civil engineering, analytical and spherical 
 geometry, and trigonometry, etc., can not be ignored in the science of garment-cut- 
 ting, when the principles, the method of application, and all the contingencies are 
 the same. 
 
 In the founding of the International System, we have therefore obviated all neces- 
 sity for the once highly-honored and seemingly-necessary " balance proof measures, " 
 or " test measures." 
 
 The measures and system both "balance" and "test" the draft, in the natural 
 process of its development and formation ! And while we advise it, and while it is 
 well for beginners to ' 'test the work of their hands' ' , before cutting, to see that no 
 mistake has been made in applying the principles and the measures, according to the 
 given instructions, and to correct any errors that they may have committed in apply- 
 ing the system, we can assure all that if the instructions, and measures, and princi- 
 ples, have all been applied as given and taught, it will be time lost and spent in vain, 
 to ' 'test the draft' ' to see if it expresses what the measures express ! 
 
 7. All outside neck-adornments should be removed before locating points or 
 measuring, so as to be occessible to correct measurement. 
 
46 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 In locating the given points and indicating the given Hnes on the form, use 
 very neatly pointed crayon or tailor's pencil-chalk ; and lightly, but accurately and 
 distinctly, indicate the points to a mathematical accurateness, upon the dress or gar- 
 ment worn over the form — all of which is easily and instantly erased by a mere touch 
 of the hand or brush, when no longer needed or desired. Some prefer to locate 
 the given and required points by pins ; thoroughly adjusting them in such a manner 
 and position, that when locating a point, the head of the pin when in its fastened 
 and firmly fixed positon will be exactly upon said point. 
 
 8. Bearing the preceding instructions in mind, and having in readinesa, the 
 crayon or tailor's pencil of chalk, otherwise pins, the square or inch-rule, the tape 
 measure, the measure-book, and some one to write the measures as they are read 
 and called, proceed according to the following given instructions for taking the 
 measures. 
 
THE 
 
 ^^NTERNflTIONUL SYSTEM 
 
 — OF- 
 
 FOREIGN AND AMERICAN 
 
 SCIENTIFIC TAILOR PRINCIPLES 
 
 OF- 
 
 MEASUREMENT 
 
 J 
 
 FOR OBTAINING AND READING THE INDICES 
 
 •OF- 
 
 The Mathematical Mould or Perfect Fit of the Human Form 
 
 -WITH ANY- 
 
 MSTHEMSTICSL SQUARE OR INCH-RULE 
 
 •AND — 
 
 T^PE-:SIE^VSUnE ^LONE. 
 
p:: 
 
 "^ 
 
 CD 
 > — I 
 
 E- 
 
UTILITY AND DECORATIVE ART. 49 
 
 THE BODY MEASURES. 
 
 PLATE XVII.— Figure Lvii. 
 
 Instructions. 
 
 1. Locate point i on the garment of the form to be measured, on the exact 
 centre point underneath the arm, on the junction Hne of the arm and the body ; and 
 as illustrated in its correct position in the cut. Repeat point i , in like manner, on 
 the opposite side of the form, by the instructions for fixing its location on the first 
 side, and as the same is illustrated in its first position, in the cut. 
 
 2. With the tape-measure, carefully and accurately take the exact circumfer- 
 ence measure around the bare neck, on the junction line of the neck and the body ; 
 or in other words, on the line of the proper junction of the collar with the high and 
 close-fitting garment ; reading it, and placing or having it placed in the measure- 
 book. 
 
 3. Adjust the collar of the garment worn by the form being measured, closely 
 and securely around the junction of the neck and the body, by fastening it with a 
 pin at the front ; turning it up, if not an upright collar. Then locate point 2 on the 
 garment of the form being measured, on the exact centre point at the back of the 
 form and at the neck, on the junction line of the neck and the body ; or, in other 
 words, on the exact centre of the proper junction line, of the collar with the high and 
 close-fitting garment, at the back of the form ; and as the same is illustrated in its 
 correct position, on the cut. 
 
 4. Mentally, find one-eighth of the neck circumference, which has already been 
 taken. Then locate point 3 on the garment of the form being measured, at the side 
 of the neck and on the junction line of the neck and the body, or on the proper 
 junction line of the collar with the high and close-fitting garment, at the distance of 
 one-eighth of the neck circumference from point 2, towards the front of the form ; 
 and as the same is illustrated in its correct position, on the cut. Repeat point 3, in 
 like manner, and give it the like position at the opposite side of the form, by the 
 structions for fixing its location at the first side ; and as the same is illustrated in its 
 first and proper position, on the cut. 
 
 N. B. — The distances from point 2 to point 3 on the right side, and from point 2 
 to point 3 on the left side, must each be exactly one-eighth of the neck circumfer- 
 ence ; and the distance from point 3 on the right side, over point 2, to point 3 on 
 the left side, must exactly equal one-fourth of the neck circumference. Prove the 
 correctness of the location of said point in this manner, before proceeding further ; 
 and if wrong, correct your mistake. 
 
 5. Locate point 4 on the garment of the form being measured, on the exact 
 centre point at the front of the form at the neck, and on the junction line of the 
 neck — and the body ; or, in other words, on the exact centre of the properjunction- 
 line, of the collar with the high and close-fitting garment, at the front of the form ; 
 and as the same is illustrated in its correct position, on the cut. 
 
 4 
 
50 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 6. Locate point 5 on the garment of the form being measured, on the centre 
 point at the front of the form and at the waist, on the horizontal Hne with the actual 
 depth of the waist, at the front ; and as the same is illustrated in its correct position 
 on the cut. 
 
 7. Locate point 6 on the garment of the form being measured, on the exact 
 centre point at the side of the form, on the horizontal line with the actual depth of 
 the waist at the side ; and as the same is illustrated in its correct position, on the 
 cut. Repeat point 6, in like manner, and give it the like position at the opposite 
 side of the form, by the instructions for fixing its location at the first side ; and as the 
 same is illustrated in its first and proper position on the cut. 
 
 8. Locate point 7 on the garment of the form being measured, on the exact 
 centre point at the back of the form, on the horizontal line with the actual depth of 
 the waist at the back ; and as the same is illustrated in its correct position on the 
 cut. 
 
 9. Locate point 8 on the garment of the form being measured, on the exact 
 centre point at the side of the form, on the horizontal line with the actual depth of 
 the most prominent part of the hips, at the side ; and as the same is illustrated in 
 its correct position on the cut. Repeat point 8, in like manner, and give it the like 
 position at the opposite side of the form, per instructions for fixing its first and pro- 
 per location, at the first side ; and as the same is illustrated in its first and proper 
 position on the cut. 
 
 10. Placing the form of the person being measured in an easy, natural, and 
 standing position ; having the side towards your front and the arms down at the side 
 of the form in their natural hanging position, and placing the square or inch-rule 
 close up underneath, and firmly against the junction of the under side of the upper 
 part of the arm and body ; and having said part of the square, or otherwise the 
 straight inch-rule, in a horizontal position with the form, then locate point 9 as fol- 
 lows, viz : locate point 9 on the garment of the form being measured, immediately 
 in front of the arm, and even with the top of the inch-rule ; and as the same is illus- 
 trated in its correct position on the cut. 
 
 Before changing the position of the inch-rule, locate point 10 immediately back 
 of the arm, and even with the top of the inch-rule ; and as the same is illustrated in 
 its correct position on the cut : then reversing, or changing the position of the form 
 being measured, so as to have the opposite side towards your front, repeat points 9 
 and 10 in like manner, and give them like positions, respectively, at the opposite 
 side of the form, per instructions for fixing their first and proper positions, and as 
 the same are illustrated in their first position, on the cut. 
 
 11. Place the inch-rule in a horizontal position across the chest at the front of 
 the form, having the top edge exactly even with point 9 on the right side, and 
 also even with point 9 on the left side ; then locate point 11, on the garment of 
 the form being measured, on the exact centre point at the front of the form, on a line 
 with, or even with, the upper edge of the inch-rule ; and as the same is illustrated in 
 its correct position on the cut. Then locate point 12 on the garment of the form being 
 measured, on a line even with the upper edge of the inch-rule, and at a point which 
 is the distance of }{ or the neck circumference from point 1 1 toward point 9, on the 
 right side, at the front of the form ; and as the same is illustrated in its correct posi- 
 tion on the cut. Before changing the position of the inch-rule, repeat point 12 on 
 
UTILITY AND DECORATIVE ART. 5I 
 
 the garment of the form being measured, on the same line, at the upper edge of the 
 inch-rule, and the same distance, or ^ of the neck circumference from point 11, 
 toward point 9, on the left or opposite side, at the front of the form ; and as point 12 
 is illustrated in its first and correct position on the cut. 
 
 12. Place the inch-rule in a horizontal position across the chest, at the back of 
 the form being measured, having the top edge exactly even with point 10 on the 
 right side, and also, even with point 10 on the left side ; then locate point 13 on the 
 garment of the form being measured, on the exact centre-point at the back of the 
 form on a line with, or even with, the upper edge of the inch-rule ; and as the same 
 is illustrated in its correct position on the cut. Then locate point 14 on the garment 
 of the form being measured, on a line even with the upper edge of the inch-rule, and 
 at a point which is the distance of j4 of the neck circumference from point 13 toward 
 point 10, on the right side, at the back of the form ; and as the same is illustrated in 
 its correct position on the cut. 
 
 Before changing the position of the inch-rule, repeat point 14 on the garment of 
 the form being measured, on the same line, or at the upper edge of the inch-rule, 
 and the same distance, or }i of the neck circumference from point 13 toward point 
 10, on the left side, at the back of the form ; and as point 14 is illustrated in its first 
 and correct position on the cut. 
 
 13. Locate point 15 on the garment of the form being measured, at a point 
 which is the distance of the actual or desired shoulder depth from point 3 toward the 
 shoulder point, at the side of the form, and i inch from the top centre of the shoulder 
 point, toward the back of the form ; and as the same is illustrated in its correct posi- 
 tion on the cut. 
 
 14. Now having located all the necessary points, carefully and accurately take 
 the following respective measures, over the following respective given lines and dis- 
 tances, as per instructions given for each; reading each measure as taken, and 
 placing or causing it to be placed in the measure-book, and in the following order, 
 viz : 
 
 a. Skirt Depth. — Measure closely on a perpendicular line, with the stretched 
 tape measure, over the form, from point 6 toward the bottom, to the actual or desired 
 depth of the skirt ; as correctly illustrated on the cut. 
 
 b. Blade Width. — Measure closely on a horizontal line, with the stretched tape- 
 measure, over the back of the form, from point i on the left side to point i on the 
 right side ; and as the same is correctly illustrated on the first side on the cut. 
 
 c. Chest Circumference. — Measure with a comfortable of degree closeness, on a 
 circumference line, of the stretched tape measure around the chest of the form, on a 
 horizontal line with the junction of the under side of the upper part of the arm and 
 the body ; and as the same is correctly illustrated on the first side, on the cut. 
 
 d. Waist Depth. — Measure on a perpendicular line of the stretched tape mea- 
 sure, over the form, from point i to point 6 ; and as the same is correctly illustra- 
 ted on the cut. 
 
 e. Back Waist Depth. — Measure on a perpendicular line of the streched tape 
 measure, over the form, from point 13 to point 7 ; and as the same is correctly illus- 
 trated on the cut. 
 
52 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 f. Back Height. — Measure on a perpendicular line of the stretched tape mea- 
 sure, over the form, from point 2 to point 13 : and as the same is correctly illustra- 
 ted on the cut. 
 
 g. Front- Waist Depth. — Measure on a perpendicular line of the stretched tape- 
 measure, over the form, from point 1 1 to point 5 — and as the same is correctly illus- 
 trated on the cut. 
 
 h. Front Height. — Measure on a perpendicular line of the stretched tapemea- 
 sure, over the form, from point 4 to point 1 1 ; and as the same is correctly illustra- 
 ted on the cut. 
 
 /. Amis- Eye Circumference. — Measure on a circumference line of the stretched 
 tape-measure, around the junction of the upper part of the arm and the body, over 
 the shoulder, and very closely ; and as the same is correctly illustrated on the cut. 
 
 j. Back- Shoulder Height. — Measure closely on a perpendicular line of the 
 stretched tape-measure, over the form, from point 3 to point 14 ; and as the same is 
 correctly illustrated on the cut. 
 
 N. B. — Prove the correctness of your measure of the back-shoulder height and 
 front-shoulder height, by observing whether the sum of the two, equals or ' ' bal- 
 ances" the entire distance from point 12 at the front, over point 3 at the side of the 
 neck, down to point 14, at the back ; if wrong, correct your mistake before entering 
 either of the shoulder heights. 
 
 k. Front-Shoulder Height. — Measure closely on a perpendicular line of the 
 stretched tape-measure, over the form, from point 3 to point 12 ; and as the same is 
 correctly illustrated on the cut. 
 
 /. Shoulder Depth. — Measure on a line of the stretched tape-measure, held 
 upon and over the form, from point 3 to point 15 ; and as the same is correctly illus- 
 trated, on the cut. 
 
 tn. Bust Circumference. — Measure, with a degree of closeness representing 
 both elegance of fit and an easy comfort, on a diagonal circumference line of the 
 stretched tape-measure, around the fullest part of the form at the front, and over 
 point 13 at the back ; and as the same is correctly illustrated on the cut, 
 
 n. Waist Circumference. — Measure very closely on a horizontal circumference 
 line of the stretched tape-measure, around the form at the lower terminus of the 
 natural waist ; and as the same is correctly illustrated, on the cut. 
 
 o. Hip Depth. — Measure on a line of the stretched tape-measure, held upon 
 and over the form, from point 6 to point 8 ; and as the same is correctly illustrated 
 on the cut. 
 
 p. Hip Circumference. — Measure, with a degree of closeness representing both 
 elegance of fit and a very easy comfort, on a horizontal circumference line of the 
 stretched tape-measure, around the fullest part of the form below the waist circum- 
 ference, at the position of point 8 on the garment ; and as the same is correctly illus- 
 trated, on the cut. 
 
 N. B. — I. The extra "corset measure," as illustrated in its proper position on 
 the cut, between the bust circumference and the waist circumference, is not posi- 
 tively necessary ; only in exceptionally depressed forms at that location, or for some 
 styles of peculiarly-shaped corsets ; in which cases, it should be taken, and the sur- 
 plus amount subtracted from the depths of the curves in the draft, and to the degree 
 indicated by the actual measure at that part of said form ; before the draft is used 
 
UTILITY AND DECORATIVE ART. 53 
 
 as a basis for completing the garment. Furthermore, the opposite, in principle and 
 process, is true of the extra ' ' hip circumference, ' ' illustrated in its proper position 
 on the cut — between the waist and hip circumference. Where some peculiar forms, 
 or otherwise peculiarly shaped corsets, will require this special and extra measure, in 
 order that the exact amount of the required extra fullness may be certainly indicated 
 thereby ; which must in said cases be provided for by special indication on the draft, 
 after it is completed according to the standard measure and per instructions given 
 for general drafting, before transferring the indications of the same for the needle ; or 
 before using the same as a basis for completing the garment. 
 
 2. The front-skirt depth and the back-skirt depth, are not positively necessary 
 only in cases where the form is ' ' stooped " or in cases of full ioiirnure. 
 
 THE SLEEVE MEASURES. 
 
 PLATE XVIl.-FiGURE LVm. 
 
 Instructions. 
 
 I. Having the upper part of the arm down, along and in a line with the body, 
 in an easy and natural position, and the lower part of the arm in a horizontal 
 position with the body and at the front, carefully and accurately take the following 
 respective measures over the respective given lines and distances, per instructions 
 given for each respective measure ; reading each measure as taken, and placing or 
 causing it to be placed in the measure book in the following order, viz : 
 
 a. Extreme Depth. — Locate point 16 on the top of the shoulder of the gar- 
 ment of the form being measured, at a point on the line of the junction of the upper 
 and top part of the arm with that of the shoulder ; or, in other words, at the point 
 on the true arm's eye circumference, which is one inch toward the front of the form, 
 from point 15 ; and as the same is illustrated in its proper position on the cut. Then 
 measure from point 16 on a direct line of the stretched tape measure around and 
 over the outside point of the bone of the elbow, and along the outside of the arm to 
 the most prominent bone at the outside of the wrist ; and as the same is illustrated 
 in its proper position on the cut. 
 
 b. Arm's Eye Circumference. — This is one and the same measure with that 
 given in the measures and instructions for the "Body Measures ;" and the same 
 measure being used, it need not, therefore, be re-taken. And if taken for sleeve-cut- 
 ting only, it is taken per instructions for the same measure under the head of taking 
 the measures for " Body Drafting ;" and as the same is illustrated in its correct posi- 
 tion on the cut. 
 
 c. Elbow -Circumfereyice. — Measure on a diagonal circumference line of the 
 stretched tape-measure, around the arm, at the point of the deepest depression on 
 the inside of the arm at the elbow, and over the extreme point of the bone at the out- 
 side of the elbow, to the degree of closeness desired ; and as the same is illustrated 
 in its correct position on the cut. 
 
54 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 d. Elbow Depth. — Locate point 17 on the sleeve of the form, at a point which 
 is on the centre of the outside point of the outside bone of the elbow ; then measure 
 on a line of the stretched tape-measure from point 16 to point 17 ; and as the same 
 is illustrated in its correct position, on the cut. 
 
 e. Hand Circumference. — Measure on a circumference line of the stretched 
 tape-measure, around the fullest part of the hand, over the junction of the thumb 
 with the hand, to the degree of closeness desired ; and as the same is illustrated in its 
 correct position, on the cut. 
 
 N. B. — If the sleeve is to fit closely, at the wrist, and is finished with buttons 
 and button-holes, clasps, or a buckle, etc., the close wrist circumference is substituted 
 for the hand circumference. 
 
 f. Inside Height. — Measure on a line of the stretched tape-measure pressed 
 and held firmly on the point of the deepest depression at the inside of the elbow, at 
 the inside of the arm, up along the proper position for the inside seam of the sleeve, 
 close up to the junction of the front inside of the upper part of the arm with that of 
 the body ; and as the same is illustrated in its correct position on the cut. 
 
 g. Arm Circumference. — Measure on a circumference line of the stretched 
 tape-measure, around the arm, at the point which is ^ of the inside height from the 
 junction of the lower part of the arm with that of the body, toward the elbow, to the 
 degree of closeness desired ; and as the same is illustrated in its correct position on 
 the cut. 
 
 h. Outside Height. — Measure on a line of the stretched tape-measure from 
 point 17, to the point on the true arm's-eye circumference, which is equidistant from 
 point I and point 15, at the back of the arm ; or, in other words, at the proper point 
 on the correct arm's-eye circumference, where the seam at the back of the sleeve 
 joins with the garment of the form ; and as the same is illustrated in its correct posi- 
 tion on the cut. 
 
 N. B. — I. The extra arm's circumference measures, illustrated in Figure Iviii, 
 equidistant in opposite directions from the elbow circumference measure, are not 
 positively necessary, only in case of special depression of the arm at those points, and 
 where a very close-fitting sleeve is desired ; under which circumstances they should 
 be taken and recorded in the measure-book, for use when the draft is completed; 
 and before tracing or transferring the impression of the fit, for the needle. It is 
 easily and quickly done, by simply adding or subtracting the required amount in 
 transferring the draft, either by the pencil or through the tracing-wheel. 
 
 2. When the sleeve is to be close-fitting at the wrist and is either buttoned, 
 buckled, or clasped, substitute the wrist circumference for the hand circumference; 
 and draft per instructions for the same, as given for the hand circumference, in sleeve 
 drafting. 
 
 3. Although locating all the points necessary for "double measurement" — in 
 measuring the form — it is not necessary to measure but one side for the shoulder- 
 depth, back-height, front-height, arm's-eye circumference, waist-depth, and hip- 
 depth, and that should be the right side, under all ordinary circumstances ; but in case 
 the form differs sufficiently and noticeably, and it is plainly apparent that a double 
 measurement is needed, the above measures should all be taken for each side, sepa- 
 rately, and distinct from the opposite side, and should be recorded in the measure- 
 book; and should be marked R and L, for right and left ; and the draft in that case 
 
UTILITY AND DECORATIVE ART. 55 
 
 must be made only to one of the sides, per instructions for general drafting ; and 
 after being completed for the right side, the indications can quickly be placed there- 
 on, true to the opposite side, and true to the measure expressing the fit of the oppo- 
 site side ; and then the lines indicating the fit of each respective side must be lettered 
 R and L, and careful patterns traced from each respective draft, as the data upon 
 which to base the work, and from which to complete the garment. In this way you 
 will be able to fit such forms as perfectly as any other forms. It only requires indus- 
 try, care, accuracy, and patience ; and this you would be compelled to exercise in 
 any other way, with a far less beautiful and perfect result. 
 
 4. If to gratify any special fancy or taste, it should be desired to throw the 
 shoulder seam farther forward, either at the neck or at the arm's-eye, it can easily be 
 done. But at the neck, it must under no circumstances exceed one-fourth of the 
 neck circumference from point 2 ; and point 15 dare not exceed, in distance, two- 
 fifths of the arm's-eye circumference from point i ; and when any other position is 
 chosen for said points, than the ratios given, the respective allowances must be made 
 in the draft, from the rules given, touching said points ; i. e., what is added to the 
 "back" in the method or change of taking the measure, must be subtracted from 
 the "front," in the draft ; and vice versa. But the method of measurement given, 
 is based upon sound logic, good reason, and best usage, and is standard ; and it 
 should not be changed or interfered with. For unless the student is thoroughly mas- 
 ter of the principles, it would be easy to make a serious mistake in the draft, if the 
 location of points 3 and 15 were not located per instructions given for the same. But 
 we simply drop this hint to the "graduate " in the science ; to show how easily it is 
 to draft entirely independent of any fixed location of seams whatever. 
 
 N. B. This is the only system ever invented by which we are enabled to scien- 
 tifically and accurately read the mathematical indices of the human form with any 
 square or inch-rule, and tape measure alone ; and interpret and transfer the same there- 
 by, alone, either directly or indirectly upon the goods ! It stands preeminently alone 
 in this, and is a half century in advance of the age, in this great discovery alone ! 
 
 REQUISITES, AND PREPARATIONS FOR 
 DRAFTING. 
 
 1. A well jointed, strong, plain soft wood table ; 10 by 4, the desired 
 height. 
 
 2. In learning either the compound or direct methods, the student must learn 
 drafting, upon good, strong manilla paper. 
 
 3. Tailor's pattern-paper should be used for patterns, if patterns are cut to 
 lay upon the goods. 
 
 4. If the draft is made directly, either upon the linings or the material, the 
 material used should be thoroughly pressed, carefully placed, and securely fastened at 
 the edges, by means of the ' 'double-tack' ' , pins, or ' 'weights' ' . In compound drafting, 
 draft upon good, strong, heavy manilla paper ; place it upon the linings, carefully fas- 
 
56 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 tening it by pins ; and trace the pieces seperately, cutting each part before tracing 
 another. This draft can then be kept for future use, for the same person. Good 
 paper will answer all purposes, and is best. 
 
 5. For drafting upon the goods or linings, use the crayon pencil, or tailors' 
 chalk, well pointed ; and be exceedingly accurate. 
 
 6. To draft upon paper, use a medium soft lead pencil, carefully and neatly 
 sharpened ; draw a distinct but fine line ; the points must simply be points, and very 
 accurately located. 
 
 7. See therefore that you have the following, viz : 
 
 a. A clean table. 
 
 b. The material to draft upon, the paper or lining. 
 
 c. The square or rule, and the tape measure. 
 
 d. The sharpened pencil, crayon, or tailors' chalk. 
 
 e. The system and diagrams, in the most easy and natural position, to guide 
 you. 
 
 8. Then proceed according to instructions for drafting ; using the measures 
 given, for practice. Be careful from the very first instruction to the last, that you 
 understand what is printed, and what is meant ; and be sure you are right before 
 locating a point, or drawing a line. Strive for accuracy and neatness, in constructing 
 the draft. Excellency is attained by care, study, and accuracy in details. 
 
 THE INTERNATIONAL SYSTEM 
 
 OF 
 
 Measures for Practice. 
 
 1. Neck Circumference, 
 
 2. Skirt-Depth, 
 
 3. Blade-Width, 
 
 4. Chest-Circumference, 
 
 5. Waist-Depth, 
 
 6. Back-Waist Depth, . 
 
 7. Back-Height, 
 
 8. Front-Waist Depth, . 
 
 9. Front-Height, 
 
 10. Arm's-Eye Circumference, 
 
 11. Back-Shoulder Height, . 
 
 12. Front-Shoulder Height, 
 
 13. Shoulder-Depth, . 
 
 14. Bust-Circumference, . 
 
 15. Waist-Circumference 
 
 16. Hip-Depth, . 
 
 17. Hip-Circumference, 
 
 18 Sleeve 
 
 I 
 2 
 3 
 4 
 5 
 6 
 
 7 
 18 
 
 Extreme-Depth, 
 Arm's-Eye Circumference, 
 Elbow-Circumference 
 Elbow-Depth, 
 Hand-Circumference, . 
 Inside-Height, 
 Arm -Circumference, 
 Outside-Height, 
 
 Inches. 
 
 12 
 10 
 18 
 36 
 
 8 
 
 8>^ 
 
 VA 
 
 9 
 
 5 
 
 37 
 24 
 7 
 48 
 22 
 
 15 
 10 
 
 13 
 
 8 
 
 8 
 12 
 II 
 
THE 
 
 International Method 
 
 ■OF 
 
 Fr^BNGH AND gl^USSIAN 
 
 SCIENTIFIC TAILOR PRINCIPLES. 
 
 FOR ALL 
 
 KINDS A.2SrD STYLES 
 
 ^OF- 
 
 COMPOUND "BODY-DRSFTING." 
 
 57 
 
58 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PLATE 1.— Figure i. 
 
 INSTRUCTIONS. 
 
 I. Add i>^ inches to the skirt depth ; locate point i at that distance from the 
 bottom, or right-hand edge ; and ij^ inches back, from the front edge of the paper 
 or material. 
 
UTILITY AND DECORATIVE ART. 59 
 
 2. Draw line A from point i, back toward the opposite edge, at right angles 
 with the front edge, to the distance of y^, of the chest circumference from point i ; 
 at which point, locate point 2. 
 
 3. Locate point 3 on line A, 5/2 of the blade-width from point 2 toward point r» 
 
 4. Draw line B from point 3 toward the bottom, at right angles with line A, to 
 the distance of the skirt depth from point 3; at which point, locate point 4: then extend 
 line B in the opposite direction, to the distance of the waist depth from point 3 ; at 
 which point, locate point 5. 
 
 5. Draw line C from point 5, at right angles with line B, to the distance of J^ 
 of the blade- width from point 5, toward the opposite edge ; at which point, locate 
 point 6. Subtract ^ of the blade-width from )4 of the chest circumference ; extend 
 line C, in the opposite direction, to the distance of that difference from point 5 — at 
 which point, locate point 7. 
 
 6. Add the back-waist depth to the skirt depth ; draw line D from point 6 
 toward the bottom, at right angles with line C, to the distance of that sum of depths ; 
 at which point, locate point 8 ; also locate point 9 on line D, the distance of the 
 back -waist depth from point 6, toward point 8. Then extend line D in the opposite 
 direction, to the distance of the back height from point 6 — at which point, locate 
 point 10. 
 
 7. Add the front waist depth to the skirt depth ; draw line E from point 7 to- 
 ward the bottom at right angles with line C, to the distance of the sum of these 
 depths from point 7, at which point locate point 11 ; also, locate point 12 on line E, 
 the distance of the front waist depth from point 7, toward point 1 1 ; then extend 
 line E in the opposite direction, to the distance of the front height from point 7, at 
 which point, locate point 13. 
 
 8. Locate point 14 on line C, yi of the arm's eye circumference from point 5, 
 toward point 7. 
 
 9. Draw line F, at right angles with line C, toward the top from point 14, to 
 the distance of ^ of arm's eye circumference from point 14 ; at which point locate 
 point 15. 
 
 10. Locate point 16 on line C, Yd of the arm's eye circumference from point 5 
 toward point 6. 
 
 11. Draw line G at right angles with line C, from point 16 toward the top, to 
 the distance of two-fifths of the arm's eye circumference from point 16 ; at which 
 point locate point 17. 
 
 12. Locate point 18 on line G, at a point which is the distance of one-third of 
 the arm's eye circumference from point 16 toward point 17. 
 
 13. Locate point 19 on line G, at a point equidistant from, or half way be- 
 tween, point 16 and point 18. 
 
 14. Draw line H, at right angles with line G, from point 19 to line D; and 
 locate point 20, at the point of intersection of lines H and D. 
 
 15. Subtract %, inch from y% of the neck circumference ; locate point 21 on 
 line C, that distance, from point 6 toward point 16. 
 
 16. Draw line I at right angles with line C, from point 21 toward the top, to 
 the distance of the back shoulder height, from point 2 1 ; at which point locate point 
 22. 
 
 17. Draw curved line J, from point 22 to point 10; as illustrated in the cut. 
 
 18. Subtract }^ inch from ^ of the neck circumference ; locate point 23 on 
 line C, that distance from point 7 toward point 14. 
 
 19. Draw lineK at right angles with line C, from point 23 toward the top, to 
 the distance of the front shoulder height from point 23 ; at which point locate point 
 24- , _ 
 
 20. Draw pointed line L, from point 24 to point 13 ; as illustrated in the cut. 
 
 21. Locate point 25 on line L, equidistant from point 24 and point 13. 
 
 22. Draw pointed line M, from point 25 toward point 15, to the distance of 
 one-twelfth of the neck circumference from point 25; at which point, locate point 26. 
 
6o THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 23. Draw curved line N, from point 24 through point 26, to point 13; as 
 illustrated in the cut. 
 
 24. Draw line O, from point 24 toward point 17, to the distance of ^ of an 
 inch less than the shoulder depth from point 24, at which point, locate point 27. 
 
 25. Draw pointed line P, from point 27 to point 15. 
 
 26. Locate point 28 on line P, equidistant from point 27 and point 15. 
 
 27. Draw pointed line Q, from point 28 toward point 25, to the distance of}{ of 
 the distance between point 17 and point 18 from point 28; at which point, locate 
 point 29. 
 
 28. Draw pointed line R, from point 15 to point 5. 
 
 29. Locate point 30 on line R, equidistant from point 15 and point 5. 
 
 30. Draw pointed line S, from point 30 toward point 14, to a point equidistant 
 from point 30 and point 14 ; at which point, locate point 31. 
 
 31. Draw pointed line T, from point 5 to point 19. 
 
 32. Located point 32 on line T, equidistant from point 5 and point 19. 
 
 33. Draw pointed line U from point 32 toward point 16, to that distance from 
 point 32, which is one-seventh of the entire distance between point 32 and point 16 ; 
 at which point locate point 33. 
 
 34. Draw pointed line V from point 19 toward point 14, to a point which is 
 twice as far from point 19 as the distance between point 32 and point 33; at which 
 point, locate point 34. 
 
 35. Draw lineW from point 22 toward point 15, to the distance of the shoulder 
 depth from point 22 ; at which point, locate point 35. 
 
 36. Draw curved line X, from point 27 through points 29, 15, 31, 5, and 33, to 
 point 34 ; as illustrated in the cut. 
 
 37. Draw curved line Y, from point 35 to point 19 ; as illustrated in the cut. 
 
 38. Locate point 36 on line E, equidistant from point 13 and point 7. 
 
 39. Locate point 37 on line E, equidistant from point 7 and point 12. 
 
 40. Locate point 38 on line E, }{ of the distance between point 7 and point 37, 
 from point 37 toward point 7. 
 
 41. Draw line Z, from point 6, through point 38, to the distance of }4 inch 
 more than )4 of the bust circumference, from point 6 ; at which point, locate point 39. 
 
 42. Draw line A^ from point 36 to point 39. 
 
 43. Draw line B^ from point 39 to point 12. 
 
 44. Draw line C^ from point 37 to the point of intersection, of lines B and Z. 
 
 45. Draw line D^ from point 12 to point 3. 
 
 46. Draw line E^ from point 3 to point 9. 
 
 47. Find 5^th of the waist circumference; locate point 40 on line D'', ^ of 
 that distance from point 1 2 toward point 3. 
 
 48. Find }ith of the difference between the chest circumference and the waist 
 circumference. Locate point 41 on line E^ the distance of ^2 of that amount 
 from point 9 toward point 3. 
 
 49. Locate point 42 on line E^ the same distance from point 41 toward point 
 3, as the distance from point 1 2 to point 40. 
 
 50. Locate point 43 on line D '\ twice as far from point 40 toward point 3, as 
 the distance between point 9 and point 41. 
 
 51. Locate point 44 on line D\ equidistant from point 40 and point 43. 
 
 52. Locate point 45 on line D,^ fi of the distance between point 12 and point 
 40, from point 43, toward point 3. 
 
 53. Locate point 46 on line D^ the same distance from point 45 toward point 
 3, as the distance between point 40 and point 43. 
 
 54. Locate point 47 on line D^ equidistant from point 45 and point 46. 
 
 55. Locate point 48 on line D", the same distance from point 3 toward point 
 46, as the distance between point 46 and point 47. 
 
 56. Locate point 49 on line E^ the same distance from point 3 toward point 
 42, as the distance between point 3 and point 48. 
 
UTILITY AND DECORATIVE ART. 6l 
 
 57. Locate point 50 on line E^ Yz of the distance between point 9 and point 41 
 from point 42, toward point 49. 
 
 58. Locate point 5 1 on line E^ the same distance from point 50 toward point 
 49, as the distance between point 46 and point 48. 
 
 59. Locate point 52 on line E'^, the same distance from point 51 toward point 
 49, as the distance between point 42 and point 50. 
 
 60. Locate point 53 on line C^ Y9, of an inch further from point 37 toward the 
 point of intersection of lines B, Z, and C^ than the distance between point 12 and 
 point 44. 
 
 61. Locate point 54 on line C^ the same distance from point 53 toward the 
 point of intersection of lines B, Z, and C'^, as the distance between point 37 and point 
 
 53- . 
 
 62. Draw line F^ from point 20 to point 41. 
 
 63. Wrap one end of the tape-measure neatly and firmly around the pencil, 
 near the sharpened end, and hold it firmly with the front two fingers and thumb of 
 the right hand ; measure twice the waist-depth back from the pencil, on the tape- 
 measure, either by the inches on the tape-measure or the square, at which point, 
 hold it firmly between the forepart of the thumb and forefinger of the left-hand ; then 
 placing and holding the point of the pencil firmly on point 19, stretch the tape-mea- 
 sure, and with the fore part and nail of the left-hand thumb or finger placed firmly on 
 that length, press it upon the table in front of the draft, opposite point 12, Then, 
 by repeated trials, find a point for the position of the left-hand, where, if the left- 
 hand position is maintained, and the right-hand is moved and guided toward the 
 waist, by the stretched tape-measure, the point of the pencil will exactly touch upon 
 point 42, and again upon point 19, when moved back : then draw curved line G^ 
 from point 19 to point 42; as illustrated in the cut; and locate point 55, at the 
 point of intersection of lines G^ and Z. 
 
 64. Draw curved line H'\ from point 34 to point 55, by the same length of 
 tape-measure, and principles and rule, as given under instruction 63d, above, only 
 changing positions of both hands true to, and drawing from point 34 to point 55 ; 
 and as illustrated in the cut. 
 
 65. Draw curved line P, by the same length of tape-measure, and principles 
 and rule, as given under 63d, above; only changing positions of both hands true 
 to, and drawing from point 55 to point 50 ; and as illustrated in the cut. 
 
 66. Draw curved line J^ from point 33 to point 51, by the same length of 
 tape-measure, and principles and rule, that you drew lines G^ H^, and I^- only, 
 changing positions true to, and drawing from point 33 to point 51; as illustrated in 
 the cut ; and locate point 56, at the point of intersection of lines J^ and Z, 
 
 67. Draw curved line K^ from point 56 to point 52, by the same length of tape- 
 measure, and principles and rule, as given for lines G^ H", P, andj^; only, changing 
 positions true to, and drawing from point 56 to point 52. 
 
 68. Draw line L^ from point 5 to point 49. 
 
 69. Draw line M^, from point 5 to point 48. 
 
 70. Draw line N'', from point 54 to point 47. 
 
 71. Draw curved line O'', from point 54 to point 46 ; as illustrated in the cut. 
 
 72. Draw curved line P'^ from point 54 to point 45 ; as illustrated in the cut. 
 
 73. Draw line Q^ fro-i point 53 to point 44. 
 
 74. Draw curved line R^, from point 53 to point 43 ; as illustrated in the cut. 
 
 75. Draw curved line S^ from point 53 to point 40 ; as illustrated in the cut. 
 
 76. Locate point 57 in on line B, the distance of the hip depth from point 3, 
 toward point 4. 
 
 77. Draw line T^ at right angles with, and from line D, through point 57, to 
 that distance in front of, and from the point of intersection of lines T' and E, which 
 is Yz of the distance between point 38 and point 39 ; at which point, locate point 58. 
 
 78. Draw line U^, from point 12 to point 58. 
 
 79. Draw line V'^ from point 58 to point 11. 
 
 80. Draw line W^, from point 11 to point 4. 
 
62 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 8i. Draw line X^ from point 4 to point 8. 
 
 82. Draw line Y^ at right angles with line A, from point 44 to line W" ; and 
 locate point 59 at the point of intersection of lines Y^ and T^ 
 
 83. Locate point 60 on line T^ ^ as far from point 59 toward point 58, as 
 the distance between point 40 and point 44. 
 
 84. Draw line Z", from point 40 through point 60, to line W^ 
 
 85. Locate point 61 on line T", the same distance from point 59 toward point 
 57, as the distance between point 59 and point 60. 
 
 86. Draw line A^ from point 43 through point 61, to line Wl 
 
 87. Draw line B^ at right angles with line A, from point 47 to line W^ ; and 
 locate point 62 at the point of intersection of lines B^ and T". 
 
 88. Locate point 63 on line T^ the same distance from point 62 toward point 
 61, as the distance between point 59 and point 61. 
 
 89. Draw line C^ from point 45 through point 63, to line Wl 
 
 90. Locate point 64 on line T^ the same distance from point 62 toward point 
 57, as the distance between point 62 and point 63. 
 
 91. Draw line D^ from point 46 through point 64, to line W^ 
 
 92. Draw curved line E^, from point 49 to point 57 ; as illustrated in the cut. 
 
 93. Locate point 65 on line T", twic^ as far from point 57 toward line D — as 
 the distance between point 63 and point 64. 
 
 94. Draw curved line F^ from point 48 to point 65 ; as illustrated in the cut. 
 
 95. Draw line G^ at right angles with T", from point 65 to line W\ 
 
 96. Find the difference between ^ of the chest circumference and }^ of the 
 blade -width ; subtract this difference from }-2 of the hip circumference: Then locate 
 point 66 on line T^ one-fifth of this last difference from the point of intersection of 
 lines D and T', toward point 65. 
 
 97. Draw line H^ from point 41 to the point of intersection of lines T^ 
 and D. 
 
 98. Draw line P, from point 42 through point 66, to line X^ 
 
 99. Locate point 67 on line T^ at a point equidistant from point 66 and the 
 point of intersection of lines T^ H^ and D. 
 
 100. Draw line J^ from point 50 through point 67, to line XI 
 
 loi. Locate point 68 on line T^ twice the distance between point 66 and the 
 point of intersection of lines T^ H^, and D, from point 67, toward point 57. 
 
 102. Draw curved line K^ from point 51 to point 68 ; as illustrated in the cut. 
 
 103. Draw line L*, at right angles with line T^ from point 68 to line X^ 
 
 104. Locate point 69 on line T^ the same distance from point 57 toward point 
 67, as the distance between point 67 and point 68. 
 
 105. Draw curved line M^ from point 52 through point 69, to line X^ ; as 
 illustrated in the cut. 
 
 106. Locate point 70 on line W, equidistant from point 22 and point 35. 
 
 107. Draw line N^ from point 70 to point 42 ; and locate point 71 at the point 
 of intersection of lines N* and Z. 
 
 108. Draw line 0^ from point 71 to point 50. 
 
 109. Locate point 72 on line O, equidistant from point 24 and point 27. 
 
 no. Indicate pointed hne P^ from point 72 to point 53; as illustrated in the 
 cut. 
 
 Q. E. D. 
 
 N. B. — I. All possible kinds and styles of ladies' garments can quickly and 
 accurately be traced upon the lining or material, by means of a tracing-wheel, from 
 the above draft ; which should be accurately drafted to the accurate measures of each 
 customer ; and upon good, firm paper, or special pattern material ; and should be 
 carefully preserved for that particular customer ; until a sufficient change of form 
 necessitates or demands a re-taking of the measures, and the making of a new draft. 
 
 2, Full explanations for the elimination of the various parts of the draft, by 
 tracing its parts upon the material, will be given under "Tracing." 
 
 3. Instructions for drafting with only one dart, will be given under Plate V. 
 
UTILITY AND DECORATIVE ART. 63 
 
 4. The indicated and pointed lines, along lines O and W, show the proper 
 curves to be traced for basting and stitching ; as do also, the indicated and pointed 
 lines across the angles of the straight lines, on the waist, and elsewhere. 
 
 5. Indicated and pointed line P^ from point 72 to point 53, is used for cutting 
 vest-fronts, etc. ; and for garments with seams to the shoulder, in front. 
 
 6. In cutting, all seams and extensions for finishing, must be allowed, every- 
 where, 
 
 7. The measures, the correct method of taking and proving them, and using 
 them, and all the particulars and details of the above draft should be thoroughly 
 mastered, before attempting to proceed further. It is the key to all the secrets of the 
 world's greatest cutters. 
 
 8. If the chest-circumference does not exceed the waist-circumference by 6 
 inches, or if sickness or deformity has increased the waist-circumference, so as to be 
 equal to, or even to exceed the chest-circumference ; under each and all of the above 
 conditions, carefully and accurately calculate the number of inches that would have 
 to be added to the chest circumference to made it six inches more than the waist- 
 circumference. Then add ^ of this necessary amount to ^ of the chest-circumfer- 
 ence, and locate point 2 that distance from point i. Then find^ of the amount that 
 you added to ^^ of the chest-circumference, and add this to ^ of the blade-width ; 
 and locate point 3 that distance from point 2 toward point i. Then draft, per 
 instructions for general drafting in all other parts of the draft — to the actual measures, 
 as taken on the form ; remembering, however, that in this case, the parts of lines 
 D and E between points 6 and 2, and 7 and i, respectively, will not be at right 
 angles with line C ; but said lines will be at right angles with lines C and A, 
 respectively, at the top and at bottom of the draft, as in general drafting. 
 
 It must also be remembered when coming to the "spacings" and "locations of 
 points for darts, " etc., on the waist, that the rules must be applied as given; and 
 the same as though an actual difference of 6 inches existed between the chest-circum- 
 ference and the waist-circumference. At first this may seem arbitrary, and somewhat 
 difficult of comprehension to the beginner ; but it will grow very simple to the ex- 
 perienced student. Furthermore, the circumstances which call for this special rule, 
 are very rare ; and the rule is only submitted, to thoroughly arm the student for 
 every possible and conceivable emergency of the cutter. 
 
64 THE ENCYCLOPEDIA OF GARMENT-MAKIXG, 
 
 THE INTERNATIONAL METHOD OF FRENCH AND PRUSSIAN 
 
 SCIENTIFIC TAILOR PRINCIPLES 
 
 FOR ALL KINDS AND STYLES OF 
 
 Compound Sleeve- Drafting. 
 
 PLATE ll.-FiGURE II. 
 
 INSTRUCTIONS. 
 
 1. Locate point i on the paper or material, i inch farther than the distance of 
 the extreme length, from the bottom or right-hand edge, and i^ inches back 
 from the front edge. 
 
 2. Draw line A, at right angles with the front edge, from point i toward the 
 opposite edge, to the distance of % of the arm's-eye circumference from point i — at 
 which point, locate point 2. 
 
 3. Draw line B, at right angles with line A, the distance of ^ inch less than 
 the elbow-depth from point 2, toward the right-hand edge — at which point locate 
 point 3. 
 
 4. Find the difference between ^ of the extreme depth and the elbow-depth ; 
 subtract this difference from the extreme depth : Then draw line C, at right angles 
 with line A, to the distance of this last difference, from point i toward the right-hand 
 edge ; at which point, locate point 4. 
 
 5. Locate point 5 on line C, the distance of yi the extreme depth from point i 
 toward point 4. 
 
 6. Draw line D from point 3 toward point 5, to the distance of ^ of the elbow- 
 circumference from point 3; at which point locate point 6. 
 
 7. Draw line E, at right angles with line C, from point 4 toward the front edge, 
 to the distance of }i of the hand- circumference from point 4 ; at which point locate 
 point 7. 
 
 8. Indicate pointed line F, from point 6 to point 7 ; as illustrated in the cut. 
 
 9. Locate point 8 on line F, }i of an inch from point 7, toward point 6. 
 
 10. Indicate pointed line G, from point 8 to point 4 — as illustrated in the cut. 
 
UTILITY AND DECORATIVE ART. 65 
 
 11. Indicate pointed line H, at right angles with line F, from point 4 toward 
 the opposite edge, to 5 times the distance between point 7 and point 4, from point 
 4 ; at which point, locate point 9. 
 
 12. Locate point 10 on line G, the same distance from point 4 toward point 9 ; 
 as the distance between point 8 and point 4. 
 
 13. Indicate pointed line I, from point 6 to point 10; as illustrated in the cut. 
 
 14. Locate point 11 on line G, equidistant from point 9 and point 10. 
 
 15. Locate point 12 on line D, the same distance from point 3 toward point 6, 
 as the distance between point 7 and point 4. 
 
 16. Indicate pointed line J, from point 12 to point 11; as illustrated in the cut. 
 
 17. Extend line D, toward the opposite edge from point 3, to the same dis- 
 tance from point 3, as the distance between point 12 and point 3 ; at which point 
 locate point 13. 
 
 18. Indicate pointed line K, from point 13 to point 9 ; as illustrated in the cut. 
 
 19. Indicate pointed line L, from point 6 toward point i, to the distance of 
 the inside-height from point 6; at which point locate point 14; as illustrated in 
 the cut. 
 
 20. Locate point 15 on line L, % of the distance between point 14 and point 
 6, from point 14 toward point 6. 
 
 21. Draw line M, at right angles with line L, from point 15 toward the oppo- 
 site edge, to the distance of Yz of the arm-circumference from point 15 ; at which 
 point locate point 16. 
 
 22. Locate point 17 on hne M, equidistant from point 15 and point 16. 
 
 23. Locate point 18 on line B, the distance of the outside height from point 3 
 toward point 2. 
 
 24. Draw line N, at right angles with line B, from point 18 toward line C, to 
 the distance of yi of the arm's-eye circumference from point 18; at which point, 
 locate point 19. 
 
 25. Indicate pointed line O, from point 12 through point 17, to the point of 
 intersection of lines O and N; at which point, locate point 20; as illustrated in 
 the cut. 
 
 26. Draw line P, at right angles with line N, from point 19 toward line M, to 
 the distance of ^ of the arm's-eye circumference from point 19; at which point, 
 locate point 21. 
 
 27. Indicate pointed and curved line Q, from point 20 through point 21, to 
 point 14 ; as illustrated in the cut. 
 
 28. Indicate pointed line R, from point 13 through point 16, to the distance of 
 ^ inch farther from point 13, than the distance between point 13 and the point of 
 intersection of lines R and N, if line N is extended toward the opposite edge, from 
 point 18 — and as illustrated in the cut ; at which point, locate point 22. 
 
 29. Locate point 23 on line B, ^ of the distance between point 2 and point 18 
 from point 2, toward point 18. 
 
 30. Locate point 24 on line A, % of the arm's-eye circumference from point 2, 
 toward point i. 
 
 31. Indicate pointed and curved hne S, from point 22 through points 23, 24, 
 and 19, to point 14 ; as illustrated in the cut. 
 
 Q. E. D. 
 
 N. B. — I. From the above principles, and construction lines A, B, C, and D, 
 every conceivable and possible style of sleeve can instantly be drafted, by the 
 thoughtful student. 
 
 2, Perfect, and elegantly-fitting sleeves, are the ornament of any garment; and 
 especially so in ladies' and children's garments. Too much attention, therefore, 
 cannot be bestowed in thoroughly mastering the principles of scientific measurement 
 and drafting, as herein above taught. To be an elegant and master sleeve-cutter, is 
 a passport into credit, favor, and honor in any first-class establishment ; and gen- 
 erally, is a true index to the actual worth and general ability of a cutter, 
 
 5 
 
66 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 3. Here as in body-drafting, both the measures and principles should be so 
 thoroughly mastered and familiarized, that the whole process becomes a part of 
 memory, as the letters of the alphabet. 
 
 First, master the alphabet; then you may form words, then phrases, then sen- 
 tences, and finally become the possessor and master of the language of the Queen 
 of Fashion — the adored empress of the world. 
 
 PLATE lll.-FiGURE III. 
 
 INSTRUCTIONS. 
 
 1. Locate points i, 2, 3, 4, 5, and 6, and draw lines A, B, C, and D, per 
 instructions given under Figure II ; and as you located these respective points and 
 drew these respective lines, in Figure II. 
 
 2. Indicate pointed line E, from point 6 to point 4 ; as Illustrated in the cut. 
 
 3. Indicate pointed line F, at right angles with line E, from point 4 toward the 
 opposite edge, to the distance of ^ of the hand-circumference from point 4, at which 
 point, locate point 7 ; as illustrated in the cut. 
 
 4. Locate point 8 on line D, ^2 inch from point 3, toward point 6. 
 
 5. Indicate pointed line G, from point 8 to point 7 ; as illustrated in the cut. 
 
 6. Extend line D from point 3, to the distance of Y^ inch from point 3 toward 
 the opposite edge — at which point, locate point 9. 
 
 7. Indicate pointed line H, from point 9 to point 7 ; as illustrated in the cut. 
 
 8. Indicate pointed line I, from point 6 toward point i, to the distance of the 
 inside height from point 6 ; at which point, locate point 10. 
 
 9. Locate point 11 on line I, % of the distance between point 10 and point 
 6 from point 10, toward point 6. 
 
 10. Draw line J, at right angles with line I, from point 11 to the distance of Y^ 
 of an inch more than ^ of the arm-circumference from point 11, toward the opposite 
 edge — at which point, locate point 12. 
 
 11. Locate point 13 on line J, iV^ inches back from point 12 toward point 11. 
 
 12. Locate point 14 on line B, the distance of the outside-height from point 3, 
 toward point 2. 
 
 13. Draw line K at right angles with line B, from point 14 toward line C, to 
 the distance of Y^ o^ the arm's-eye circumference from point 14; at which point, 
 locate point 15. 
 
UTILITY AND DECORATIVE ART. 67 
 
 14. Indicate pointed line L, from point 8 through point 13, to the point of inter- 
 section of lines K and L ; at which point, locate point 16 ; as illustrated in the cut. 
 
 15. Locate point 17, on line K, equidistant from point 15 and point 16. 
 
 16. Draw line M, at right angles with line K, from point 15 toward line J, to 
 the distance of ^ of the arm's-eye circumference from point 15; at which point, 
 locate point 18. 
 
 17. Draw line N, at right angles with line K, from point 17 toward line J, to 
 the distance of )^ of the distance between point 15 and point 18, from point 17 ; at 
 which point, locate point 19. 
 
 18. Indicate pointed and curved line O, from point 16, through points 19 and 
 18, to point 10; as illustrated in the cut. 
 
 19. Indicate pointed line P, from point 9 through point 12, to the distance of }( 
 inch farther from point 9, than the distance between point 9 and the point of inter- 
 section of lines P and K, if line K is extended ; at which point locate point 20 ; as 
 illustrated in the cut. 
 
 20. Locate point 21, on line B, equidistant from point 2 and point 14. 
 
 21. Locate point 22, on line A, yi of the arm's-eye circumference from point 2, 
 toward point i. 
 
 22. Indicate pointed and curved line Q, from point 20, through points 21, 22, 
 and 15, to point lo; as illustrated in the cut. Q. E. D. 
 
 N. B. — From the above examples of the production of directly opposite styles, 
 by the same principles and construction lines A, B, C, and D, it will readily be seen 
 that the possibilities in the degree of variation in the draft are commensurate with the 
 possibilities in the degree of variation in styles; and therefore, equal to all emergencies 
 of the cutter. 
 
 All of which applies with equal force to the system of principles and construc- 
 tion lines A, B, C, D, E, F, G, H, I, and K, in body-drafting, as illustrated and 
 taught in Plate I, and under Figure I ; from which, all kinds and styles of both 
 ladies' and gentlemen's body-garments can instantly and accurately be drafted; 
 by simply using the measures to those principles, and regulating the spacings and 
 course of the seams, and the degree of closeness or ease of fit desired, or called for 
 by the mandates of fashion. The entire work, in all its various departments, will be 
 found to be based upon a system of principles, and not of rules merely ; all of which 
 have been attained by long and hard study, and a varied and extensive practice. 
 
 '«^S«f-:- 
 
68 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 THE INTERNATIONAL METHOD OF FRANCO-PRUSSIAN 
 
 Scientific Tailor Principles 
 
 FOR DRAFTING ALL KINDS AND STYLES OF CHILDREN'S 
 
 COSTUMES 
 
 PLATE IV.-FiGURE IV. 
 
 MEASURES FOR PRACTICE. 
 Neck-Circumference . . - . 
 
 Skirt-Depth . - - - - 
 
 Blade-Width 
 
 Chest-Circumference . - - - 
 
 Inches. 
 9 
 
 12 
 12 
 24 
 
UTILITY AND DECORATIVE ART. 69 
 
 Inches. 
 
 5. Waist-Depth ---.-_. 7 
 
 6. Back- Waist Depth ...... 71^ 
 
 7. Back-Height ------- 5 
 
 8. Front- Waist Depth ------ 71^ 
 
 9. Front-Height - - - - - ... y^ 
 
 10. Arm's- Eye Circumference - - - - - 12 
 
 11. Back-Shoulder Height ------ ^i^ 
 
 12. Front-Shoulder Height - - - - - - - 6 
 
 13. Shoulder-Depth ------- ^3^ 
 
 14. Bust-Circumference ------ 25 
 
 15. Waist-Circumference - . - . - . 20 
 
 16. Hip-Depth -- - - - - -5 
 
 17. Hip-Circumference ------ -52 
 
 1. Extreme Depth - - - - - 13 
 
 2. Arm's-Eye Circumference - - - - 12 
 
 3. Elbow- Circumference ----- 8 
 
 4. Elbow-Depth - - - - - - 8 
 
 5. Hand-Circumference ----- 7 
 
 6. Inside-Height ------ 4^ 
 
 7. Arm Circumference - - - - - g)4 
 
 8. Outside- Height - - - - - - ^H 
 
 18. Sleeve:-^ 
 
 CHILDREN'S GARMENT-DRAFTING. 
 
 PLATE IV.— Figure IV. 
 
 Instructions. 
 
 1. Locate points i, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, and 13, and draw lines A, 
 B, C, D, and E, per instructions for locating these points and drawing these lines 
 respectively, as given for drawing Figure I, under Plate I. 
 
 2. Locate point 14 on line C, the distance of ^ the arm's-eye circumference 
 from point 5 toward point 7. 
 
 3. Draw line F, at right angles with line C, from point 14 toward the top, to 
 the distance of ^ of the arm's-eye circumference from point 14; at which point, locate 
 point 15. 
 
 4. Locate point 16 on line C, the distance of }i of the arm's-eye circumference 
 from point 5, toward point 6. 
 
 5. Draw line G, at right angles with line C, from point 16 toward the top, to 
 the distance of fi of the arm's-eye circumference from point 16; at which point, 
 locate point 17. 
 
 6. Locate point 18 on line G, the distance of ^ of the arm's-eye circumference 
 from point 16, toward point 17. 
 
 7. Locate point 19 on line G, equidistant from point 16 and point 18. 
 
 8. Draw lines H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, and Y, 
 and locate points 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, and 35, per 
 instructions for drawing these lines, and for locating these points, respectively, as 
 given for drawing Figure I, under Plate I — only continuing curved line Y to point 
 33, from point 19 ; as illustrated in the cut. 
 
 9. Locate point 36 on line E, equidistant from point 7 and point 12. 
 
 10. Locate point 37 on line E, at a point which is the distance of }( of the dis- 
 tance between point 36 and point 7 from point 36, toward point 7. 
 
 11. Draw line Z, from point 37 to point 6. 
 
 12. Drawn line A^ from point 36 to the point of intersection of lines B and Z. 
 
yo THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 13. Draw line B^ from point 12 to point 3. 
 
 14. Draw line C', from point 3 to point 9. 
 
 15. Find the j4 of the difference between the chest-circumference and the 
 waist-circumference : then locate point 38 on line C'^ that distance from point 9, 
 toward point 3. 
 
 16. Draw line D", from point 20 to point 38. 
 
 17. Find j'i of the waist-circumference : then locate point 39 on line C^,}4 of 
 that distance from point 38 toward point 3. 
 
 18. Locate point 40 on line W, equidistant from point 22 and point 35. 
 
 19. Draw line E", from point 40 to point 39; and locate point 41, at the point of 
 intersection of lines E'^ and Z. 
 
 20. Locate point 42 on line C', the same distance from point 39 toward point 
 3, as the distance between point 9 and point 38. 
 
 21. Draw line F^, from point 41 to point 42. 
 
 22. Locate point 43 on line C\ ^ inch further from point 42, toward point 3, 
 than the distance between point 38 and point 39. 
 
 23. Locate point 44 on curved line X, equidistant from point 33 and point 5. 
 
 24. Draw curved line G'^ from point 44 to point 43, per instructions given under 
 Plate I, for drawing lines G^ H'^ V, y, and K'^ in Figure I — only changing the length 
 of tape-measure true to the waist-depth given, and changing positions true to, and 
 drawing from point 44 to point 43 ; as illustrated in the cut. 
 
 25. Locate point 45 on line B", the same distance from point 12 toward point 
 3, as the distance between point 42 and point 43. 
 
 26. Locate point 46 on line O, equidistant from point 24 and point 27. 
 
 27. Draw line H.\ from point 46 to point 45 ; and locate point 47, at the point 
 of intersection of lines H" and A'. 
 
 28. Locate point 48 on line B, the distance of the hip-depth from point 3, 
 toward point 4. 
 
 29. Draw line P, at right angles with and from line E, through point 48, to 
 line D ; and locate point 49 at the point of intersection of lines P and D. 
 
 30. Locate point 50 on line B"', the distance of the }{ of the difference between 
 the chest-circumference and the waist-circumference from point 45, toward point 3. 
 
 31. Draw line J^ from point 47 to point 50. 
 
 32. Locate point 51 on line B", equidistant from point 45 and point 50, 
 
 33. Draw line K'^ at right angles with line A, from point 51 to line P; and 
 locate point 52, at the point of intersection of lines K^ and P. 
 
 34. Draw line L^ from point 11 to point 4. 
 
 35. Draw Hne M^ from point 4 to point 8. 
 
 36. Locate point 53 on line V, ^ the distance between point 45 and point 51 
 from point 52, toward line E. 
 
 37. Draw line N^ from point 45 through point 53, to line LI 
 
 38. Locate point 54 on line I^, the same distance from point 52, toward point 
 48, as the distance between point 52 and point 53. 
 
 39. Draw line 0^ from point 50 through point 54, to line L^ 
 
 40. Locate point 55 on line I'^ the same distance from point 49, toward point 
 48, as the distance between point 52 and point 54. 
 
 41. Draw line P^ from point 38 through point 55, to line M\ 
 
 42. Find j4 of the hip-circumference : then locate point 56 on line P, 3^ of 
 that distance from point 55, toward point 48. 
 
 43. Draw line Q\ from point 39 through point 56, to line M". 
 
 44. Locate point 57 on line P', at a point equidistant from point 55 and 
 point 56. 
 
 45. Draw line R^ from point 42 through point 57, to line M^ 
 
 46. Locate point 58 on line P, twice the distance between point 55 and point 
 56 from point 57, toward point 48. 
 
 47. Draw curved line S", from point 43 through point 58, to point 4 ; as illus- 
 trated in the cut. 
 
UTILITY AND DECORATIVE ART. 
 
 71 
 
 48. Find the total sum of the distances between the point of intersection of hnes 
 E and P, and point 53 ; plus the distance between point 55 and point 56 ; plus the 
 distance between point 57 and point 58 : then subtract this sum of distances from % 
 of the hip-circumference ; locate point 59, on Hne P, the distance of that difference 
 from point 54, toward point 49. 
 
 49. Draw curved Hne T', from point 43 to point 59 ; as illustrated in the cut. 
 
 50. Draw line U^ from point 59 to point 8. 
 
 51. Indicate pointed and curved lines V^ W^ and X^ per instructions given 
 for drawing curved lines G', H^ and P, in Figure I, under Plate I — only changing 
 the length of tape-measure, true to the waist-depth given, and changing positions 
 true to, and indicating from point 19 to point 39 ; and from point 34, to point 60; 
 and from point 60, to point 42 ; as illustrated in the cut. 
 
 O. E. D. 
 N. B. — I. All possible kinds and styles of children's dresses and costumes can 
 easily and instantly be traced from the above draft, by the thoughtful student; by 
 simply arranging the seams and spacings, to the desired style and degree of closeness 
 or neatness of fit. 
 
 2. The short horizontal lines, intersecting with lines D, D^ and P^ the first of 
 which (at the top) is marked Y", show the position for the buttonholes and buttons ; 
 and lines X\ A^ B^ and C, show the extension for finishing, outside of the fit; when 
 the dress is made to open at the back. The amount depends, upon the method of 
 finish. 
 
 3. The pointed lines, along the shoulder-lines and across the angles, show the 
 proper curves to be given, when tracing the various parts of the draft, separately, 
 upon the lining or material. 
 
 4. Both dress and coat-sleeves for children, are drafted per instructions for 
 drafting ladies' sleeves ; and as given under Plate III, for drafting Figure III. 
 
 5. When the dress is opened at the back, line E is placed on the fold of the 
 lining and the material ; when open at the front, the buttonholes are cut from within 
 to line E, and the buttons on the other side, are set upon line E; and the same 
 extension is allowed in front for finish, which is indicated at the back ; as illustrated 
 m the cut. 
 
 THE INTERNATIONAL METHOD 
 
 OF 
 
 SCIENTIFIC TAILOR PRINCIPLES 
 
 FOR ALL KINDS AND STYLES OF 
 
 Boys' Coat, Vest, and Pantaloon- Drafting. 
 
 INSTRUCTIONS. 
 
 I. For boys' coats, vests, and overcoats, use the same method of measure- 
 ment and drafting as given for drafting Figure IV, under plate IV ; excepting the 
 number and location of the seams, at the waist and hip lines ; and also, the degree of 
 closeness desired in the garment : which, are at your option, and according to will, 
 taste, style, and fashion. The fit about the neck, shoulders, arm's-eye, and all 
 general principles elsewhere, being the same as in Figure IV; only that it is left 
 almost plain and nearly straight in form, from the construction line C, down to the 
 full length ; and is shaped at the back and front, at will ; as given above. 
 
72 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 2. The double-breast, and the collars, are made by the instructons for the 
 same, under that special part of the work ; given elsewhere. 
 
 3. The sleeves are drafted per instructions for drafting Figure III, under 
 plate III. 
 
 Boys' Pantaloons and Knee- Pants. 
 
 THE MEASURES. 
 Instructions for Measuring. 
 
 1. By means of pins, chalk, or a crayon-pencil, locate the following points upon 
 the garment worn, at each side of the person; divesting the form of the coat and vest, 
 before measureing, viz : 
 
 a. At the height you wish the top of the pants ; 
 
 b. At the most prominent bone, at the hips ; 
 
 c. At the side of the leg, at a point even with, and on a horizontal line with 
 the fullest point of the front knee-cap ; 
 
 d. At the length desired below the knee, at the side. 
 
 2. Measure as follows, viz : 
 
 a. The hip-depth ; from first point, to point second. 
 
 b. The knee-depth ; from point second, to point third ; 
 
 c. Outside-depth ; from point second to point fourth ; 
 
 d. Inside-height ; from the point on the inside of the leg, opposite from, and 
 on a horizontal line with point fourth, up along the inside of the leg, close up to the 
 inside junction of the leg with the body. 
 
 e. Waist-circumference ; around the form, on a horizontal line with point first. 
 
 f. Hip-circumference ; around the form, on a horizontal line even with point 
 second. 
 
 g. Thigh-circumference ; around the thigh, on a horizontal line even with the 
 inside junction of the leg with the body. 
 
 h. Leg-circumference ; around the leg, on a horizontal line with point fourth, 
 /. The degree of closeness and length, is entirely at your option ; but, the 
 
 measures should all be taken with great care and exceeding accuracy ; as everything 
 
 depends upon the measures here, as elsewhere. 
 
 N. B. — In very close work, it is necessary also, to have the knee-circumference. 
 
 MEASURES FOR PRACTICE. 
 
 Inches. 
 
 Hip-Depth -------- 6 
 
 Knee-Depth - - - - - - - 12 
 
 Outside-Depth - - - - - - -22 
 
 Inside-Height - - - - - -.- 19 
 
 Waist- Circumference - - - - - - 20 
 
 Hip-Circumference ._..-. 23 
 
 Thigh-Circumference - - - - - - 16 
 
 Leg-Circumference - - - - - ■ ii 
 
UTILITY AND DECORATIVE ART. 
 
 73 
 
 Boys' Pantaloon- Drafting. 
 
 PLATE XVm.-FiGURE LIX. 
 
 INSTRUCTIONS. 
 
 1. Add one inch to the inside-height ; locate point i, on the paper or material, 
 that distance from the bottom, and one inch back from the front edge of the same. 
 
 2. Draw line A, at right angles with the front edge, from point i toward the 
 opposite edge, to the distance of the thigh-circumference ; at which point, locate 
 point 2. 
 
 3. Locate point 3 on line A, the distance of }i of the thigh-circumference from 
 point 2, toward point i. 
 
 4. Locate point 4 on line A, the distance of >^ of the thigh-circumference from 
 point I, toward point 3. 
 
 5. Locate point 5 on line A, at a point which is }4 inch further from point 2 
 toward point i, than j^ of the thigh-circumference. 
 
 6. Draw line B, at right angles with line A, from point 5 toward the bottom, to 
 the distance of the inside-height ; at which point, locate point 6. 
 
 7. Extend line B, in the opposite direction, to the distance of the sum of the 
 hip-depth, plus the outside-depth, from point 6 ; at which point, locate point 7. 
 
 8. Draw line C, at right angles with line A, from point 4 toward the bottom, to 
 the distance of the inside-height from point 4 ; at which point, locate point 8. 
 
 9. Draw line D, at right angles with line C, and through point 6, to the distance 
 of the leg- circumference, from point 8 ; at which point, locate point 9. 
 
 ID. Draw line E, from point 3 to point 9. 
 
74 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 11. Locate point lo on line C, the distance of ^^ of the knee-depth from point 
 4, towards point 8. 
 
 12. Draw curved line F, from point i to point lo ; as illustrated in the cut. 
 
 13. Locate point 11 on line E, at a point which is 7^ of the knee-depth from 
 point 3, towards point 9. 
 
 14. Draw curved line G, from point 2 to point 11 ; as illustrated in the cut. 
 
 15. Extend line C, towards the top, to the distance of the sum of the hip-depth, 
 plus the outside-depth, from point 8 ; at which point, locate point 12. 
 
 16. Locate point 13 on line C, at a point which is the distance of the hip-depth, 
 from point 12, towards point 4. 
 
 17. Draw curved line H, from point 13 to point i ; as illustrated in the cut. 
 
 18. Draw hne I, at right angles with line C, from point 13 toward the opposite 
 edge, to the distance of y^ of the hip-circumference from point 13 ; at which point, 
 locate point 14. 
 
 19. Draw curved line J, from point 14 to point 2 ; as illustrated in the cut. 
 
 20. Draw line K, from point 12 to point 7. 
 
 21. Extend line K, by indication, from point 7 toward the opposite side, to 
 the distance of ^2 of the waist- circumference from point 12 ; at which point, locate 
 point 15 ; as illustrated in the cut. 
 
 22. Indicate pointed line L, at right angles with line K, from point 15 toward the 
 top, to the distance of Yi of the hip-depth from point 15 ; at which point, locate point 
 16 ; as illustrated in the cut. 
 
 23. Draw line M, from point 16 to point 14 ; as illustrated in the cut. 
 
 24. Draw line N, from point 7 to point 16 ; which process, completes the draft 
 for boys' pantaloons. The front of which, is formed and included within lines C, H, 
 F, D, B, and K; and the back, within lines B, D, E, G, J, M, and N ; as illustrated 
 in the cut. 
 
 Q. E. D. 
 N. B. — I. The pointed lines O, P, and Q, show the knee-pants; and can be 
 governed, as to their degree of closeness and length, by the will and choice of the 
 cutter. 
 
 2. Line B, shows the seam at the side. The patterns must be traced down, 
 or cut out, and all seams allowed everywhere ; otherwise, one inch can be allowed 
 between the back and front ; and line B, can be repeated ; and the allowances made 
 in drafting, directly on the cloth. 
 
 3. Of course, we need hardly explain, yet lest some might possibly not com- 
 prehend the real import of the draft, we will merely add that it simply represents one 
 side or part of the pantaloons, i. e. , the back and front of one leg ; the parts neces- 
 sarily having to be duplicated in the linings and goods. That there will necessarily 
 have to be a duplicate of the front part, included within the lines C, H, F, D, B, 
 and K, and also, of the back part, included within the hnes B, D, E, G, J, M, and 
 N ; as illustrated in the cut. 
 
 4. The style and lengths, whether knee-pants are desired or otherwise long 
 pants, are entirely at the will and option of the cutter. The same principles and the 
 same draft being used, in each and all cases. 
 
 5. By using all the principles of measurement and general drafting, at the neck, 
 shoulder, arm's-eye, sleeve, chest, bust, etc., and simply drafting straight down from 
 the chest line to the desired length, and regulating the degree of ease or closeness of 
 fit, as well as the seams at will, all kinds and styles of either double or single-breasted 
 body-garments may be cut, for either boys or girls, from Figure IV, under Plate IV. 
 
 6. In the display of good taste, as to method of design, trimming, etc., child- 
 ren's garments call forth the highest degree of accomplishment, both in the artist, in 
 finishing, and the scientist, in cutting. 
 
UTILITY AND DECORATIVE ART. 
 
 75 
 
 Ladies' and Children's Under-Garments. 
 
 1. For the body part, from the close measures, per instructions for the general 
 draft, as given in Figure I, for ladies, and Figure IV, for children ; excepting the 
 seams, and the degree of looseness ; which are designed from the fit, afterwards, and 
 at will ; and the close fit is cut away at the neck and arm's-eye, to the desired depth 
 of your design; on the same principle as given elsewhere in the work, for "low 
 bodices ' ' and ' ' ball dresses. ' ' 
 
 2. For the lower part of the body, any designs for both ladies and children can 
 instantly be cut from Figure LIX, on Plate XVIII. 
 
 3. There is not a design in any Fashion journal, but that can instantly be 
 reproduced upon the paper or goods, from the actual measures; and according to the 
 plates, as given above. 
 
 4.' The artistic finish, of course, is entirely at will ; and depends upon the costli- 
 ness of the display desired in trimming, and the display of good taste in finish, etc. 
 Comfort and utility, however, should be the chief considerations. 
 
 Gentlemen's and Boys' Shirt-Cutting. 
 
 91 Mtf^ 
 
 — 29| yQ 
 
 PLATE XXXIV.-FiGURES LXIV, LXV, LXVI, LXVII, LXVIM, LXIX. 
 
76 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 EXPLANATIONS AND INSTRUCTIONS 
 
 OF 
 
 Plate XXXIV.-Figures 64, 65, 66, 67, 68 and 69. 
 
 The measures and methods of drafting are the same as for general body-drafting. 
 The fit is afterwards cut to the desired shapes and degrees of ease, at will, or accord- 
 ing to fashion ; at each respective given point. We have, in the above Plate, of 
 which Figures 64, 65, 66, 67, 68, and 69, represent respectively the' front, back, sleeve, 
 yoke, wrist-band, and neck-band, to a neck 15^, sleeve 24}^, chest-circumference 
 36, waist-circumference 33, etc., given, what would be the general method of mea- 
 surement, or of cutting the close fit ; all of which will be comprehended by the mere 
 novice, at a glance ; the scale being based upon the mathematical unit of measure- 
 ment, or the mathematical inch. It is cut whole at the front, opening at the back. 
 Place the points of yoke 5^^ and 2, to shoulder at 2% and 8^ respectively ; and also 
 from ^ and O, to O and 11^ of the back shoulder; fulling and gathering the sur- 
 plus of the same neatly thereon. The sleeve at O, joins to back at ii}i. The 
 point of neck-band at O, joins to S}1 on yoke. The rest will be comprehended at a 
 glance. 
 
 N. B. — I. All possible kinds and styles of shirts can readily and accurately be 
 drafted from the general construction lines of Plate I, by applying said principles ; as 
 given above. 
 
 2. It is best to draft an accurate pattern, and then lay this upon the muslin and 
 trace or mark around the edges of the same; and allow all seams, extensions, finish, 
 etc. , outside of the actual fit. 
 
THE 
 
 International Method 
 
 ■OF- 
 
 ENGLISH AND AMERICAN 
 
 Scientific Tailor Principles 
 
 — FOR ALL- 
 
 KINDS A.NI3 STYLES 
 
 ■OF — 
 
 BODY-DRAFTING 
 
 BY TRANSFERRING THE MEASURES OR INDICES 
 OF THE MATHEMATICAL MOULD OR PER- 
 FECT FIT OF THE HUMAN FORM ; 
 
 DIRECTLY UPON THE GOODS, 
 
 —WITH ANY— 
 
 SQUARE OR INCH-RULE 
 
 — AND — 
 
 77 
 
 t^i^e-imea.suiie; ^loiste. 
 
78 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 THE FRONT. 
 
 PLATE V. -FIGURE V. 
 
 INSTRUCTIONS. 
 
 1. Add l}4 inches to the skirt-depth. Locate point i on the goods, at a point 
 which is that distance from the bottom, or right-hand edge, and 1^2 inches back 
 from the front edge, toward the opposite edge of the goods. 
 
 2. Find the difference between }'2 of the chest-circumference and % of the 
 blade-width. Draw Hne A, at right angles with the front edge, from point i toward 
 the opposite edge, to the distance of that difference from point i ; at which point, 
 locate point 2. 
 
 3. Draw line B, at right angles with line A, from point 2 toward the bottom, to 
 the distance of the skirt-depth from point 2; at which point, locate point 3. 
 
 4. Extend line B, in the opposite direction, to the distance of the waist-depth 
 from point 2; at which point, locate point 4. 
 
 5. Draw line C, at right angles with line B, from point 4 toward the front, to 
 the distance between point i and point 2 ; at which point, locate point 5. 
 
UTILITY AND DECORATIVE ART. 79 
 
 6. Extend line C, in the opposite direction, to the distance of ^ of the blade- 
 width from point 4 ; at which point, locate point 6. 
 
 7. Find the sum of the front waist-depth, plus the skirt-depth. Draw line D, 
 at right angles with line C, from point 5 toward the bottom, and through point i, to 
 the distance of that sum of depths ; at which point, locate point 7. 
 
 8. Locate point 8 on line D, the distance of the front waist- depth from point 5, 
 toward point 7. 
 
 9. Extend line D, toward the top, to the distance of the front-height from point 
 5 ; at which point, locate point 9. 
 
 10. Draw line E, from point 7 to point 3. 
 
 11. Draw line F, from point 8 to point 2. 
 
 12. Find ^ of the neck-circumference ; locate point 10 on line C, Y-z inch less 
 than that distance from point 5, toward point 4. 
 
 13. Draw line G, at right angles with line C, from point 10 toward the top, to 
 the distance of the front shoulder-height from point 10; at which point, locate point 11. 
 
 14. Indicate pointed line H, from point 11 to point 9; as illustrated in the cut. 
 
 15. Locate point 12 on line H, at a point equidistant from point 1 1 and point 9. 
 
 16. Indicate pointed line I, at right angles with line H, from point 12 toward the 
 opposite edge, to the distance of one-twelfth of the neck circumference from point 
 12 ; at which point, locate point 13 ; as illustrated in the cut. 
 
 17. Draw curved line J, from point 11 through point 13, to point 9; as illus- 
 trated in the cut. 
 
 18. Locate point 14 on line C, ],'i of arm's-eye circumference from point 4, 
 toward point 6. 
 
 19. Draw line K, at right angles with line C, from point 14 toward the top, to 
 the distance of two-fifths of the arm's-eye circumference from point 14; at which point, 
 locate point 15. 
 
 20. Locate point 16 on line K, at a point which is the distance of Yi of the 
 arm's-eye circumference from point 14, toward point 15. 
 
 21. Draw Hue L, from point 1 1 toward point 15, to the distance of ^ of an inch 
 less than the shoulder-depth from point 11; at which point, locate point 17. 
 
 22. Locate point 18 on line C, at a point which is yi of the arm's-eye circum- 
 ference from point 4, toward point 5. 
 
 23. Draw M, at right angles with line C, from point 18 toward the top, to the 
 distance of yi of the arm's-eye circumference from point 18 ; at which point, locate 
 point 19. 
 
 24. Indicate pointed line N, from point 17 to point 19 ; as illustrated in the cut. 
 
 25. Locate point 20 on line N, at a point equidistant from point 17 and point 19. 
 
 26. Indicate pointed line O, at right angles with line N, from point 20 toward 
 line G, to the distance oiyl of the distance between point 15 and point 16 ; at which 
 point, locate point 2 1 ; as illustrated in the cut. 
 
 27. Indicate pointed line P, from point 19 to point 4; as illustrated in the cut. 
 
 28. Locate point 22 on the line P, at a point equidistant from point 19 and point 4. 
 
 29. Indicate pointed line Q, from point 22 toward point 18, to the distance of Yi 
 of the distance between point 22 and point 18, from point 22 ; at which point, locate 
 point 23 ; as illustrated in the cut. 
 
 30. Draw curved line R, from point 17 through points 21, 19, and 23, to point 4; 
 as illustrated in the cut. 
 
 31. Locate point 24 on line D, at a point equidistant from point 5 and point 8. 
 
 32. Locate point 25 on hne D, at a point which is % of the distance between 
 point 24 and point 5 from point 24, toward point 5, 
 
 33. Draw line S, from point 6 through point 25, to the distance of Y^ i^ich more 
 than Y2 of the bust circumference from point 6 ; at which point, locate point 26. 
 
 34. Draw line T, from point 24 to the point of intersection of lines S and B. 
 
 35. Locate point 27 on line D, at a point equidistant from point 9 and point 5. 
 
 36. Draw Hne U, from point 27 to point 26. 
 
 37. Draw line V, from point 26 to point 8. 
 
8o THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 38. Find }^ of the waist-circumference ; locate point 28 on line F, at a point 
 which is }4 of that distance from point 8, toward point 2. 
 
 39. Find ^ of the difference between the chest-circumference and the waist- 
 circumference. Locate point 29 on line F, at a point which is that distance from 
 point 28, toward point 2. 
 
 40. Locate point 30 on line F, at a point which is equidistant from point 28 
 and point 29. 
 
 41. Locate point 31 on line T, at a point which is 4^ of inch farther from point 
 24 toward line B, than the distance between point 8 and point 30. 
 
 42. Draw line W, from point 31 to point 30. 
 
 43. Draw curved line X, from point 31 to point 28; as illustrated in the cut. 
 
 44. Draw line Y, from point 31 to point 29, as illustrated in the cut. 
 
 45. Locate point 32 on line F, at a point which is }4 as far from point 29, 
 toward point 2, as the distance between point 8 and point 28. 
 
 46. Locate point 33 on line F, at a point which is as far from point 32, toward 
 point 2, as the distance between point 28 and point 29. 
 
 47. Locate point 34 on line F, at a point which is equidistant from point 32 
 and point 33. 
 
 48. Locate point 35 on line T, at a point which is as far from point 31, toward 
 line B, as the distance between point 24 and point 31. 
 
 49. Draw line Z, from point 35 to point 34. 
 
 50. Draw curved line A^ from point 35 to point 32 ; as illustrated in the cut. 
 
 51. Draw curved line B^, from point 35 to point 33 ; as illustrated in the cut. 
 
 52. Locate point 36 on line F, at a point which is as far from point 2 toward 
 point 33, as the distance between point 34 and point 33. 
 
 53. Draw line C^ from point 4 to point 36. 
 
 54. Locate point 37 on line B, the distance of the hip-depth from point 2, toward 
 point 3. 
 
 55. Draw line D^ at right angles with line B, from point 37 toward the front 
 edge, to a point in front of the point of intersection of lines D" and D, which is % as 
 far from the point of intersection of lines D" and D, as the distance between point 25 
 and point 26 ; at which point, locate point 38. 
 
 56. Draw line E", from point 8 to point 38. 
 
 57. Draw line F\ from point 38 to point 7. 
 
 58. Draw line G^ at right angles with line A, from point 30 to line E ; and 
 locate point 39 at the point of intersection of lines G^ and D^ 
 
 59. Locate point 40 on line D^, }4 as far from point 39 toward point 38 as 
 the distance between point 28 and point 30. 
 
 60. Draw line H", from point 28 through point 40 to line E. 
 
 61. Locate point 41 on line D', the same distance from point 39 toward point 
 37, as the distance between point 39 and point 40. 
 
 62. Draw line F, from point 29 through point 41, to line E. 
 
 63. Draw line J^ at right angles with line A, from point 34 to line E ; and 
 locate point 42 at the point of intersection of lines J" and D\ 
 
 64. Locate point 43 on line D', the same distance from point 42 toward point 
 41, as the distance between point 39 and point 41. 
 
 65. Draw line K^ from point 32 through point 43, to line E. 
 
 66. Locate point 44 on line D', the same distance from point 42, toward point 
 37, as the distance between point 42 and point 43. 
 
 67. Draw line L", from point 33 through point 44, to line E. 
 
 68. Extend line D\ from point 37 toward the opposite edge, to a point as far 
 from point 37 as twice the distance between point 43 and point 44 ; at which point, 
 locate point 45. 
 
 69. Find the sum of the back-waist depth, plus the skirt-depth. Draw line 
 M^ at right angles with line C, from point 6 toward the bottom, to the distance of 
 that sum of depths ; at which point, locate point 46. 
 
 70. Draw line N", from point 3 to point 46. 
 
UTILITY AND DECORATIVE ART. 8l 
 
 71. Draw curved line 0^ from point 36, to point 45 ; as illustrated in the cut. 
 
 72. Draw line P^, at right angles with line D^ from point 45 to line N\ 
 
 73. Locate point 47 on line L, equidistant from point 11 and point 17. 
 
 74. Indicate pointed line Q^ from point 47 to point 31 ; as illustrated in the cut. 
 
 75. Locate the buttonhole lines, the first of which, at the top, is marked R^ ; 
 commencing at point 8, and spacing up and down from that point, at the desired dis- 
 tances. Then draw lines R^ at right angles with the front edge of the goods, from 
 lines D, U, V, E", and F^, to the desired length of the buttonholes ; as indicated in 
 the cut. Q. E. D. 
 
 N. B. — I. If only one dart is desired, locate the centre point on line F, equi- 
 distant from points 29 and 32 ; the centre point, on line T, at the top, equidistant 
 from points 31 and 35 ; and enclose in the dart on line F, the distance between points 
 30 and 34. Now find the sum of the distances between points 28 and 30, and 34 and 
 33 ; subtract from this sum, the distances between points 29 and 32 : Then take out 
 y^ of this last difference in the front curve, on line F, from point 8 toward point 28 ; 
 and ]4r of this same difference at the opposite side of the draft, from point 36 toward 
 point 33 ; and the other ^, or an equal amount, more than the general rule for draft- 
 mg calls for, from the side front on the seam that joins lines C^ and O^ ; and com- 
 plete the dart below line F, by the same, rules and principles, according to the ratio 
 of the given spaces ; as given for drafting for two darts. 
 
 2. For a half-fitting garment, allow ^ of the difference between the chest-cir- 
 cumference and the waist-circumference, for looseness on the waist lines ; and draft 
 accordingly, by the general rules, as given above. In the same manner and by the 
 same principles, it is easy to draft a ^-fitting, or a ^-fitting garment; either by mak- 
 ing new drafts, or indicating the changes on the close-fitting draft, to the degree of 
 closeness or ease of fit desired. This principle of calculating the degrees of fit from 
 the perfect close fit, or the mathematical mould or contour, is the chief corner-stone 
 in the temple of correct science, in the art of garment-cutting. The degree of tight- 
 ness or looseness of a garment, is quite a different thing from the fit, which may be 
 very bad in a very tight-fitting garment, and very good in a very loose-fitting gar- 
 ment, or vice-versa. 
 
 3. Every conceivable and possible style, in the location and course of seams or 
 spacings, can quickly and easily be drafted, by applying the same principles in the 
 same method of ratios, to the desired style. As in the science of the mathematics of 
 surveying, the principles of the science of garment-cutting never change. The true 
 science of garment-cutting, therefore, is founded upon the mathematical mould, con- 
 tour, or dimensions of each particular form, for which the garment is intended ; inde- 
 pendent of seams, and the particular fashions of any age ; whether that term expresses 
 either an absurd incongruity, or the combined beauty of elegance and grace. Where 
 mathematics is king, the cutter is a prince, or a princess ; and fashion is cheerfully 
 submissive, and is willingly "clothed in royal purple" by the same hand that em- 
 bellishes architecture, and brings harmony and music out of discord. The spacings 
 or particular location of the seams, as given in all the draftings of this work, are not 
 intended as necessarily fixed, therefore, as they are located. But they were chosen 
 because they represent scientific, mathematical, and symmetrical proportions, true to 
 the measures given ; and will from their very nature, therefore, always remain the 
 standard method of spacing. 
 
 4. The pointed curved line at the shoulder, represents the proper method of 
 indicating the curve for basting and stitching ; the same is true of the indicated lines 
 across the angles. 
 
 5. Pointed line QS from point 47 to point 31, is used for cutting vest-fronts, 
 etc. ; and for garments with a seam to the shoulders in front. 
 
 6. The pointed lines in front of the draft, show the extensions for finish. 
 
 7. For diagonal and double-breasted garments, locate point i, the width of the 
 desired extra amount further back from the front, toward the opposite edge of the 
 goods; and allow the desired amount and shape or style of the extension, in front of 
 the draft. All of which, applies also with equal force to Plate I. 
 
 6 
 
82 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 The Side-Front or ^^Under-Arm Gore." 
 
 J^ZATCVI. 
 
 X' 
 
 .t 
 
 \\ ■ 
 
 1 \ 
 
 1 >!3 
 
 
 \ 
 
 1 
 
 
 ^ 
 
 1" ' \ ^ ^' 8 
 ' \ 
 
 ^ 
 
 .^ 
 
 'A 
 
 
 PLATE VI.— Figure VI. 
 
 INSTRUCTIONS. 
 
 1. Add lYi inches to the skirt-depth; locate point i on the material, that 
 distance from the bottom, or right hand edge, and i^ inches back from the front 
 edge, toward the opposite edge of the goods. 
 
 2. Draw line A, at right angles with the front edge, from point i toward the 
 opposite edge, to the distance of % of the blade-width from point i ; at which point, 
 locate point 2. 
 
 3. Draw line B, at right angles with line A, from point i toward the bottom, to 
 the distance of the skirt-depth from point i ; at which point, locate point 3. 
 
 4. Extend line B, in the opposite direction from point i, to the distance of the 
 waist-depth from point i ; at which point, locate point 4. 
 
UTILITY AND DECORATIVE ART. 83 
 
 5. Draw line C, at right angles with line B, from point 4 toward the opposite edge, 
 to the distance of Yz of the blade-width from point 4 ; at which point, locate point 5. 
 
 6. Find the sum of the back-waist depth, plus the skirt-depth ; draw Hne D 
 at right angles with line C, from point 5 toward the bottom, to the distance of the 
 sum of these depths from point 5; at which point, locate point 6. 
 
 7. Draw line E, from point 3 to point 6. 
 
 8. Locate point 7 on line D, the distance of the back waist-depth from point 5, 
 toward point 6. 
 
 9. Draw line F, from point i to point 7. 
 
 10. Find yi of the difference between the chest-circumference and the waist- 
 circumference ; locate point 8 on line F, that distance from point 7, toward point i. 
 
 11. Find y^ of the waist-circumference; Locate point 9 on line F, }^ of that 
 distance from point 8, toward point i. 
 
 12. Locate point 10 on line F, Y^ of the distance between point 7 and point 8 
 from point i, toward point 9. 
 
 13. Draw line G, from point 4 to point 10. 
 
 14. Locate point 1 1 on line F, at a point equidistant from point 9 and point 10. 
 
 15. Locate point 12 on line C, at a point which is one-sixth of the arm's-eye 
 circumference from point 4, toward point 5. 
 
 16. Draw line H, at right angles with line C, from point 12 toward the top, to 
 the distance of one-sixth of the arm's-eye circumference from point 12 ; at which 
 point, locate point 13. 
 
 17. Indicate pointed line I, from point 13 to point 4 ; as illustrated in the cut. 
 
 18. Locate point 14 on line I, at a point that is equidistant from point 13 and 
 point 4. 
 
 19. Indicate pointed line J, from point 14 toward point 12, to the distance of 
 one-seventh of the distance between point 14 and point 12 from point 14 ; at which 
 point, locate point 15; as illustrated in the cut. 
 
 20. Draw curved line K, from point 15 to point 4 ; as illustrated in the cut. 
 
 21. Wrap one end of the tape-measure neatly and firmly around the pencil, 
 near the sharpened end, and hold it securely with the front two fingers and thumb 
 of the right-hand ; measure twice the waist-depth back from the pencil, on the tape- 
 measure, either by the inches on the tape-measure or the square, at which point, hold 
 it securely between the forepart of the thumb and forefinger of the left-hand ; then, 
 placing and holding the point of the pencil firmly on point 15, stretch the tape- 
 measure, and with the forepart and nail of the left-hand thumb or finger placed 
 firmly on that length, press it upon the table, in front of the draft, opposite point i : 
 then by repeated trials, find a point for the position of the left-hand, where, if the 
 left-hand position is maintained, and the right-hand moved and guided toward the 
 waist line, by the stretched tape-measure, the point of the pencil will exactly touch 
 upon point 15, when moved back ; then draw curved line L, from point 15 to point 
 II ; as illustrated in the cut. 
 
 22. Locate point 16 on line B, the distance of the hip-depth from point i, 
 toward point 3. 
 
 23. Draw curved line M, from point 10 to point 16 ; as illustrated in the cut. 
 
 24. Find the difference between Y^ of the chest-circumference and Y of the 
 blade-width. Subtract this difference from ^ of the hip-circumference; then draw 
 line N, from point 16 toward the opposite edge, to the distance of this last difference 
 from point 16 ; at which point, locate point 17. 
 
 25. Find one-eighth of the hip-circumference ; locate point 18 on line N, % of 
 that distance from point 17, toward point 16. 
 
 26. Locate point 19 on line N, at a point equidistant from point 16 and 
 point 18. 
 
 27. Draw curved line O, from point 11 through point 19, to line E. 
 
 Q. E. D. 
 N. B. — In very large forms, it is best to cut the garment with two under-arm 
 gores. By a mere glance at the compound draft, it will readily be seen that by spacing 
 
84 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 the distance between points 31 and 33, on curved line X, into 3 equal parts instead 
 of two, and then drawing a new Hne B, and changing the position of the original line 
 B, and proceeding by the same principles for the two pieces, and the space they 
 include, as you did for the same space, if but one gore was desired, that it will become 
 an easy matter for the careful student to eliminate them, from the compound draft; and 
 to draft each, independently from the other, direcdy upon the goods. But this is 
 only advisable or proper, in very large forms. 
 
 2. The pointed or indicated lines across the angles, in the above cut, represent 
 the proper curves to be used in basting and stitching. 
 
 THE BACK. 
 
 PLATE VII.-FiGURE VII. 
 
 INSTRUCTIONS. 
 
 I. Add lyi inches to the skirt depth ; locate point i on the material, that dis- 
 tance from the bottom, or right-hand edge, and i ^ inches from the front edge, toward 
 the opposite edge. 
 
UTILITY AND DECORATIVE ART. 85 
 
 2. Draw line A, at right angles with the front edge, from point i toward the 
 opposite edge, to the distance of ^ of the blade- width from point 2; at which point, 
 locate point 2. 
 
 3. Draw line B, at right angles with line A, from point 2 toward the bottom, to 
 the distance of the skirt-depth from point 2 ; at which point, locate point 3. 
 
 4. Extend line B, in the opposite direction, to the distance of the waist-depth 
 from point 2 ; at which point, locate point 4. 
 
 5. Draw line C, at right angles with line B, from point 4 toward the front edge, 
 to the distance of ^2 of the blade-width from point 4 ; at which point, locate point 5. 
 
 6. Find the sum of the back waist-depth, plus the skirt-depth ; draw line D, at 
 right angles with line C, from point 5 toward the bottom, to the distance of the sum 
 of these depths from point 5 ; at which point, locate point 6. 
 
 7. Draw line E, from point 6 to point 3. 
 
 8. Locate point 7 on line D, the distance of the back waist-depth from point 5, 
 toward point 6. 
 
 9. Draw line F, from point 7 to point 2. 
 
 ID. Extend line D, from point 5 toward the top, to the distance of the back- 
 height from point 5 ; at which point, locate point 8. 
 
 11. Find }i of the neck-circumference; locate point 9 on line C, }( inch less 
 than that distance from point 5, toward point 4. 
 
 12. Draw line G, at right angles with line C, from point 9 toward the top, to 
 the distance of the back shoulder-height from point 9; at which point, locate point 10. 
 
 13. Extend line C, from point 4 toward the opposite edge, to the distance of }i 
 of the arm's-eye circumference from point 4 ; at which point, locate point 11. 
 
 14. Draw line I, at right angles with line C, from point 1 1 toward the top, to 
 the distance of }i of the arm's-eye circumference from point 11 ; at which point, 
 locate point 12. 
 
 15. Draw line J, from point 10 toward point 12, to the distance of the shoulder- 
 depth from point 10; at which point, locate point 13. 
 
 16. Locate point 14 on line C, the distance of one-sixth of the arm's-eye 
 circumference from point 4, toward point 9. 
 
 17. Draw line K, at right angles with line C, from point 14 toward the top, to 
 the distance of j4 of the arm's-eye circumference from point 14; at which point, 
 locate point 15. 
 
 18. Draw curved line L, from point 13 to point 15 ; as illustrated in the cut. 
 
 19. Locate point 16 on line D, the distance of }i of the arm's-eye circum- 
 ference from point 5, toward point 8. 
 
 20. Find }i of the difference between the chest-circumference and the waist- 
 circumference ; locate point 17 on line F, at a point which is }^ of that distance from 
 point 7, toward point 2. 
 
 21. Find ]4 of the waist-circumference ; locate point 18 on line F, at a point 
 which is }4 of that distance from point 17, toward point 2. 
 
 22. Draw curved line N, from point 15 to point 18, by the same length of tape- 
 measure, and principles and rule, as ^iven under Plate VL, for drawing line L, in 
 Figure VI ; only locating the fixed position for pressing and holding the tape-measure 
 on the table, on the opposite side of the draft, opposite point 2; and arranging the 
 positions of both hands, and the stretched tape-measure and point of pencil, true to, 
 and drawing from point 15 to point 18 ; as illustrated in the cut. 
 
 23. Locate point 19 on line D, the distance of the hip-depth from point i 
 toward point 6. 
 
 24. Draw line O, from point 17 to point 19. 
 
 25. Find }i of the hip-circumference ; draw line P at right angles with line D, 
 from point 19 toward the opposite edge, to a point which is j4 of that distance from 
 point 19 ; at which point, locate point 20. 
 
 26. Draw line Q, from point 18 through point 20, to line E. 
 
 Q. E. D. 
 
86 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 N. B. — I. All seams everywhere, and extensions for finishing, must be allowed, 
 outside of the lines representing the fit. 
 
 2. When extension for plaiting or drapery, is desired in the back, locate point 
 I the desired extra distance farther, from the front edge or fold of the material, and 
 draft per instructions as given above ; and when drafted, indicate the necessary or 
 desired extension, from line Q, in the opposite direction. 
 
 3. The indicated or pointed line, along line J, or the shoulder, represents the 
 proper curve to be used in basting, and stitching. 
 
 The Side-Back or "Side- Body." 
 
 PLATE VIII. -Figure VII!. 
 
 INSTRUCTIONS. 
 
 I. Add 1^2 inches to the skirt depth ; locate point i on the material, that 
 distance from the bottom or right-hand edge, and ^ of an inch back from the front, 
 toward the opposite edge. 
 
UTILITY AND DECORATIVE ART. 87 
 
 2. Draw line A, at right angles with the front edge, from point i toward the 
 opposite edge, to the distance of j^ of the blade-width from point i ; at which point, 
 locate point 2. 
 
 3. Draw line B, at right angles with line A, from point 2 toward the bottom, to 
 the distance of the skirt-depth from point 2 ; at which point, locate point 3. 
 
 4. Extend line B, in the opposite direction, to the distance of the waist-depth 
 from point 2 ; at which point, locate point 4. 
 
 5. Draw line C, at right angles with line B, from point 4 toward the front, to the 
 distance of ^ of the blade-width from point 4 ; at which point, locate point 5. 
 
 6. Find the sum of the back waist-depth, plus the skirt-depth ; draw line D, at 
 right angles with line C, from point 5 through point i, toward the bottom, to the 
 distance of that sum of depths from point 5 ; at which point, locate point 6. 
 
 7. Draw line E, from point 6 to point 3. 
 
 8. Locate point 7 on line D, at a point which is the distance of the back-waist 
 depth from point 5, toward point 6. 
 
 9. Draw line F, from point 7 to point 2. 
 
 10. Find }i of the difference between the chest-circumference and the waist- 
 circumference ; locate point 8 on line F, at a point which is ^^ of that distance from 
 point 7, toward point 2. 
 
 11. Locate point 9 on line F, }4 of the distance between point 7 and point 8 
 from point 8, toward point 2. 
 
 12. Find }i of the waist-circumference ; locate point 10 on line F, ^ of that 
 distance from point 9 toward point 2. 
 
 13. Locate point 11 on line F, the same distance from point 2 toward point 10, 
 as the distance between point 7 and point 9. 
 
 14. Locate point 12 on line F, at a point which is equidistant from point 10 
 and point 11. 
 
 15. Locate point 13 on line C, at a point which is j^e of the arm's-eye circum- 
 ference from point 4, toward point 5. 
 
 16. Draw line G, at right angles with line C, from point 15 toward the top, to 
 the distance of j4 of the arm's-eye circumference from point 13; at which point, 
 locate point 14. 
 
 17. Find the difference between J4 of the chest-circumference and }4 of the 
 blade-width ; extend line C, from point 4 toward the opposite edge, to the distance 
 of that difference from point 4 ; at which point, locate point 15. 
 
 18. Find }4 of the front waist-depth ; draw line H, at right angles with line C, 
 from point 15 toward the bottom, to that distance from point 15 ; at which point, 
 locate point 16. 
 
 19. Locate point 17 on line H, at a point which is }{ of the distance between 
 point 15 and point 16 from point 16, toward point 15. 
 
 20. Draw line I, from point 5 to point 17. 
 
 21. Indicate, and draw curved line J, from point 14 to point 10, by the same 
 length of tape-measure, and principles and rule, that you drew curved lines L and N, 
 under Plates VI and VII, in Figures VI and VII, respectively ; only changing the 
 position for pressing the tape-measure on the table, to the opposite side, and opposite 
 point 2; and arranging the position of the stretched tape-measure and the point of 
 the pencil, true to point 14 and point 10; and indicating curved line J, from point 14 to 
 line I : and drawing the same line, from the point of intersection of lines J and I, to 
 point ID ; as illustrated in the cut. 
 
 22. Locate point 18 at the point of intersection of lines J and I. 
 
 23. Indicate pointed line K, from point 14 to point 4 ; as illustrated in the cut. 
 
 24. Locate point 19 on line K, at a point equidistant from point 14, and point 4. 
 
 25. Indicate pointed line L, from point 19 toward point 13, to a point which is 
 one-seventh of the distance between point 19 and point 13 from point 19; at which 
 point, locate point 20; as illustrated in the cut. 
 
 26. Draw curved line M, from point 20 to point 12, by the same length of tape- 
 measure, and principles and rule, that you drew curved line J ; only arranging the 
 
88 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 positions, and the stretched tape-measure and point of pencil true to, and drawing 
 from point 20 to point 12; as illustrated in the cut. 
 
 27. Locate point 21, on line C, the distance of }i of the arm's-eye circum- 
 ference from point 4, toward point 15. 
 
 28. Indicate pointed line N, from point 14 toward point 21, to a point twice as 
 far from point 14 as the distance between point 19 and point 20; at which point, 
 locate point 22; as illustrated in the cut. 
 
 29. Draw curved line O, from point 22 to point 18, by the same length of tape- 
 measure, and principles and rule, that you drew curved lines J and M ; only changing 
 positions, and the stretched tape-measure and point of pencil true to, and drawing 
 from point 22 to point 18 ; as illustrated in the cut. 
 
 30. Draw curved line P, from point 22 to point 20 ; as illustrated in the cut. 
 
 31. Locate point 23 on line D, the distance of the hip-depth from point i, 
 toward point 6, 
 
 32. Find }i of the hip-circumference. Draw line Q, at right angles with line 
 D, from point 23 toward line B, to }{ of that distance from point 23; at which point, 
 locate point 24. 
 
 33. Draw line R, from point 10 through point 24, to line E. 
 
 34. Find the difference between j4 of the chest-circumference and % of the 
 blade-width ; subtract this difference from ^ of the hip-circumference. Then extend 
 line Q, from point 24 toward line B, the distance of two-fifths of this last difference 
 from point 24 ; at which point, locate point 25. 
 
 35. Draw curved line S, from point 12 to point 25 ; as illustrated in the cut. 
 
 36. Draw line T, at right angles with line Q, from point 25 to line E. 
 
 Q. E. D. 
 N. B. — I. That part of curved line J, indicated from point 18 to point 14, is 
 discarded for curved line O, from point 18 to point 22; and is only used in this draft, 
 to illustrate the proper dart, taken out, to produce the correct and scientific fit around 
 the curve of the body; and at the junction of the back, side-back, and the sleeve. 
 
 2. The pointed lines across the angles of the straight and curved lines, here as 
 elsewhere, indicate the proper curves, in basting and stitching. 
 
 3. In all the drafts, allow the necessary seams and extensions for finishing, out- 
 side of the lines representing the fit. 
 
 THE SLEEVE. 
 
UTILITY AND DECORATIVE ART. 89 
 
 INSTRUCTIONS. 
 
 PLATE IX.— Figure IX, 
 
 1. Add I inch to the extreme depth ; locate point i, on the material, that dis- 
 tance from the bottom or right-hand edge, and i}i inches back from the front, 
 toward the opposite edge. 
 
 2. Draw line A, at right angles with the front edge, from point i toward the 
 opposite edge, to the distance of ^ of the arm's-eye circumference from point i; at 
 which point, locate point 2. 
 
 3. Draw line B, at right angles with line A, from point 2 toward the right-hand 
 edge, to the distance of j^ inch less than the elbow-depth from point 2 ; at which 
 point, locate point 3. 
 
 4. Find the difference between % of the extreme depth, and the elbow-depth ; 
 subtract this difference from the extreme depth: Then draw line C, at right angles 
 with line A, from point i toward the right-hand edge, to the distance of this last 
 difference from point i ; at which point, locate point 4. 
 
 5. Locate point 5 on line C, the distance of ^ of the extreme depth from point 
 I, toward point 4. 
 
 6. Draw line D, from point 3 toward point 5, to the distance of }i of the elbow- 
 circumference from point 3, toward point 5 ; at which point, locate point 6. 
 
 7. Indicate pointed line E, at right angles with line C, from point 4 toward the 
 front edge, to the distance of ^ of the hand-circumference from point 4; at which point, 
 locate point 7. 
 
 8. Draw line F, from point 6 toward point 7, to a point which is yi of an inch 
 less from point 6, than the distance between point 6 and point 7 ; at which point, 
 locate point 8. 
 
 9. Draw line G, from point 8 to point 4. 
 
 10. Draw line H, at right angles with line F, from point 4 toward the right- 
 hand or opposite edge, to a point which is 5 times the distance between point 7 and 
 point 4 from point 4 ; at which point, locate point 9. 
 
 11. Extend line D, from point 3 toward the opposite edge, to the same dis- 
 tance from point 3 as the distance between point 7 and point 4 ; at which point, 
 locate point 10. 
 
 12. Draw line I, from point 10 to point 9. 
 
 13. Draw line J, from point 6 toward point i, to the distance of the inside-height 
 from point 6 ; at which point, locate point 11. 
 
 14. Locate point 12 on line J, %, of the distance between point 11 and point 6 
 from point 11, toward point 6. 
 
 15. Draw line K, at right angles with line J, from point 12 toward the opposite 
 edge, to the distance of fi of the arm-circumference from point 12; at which point, 
 locate point 13. 
 
 16. Locate point 14 on line B, the distance of the outside-height from point 3, 
 toward point 2. 
 
 17. Draw line L, at right angles with line B, from point 14 toward the front 
 edge, to the distance of yi the arm's-eye circumference from point 14; at which 
 point, locate point 15. 
 
 18. Draw line M, from point 10 through point 13, to the distance of ^ inch 
 further from point 10, than the distance from point 10 to the point of intersection of 
 lines M and L, if line L is extended toward the opposite edge; at which point, locate 
 point 16 ; as illustrated in the cut. 
 
90 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 19, Locate point 17 on line B, J4 of the distance between point 2 and point 14 
 from point 2, toward point 14. 
 
 20. Draw curved line N, from point 16 through points 17, 18, and 15, to point 
 11: as illustrated in the cut. 
 
 Q. E. D. 
 
 PLATE X -Figure X. 
 
 INSTRUCTIONS. 
 
 N. B. — I. Locate points i, 2, 3, 4, 5, and 6, and draw construction lines A, B, 
 C, and D, by the same rules given for locating these respective points, and 
 drawing these respective lines, under Plate IX, for drawing Figure IX. 
 
 2. Indicate pointed line E, at right angles with line C, from point 4 toward the 
 front edge, to the distance of }i of the hand-circumference from point 4; at which 
 point, locate point 7 ; as illustrated in the cut. 
 
 3. Indicate pointed line F, from point 6 to point 7 ; as illustrated in the cut. 
 
 4. Draw line G, at right angles with line F, from point 4 toward the opposite 
 edge, to the distance of 3 times the distance between point 7 and point 4 from 
 point 4 ; at which point, locate point 8. 
 
 5. Locate point 9 on line G, the same distance from point 4 toward point 8, as 
 the distance between point 7 and point 4. 
 
 6. Draw line H, from point 6 to point 9. 
 
 7. Locate point 10 on line D, the same distance from point 3 toward point 6, 
 as the distance between point 4 and point 9. 
 
 8. Draw line I, from point 10 to point 8. 
 
 9. Draw line J, from point 6 toward point i, to the distance of the inside- 
 height from point 6; at which point, locate point 11. 
 
 10. Locate point 12 on line J, the distance o( }{ of the distance between point 
 1 1 and point 6 from point 1 1 , toward point 6. 
 
 11. Draw line K, at right angles with line J, from point 12 toward the opposite 
 edge, to the distance of ^^ of the arm-circumference from point 12 ; at which point, 
 locate point 13. 
 
 12. Locate point 14 on line B, at a point which is the distance of the outside- 
 height from point 10, toward point 2. 
 
 13. Draw line L, at right angles with line B, from point 14 toward the front 
 edge, to the distance of ^3 of the arm's-eye circumference from point 14; at which 
 point, locate point 15. 
 
 14. Draw line M, from point 10 through point 13, to line L ; and locate point 
 16 at the point of intersection of lines M and L. 
 
 15. Draw line N, at right angles with line L, from point 15 toward the right- 
 
UTILITY AND DECORATIVE ART. 9I 
 
 hand, to the distance of }i of the arm's-eye circumference from point 15 ; at which 
 point, locate point 17. 
 
 16. Draw curved Hne O, from point 16 through point 17, to point 11 ; as illus- 
 trated in the cut. 
 
 Q- E. D. 
 
 N. B. — I. From the above illustrations and cuts, in Figures IX and X, repre- 
 senting the upper and under parts of the sleeve, it will be readily and easily seen, by 
 studying them in connection with Plates II and III, and Figures II and III, under the 
 Franco- Prussian method, how either Figure III, or any other possible style of sleeve 
 can, in like manner, by means of the above principles and construction lines, be 
 drafted directly and independently of each part, upon the material. 
 
 In the above principles and construction lines, as taught and illustrated, the 
 thoughtful student will find the key that will unlock all the secrets of the greatest and 
 most popular and successful sleeve-cutters of the world ; which is true also, and 
 applies with equal force to the principles of measurement, drafting, and construction 
 lines, in the art of body-drafting ; as enunciated and taught in the preceding part of 
 this work. But to be simply a perfect cutter, is quite a different thing from being a 
 perfect cutter and an artist ! The very dullest pupil can thereby reach a high stan- 
 dard of perfection and success ; but it is left for the artist, to excel. 
 
 2. The curved pointed lines along lines M, I, J, and W, as elsewhere, show 
 the proper curves for basting and stitching. 
 
 3. All seams and extensions for finishing, must be allowed outside of the lines 
 representing the fit. 
 
 4. Children's sleeves, are drafted according to Plate III, either in the compound 
 or direct drafts. 
 
92 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 The International Method of Franco-Prussian Scientific Tailor 
 Principles, for all Kinds and Styles of 
 
 SKIRT-DRAFTING. 
 
UTILITY AND DECORATIVE ART. 93 
 
 INSTRUCTIONS. 
 
 PLATE XI.-FiGURE XI. 
 
 1. Add 1 5^ inches to the skirt-depth ; locate point i, on the paper, that dis- 
 tance from the bottom or right-hand edge, and i inch back from the front edge, to- 
 ward the opposite edge, 
 
 2. Find the difference between ^ of the chest-circumference, and y^ of the 
 blade-width; draw line A, at right angles with the front edge, from point i toward 
 the opposite edge, to the distance of that difference from point i ; at which point, 
 locate point 2. 
 
 3. Find the difference between the front waist-depth and the waist-depth; add 
 this difference to the skirt-depth; then draw line B at right angles with line A, from 
 point I toward the bottom, to that distance from point i ; at which point, locate 
 point 3. 
 
 4. Locate point 4 on line B, the distance of the skirt-depth from point 3, toward 
 point I. 
 
 5. Find Yz of the difference between the chest-circumference and the waist- 
 circumference; add this amount of that difference to yi of the waist-circumference: 
 then draw line C, from point 4 through point 2, to the distance of that sum from point 
 4; at which point, locate point 5. 
 
 6. Locate point 6 on line C, equidistant from points 4 and 5. 
 
 7. Locate point 7 on line C, equidistant from points 4 and 6. 
 
 8. Indicate pointed line D, at right angles with line C, from point 7 toward the 
 bottom, to the distance of Yi of the hip-depth from point 7 ; at which point, locate 
 point 8; as illustrated in the cut. 
 
 9. Find Y^ of the difference between the chest-circumference and the waist-cir- 
 cumference; locate point 9 on line C, ^ of that distance from point 7, toward point 4. 
 
 10. Draw curved line E, from point 9 to point 8; as illustrated in the cut. 
 
 11. Locate point 10 on line C, the same distance from point 7, toward point 6, 
 as the distance between points 7 and 9. 
 
 12. Draw curved line F, from point 10 to point 8; as illustrated in the cut. 
 
 13. Locate point 11 on line C, the same distance from point 6, toward point 10, 
 as the distance between points 7 and 10. 
 
 14. Measure and note the distance between points 4 and 6; then indicate 
 pointed line G, at right angles with line B, from point 3 toward the opposite edge, 
 to twice that distance from point 3; at which point, locate point 12. 
 
 15. Indicate the pointed part of Hne H, from point 6 toward point 12, to the 
 distance of Y^ of the hip-depth from point 6; at which point, locate point 13; extend 
 line H, from point 13 toward point 12, to the distance of the skirt-depth from point 
 6; at which point, locate point 14. 
 
 16. Draw curved line I, from point 11 to point 13; as illustrated in the cut. 
 
 17. Draw line J, from point 3 to point 14. 
 
 18. Locate point 15 on line C, the same distance from point 6 toward point 
 5, as the distance between points 6 and 11. 
 
 19. Draw curved line K, from point 15 to point 13; as illustrated in the cut. 
 
 20. Locate point 16 on line C, equidistant from points 5 and 6. 
 
 21. Indicate pointed line L, at right angles with line C, from point 16 toward 
 the bottom, to the distance of ^ of the hip-depth from point 16; at which point, 
 locate point 17; as illustrated in the cut. 
 
 22. Locate point 18 on line C, the same distance from point 16 toward point 
 15, as the distance between points 6 and 15. . 
 
94 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 23. Draw curved line M, from point 18 to point 17; as illustrated in the cut. 
 
 24. Locate point 19 on line C, the same distance from point 16 toward point 
 5, as the distance between points 16 and 18. 
 
 25. Draw curved line N, from point 19 to point 17; as illustrated in the cut. 
 
 26. Locate point 20 on line C, j/i of the distance between points 18 and 19 
 from point 5, toward point 19. 
 
 27. Measure, and note the distance, between points 15 and 20; then indicate 
 pointed line O, at right angles with line H, from point 14 toward the opposite edge, 
 to three-times that distance from point 14; at which point, locate point 21; as illus- 
 trated in the cut. 
 
 28. Draw line P, from point 5 toward point 21, to the distance of the skirt- 
 depth, from point 5; at which point, locate point 22. 
 
 29. Locate point 23 on line P, the distance of ^ of the hip-depth from point 5, 
 toward point 22. 
 
 30. Draw curved line Q, from point 20 to point 23; as illustrated in the cut. 
 
 31. Draw line R, from point 14 to point 22. 
 
 32. Find the sum of the distances between points 3 and 14, plus the distance 
 between points 14 and 22; subtract this sum from j4 of the desired width of the 
 skirt at the bottom: then draw line S at right angles with line P, from point 22 toward 
 the opposite edge, to the distance of that difference from point 22; at which point, 
 locate point 24. 
 
 33. Draw line T at right angles with line P, from point 5 toward the opposite 
 edge, to the same distance from point 5, as the distance between points 22 and 24; 
 at which point, locate point 25. 
 
 34. Draw line U, from point 25 to point 24. 
 
 Q. E. D. 
 
 N. B. — I. This is a compound draft. The method of tracing or eliminating the 
 various parts will be found under "Tracing." It is a superior and exceedingly- 
 accurate method, presenting principles foreign to any ever published; and is worthy 
 of the student's most careful analysis and study. All possible kinds and styles of 
 skirts can be easily and quickly drafted by the same principles, from the same con- 
 struction lines; as given and illustrated above. 
 
 2 The pointed line V, from point 17 to point 26, and the extended and new 
 pointed hues G, O, U, P. W, X, Y, and Z, below the draft of the plain walking- 
 skirt, represent the plain "demi-promenade," "demi-train," and " full-trained" 
 skirts; and are drafted, as follows: 
 
 A. — The Demi- Promenade : — (i). Locate point 26 on line R, Yz of the dis- 
 tance between points 14 and 22 from point 14, toward point 22. 
 
 (2). Indicate pointed line V, from point 17 to point 26; as illustrated in Figure 
 XI. 
 
 (3). Extend pointed line O, from point 14 to the point of intersection of lines 
 O and U — if line U is extended — as illustrated; at which point, locate point 27. 
 
 (4). Draw a line for the bottom of the skirt, from point 26 to point 27, 
 
 B. — The Demi- Train : — (i). Extend pointed line G from point 1 2 to the point 
 of intersection of lines G and U, if line U is extended, as illustrated; at which point, 
 locate point 28. 
 
 (2). Draw a line from point 26 to point 28, for the bottom of the skirt. 
 
 C. — The Full Train . — (i). Extend line U from point 28 toward the bottom 
 edge, to the same distance from point 28 as the distance between points 24 and 28; 
 at which point, locate point 29. 
 
 (2). Indicate pointed line W, from point 3 to point 29; as illustrated in the cut. 
 
 (3.) Then draw the shape desired; as represented by the indicated line X, from 
 point 26 to point 29. 
 
 (4). Jl^" For the square train, indicate pointed line Y, at right angles with line 
 U, from point 29 toward the front, to the same distance from point 29, as the distance 
 
UTILITY AND DECORATIVE ART. 
 
 95 
 
 between points 24 and 22; or to the point of intersection of lines P and Y — if line P is 
 extended; at which point, locate point 30; as illustrated in the cut. 
 
 (5). Then draw the desired shape from point 26 to point 30; as illustrated by- 
 pointed line Z, in the cut. Q. E. D. 
 
 P. S. — The amount of dart space between the "side gore" and the back is reg- 
 ulated by taste, or the degree of closeness of fit to the form, desired. Be careful in 
 figured goods, that you cut it all to run the same way; and not to cut duplicate 
 pieces, either of the skirt, waist, or sleeve; or in other words, two pieces for one and 
 the same side. Fashion dictates the width of skirts, from 2 to 6 yards — at times 
 having 3 full back breadths — one in front, and a broad gore at each side. At present, 
 it is often only 2 yards wide, and close-fitting; with slashes or cuts in the bottom of 
 the front breadth, 31^ inches deep, braided and nicely finished, and hidden by the 
 trimmings. 
 
The InternatiOxNal Method 
 
 OF 
 
 Fmneo-Frussian 
 
 AND 
 
 English and American 
 
 miC TW FEDCI 
 
 FOR ALL KINDS AND STYLES OF 
 
 EITHER COMIFOXINE) OR DIRECT 
 
 PRINCESS"-DRAFTING. 
 
 96 
 
UTILITY AND DECORATIVE ART. 
 
 97 
 
 
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98 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 INSTRUCTIONS. 
 
 PLATE XII.— Figure XIV. 
 
 1. Figures XII, XIII, XV, and XVII, represent the traced and cut linings of the 
 front, side-front, side-back, and back, respectively, upon which the construction lines 
 A (of the original drafts), and the lines representing the fit, are traced; and which are 
 drafted, traced and cut, per instructions for "body-drafting;" as given in the preced- 
 ing part of this work. 
 
 2. Letter the construction line on Figure XII, A; the curved line near the 
 opposite edge, B; the line representing the lower edge, C; as illustrated in the cut. 
 
 3. Letter the construction line on Figure XIII, D; the curved line near the 
 front edge, E; the curved line near the opposite edge, F; the line representing the 
 lower edge, G; as illustrated in the cut. 
 
 4. Locate point i at the point of intersection of lines A and B. 
 
 5. Locate point 2 on curved line B, the distance of the hip-depth from point i, 
 toward the bottom. 
 
 6. Locate point 3 at the point of intersection of lines E and D. 
 
 7. Locate point 4 at the point of intersection of line F, with the waist-line of 
 Figure XIII; as illustrated in the cut. 
 
 8. Locate point 5 at the point of intersection of lines F and G. 
 
 9. Find the sum of the desired depth of the train, plus the desired depth of the 
 hem ; locate point 6 on the selvage or front edge of the goods, that distance from the 
 bottom or right-hand edge; as illustrated in the cut. 
 
 10. Locate point 7 on the selvage or front edge of the goods, the distance of 
 the skirt-depth from point 6, toward the top. 
 
 11. Draw line H, at right angles with the selvage or front edge, from point 7 
 toward the opposite edge, to the distance of j{ of the skirt-width; at which point, 
 locate point 8. 
 
 12. Place Figure XII, or the lining of the front, in such a position on the goods, 
 that the fullest part of the curve in front, shall be even with the selvage or front edge 
 of the goods, and line A exactly upon line H; as illustrated in the cut: then baste or 
 fasten Figure XII securely, in that position, upon the goods. 
 
 13. Place Figure XIII, or the lining of the side-front upon the goods, on the 
 opposite side of Figure XII, in such a position, that the arcof thearm's-eye circum- 
 ference will be toward the front; line D exactly upon line H, and lines E and B, 
 intersecting at point 2; as illustrated in the cut: then baste or fasten Figure XIII, or 
 the lining of the side-front, securely in that position, upon the goods. 
 
 14. Indicate pointed line I, at right angles with the selvage or front edge of the 
 goods, from point 6 toward the opposite edge, to the distance of ^ of the desired 
 skirt- width from point 6; at which point, locate point 9: as illustrated in the cut. 
 
 15. Draw line J, from point 5 toward point 9, to the distance of the desired 
 skirt-depth from point 4; at which point locate point 10; as illustrated in the cut. 
 
 16. Draw line K from point 6 to point 10: which process completes the entire 
 "front" of the "Promenade-Princess." 
 
 17. Letter the construction line on Figure XV, L; the curved line near the 
 side joining with the front, M; the line near the opposite edge below line L, N; the 
 line representing the edge at the bottom, O; as illustrated in the cut. 
 
 18. Locate point 1 1 at the point of intersection of lines L and M. 
 
 19. Locate point 12 at the point of intersection of line N with the waist-line of 
 Figure XV. 
 
UTILITY AND DECORATIVE ART. 99 
 
 20. Locate point 13 at the point of intersection of lines N and O. 
 
 21. Locate point 14 at the point of intersection of hnes M and O. 
 
 22. Extend line H, from point 8 toward the opposite edge of the goods, to the 
 distance of }i of the desired skirt-width from point 8; at which point, locate point 15. 
 
 23. Draw line P, at right angles with line N, from point 8 toward the bottom, 
 to the distance of ^ of the desired skirt-depth from point 8; at which point locate 
 point 16; as illustrated in the cut. 
 
 24. Place Figure XV, or the lining of the side-back upon the goods, opposite 
 line P, in such a position that the arc of the arm's-eye circumference will be toward 
 the front, line L exactly upon line H, and lines P and M (if line M were extended 
 toward the bottom) intersecting at point 16; as illustrated in the cut: then baste or 
 fasten Figure XV securely in that position, upon the goods. 
 
 25. Extend line P, from point 16 toward point 9, to the distance of the desired 
 skirt-depth from point 11 ; at which point, locate point 1 7 ; as illustrated in the cut. 
 
 26. Indicate the extension of pointed line I from point 9 toward the opposite 
 edge, to the distance of yi of the desired skirt-depth from point 9; at which point 
 locate point 18; as illustrated in the cut. 
 
 27. Draw line Q from point 13 toward point 18, to the distance of the desired 
 skirt-depth from point 12; at which point, locate point 19: as illustrated in the cut. 
 
 28. Draw line R from point 17 to point 19; which process, completes Figure 
 XVI, or the side-back of the Promenade-Princess. 
 
 29. Letter the construction line on Figure XVII, or the lining of the back, S; 
 the line near the edge joining the side-back, below line S, T; the line near the oppo- 
 site edge, below line S, U ; and the line representing the edge at the bottom, V ; as 
 illustrated in the cut. 
 
 30. Locate point 20 at the point of intersection of lines S and T. 
 
 31. Locate point 21 at the point of intersection of line U with the waist-line of 
 Figure XVII. 
 
 32. Locate point 22 at the point of intersection of lines U and V. 
 
 33. Locate point 23 at the point of intersection of lines T and V. 
 
 34. Extend line H, from point 15 to the opposite edge, or fold of the goods; 
 as illustrated in the cut. 
 
 35. Draw line W at right angles with line H, from point 15 toward the bottom, 
 to the distance of yi of the desired skirt-depth from point 15; at which point, locate 
 point 24; as illustrated in the cut. 
 
 36. Place Figure XVII, or the lining of the back, upon the goods, opposite line 
 W, in such a position, that the arc of the arm's-eye circumference will be toward the 
 front, line S exactly upon line H, and lines W and T (if line T were extended toward 
 the bottom) intersecting at point 24; as illustrated in the cut: then baste or fasten 
 Figure XVII securely in that position, upon the goods. 
 
 37. Extend line W from point 24 toward point 18, to the distance of the skirt- 
 depth from point 20; at which point, locate point 25: as illustrated in the cut. 
 
 38. Indicate the extension of pointed line I, from point 18 toward the opposite 
 edge, to the distance of one-twelfth of the desired skirt-width from point 18; at which 
 point, locate point 26; as illustrated in the cut. 
 
 39. Draw line X from point 22 toward point 26, to the distance of the desired 
 skirt-depth from point 21; at which point, locate point 27; as illustrated in the cut. 
 
 40. Draw line Y, from point 25 to point 27; which process, completes Figure 
 XVIII, or the entire "back" of the " Promenade- Princess." 
 
 Q. E. D. 
 
 N. B. — I. The above diagrams show both the compound and direct method, 
 jointly illustrated; and can be easily eliminated and drafted either way, by a little 
 thought and care, according to the principles of the above instructions. 
 
 2. Wrappers, morning wrappers, new markets, ulsters, demi-ulsters, water-proofs, 
 etc. , are all drafted and cut by the same principles as given above ; only varying from the 
 circumference measures of the " close fit," to the desired degree in "ease of fit," and 
 to the demands of style, or the texture and weight of the material chosen. 
 
lOO THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 3. The indicated lines Z and A' show the extension for plaits, gathers, or shir- 
 ring, etc., in the back, from the fold of the goods, and according to the various tastes 
 and styles of finishing; and which may be left the entire length from the neck, at 
 line Z to the floor, or which may be cut at line B^ below the waist, and only left in 
 the garment, from that point to the bottom; to any degree of depth or fullness de- 
 sired, or that the goods may allow. 
 
 4. The indicated lines C, D^ E^ F^ W, G^ H^ P, and J^ at the bottom of 
 the draft, illustrate the train, which may be drafted either as an extension of the 
 original parts entire, or cut separately; and arranged in finish, so as to be attached, or 
 detached, at will. 
 
 5. Draft the train, as follows: 
 
 a. Indicate pointed hne C at right angles with line I, from point 19 toward the 
 bottom, and to the distance of four-fifths of the desired depth of the train from point 
 19; at which point locate point 28; as illustrated in the cut. 
 
 b. Indicate line D* at right angles with line C^ from point 28 toward the oppo- 
 site edge, to the distance of ^ of the desired extra width of the train; at which point 
 locate point 29; as illustrated in the cut. 
 
 c. Indicate the slightly curved line E* from point 19 to point 29; as illustrated 
 in the cut. 
 
 d. Indicate curved line F^ from point 17 to point 29; as illustrated in the cut. 
 
 €. Indicate the extension of line W, from point 25 toward the bottom, to the 
 same distance from point 25, as the distance (along the curved line E^) between point 
 19 and point 29; at which point locate point 30; as illustrated in the cut. 
 
 /. Indicate pointed line G* at right angles with line I, from point 27 toward the 
 bottom, to the distance of the desired depth of the train, fi-om point 27; at which 
 point locate point 3 1 ; and as illustrated in the cut. 
 
 g. Indicate the slightly curved line H^ from point 30 to point 31 ; and as illus- 
 trated in the cut. 
 
 h. Indicate pointed line P at right angles with line G', from point 31 toward the 
 opposite edge, to the distance of Yz of the desired extra width of the train; at which 
 point locate point 32; and as illustrated in the cut. 
 
 /. Indicate pointed line J^ from point 27 to point 32, and as illustrated in the 
 cut; which process, completes the "Princess-Train." 
 
 Q. E. D. 
 
 P. S. — Fashion dictates both the style, shape and extent of the train; but 
 whether it be large or small, square, circular, or oblong, the principles of drafting 
 remain the same; at least, until the laws of mathematics change. Mathematics ever 
 regulates the principles of the fit; and upon this province, art and fashion never can 
 encroach; they have to do only with the design, shape and decorative finishings. 
 The above mathematical principles are the leafless tree of winter, with its trunk and 
 naked branches. Art, like the hand of Spring, covers them with leaves, and buds, 
 and blossoms; each in its season, and according to its kind. 
 
 
 Vl'o^ 
 
UTILITY AND DECORATIVE ART. lOI 
 
 The International Method of Scientific Tailor Principles for all 
 
 Kinds and Styles of 
 
 COLLAR-DRAFTING. 
 
 PLATE XII.-FIGURE XIX. 
 
 The Berlin, or "Choker"- Collar. 
 
 INSTRUCTIONS. 
 
 1. Locate point i on the fold of the paper or material, i inch from the bottom 
 or right-hand edge, toward the top. 
 
 2. Draw line A, at right angles with the fold, toward the front, to the distance of 
 y^ of the neck-circumference from point i ; at which point, locate point 2 : as illus- 
 trated in the cut. 
 
 3. ^ Draw line B, exactly on the edge of the fold, or at right angles with line A, 
 from point i toward the top, to the distance of one-twelfth of the distance between 
 point I and point 2 from point i ; at which point, locate point 3. 
 
 4. Extend line B, from point 3 toward the top, to the distance of the desired 
 height of the collar from point 3 ; at which point, locate point 4 : as illustrated in 
 the cut. 
 
 5. Draw line C, from point 3 to point 2. 
 
 6. Draw line D, at right angles with line A, from point 2 toward the top, to 
 the distance of the desired height of the collar, from point 2 ; at which point, locate 
 point 5. 
 
 7. Draw line E, from point 4 to point 5 ; which process, completes the draft of 
 the "Berlin-Collar," as formed and indicated within lines B, C, D, and E; as illus- 
 trated in the cut. 
 
 Q. E. D. 
 
 PLATE XII.-FIGURE XX. 
 
 "THE ROLLING-CHOKER" COLLAR. 
 INSTRUCTIONS. 
 
 1. Locate point i on the fold of the paper or material, i inch from the bottom 
 or right-hand edge, toward the top. 
 
 2. Draw line A, at right angles with the fold, from point i toward the front, to 
 the distance of ^t of the neck-circumference, from point i ; at which point, locate 
 point 2. 
 
102 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 3. Find one-twelfth of the distance between point i and point 2. Draw line 
 B, exactly on the fold, or at right angles with line A, from point i toward the top, to 
 Yt, of that distance from point i ; at which point, locate point 3 : as illustrated in 
 the cut. 
 
 4. Extend line B, from point 3 toward the top, to the distance of the desired 
 width of the collar from point 3; at which point, locate point 4: as illustrated in 
 the cut. 
 
 5. Locate point 5 on line A, equidistant from point i and point 2. 
 
 6. Draw line C, at right angles with line A, from point 5 toward the top, to the 
 distance of the desired width of the collar from point 5 ; at which point, locate 
 point 6. 
 
 7. Draw line D, at right angles with line A, from point 2 toward the top, to 
 the same distance from point 2, as the distance between point i and point 3; at which 
 point, locate point 7 : as illustrated in the cut. 
 
 8. Extend line D, from point 7 toward the top, to the distance of the desired 
 width of the collar from point 7 ; at which point, locate point 8 : as illustrated in the 
 cut. 
 
 9. Draw line E, from point 5 to point 3. 
 
 10. Draw line F, from point 7 to point 5. 
 
 11. Draw line G, from point 6 to point 4. 
 
 12. Draw line H, from point, 8 to point 6 ; which process, completes the draft of 
 the "Rolling-Choker" Collar, as formed and indicated within lines B, D, E, F, G, 
 and H ; as illustrated in the cut. 
 
 O. E. D. 
 
 PLATE XII.— FIGURE XXI. 
 
 "THE BYRON" COLLAR. 
 INSTRUCTIONS. 
 
 1. Locate point i on the fold of the paper or material, i inch from the bottom 
 or right-hand edge, toward the top. 
 
 2. Draw line A, at right angles with the fold, from point i toward the front, to 
 the distance of yi of the neck-circumference from point i ; at which point, locate 
 point 2. 
 
 3. Find one-twelfth of the distance between point i and point 2. Draw line 
 B, exactly on the fold, or at right angles with line A, from point i toward the top, 
 to y^, of that distance from point i ; at which point, locate point 3 : as illustrated in 
 the cut. 
 
 4. Extend line B, from point 3 toward the top, to the desired distance of the 
 width of the collar, from point 3; at which point, locate point 4 : as illustrated in the 
 cut. 
 
 5. Locate point 5 on line A, equidistant from point i and point 2. 
 
 6. Draw line C, at right angles with line A, from point 5 toward the top, to 
 the same distance from point 5, as the distance between point i and point 4; at which 
 point, locate point 6, 
 
 7. Draw line D, at right angles with line A, from point 2 toward the top, to 
 the same distance from point 2, as the distance between point i and point 3 ; at 
 which point, locate point 7 : as illustrated in the cut. 
 
 8. Extend line D, from point 7 toward the top, to the distance of Yi of the neck- 
 circumference, from point 2 ; at which point, locate point 8 : as illustrated in the cut. 
 
 9. Locate point 9 on line D, 3 times as far from point 7 toward point 8, as the 
 distance between point 2 and point 7. 
 
UTILITY AND DECORATIVE ART. IO3 
 
 10. Draw line E, at right angles with line D, from point 8 toward the front, to 
 the same distance from point 8, as the distance between point 2 and point 9; at 
 which point, locate point 10 : as illustrated in the cut. 
 
 11. Draw line F, from point 10 to point 9. 
 
 12. Draw line G, at right angles with line D, from point 9 toward the front, to 
 the same distance from point 9, as the distance between point 2 and point 9; at which 
 point, locate point 11. 
 
 13. Draw line H, at right angles with line D, from point 7 toward the front, to 
 the same distance from point 7, as the distance between point 9 and point 11 ; at 
 which point, locate point 12. 
 
 14. Draw line I, from point 11 to point 12 ; as illustrated in the cut. 
 
 15. Draw line J, from point 7 to point 5. 
 
 16. Draw line K, from point 5 to point 3. 
 
 17. Draw line L, from point 6 to point 4. 
 
 18. Draw line M, from point 10 to point 6 ; which process, completes the draft 
 of "The Byron Collar," as formed and indicated within the lines B, F, G, H, I, J, 
 K, L, and M ; as illustrated in the cut. 
 
 Q. E. D. 
 N. B. — I. All of the above collars may be cut either square or round, in front 
 at the top, and arranged in width or shape, according to fancy or the dictates of 
 fashion. 
 
 2. A graceful collar is, to any garment, what the encircling leaf of green is to 
 the delicately-tinted opening bud. It is one of those * ' little things ", that either mars 
 the entire garment, or becomes a graceful ornament, that sheds a beautiful and rich 
 lustre of finish to the whole ; and invariably reflects either honor or dishonor, upon the 
 artist. 
 
 3. The above principles alone, are worth the entire cost of this book, to any 
 cutter; whose ambition it is to excel, in this important department of grace and ele- 
 gance, in garment-making. Study these examples and their solutions, as you would 
 the fundamental rules of arithmetic, if you aimed to become a mathematician ; and 
 you will be abundantly repaid for all time and labor expended; in the matchless 
 grace and perfection you will obtain, in result, in the completed garment. 
 
 PLATE XII— FIGURE XXII. 
 
 THE ENGLISH ROLLING-COLLAR. 
 INSTRUCTIONS. 
 
 1. Locate point i on the fold of the paper or material, i inch from the bottom 
 or right-hand edge, toward the top. 
 
 2. Draw line A, at right angles with the fold, from point i toward the front, 
 to the distance of the required depth, from the centre at the back of the neck, to the 
 lapel in front ; at which point, locate point 2. 
 
 3. Draw hne B, exactly upon the fold, or at right angles with line A, from 
 point I toward the top, to the distance of the desired width of the collar ; at which 
 point, locate point 3. 
 
 4. Locate point 4 on line A, equidistant from point i and point 2. 
 
 5. Draw line C, at right angles with line A, from point 2 toward the top, to 
 the distance of j4 of the distance between point i and point 2 ; at which point, locate 
 point 5 : as illustrated in the cut. 
 
 6. Locate point 6 on line B, }4 of the distance between point 2 and point 5, 
 from point i, toward point 3. 
 
l64 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 7. Extend line C, from point 5 toward the top, to the distance between point 
 6 and point 3 from point 5; at which point, locate point 7 : as illustrated in the cut. 
 
 8. Draw line D, from point 7 to point 3. 
 
 9. Locate point 8 on line D, the same distance from point 7 toward point 3, as 
 the distance between point 2 and point 5. 
 
 10. Draw curved line F, from point 5 to point 4 ; which process, completes the 
 draft of "The English Rolling-Collar," as formed and indicated within the lines A, 
 B, D, E, and F; and as illustrated in the cut. 
 
 Q. E. D. 
 
 N. B. — I. The above collar may be either round or otherwise, on the top at 
 the front, and any depth and width desired, or required. 
 
 2. "The Close-buttoned Paletot-Collar" is exactly the same, excepting that it 
 requires only ^ the distance between point 2 and point 5; as is given and illustrated 
 in Figure XXII. 
 
 PLATE XII.— FIGURE XXIII. 
 
 THE FRENCH COAT-COLLAR. 
 INSTRUCTIONS. 
 
 1. Place the patterns or linings of the upper part of the back, shoulder to 
 shoulder with the upper part of the front ; as illustrated in the cut : then baste or 
 fasten them securely in that position. 
 
 2. Locate point i on the curved front neck-line, at the point you wish the fold 
 of the lapel ; as illustrated in the cut. 
 
 3. Locate point 2 at the point of intersection of the curved lines of the front 
 and back-neck, with the junction line of the shoulders ; as illustrated in the cut. 
 
 4. Indicate the pointed centre line from point i through point 2, to the distance 
 of ^ of the neck-circumference from point 2 ; at which point, locate point 3 : as illus- 
 trated in the cut. 
 
 5. Draw line A, at right angles with the centre line, from point 3 toward the 
 front, to the distance of the desired width of the collar, when completed ; at which 
 point, locate point 4 ; as illustrated in the cut. 
 
 6. Draw line B, from point 4, parallel with the centre line, to the desired dis- 
 tance toward the lapel ; at which point, locate point 5 : as illustrated in the cut. 
 
 7. Draw line C, from point 5 to point i. 
 
 8. Locate point 6 on the curved neck-line of the front, equidistant from point 
 I and point 2. 
 
 9. Draw curved line D, from point i to point 6, touching the neck-line within }{ 
 of an inch, at the point equidistant between point i and point 6 ; as illustrated in 
 the cut. 
 
 10. Draw line E, parallel with line B, from point 6 toward the back, to the 
 point of intersection of lines E and A, (if line A, is extended from point 3 toward the 
 arms' -eye); as illustrated in the cut : which process, completes the draft of the French 
 "coat-collar," as formed and indicated within the lines A, B, C, D, and E; and which 
 is transferred from the diagram, either upon paper or the material, by the use of the 
 tracing-wheel. Q. E. D. 
 
 N. B. — I. The " Circular-Collar' ' is formed by tracing the entire half of the neck- 
 circumference, for the fit ; and designing its shape, at will : as illustrated in Figure 
 XXIII, of Plate XII, by lines F, G, and H. 
 
UTILITY AND DECORATIVE ART. 
 
 105 
 
 2. The ' 'Sailor-Collar" is traced at the neck, precisely as the " Circular-Collar " ; 
 and is also designed at will, and according to the demands of fashion, in its shape ; 
 as on Plate XII, in Figure XXIII; and as indicated by the curved line I. 
 
 3. Both the circular and sailor collars, should be left ^ inch easier in the fit, in 
 the back, than the seam of the centre back ; as illustrated in the cut. 
 
 Q. E. D. 
 
 PLATE XII.-FIGURE XXIV. 
 
 THE FRENCH TSILOR-CUFF. 
 INSTRUCTIONS. 
 
 I. Draft the sleeve to the measures, according to Plate II, or Plate III. Place 
 either the pattern, or the basted linings, folded or basted properly, upon the goods ; 
 fasten the same firmly in the proper position with the thread of the material, or the 
 lining of the cuff. Then outline your design from the Fashion-Plate, upon this 
 lining or pattern of the exact fit of the sleeve ; and by means of the tracing-wheel, 
 transfer the same, upon the lining or material, upon which you desire it ; as illustrated 
 in the cut. 
 
 Q. E. D. 
 
 N. B. — All kinds and styles of cuffs are easily and quickly drafted, by the same 
 principles. 
 
 PLATE Xn.-FIGURE XXV. 
 
 THE NE¥-MflRKET HOOD. 
 INSTRUCTIONS. 
 
 1 . Either using the linings or cut patterns of the upper part of the back and 
 the front, place them shoulder to shoulder, with the centre-back seam toward the 
 front ; as illustrated in the cut, by the lines A, B, C, D, E, F, G, and H. 
 
 2. Locate point i at the point of intersection of lines A and E. 
 
 3. Locate point 2 on line E, the desired length of the hood in the back, from 
 point I, toward the bottom. 
 
 4. Draw line I, at right angles with line E, from point 2 toward the opposite 
 edge, to the distance of % of the desired width of the hood, in the centre; at which 
 point, locate point 3 : as illustrated in the cut. 
 
 5. Draw line J, at right angles with line E, from point i toward the opposite 
 edge, to )4 the desired width of the hood at the shoulders ; at which point, locate 
 point 4 : as illustrated in the cut. 
 
 6. Draw line K, from point 4 toward point 3, to a point i inch less from point 
 4, than the distance between point i and point 2 ; at which point, locate point 5 : as 
 illustrated in the cut. 
 
 7. Draw line L, from point 2 to point 5. 
 
 8. Locate point 6 at the point of intersection of lines F and H. 
 
I06 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 9. Draw line M, from point 4 toward point 6, to the point of intersection of 
 lines M and F; at which point, locate point 7 ; which process, completes the draft of 
 "The New-Market Hood," as formed and indicated within the lines A, F, M, K, 
 L and E. 
 
 O. E. D. 
 
 N. B. — I. This is simply half of the hood, as shown in the design. Cut the 
 hood, with line E on the lengthwise fold of the goods, to avoid a centre seam. Cut 
 the lining, as the hood. Close the seams of each, separately. Arrange the lining 
 over the outside; and seam all, except the neck edges. Then turn the hood right- 
 side out; and form a backward plait, at each side of the neck. Bind the neck with 
 the material; and fasten about the neck, with a hook and loop. 
 
 2. It is sometimes left to extend further front, and a dart of one inch taken 
 out ; and the outside edge brought over against line F, and shaped by it ; after the 
 dart is folded or cut. Any style can easily be cut from the draft. 
 
 "^''^^-^W^^*^"^"^^ 
 
The International Method 
 
 OF 
 
 FOR ALL KINDS AND STYLES OF 
 
 POLONAISE-DRAFTING. 
 
 107 
 
loS 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
UTILITY AND DECORATIVE ART. 109 
 
 INSTRUCTIONS. 
 
 PLATE XIII.-FiGUHC XXVIII. 
 
 1. Carefully observe the following, viz : 
 
 a. Where the chosen design opens, back or front; and arrange the fold of the 
 goods, to suit. 
 
 b. How many seams have plaitings and loopings, and where located ; and 
 arrange according to the following instructions, for the extensions required; and to 
 the proper depth fancied, or required. 
 
 c. Accurately calculate, from the number and width of the plaitings or loopings 
 in the front, if called for in the design, the amount of goods required for the same, 
 plus the amount desired for hem and finishing ; locate point i at that distance from the 
 bottom or right-hand edge, on the fold or selvage of the goods : then, 
 
 2. Indicate pointed line A at right angles with the front edge, from point i to 
 the opposite edge. 
 
 3. Locate point 2 on the front edge, the desired or required depth of the com- 
 pleted front from point i , toward the top. 
 
 4. Draw line B, or the construction-line, at right angles with the front edge, 
 from point 2 to the opposite edge ; at which point, locate point 3. 
 
 5. Letter the traced line running at right angles with and across the lining of 
 the front or Figure XXVI, above the traced "waist-line," by the character C; as illus- 
 trated in the cut. 
 
 6. Letter the curved traced line, below the waist near the opposite edge of the 
 same Figure, by the character D. 
 
 7. Letter the curved traced line, below the "waist-line, " near the edge joining the 
 front, of Figure XXVII, by the character E. 
 
 8. Letter the traced construction-line above the ' ' waist-line ' ' of the lining of the 
 side-front, or Figure XXVII, by the character F. 
 
 9. Letter the curved traced line, near the opposite edge below the "waist-line" 
 cf the lining of the side-front or Figure XXVII, by the character G. 
 
 10. Locate point 3 at the point of intersection of the curved and traced ' ' button- 
 hole-line" near the front edge of the front, and the waist-line; as illustrated in the cut. 
 
 1 1. Locate point 4 at the point of intersection of line C and line D. 
 
 12. Locate point 5 on line D, the distance of the hip-depth from point 4, toward 
 the bottom. 
 
 13. Locate point 6 on Figure XXVII at the point of intersection of lines E 
 and F. 
 
 14. Locate point 7, at the point of intersection of the waist line and line G ; as 
 illustrated in the cut. 
 
 15. Place Figure XXVI, or the lining of the front, on the goods, in the position 
 in which, line C will be exactly upon the construction line B, with the fullest part of 
 the curve of the front edge, even with the selvage or fold of the material; as illustrated 
 in the cut: then baste or fasten Figure XXVI, securely on the goods, in that position. 
 
 16. Place Figure XXVII, or the lining of the side-front on the goods, opposite 
 Figure XXVI, in the position in which line F will be exactly upon the construction 
 line B, with the arc of the arm's-eye circumference toward the front, and lines D and 
 E, intersecting at point 5 ; as illustrated in the cut : Then, baste or fasten Figure 
 XXVII securely on the goods, in that position; which process, completes the draft of 
 
no THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 \h.Q front of the polonaise upon the goods; and which, is indicated by the traced lines 
 of the perfect fit — on Figures XXVI and XXVII ; the indications and outHnes of 
 which, form Figure XXVIII; when, continued to the desired length and slope from 
 the lower edge of the linings — over the material. 
 
 17. Locate point 8 on the edge of the goods of Figure XXXII by the same 
 rules and principles as given for locating point i, on Figure XXVIII ; only applying 
 said rules and principles to the back, instead of the front. 
 
 18. Extend the indication of line A, orthe "completed depth-line," at right angles 
 with the front edge of the goods, or Figure XXXII, from point 8 to the opposite 
 edge ; as illustrated in the cut. 
 
 19. Re-locate point 3 on the edge of the goods of Figure XXXII, by the same 
 rules and principles as given for locating point 2 on Figure XXXII ; only applying 
 said rules and principles to the back instead of the front. 
 
 20. Extend line B, at right angles with the front edge of the goods, or Figure 
 XXXII, from point 3 to the opposite edge or fold ; as illustrated in the cut. 
 
 2 1 . Letter the traced line, above the ' ' waist-line, ' ' at right angles with and across 
 Figure XXIX, by the character H. 
 
 22. Letter the curved line below line H, of Figure XXIX, near the edge joining 
 the front by the character I. 
 
 23. Letter the traced line below line H, near the opposite edge of Figure 
 
 XXIX, by the character J. 
 
 24. Letter the traced line above the " waist-line, " at right angles with and across 
 Figure XXX, by the character K; and the same line on Figure XXXI, by the 
 character L. 
 
 25. Letter the traced line below line K; near the front edge of Figure XXX, 
 by the character M; and the same line on Figure XXXI, by the character N. 
 
 26. Letter the traced line below line K, near the opposite edge of Figure XXX, 
 by the character O ; and the same line on Figure XXXI, by the character P. 
 
 27. Locate point 9 at the point of intersection of the "waist-line" and line I. 
 
 28. Locate point 10 at the point of intersection of the "waist-line" with line J; 
 as illustrated in the cut. 
 
 29. Locate point 11 on line J, the distance of the hip-depth from the point of 
 intersection of lines H and J, toward the bottom ; as illustrated in the cut. 
 
 30. Locate point 1 2 at the point of intersection of the ' ' waist-line ' ' and line M ; 
 and locate point 13 at the point of intersection of the "waist-line" and line N. 
 
 31. Locate point 14 at the point of intersection of the "waist-line" and line O ; 
 and locate point 15 at the point of intersection of the "waist-line" and line P; as illus- 
 trated in the cut. 
 
 32. Place Figure XXIX, or the lining of the side-back on the goods, in the 
 position in which, line H will be exactly upon line B, the arc of the arm's-eye circum- 
 ference toward the front, and line I intersecting the front edge of the goods at a point 
 between point 3 and point 8, which will bring the desired or sufficient amount of 
 fnllness at the completed depth-line ; as illustrated in the cut : then, baste or fasten 
 Figure XXIX, securely on the goods, in that position. 
 
 33. Place Figure XXX, or the lining of the back, upon the goods opposite 
 Figure XXIX, in the position in which, line K will be exactly upon line B, the arc 
 of the arm's-eye circumference toward the front, and lines J and M intersecting at a 
 point sufficiently distant below line B. to bring the desired and required proportional 
 amounts of fullness, for plaitings, loopings, or drapery — between Figures XXIX and 
 
 XXX, and back of Figure XXX respectively ; if drapery is desired or called for 
 between Figures XXIX and XXX : and place Figure XXX in the same position as 
 regards line K (which now becomes line L,) and the arc of the arm's-eye circum- 
 ference, with line M, (which now becomes line N), and line J intersecting at point 11, 
 when no fullness or drapery is desired or called for, between Figure XXIX and 
 Figure XXX, (which now becomes Figure XXXI) ; as illustrated in the cut. This 
 process, completes the draft of the back of the polonaise upon the goods; and which, 
 is indicated by the traced lines of the perfect fit on Figures XXIX, XXX, and 
 
UTILITY AND DECORATIVE ART. Ill 
 
 XXXI; and the indications and outlines of which form Figure XXXII, when con- 
 tinued to the desired length and slope, from the lower edge of the linings — over the 
 material. Q. E. D. 
 
 N. B. — I. Figure XXXI is simply Figure XXX in a different position ; and 
 its existence, and the lines and points upon it are only assumed, when the position of 
 the back, or Figure XXX is abandoned, and the position represented by Figure 
 XXXI is assumed. 
 
 2. The above is a thorough, exhaustive, and complete system of scientific 
 principles ; equal to and commensurate with every possible emergency of the cutter, 
 in quickly and accurately drafting all kinds and styles of polonaises; and they deserve 
 the student' s most rigid and careful analysis. 
 
 3. The darts of the polonaise are generally closed at the distance of the hip-depth 
 below line B, as illustrated in the cut ; and the extra amount or surplus difference, 
 between the amount taken up in the polonaise-dart and the basque-dart, is taken 
 from the spring given to line D, of Figure XXVI, when drafting the linings ; or the 
 basque-dart may be used, which is closed at the hip-depth below Hne B, in the abrupt 
 form as illustrated by the horizontal Q, in the cut ; and the goods left, as plaiting or 
 fullness, to be arranged as an adornment in certain kinds of drapery, at the front. 
 
 4. Line R is drawn from the top of the front dart, to a point on the shoulder- 
 line which is Vi of the distance of the shoulder from the curved neck-line; and which, 
 is used for cutting vest-fronts, tracing the front in two parts, as a compound draft ; 
 and allowing seams along line R, on both parts ; and then proceeding with the draft 
 of the polonaise, as before. 
 
 5. All kinds and styles of drapery can be arranged by simply leaving the entire 
 outlines of the goods below the draft in the form of plain parallelograms, and folding 
 it underneath, where not needed ; often enhancing the appearance of the outside 
 drapery, aside from serving the economical purpose of leaving the silk or velvet 
 whole; for remaking, or remodeling the dress, at some future time. If the goods is 
 limited, however, and the surplus is needed immediately; it is best for the beginner to 
 fold tissue-paper, in large sheet form, to imitate the drapery as accurately as possible 
 to the design, and cut it when thus plaited, and folded and looped; and then open it 
 and giving the sharp points a rounded finish, cut the goods below the linings by that 
 pattern, joining the lines at the top neatly and accurately, with the lines representing 
 the perfect fit — on the waist linings. 
 
 6. Line S, indicated from line J in Figure XXIX, to the fold of the goods, 
 represents the position or height of the plaiting or drapery, which is governed by the 
 display of good taste, in its adaptation to the form for which it is intended ; higher for 
 long forms, and lower for short forms ; and as fashion decides. 
 
 7. All actual complete depth-measurements should be from points 3, 4, 6, 7, 9, 
 10, 12, 13, 14, and 15, toward the bottom, when the draft is complete in all other 
 respects; and the seams, arranged accordingly. 
 
 8. The folds and loopings should be marked, before the pattern is taken apart, 
 according to the above instructions, and transferred from this pattern upon the 
 material, when both are laid open and the pattern placed upon the material ; both in 
 polonaise, overskirt, and basque drapery ; in order, to simplify the re-arranging of the 
 same, for the beginner. 
 
112 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PLATE XIII. 
 
 B ASQ U ES. 
 
 INSTRUCTIONS. 
 
 1. Cut the linings per instructions given, either in Figure I, or Figures V, VI, 
 VII, and VIII; and the sleeves, per instructions given, in either of the desired sleeve 
 Plates. 
 
 2. Form the draft on the goods, by the linings; in the same manner and by 
 the same principles, as given under the same plate, for placing the linings for 
 polonaises, 
 
 3. For plain round-basques, let all the seams, excepting the darts, intersect at 
 the hip -depth below the construction line B; and allow the lines representing the 
 seams, to run almost perpendicularly from the hip-line, to the depth desired. This 
 principle underlies all close fitting-garments; over, and below the hips ; whether it is 
 a basque, sacque, redingote, newmarket, cloth tailor-suit, or ulster. Measure the 
 desired distance for the depth of each seam, from points 3, 4, 6, 7, 9, 10, 12, 13, 14, and 
 15, toward the bottom; locating points at each seam, the desired depth from these 
 respective points: and then draw lines from point to point, in horizontal directions, 
 and trace according to these lines. 
 
 4. For the pointed-basque, proceed to locate the various depths at the various 
 seams, per instructions for the round-basque. Then with the pencil or crayon, using 
 the desired or fancied radius of tape-measure, on the principle you drew the curves 
 in forming the draft for the linings in the back, form the curves at the bottom of the 
 basque; as illustrated by the basque-lines, on Plate XIII. 
 
 5. The principle of using the vest-line, is the same as that given for the polonaise. 
 This is also true of the plaitings, and drapery; and methods of reading them accu- 
 rately, from books, for the use of designers; and from fashion plates. Although 
 according to Bosworth, the basque is of Biscayan origin ; the jaunty polonaise, on 
 the authority of Guthrie, a gift from the Poles ; and the queenly princess, the favorite 
 of Cleopatra's many-tinted robes of royal purple, as well as the chosen form of the 
 habiliments of Queens and Princesses — whose thrones, palaces, and forms, have long 
 since crumbled to dust — they are all nevertheless, in science, the offspring of one 
 common parent — draft; and when properly understood, are each and all, quickly 
 and easily drafted from one and the same draft: and as given, either in Plate XII, or 
 Plate XIII. _ 
 
 YOKES. 
 
 To eliminate the desired yoke from the draft or drafts, simply use the upper part 
 of the draft for the close-fitting body, for the front and the back, to the depth desired ; 
 at which point, draw a line parallel with the construction line C, entirely across the 
 draft; and trace and use the fit above said line, for said or desired yoke; into which, 
 any desired amount of fullness of the goods or material can be plaited, shirred, or 
 gathered . 
 
 LOW-BODICES AND BALL-DRESSES. 
 
 Complete the close fitting and high-necked draft, per instructions for the same; 
 and after being thus completed, design the depth and shape you desire, in the completed 
 bodice; and trace the exact fit everywhere, as indicated by the draft, up to said line, 
 and as indicated; tracing the line indicating the depth and design, to which it is 
 desired to have the dress completed; and allow all seams everywhere, as for the plain 
 high -body. 
 
UTILITY AND DECORATIVE ART. II3 
 
 TRACING. 
 
 1. Always prove your draft, by carefully measuring the parts which represent 
 the goods or the fit on the chest, bust, waist, and hips; before tracing any parts of 
 the draft, upon the goods or linings. If you have made a mistake, rectify the same 
 in an equal division at the seams on said line or Hnes, as the case may be ; so as to 
 exactly agree with the measures called for in the measure-book, at said points. 
 
 2. Then placing the pressed linings double-ply upon the table, and making the 
 desired allowance outside of the lines representing the fit, for extensions, seams, fin- 
 ish, etc. , pin the draft in a true position with the linings, whether crosswise or length- 
 wise, upon the same. 
 
 3. With the tracing- wheel, trace the exact fit thoroughly, through both folds of 
 thelinings; first, the front, then the back, then the side-back, then the side-front; 
 cutting each piece out as it is traced, before tracing the next; and allow the desired 
 extensions for finish in front, and at the centre seam of the back (on the fold), and 
 }^ inch seams in the neck and arm's-eye; ^ inch seams everywhere else, excepting 
 at the seam where the front and side-front join; where, it is best to allow a seam of i 
 inch; in case of a possible desire to enlarge the garment, at some future time. 
 
 PLATE I-FIGURE 1. 
 THE FRONT. 
 
 4. Trace the following lines in the following order, viz: A from point i to 
 point 48; D^ from point 12 to point 48; W^ N; the indicated curved hne along O; 
 
 v^ u^ B^ a^; e from point 36 to point 13; Y^ Q\ z^ s^ A^ R^ B^ N^ e, p^ 
 
 D', O^ G', F^ M^ and X from point 5 through points 31, 15, and 29, to point 27. 
 
 THE BACK. 
 
 5. A, from the point of intersection of lines A and G^ to the point of inter- 
 section of lines A and F^; E^ from point 42 to point 41; X^ from the point of inter- 
 section of lines X* and P to point 8; J, the indicated curved line along W, P, G\ Y, 
 from point 19 to point 35; H^ F^; and D, from point 20 to point 10. 
 
 THE SIDE-BACK. 
 
 6. A, from the point of intersection of lines A and J* to the point of intersec- 
 tion of lines A and P; E* from point 51 to point 50; X^ from the point of intersec- 
 tion of lines X' and L', to the point of intersection of lines X^ and J^; X, from point 
 33 to point 34; L^ K^ J^ y, ^^ and n\ 
 
 THE SIDE-FRONT. 
 
 _ 7. A, from the point of intersection of lines A and U to the point of intersection 
 of lines A and K'; E' from point 49 to point 52; X^ from point 4 to the point of 
 intersection of lines X' and W; X from point 5 to point 33; B from point 4 to 
 point 57:_E' from point 57 to point 49; L^ M', K'; and J^ from point 56 to point 33. 
 
 THE PRINCESS-BACK AND SIDE-BACK. 
 
 8. Trace the same as above, with the following exceptions, viz: where the 
 back and side-back join, trace line N* for the back, and lines O* and line N' from 
 point 71 to point 70 for the side-back. 
 
114 "^^E ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 THE VEST-FRONT. 
 
 9, Trace the same as given for the front, above, with the following exceptions, 
 viz: Where the vest and the front join, trace Z\ S^ and P^ for the vest; and A^ R^ 
 and P', for the junction of the front with the vest. 
 
 PLATE II.-FIGURE 11. 
 
 THE FRENCH-SLEEVE. 
 
 10. The top side— G, H, D, S, F, L, K and R. 
 
 The lower side — H from point 10 to point 11; D from point 6 to point 12; Q, 
 I, L, J and O. 
 
 PLATE III.-FIGURE III. 
 
 II. The top side— F, D, Q, E, I, H and P. 
 
 The lower side — F, D from point 6 to point 8 ; O, E, I, G and L. 
 
 PLATE IV.-FIGURE IV. 
 
 THE CHILDREN'S DRAFT. 
 
 THE GABRIELLE. 
 
 12. The Front. — Place line E on the fold: A, from point i to the point of 
 intersection of lines A and H^; B* from point 12 to point 45; L' from point 11 to 
 the point of intersection of lines L* and N'^; N, the curved line indicated along line 
 O, from point 24 to line H^; N^ and H^ 
 
 13. The Side-Front. — A, from the point of intersection of lines A and J" to the 
 point of intersection of lines A and G^; B* from point 50 to point 3; C* from point 
 3 to point 43; L' from the point of intersection of lines L* and O* to point 4; M^ 
 from point 4 to point 8; X, from point 44 through points 5, 31, 15 and 29 to point 
 27; 0\ J^ H^; the indicated curved line along O, from line H" to point 27; U , T', 
 and Gl 
 
 14. The Back. — A, from the point of intersection of lines A and E^ to the 
 point of intersection of lines A and D*; C^ from point 39 to point 38; M'' from the 
 point of intersection of lines M^ and Q^ to point 8; J, the curved line along line W 
 from line E'^ to point 22; Q\ E^ P\ D"; and line D from point 20 to point 10. 
 
 15. The Side- Back. — A, from the point of intersection of lines A and G^ to 
 the point of intersection of lines A and F*; C^ from point 43 to point 42; M', from 
 point 4 to point 8; X, from point 44 to point 19; Y from point 19 to point 35; the 
 curved line indicated along line W from point 35 to line E"; S^ G^ R^ F', and E* 
 from point 41 to point 40. 
 
 16. The English- Back. — Trace both parts the same, as given above, with the 
 following exceptions, viz: where the back and side-back join, trace for the back, 
 line V^; for the side-back, X'^ and W^ and curved line, from point 44 through point 
 33, to point 34. 
 
 17. The French Back. — This will be seen at a glance: simply using the entire 
 back, tracing half as much more out at each side, at the waist, as the distance 
 between points 39 and 42; and allowing for the difference in the extra amount ot 
 spring at each side, at the hip-line; as the draft indicates. 
 
 N. B. — Any style of garment, for a child, can instantly be traced from the above 
 draft; in locating the desired seams, by a few points and lines upon the fit as it 
 stands; and regulating the degree of fit and the style, at will. 
 
UTILITY AND DECORATIVE ART. II5 
 
 CUTTING THE GOODS. 
 
 1. Trace the fit or mould of the form, upon the linings, first; then place the lin- 
 ings upon the goods, and cut the material according to the outlines of said linings; 
 pinning each piece of the linings, according to the most economical arrangement, 
 into position, before cutting any part. Be certain you have, in said position, allowed 
 for the extra or required depths, below the waist-lmes; also, that the position of the 
 linings is true, with the goods. Locate the front and back, or the largest pieces, first; 
 and the side-pieces — sleeves, collars, cuffs, etc., can, by a little thought and careful 
 management, be cut out of the pieces remaining. 
 
 2. It is best for beginners, to place each part of the linings separately upon the 
 goods, and not to cut the material close to the edge of the linings; simply, "block- 
 ing it out, ' ' pinning each part of the linings to its corresponding part of the material, 
 and folding it and placing it by itself; this will obviate the danger of duplicating the 
 same, or cutting double pieces for the same side of the body, or the sleeves; by hav- 
 ing the pieces mixed with those not yet cut. 
 
 3. When a fabric is very narrow, cut the fronts on the "half-fold," cutting 
 each front separately; and plain material, or that alike both up and down, as geo- 
 metric patterns often are, you can add the necessary widths for gores of dresses, by 
 joining the widths. 
 
 4. Tunics, tabliers, peplumes, double skirts, polonaises, or by whatever name 
 the top or over-garment is termed, are all cut in a similar manner. 
 
 5. Double-width materials are folded at the centre, and the fronts of tabliers 
 and tunics, placed along the fold. Cutting out mantles, sacques, cloaks, and dol- 
 man-sleeved wraps, are governed by the same principles as those given for other 
 garments. 
 
 6. Jackets are usually cut as jacket-bodices, differing only in size and trim- 
 ming. 
 
 BIAIS-CUTTING. 
 
 1. Biais-cutting presents some little difficulty, to the novice; yet, when the 
 principle is solved, it becomes easy. It is most important that it should be thor- 
 oughly understood, and accurately taught; as it is much used in the connoisseurs', 
 lady-tailors' and modistes' art. 
 
 2. Place the material, with the selvage to your front, upon the cutting-table; 
 raise the corner and fold it to the top or upper selvage line, so as to place the straight 
 cut end of the fabric along the selvage line; pin this carefully down, and crease the 
 fabric where the natural fold occurs. This is the exact cross of the fabric; and this 
 fold is cut through, leaving a half square piece (which is laid aside), and a true biais, 
 or cross-cut line on the fabric. The width of the biais pieces, is next ascertained. If 
 a six-inch biais is required, measure six inches at both selvadges, turn the material 
 down, and pin into position firmly; then fold the other selvage down six inches, and 
 crease the fabric as before, cutting on the creased line. Repeat this, as many times 
 as the number of pieces desired, to equal the length called for. A six-inch flounce, 
 requires a biais eight inches wide. Measure each piece exactly, and independently 
 of the others ; as using the first by which to cut the second, etc., is not accurate, and 
 causes the biais to be untrue; and, consequently, not to hang accurate and true. 
 Practice on paper until the art is mastered. Experienced cutters can take a shorter 
 process, by square, chalk and pencil; which experience will teach the graduate, in the 
 above. 
 
 BIAS-CUTTING ON TWILLED GOODS. 
 
 Great care is required in cutting bias on twilled fabrics. Place the material, 
 right-side down, on the table; and the left-hand corner turned over, as for cutting 
 ordinarily. This brings the right side uppermost, and the lines of the twill appear 
 perpendicular. The same rule applies to cutting bias on crape. 
 
Il6 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 CUTTING TRAIN-SKIRTS. 
 
 The promenade presents no difficulty whatever, after understanding the draft ; 
 but the trains, might possibly puzzle the novice. Three breadths are required in the 
 back, in very long trains; and the extra length must be divided between them accord- 
 ing to the draft; and as illustrated. The centre breadth should not be made very 
 much longer than the sides, and must be rounded in the centre; as illustrated, and 
 not cut to a point. 
 
 If there is not material enough for this, it may be made in the following manner, 
 viz : one whole breadth in the centre, and a gored breadth on each side of it ; this 
 must however be the full width of the material at the bottom, and slope-off to a width 
 of five inches at the top. In cutting the gores, where there is an up-and-down pat- 
 tern, they must, of course, be cut one beyond the other; and the parts left, can be 
 used for sleeves, side-pieces, etc. This rule applies to velvet, velveteen, and all 
 fabrics having a raised pile; which, require to be made with the pile brushed in one 
 direction; which, according to common sense, best reason, and usage, is downward. 
 To those who insist to reverse it, and cut it with the pile in the opposite direction, 
 we most cheerfully grant that privilege; and, will not dispute their right to do so. It 
 is simply a matter of taste and economy. 
 
 In cutting gores, outline each before cutting, by the fit of the draft upon the 
 linings. The lengths of trains are, entirely, a matter of taste. This also applies to the 
 gores. A demi-train may have six gores; one full gore in front and back, and four 
 side-gores ; and may be, from 5 to 20 inches longer than the front. Perhaps the most 
 standard length for full trains is, from i to 2 yards longer than the front, and gored; as 
 illustrated in the cut. The train is the same as the demi-train ; only, longer and wider. 
 The length at the back, and the width at the bottom, in a well-balanced train, should 
 be symmetrical, and equal. The true designer and cutter will study the form, the 
 combinations of color, the nature and texture of the material, and the place and pur- 
 pose for which the garment is intended ; and by a careful study and application of 
 the principles of the draft, as given in the illustration on the cut, and as taught in the 
 instructions, it will be an easy matter for the dullest pupil to attain success; while it is 
 left for the natural designer, to excel. Here, as in other departments, the true cutter 
 is an artist ; the customer is the canvas ; the materials are the colors ; the square, 
 tape-measure, pencil, and scissors, are his brushes; and it is his province, to so mingle 
 the shades and colors of form, material, purpose, and design, as to reproduce and 
 reflect in his or her production, the highest possible human achievement, in imitation 
 of the beautiful in Nature. 
 
 DRAPED-SLEEVES. 
 
 Draft the close-fitting sleeve, per instructions for drafting the sleeve. Design 
 the desired depth you wish the sleeve; at which point, give the inside a slight curve, 
 away from the arm ; and then design at will, by a curved extension, the depth of 
 drapery at the opposite side, as well as its shape. It is exceedingly simple, if the 
 above principle is honored carefully; the drapery adjusting itself to the draft of the 
 perfect fit, along the upper part of the arm and shoulder. 
 
 BASTING. 
 
 For basting the linings separately, for the purpose of "trying-on, " we have neither 
 place nor use, in the system. It is not only a useless, but a positively injurious 
 prejudice and process ; as it utterly unfits the linings for further use; changing, 
 destroying, and utterly annihilating, the original mathematical mould or fit of the 
 form, impressed upon them by the tracing-wheel, from the draft; which impression is, 
 for the purpose of accurately basting, stitching, making, and finishing the material — 
 upon said linings. If out of either prejudice or fear, in the customer or the cutter, 
 
UTILITY AND DECORATIVE ART. II7 
 
 the garment is "tried-on, ' ' it should certainly not be done in such a manner as to destroy 
 the very object of this whole work ; and so as to annihilate the impression of the fit, 
 for the attainment of which, so much time, care, and labor has been expended. But 
 in that case, it should be done after thorough and careful basting, and partial stitch- 
 ing of the goods or material upon said linings — immediately before completion. 
 While this, even, is positively not necessary on any form, where the system has been 
 accurately followed in all its details, we will certainly find no fault with any one, who 
 out of fear or prejudice, either in the customer or cutter, will insist upon so-doing. 
 But to those who insist upon first fitting the linings, and then use the same linings 
 for said garment, we promise nothing more than an approximation to perfection; as 
 it is a radical fault, and an injurious and deceptive mistake. "Fitting" garments, at 
 most, when on the form, is only another mode of expression of "mis -fitting ;" by pulling 
 the garment out of its correct and truly perfect shape, and destroying its symmetry. 
 Hence, many garments after being worn a short time, will show these defects, in 
 skewing and crooked seams, and wry attitudes ; disfiguring, instead of adorning the 
 person. But for the beginner, to practice and learn cutting, it is well to cut linings 
 for mere practice ; and baste them, and study and learn from their results ; and for 
 this purpose, we give the following rules by which to baste linings, viz : 
 
 1. Place the various parts together, so that the construction and waist-lines, 
 traced across the parts at the waist, will be exactly even. 
 
 2. Baste up-and-down, in each direction from said lines, beginning at the waist; 
 and run a single stitch at a time, locating the stitches ^ inch apart. 
 
 3. Commence with the back and side-forms, holding the back toward you; 
 baste it a little full, and stretch the rounded edge of the side-forms. 
 
 4. Hold the back toward you, in basting the shoulder seams ; stretching the 
 front shoulder seam, until it is even with that of the back. 
 
 5. Baste the darts very carefully, upon the trace-marks; holding them and bast- 
 ing by the same principle as given above, for basting the curved seams at the back. 
 
 6. All the pieces should first be very carefully and accurately pinned into posi- 
 tion, at intervals along the seams; each way, from the waist. 
 
 7. In basting the sleeve, place the construction line across the same at the 
 elbow, exactly even, which should bring it even at the front ; then baste per instruc- 
 tions above : placing the top and under sleeve even at each end ; bringing any full- 
 ness allowed, equidistant each way, from the construction line across the sleeve, at 
 the elbow. 
 
 BASTING THE MATERIAL. 
 
 In correctly and accurately basting the material upon the linings, and then said 
 parts into one and the whole, lies the grand secret of garment-making ; if said lin- 
 ings are correctly cut, as taught in this work. 
 
 I . Always cut the linings one-half inch longer than the material. Place the ma- 
 terial on the table, with the wrong-side up; and with the wrinkles neatly smoothed-out. 
 Begin with the front. Carefully place the lining upon the goods; with a long basting- 
 needle and basting-thread, black on white, or white on other goods, begin in the centre, 
 at the top of the front; baste on a direct line, down to the top of the front dart, basting 
 through the center of the dart, to the bottom ; taking one stitch at a time, one-half 
 inch apart ; and, holding the lining (by an upward movement of the thimble of the 
 left-hand, at the taking of each stitch), one-half inch full; equidistant each way, from 
 above and below the waist. This is done at all points and sides of the garment, 
 around the entire waist-line. It should at least extend, or be distributed, over a space 
 of three inches above, and three inches below the waist. It is the sovereign remedy 
 for inelegance of fit at the waist ; and for the presence of wrinkles in the material, 
 on the outside ; as the linings in adjusting themselves to the form, stretch the material 
 on the outside, and hold it in this stretched position. 
 
Il8 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 2. Baste the second dart, in the same manner; beginnino- at the top of the dart, 
 and basting through the centre; with the like fullness of the lining, to the 
 bottom. 
 
 3. Begin at the lower opposite corner of the front, and baste all around the 
 edge of the entire front ; observing the law of the half-inch-fullness of the lining, 
 above and below, and near the waist. Baste one inch from the edge. 
 
 4. Neatly trim the edges, and overcast them, around the entire piece; not 
 drawing the stitches tightly. 
 
 5. Begin at the waist, one inch from the seam at the centre of the back, in 
 basting the material upon the back. Baste in like manner, as for the front, from the 
 waist toward the top; around, and within one inch of the edge, down to the waist ; 
 from thence, through the centre of the piece, to the bottom, observing the same 
 law, for the necessary fullness at the waist, as in basting the front. Trim the edges, 
 and overcast the same. 
 
 6. Begin at the top of the side-pieces, one inch from the edge, and at the centre; 
 and baste down through the centre to the bottom; observing the same law for full- 
 ness at the waist; and, neatly fastening the basting thread, where you begin and quit, 
 on all the pieces. Trim the edges neatly, as for the front and back; and overcast 
 them neatly, all around on each side. 
 
 7. Begin at the darts, to baste the seams. Commence at the top of the dart, 
 and begin carefully ; after neatly pinning the seams into the best possible position at 
 intervals, take one stitch at a time, one-fourth of an inch apart ; stretching the seams 
 of the darts on the waist, so as to join smoothly; and baste exactly on the trace- 
 marks. 
 
 8. Stretch the seam at the junction of the side-front, above, on, and below 
 the waist, where the fullness in the linings was allowed; so that they will join 
 smoothly. Lay the pieces so the construction and waist-lines will exactly be even, 
 and pin them, and baste up-and-down from the waist, each way, very accurately. 
 
 9. In basting the curved seams on the side pieces, the curved side should be 
 basted easy, but not full; from a point ^^ ways up from the waist, to within 1)4 
 inches of the top. Baste these seams with the back next to you ; baste the right 
 side first, beginning at the top ; being sure, however, that it is first thoroughly 
 and carefully pinned, at intervals ; so as to be even at the waist and construction 
 lines. In basting the left side, pin it as you did the right ; removing the pins, as you 
 baste. 
 
 10. Stretch the front shoulder seam thoroughly; until it is even at the neck 
 and arm's-eye, with the seam of the back. 
 
 11. Stretch the lower part of the arm's-eye, from point 5 to point 15 in the 
 draft, thoroughly ; until it turns over at the edge. This prevents wrinkles in front 
 of the arm. It is best to run a basting thread around the remainder of the arm's-eye, 
 as well as around the neck; to keep those parts from stretching. All the various 
 parts should be carefully handled; so as not to stretch the seams. 
 
 12. Baste the sleeve, into the arm's-eye of the body, with the fullest or 
 highest part of the top of the sleeve, exactly on the top or highest part of the 
 shoulder; and baste it full, from point 27 to point 29; as seen, in the draft. 
 Before the sleeve is basted into position, it should, both lining and ma- 
 terial, be overcast neatly; having the stitches }i of an inch apart, gathering 
 the top with a running or overcast stitch. The linings should be of silk, or 
 some soft material. The back seam, of the sleeve, should be turned toward the under 
 part, and fastened to the lining. In heavy goods, the seams should be pressed open. 
 The finishing is taught, elsewhere. In conclusion, we cannot but remark, that too 
 much care cannot possibly be bestowed upon basting, in all its details. Accurate 
 measurements are the roots ; accurate drafting is the trunk ; and accurate tracing 
 and basting, are the branches and blossoms, of the tree of success : which, will yield 
 the golden fruit of a rich reward, in the completed garment. And here, we part with 
 the student; trusting we shall renew and extend our acquaintance, on the threshold of 
 Part II. 
 
PART SECOND. 
 
 ALL BRANCHES OF 
 
 LADIES' AND CHILDREN'S 
 
 Cloak and Wrap-Cutting, 
 
 AND 
 
 BASTING. 
 
 119 
 
I20 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PREFATORY TO PART SECOND. 
 
 Everywhere in Nature, there is manifest "the eternal fitness of things." The 
 right thing, in the right place; and, at the right time. And in the law of develop- 
 ment, as taught and interpreted in her sanctuary, is reflected the correct method of 
 receiving and imparting knowledge, on any subject. The year has its seasons; day- 
 light its dawn ; and the oak that has withstood the storms of centuries, was once 
 enclosed within the shell of an acorn ! And in like manner, from the lofty peaks to 
 which the mind of Milton climbed, there is a ladder whose base rests upon the first 
 character of the alphabet ; every round of which he ascended, step by step ! All of 
 which teaches us that we must first learn our letters, and patiently learn to spell the 
 words, before we can read. Elements must first be mastered ; from elements we 
 must learn to form principles ; from principles the formation of characters, and the 
 deductions and expressions, and the applications of truth. As we leave our narrow 
 compass of vision in the valley, and ascend up the mountain's side, the outstretching 
 plain lying along its base, grows larger and larger ; and as our journey is continued, 
 our horizon enlarges, and the outlines of objects grow more distinct and clear ; and 
 in every way, we begin to see things as we never saw them before ! And as we now 
 stop here for a moment, to drink from the cold sparkling waters, bursting forth from 
 beneath the overhanging rocks; and as we contemplate and enjoy, for a few moments 
 of rest, the beautiful scene stretched out before us; like children, on their vacation 
 ramble, we naturally desire to see more, and farther ; and we now therefore, invite 
 the student to follow us, and " go up higher ! ' ' 
 
 In going to the designing and cloak rooms, we dismiss nothing of principles of 
 measurement or drafting; but simply learn how to utilize and adapt, and apply said 
 principles, in a larger and more extended field. How, that plain waist patterns are 
 the buds of basques ; and how, that sacques are the blossoms of coats; and how, that 
 trains, ulsters and long wraps, are the ripened fruit of all. How, that from the same 
 and common parent-staff are born the twin sisters — the cape, and the circular; differ- 
 ing only in stature. And how, that Pelisses, and Dolman-sleeved circulars, wraps, 
 etc., cling to the draft of the dolman, as the vines of the forest cling to the sturdy 
 oaks. Armed with all the former principles of knowledge and practice, and having 
 so successfully overcome all difficulties in "the close fit," surely it will be an easy 
 matter for the student to simply regulate the degree of looseness desired, outside of 
 said fit; along with the extra depth of waist at the back — to add grace of shape — in 
 sacques and coats ; and to design, at will, their grace and comeliness. 
 
UTILITY AND DECORATIVE ART. 121 
 
 COPYING. 
 
 To copy, is to imitate what we see in the productions of others. 
 
 INSTRUCTIONS. 
 
 1. Measure the entire size or height of the figure, on the plate; from this, fix a 
 "scale," upon which to base your measurements of the depths; in the measurement 
 of trains, draperies, points, shirrings, plaitings, angles of slope, vests, lappels, etc. 
 
 2. Example: For instance, the figure on the plate is 4 inches in height, from 
 the bottom of the skirt to the neck; the depth of a point of drapery, at the side, is 
 shown to be at a depth below the waist, at a point which is ^ of the entire figure, 
 or I inch from the bottom of the skirt. Now find the sum of the front height, plus 
 the front-waist depth, plus the skirt depth of your customer; take }(. of this distance: 
 then drape so that the point hangs exactly that distance from the bottom of the skirt. 
 
 3. Proceed exactly by the same principle, when the widths are desired to be 
 imitated, in vests, lappels, plaits, etc. ; basing the ratio of proportion sought, upon 
 the measure of the form for which it is intended. By a little thought and care, the 
 most accurate copy can thus be read and reproduced, to the most complicated plate; 
 where two sides are shown. Then attach this design, or peculiar style thus copied, 
 to the draft of the perfect fit, at the waist and hip-lines. 
 
 4. To be a correct copyist, one should be accurate. If your memory is not 
 good, use a pencil and note book; and accurately note: 
 
 a. The number of seams. 
 
 d. Their style. 
 
 c. The finish and style at the neck. 
 
 d. The style of sleeve, and its finish. 
 
 e. The body of the garment; whether plain, plaited, scalloped, draped, etc. 
 
 f. The skirt: its trimming, drapery, etc. 
 
 g. The tailor-finishings, etc. 
 
 h. Last, but not least, the combinations of materials, color, etc. 
 
 5. For beginners, it is positively necessary to practice in colored tissue-papers, 
 until correct principles and elements of combination of colors, and incut, finish, etc., 
 are perfectly mastered; then, you can trust yourself on silks and velvets; when you 
 have the measures, and the given design. All of which, is an easy and simple lesson; 
 requiring only studiousness, industry, accuracy, and patience; without which, in 
 anything in this life, there is no excellence. 
 
 DESIGNING. 
 
 Design, comes from the Latin De signo; de, out, and signo, to mark: Its 
 literal meaning, therefore, is to mark out, or point out by tokens; to designate; 
 to form an idea, purpose, plan, or conceive the same ; and then designate 
 and describe the same. To establish or form for some end, would be an 
 appropriate and correct definition of its meaning, in the art and science of 
 garment-making. It means more than merely copyiyig. There are plenty of 
 copyists, but few designers. The designer may be aided in his conceptions of 
 things, by studying the work of others; but, from the very nature of things, it would 
 be impossible to rise higher than the fountain, from which this spring has its source. 
 The true idea of designing means more than this ; and the true designer will drink 
 fi-om a higher fountain : and will study beauty, as it is displayed and interpreted in 
 nature. 
 
122 THE ENCYCLOPEDIA OF GARMENT-MAKING. 
 
 Everywhere, in her sanctuary, we are taught in eloquent voices the grand and 
 lofty conceptions and designs of her Author. From the muttering sounds of 
 Heaven's thunder, the earthquake, or the mighty ocean's roar, down to the sweet 
 low cadence of the whisperings of the soft breeze among the branches of the pine 
 forest, on the calm and quiet summer evening ; from the brilliancy of the angry flash 
 of the lightning against the inky heavens of midnight, the burning sun, and the stars 
 of heaven, down to the most delicate shades and tints of pink and white on the lily's 
 fair face; from the infinite greatness of the conception and design of systems of 
 suns, with all their heavenly train of stars and attendant planets, shoreless oceans of 
 water and light, down to the the simplest pebble along the sea-shore; there is shown 
 an eternal fitness and design of things, that defies the eloquence of all human lan- 
 guage to express. Each bird has a plumage that defies imitation, in its true and 
 magnificent conceptions, as to fitness, propriety, and beauty ; and each shrub, and 
 leaf and flower, is a miniature world of design, appropriateness, and matchless beauty 
 that baffles even description — much less imitation ! At best and most, we can but 
 approximate in our feeble attempts at designing the works of the Great Artist and 
 Teacher of all ; whose halls of study prepared for man, compose the Universe; the 
 walls of every department of which, are hung full of pictures, possessing a grace and 
 beauty of design, that is matchless ; and which is infinite, to the highest possible 
 human conceptions. But while we can not equal design, as displayed in Nature, we 
 can closely approximate the beauty of fitness and design of things we see around and 
 about us, in Nature. And here alone, the lessons that teach correct designing, can 
 ever be truly learned. A simple leaf gives more instruction on the ' ' grace of curves, ' ' 
 than one could learn from all the greatest Masters in Paris, Berlin, London, New 
 York, or Philadelphia. And the distribution of the branches of the mighty oak of 
 the forest, or the tiny shrub, teach a more eloquent lesson as to correct designing and 
 the true propriety of symmetry, belonging to the various sized and shaped forms, than 
 a life study would bring from the greatest productions from human hands; while, 
 God has written upon sky and ocean, and the earth, the rock, the minerals, the 
 animals, the plumage of the birds, and upon leaf and flower, the only true diction- 
 ary the world will ever find; as to the law and correct design, in combination, 
 harmony, shading and blending of colors ! Study these, rather than fashion journals. 
 Correct taste, and true art is always in fashion. And there is a higher queen than 
 that of fashion ; to whose chariot wheels fashion is ten thousand times chained, as a 
 slave 1 And it is the universal decision, by all the world's best and most learned 
 critics, that many times those are most adorned, who according to fashion, are least 
 adorned. Nature suggests to the designer, the correct science of symmetries and 
 graceful designs, as to height, length, breadth and depth; as weli as by the seasons' 
 prevailing foliage, the colors, with their tints and shades, that are most appropriate 
 to each season. She writes the true fashion journal for each season, in the colors she 
 strews all over the earth. And it is the work of the artist to gather these tokens of 
 favor, as they fall from her hand, and arrange them according to the best symmetry 
 and grace, as to form ; and according to correct and the most effective taste, for each 
 peculiar customer, for each special occasion, and for each special purpose. New and 
 correct combinations of color are read, in the wondrously mingled azure of the morn- 
 ing and evening sky; and from the royal and princely robes in leaf and flower; which, 
 lend such rich lustre to nature's denizens, of both forest, field, and garden. While 
 new cascades, in drapery, will spring into conception and existence, from the beauti- 
 fully instructive cascade ; as studied perchance, on the banks of the lonely mountain 
 stream — when out on your summer's vacation. 
 
 Designing the arrangement of the bridal vail and orange blossoms, is one thing ; 
 the placing of the emblems and tokens of sorrow, is quite another. Study the fashion 
 journal of man, but that of nature more. Cultivate true taste, and correct conceptions, 
 and appropriateness, by communion with her teachings; in forest, field, and garden. 
 Strive to rise above a mere slavery of form, in fashion ; and be observing and reflec- 
 tive; compare and think ; be studious, industrious, patient, and hopeful, with an 
 ambition to excel that you may de good — by refining, educating, and ennobling 
 humanity through your profession; and, success will crown your efforts. 
 
UTILITY AND DECORATIVE ART. 
 
 123 
 
 The International Method of Foreign and American Scientific 
 Tailor-Principles, for all Kinds and Styles of 
 
 Cape and Circular-Drafting, 
 
 ELEMENTS AND PRINCIPLES OF CONSTRUCTION. 
 
124 "^^^ ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 CAPES. 
 
 ELEMENTARY PARTS OF THE DRAFT. 
 PLATE XIV.-FIGURES XXIII AND XXIY. 
 
 INSTRUCTIONS. 
 
 I. Either trace accurate patterns of the upper parts of the front and the back, 
 from the original "waist-draft," of the particular form for which the cape is intended, 
 basing their lower edges on a line, parallel with, and equidistant from the construc- 
 tion hues A and C; or use the entire outlines, or complete front and back; either, or 
 both of which methods are illustrated in the cut; by Figure XXXIII, or the pattern 
 or linings of the front, as indicated and included within lines A, B, C, D, E, F, and 
 G; and also Figure XXXIV, or the pattern, or linings of the back; as indicated and 
 included within lines H, I, J, K, L, and M. 
 
 INSTRUCTIONS. 
 
 PLATE XIV.-FIGURES XXXV, XXXVI AND XXXVII. 
 
 1. Place Figure XXXIII upon the goods, opposite the selvage, sufficiently far 
 from the right-hand edge, or bottom of the goods, to allow for the required depth, 
 plus the hem; place XXXIV on the fold of the goods, opposite the bottom of the 
 front, sufficiently far from the bottom at the fold, to allow for the required depth — 
 plus the hem: Then arrange Figures XXXIII and XXXIV in the position in which, 
 the arc of the neck-circumference of the back will be toward the front of the draft, 
 the arc of the neck-circumference of the front toward the top, line A at right 
 angles with the front edge, line H at right angles with the fold, line I on the 
 fold, and line B the required distance from the selvage, for finishing; with lines D, 
 E, K, and L intersecting at the same point: then, baste or fasten Figures XXXIII 
 and XXXIV securely on the goods, in that position; as illustrated in the cut. 
 
 2. Locate point i at the point of intersection of lines A and B. 
 Locate point 2 at the point of intersection of lines B and C. 
 Locate point 3 at the point of intersection of lines C and D. 
 Locate point 4 at the point of intersection of lines D, E, K, and L. 
 Locate point 5 at the point of intersection of lines K and J. 
 Locate point 6 at the point of intersection of lines I and J. 
 Locate point 7 at the point of intersection of lines H and 1. 
 Indicate line N, from point 6 to point 2. 
 
 10. Locate point 8 on line N, at a point equidistant from points 6 and 2. 
 
 1 1. With the end of the tape-measure wrapped around, and near the sharpened 
 end of the crayon or pencil, and the distance, on a straight line between points 
 I and 8, on the tape-measure as a radius, and point 8 as a centre, draw curved 
 line O, or the "bust line," from point i, through point 7, to the fold; as illus- 
 trated in the cut. 
 
 12. Having taken the "depth-measure" (on the form for which the cape or 
 circular is intended), from the centre at the side of the neck, to the length or 
 depth desired, locate point 9 on the selvage, that distance (in a direct line) from 
 point 8; as illustrated in the cut. 
 
 13. Locate point 10 on the fold of the goods, the distance of the depth- 
 measure (in a direct line) from point 8; as illustrated in the cut. 
 
 9 
 
UTILITY AND DECORATIVE ART. 125 
 
 14. With the end of the tape-measure wrapped around, and near the sharp- 
 ened end of the crayon or pencil, the distance of the depth-measure on the tape- 
 measure as a radius, and point 8 as a centre, draw curved line P, or the "bot- 
 tom line of the cape," from point 9 to point 10; as illustrated in the cut. 
 
 15. Indicate line Q, from point 9 to point 10; as illustrated in the cut. 
 
 16. Indicate line R, at right angles with line Q, from point 4 to line Q; 
 and locate point 11, at the point of intersection of lines O and R; as indicated 
 in the cut. 
 
 17. Having taken the "bust- measure" (on the form for which the cape or 
 circular is intended) around the form over the fullest part of the bust and arms, 
 to the desired degree of closeness, find Yz of said ' ' bust-measure ' ' ; subtract this 
 amount from the distance between point i and the point of intersection of line 
 O and the fold, along curved line O: Locate point 12 on line O, the distance 
 of ^ of this difference, from point 11 toward point i. 
 
 18. Locate point 13 on line O, the same distance from point 11 toward 
 point 7; as the distance between points 11 and 12. 
 
 19. Draw line S, from point 4 through point 12, to line P. 
 
 20. Draw line T, from point 4 through point 13, to line P; which process, 
 completes the cape, seamless at the centre of the back: Figure XXXV, or the 
 front of which, is indicated and included within lines P, B, C, D, and S; and 
 Figure XXXVI, or the back of which, is indicated and included within lines P, 
 the "fold of the goods" at the top, J, K, and T; as illustrated in the cut. 
 
 Q. E. D. 
 Jgi^'For the cape, seamless at the side, abandon the "fold of the goods," 
 "the selvage of the goods," and lines S and T, and proceed as follows, viz: 
 
 21. Locate point 14 on line O, the same distance from point i toward point 12, 
 as the distance between points 1 1 and 1 2. 
 
 22. Without changing the position of Figure XXXIII, at the point touching 
 upon point 4, move the lower part of the lining of the front back toward line R ; to 
 the position in which, line B will pass over point 14; and mark the line indicating 
 that position, by the character U ; as illustrated in the cut. 
 
 23. Locate point 15 on line O, the same distance from the point of inter- 
 section of line O with the "fold of the goods," toward point 13, as the distance be- 
 tween points II and 13. 
 
 24. Without changing the position of Figure XXXIV, at the point touching 
 upon point 4, move the lower part of the lining of the back toward line R, to the 
 position in which, line I will pass over point 15; and mark the line indicating that 
 position, by the character V ; as illustrated in the cut. Which process, completes the 
 draft of the cape, seamless at the side; as formed and indicated within lines P, U, C, 
 D, K, J, and V— the back and front, or Figure XXXVII. 
 
 Q. E. D. 
 N. B. — I. The " dolman-cape," or cape which is seamless at the back or side, 
 having fullness on top of the shoulder, and a seam immediately in front of the arm, 
 is easily cut from the same draft as given for the cape, in either form above; by ap- 
 plying the same principles of taking out the dart, and throwing the seam, as a mere 
 extension of line E (where it begins to curve) down the front, to the bottom of the 
 cape; and allowing the desired extra fulness, along the upper part of line E. A little 
 thought, and practical experiment on paper, will easily solve the problem for the 
 careful student. Or this cape may be cut from the upper part of the draft of the 
 "dolman;" which, is given elsewhere. 
 
126 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 CIRCULARS. 
 
 PLATE XIV.-FIGURES XXXVIII AND XXXIX. 
 
 INSTRUCTIONS. 
 
 1. Cut and locate Figures XXXIII and XXXIV exactly the same, and by the 
 same rules and principles as given for the same, in drafting capes; and draw the con- 
 struction lines, and locate all points, the same. 
 
 2. Having taken the "depth" and "bust "-measures, per instructions for 
 drafting capes, locate point i6 on the selvage, the distance of the depth-measure, in 
 a direct line from point 8, toward the bottom edge of the goods. 
 
 3. Locate point 17 on the fold of the goods, the distance of the depth-measure, 
 in a direct line from point 8, toward the bottom edge of the goods. 
 
 4. With the end of the tape-measure wrapped firmly around, and near the 
 sharpened end of the crayon or pencil, the distance of the depth -measure back from 
 the pencil on the tape-measure, as a radius, and point 8 as a centre; draw curved 
 line W, from point 16 to point 17. 
 
 5. Extend hne S, from line P to line W. 
 
 6. Extend line T, from line P to line W ; which process, completes Figure 
 XXXVIII, or the front of the circular, that is seamless at the centre of the back; and 
 as formed and indicated within lines W, extended line B, C, D, and line S; and also 
 Figure XXXIX, or the back of the same circular; as formed and indicated within 
 lines W, "the fold of the goods," J, K, and line T; as illustrated in the cut. 
 
 Q. E. D. 
 For the cape, seamless at the side, abandon the "selvage" and "fold" of the 
 goods, and lines S and T; and proceed as follows, viz: 
 
 1. Without changing the position of Figure XXXIII, at the point touching 
 upon point 4, move the lower part of the lining, or Figure XXXIII, back toward 
 line R; to the position in which, line B will pass over point 14; and extend the con- 
 tinuation of line B to line W, lettering it by the character U ; as illustrated in the 
 cut. 
 
 2. Without changing the position of Figure XXXIV, or the lining of the back, 
 at the point touching upon point 4, move the lower part of the same toward line 
 R; to the position in which hne I will pass over point 15; and extend the continua- 
 tion of line I to line W, lettering it by the character V; as illustrated in the cut. 
 Which process, completes the draft of the circular that is seamless at the side; as 
 formed and indicated within lines W, U, C, D, K, J, and hne V; or in other words, 
 the front and back, or Figure XL; as indicated in the cut. 
 
 Q.E.D. 
 N. B. — I. The principle underlying the cutting of capes and circulars, is one 
 and the same; differing as they do, in their depth only. 
 
 2. The above principles are exhaustive, and are commensurate with every 
 possible emergency of the cutter; as touching the variations of form, style and mate- 
 rial; and they deserve the student's most careful study and analysis. 
 
 3. In case the cape or circular is desired to fit very closely to the form, below 
 the " bust-line," the desired amount of surplus goods may be taken out, equally 
 toward the back and front; by simply changing the angle of lines S, T, U, and V, 
 to the desired degree of slope; from the points of intersection of said lines, with the 
 ' ' bust-line. ' ' Every possible shade of style, as well as every degree of fit, is at the 
 choice of the cutter; when armed with the above measures, principles, and draft. 
 
UTILITY AND DECORATIVE ART. 
 
 127 
 
 The International Method of Foreign and American Scientific 
 Tailor-Principles, for all Kinds and Styles of 
 
 Sacque, Coat, Paletot, and Ulster- Drafting. 
 
 PLATE XV.-FIGURES XLI, XLII, XLIII AND XLIV. 
 EXPLANATORY INSTRUCTIONS. 
 
 I. Figures XLI, XLII, XLIII, and XLIV, are the linings of the front, side- 
 front, side-back, and the back, respectively, of the dress-coat; having i dart, and 
 double-box-plaiting, at the back. In attempting to draft either of the above standard 
 style, or any plate desired, notice particularly, the following, viz : 
 
128 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 a. The number of darts, and style of seams at the back ; their number, and 
 their location. 
 
 b. The extensions ; where, and how many ; and to what extent. 
 
 c. The length, and style of the skirt. 
 
 d. Whether double or single-breasted. 
 
 Then, provide for each particular demand in the design or plate, chosen, accord- 
 ing to the following rules and principles; which, cover every possible emergency, 
 whether it be a sacque, paletot, coat, or ulster ; all having one and the same draft, 
 and differing only, in length or depth ; and in the degree of closeness of the fit, and 
 styles of finish, etc. 
 
 2. Use the original close-fitting body and sleeve-measures, as taken per instruc- 
 tions for measuring the form, for dress-linings, and dress-sleeve-linings ; only, using 
 those measures, in their increased form; and according to the following table of ratios 
 of increase, viz. : 
 
 THE CLOSE MEASURES FOB ALL 
 
 Knrrs or ooods. 
 
 9 
 
 lO 
 
 II 
 
 12 
 
 13 
 14 
 15 
 i6 
 
 17 
 
 Inches. 
 
 Neck-Circumference, 12 
 Skirt- Depth, - 10 
 Blade-Width, - - 18 - 
 Chest- Circumference, 36 
 Waist- Depth, - 8 
 
 Back-Waist Depth, 8>^ 
 Back-Height, - iVz ' 
 Front- Waist Depth, 9 
 Front-Height, - 5 - 
 Arm's-Eye Circumf., 15 
 Back Shoulder-Height, "]% - 
 Front Shoulder-Height, 8>4 
 Shoulder-Depth, - 6^4 - 
 Bust-Circumference, 37 
 Waist-Circumference, 24 
 Hip-Depth, - - 7 
 Hip-Circumference, 48 
 
 1. Extreme-Depth, 
 
 2. Arm's-Eye Circumf., 
 
 3. Elbow-Circumf., 
 
 4. Elbow -Depth, 
 
 5. Hand-Circumference, 
 
 6. Inside-Height, 
 
 7. Arm-Circumference, 
 
 8. Outside-Height, 
 
 THE INCREASED; OR 
 MEASURES. 
 
 Inches. Inches. 
 
 Medium-weight Heavy-weight 
 Goods. 
 
 18 Sleeve: 
 
 22 
 
 15 
 10 
 
 13 
 
 12 
 II 
 
 Goods. 
 123^ 
 10^ 
 183^ 
 
 37 
 8 
 
 rA 
 
 9 
 
 5 
 
 15^ 
 
 7H 
 8}4 
 63/s 
 
 38 
 
 25 
 7 
 
 49 
 
 22U 
 
 13^ 
 8V2 
 SH 
 
 123^ 
 
 113^ 
 
 103^ 
 
 19 
 
 38 
 
 8 
 
 8'A 
 
 rA 
 9 
 5 
 16 
 
 8}4 
 6A 
 
 39 
 26 
 
 7 
 
 22}^ 
 16 
 II 
 13^ 
 
 8j{ 
 
 COAT- 
 
 Inches. 
 Very Heavy- 
 weight Goods. 
 
 10^ 
 
 I9>^ 
 39 
 8 
 
 8}4 
 
 rA 
 
 9 
 
 5 
 
 \^A 
 PA 
 
 8j4 
 6^ 
 40 
 27 
 7 
 
 51 ^ 
 22H 
 163^ 
 
 113^ 
 13^ 
 
 g'A 
 
 83^ 
 13A 
 
 N. B. — I. The height and depth-measures remain unchanged, excepting the 
 shoulder and skirt-depths ; the ratio elsewhere, being based on eighths, fourths, 
 halves, and the standard unit of measurement, or the inch. 
 
 2. Draft Figure XLI, XLH, XLHI, and XLIV, or the plain patterns of the 
 fit, or the linings, to the original close-fitting measures, and as increased in the above 
 ratio ; either by the compound, or by the direct method ; the first of which, is illus- 
 trated and explained under Plate I, and the second, under Plates V, VI, VII, VIII. 
 
 3. Locate point i in both or either of the methods, the required distance fur- 
 ther from the front edge, or edges, for double-breasted garments, diagonals, or 
 extensions, than is given in the instructions for plain or single-breasted body- 
 drafting. 
 
UTILITY AND DECORATIVE ART. 1 29 
 
 4. Where two darts are called for, in the design, draft to the increased mea- 
 sure, per instructions for two darts, in body-drafting. Where only one dart is 
 desired, draft per instructions given for drafting Figure V, under Plate V, with one 
 dart ; carefully and accurately locating the points for two darts first ; and then elimi- 
 nating from these given and fixed points, the position and amount to be enclosed, if but 
 one dart is desired ; and also, the amount, in that case, to come out as extra curve, 
 in front at the waist ; as well as at the side-front ; where it joins the front, on the 
 waist. All of which, can easily be done directly and at once, without first locating 
 the points for two darts, after a little thought and experience, in the student. 
 
 5. Diagonals, here as in the dress, are simply surplus extensions, provided for 
 in front of the draft, when locating point i ; and the same are entirely subject to 
 fashion, and will, both as to depth, height, and design; being outside, and entirely 
 independent of the fit ; and which, is also true of the double-breast extension : The 
 buttons being set as far inside of the curved line of the fit, at the front, as the front 
 terminus of the buttonhole is in front, of the same curved line ; the buttons and but- 
 tonholes being spaced exactly opposite each other, on these respective lines ; so as to 
 be symmetrical and true to each other, when completed and buttoned ; and as all is 
 illustrated in the cut. 
 
 PLATE XV.-FIGURES XLV, XLVI, AND XLVII. 
 
 Instructions for Forming the Draft upon the Goods. 
 
 Figures XLV, XLVI, and XLVIL 
 
 1. Having drafted, traced, and cut, either the patterns or linings, per instruc- 
 tions immediately preceding, and as given above, proceed as follows, viz : Find 
 the difference between the front waist-depth, and the waist-depth ; add this difference 
 to the desired amount for hem; add this sum to the skirt-depth : then, locate point i 
 on the selvage of the goods, the distance of this last sum from the bottom or right 
 hand edge of the goods, toward the top ; as illustrated in the cut. 
 
 2. Indicate line A, at right angles with the selvage of the goods, from point i 
 to the fold or opposite edge ; as illustrated in the cut. 
 
 3. Letter the following lines of Figure XLI, as follows, viz : the traced "con- 
 struction line," at right angles with and across Figure XLI, above the waistline, B ; 
 the curved line near the front edge, representing the fit, C ; the curved line in front 
 of line C, near the edge of the extension for double-breast, representing the front 
 terminus of the button-holes, D ; the curved line representing the front edge of the 
 double-breast, E ; the curved line near the front, inside of line C, representing the 
 line or location of points for the buttons, F ; the curved line on the opposite edge, 
 below line B, G ; as illustrated in the cut. 
 
 4. Letter the following lines of Figure XLII, as follows, viz: The traced "con- 
 struction line, " at right angles with, and across Figure XLII, above the waist Hue, H; 
 the curved line at the edge below line H, joining with the front or Figure XLI, I; 
 the curved line on the opposite edge, below line H, J ; as illustrated in the cut. 
 
 5. Locate the following points, at the following given points, on Figure XLI, 
 viz: Point 2, at intersection of lines E and the "waist line;" point 3, at intersection of 
 lines G and the "waist line;" point 4, on line G, the distance of the hip-depth from point 
 3, toward the bottom ; as illustrated in the cut. 
 
 6. Locate the following points at the following given points on Figure XLII, 
 viz: point 5 at point intersection of lines I and the " waist line;" point 6, at intersection of 
 lines J and the ' ' waist line ;' ' as illustrated in the cut. 
 
 7. Place Figure XLI, or the Hning of the front, upon the goods opposite the 
 selvage, in the position in which, line B will be exactly upon line A ; the arc of the 
 neck-circumference toward the top and front; with line E, intersecting with the selvage 
 
 9 
 
130 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 of the goods at a point, which is the distance of the skirt-depth (or the sum of the 
 skirt-depth plus the hem, if a hem is desired), from the point of intersection of Hnes 
 B and E, toward the bottom : Then locate point 7, at the point of intersection of line 
 E and the selvage ; as illustrated in the cut. Then baste or fasten Figure XLI, 
 securely on the goods, in that position, 
 
 8. Place Figure XLII, or the pattern or lining of the side-front, on the goods, 
 opposite the front ; in the position in which, line H will be exactly upon line A, the 
 arc of the arm's-eye circumference toward the top and front; with lines G and I inter- 
 secting at point 4: Then, baste or fasten Figure XLII, securely on the goods, in 
 that position ; as illustrated in the cut. 
 
 9. Extend curved line J, in the direction given it by the draft, from point 6 
 toward the bottom ; to the same distance from point 6, as the distance between the 
 point of intersection of lines B and C, and point 7 ; at which point, locate point 8 : 
 as illustrated in the cut. 
 
 10. Draw line K, from point 7 to point 8 ; which process, completes Figure 
 XLV, or the entire front : as formed and indicated within line E, K, J, I, and G, 
 below line A ; and by the outlines of Figures XLI and XLII, above line A ; and as 
 illustrated in the cut. 
 
 11. Letter the following lines of Figure XLIII, or the pattern or lining of the 
 said-back, by the following characters, viz: the traced line at right angles with and 
 across Figure XLIII, above the "waist-line," L; the curved line below line L, at the 
 edge joining with line J of the front, M; the line on the opposite side, below line L, 
 N; and as illustrated in the cut. 
 
 12. Locate the following points, at the following given points on Figure XLIII, 
 viz: point 9, at intersection of line M and the "waist-line;" point 10, at intersection 
 of line N and the *' waist-Hne;" point 11 on line N, the distance of the desired depth 
 for the extension for plaiting, or finish, from point 10, toward the bottom; and as the 
 same is illustrated in the cut. 
 
 13. Place Figure XLIII on the goods, opposite Figure XLV; in the position 
 in which, line L will be exactly upon line A, the arc of the arm's-eye circumference 
 toward the top and front; with line M (if extended at its given angle to the bottom 
 edge) intersecting the bottom edge, at a point i inch farther toward the fold than the 
 point of intersection of line J with the bottom edge — if line J were extended to the 
 edge: then baste or fasten Figure XLIII securely on the goods, in that position; as 
 illustrated in the cut. 
 
 14. Extend line M, at its given angle, toward the bottom edge, to the same 
 distance from point 9, as the distance between points 6 and 8; at which point, locate 
 point 12: and as the same is illustrated in the cut. 
 
 15. Extend line N, by indication at its given angle of slope toward the bottom, 
 to the same distance, from point 10, as the distance between points 9 and 12; at 
 which point, locate point 13; and as the same is illustrated in the cut.^ 
 
 16. Draw line O, from point 12 to point 13; and design the desired amount of 
 extension, by a line back of and parallel with line N; and the same depth as the dis- 
 tance between points 11 and 13: which process, completes Figure XLVI, or the side- 
 back; as formed and indicated within lines O, the lines bounding the extension for 
 the plait, line M and line N, below line L; and as shown by the outlines of Figure 
 XLIII, above line L; and as the same is illustrated in the cut. 
 
 17. Letter the following lines of Figure XLIV by the following characters, 
 viz: the traced line, at right angles with and across Figure XLIV, above the "waist- 
 line," P; the line at the edge joining with line N, of the side-back, below line P, Q; 
 the line at the opposite edge, below line P, R. 
 
 18. Locate the following points, at the following given points on Figure 
 XLIV, viz: point 14, at the intersection of line Q with the "waist-line;" point 15, 
 at intersection of line R with the "waist-line;" point 16, on line Q, the distance of 
 the desired depth of the extension for plaiting, from point 14, toward the bottom; 
 point 17 on line R, the distance of the desired depth of the extension for plaiting, 
 from point 15, toward the bottom; and as the same is illustrated in the cut. 
 
UTILITY AND DECORATIVE ART. I3I 
 
 19. Place Figure XLIV, or the pattern or lining of the back, on the goods, at 
 the desired or required distance from the fold toward the front, in the position 
 in which line P will be exactly on line A, the arc of the neck-circumference to- 
 ward the top, and the arc of the arm's -eye circumference toward the front-edge, 
 from the fold: then, baste or fasten Figure XLIV securely on the goods, in that 
 position; and as the same is illustrated in the cut. 
 
 20. Extend line Q, by indication, at its given angle toward the bottom; to 
 the same distance from point 14, as the distance between points 10 and 13 ; at 
 which point, locate point 18; as the same is illustrated in the cut. 
 
 21. Extend line R, by indication, at its given angle toward the bottom; to 
 the same distance from point 15, as the distance between points 14 and 18 ; at 
 which point, locate point 19 ; and as the same is illustrated in the cut. 
 
 22. Draw line S, from point 18 to point 19; extending it to the fold, and to- 
 ward the front, to the desired width of the extension ; and designing the required 
 extensions, as in Figure XLVI: and as the same are shaped and illustrated m the 
 cut; which process, completes Figure XLVIII, or the centre-back; as the same is 
 formed and indicated by lines S, the lines bounding the plaits or extensions, and Q 
 and R below line P ; and as formed and indicated by the outlines of Figure XLIV, 
 above line P; and as the same is illustrated in the cut. 
 
 Q. E. D. 
 N. B. — I. If less goods is desired at the bottom, lines J, M, N, Q and R can 
 be extended toward the bottom, from the distance of the hip-depth below line A, at 
 right angles with line A ; or a measure can be taken, and the exact desired amount 
 drafted in the garment or costume, at that particular place; and to suit the fancy or 
 taste of each and all. 
 
 2. Figure XLVIII, included within lines E, U, V, O, W and K, is "the Eng- 
 lish-coat or ulster-skirt" — the front, side-front and side-back being cut along line T; 
 and the skirt in one entire part; joining with line Q of the centre-back, from the front, 
 or line E. The distance between points 20 and 21 must be the same as the actual 
 amount of cloth in the draft on line T, from line E to line Q ; exclusive of darts and 
 spaces, between those parts of the costume. The same principle governs the space 
 or distance between points 7 and 24, on Hues K, W, and O; as pertaining to the 
 draft, on that line. Points 20 and 2 1 are located any desired distance below the 
 "waist-line." Line T is a direct line, from point 20 to point 21. Point 22 is at the 
 point of intersection of line " B " of the original body-draft, with line T. 
 
 Find ^ of the difference between the waist-circumference and the hip-circum- 
 ference: point 23 is }{ of that distance from point 22, on line " B," of the original 
 body-draft. Line U, is a curved line, from point 20 through point 23, to point 21. 
 The coat or ulster is cut on line T ; and the skirt is cut by line U ; and the latter 
 should be slightly full, and carefully marked, and properly adjusted, in every par- 
 ticular; before going to the stitcher and presser. 
 
 3. Sacques, are only loose short coats ; paletots, longer loose coats ; and ul- 
 sters, simply long coats ; each and all of which differ nothing in principle; only in 
 ■depth, and the degree of closeness or ease of fit; which, principle of degrees, is the 
 same as that given under Figure V, in Plate V ; and which, deserves the student's 
 most careful study and thorough analysis, in all its varied bearings; and which, when 
 properly understood and mastered, will enable him or her, to easily find the "hidden 
 end;" and unravel, what to many seems, a most vexatiously "tangled-skein." 
 
 N. B. — Riding-habits are cut exactly on the same principle as long coats — cut- 
 ting the skirt at will, to any design or fashion plate. 
 
The Lnternational Method 
 
 —OF — 
 
 FOREIGN AND AMERICAN 
 
 SeientifiG Tailor -Principles, 
 
 FOR 
 
 DRAFTING THE MATHEMATICAL MOULD OR PERFECT 
 FIT OF THE HUMAN FORM, FROM THE INDICES 
 OR MEASURES GIVEN, TRUE TO ALL KINDS 
 AND STYLES OF 
 
 MANTEAUX. PELISSES. MANTELETS, DOLMANS. AND 
 
 DOLMAN-SLEEVED-WRAPS. ETC. 
 
 132 
 
UTILITY AND DECORATIVE ART. 
 
 133 
 
 PLATE XVI. 
 
 The International Dolman-Plate. 
 
134 "^"^ ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Dolman-Sleeved Wrap-Cutting. 
 
 PLATE XVI.-FIGURES XLIX, L, LI, LII. 
 
 EXPLANATION. 
 
 1. The above Figures, respectively, represent the back, front, top-sleeve, and 
 under, or bottom-sleeve, of the Standard English-Dress-Dolman. 
 
 2. To simplify the process, use the exact measures given for practice, in close- 
 fitting body-drafting; remembering however, that when drafting to any particular 
 form, the close-fitting measures must first be taken, and the draft founded on the 
 same measures, increased in the ratio given, for coat-cutting ; and as illustrated under 
 Plate XV. 
 
 INSTRUCTIONS. 
 
 1. Locate point i on the material upon which the draft is made, the distance 
 of the desired skirt-depth, plus the hem (if a hem is desired), from the bottom or 
 right-hand edge, and i % inches from the front, toward the opposite edge. 
 
 2. Add lyi inches to the extreme arm -depth-measure : Draw line A, at right 
 angles with the front edge, from point i toward the opposite edge, to that distance 
 from point i ; at which point, locate point 2. 
 
 3. Locate points 3, 4, 5, and 6, and draw line B, and line C between points 5 
 and 6, per instructions given for locating the same points and drawing the same lines 
 respectively, in Figure I, of Plate I. 
 
 4. Find the sum of the waist-depth, plus the skirt-depth : Draw line D, at right 
 angles with line C, from point 6 toward the bottom, to that distance from point 6 ; at 
 which point, locate point 7. 
 
 5. Locate points 8, 9 and 10, and extend lines D and C; per instructions given 
 under Plate I, for locating the same points, and extending the same lines respectively, 
 in Figure L 
 
 6. Draw line E at right angles with line C, from point 10 toward the buttom, to 
 the same distance from point 10 as the distance between points 6 and 7 ; at which 
 point, locate point 11. 
 
 7. Locate points 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 
 28, 29, and extend and draw, and indicate lines E. F. G. H. L J. K. L. M. N. O. 
 P. and Q; per instructions given under Plate I, for locating the same points, and 
 extending, drawing, and indicating the same lines respectively, in Figure L 
 
 8. Draw curved line R, from point 27 through point 29, to point 15 ; and as the 
 same is illustrated in the cut. 
 
 9. Draw line S from point 22, through point 18, to the distance of the shoulder- 
 depth from point 22 ; at which point, locate point 30. 
 
 10. Locate points 31 and 32; per instructions given under Plate I, for locating 
 the same points in Figure L 
 
 11. Draw line T from point 6 through point 32, to the distance o( }i inch more, 
 or farther, from point 6 than yi of the bust-circumference ; at which point, locate 
 
 point 33. , . . 
 
 12. Draw line U, from pomt 3 to pomt 8. 
 
 13. Find yi of the difference between the chest-circumference and the waist- 
 circumference ; locate point 34 on line U, Yz of that distance from point 8, toward 
 point 3. 
 
 14. Draw line V, from point 20 to point 34. 
 
 15. Draw line W, from point 34 to point 7. 
 
 16. Locate point 35 on line D, the distance of the hip-depth from point 2, 
 toward point 7. 
 
UTILITY AND DECORATIVE ART. 
 
 135 
 
 17. Draw line X at right angles with line D, from point 35 toward the front, to 
 that distance in front of the point of intersection of lines X and E, which is equal to 
 Yz of the distance between points 32 and 33 ; at which point, locate point 36. 
 
 18. Locate point 37, at the point of intersection of lines X and W. 
 
 19. Draw line Y, from point 7 to point 11. 
 
 20. Locate point 38 on line E, at a point equidistant from points 10 and 13. 
 
 21. Draw line Z, from point 38 to pomt 33. 
 
 22. Draw line A^ from point 12 to point 3. 
 
 23. Draw line B^ from point 33 to point 1 2. 
 
 24. Draw line O, from point 12 through point 36, to the point of intersection of 
 lines Cand Y, if line Y — is extended sufficiently far, toward the front, from point 11 ; 
 and as the same is illustrated in the cut; at which point, locate point 39. 
 
 25. Find yi of the waist-circumference ; locate point 40 on line U, y^ of that 
 distance from point 8, toward point 3. 
 
 26. With a radius of three-times the waist-depth from the point of the pencil, on 
 the tape-measure, draw curved line D'*, from point 30 to point 40 ; per instructions 
 and principles given under Plate I, for drawing curved lines G'\ H^, P, and J^ in 
 Figure I : and then, locate point 41 at the point of intersection of lines D* and T. 
 
 27. Find ^ of the hip-circumference : Locate point 42 on line X, ^ of that 
 distance from point 37, toward point 36, 
 
 28. Draw line E^, from point 40 toward point 42, to the desired distance or 
 depth of the extension, below the waist ; at which point, locate point 43. 
 
 29. Locate point 44, at the point of intersection of lines B and X. 
 
 30. Find the difference between ^ of the hip-circumference and ^ of the waist- 
 circumference : Locate point 45 on line X, Yi of that distance from point 44, toward 
 point 36. 
 
 31. Draw line F^ at right angles with line X, from point 45 to line Y. 
 
 32. Indicate line G', from point 5 to point 45 ; as illustrated in the cut. 
 
 33. Draw line H^, at right angles with line D, from point 43 toward the front, 
 to the point of intersection of lines G^ and H'^; at which point, locate point 46. 
 
 34. Draw curved line I", from point 46 to point 45 ; as illustrated in the cut. 
 
 35. Locate point 47 on line X, at a point twice as far from point 44 toward 
 point 42, as the distance between points 44 and 45. 
 
 36. Draw line J^ at right angles with line X, from point 47 to line Y. 
 
 37. Indicate line K^, from point 5 to point 47 ; as illustrated in the cut : and 
 then locate point 48, at the point of intersection of lines K^ and H^ 
 
 38. With the same length of tape-measure, as a radius, draw curved line M^ 
 from point 15 to point 48 ; per instructions given, for drawing line Dl 
 
 Note. — It is not positively necessary for line M'^, to pass over point 3 ; as illus- 
 trated in the cut. Draw it by the rule and principles given, above ; whether passing 
 through point 3, or not. 
 
 39. Locate point 49 on line U, the same distance from point 40, toward point 3, 
 as the distance between points 8 and 34. 
 
 40. With the same radius of tape-measure, draw curved line N^ from point 41 
 to point 49; per instructions and principles given, for drawing line D^ 
 
 41. Draw line O'^ from point 49 to point 42. 
 
 42. Draw line P^ from point 42 to point 4. 
 
 43. Draw line Q^ at right angles with line A, from point i toward the bottom, 
 to the distance of ^ of the waist-depth from point i ; at which point, locate point 50; 
 as illustrated in the cut. 
 
 44. Draw line R^ from point 50 to point 4. 
 
 45. Extend line Q", from point i toward the top, to the distance of the waist- 
 depth from point i ; at which point, locate point 5 1 . 
 
 46. Locate point 52 on line Q^ equidistant from points i and 51. 
 
 47. Locate point 53 on line Q^ at a point from point 52 toward point i, which 
 is ^ of the distance between points i and 52. 
 
136 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 48. Locate point 54 on line Q^ the same distance from point 52 toward point 
 51, as the distance between points 52 and 53. 
 
 49. Locate point 55 on line G, at a point equidistant from points 17 and 18. 
 
 50. Draw line S^ at right angles with line G, from point 55 toward the front, 
 to the same distance from point 55, as the distance between points 16 and 17 ; at 
 which point, locate point 56. 
 
 51. Indicate pointed line T', from point 55 toward point 14, to the same dis- 
 tance from point 55, as the distance between points 17 and 18 ; at which point, locate 
 point 57 ; as illustrated in the cut. 
 
 52. Locate point 58 on line S^ at a point equidistant from points 55 and 56. 
 53-. Draw curved line U^ from point 58 to the point of intersection of lines D^ 
 
 and H ; as illustrated in the cut. 
 
 54. Indicate pointed line V^ from point 56 toward point 16, to the same dis- 
 tance from point 56 as the distance between points 55 and 57; at which point, locate 
 point 59 : and, as the same is illustrated in the cut. 
 
 55. Draw curved line W^ from point 59 to point 58; as illustrated in the cut. 
 
 56. Locate point 60 on line C, the distance of ^ of the arm's-eye-circumfer- 
 ence from point 5, toward point 10. 
 
 57. Draw curved line X^ from point 59 to point 60 ; as illustrated in the cut. 
 
 58. Draw curved line Y^ from point 60 through point 32, to point 33 ; and 
 as the same is illustrated in the cut. 
 
 59. Draw curved line X\ from point 54 to point 33 ; as illustrated in the cut. 
 
 60. Draw line A^ from point 53 to point 33, as illustrated in the cut, 
 
 61. Draw Hne B^ at right angles with line 0^ from point 50 to line E ; and 
 locate point 61, at the intersection of lines B^ and E. 
 
 62. Draw line C^ from point 61 to point 3. 
 
 63. Draw curved line D^ from point 60 to point 3, with a radius of tape-mea- 
 sure, equal to the waist-depth ; and per instructions and principles given for drawing 
 lines D^ and N^ in the same cut ; and as the same is illustrated in said cut ; which 
 process, completes the draft of "The Standard-Dolman." Figure XLIX, or the 
 back, of which, is formed and indicated within Hnes D, V, W, Y, F', P, H', E', D',S, 
 and J ; Figure L, or the front, of which, is formed and included within lines E, Z, 
 B^ C\ Y, \\ L', W, R, O, and N ; Figure LI, or the outside-sleeve, of which, is 
 formed and indicated within Unes ¥\ 0\ N\ D^ U^ W% X^ Y^ Z\ Q^ and R;; 
 Figure LII, or the under-sleeve of which, is formed and indicated within lines Q", 
 B^ e, D^ Y^ and K\ 
 
 O. E. D. 
 
 The Standard-Romanoff, or "Princess-Louise-Sleeve." 
 
 PLATE XVI.-FIGURE LIII. 
 
 INSTRUCTIONS. 
 
 1. Indicate pointed line E^ from point 52 to point 32 ; as illustrated in the cut. 
 
 2. Indicate the extension of line Q', by points, from point 50, toward the bot- 
 tom, to the same distance from point 50 ; as the distance between points 50 and 52 ; 
 at which point, locate point 62 : as illustrated in the cut. 
 
 3. Locate point 63 on line E, the same distance from point 61, toward the bot- 
 tom, as the distance between points 61 and 32. 
 
 4. Indicate line F\ from point 62 to point 63. 
 
 5. Indicate line G', at right angles with line C, from point 60, toward the bot- 
 tom, to the distance of three-times the waist-depth from point 60 ; at which point, 
 locate point 64 ; as illuttrated in the cut. 
 
UTILITY AND DECORATIVE ART. I37 
 
 6. Indicate curved line H\ the reverse of Y^ from point 63 to point 64 ; as 
 illustrated in the cut. 
 
 7. Locate point 65 on line B, the distance of the waist-depth from point 3, 
 toward point 4. 
 
 8. Indicate line J^ from point 61 to point 65 : as illustrated in the cut. 
 
 9. Indicate line K^ from point 61 to point 42 ; which process, completes Figure 
 LIII, or the "Princess-Louise-Sleeve" — as formed and indicated within lines Q^ F^ 
 H^ r, y, K', 0\ N^ D^ U^ W-, X^_Y^ and E^ : the lower part which, when folded 
 from underneath, to the upper part, will be exactly symmetrical, in all its parts — and 
 as a whole. 
 
 Q. E. D. 
 
 The Standard French-Mantilla. 
 
 PLATE XVl.-FIGURES LIV, LV AND LVL 
 
 INSTRUCTIONS. 
 
 1. Indicate the extension of line E^ from point 43 to point 42 ; as illustrated in 
 the cut. 
 
 2. Indicate line L^ from point 34 through point 35, to the distance of the 
 waist-depth from point 34 ; at which point, locate point 66 ; as illustrated in the cut. 
 
 3. Indicate line M^ from point 42 to point 66, which process, completes Figure 
 LIV, or the back ; as formed and included within lines L^ V, D, J, S, D^, E'*, and 
 M^; as illustrated in the cut. 
 
 4. Locate point 67 on line E, i ^4 times the waist-depth from the point of inter- 
 section of lines A and E, toward point 11. 
 
 5. Indicate the extension of line J^ from point 47 to line A ; and locate point 
 68 at the point of intersection of lines A and J'^ ; and as the same is illustrated in 
 the cut. 
 
 6. Locate point 69 on line J^ the distance of twice the waist-depth from point 
 68, toward the bottom ; as illustrated in the cut. 
 
 7. Indicate line N^ from point 67 to point 69. 
 
 8. Locate point 70, at the point of intersection of lines B and HI 
 
 9. Indicate line 0\ from point 69 to point 70. 
 
 10. Indicate line P^ from point 70 to point 40. 
 
 11. With twice the waist-depth on the tape-measure, as a radius, indicate 
 curved line Q^ from point 40 to point 15, per instructions for drawing lines D^ the 
 same is indicated in the cut ; which process, completes Figure LV, or the front, as 
 formed and included within lines N\ O^ P^ O', R, O, N, and E; as illustrated in 
 the cut. 
 
 12. Indicate line R^ at right angles with line E, from point 67, to line B ; and 
 locate point 71, at the point of intersection of lines R* and B. 
 
 13. Indicate line S^ from point 71 to point 42. 
 
 14. With the radius on the tape-measure, equal to the waist-depth, indicate the 
 curved line T^ from point 32 to point 51 ; per instructions, and principles given, 
 for drawing curved lines D^ M^ N", etc., on the same plate ; and as illustrated in 
 the cut. 
 
 15. With the radius of three-times the waist-depth on the tape-measure, indi- 
 cate curved line U^ from point 5 1 to point 7 1 ; per instructions and principles given, 
 
138 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 for drawing the curved lines, elsewhere, in the same draft : which process, completes 
 Figure LVI, or the sleeve; as formed and included within lines S\ 0\ N', D', U^ 
 W^ X^ Y^ T, and \]\ 
 
 O. E. D. 
 N. B. — I. The "Berlin-Romanoff-Pelisse" is simply an extension, in length, 
 of the " English-Dolman" ; having a double box-plait in the centre-seam of the back, 
 and one at the side ; and which is also graced with the " Princess-Louise-Sleeve." 
 
 2. "Pelisses," "Visites," "Dolman-Circulars," "Dolman-Sleeved-Cloaks," 
 "Hortensian -Wraps," etc., are all drafted by the same principles ; differing only, in 
 the degree of closeness of fit, in the depth of the skirt and sleeve ; and also, in the 
 arrangement and draping of the sleeve, at the back and front. 
 
 3. If the back and sleeve are desired as a whole, or in but one piece, locate 
 point 34 twice its former distance from point 8, toward point 3 ; draw lines V and 
 W.to their new position; and abandon lines D^ N% E^ and 0^ tracing the back and 
 sleeve as one piece; and as the same is taught, outlined and given in the preceding 
 instructions and illustrations. 
 
 SACQUE, COAT, PALETOT, AND DOLMAN-SLEEVED WRAP- 
 BASTING. 
 
 1. Baste per instructions for close-fitting garments; and "press-out" very 
 carefully, all fullness allowed upon the linings everywhere. 
 
 2. The above draft and principles are not founded upon any imaginary or fan- 
 ciful anatomical proportions of the human form, but upon actual measurement ; and 
 upon mathematically and practically demonstrated truths. And although, differing 
 radically in its method of construction from anything ever offered by the profession, 
 it embraces all the great and truly scientific principles of the world's greatest and 
 most noted cutters and drapers ; and that, too, in an exceedingly simplified and ex- 
 haustive form ; all of which has cost the author no small amount of hard study, and 
 expense of time and money ; and which the earnest and industrious student will find 
 an orchard rich with the perfume of blooming principles ; that, by experience, will 
 ripen into the "golden harvest" of a rich and cherished success. Here we bid adieu 
 to the student, until we shall join company again at the entrance gate of a different 
 field ; and enter a garden in which bloom other flowers— or within the province of 
 part third. 
 
 ,i*^ii£-* 
 
PART THIRD. 
 
 All Branches of 
 
 SEAMING, STITCHING, TAILOR-FINISHINGS, TAILOR - BUTTON- 
 HOLES, TRIMMING, DRAPING, STAMPING, EMBROIDERY, 
 CROCHETING, KNITTING, WORSTED -WORK, FANCY 
 AND ARTISTIC NEEDLE-WORK, LACE-WORK, 
 BEAD-WORK, MILLINERY, HAIR-WORK, 
 FEATHER-WORK, WAX FLOWERS, 
 AND WAX-WORK, SHELL- 
 FLOWERS AND SHELL- 
 WORK, TRANSFER- 
 WORK, 
 
 TRANSPARENCIES, LEAF-WORK, LEATHER-WORK, FANCY- 
 DYEING, WATER-COLOR PAINTING, CHINA AND 
 POTTERY PAINTING, GRECIAN OIL PAINT- 
 ING, LUSTRE PAINTING, LINCRUSTA 
 PAINTING, KENSINGTON 
 PAINTING, 
 
 AND 
 
 UTILITO-DECORATIVE ARTS, 
 
 139 
 
140 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PREFATORY TO PART THIRD. 
 
 In studying the development of mind, from the period of the thraldom and 
 chains of the ignorance and fetichism of a barbarous, uncivilized, and uncultivated 
 people, to the present high degree of civilization, refinement, and Christianity, we see 
 a long, rugged, and toilsome way; and an intricate path through the various systems 
 of symbols and abstractions of truth, which were set as stars in man's darkened 
 heavens, by the Great Teacher of all, in order that He might lead man, and guide 
 him in all that is noble, beautiful, and good. But in all cases, as in the above, the 
 symbol is but a feeble token of the real. The sculptor sees in his completed shape 
 of granite or marble but a poor reflector, and a very deficient representation of what 
 he aimed at, when placing the chisel ; the artist contemplates with disappointment 
 the degree of deficiency, and the feebleness with which his completed painting, 
 tokens or reflects his real conceptions. And yet, sometimes, the very deficiency of 
 these instruments serve as most important indices, to the thoughtful and appreciative 
 observer; and only lend richness of lustre, to the high standard of the author's de- 
 signs ; for which the given means, were inadequate to express. In the former parts 
 of the work, we have had to deal with "mathematical figures" alone ; and by a sys- 
 tem of "forms" and "symbols," have attempted to teach by principle and sugges- 
 tion, rather than by rules, outside of what they plainly express. The accurate and 
 thoughtful student will recognize exactness of order, as well as that of correct science. 
 Each step in the advancement of the work, upon careful investigation, will be found 
 to be the legitimate fruit of a new graft, inserted into the original tree. In the for- 
 mer parts of the work, we have aimed to lead the student through the halls of the 
 science of mathematics, touching our province ; and we now, invite the reader to join 
 us again ; and go with us on an excursion into another province, where we shall re- 
 ceive some important lessons, from and under the ministrations of art. 
 
UTILITY AND DECORATIVE ART. I4I 
 
 INTRODUCTORY TO PART THIRD. 
 
 The principles elucidated and submitted in this department of the work, as in 
 all other departments of the same, are not of doubtful import. They are not simply 
 "theories," and things that are not practical, whether said theories be scientific or 
 otherwise. Its matter will be found to be exceedingly practical and useful, as well 
 as beautiful. It is the result of long and hard study, extensive practice, and careful 
 and thoughtful observation. And to those, whose ambition is to excel in ' ' the true, 
 the beautiful, and the good, ' ' we commit and dedicate a book which has cost no little 
 expense in time, labor, money, and thought; and that, too, in the midst of many com- 
 plicated business matters and deep anxieties, coupled with delicate health, while thus 
 imperfectly transferring our thoughts upon its lettered pages ; in order to gratify the 
 oft expressed wishes of our patrons and friends ; and we cannot but feel, now that 
 the work is completed, that it will, at least, be appreciated by these. 
 
 In the principles and suggestions given in the present part of the work from the 
 ministering hand of art, it is sincerely believed there is supplied a long-felt-want, 
 hitherto almost entirely overlooked. That it might profitably have been extended, 
 and made still more exhaustive, we are aware ; but this would have required a vol- 
 ume within and of itself, alone ; in order that it might have been thoroughly exhaus- 
 tive in all departments. But it is sufficiently comprehensive to be thoroughly prac- 
 tical ; and, after all, that is the want of the present age. We have therefore suffi- 
 ciently treated all subjects, for all practical purposes; and have, outside of this, taught 
 by principle and suggestion, rather than by rule. If its varied pages will guide the 
 novice, and enable the more experienced and skilful to grasp the conceptions of new 
 ideas, and thereby the elements and principles of a higher, deeper, and broader 
 knowledge, and a richer appreciation of the same, we have accomplished our aim. 
 And it is the cherished hope of the author, whether the student or reader is experi- 
 enced or inexperienced, young or old, educated or uneducated, rich or poor, that 
 somewhere in its diversified fields, groves, and gardens, stretching over its province;. 
 or otherwise along the streams and lakes, and the beach of the waters that wash upoa 
 its shores; there may be found by each and all, some acceptable buds, and blossoms, 
 and flowers ; or otherwise some cherished shells, that will be made to adorn their 
 earthly home ; and the fragrance or lustre of which, will gladden and strengthen the 
 hearts of those who gather there. 
 
142 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 THE STITCHES. 
 
 1. The principal stitches used in dress-making are : 
 
 a. The Running-Stitch. 
 
 b. The Back-Stitch. 
 
 c. The Overcast-Stitch. 
 
 d. The French or Invisible-Stitch. 
 
 e. The Chain-Stitch. 
 
 /. The Button-Hole-Stitch ; and 
 g. The Embroidery-Stitch. 
 
 2. All of these are indicated by their name, as to their process ; excepting the 
 *' French," "Button-Hole," and embroidery stitches; which will be explained in 
 their applications, elsewhere. 
 
 3. Simple as is the running-stitch, great care must be exercised in taking the 
 exact number of threads up, at each entry of the needle. Especially so, in running 
 together silk breadths for skirts ; and also grenadines, and other similar fabrics. It 
 is used for seams of skirts, and putting on trimmings ; and also in connection with 
 felling and stitching ; and for sleeve-seams, and French-seams. Do not draw the 
 thread too tightly, so as to avoid drawing up the material. On heavy material, an 
 occasional back-stitch is necessary, upon dress-skirts. 
 
 4. * ' Tacking' * or " basting' ' , is running upon an exaggerated scale ; and is the 
 process of introducing stitches from one to three inches apart. 
 
 5. Stitching for body-seams is exactly the same as that used in plain work. 
 
 6. In stitching the fronts and the side pieces to the back, the same number of 
 threads must be taken up each time on the needle; in order to produce the pearl-like 
 effect and appearance, which is so remarkable in the work of the accurate and popu- 
 lar "gentlemen-dressmakers" of Paris, Berlin, and in our own cities. 
 
 7. For stitching bodice-seams, the stitches may be less carefully executed ; but 
 certainly no careless work is allowable, in any kind of work. 
 
 8. Seams of bodices are usually both stitched and overcast; otherwise they are 
 bound neatly, and afterward very accurately and carefully pressed. 
 
 9. The overcast-stitch is merely a sewing-stitch ; which is taken from left to 
 right, however, instead of from right to left ; and which is also taken deeper into the 
 fabric or goods, than the common stitches. 
 
 10. The grand secrets in all the stitches are the following, viz : 
 
 a. Accuracy as to the direct, or the curved line. 
 
 b. Closeness, and uniformity of their length. 
 
 c. The degree of tightness with which they are drawn. 
 
 d. The security, with which the work is begun and closed. 
 
 e. The manner in which the work is held and handled, while operating. 
 
 f. The manner in which it is pressed, when completed. 
 
 The novice should begin with the plainest and most simple stitch, and master 
 every element and principle thoroughly, before experimenting on the second ; and 
 then again, the elements and principles of the second should be practically mastered, 
 before attempting the third ; and the student should continue thus, until all the 
 stitches are thoroughly mastered ; both theoretically and practically. Anything that 
 is worth doing at all, is worth doing in the very best and most accurate manner pos- 
 
UTILITY AND DECORATIVE ART. I43 
 
 sible ; and this is especially true of the art of stitchery. The stitchery of the garment 
 is second only, to the design and cut of the same ; and it invariably stamps the grade 
 of the garment. No amount of fine stitchery, or fine finish, will make an illy cut, 
 and an ill-fitting garment, either beautiful or first-class ; but many elegantly designed 
 and artistically cut garments — and that of the best and most costly materials, too, — 
 have been utterly ruined, by imperfect and wretched stitchery. It is the stitchery 
 and fine finish, more than anything else often, that stamps a dress or garment as 
 ' ' Tailor-made ! ' ' To a careful observation of all the details, both in cut and finish 
 of the work, is due whatever ascendancy in reputation the "man-dressmaker" has 
 over that of woman. There is no reason why the touch that is superior to man's, on 
 the piano, and in nearly all the fine arts, should not outvie his, when it falls upon the 
 needle. Artistic and elegant buttonholes and stitchery are to garments, what leaves 
 and blossoms are to an orchard ; or what opening rosebuds are, to the green mantle 
 of the rosebush ; and it is in the power and the province of our fair readers to win 
 the prize, by most richly scattering these blossoms ; and by most deftly and artistic- 
 ally placing and arranging these rose-buds. 
 
 ♦"St^-^K. w ^ i .j,**iS*tf* 
 
 i/«>^g^ 
 
144 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 THE SEAMS. 
 
 1. The principal seams used, are the following, viz : 
 
 a. The "Plain," or common-seam. 
 
 b. The "Flat-Seam." 
 
 c. The "French-Seam." 
 
 d. The "Invisible Cloth-Seam." 
 
 e. The "Double-Seam." 
 
 f. The "Corded-Seam ;" and 
 
 g. The "Stitched Hem-Seam." 
 
 2. Of the "Plain-Seam," we need not speak; as all will readily understand 
 what is meant, and how it is done. 
 
 3. The " Flat-Seam," is used on cloth. It is made as follows, viz: Back-stitch 
 the edges together, on the wrong side, ^ inch from the edge. Press open the seam, 
 on the wrong side, very heavily ; and then hem the edges down, without catching the 
 needle through, to the right side. 
 
 4. The "French-Seam," is required for very thin materials, lace-fabrics, etc. ; 
 and where lace and net are worn, over colored silks ; and it is also used for trans- 
 parent materials, where the inside is to have an equal finish, with that of the outside. 
 Run the seam as closely as possible, to the edge, and on the right-side of the fabric ; 
 turn the seam over, and stitch on the wrong-side, just below the turned-in portion. 
 In cloth and very thick materials, it is accomplished by being turned over, and then 
 stitched down. For sewing-machine-work, it should be first "tacked." "The 
 stitched-hem' ' is very pretty for muslin dresses, and light summer fabrics. For children, 
 its beauty is enhanced by working the hem, with a beautiful silk, contrasting in color; 
 giving the finish the effect ofa "Russia-braid." Tarletan "ball-dress-flounces," stitched 
 with white, or with colored silks, look admirably ; and they are thus neatly trimmed, 
 at a trifling expense. The Wilcox and Gibbs machine-stitch, can be used to an 
 advantage here ; being aided and improved also, by the sizes of the hemmers. 
 
 5. The " Invisible Cloth-Seam," is used for piecing; and is, in case of accurate 
 cutting and careful needle- work, invisible. It is made as follows, viz : Hold the 
 pieces flat, close together, and sew on the wrong side, with very fine "overseam- 
 stitches ;" only taking up, one-half of each side of the cloth. The thread must be 
 drawn firmly, with each stitch ; in which case, the right-side will only show a delicate 
 line, to mark the seam. It is very simple, useful, and admirably beautiful. 
 
 6. The "Double-Seam," is made as follows, viz : Lay the upper edge, Yi of an 
 inch from the edge of the under pieces ; and place it in such a manner, that both 
 right-sides lie together ; then stitch a seam, close to the edge of the upper material ; 
 after which, lay it over and stitch it down beyond the first seam, where only two 
 thicknesses of cloth come together. It will be found, easy of comprehension and 
 execution ; and is very useful, where strength is required. 
 
 7. The "Corded-Seam :" This seam, lies perfectly flat on the wrong-side, and 
 similates a heavy cord, on the right-side. It is made as follows, viz : Leaving the 
 under piece straight, fold the upper inward, and stitch it down to the under part, the 
 width of a small cord, from the edge. This stitching, must be perfectly even ; or the 
 effect will be spoiled. It is both useful and decorative. 
 
 8. The " Stitched-Hem,' ' is made as follows, viz : Lay the material over half an 
 inch, on the wrong-side ; and then stitch it from the right-side. As the raw edge of 
 heavy goods does not ravel easily, it is not necessary to make the second turning ; 
 which, would be very thick and clumsy. The strip which forms the binding, is laid 
 on the outside of the material ; and is then, run down as far from the edge as the 
 
UTILITY AND' DECORATIVE ART. I45 
 
 binding should be wide. When this is done, then fold it over the edge, and on the 
 under side ; now sew it down, so that the stitches will be invisible. For making this 
 hem, take a few threads of the material on the needle, and then, run it through the 
 strip. Make the next stitch, the same. This is called "the invisible-hem;" and is 
 very useful and pretty. 
 
 9. The " French Half-Hem :" Another mode of hemming, is used by French 
 modistes; which, is called the " Half-Hem." It is used for holding dress-linings, in 
 their proper position ; the stitches are taken farther apart, and the needle inserted 
 slantingly, or at an angle, so as to take up the least piece, at a time ; and so as not to 
 show on the right-side. This is easy enough, on thick fabrics ; such as cloth, rep, 
 and poplin ; but it becomes very difficult, on thick silk, as it is likely to show the 
 stitches; which, must be much closer, and at exactly even distances from each other, 
 in this seam. 
 
 10. "The False-Hem;" is added to the edges of dresses, and is also used in many 
 other ways. It is made as follows, viz : Stitch the hem to the lining. The lining and 
 false hem are pieces of material run along the edge of the skirt, on the right-side ; and 
 which are turned up, and over, on the wrong-side ; and then, lightly hemmed down, 
 by "slip-stitches." Various fabrics are used for this hem. When economy is no 
 object, the dress-material is used ; or otherwise silk, or sarcenet, matching in color; and 
 which is lined with muslin — which, should be cut the selvage-way — in order to secure 
 long pieces. Small plaits, are then laid, where requisite; but, the more careful 
 student, will cut the Iming the exact shape of the dress. 
 
 1 1. " Pocket-slit-Seam," and binding : In all heavy materials, for Vests, Jackets, 
 New-markets, and Ulsters, or Coats, etc. , cut the slit the desired length ; and 
 then make small slits, the width of a narrow seam, in each end, the opposite way. 
 Bind the edges ; then, sew to the upper edge a piece of the material, three inches 
 deep ; now bringing the pieces through, to the wrong side, stitch it the width of a 
 cord, above the edge. On the right side of the under edge, run a bias strip ; then 
 lay it over on the wrong-side, and stitch it down the width of three-sixteenths of an 
 inch from the edge neatly, and stitch a pocket to said pieces; and then fasten down the 
 end of the cut, over the top-piece. This is most neatly performed, by the use of the 
 "buttonhole-stitch." The stitches should be very fine, and neatly constructed; as 
 well as regularly made, as to the degree of their length. If it is desired to give the 
 pocket the " corded-finish," it is done thus, viz : First, sew in a cord, having the small 
 strips added, in the same manner as has already been described. In this case how- 
 ever, the stitches should not pass through, on the outside. You can finish the ends 
 in a similar manner ; by the use of the " buttonhole-stitch." It should be made with 
 the finest arid best of silk. 
 
 GAUGING. 
 
 1. Gauging, is often termed "gathering." It is an ingenius method of 
 economizing in time and labor, in the process of garnishing, over the other 
 more laborious and slow methods ; and at the same time, to obtain in many instances, 
 a more beautiful result. At present, plaiting has almost supplanted gathering, 
 entirely. Formerly, all dresses were gathered. And but a few centuries since, it was 
 almost universally used ; and that, too, in the garments and costumes of both 
 sexes. It is very often used now, at the ' ' black-plait. ' ' And in a special manner, is 
 it still used, in the " Abbess-plait." 
 
 It is also extensively used for the various styles of ' ' drawn-sleeves ;' ' also, in 
 children's costumes, It is used for all " gathered-flounces. " 
 
 2. To present a fine appearance, gathering must be done very accurately, and 
 evenly. In each row, the same threads must be taken up, as was done in the one 
 that preceeded it. The regularity of the stitches, and their correct alternations, 
 stamp the work with that peculiar gracefulness of finish, seen in the productions of the 
 masters, in this art. Grace of finish, should be wedded to strength and durability. 
 
 3. The Gathered-Bouillion. — The "bouillion," when gathered, is the 
 reverse of the above. In this case, you gather the top first, on the same principle 
 
 10 
 
146 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 as for general gathering ; and when you have performed that part of the work 
 accurately, next gather the lower edge, by arranging the stitches so as to take up all 
 the intervals, or intervening spaces, left in the first gathering. It is in this little 
 ' ' nicety of arrangement " that, alone, lies the beauty of the ' * bouillion. " After having 
 done all the above ' ' gathering. " sew the gathers neatly and firmly, into a band. It is 
 then "tucked down," under rouleaux ; or otherwise, it is nicely adjusted underneath 
 some other form of superposed-trimming. 
 
 4. Gathered-Skirts. — A "gathered-skirt," is simply a skirt having portions 
 of the same gathered, by having the gauging longer ; and, in addition to sewing the 
 work in, "fold by fold," one or two rows of " slip-stitches " are taken ; at a point, 
 one inch below the lowest. This is done to keep the gathered folds, in their exact 
 and correctly located position. In "gauging," use the very best and strongest of 
 waxed-cotton, if you have not the silk-cord. Of course, the latter is by far, pre- 
 ferrable, to any kind or quality of cotton. The ' ' gathered-flounce ' ' is carefully 
 and firmly, and in a neat manner, sewn into a band. All of which, by the mere 
 novice, will be found to be exceedingly simple; and, a very easy process. The way 
 to do a thing, is to feel that what has been and is done, you can do ; and, then go 
 determinedly, and patiently to work, and simply do it. 
 
 5. Double-Gauging. — This, is simply a repetition of the above principles 
 and rules, for "single-gathering ;" only, that it is repeated, at the proper and desired 
 distance apart. It may be repeated as often as desired ; and in this way, we have 
 "double," "treble," and " quadruple-gathering, " etc. 
 
 6. Attaching, or Securing the Gathers. — If, the goods gathered, is very 
 wide, as it sometimes is at the back of children's dresses and costumes, proceed as 
 follows, viz. : — First, gather the material very evenly and carefully, upon a good 
 strong silk cord ; now draw it evenly up, to within the given or desired space ; then, 
 placing a pin firmly in the goods or material, wind the thread or cord ' * under and 
 over" this pin ; so as to secure the work as tightly as may be required, during the 
 process of attaching the gathers, or sewing them into the band. Secure each fold 
 separately, and independently from the others, in a manner that will insure strength ; 
 as well as, neatness. Of course, the fullness is managed according to the quantity of 
 material used, and the given space, upon which the gathers are placed. The band, 
 represents said space. At the distance of i ^ inches from the top, the gathers are 
 usually ' ' caught down. ' ' This should be done very neatly, by the use of the ' ' slipped- 
 stitch." This will insure security and firmness, to the work. You should always 
 run a strong thread, through all the edges. It only requires a thorough and 
 systematic method of accuracy, care, and patience ; along with one or two experi- 
 ments, for the mere novice, to grasp the entire process of "gathering ;" and to be- 
 come perfectly master of every detail, of this beautiful art of garniture — in garment- 
 making. 
 
 ^ » ^ 
 
 CORDING. 
 
 1. Another beautiful and helpful method of finish, in garment-making, is 
 the process of "cording." It, likewise, serves both for ornament, and for 
 security and protection. Perhaps, even greater nicety of finish and care are de- 
 manded in this than, in "gauging." At least, equally as much. But we can find 
 no place anywhere, for slovenliness or carelessness of work, in our entire 
 province If "cording," or " piping," are worth doing at all, they are worth doing 
 in the most artistic and best manner possible. 
 
 2. The kinds of " cording " are cassified as, follows, viz. : — 
 
 a. " Single-Cording ;' ' 
 
 b. " Double-Cording ;" 
 
 c. "Treble-Cording;" and 
 
 d. " Quadruple-Cording," etc. 
 
 3. The basis upon which the above classification rests, hinges upon the principle 
 of the number of its repetitions, only. The same rules are used for " quadruple- 
 cording," as for "single-cording." The former, is only a repetition of the latter, 
 four-times ! 
 
UTILITY AND DECORATIVE ART. 
 
 147 
 
 4. The materials must be cut, on the true and exact bias ; having the proper 
 lengths, and widths. For "single-cording" it should, of course, be narrower than 
 for "double" or "quadruple-cording." In the work of "single-cording," proceed 
 as follows, viz. : 
 
 a. Cut the materials, the proper lengths and widths, on the exact bias ; 
 
 b. Place the cord, in the centre of the bias, piece ; 
 
 c. Fold the material over it nicely, and secure it by basting ; either with thread 
 and needle, or otherwise with pins ; 
 
 d. Then " run," it in its proper place ; 
 
 e. Then turn the edges under, and " hem it down." 
 
 5. For making " double-cording," we usually fold both edges over the cord ; 
 and when having brought and " run " everything into its proper place, we put the 
 two cords together; and " run " or stitch them, to the material. 
 
 6. The trained and experienced hand, arranges and makes the "cording," ' as it is 
 put on the work _; but this is not a very easy matter to do, accurately and correctly ; 
 and often, work is spoiled ; and both time and material are lost, thereby. It should 
 not therefore, be encouraged in the work-room. 
 
 7. "Corded-Bodices," are sometimes fashionable. It is usually put on in 
 "double-cording," around the edges. The material is usually, the same. But 
 fashion, fancy, and good taste, must ever regulate such things. We are simply now, 
 Xe2i.chmg principles. This, pertains not only to "cording," but to all subjects, in this 
 work. 
 
 ' — ■ » ^ 
 
 BINDING. 
 
 1. A handsome method of finish, and of garnishing, is termed "binding." 
 It reflects both grace and protection ; and it is a very useful process. It is 
 much used in all ways, and at all times. It is used both as "trimming," and as 
 a secure " finish," at the edges of garments. 
 
 2. It is sometimes "double-hemmed;"/.^., on both sides of the braid. And 
 again, it is also ' ' run " or stitched on evenly, on one side first ; and is then 
 "hemmed," on the other side. And still another or third method is, as follows, 
 viz.: fold the braid "in-half;" and then, "run" or stitch it on the material, by 
 taking the stitches through, on the other side. This plan of finish is very nice, on 
 very thin materials. It is often used in binding tarlatan-flounces, with satin ribbon, 
 etc. 
 
 3. Finish the bias-flounce, at the edge, by a narrow hem of bias-silk. Be careful 
 to cut both fabrics, exactly on the bias. Then place the silk with the right-side 
 underneath, upon the right side of the flounce. Then stitch it on closely, but 
 lighdy ; at ^^ of an inch from the edge. It is then turned over, and is " felled " on 
 the wrong-side, over the portion that was "turned in ;" the stitches being invisible, 
 on the right-side. 
 
 4. Another method, with a similar effect is, as follows, viz. : Cut the bias-flounce, 
 to a somewhat greater degree of length, than is actually required. Then neatly 
 turn it down, on the right-side of the fabric ; at a point, which is }i of an inch more 
 than is required for the " roUed-bind ;" now, stitch closely at a point, which is j^ of 
 an inch from the edge, and draw it rather closely ; and then, finish it oflf very 
 securely. Now fold back the piece that was turned down, and fell it down," on the 
 wrong-side. This, will result in an effect, almost like the first process ; but, it serves 
 the purpose of variety, in processes ; and for which, many have a choice. Everything 
 depends upon the accuracy and the nicety, in the execution of all these "little 
 details," in the appearance, and the real worth, of the completed work. Better 
 make a less number of garments thoroughly, and artistically, and get a first-class 
 price, than to make four-times as many; and do fourth-rate work (which by the way is 
 generally the hardest kind of work), and get only a fourth-rate price! The profession 
 of "artistic-garment-making," is crowded "at the bottom;" but there is plenty of 
 room, at the top." And, there is an infinitely better opportunity for connoisseurs in 
 this profession, in our country at the present time, than in many other professions ; 
 where, both capital and mental training are extensively required ; and, where the 
 
148 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 task is much more difficult, the honors no greater, and the remuneration, far less ! 
 The busy looms of the present age, have filled the earth with their choicest pro- 
 ductions ; the public is purchasing them, and is seeking able and accomplished 
 artists to cut, drape, and complete the same ; in the very best, and most useful, and 
 most appropriate form. Aim high ; strive hard, for excellency ; and success will 
 crown your efforts. 
 
 WHALE-BONES AND " CASINGS." 
 
 As the system entirely obviates the necessity of whale-bones or "stays," we 
 have no use for them ; but, as others might have a prejudice for them, we submit 
 the following rules, in brief, viz : 
 
 a. They should reach a depth of Vi of the hip-depth below the waist, and j^ of 
 the waist-depth above. 
 
 b. Cut the bones this length, nicely sloping and rounding the ends and edges. 
 
 c. The seams should be over-cast ; and small casings, the size of the bones, 
 should then be inserted. 
 
 d. Stitch the casings on the seam, and put the bones in ; and then, over-cast 
 them. 
 
 e. The casings should be cut on the bias ; and should then be easily sewn on 
 by hand ; or, fancy ribbon may be used. 
 
 f. They are generally used in the two front gores, and at the side-waist-seams ; 
 but, it is at the option of the maker. 
 
 g. Fasten the bones by stitching through a hole, in the end of the bone. 
 
 WADDING. 
 
 " Shall we use wadding, or discard it?" This question must, of necessity, be 
 left to the artist and to the customer. If the customer does not object to "wadded 
 dresses," and you can enhance the appearance of the form and the fit, it is your 
 privilege to do so ; and perhaps necessity, in the particular case, would demand it. 
 Certainly, many forms cannot possibly be elegantly fitted, and be made to reflect an 
 elegant appearance without it. In such cases, it is a help to the artist to construct 
 the proper degree of symmetry, which is lacking in the customer. To fit some forms 
 very close and neat, would (without wadding) be in bad taste ; while in all general, 
 cases, we have no use for it in our system. It was a grand invention to aid the de- 
 ficient cutter! But when the garment was worn a few times, the effect was lost ; and 
 the customer disappointed ! But where it is necessary, in order to give the figure or 
 form a better appearance, we offer the following hints, viz : 
 
 It is generally placed back of, and over, and in front of the shoulder and arm. 
 It should be so arranged, that the edges will taper down gradually to the mere thick- 
 ness of a sheet of letter-paper. It should then be securely fastened, in its proper po- 
 sition ; and, should be neatly and properly covered. 
 
 THE NECK AND SLEEVES. 
 
 Bind the neck with a narrow bias-band ; — the sleeves, with a bias-facing, also. 
 The band of the neck should be Yi inches wide, so as to allow for turning. Stitch 
 one side, on the outline-thread of the neck. Cut the ' ' turning-in ' ' quite within ^ inch 
 of the stitches ; and then turn the bias over, and "hem it down" neatly, on the other 
 side. Face the sleeves, in the same way ; but turn down the outside, a little distance 
 in from the edge, forming a fold ; and in such a manner, that the facing does not 
 show. Facings for coat-sleeves are from 3 to 4 inches deep; and they should be cut 
 from the ' wrist-end" of the sleeve-pattern; and also, out of a piece of bias -material. 
 
UTILITY AND DECORATIVE ART. I49- 
 
 Nothing more enhances, or otherwise detracts from the beauty and elegance of a gar- 
 ment, than the finish given to the same, in the sleeve, and about the neck. The 
 style and weight of the material, along with the occasion and purpose of the garment, 
 should aid us in the choice of the design; but whatever the design, the finish must 
 invariably be of the highest and best grade and quality of work. Never trust these 
 "finishing-touches" to inexperienced hands, when a fine garment is to be completed. 
 "Sleeve" and " neck-finishings" are to the entire garment, what the paint, or stain 
 and varnish is to furniture. 
 
 "OPEN "-SLEEVES. 
 
 This sleeve is often cut in one entire piece, and folded on the bias ; and the fold 
 is turned toward the outside-length. It is joined by a seam, like that in the com- 
 mon sleeve. It can be left open, either at the inside or at the outside ; and it can 
 also be made of any length. If it is made narrow, it is sometimes draped with the 
 other sleeve, at the back of the costume. Or, it may be of less length, but of ex- 
 treme width ; thus producing all kinds and styles of costumes ; whether Oriental, 
 mediaevial, Greek, or Roman ; or otherwise those of the Cossack-form, used at balls 
 in modern times. Among these, we find the quaint and somewhat fanciful names of 
 "The Judge-Sleeve," "The Page-Sleeve," " The Religious-Sleeve," "The Leg- 
 of-Mutton-Sleeve," etc.! And when short, and finished with lace, they are called 
 the " Engageantes ;" but this last, is rather an under-sleeve. These extreme forms 
 are, then again, frequently gathered into a band ; this band is the size of the arm's- 
 eye-circumference, at the top; and that of the wrist, at the bottom. They may be 
 varied in form: — first, by not being put into a wrist-band; but, by making up the 
 gathering under a parement, or revers. They can also be gathered, or bouillion6, 
 the whole way down ; or they may be gathered at the top only. They are then cut 
 very narrow at the edge, where they fit closely to the wrist. The trimming should 
 correspond with the style of the dress. A fine method, for finishing sleeves of all kinds 
 is as follows, viz : Place the right-sides of the material together, and the right-side 
 of the lining together ; stitch up, and turn them right-side-out. Both seams and 
 stitches are then out of sight. Much time is also, saved in this way ; but care must 
 be exercised in turning it ; or the material will, in some cases, be permanently 
 creased. This principle of finish can sometimes be used to advantage, in other parts 
 of the garment. The parement, or the cuff, is an important factor in enhancing the 
 beauty of sleeves. It can be really added, to the sleeve ; or, it may be merely simu- 
 lated by the trimming. " Cording" sleeves, at the arm's-eye, is sometimes fashion- 
 able. We simply arm the student with principles, in the art of finishing; which can 
 be applied at such times, and in such ways, as fancy or fashion may dictate. We 
 simply furnish the method ; the design is governed by fashion, and the artist. 
 
 WEDDING-TROUSSEAUX, AND LOW-BODICES FOR BALL-DRESSES. 
 
 The method of cutting ' ' low bodices ' ' is given elsewhere, in the department 
 pertaining to cutting. The depth to which the bodice is cut, or the lowness of 
 the corsage, depends entirely upon the figure, fashion, and correct taste ; and 
 upon the correct education and true refinement, and the modesty of the one or- 
 dering it. If left too high, it disfigures, rather than enhances, the beauty of its 
 appearance ; while if cut too low, it is both vulgar and inappropriate, as it is im- 
 modest and offensive to public sentiment and decency; and, cannot be too highly 
 censured. The cut of this line, is the key of beauty in attaining elegance, in the 
 completed garment. The upper part is turned down, outside of the dress ; and 
 is creased down, at the line where it is to be corded. The common material is, 
 fine lawn ; which is soft, and yet firm enough to bear the strain of lacing. ' ' Ball- 
 dresses, ' ' in the main, are made in either one of the following styles, viz : 
 
150 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 a. Pointed-Back and Front. 
 
 b. With Round-Waists. 
 
 c. With Basques of various shapes, cut "in one," with the Bodice. 
 
 d. With Front-Basques, and Pointed-Back. 
 
 The whalebones are cut in blunt points, so as not to cut the dress ; and are 
 then pierced, encased, and secured, as in ordinary work. 
 
 Perhaps the favorite is, the "Pointed-Basque." The edges are generally- 
 corded ; as are also, the sleeves : — either double or single. The top is then corded 
 to match. ' ' Eyelet-holes, ' ' are worked on the inside of the back whalebones ; 
 usually in white silk, and in the close overcast-stitch ; which, is preferable to the 
 buttonhole-stitch. Dresses are laced, from the top to the edge ; therefore, the silk 
 lace is put in at the top left-hand eyelet-hole. ' ' Round- waisted-bodices ' ' are 
 cut off at the waist-line, and are then nicely corded ; and the skirt is then sewn 
 firmly, underneath the cord. A sash is always worn with these simple, but pretty, 
 corsages. Basques are hemmed or corded, and according to the nature of the 
 garniture. Colored silks look pretty, at the edges. " Basqued-bodices, " are laced 
 up at the back. By a union of the two styles, a bodice with front-basques and 
 pointed-back, is easily arranged ; and in some figures, is very much more be- 
 coming and graceful, than the other styles given. Low-bodices are trimmed with 
 folds of silk, tulle, or some rich lace; and arranged in various forms, and termed, 
 "Berthae;" which is made on a shape cut from pliable net, or tulle; and on a 
 tarlatan foundation, taken double ; but, the experienced draper will fold the Berthae 
 upon a paper pattern, running the folds in place, and trimming with lace ; which 
 arrangement produces a fine effect. A "Bouillionne-Berthae" demands a founda- 
 tion of stiff net, or tarlatan. The bouillonnes are usually finished by lace ; or other- 
 wise with a friUing of the material. The sleeves are always trimmed to match the 
 Berthae; and, often consist of puffs of tulle. A frill of crepe-lisse, or " Frou-Frou 
 tucker," is run inside of the cording of the neck. Whatever is chosen as a "neck- 
 tucker," must find its repetition on the sleeves. Ball-dresses are worn over "slips" 
 of silk ; or otherwise consist of rich silk, or faille, trimmed with tulle, net, blonde, 
 crepe-de-chine, and other diaphanous fabrics. "Ball-dress-skirts," are made with 
 long trains ; and the prevailing characteristic of walking-dresses, and those of visit- 
 ing-toilettes, will always be found repeated in gauzy materials, for the ball-dress. 
 Fashion will however hold the scepter, as to the mode. 
 
 GREEK-PLAITS. 
 
 The "Greek-plait" is only a box-plait, with about two inches of the outside cut 
 away at the hem; and the under sides of the fold sloped to the point where they 
 touch. Any box-plaited skirt may be transformed into "Greek-plaits" by the expen- 
 diture of little time and trouble. 
 
 BUTTONS. 
 
 To sew on a button neatly, and yet firmly, is an accomplishment that 
 few possess; and it should be highly appreciated in the work-room, or in the 
 home, where it is found. It is not, because it is so difficult a thing to do ; but, 
 because of the general prevalence of a uniform carelessness or indifference toward the 
 little, but necessary essentials, required. And yet, to all who aim even at an approxi- 
 mate perfection, in garment-making, it is an important matter. We can only give 
 a few hints, on the subject; for we cannot afford to go into details; on all subjects. 
 We therefore, suggest the following; simply as a help, viz : 
 
 I. The Covered-Button : To attach this button nicely, make a cover of twist, 
 underneath ; that is, on the under-side. Give one-sixteenth of an inch space, on the 
 cloth, or material. Knot your thread, and place the knot exactly under the neck of 
 the button; and, at the right-side. Always begin, by putting the needle in, from 
 right to left; and always, bring it back again. Two stitches are necessary, at first. 
 Now put the needle through the material and the crossed threads, at the under-side 
 
UTILITY AND DECORATIVE ART. I5I 
 
 of the button; and bring it through the cloth, close by the first insertion of the needle. 
 Continue this process, seven-times. Do not draw the twist, too closely. Then wind 
 the thread or twist, seven-times around the stitches; and complete the work, by 
 securing it, on the wrong side, by three carefully taken stitches; Be careful not to 
 draw the cloth, or material. 
 
 2. The Linen-Button. — The "linen-button" is begun, in the exact same manner, 
 as the "covered-button." You first knot the thread, and hide the knot underneath, 
 and directly under the neck of the button. Take two stitches, as before, from right 
 to left ; and then placing the needle up, in the centre of the button, arrange the 
 stitches so as to cross, on the '.bottom -side. Repeat the stitch, seven-times; now, 
 wind the twist seven-times around the stitches made; underneath the button, and 
 above the material. After winding thus, finish the work on the wrong side, as before; 
 and secure the same, by three carefully-taken stitches. 
 
 3. The Eye-Button, is attached to the garment, exactly in the same manner 
 as the "linen-button," only inserting the needle through the "eye;" the rules for 
 which, are given above; and which, is a very simple process. 
 
 4. The Woven-Button. — Stitch through the material from the right-side, 
 through to the wrong-side, and draw the knot exactly underneath the centre of the 
 button; this is done by two repeated-stitches, as before. Now using short "back- 
 stitches, ' ' form a circular-chain underneath the button. The circle should not exceed 
 one-sixteenth of an inch, in diameter. Insert the needle, and draw the twist out 
 between the material and the button; and wind the twist seven-times around, as 
 before. Then secure the work on the wrong side, as taught above; by three care- 
 fully-taken stitches. 
 
 5. The Shank-Button. — Knot your thread or twist, as before. Put the needle 
 through the goods, concealing the knot by the work. Two stitches should be given 
 first, to secure the twist. Then insert the needle and twist, through the shank, seven- 
 times. Do not wind the thread around the stitches, as before. But, secure it on the 
 wrong-side, by three stitches, securely made; as taught and given above. These 
 simple rules, will sufficiently cover the necessary requirements. 
 
 ■•-^^S^U W , A . ;.-*^5<^ 
 
152 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PLATE XXVII. 
 
 J'ig 124r 
 
 
 Fig 12: 
 
 rig 120 
 
 Fig 130 
 
 -S 131 
 
 Fig J 35 
 
 
 Kg 126 
 
 Fig 135 
 
 I'iglSS Fig 1-3 
 
 International "Tailor- Buttonholes." 
 
UTILITY AND DECORATIVE ART, 153 
 
 International " TaiJor- Buttonholes." 
 
 Plate 27.— Figures, 124, 125, 126, 127, 12S, 129, 130, 131, 132, 133, 134, 135, 136, 137 and 13S. 
 
 EXPLANATION. 
 
 Figure CXXIV, shows the method of working the "Plain-Buttonhole;" Figure 
 CXXV, shows the method of barring the "Round-Buttonhole ;" Figure CXXVI, 
 represents the method, and the American "Tailor-Buttonhole;" Figure CXXVII, 
 represents the method, and the Prussian "Tailor-Buttonhole;" Figure CXXIII, 
 represents the ' 'Double-Stitch-Buttonhole ;" Figure OtXIX, represents the method, 
 and the "Pointed Tailor-Buttonhole ;" Figure CXXX, represents the "Twisted- 
 Stitch-Buttonhole;" Figurfe CXXXI, represents the method of making "Knots;" 
 Figure CXXXII, represents the "Knotted Tailor-Buttonhole ;" Figure CXXXIII, 
 represents the "French-Tailor-Buttonhole;" Figure CXXXIV, represents the 
 "Scotch-Tailor-Buttonhole;" Figure CXXXV, represents the "English-Tailor- 
 Buttonhole;" Figure CXXX VI, represents the "Tatted Tailor-Buttonhole ;" Fig- 
 ure CXXXVII, represents the method, and the "Bound Tailor-Buttonhole." AH 
 of which, will be comprehended by the mere novice, at a glance; and by combining 
 the various instructions, as given under the subject of "Tailor-Buttonholes." 
 
 Tailor-Buttonholes. — In ladies' garments, the custom fixes the position of 
 the buttonholes on the right-hand front, when the garment is upon the form. The 
 opposite of this is true, of gentlemen's garments. And the buttons, of course for 
 ladies, are on the left-hand front. As general rules, we submit the following brief 
 instructions, viz. : 
 
 1. Accurately locate the proper " spacings," on the draft; beginning at the 
 lower extremity of the " Front- waist-depth," and locating the spacings equidistant 
 from each other, up and down from said point ; and from within, toward the front, 
 exactly to the line representing the fit, at the fore-part of the front. The button- 
 holes on one side, come from within to said line ; and the buttons are attached 
 exactly upon said line, directly opposite the buttonholes of the other side. It is best 
 to trace the indications of the buttonholes, on the linings, while tracing down the 
 different pieces ; then, it will be an easy matter, simply to set the buttonhole-scissors 
 to the right width, and cut the buttonhole exactly the right width and up to said line, 
 toward the front ; and as indicated by these trace-marks. 
 
 2. Cut the buttonhole exactly true with the goods ; or in other words, on a 
 horizontal hne with the body. The strain of the buttonhole, must be on the " length- 
 wise." A width of ^ or ^ of an inch, in front of the line representing the fit, is 
 sufficient to give the necessary strength, to the buttonhole ; at least, in all ordinary 
 goods. 
 
 3. In making, or "working" the buttonhole, use the very best quality of 
 "Tailor's Buttonhole-Twist." 
 
 4. It is a good plan to stitch, or " encircle" the space, where you wish to cut 
 the buttonhole, before cutting it. This is done, by a double-line of stitching, or 
 " running," as some term it. Two threads of goods are usually left, between the two 
 stitchings. The buttonhole is then cut, between the two inside-rows of stitching. 
 
 5. In " working " buttonholes, always work "from left to right." Keep the 
 eye of the needle, very near the buttonhole. The point should be, below the outside 
 row of stitches. Close the stitch very closely to the edges, where the cut is made. 
 In order to accomplish this, turn the twist around the needle, puUing it out, and 
 then drawing it upward ; this brings the stitches near the edge, and, in their proper 
 
154 "^^^ ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 place. A short bar is worked across the end, when one side of the buttonhole is 
 completed. This bridges the ends, and gi\'es strength to the buttonhole. And it 
 also unites, or brings together, the entire stitching. Four stitches usually, complete 
 this bar ; it, of course, reaches entirely across the width of the buttonhole. Then, 
 work these stitches back ; using again, the regular "buttonhole-stitch." Next, you 
 work the other side, in the same manner, as you did the first ; and when the side is 
 completed, finish the work by "cross-barring" the other end of the buttonhole; 
 then completing the process, in the regular " buttonhole-stitch ;" and then, securely 
 fasten the twist, and insert the needle, and draw the twist underneath the work — 
 hiding the end. 
 
 6. The Plain- Buttonhole. — First encircle the space to be cut, by the 
 "double-stitching." Then, having cut the goods the proper size, bar the cut 
 thoroughly, and at once ; before the threads of the goods have an opportunity to 
 become displaced. It is often a good plan, in some goods at least, to bar the same 
 before cutting the buttonhole. Be sure you bar it securely, at each end. Always 
 use twist, that is much coarser than the thread of the goods. A buttonhole shows 
 better, and is also firmer, if this is observed. Do not hasten the work too much, and 
 thus spoil its beauty and finish ; by taking up too much cloth or goods at one time, 
 in the stitches. They should be very short ; and should be exact, and uniform. Let 
 each stitch be drawn firmly, and have a substantial solidity in the work, on the top. 
 The stitch generally called " Buttonhole-stitch," is made by winding the twist only 
 once, around the needle. Be certain to have the stitches close together, and evenly 
 made ; so that the barring will be completely hidden, underneath. At the ends, 
 work directly across ; and always thoroughly secure the twist, when you have 
 finished ; hiding the end, underneath the work. 
 
 7. The Round-Buttonhole. — In the "round-buttonhole, " the ends are barred 
 in a curved form, instead of an angular form, directly across. It can be worked 
 otherwise, as the "plain-buttonhole ;" but in the main, the "chain-stitch" is used, in 
 working the "round-buttonhole." This is positively necessary, in very heavy- 
 weight goods. And indeed in all work, where it is desired to show the work with a 
 heavy or raised appearance. Some work both sides of a buttonhole, first; and after- 
 wards, the ends. But we think this both improper in theory, and imperfect and defi- 
 cient in practice. Each stitch, in working any buttonhole, should be taken on the 
 same line with that of the cloth or the material, upon which the work is executed ; 
 and that, each way, too. First, over-cast the cut, very neatly and closely, all around; 
 and never work a buttonhole, on simply one single thickness of cloth, or material. 
 It will invariably break; and will finally "pull out." This applies to all buttonholes. 
 
 8. The Double-Stitch-Buttonhole. — The name of this buttonhole, almost, indi- 
 cates the process. It is simply made as follows, viz : First, run the double-stitching 
 around the cut ; and then bar it, as in other buttonholes. Then work the ordinary 
 "buttonhole-stitch," all around it. Upon this as a foundation, neatly work the 
 "Diagonal-Stitch," over all. This is made by simply taking short diagonal-stitches, 
 from the left-hand toward the right; throwing the loop and drawing the twist neatly 
 and firmly, at the top. 
 
 9. The Knotted -Buttonhole. — As its name indicates, this buttonhole is worked 
 in the "knotted-stitch. " First, it embraces all the elements and principles of the 
 "plain-buttonhole;" and it is first worked, as any ordinary buttonhole. Upon this 
 foundation the "twist" is laid upward, and drawn through again, underneath the 
 twist or thread of the original work. This is then ornamented with the "knot." 
 The "knot" is made as follows, viz : Pass the twist twice around the needle ; and 
 then, put it back through the same insertion, into the cloth ; when it is drawn, it 
 forms the "knot." This is repeated, until the work is completed. 
 
 10. The Tatted-Buttonhole. — This buttonhole, differs radically from either of 
 the above. First, instead of stitching the twist around the edge of the buttonhole. 
 
UTILITY AND DECORATIVE ART. 1 55 
 
 we sew a cord to the edge of the cut, using fine "overcast-stitches." Then, it is 
 worked as the ' 'knotted-buttonhole." It brings a similar result ; but, in a different 
 way. It gives it a prominence, and boldness of finish, that is much admired by- 
 many. 
 
 11. The Pointed-Buttonhole. — This is a peculiar stitch; but is very pretty. 
 First, proceed with all the elements and principles as given above, for laying the foun- 
 dation, viz: Cutting, barring, etc. Then, work it in the ordinary "buttonhole-stitch;" 
 setting the stitches in the cloth or material in such a position, in which the stitches 
 will form points. Each stitch in this buttonhole, is worked off" with a second stitch, 
 that is shorter than the first. And it is, of course, worked from left to right. It 
 makes a handsome buttonhole, if it is worked carefully and artistically; and it has 
 many admirers. 
 
 12. The Herring-bone- Buttonhole." — The name indicates the process, in this 
 buttonhole. Neither does the "herring-bone-stitch" need any explanation ; since it 
 is known to almost all ; and which, can also be seen in the illustrations. But the 
 "herring-bone" should consist in diagonal "buttonhole-stitches;" one setting the 
 needle from above, below ; and the other, in the opposite direction, from below, 
 above ; in the process of which, fasten the edge of the material thoroughly. After 
 you have completed this "herring-bone-stitch," work the inside stitches, nearest the 
 cut, a second time; and do this, with a short "buttonhole-stitch." This completes 
 the entire process. All of which is very simple, and very pretty. 
 
 13. The Twisted-Stitch-Buttonhole." — The stitch has given the nam.e; and we 
 might almost say, also the process. First, insert the needle through the material, 
 very close to the edge ; and then, up through the cut. Then wind the twist seven- 
 times around the needle; and draw both the thread and the needle, through said 
 windings. To do this nicely, may require a little experience. Slightly press the 
 windings down, when you pull the needle up. This holds the windings down upon 
 the material. Then, put the needle through the exact same place where it was 
 inserted for the last stitch, and draw it through the material, to the side underneath ; 
 now work all the necessary successive stitches, in the same manner; and continue, 
 until the work is completed. 
 
 14. The Piped- Buttonhole." — This buttonhole is made on heavy goods; and 
 where very large buttons are used. We simply apply the elements and principles of 
 ' 'piping, ' ' given elsewhere, to the buttonhole. Any one will understand, that it is 
 simply finishing the buttonhole with "piping;" and thus binding it, neatly. 
 
 15. Loops. — In thin dresses, such as muslins, grenadines, etc., we sometimes 
 dispense with buttons for closing, at the front; and substitute therefor "loops," when 
 the trimming at the front, consists of bows. They should be worked very neatly, 
 and very closely. 
 
 i-<^5«;?-«" 
 
156 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PLATE XXVIII. 
 
UTILITY AND DECORATIVE ART. I57 
 
 INTERNATIONAL TAILOR-PRINCIPLES OF FINISHING. 
 
 Tailor-Finishing. 
 
 Plate 28.— Figures 139, 140, 141, 142, i43, i44, i45, 1461 H7, 148, 149. 150. 151, 152, i53. 
 
 154, 155, and 156. 
 
 Explanatory Instructions. 
 
 Figure 139, shows the method and appearance of the right-side of the 
 " American Cloth-Seam." Figure 140, shows the method and appearance of the 
 wrong -side of the "American Cloth-Seam." Figure 141, represents the method 
 and appearance of the " French Cloth-Seam ;" this is sometimes called the " Invisi- 
 ble-Seam," in this country — and is often also, used on thin, and on transparent 
 goods. Figure i42,showsthemethodof binding, and the appearance, of the "Berlin- 
 Pocket-Finish." Figure 143, shows the method of cording, and the appearance, of 
 the standard " English Pocket-Finish. Figure 144, shows the method and appear- 
 ance, of the standard " French -Piping." Figure 145, shows the method and 
 appearance, of the standard "French-Fold." Figure 146, shows the method and 
 appearance of the " Berlin-Fold." Figure 147, shows the method and appearance 
 of the " English Double-Cording." Figure 148, shows a process in the American- 
 method of adjusting the tape. Figure 149, shows another process in the American- 
 method of adjusting the tape. Figure 150, shows a process in the French-method of 
 " Kilt- Plaiting." Figure 151, shows another process, in the French-method of 
 " Kilt-Plaiting." Figure 152, shows a process, in the French-method of securing 
 and attaching the "gathering," or "gauging." Figure 153, shows the English- 
 method of attaching the "braid," on the wrong-side. Figure 154, shows the French- 
 method of "Button-Embroidery." Figure 155, shows the English-method of 
 " Button- Embroidery." Figure 156, shows the French-method of " covering" and 
 " garnishing, " the circular-wire or "ring." This is executed in linen, or silk; and 
 is often used instead of the button, as well as for adornment. All of the above 
 examples represent simply, " Principles-of-Finish ;" and which are exceedingly 
 simple, and easy of attainment ; and which also, will be comprehended, at a mere 
 glance, when studied in connection with the instructions given, elsewhere in the 
 work, on stitching, embroidery, tailor-finishings, needle-work, etc. We have given 
 the above, because they represent standard-methods ; the principles of which, will 
 ever remain the same ; and which, can not be effected by fashion — as they can be 
 adjusted to every conceivable style. 
 
 TAILOR-FINISHINGS. 
 
 ' ' Tailor- Finishings," is a broad and extensive term ; and it covers an extensive 
 province, in the art and science of garment-making. Tailors having been the first 
 to give special attention to exactness, in the science of ' ' finish , ' ' the various forms of 
 trimming, stitchery, buttonholes, etc., which, by the taste and experience of the world, 
 have been stamped, as the standards of utility, and decoration; these said standards of 
 forms and methods, received the name "Tailor-Finishings." It is an easy matter 
 to detect at once, the difference in the nicety of finish, in favor of the tailor-made 
 suit, when it is compared with the results of the cheap wholesale-processes, which, are 
 
158 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 applied to ready-made clothing. The ready-made suit, lacks woefully in the fit; but 
 it lacks infinitely more, in the finish ! Everywhere, it reveals an utter and wretched 
 disregard for those " little niceties " of finish, which so richly adorn and beautify 
 the tailor-made suit ; and which enhances the graceful appearance of the same, on 
 the one wearing it, in the exact same ratio of said difference. It pays abundantly, 
 as all will find out by experience sooner or later, to get a first-class article in goods; 
 and also to have it made up in the very best manner possible. A first-class tailor- 
 made suit at $100, is cheaper than the same class of goods, ready-made at $50 ! As 
 a help and aid to the novice, we divide the subject into the following divisions, under 
 the heads of the following classifications, viz. : 
 
 1. The materials upon which the work is executed ; 
 
 2. The materials used for garnishing ; 
 
 3. The process of their execution ; 
 
 4. The aim and object, of the same. 
 On the first, we remark as follows, viz. : 
 
 a. They should be chosen with a due regard to the customer, for whom they 
 are intended ; as well as the purpose for which they are intended. Complexion, etc., 
 should be considered. Color, also, has a marked effect in enhancing or detracting 
 from appropriateness. Color, also, effects the size. Neither does a plain suit, re- 
 flect the same size upon the same person, as a suit of checked or barred goods, 
 does. The best of " tailor-finishings," will not correct a blunder here. 
 
 d. It should be of a texture of sufficient firmness to hold the stitchery, etc. A 
 " crow's-foot," will not long remain a " crow's-foot," in some material ! 
 
 On the second, we remark as follows, viz. : 
 
 a. They should likewise reflect appropriatness, in color, and durability; 
 
 d. They should blend in the proper shadings, with the original ground-work, of 
 the goods, upon which they are placed ; 
 
 c. The cords, linings, twists, etc., should be of the very best quality and 
 grades of silk; 
 
 d. Their object, aim, and purpose should be to strengthen, as well as to 
 garnish. 
 
 On the third, we remark as follows, viz. : 
 
 a. The cut and style should reflect mathematical truth, exactness of angles,, 
 curves, parallels, symmetries, etc. 
 
 d. The choice of combinations, should reflect appropriateness in size, shape, 
 and color, etc. 
 
 £. The texture of the goods, and the purpose of the garment, etc., will help to 
 decide upon the most proper stitches to be used for the buttonholes, attaching garni- 
 ture, etc. 
 
 d. The methods of the stitchery, trimming, etc., we have given and treated in 
 other departments of the work ; to which, we refer the student — the same being 
 pointed out, in the index. 
 
 On the fourth, we remark as follows, viz. : 
 
 a. The main object should be to enhance the appearance of the form, for which 
 the garment is intended ; and to hide deficiencies, in both form and material. 
 
 d. This embraces the effects of color, size, and form ; each and all of which, 
 have a legitimate claim upon the attention of the artist ; 
 
 c. Last but not least, they should lend strength and durability to the garment, 
 whatever its name, form, or style. It is by the careful observation of all these " little 
 details," and the power of their influence, when brought to bear upon the work of 
 the artist in garment-making, that above all other influences, placed the present halo 
 of glory around the lustrous name of Worth — the reputed man-dress-maker of the 
 world. 
 
UTILITY AND DECORATIVE ART. 
 
 / 
 
 159 
 
 PLATE XXXI. 
 
 Sleeve and Bodice-Garniture. 
 
l6o THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Sleeve and Bodice-Garniture. 
 
 Plate 31. — Figures 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 
 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 
 and 218. 
 
 EXPLANATORY INSTRUCTIONS. 
 
 Figures 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 
 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, and 212, show- 
 various and different standards, in methods of sleeve-garniture. Figures 213, 214, 
 215, 216, 217, and 218, show various and different standards, in methods of bodice- 
 garniture. Each and all of which can be read and comprehended, by the mere novice, 
 at a single glance ; by studying the same, in connection with the instructions given 
 elsewhere, in each of the above departments. 
 
 TRIMMINGS. 
 
 Trimmings are to garments, what color is to the painting; or what leaves 
 and blossoms are to spring, and flowers to summer. Trimming has its source 
 in the appreciation of, and the desire to emulate the beautiful in nature ; whether 
 . as displayed in the mingled shades of color along the edges of the over-hanging 
 cloud, or upon the wings and plumage of the most tiny bird or insect. It can best 
 be studied, in her sanctuary ; and we receive the inspiration of her gifts, through 
 the endowment and ministrations of good taste. 
 
 Trimmings are required for the double purpose of weakening the power of un- 
 comeliness, and enhancing the grace of beauty. 
 
 When material is poor, thin, and transparent ; when there is something in the 
 figure of the wearer, from which we wish to divert the eye : under all of the above 
 circumstances, the sovereign remedy is found, in trimmings; while rich and costly 
 fabrics, around fair faces and handsome forms, like the fairest of flowers, look most 
 adorned, when unadorned ! 
 
 Again, certain fabrics should never be used as trimmings, upon other materials. 
 For instance, velveteen cannot be ornamented with velvet bows ; but must have 
 faille, or silk, etc., as ornaments. Grenadine cannot be used to trim on washing 
 fabrics ; nor is white embroidery appropriate with barege. Poplin looks best when 
 velvet-trimmed, but is not offended when in company with gros de Naples ; while 
 turquoise, and faille, can both be made to add lustre, as garnitures, to cashmere, 
 merinos, and all plain woolen goods. Clear fabrics, grenadines, and bareges, etc. , 
 look best self-trimmed ; while foulard-silk may be used upon the same with good 
 effect. Passementerie, or "gimp," is suitable on all opaque fabrics ; and fringes, it 
 should be remembered, are used to edge garments only; and should be placed under, 
 and not upon the fabrics, which they ornament. Velvet bands are utilized to gar- 
 nish the borders of garments. The effect of trimmings, as well as that of seams, 
 when placed in a horizontal position with the form, have the peculiar effect of appar- 
 ently producing a "broadening" and "widening" effect; while perpendicular or 
 "lengthwise" seams and trimmings have the opposite effect, viz: of apparently 
 ' ' increasing ' ' the stature, and reducing the width. This principle is of great service 
 to the artist, in properly selecting and recommending the styles of seams and trim- 
 mings, which correct any undue proportion, in the direction of either extreme, in 
 any special form. Again, some styles or modes of trimming are adapted to children, 
 and especially to the young ; while others belong to old age. Very ludicrous mis- 
 
UTILITY AND DECORATIVE ART. l6l 
 
 takes are often made in violating this principle of adaptation, in the choice and selec- 
 tion of seams and trimmings, by different artists. The most useful trimmings to con- 
 ceal the ravages of time, perhaps, in the whole catalogue, are the various styles of 
 " Bias-Folds;" which, therefore, naturally cling to old age ; as much so as the vine 
 clings to the trellis. As a few examples in trimming, we give the following, viz: 
 
 I. The Plain Gathered-Ruffle. — This is standard, and is the letter "A," 
 in the alphabet of "trimming;" and it is the most simple, common, and, perhaps, 
 we might add, the most useful of all skirt-trimmings. It has done good service for 
 many centui'ies, and will most likely continue to do so. It is, of course, cut on the 
 exact bias. You can then have your choice out of three distinct and standard meth- 
 ods of finishing the "Flounce" or " gathered-rufifle, " viz: 
 
 a. Bind the edge by a strip ^ of an inch wide, stitching it to the right side, 
 and taking up as small a seam as possible; then turning it over, and hemming it 
 down on the wrong side ; and so arranging the stitches in this last process, that the 
 stitches will be put in the first seam, and be invisible on the wrong side. 
 
 b. Or again ; you can turn it up on the wrong side, and complete it with a 
 a neat hem, ^ inch in width. 
 
 c. Where the material is not adapted for either of these processes or methods, 
 you can neatly cut a lining of undressed crinoline, or some similar goods. Having 
 done this, sew both together on the bottom edge, and then turn it so that the seam 
 is hidden between the two materials — on the wrong side. 
 
 2. "The French- Ruffle. — This "flounce" is very frequently used. It is 
 simple, and is formed as follows, viz : Cut the " flounce" two inches wider than it is 
 to be when finished. It is, of course, cut on the exact bias. Deep, broad points, 
 the desired depth and widths, are then cut in the bottom. The points are sewed all 
 around, neatly, to a lining ; which should be of silk, since it shows slightly. Fold it 
 across the top in very regular and small side-plaits. To do this artistically, arrange 
 it so that each is taken exactly at the upper end of each respective point. 
 
 3. The Corded-Ruffle. — This "flounce" has many admirers, and is one 
 among the leading standards. This should also be cut two inches wider than you 
 wish the flounce, when it is completed ; and you should cut it also, on the exact bias. 
 A flounce will not hang true, unless cut exactly on the bias. The extra amount al- 
 lowed in cutting, is taken up in the " cording" and in the "heading." The "head- 
 ing" should be turned in double, to the cord. It can be cut in points, or otherwise; 
 and can then be neatly finished by attaching it to a crinoline lining or otherwise silk. 
 Preceding the process of turning, the upper part of the point should be cut; then you 
 can easily turn it, and draw it out. The cord should be inserted, and the gathering 
 done, at one and the same time. The whole process will be found very simple, and 
 makes a handsome standard finish. 
 
 4. The English - Ruffle. — This standard "flounce," is a cousin to the 
 " French- Flounce." It differs, however. Cut it the same, in every way as you did 
 the "French-Flounce." Give it the. desired shape, as to the points. Itdiffersfrom 
 the "French-Flounce," in that the points are not Hned ; but instead of this finish, 
 they are neatly bound; this is done with a very narrow bias-piece of material. 
 
 Arrange and adjust the flounce at the top, in a series of accurately-spaced and 
 neatly-laid box-plaits. Said plaits should be the exact, or of uniform width, of the 
 spacings between them, respectively. The centre of each plait, will thus become the 
 centre of each point, respectively. 
 
 5. Bias-Piping. — This useful and standard trimming is of French origin. It 
 is the close friend and companion of old age, rather than that of the young. Because 
 
 II 
 
l62 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 it is very narrow when completed, do not reason falsely, and conclude to cut it nar- 
 now — proportionately. It should, as a general rule, be cut one inch in width. It 
 must be on the exact bias of the goods. Deep seams are required on the inside; 
 which, will take up the surplus width allowed in cutting. 
 
 The process of forming it is very simple. Turn the material, and place it in 
 such a manner that the edges are turned on the inside; having the upper, the mere 
 width of a cord above the lower. Then finish it by close, firm, and regularly made 
 invisible stitches. 
 
 6. Double-Piping. — A standard, very pretty, and effective trimming in 
 "piping," is formed by showing two different colors in the same "piping." Black 
 silks are sometimes thus decorated, by heading the ruffle, with a slight showing of 
 some proper shade in a different-colored silk. This is termed ' ' double-piping.' ' 
 The process is very simple. First, cut the bias-pieces as usual ; attach them, by the 
 ordinary seam ; they are then opened and turned over. This, when adjusted, shows 
 to good advantage, if good taste is used in the selection of shading in tiie colors. 
 
 7. Kilt-Plaiting. — This is a standard, very popular, and stylish plait, if prop- 
 erly formed and artistically planned. It is sometimes termed "side-plaiting." It 
 should invariably be formed on a straight ruffle. There are two general forms of 
 making the "kilt-plaiting," viz : 
 
 a. First, it may be lined entire. 
 
 b. Second, it may be jointly "bound and hemmed." 
 
 It is most standard, among connoisseurs in the art of dress-making, to line it en- 
 tire; and finish it with the "invisible-stitch." Proceed as follows, viz : 
 
 a. First, design the width of the plaits. 
 
 b. Second, lay the first carefully. 
 
 c. Third, then baste it thoroughly into that position. 
 
 d. Fourth, proceed with the second, laying it exactly as the first, and the ex- 
 act same width; and baste it in said position. 
 
 e. Fifth, repeat this process until the work is completed. 
 
 f. Sixth, after laying them in the same folds, baste them thoroughly across the 
 lower edge. 
 
 g. Seventh, press them thoroughly on the wrong side. 
 
 h. Eighth, now secure them thoroughly, by joining them with strong cotton, 
 before removing the former basting. This completes the work ready for adjusting 
 and finishing. 
 
 8. Double-Corded-Piping. — A handsome standard design on some ground- 
 work, is frequently made in the " double-piping," which we have already described 
 above, as follows, viz : 
 
 a. First, cut the two materials on the bias, as usual. 
 
 b. Second, attach them by the ordinary seam. 
 
 c. These are not turned and hemmed on the wrong side, as for the " double- 
 piping" described under the sixth paragraph above ; but instead of this process, it is 
 stitched near the bottom-edge, with silk of the same color as that used in the cord- 
 ing. Into the upper, is inserted a medium-sized cord. 
 
 9. Double-Cording. — A very popular standard, and very useful trimming, 
 is termed " double-cording." It is formed as follows, viz : 
 
 a. The standard width of the bias-strip is i J^2 inches. Cut said strip exactly on 
 the bias. 
 
UTILITY AND DECORATIVE ART. 163 
 
 b. Stitch one cord in this, in the usual way. A wide seam should be left at the 
 lower edge. 
 
 c. Insert a second cord, in like manner. 
 
 d. Turn this last cord up, stitching along the edge, and connecting the 
 seams of both cords. 
 
 e. Now run another stitching near the second cord, in such a manner that when 
 reversed, the seam is not seen on the wrong-side. 
 
 10. The French-Fold. — The "French-Fold," another very standard trim- 
 ming, is usually made out of the material of the dress, edged with satin. It is 
 very simple, and is largely used in all kinds of dress-trimming. Proceed as fol- 
 lows, viz : 
 
 a. Cut the strip out of the material, exactly on the bias, 3^ inches wide. 
 
 b. Cut the strip of satin, on the bias, i inch wide. 
 
 c. Fold the satin on the centre-line, and stitch it to the edge of the fold. 
 
 d. Then reverse the seam, and finish it by hemming it upon the other edge, 
 on the wrong-side. 
 
 ♦^*i^. 
 
164 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PLATE XXXII. 
 
 International Standard Skirt-Trimmings. 
 
UTILITY AND DECORATIVE ART. 165 
 
 International Standard Skirt-Trimmings. 
 
 PLATE XXXII.-Figures 219 and 239. 
 
 Explanatory Instructions. 
 
 Figures 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 
 234, 235, 236, 237, 238, and 239, show twenty-one different standard-methods of 
 skirt-trimmings. Each and all of which, explain themselves ; and which can be 
 accurately read, and directly reproduced, by even the most inexperienced ; by simply 
 studying them a few moments, jointly and in connection with the instructions under 
 "Copying," "Tailor-Finishings," "Trimming," etc. 
 
 11. Quadruple-Bias. — This has, in recent years, assumed a place among the 
 standard-trimmings. It is sometimes termed " Four- Fold- Bias " ; because, it is 
 folded four-times. Its name "quadruple-bias" comes from the same reason. That 
 it folds four times, should be remembered in "cutting-out" the material ; which, of 
 course, is on the exact bias. Baste each fold down and finish easily, but firmly and 
 securely ; and, on the wrong-side of the goods. Then removing the basting-threads, 
 continue this process, until all the folds are stitched on. Finish or fasten the top- 
 fold, securely, by means of the "slip-stitch." 
 
 12. Rouleaux. — These were once very popular, and much used as garni- 
 tures. Especially so, for garnishing mantles; and for edging skirts, and princess- 
 dresses. The process is so simple and well-known to all, that we deem it unneces- 
 sary to give space for anything more than merely calling attention to the same. 
 
 13. Plaited-Belts. — A handsome and much-admired finish, in the form of 
 " Plaited-Belts," is often used, in dress-making, and for loose garments. Proceed as 
 follows, viz.: 
 
 a. Cut the material, twice the desired width of the belt. 
 
 b. Cut it thus, on the exact bias of the goods. 
 
 c. Using but a narrow seam, stitch the material to the wrong-side of the lower 
 part of said belt. 
 
 d. Having done this neatly, reverse the same ; by turning it back, and stitch- 
 ing the plaits to the same, near the edge on the lower-side. This should be per- 
 formed, with great accuracy and care. Fold the top-edge over, and secure it by the 
 finish of hemming; which, of course, is done on the wrong-side. 
 
 14. Flounce- Heading. — This pretty finish, is of great service on all kinds 
 of "flounces." It is made in different ways. But perhaps the most standard-way 
 is, to make it exactly on the same principle, as that described in the above instruc- 
 tions, on making the " Plaited-Belt." To which, we refer the student. 
 
 15. The Tape. — Everywhere, among all nations, we find this form of finish, 
 highly prized and appreciated. It is standard, both as to time and place ; and will 
 likely ever remain so. It is ornamental ; but it is, also, very useful. To attach it 
 nicely, proceed as follows, viz. : 
 
 a. Place the top near the hem, on the wrong-side. 
 
 b. Taking the stitches from the right-side, stitch it down securely, in that 
 position. 
 
 c. Fold the tape over the seam, so that it laps over the edge. 
 
166 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 d. Now finish the process by stitching it down firmly, on the right-side. 
 N. B. — Another Process. — Proceed as follows, viz.: 
 
 a. Place the tape on the material, as taught above. 
 
 b. By means of the "back-stitch," attach it to the material. 
 
 c. Fold the tape over the seam first made, and stitch it down firmly, near the 
 edges. 
 
 i6. Fringe. — A beautiful means of finish can be made as follows, viz.: 
 
 a. Ravel two pieces of gros-grain, of equal length, to the desired depth. 
 
 b. Secure the former under the edge of the latter. 
 
 c. Give this a finish on the under-side, by a neat facing, or cover, 
 
 d. Dividing the strands into equal sizes, link every second pair from under- 
 neath, by means of "buttonhole-stitches," of the same color of silk. 
 
 The process is not difficult ; if the following is observed, viz. : First working the 
 first strand, the desired distance down from the goods, with two stitches ; and then 
 joining half of this, with half of the next, by two stitches — twice as far down, as that 
 of the first junction ; then, coming back to the first distance from the material again, 
 and joining half of the first with that of half of the second, as before — leaving the 
 silk with which you work, on the under-side. Continue this process, until the entire 
 work is completed. It is simple, and very beautiful ; and admits of many changes, 
 and as many variations. 
 
 17. The Berlin-Fringe. — This is very popular, and is made as follows, viz.: 
 
 a. Proceed exactly as for the above fringe, in cutting, and joining, and facing 
 the two pieces. 
 
 b. Form an equal division of strands, as in the above. 
 
 c. Join them in pairs, alternately, by means of the " looped-knot." 
 
 This process is likewise, very simple ; and the mere novice can " catch the 
 idea," by a little thought and practice. 
 
 The first, is brought around and over the top of the second, and then back through 
 its fold or loop ; the upper strand is then drawn on the outside ; and to complete the 
 process, the two are joined together, by being wound a few times with silk twist — 
 of the same color. 
 
 18. Bows. — "Bows" are to trimming, trousseaux, and evening dresses, what stars 
 are to the firmament at night, or dew-drops to the rosebud or flower in the early 
 dawn. They are the "finishing-touches," of the true artist's brush ! And we might 
 add, that as the dew-drop — mirror-like, reflects the face of Nature; and through 
 Nature reflects the infinite conceptions of beauty and perfection of Him who is the 
 Author of Nature; in like manner, we can invariably read the degree of scholarship 
 and education of taste attained by the modiste, from these instructive characters ; 
 which she, perhaps unconsciously, has placed upon her work ! There is something 
 about its secret, for which it is impossible to give a law or rule, that will sufficiently 
 cover the ground. It is like music, or painting — natural to some; almost, impossible, 
 to others ! And yet, we do not like the word "impossible,' ' in anything. Neither 
 Demosthenes nor Cicero, were born orators ! Much can be accomplished by indus- 
 try, patience, observation, comparison, reflection, and a determined will — to succeed. 
 
 The very carelessness with which Nature has placed the opening rosebud, nest- 
 ling half-concealed within the green and shaded leaves, lends it richness of lustre ; 
 and makes it seem, because of that, only the more charmingly beautiful. 
 
 To describe all the styles of "bows," would be too great a task. To give simply 
 a catalogue of the various names, would more likely confuse than help the inexperi- 
 enced. Suffice it to say, in conclusion : All can attain progress, at least; and all can 
 improve in this art, as they can in their penmanship ! But while all can become 
 skilful with the pen, it is given to some, to excel ! Observe, think, and practice; and 
 be industrious, patient, determined, and hopeful; and success will crown your efforts. 
 
UTILITY AND DECORATIVE ART. 167 
 
 19. Knife-Plaiting. — This element of trimming is much used, in the art of gar- 
 ment-making; and it is one of the principle standards — in "methods of finish." The 
 principle which underlies the process, is exactly the same as that which underlies all 
 plaiting. The plaitings however, are much smaller, and are generally laid in regular 
 successive widths, in oneway. This, is called "Plain-Knife- Plaiting. " It is sometimes 
 varied, by laying a different number of a size, in alternate places; this, is then termed 
 "Cluster- Knife- Plaiting." The plaiting in general, takes its name from the form, 
 having the appearance of a knife, over which, and into which it is laid. The "Cluster- 
 Plaiting," received its name from the plaits having been arranged in "clusters," at 
 equidistant spacings. The process is so simple, and so generally and well-known, 
 that we deem it of insufficient importance, to treat it by an extended explanation. 
 
 MOURNING-DRESSES. 
 
 Personally, we both prefer to express our sorrow and see that of others expressed, 
 by "draping the heart," rather than the body. But in all ages and places, it has been 
 a universal custom to give expression to "sorrow for the dead," by draping the body, 
 for a limited time, in outward symbols and tokens of grief. And as this naturally 
 comes within our province, we give it a passing notice. The "mode," finds expres- 
 sion in all the ten-thousand variations, and all possible degrees; from the mere simple 
 and plain "band-of-crape" around the arm, to that of the most elaborate, extensive, 
 and most costly costumes, worn. It does not always express sorrow, in the exact 
 ratio of its form, and its extent — only as measured by the false reed of "public cus- 
 tom !" But the decrees of custom are merciless, and do not admit of discussion; but 
 demand instead, a quiet and submissive acquiescence; and our inclinations must very 
 often — however unwillingly, become for a time, its slaves ! But it is possible even 
 for the slave, to be superior to his master. And we therefore, simply point out how, 
 most expressively and most gracefully, to adorn and wear its chains ! And we there- 
 fore, submit the following, viz : 
 
 I. The Dress. — The dress should be, 
 
 a. Grosgrain-silk, drap du nord, satin-merveilleux, paramatta, barathea, bomba- 
 zine, or some one of the like-materials, in deep-black ; 
 
 d. Cut plain "demi-promenade," in the skirt; and with long "jacket-bodice," 
 or otherwise, "en princesse-form," in the body-part ; 
 
 c. Almost entirely, at least very heavily, "trimmed" in either "Albert-crepe," 
 "Rainproof-crepe," or otherwise, in "Rainproof-cr^pe-cloth," etc.; 
 
 d. Without lace or ribbons; unless very sparingly used, and these of the highest 
 grades and best qualities made; and which of course, are only in the heaviest shades 
 of black. 
 
 I. The Wrap. — The wrap should be, 
 
 a. "Paramatta-cloth," "Cypress-crepe-cloth," "Crepe-trimmed-cloth," "Cloak- 
 silk" or "cloak-cloths" of various names and shades, in deep black ; 
 
 d. Cut "Dolman-sleeved," for elderly ladies; and in long "jacket-form" or 
 ' 'paletot-form' ' for younger ladies ; 
 
 c. For heavy winter-wear, dark-seal-skin, astrachan, velvets, or cloths; 
 
 d. For light summer-wear, simply of silk, "crepe-silk," or lace; all of which, 
 must be "crepe-trimmed ;" or otherwise, the simple crepe is used ; 
 
 3. The Bonnet. — The covering for the head is, 
 
 a. Silk-crepe, founded or built upon, what is generally known as the "widows- 
 cap." 
 
 d. "Bonnet-shaped;" hats, not generally being allowable ; 
 
 c. "Trimmed" with a "crepe-veil" of medium length, at the front; and with 
 a deep, heavy, and long "crepe-veil," at the back. 
 
l68 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 4. The Cap. — The cap is, 
 
 a. Tarlatan, lisse, or tulle, etc ; 
 
 b. Generally, in the form of what is known as the "Marie Stewart" -shape ; 
 
 c. "Trimmed" with long "streamers." 
 
 5. Supplementary Requisites. — These in the main, are are as follows, viz: 
 
 a. Ornaments — only in jet; 
 
 b. Collars — linen, lawn, or muslin ; edged in deep-black; 
 
 c. Cuffs — the same, as the collars ; 
 
 d. Gloves — black kid. 
 
 DRAPING. 
 
 When we stop to think that mathematics fixes the perspective of the Artist, 
 garnishes Architecture, and brings harmony and musical cadence out of discord ; we 
 certainly should not be surprised to find that "Draping," claims a legitimate birth- 
 right and inheritance, in the wedlock of Art and Science. In a preeminent sense, 
 "Draping" is an art ; but it is also, more than an art. It is a science; as much so as 
 any or all of the generally accepted sciences, recognized and honored throughout 
 the civilized world. It has an extensive province; and as a subject, for exhaustive 
 discussion, would lead us not only through the department of garment-making, but 
 would also lead us through the provinces of painting, modeUng, and sculpture, etc. 
 Many excellent artists with the brush, and many excellent paintings, have been 
 shipwrecked on its dangerous shoals. For if the draperies of a painting, or a work 
 of art in sculpture, are not mathematically symmetrical, and do not reflect true grace 
 and real elegance, the entire work is a complete failure. In each of these provinces, 
 the drapery is all-important. But we have, in a special manner, to do with the 
 subject only, as it effects the province of garment-making. And to this field, we 
 now turn our attention. In a general way, and for the purpose of simply aiding the 
 inexperienced student to a rudimentary knowledge of the process of draping in 
 garment-making, we submit the following general rule: For instance, suppose we 
 have taken the measures, completed the draft, and have cut the linings; and after- 
 wards have formed the "polonaise-draft," upon the silk ; according to the instruc- 
 tions, as given and illustrated in the engraving; and, that the polonaise is basted, 
 and partially stitched; and that it is now ready, for draping. Then proceed in the 
 following order, viz : 
 
 a. First, place the entire polonaise length-wise, upon the cutting-table ; draw- 
 ing it down neatly and smoothly, in a length-wise manner. 
 
 b. Second, suppose the design to call for "medium-high-drapery" at the 
 back, and a series of "shell-puffs," at each side ; and with the points Yz ways from 
 the waist, down, each side. 
 
 c. Third, suppose these " shell-puffs " to be in alternate positions, as to their 
 height and depth ; instead of each row or series, being on the same horizontal line. 
 
 d. Fourth, notice how far down below the waist, the polonaise is drawn to its 
 closest degree, toward the back of the form — on the given design ; which is usually, 
 on the "hip-line." 
 
 e. Fifth, now mark these points, equidistant from the " waist-line'' at each side 
 of the polonaise, with the " chalk-pencil ;" or otherwise with pins. This should be 
 done very accurately; and only, by actual measurement. 
 
 /. Sixth, now " sew-on " or attach the elastic, at each respective side ; which, is 
 afterwards to be drawn to any desired degree of closeness, or ease of fit — when 
 upon the draping form. 
 
 g. Seventh, now locate the desired and required points, on the exact centre- 
 fold at the back ; either, only below, or otherwise, above and below said line — upon 
 which the first points were located ; and as the design or plate calls for ; and where 
 
UTILITY AND DECORATIVE ART. 169 
 
 the intervals occur, that secure and form the "shell-puffs." These distances are 
 usually, from 10 to 14 inches; but often, only from 4 to 6 inches. 
 
 h. Eighth, then on a direct perpendicular line, half-way between, or equi- 
 distant from the centre-fold at the back and the lines at each side, and upon which 
 the elastic is adjusted, locate points in a similar manner, as above ; and also, of 
 equal and uniform -distances apart. This is done either on the same horizontal line, 
 with the former locations, or on alternate heights, and on different andalternatehori- 
 zontal lines ; and as the design may call for — in the location of said " shell-pouffs." 
 Locate both these points and those on the centre-fold, at the desired or required 
 depth, shown in the design. 
 
 i. Ninth, if it is desired to continue the " shell-puffs," locate the points on a 
 slightly curving-line. 
 
 j. Tenth, if it is desired to effect the opposite from the last result, locate the 
 points between the former. 
 
 k. Eleventh, Now fasten "loopings," by means of tape, at each respective 
 point. 
 
 /. Twelfth, then run through these "loopings" a "runner, ' by means of 
 another tape ; which can be arranged so as to be drawn at will, and to any degree of 
 closeness desired for the " Shell-puffs." 
 
 in. Thirteenth, if a double-series of "shell-puffs" is desired, simply use a 
 second "runner" of tape. 
 
 n. Fourteenth, then cut the tape, the desired lengths ; and secure each to its 
 respective given point, on the centre-line of the back. 
 
 o. Fifteenth, tapes should be adjusted at the side-seams of the "skirt-part," 
 to hold it back, firmly ; and which, should be neatly and firmly joined together ; and 
 which should also, be concealed under the draperies at the back, when the work is 
 completed. 
 
 p. Sixteenth, now place the polonaise upon the " draping-form ;" which, 
 should be arranged to the proper sizes at the bust, and the waist, and at the hips ; 
 and which should also, be arranged to the proper degree of the length, in the 
 skirt. 
 
 q. Seventeenth, now draw and secure the elastics to the proper degree of 
 closeness, and at the proper points ; and arrange and secure everything as arranged 
 for, when on the cutting-table ; and study to bring everything carefully, symmetri- 
 cally, artistically, and gracefully into the position desired, or otherwise, called for 
 in the design. Although the process of draping, as described, at first thought may 
 seem intricate and somewhat difficult, to such as are entirely inexperienced ; yet it is 
 only apparently so, and not in reality. Indeed, the very opposite is true. For it is 
 an exceedingly simple process ; as will be found by all, who once have made the 
 attempt. Things entirely new to us, always seem more difficult in the printed 
 instructions, than when we come to put them into practice. It apparently comes to 
 one then, by one thing suggesting another. Begin on prints, or something of no 
 great cost or value, at first. If, you "spoiled" it entirely, the loss would be 
 atoned for, in the merit of the effort ! But you certainly, cannot spoil it entirely. 
 And if it does not just come out exactly right in every respect, it will most likely 
 have some attributes of grace ; and should it be entirely original, and possess the 
 above qualities, it would be all the better for that ! The object of this entire work is, 
 to arm the student with correct scientific-principles; and then to create within the 
 student, a well-founded self-reliance. To aid the student, we classify the various 
 styles of drapery, as to " position," as follows, viz. : 
 
 a. High -Drapery ; 
 
 b. Low-Drapery ; 
 
 c. Medium-high-drapery ; 
 
 d. Front- Drapery ; 
 
 e. Back-Drapery ; and 
 f. Side-Drapery. 
 
170 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 In deciding upon the style of drapery, suitable for any particular given form, 
 much depends upon the education and skill of the artist in the choice as to location ; 
 and in so arranging it, that its position and location will not detract from the symme- 
 try of the given form ; but on the contrary, will enhance the same. It is both ludi- 
 crous and wonderfully interesting to the thoughtful observer, in noticing how vastly 
 different the same person appears on coming forth from the establishments of differ- 
 ent artists. The true artist will study not to detract from any grace or symmetry ot 
 form, that may exist ; and will study to create it, where it is lacking. And yet, this 
 must be done in such a manner, as not to leave fashion entirely out of consideration ; 
 and thus highly offend both fashion, the customer, and the public ! But after all, 
 correct art and correct taste are always "in fashion; " for fashion is their slave! and 
 hence, fashion should be the artist's servant ; and should therefore minister to his or 
 her wants. 
 
 As to the "kinds" of drapery, they come a la Franciase, as, — 
 
 a. '''' Bouf ante-drapery^'' — which is known to all. 
 
 b. " En Biais-drapery'''' — On the cross, or diagonal folds. 
 
 c. " En Chdle-drapery" — Resembling a shawl, or shawl-like folds. 
 
 d. ^' En Coquille-drapery'' — Folded backward and forward, in zig-zag shape, 
 forming shell-points. 
 
 e. " En Echelle-drapery'' — Representing a ladder-like appearance, in uniform 
 interval folds. 
 
 f. ''Pannier-drapery'' — Representing panniers, at the side. 
 
 g. ''Plots Coques-drapery" — With quantities of lace or ribbon looped, and so 
 arranged as to fall over each other. 
 
 k. "En Eventail-drapery'' — Having the folds so as to show an apparent cen- 
 tre, giving it a fan-like appearance. 
 
 i. " Cascade-drapery" — Representing in arrangement of lace, or in the mate- 
 rial, the appearance of the cascade, from which it derives its name. 
 
 This catalogue of " kinds" is by no means exhaustive. But we have first given 
 these as aids to help the student to comprehend and formulate the subject; and sec- 
 ondly, because they represent at least the principal standards. Study these "classi- 
 fications of position and kind," as you would the fundamental principles of arithme- 
 tic, if you aimed at becoming a mathematician; for you will ever need them in read- 
 ing the productions of the fashion-journals: and in the solution of every problem, 
 however far-advanced in the study and practice of the art. We do not abandon the 
 laws and principles of multiplication, addition, subtraction, or division, when we ad- 
 vance to astronomy, in mathematics! Neither will you advance to a position in the 
 art and science of draping, where you will not find use for the above classifications; 
 and for the principles they embrace. 
 
 As new conceptions are born, they soon take form in some way, and thus create 
 Fashion ; and for which, new names are coined, expressing the leading features of 
 the same. But the strength of the true artist lies, in the power of the inventions of 
 combination, variation, and adaptation; and out of every new standard shade of 
 thought, to create an almost infinite variety of styles; and at the same time, remain 
 both in the line of correct art, and that of good taste; and yet, so as not only to 
 honor Fashion, but to lead the same ! 
 
 In this department, more particularly than in any other, will be displayed the 
 skill and taste, as well as the true education of the artist. To be a copyist, is to 
 attain an average-success; but it is something far different from this, to be an artist — 
 in draping ! Nature comes to us each season, with the same leaves, the same buds, 
 and the same flowers; but she never arranges them just exactly the same, each time. 
 Above all, strive to educate the perception and appreciation of correct taste; then 
 learn to think, decide, and act upon your own best judgment, taste, and skill; making 
 fashion, minister to your wants. Do not allow yourself, to fall into the habit of 
 sameness. The work of some artists is ever and always the same; and their custom- 
 
UTILITY AND DECORATIVE ART. I71 
 
 ers are known on the streets, by the uniformity of sameness in the cut and style of 
 their dress. 
 
 "In accordance with fashion, "does not mean sameness. The "fashion" of the 
 countless miUions of pebbles along the lake or sea-shore, is the same; and yet, no 
 two are just the same ! In all this world of beautiful leaves and flowers, you can 
 not find two, just exactly alike ! In nature, you will find the true ' 'Fashion-Journal, ' ' 
 after all ; and there alone, will be found the true dictionary of both science and art. 
 In the arching rain-bow, and upon leaves and flowers, will be read the true law of 
 the shading and blending of colors; on the dark and shadowed folds of the evening 
 clouds, will be suggested new and befitting methods of arranging the emblems of 
 sorrow and grief — in crepe; while in the overhanging mists of early dawn veiling the 
 blooming orchards of spring, will be born new ideas as to the most appropriate 
 arrangement of the glad tokens of the orange blossoms, and of the bridal- veil. 
 
 STAMPING. 
 
 Stamping is a process of very ancient origin. We find traces of its history as 
 far back as the times of the Egyptians. At least in records of the strongest possible 
 inference, as to the fact of its existence. The very fact of the existence and the at- 
 tainment of the high degree of perfection possessed by the Oriental nations in "em- 
 broidery, ' ' would prove, almost to a demonstration, the existence of stamping ; as 
 well as a practical knowledge of the same. Stamping is the very "corner-stone" 
 upon which the whole monument of "art needle- work " rests. Upon the wall con- 
 structed out of the elements and principles of the art of stamping, rests the whole 
 superstructure of "embroidery." Embroidery had its birth in the conception to 
 emulate the beautiful in nature, through the reproduction of the same by and through 
 the needle and silk ; just as the painter would, through his brush and paint. The 
 needle and stamping are simply instruments, or means of conveying and placing the 
 silken cord, in the art of embroidery ; just as the brush and the instruments in which 
 the colors are mixed, are to the art of painting. Anything that will perfectly answer 
 all purposes to this end, come legitimately under this head, and within the province 
 of stamping. Notwithstanding the futile attempts to cover this simple art by the 
 gauzy veil of " secret-mysteries," for mere mercenary purposes, it is an exceedingly 
 plain and simple process. As embroidery is most highly cultivated among the 
 French, in modern times, we owe much to them for late improvements in the art and 
 methods of stamping. 
 
 Stamping, naturally divides itself under the following simple classifications, viz. : 
 
 1. The materials upon which the work is performed. 
 
 2. The materials used for executing the work. 
 
 3. The instruments used for their application. 
 
 On the first, we simply remark that, all materials which have a surface that is 
 sufficiently even and plain, to show either the liquids or powders, and upon which 
 embroidery is placed ; are, legitimate materials for stamping. 
 
 On the second, we remark that, the theories as to what are the proper composi- 
 tions to use, are almost as numerous as the artists performing the work. Each, of 
 course, claiming their particular and special theory as the ne plus ultra, in the art and 
 science of stamping. To quote all, would fill a volume in itself; and to quote a few, 
 to the exclusion of the many, would in the estimation of some, make us a partialist; 
 and thus, we might highly offend. Suffice it to say, that the matter of the special 
 chemistry in the composition of the materials, is one of but little concern to the 
 practical student, in any way. For all the materials, for all methods and branches of 
 the art of stamping can be had ready-prepared, and in a neat form; in any of the 
 art-stores, in any of our county-seats or cities. You can simply ask for the liquid, 
 called "stamping-liquid," or the powder-form of the material used, which is termed 
 
172 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 "stamping-powder ;" you will in all probability get a satisfactory result ; as all the 
 compounds generally sold by the trade, are in the main, good ; and will answer all 
 purposes. So much for the "material" upon which it is executed, and the "compounds" 
 used. As to the means of applying and transfering the powders and liquids, they 
 are equally simple. The great general divisions of the * * methods ' ' are the follow- 
 ing, viz. : 
 
 a. The English, or the "damp-process;" 
 
 b. The French, or the "dry-process." 
 
 The French, or the "dry process," by means of powders, is now however, 
 almost becoming universal. The liquid, being mostly confined to the color of white; 
 which, upon certain qualities and textures, when applied by the "oil-processes," is 
 deemed most practical. 
 
 The Requisites. — The requisites therefore, will be, — 
 
 1. The proper material upon which the work can be produced. 
 
 2. The various colors desired in the ' ' dry-process ' ' of prepared ' ' stamping- 
 powders." 
 
 3. The various colors desired in the "damp-process," of the prepared " tube- 
 stamping oils," or "tube stamping-paints." 
 
 4. The instrument in which to deposit the contents of the "tubes," so as to be 
 easy of access in the method of application. 
 
 5. The ivory "pallet-knife" in the "damp-process " for spreading the paint. 
 
 6. The "pad," for the "dry-process ;" and last but not least, 
 
 7. The "stencils," or the patterns. 
 
 Having all these, the process will almost suggest itself The "stencils" or pat- 
 terns, formerly were made out of soft metal. The modern " stencil, "comes to us 
 in fine " French-stamping-paper." All patterns, from the simplest buds, vines, and 
 llowers, to the most complicated designs and combinations seen in the richest Ori- 
 ental laces, can now be purchased at a very trifling expense, at any first-class art- 
 store. 
 
 The colors most generally used in the ' ' powder-form ' ' are black, blue, and 
 white. 
 
 The material is then evenly and smoothly placed upon a plain, flat-surface; 
 stretched somewhat, and secured in said position. Upon this, the "stencils," either 
 as one entire whole, or in parts, and in their proper combinations, are carefully 
 placed. Care should be taken to have everything true to the goods, and accurate as 
 to its horizontal and perpendicular position; and also as to its combination with the 
 design in general, if more than one " stencil-plate" is used. You then simply apply 
 the powders by means of the ' ' pad, ' ' rubbing over all the perforations thoroughly. 
 Be sure you do not omit part of the perforated-indications. All of which is very 
 simple, easily done, and quickly performed. On removing the "stencil-paper," or 
 the perforated-design, you will see all the outlines beautifully and elegantly outlined, 
 ready for the needle and the silk of the artist in the science of embroidery. In the 
 ' ' damp-process' ' the ' 'oil-bath' ' is used. Then the "stencil" is placed upon the material, 
 and the "pallet-knife" used to spread the paint, which marks the outlines of the 
 completed work. See that you have all the necessary requisites. Then select your 
 design in the proper stencils or perforated-papers, and begin on simple and plain 
 work at first ; and experience will soon make you proficient, and superior to all pos- 
 sible emergencies. Furthermore, there are many beautiful designs now, ready-pre- 
 pared on paper, in "copying-ink," and which the student can easily transfer upon 
 the material, by simply placing the sheet, upon which the design appears, on the 
 material; and then pressing over the top of said paper with a hot iron. This trans- 
 fers the impression directly upon the material ; and completes it, ready for the work 
 of the needle and the silk of the artist in embroidery. All of which the most inex- 
 perienced can easily and quickly attain, as given and explained above. 
 
UTILITY AND DECORATIVE ART. 173 
 
 Embroidery. 
 
 Everything in embroidery, depends upon tiie proper foundation being laid, as to 
 the design; its arrangement, and the choice of colors, that shall become the medium 
 or language to express the conception in the artist's mind. If deficient here, it must 
 end in failure. This of course requires practice, observation in nature, and a true 
 education of both head and heart, in the artist. Good suggestions sometimes come 
 to us, from woven work; the correct drawings of the various animals, birds, flowers, 
 etc. You cannot be too natural. He who always follows nature, in art, will always 
 stand the crucial test of the severest critics. We want both form and color, in em- 
 broidery ; and it should reflect truth, in order to be beautiful. The pottery of every 
 age, furnishes good patterns; but which, advanced thought should be able to improve. 
 This is also true of the professional work of painters, both ancient and modern. The 
 patterns can be stamped upon the material, outlined by pencil or colored inks, or 
 transferred by "pouncing" and "tracing-papers." 
 
 The original meaning of the term is "to border," or "to decorate." It is of very 
 ancient origin ; and, was much used among the Egyptians, Chaldeans, and all orien- 
 tal nations. It is preeminently "woman's work." It clings to her hands, as the 
 vine clings to the trellis. It is not alone, the art of bordering in stitches; it is the fine 
 art of stitching — it is A mode of expression. It is " painting ; ' ' and the needle and 
 the silk, are the paint and "brushes!" It is "music;" and they are the "key-board." 
 It commands the respect and admiration of all cultivated people ; and creates demands 
 for new fabrics, and new material. Tapestry, as embroidery, also uses the needle for 
 expression. But there is a difference between them. Embroidery employs many 
 kinds of fabrics and every variety of needle-work ; tapestry has only one fabric, as a 
 "backing;" and the work is "one complete fabric," with a uniform surface. It is 
 stitching into a woven fabric of new threads, that pass under the warp and over the 
 filling. In tapestry, the simple ' ' running-stitch ' ' becomes the basis of the most com- 
 phcated, and most artistic and beautiful effects. Whatever can be done with the 
 needle in embroidery, in the main, is useful as well as ornamental. Mere orna- 
 mental stitching in colors, is something less than embroidery. It is "the art," "the 
 design," "the drawing," and "blending of shades and colors," that fills the meaning 
 of the term embroidery. Again, we lead the student to nature. Do anything ; but 
 get your effect, and reproduce nature, with the needle and the silk. Begin on table 
 linen, or on some other plain material. Choose simple things, natural objects, sprays 
 of foliage, or outlines of flowers, ferns, or mosses. Then insects, colored shells, etc. 
 Be true to nature. Simplicity in embroidery, as in all things, is the chief thing, until 
 we grow more experienced ; when it will seem a very easy thing to copy nature 
 directly, in some splendid curtain, rich with portraits of a thousand different flowers 
 and buds and blossoms. 
 
 Materials. — The "materials" are, various kinds of canvas-cloth, sateen, plush, 
 felt, satin, and plain cloth, etc. Crewel is the most popular, excepting silk, for 
 "decorative needle-work." It is a soft brilliant finished wool, in all shades. 
 "Chenille-embroidery," and "Arasene," are on the increase, just now. The best 
 is imported. But the American goods has the richest lustre. But this is used for 
 coarse work. It cannot be made to show the artistic effect of filoselle, and other fine 
 "silk-threads." Silver and gold-tinsel, are effective for outline work on velvet or 
 plush ; but the work is transitory ; being effected by light and air. Decca-floss, is a 
 slack-twist glossy-silk. It is for pongee-silks, and transparent canvas. For small 
 pieces of work you can use, as frames, a small hoop. Larger pieces, the '* Patent 
 Embroidery-Frames.' ' Needles are all sizes. There are many kinds of ' 'embroidery 
 silk," in the market; some is rough-finish silk; others smooth, soft-silk. The former, 
 has a stiff and wiry appearance ; and it is not suitable to fine work. 
 
PLATE XXIX. 
 
 
 1^157 
 
 Pig 159 
 
 Tjg,. 163 
 
 lig 106 
 
 Pjg 169 
 
 Eigiee 
 
 174 
 
UTILITY AND DECORATIVE ART. I75 
 
 International Ennbroidery- Designs. 
 
 Plate 29.— Figures 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170. 
 
 EXPLANATION. 
 
 Figure 157, represents the process of the plain "outUne-stitch," in embroidery. 
 Figure 158, shows the "French-knot." Figure 159, shows the " double-outHne, " 
 or "skeleton-stitch." Figure 160, shows the "darning-stitch." Figure 161, shows 
 the "Queen Anne-Stitch." Figure 162, shows the "transparent-tidy. "Figure 163, 
 shows the "rick-rack-daisy." Figure 164, shows the " French- Pansy." Figure 
 165, shows a sample of "ribbon-work." Figure 166, shows a "square," for a 
 "silk-quilt." Figure 167, shows a "satchet-design." Figure 168, shows a "silk- 
 work-bag-design." Figure 169, shows a design for a "scrap -basket." Figure 170, 
 shows a design for a "table-spread." All of which are simple and very easy of 
 attainment, when studied in connection with the instructions in embroidery and art- 
 needle-work, as given and taught elsewhere. 
 
 Embroidery-Stitches. 
 
 INSTRUCTIONS. 
 
 Stamens and veins. — In making the outlines of these, in leaves, use the "running- 
 stitch ;" but this, is never used for filling or shading. 
 
 Tacking the edges. — In applique-work, or in all work indeed, use the "chain- 
 stitch" for securing the edges. It makes too coarse a line for "outlining." It is 
 made simply by a diagonal-insertion of the needle, and folding the thread once over, 
 and around underneath the front of the needle. 
 
 "The Tracing-Stitch." — This is useful in applique-embroidery, and is worked by 
 first laying down a line of filoselle or embroidery-silk. Secure this with a thread of 
 another color, by bringing it up from the back of the material on one side of the 
 embroidery silk, and then carrying it back on the other side. The stitches must be, 
 equidistant in length. Gold-cords can be fastened down in the same way, using fine 
 sewing-silk to fasten them. When the outline is finished, a small hole should be 
 pierced, and the cord cut off and passed through to the other side, where it is fastened. 
 
 " The Skeleton-Stitch." — This is sometimes called the "double-outline-stitch," 
 and is done in the regular "embroidery-stitch," making every second or third stitch 
 longer than the others ; after which, the veins of the leaf or design are traced, in the 
 " single outline-stitch. ' ' 
 
 "The French-Knot." — This stitch is used for the centre_ of flowers, and for 
 making a "raised-foundation" for such flowers as need it. It is made by taking a 
 "back-stitch," passing the silk twice around the needle, and drawing the latter 
 through; and at the same time, holding the coil down in place. 
 
 " The Darning-Stitch." — This simple stitch is used in many ways. A design 
 can be outlined, and the interior darned : or the interior can be left blank, and the 
 back-ground darned. The effect can be changed by using foloselle embroidery-silk, 
 
176 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 or etching-silk; each, giving- a different appearance to the work. This stitch can be 
 successfully used for making apples, cherries, oranges, etc. ; and they show to a very 
 fine advantage. 
 
 " The Queen Anne-Stitch." — This stitch is sometimes termed the "weaving- 
 stitch." Suppose a spray of foliage, or a flower to be formed; first, outline the 
 flower either In etching, embroidery, split, or filling-silk. If on fine, closely-woven 
 material, Japan-etching-silk is best. If on pongee or coarse linen, embroidery-silk 
 shows to a better advantage. 
 
 In weaving, cover each petal with parallel-stitches, extending from one outline 
 to another, leaving very small space between each. Cross these at right angles, in 
 the regular "darning-stitch." The eflect may be varied by changing the angle, at 
 which the silk crosses. A knowledge of colors, and the art of drawing, aids largely 
 to success in embroidery. A love of flowers should be cultivated; and the student 
 should observe them closely. 
 
 " The Plush-Stitch." — This stitch is best adapted to making such flowers as the 
 golden rod, Russian Snow-flower, Coxcomb, Sumac, Marigold, and others of a sim- 
 ilar nature. First, fill in the flower with " French-Knots " of the leading color; then 
 using filling-silk, pass the needle through from the back; then take a double strand 
 of filling-silk, pass the fine thread over it, and through the work near the original 
 place where the needle came up. As the split is tightened, the double-silk will nat- 
 urally fall into place. Cut the double-silk, the length best adapted to the height of 
 the flower. Repeat this stitch, until the flower is sufficiently covered to appear well. 
 Do not crowd the stitches too much, unless you wish it to look very heavy. By 
 varying the size of the " French-Knot," which forms the ground-work of the flower, 
 its surface can be raised more or less, as may be desired. 
 
 "The Kensington-Stitch." — This stitch derives its name from the celebrated art 
 school at South -Kensington, England. It is not, as is generally supposed, simply a 
 stitch of itself, but is a " plan of shading" and "blending "-in of colors, according 
 to the principles of art, by using a "combination of stitches" to secure artistic effect. 
 By this stitch or plan only, are we able to achieve success in the embroidery of nat- 
 ural flowers and natural colors. The stitch is taken slightly diagonal, toward the 
 last stitch. Commence the work on the stem of the design, using the " outline- 
 stitch;" the stem made, commence on the leaf at the centre-line, and at the lower 
 part, giving the needle the slant upwards, on the angle of the natural veins in the 
 leaf; the stitches must be proportioned in length, to the size of the leaf If the leaf 
 is a tiny-one, one shade of the leaf-color is sufficient; in which case, take the stitch 
 from "outline to centre;" but in larger leaves, where two or more shades are re- 
 quired to fill the leaf, proportion the stitch according to the number of shades used. 
 These stitches must be of irregular lengths, where they are to join and blend with 
 the next shade, so as to more perfectly blend in the shades and in the colors. In 
 making the flower, commence on the outside-edge of the petals, etching up from the 
 centre or circle of the flower; and proportion the length, as in the leaf, shading down to- 
 ward the centre, with darker shades of the flower's color; and according to good 
 taste and the correct principles of art. Thus, in this combination, we use the "out- 
 line-stitch," the "satin-stitch," the "appliqued-stitch," in order to complete the 
 work. By this process, nearly all the material is brought on the face of the work, 
 without the waste there is in the '" satin-stitch," which leaves as much on the wrong 
 side as on the face of the work; and the " French knot-stitch," which is used to rep- 
 resent the seeds in the centre, and also when necessary, on the ends of the stamens. 
 
 "The Herring-Bone-Stitch," is used for plain, simple work on linen, etc.; 
 and is so well known, that we will not occupy the space required for a description. 
 By inserting the needle diagonally, instead of straight, and with a double branch in- 
 stead of single, it becomes the "coral-stitch." The "Arasene," the "Gi^ecian," 
 the "Persian," the "Tent," the "Star," and the " Feather-Stitch," each and all, 
 deserve a special treatise; but as we have given in the main what is embraced in all 
 of them, we are reminded by the matter that claims place in the work to close, by 
 giving some examples in actual work. 
 
UTILITY AND DECORATIVE ART. 
 
 PLATE XXX. 
 
 177 
 
 I%1B1 
 
 Pig isa 
 
 »8173 IV IH F.gi75 
 
 12 
 
178 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 International Embroidery and Lace-Work. 
 
 PLATE XXX.-Figures 171-183. 
 
 EXPLANATON. 
 
 Figures 171 and 172 represent two methods of the "chain-stitch;" figures 173, 
 174, and 175, represent three different styles of "point-lace;" figure 176, 
 shows a design for " Lamberquin-work ; " figure 177, shows a fancy design for a 
 "waist-belt;" figure 178 shows a design of "crazy-work;" figure 179, shows a 
 "cluster of gauze-flowers and buds," for a toilet ; figure 180, shows a Morocco and 
 satin-lined "envelope-holder and "ebony-stand;" figure 181, shows "stitches for 
 eyelet-holes;" figure 182, shows a " bordering-stitch ; " and figure 183, shows the 
 "stem-stitch." All of which explain themselves, in connection with the instructions 
 on "Embroidery" and "Lace-Work" given elsewhere. 
 
 The Rick-Rack-Daisy. — Crochet the centre with yellow "embroidery-silk;" 
 and gather in the rick-rack-braid about it nicely, imitating the flower as accurately 
 as possible. Or it may be made in still another manner, and as follows, viz: Make 
 the flower of felt ; the white petals or points being connected where, and at the 
 points, they come towards the yellow-centre. This is beautiful, if it is nicely formed. 
 
 The Wild-Rose. — Embroider the centre of the wild-rose with dark olive chenille; 
 and then, make "knots" of yellow brown floss, with stitches of a paler shade, for the 
 stamens. This represents it beautifully. 
 
 The Snow-Ball. — Make the foundation in "double-French-knot," in double- crewel; 
 so as to bring it out, in bold relief. Attach to this, very narrow silk ribbon; which 
 should be cut in pieces, ^ of an inch long, and pointed at the ends. These are then 
 crossed, and fastened with gold-silk. If small pieces of ribbon are closely put in, 
 and the ends are frayed, the effect produced is very natural. 
 
 The Wild-Clematis. — This is much more easily accomplished, than the "snow- 
 ball." Instead of using silk-ribbon, arasene is cut and fastened down by silk 
 stitches; which, imitates perfectly, that fuzzy effect of the wild flower; and is charm- 
 ingly beautiful, if nicely executed. 
 
 The Wild-Cucumber. — This luxurious and beautiful vine, with its delicate 
 feathery sprays, is imitated by couching down white arasene and chenille; thus, 
 throwing the spray into marked relief. It is exceedingly simple, easy of attainment, 
 and very pretty. 
 
 The Transparent-Tidy. — Make the body of transparent-silk; hem the edges i^ 
 inches all around, and stamp it in some pretty design; which, will look well worked 
 in the plain ' ' outline-stitch. ' ' Fill in all the space between the outside-edge of the 
 design and the border, with silk. This "fiUing-in" is done in the regular "darning- 
 stitch," leaving three canvas-threads between each silk-thread. Line the whole with 
 bright gold, satin, or silesia ; and then, trim all with lace. 
 
 "Crazy" Patch-Work. — " Crazy " -work, or perhaps using the better term, 
 "Kaleidascope-work," most likely received its "crazy" name, from the chance- 
 method of its construction. It has its side of beauty, however. Its supreme viola- 
 tion of all pre-arranged order, makes it interesting; and to some minds, to appear 
 very beautiful. What in other things would seem disorder, is order here. Some 
 very handsome work is done in black silk-pieces. Have your pieces nicely pressed 
 out, and place them on new paper-cambric; then press them in their position thus, 
 before you begin your stitches, viz: "Over-cast" all the edges, so they will not fray- 
 
UTILITY AND DECORATIVE ART, 179 
 
 out The Stitches are "crazy" too, and you can do as you please in the choice of 
 the same; and you need not fear of oiTending- any one, but yourself! Among the 
 stitches we see the "cat-stitch, " "buttonhole" and "feather-stitch;" the "coral," 
 "loop-stitch," "knot," "star-stitch," and the "double-feather," "diagonal," and 
 "zigzag-stitches." And as their names indicate the process, we will simply submit 
 them. There are a variety of others; but you can do elegant "crazy" -work, with 
 these, and with their combinations with each other. If you fall short of a sufficient 
 variety, draw on the "chain-satin," "French-knot," "border," "brier," "cross," 
 and ' ' point-russe ' ' and the ' ' crow's-foot ' ' stitches. All colors are used. Principally, 
 red, pink, lavender, blue, yellow, and white; and five shades of green "embroidery- 
 silk" are used. Roses and figures can be cut out of brocade, and applied; and these 
 can again be ornamented by needle and stitchery. You can also mix cream, white, 
 black, olive, cardinal, garnet, bottle-green, sky-blue, moss-green, gendarme-blue, 
 silver-gray, golden-green, lavender, pink, and anything else you wish; and can all the 
 time be in good style and good taste ! You can embroider in the centres, flowers, 
 elephants, birds, plants, fishes, or anything you may fancy; and then again, work 
 sprays of blue forget-me-nots, intermingling with blossoming vines and white rose- 
 buds, upon the strips. Give solidity and security to your work; and finish with care 
 and artistic neatness. And if true to this one great law, you can do "sensible" 
 "crazy-work." 
 
 Crocheting, 
 
 Chochet, is a French term ; and its literal meaning is, a hook ; to 
 draw; a species of knitting, performed by means of a small hook. The materials are 
 fancy worsted, cotton, or silk. But indeed it applies to all materials that can 
 be "hooked," and "knitted" by hooking. In its province are embraced tidies, 
 lambrequins, edgings, cushions, bibs, jackets, shawls, stockings, gloves, nettings, 
 and all the many things that are made by "hooking, and drawing" the threads 
 through. The stitches, as in embroidery and other work, are various; and we might 
 add, almost endless; but fortunately they are very simple, and are nearly all well- 
 known to all, and are very easy of attainment. Furthermore, any new stitch can 
 immediately be attained, by the simple process of unravelling a stitch or too, and 
 noticing accurately, its construction. The simplest stitch to begin with is the "chain- 
 stitch;" and the simplest kind, is "chain-crocheting." In crocheting a "chain," 
 simply draw one loop through the other, until the proper quantity is obtained; this 
 constitutes the foundation. Take the needle in the same manner in which you would 
 hold a pen; then, pass it through the loop of the "chain," and on the needle place 
 the silk or wool, which must be drawn through the loop; continuing back and forth, 
 which produces a kind of a ribbed-stripe. This is considered the most simple, for 
 the first practice. Hold the work between the forefinger and thumb; the silk or 
 wool is then to be passed over the forefinger, under the second, and over the third. An 
 ivory needle is best for beginners, but in progressing, a steel-one is preferable ; 
 rendering the stitches more even, and regular. 
 
 1. Chain-Stitch. — Draw the thread through the loop on the needle. 
 
 2. Single-Crochet. — Keep one loop on the needle; put the needle through the 
 upper edge of the chain-stitch, and draw the thread through the chain-stitch and the 
 loop on the needle, at the same time. 
 
 3. Double-Crochet. — Insert your needle into the upper edge of the chain-stitch 
 on the work, and draw the thread through the work; then, through the two loops on 
 the needle. 
 
 4. Long-Crochet. — Catch the thread around the needle, before you insert it in 
 the work; draw the thread through the work and then through one loop, then 
 through two loops, then through two loops remaining on the needle. 
 
l8o THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 5. Double-Long-Crochet. — Catch the thread around the needle twice before 
 you insert it in the work, then draw the thread through the work, then through one 
 loop, then through two loops successively until you have drawn the thread through 
 all the loops on the needle. 
 
 6. Treble- Long-Crochet. — The same as double-long-crochet, with the simple 
 difference of the thread being thrown around the needle three-times instead of twice. 
 
 7. Open-Crochet. — Catch the wool around the needle, before you insert the 
 needle into the work; draw the thread through the work, then through one loop, 
 then through two loops, then through one loop. 
 
 Spanish-Edging. — Cast on nine stitches, knit across plain, i. Slip one, knit 
 two, over, narrow, knit one, over twice, narrow, knit one. 2. Knit two, knit one, 
 purl one, knit three, over, narrow, knit one. 3. Slip one, knit two, over, narrow, 
 knit five. 4. Knit seven, over, narrow, knit one. 5. Slip one, knit two, over, nar- 
 row, knit one, over twice, narrow, over twice, narrow. 6. Knit one, knit one, purl 
 one, knit one, knit one, purl one, knit three, over, narrow, knit one. 7. Slip one, 
 knit two, over, narrow, knit seven. 8. Bind off three, knit five, over, narrow, knit 
 one. This finishes one scallop. 
 
 Narrow Scotch-Edging. — Four chain, three double-crochets, two chain, three 
 double-crochets (which makes a shell), in first chain, turn; shell in shell, one double- 
 crochet in top of last double-crochet of shell, two chain, turn; shell in last shell, 
 double-crochet, two chain in three chain until you have six double-crochets with five 
 spaces between; in which, put one single-crochet, two double-crochets and one single 
 crochet, which makes five tiny scallops, one chain, shell in shell, and proceed as be- 
 fore, remembering to fasten the last of the six double-crochets into the one chain be- 
 fore making the httle scallops. This can be made wider by increasing the number 
 of stitches in the foundation chain three stitches for every shell desired. 
 
 Prussian- Edging. — Materials — No. 40 cotton and steel crochet hook. Make a 
 foundation of nine chain-stitches, i. Four chain, fasten in ninth chain of founda- 
 tion, four chain, miss four, short crochet in foundation, four chain, short crochet in 
 same stitch, four chain, miss four, short crochet in end of foundation, four chain, 
 short crochet in same stitch, turn work. 2. Three chain, four double-crochets in 
 first loop, four double-crochets in second loop, one double-crochet in end loop, three 
 chain, one double-crochet in same loop, turn work. 3. Four chain, short crochet in 
 first stitch, four chain, miss four, short crochet between two double-crochets, four 
 chain, short crochet in same stitch, four chain, short crochet between two clusters of 
 double-crochet, four chain, short crochet in same stitch. 
 
 There will be a little loop between each cluster of double-crochet, and one at the 
 upper edge of your work for the double-crochet of the next row to be worked in. 
 Turn work, and repeat from second row. 
 
 New Berlin-Stitch. — Conceive a canvas to be worked with twenty-six stars, hav- 
 ing eight points; and these points so arranged that one set of stars have their centre, 
 where those worked in a darker shade meet, at their extreme points. Each of the 
 sections of these lighter stars, consists of four slanting-stitches for each side; in all, 
 eight stitches for the whole section; the intervals being filled up with dark-green 
 v/ool. Worked on very fine canvas, this pattern can be used for slippers, travelling- 
 bags, etc. On middle-sized canvas, it will serve for footstools, cushions, etc. Lastly, 
 thick canvas should be chosen for a rug. 
 
 Russian Carriage-Rug. — Set up twenty stitches, knitting six in plain. Then 
 knit and purl four alternately, until the twelfth row; then slip four stitches, on the 
 third pin. Keep these at the right-hand side. Then purl four stitches, from the 
 second pin of the left hand, upon the right-hand pin; and leave the third pointed-pin 
 down over the right side; purl four stitches on the third pin, purling four again and 
 knitting four. Knit the next row plain. Knit four, purl twelve, and then knit four 
 again. Then knit eight; and turning, purl four alternately until the completion of 
 eleven rows. Transfer these on the pointed-pin, and let the same hang down along 
 the right-side. Transfer four stitches from the left to the right-pin; then transfer by 
 knitting four from double-pointed pin. Knit eleven rows. Then knit, and again 
 
UTILITY AND DECORATIVE ART. l8l 
 
 purl twelve ; then knit four. Knit plain for next row, and repeat from seventh row 
 until the completion of i}^ yards. Then knit six plain rows and cast ofif. Select 
 any colors, and knit five strips. For the fringe, proceed as follows, viz: Form 
 twenty-four stitches; double this, inserting needle in a stitch of the main work, and 
 drawing the ends of the zephyr through the loop. Secure the work firmly, as you 
 proceed thus, until finished. 
 
 Mignardise-Work. — Materials — smallest size of mignardise; cotton, No. 26; 
 crochet hook. No. 20. Bell gauge. Begin with second loop; work five, in chain; 
 then pass into second loop; chain five, and repeat the process. Then join this to 
 the first stitch of the chain in five; chain five, and pass into centre stitch of chain in 
 five; pass back into same stitch, chain five, and pass into next five; then chain five, 
 and repeat the process from *. Attach the thread through centre-stitch of first 
 chain in five; * chain in six, and one in single, through third stitch from the crochet- 
 hook; chain three, pass into centre of next in five chain, passing between the points 
 in the preceding row; then repeat the process from *. This makes a very handsome 
 design in this once very popular and highly-prized work. 
 
 The American-Tidy. — This choice and highly prized tidy, among American 
 ladies, is very simple, and as follows, viz : k 1, n, tto, k 1 ; then repeat this process, 
 and purl the next row. N, tto, k two ; and again repeat this process. Now 
 purl the next row. Any desired number of stitches that may be divided by the figure 
 four, may be used as a basis for the work; and the process as given for these first 
 four rows can be repeated, the required number of times, until the tidy is the required 
 or desired size. It is very handsome. 
 
 The Louise-Collar. — Arrange thirty stitches, and knit back in plain stitches. 
 Now purl four stitches less than the number taken in first row, and knit eight less 
 than this last number, in plain stitch; o, n, o, n, o, n; and then knit two, in plain. 
 Now purl twenty-eight, turn, and knit twenty-eight plain. Next row plain to thirty- 
 two; four plain in next row, purling twenty-eight. Knit two, o, n, o, n, o, n; knit 
 twenty plain, turning the work. Purl twenty-eight, knitting thirty-two plain; and 
 commence again, at first row. The "edging," is made as follows : Take on nine 
 stitches, knitting across plain. Then purl seven, and turn the work ; slip one, 
 o, n, o, n, and knit two. Purl seven, and turning the work knit seven plain; and knit 
 nine in next row, plain. Knit two, o, n, o, n; and turning the work, purl seven. Now 
 complete, by crocheting nine, plain. 
 
 French -Edging. — Arrange fourteen stitches in plain; and then thread over, knit 
 one, turn, knit two, narrow second time, knit two, turn, narrow, turn, narrow, turn 
 narrow, and knit one. Seam across every second row, beginning at the second. 
 Turn, knit three, turn, knit one, narrow twice, knit one, turn, narrow, turn, narrow, 
 knit one. Turn, knit five, turn, narrow twice, turn, narrow, turn, narrow, knit one. 
 Turn, knit three, narrow, knit two, turn, narrow, turn, narrow, turn, narrow, and 
 finish by knitting one. Which, makes a very handsome design. 
 
 Clover-leaf Crochet-Stitch.— Form the desired length in chain; turning, make 
 eight "double-crochet," and a chain of four more than the "double-crochet." Now 
 reversing, forma single crochet in seven-stitch; this, will leave six stitches for the 
 stem. In this, three loops are made thus, viz: Crochet one single, chain four, one 
 in single, chain four, and join the least at the lower part, where the loop was made 
 in single-crochet. Now reverse the work, and pass the thread under, and within the 
 first loop; form one single, three double, and secure in centre of eight double-crochet, 
 on the chain. Chain three in double, passing the hook through first, double-crochet 
 in chain; and then draw thread through, forming six double-crochet andone in 
 single, in said loop. Form one in single, twelve double, and one single — m next 
 loop. Then again, eight single, over stem ; and now double-crochet along chain, 
 and form twelve chain. Form second leaf, same as first. Secure first, at root of 
 stem; and the second, in the seventh stitch of the third part of the first leaf. This is 
 very simple, after a little practice; and is very handsome. 
 
 Spanish Wheat-ear-Stitch. — Form, and take up nine plain stitches. Slip one, 
 knit one, turn over twice; join two, by purling; k two; turn over, k one, turn over 
 
182 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 twice, joining two — by purling. Turn over twice, andjoin two by purling, and knit 
 four; turn over twice, and join two by purling, knitting two. Slip one, knit one, 
 turnover twice, purling two together and knitting three; then turn over, knit one, 
 turn thread over twice, purling two together. Turn over twice, purling two together 
 and knitting five; turn thread over twice, purling two together and knitting two. 
 Slip one, knit one, turn thread over twice; then again, purling two together knit 
 four. Knit one, turn thread over twice, and join two, by purling. Turn thread over 
 twice, and join two, by purling ; then turn thread over twice, purl two 
 together, and knit six. Turn thread over twice, purling two together 
 knit two. Slip one, knit one, turn thread over twice, purling two together knit six. 
 Thread over twice and purl two together. Thread over twice, purl five together, 
 and knit three; thread over twice, and purling two together knit two. _ Now repeat 
 this process, beginning again, at the first row. When the last two are joined by purl- 
 ing, at the end of the first and each alternate row, the loop following the same is 
 dropped. 
 
 The American Raspberry-Stitch. — Using any multiple of four, and increasing 
 it by two, take up the desired number of stitches. Example: say 20+2=22 stitches, 
 which we now suppose to be the desired amount required. Purl across; and form 
 each alternate row, the same as first. Knit first stitch of second row; knit, 
 purl, and knit second stitch, combining the three stitches. Purl next three together, 
 then knit, purl, knit, forming three in one; purl next three together again, and con- 
 tinue to the end. In beginning the fourth row, knit the first, purl next three into 
 one; now knit, purl, knit next three before you slip, and again make three out of one. 
 Repeat this process to the end. 
 
 Mittens in French "Shell-Stitch." — Take up twenty-four stitches on each of two 
 needles, and sixteen on the third. Then knit, thread over, and continue this process 
 to the fourteenth; then seam one, and form next seven into thirteen, the same as you 
 did the first seven. Then seam one, and continue this process entirely around. Slip, 
 knit, and slip the first over it; then knit nine through loops first made; narrow two, 
 seam one, and continue thus, around. Form the third row as second, having but 
 seven stitches instead of nine. In the fourth row, knit the five the same. Commence 
 ao-ain at first row; knit twelve rows of "shells;" then reserve three rows of shells for 
 back, with seam at each side. Form a braid of the centre by converting seven into 
 twelve. After the work of the first row of shells, slip the first four stitches of the 
 braid upon a different needle, keeping them at the outside while knitting the next 
 four. Then knit the four left; then the last four; then plain across the braid, until 
 having formed the next shell. Then knit the first four, and again slip the next four 
 on another needle; and keep them on the inside while knitting the next four. Then 
 begin again by knitting the four you left, and continue this process every other time 
 you slip the first four, and the second four. Between the "shell" and the thumb of 
 the mitten, knit seven plain stitches; and, of course, all the rest of the mitten in plain 
 stitches. 
 
 :*sS5i^-» 
 
UTILITY AND DECORATIVE ART. 
 
 I83 
 
 PLATE XXXIII. 
 
 Fig. 2-41 
 
 Fig. 243 
 
 Fig. 2AS 
 
 Pig 240 
 
 Fig 24.4 
 
 ri^24r 
 
 Fig. 242 
 
 rig24i 
 
 Fig. 248 
 
 International Embroidery and Crochet-Stitches. 
 
184 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 International Embroidery and Crochet-Stitches. 
 
 PLATE XXXIII. 
 
 Figures 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, and 254. 
 
 Figure 240, represents the position of the needle, and the method of "hem- 
 stitching;" figures 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, and 252, 
 respectively represent and illustrate in successive details, a series of ' ' crazy-stitches, ' ' 
 in crocheting; figure 253, shows a handsome design for either painting or embroidery; 
 figure 254, shows in detail, a "buttonhole-embroidery" for applique-flower. 
 
 "Wavy-Braid "-Crochet. — Procure apiece of "wavy-braid," twice as long as 
 desired when completed. Work on this a row of poi?it de Bruxelles. Now double 
 the braid, and having the two ends meet, sew the points together. Make a chain of 
 nine, and loop this into the end of the braid, and continue to the end. Chain six 
 for the second row; and loop the same into the centre, of preceeding row. Chain 
 four; loop again, on the same; and continue thus, working to the end. This finishes 
 the crochet. Finish the other edge of the braid with another row oi point de Bruxelles. 
 A pretty insertion is also made, by omitting the last row and repeating the crochet to 
 match with the other side. The two, can be thus arranged to accompany each other. 
 
 The "Forget-Me-Not." — Use a small crochet-hook. It should be worked in a 
 light, but bright color. First form a small ring of wire or leto, lightly twisted; and 
 out of one end, forming the stem or stalk. Forming a loop on the crochet with 
 "split "-zephyr, forma plain stitch on said ring and make a chain in five stitches, 
 securing this on the ring by one plain stitch. Proceed until you have five small 
 loops, each forming a petal. The ring is then twisted, closely. Thread a needle 
 with a light shade of green silk. At the end of the same, form a small tuft of light 
 yellow. Pass this through the centre of the flower, which will so arrange itself, that 
 this tuft w^ill serve as the stamen of the flower. Now twist the cord around the sta- 
 men of the flower. Forthe leaf, form a chain in a soft tint of a yellow shade of green, 
 of nine stitches. Around this chain is worked a row of rather long stitches, having 
 a wire in the edge. The shade of this latter should be, in a deeper green. Another 
 row of double-crochet is worked in a shade of deeper green, which also has a wire 
 in the edge. These wires are then all twisted, and covered with a shade of deeper 
 green. This serves as the stalk. 
 
 The Laburnum. — Forthe flower, proceed as follows, viz: In a bright shade of 
 yellow "split "-wool, form seven long stitches in "double-crochet," upon a wire — 
 alternating, in one plain and one double. The wire for the first two petals is put in at 
 the base, and not in the edge of the stitches ; therefore, the needle should be passed 
 back of the wire, at the first pair of loops in the long stitches, just described. The 
 wire should be covered, about Vi of the distance occupied by the stitches. This wire 
 is folded at the back of the work, and the two ends secured by twisting the zephyr 
 around them jointly, fastening it by the "loop-stitch." Repeat this process, and 
 form the second petal. For the chief-petal, make a chain of five stitches, in a deeper 
 shade of unsplit-zephyr. Then, having a wire in the edge, form in a lighter shade, 
 one stitch of "double-crochet," two long stitches in the next two loops, and three 
 long stitches in the next, and one of "double-crochet" in the loop at the top; three 
 long stitches in the next, on the other side; two long stitches in the two succeeding 
 loops, and one of "double-crochet" in the next; which process, completes the entire 
 petal. Now join the two first petals with a light yellowish-green in "split "-material. 
 Over these place the chief-petal, securing them firmly togetlier. Finish neatly by 
 
UTILITY AND DECORATIVE ART. I85 
 
 cutting off the wire, and covering the same with the silken cord. For the leaf, form 
 a chain of nine stitches, having one long stitch in each looping; into which, at each 
 edge, a wire is neatly inserted; and the tripple-parts of the leaf, are then secured by- 
 giving the wires the twist, as explained before. Each part of said leaf having how- 
 ever, a separate stem ^ of an inch in length. The flower is naturally of the " droop- 
 ing "-kind; and it should therefore, be mounted in that form. 
 
 The Snow-Drop. — The best material for working this beautiful flower is white 
 silk, in "half- twist." 
 
 The flower contains three small petals and three larger ones, making six in all. 
 
 Form four stitches, and then arrange the work so that you will have knit and 
 purled in alternation six rows, in plain. Then knit and purl the next succceeding 
 rows, until you come to the seventh row; in doing which, increase one stitch at the 
 commencement of the first and second, and the fifth and sixth rows. Now without 
 increasing, knit and purl successively, the next eight rows. Then, by dropping one 
 at the beginning of each row, cast all off until you have but four left. 
 
 Knit the small petals, as three in one. The first row is purled; then form one 
 stitch, knit two, and alternate thus to the end of said row. Purl the rows back. 
 Then form one stitch, knitting three; and alternate thus to the end of row. Con- 
 tinue this system of increase, to the place where seven will be knitted between each. 
 Now purl one row, and knit one plain; and then again, purl one row. Next, knit 
 eight sdtches, turning back and purling them. Then knit four, purHng them back; 
 and then break your thread so that you have a good length, from the end to the 
 work. 
 
 Now secure the four stitches; and by means of the needle, pass the cord through 
 the work for several stitches, and to the point in front of the four stitches left. Knit 
 these four stitches, purling them back; and secure and fasten them as in the former. 
 Now coming down to the next stitch, knit eight successive stitches; and then proceed 
 as before. And the same in the next following. Insert or sew a wire form about the 
 edge of the top, with "split "-material. Touch and brighten up with embroidery, in 
 "heart-shaped forms," to simulate the natural flower. Then placing the larger pet- 
 als over these, fold the stem with a rich color in green. Make the buds and flower, 
 of either silk or wool; and as fancy and circumstances dictate. Cast from six to 
 twelve stitches on, for the smallest. Now knit and purl a sufficiently large piece to 
 cover the bud; which, is secured by a wire. The larger buds require from ten to fif- 
 teen stitches, at the top. Shape the leaves similar to the natural leaf Begin with 
 six stitches, knitting and purUng alternately, until a sufficient depth is reached; then 
 at each side, join the stitches; and also neatly join a very tiny wire around the edge, 
 by means of stitching. This completes the elements and principles of the snow- drop. 
 
 The Lupine. — The lupine is a member of the "pea-family;" and it, along with 
 all other small flowers of this character, can be worked according to the rule given 
 above for working the " Laburnum," to which we refer the student. 
 
 Grecian -Netting. — For ordinary work, use cottton number 2; a small mesh, % 
 inch wide; and a larger mesh, ]/2 inch wide. For fine work, best fine silk, and 
 meshes, Nos. 8 and 16. Using the larger mesh, take any even number of stitches. 
 Small mesh: Bring the silk around the fingers as in ordinary netting, and pass the 
 finger through the finger-loop, into the first stitch. By means of the point of the 
 needle, bring the second stitch through the first. Withdrawing the instru- 
 ment, repeat the process of drawing the first stitch through the second. Now 
 complete the stitch. The next requisite will be a small loop, which apparently, falls 
 across the "twisted-stitches;" and then, repeat the process. For large mesh, a plain 
 row. For small mesh, the same as before; only, that the first and last stitches are 
 netted plain. 
 
 Grecian-Border-Stitch. — This is used for heavy work, generally; and it can be 
 ofany desired width. Cotton No. 8. Take this triple-fold. A pair of the larger- 
 sized meshes. Net two plain rows upon the foundation. Net four plain in second 
 row, winding the cord thrice around the mesh, and putting the needle into the stitch 
 each time, without netting the same; then knotdng the stitch securely, and passing 
 
l86 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 the needle around said "three-loops," without throwing the cord over the mesh; 
 and securing it as the ' ' buttonhole-stitch ' ' is secured, in edging embroidery. All 
 patterns can be adopted. 
 
 Begin the "fringe" with the larger mesh, netting four stitches by alternation, 
 into each loop; and then securing, as in fancy stitchery. 
 
 Net plain for second row, using the smaller mesh. Then using the larger mesh, 
 net third row plain. For the fourth row, use the larger mesh also; and take up four 
 loops of the last row, and form them into one; net the fifth row the same as you did 
 the first; and the sixth as you did the second. 
 
 This ancient and very popular netting, is exceedingly simple and beautiful. A 
 little practice will soon make it plain. 
 
 Geometrical — Netting. — This ancient but recently popularized "netting," is 
 sometimes termed "Honey-Comb-Netting." Suppose the materials to be, cotton 
 No. 2 ; a plain flat mesh, three-sixteenths of an inch wide. For the first row, take 
 any even number of stitches, and net plain. For second row, reverse the order of 
 the "netting," by forming the second loop first, and the first, second. Net the entire 
 row, in this manner. Net the third row, plain. In fourth row, take the first stitch, 
 and then the second, first ; and net plain, across. The fifth row is entirely plain. 
 And finish, by forming the sixth row the same as you did the second. 
 
 Persian- Netting. — This very ancient and pretty "netting," has formed the 
 finest purses, laces, and shawls of Persian ladies, for many centuries. It is used in 
 both fine, and coarse work. It is netting on the principle of "double," "treble," and 
 "quadruple-netting," in an equal number of colors. It is very simple, and yet, can 
 be made exceedingly intricate and complicated. 
 
 For "double-netting" in two colors, proceed as follows, viz : Net a foundation, 
 fastening both colors ; and then net the ' 'white-stitch," throwing the needle over the 
 left hand, upon the table. Taking up the needle with the color, net one stitch ; and 
 throw the needle on the left-hand-side of the position of the needle of white. The 
 pattern depends, upon this arrangement ; otherwise, there would be two separate 
 nets — one of each color. Net the white into the white, and the color into the color, 
 throwing the instrument in the exact same manner as before, for the next row. Now 
 repeat this process, by alternations, until completed. Its variations are infinite ; and, 
 commensurate with the Arithmetical and Geometrical progression of the numbers 
 and combinations used, in the stitches and colors. 
 
 Lace-Work. 
 
 The term "Lace," comes from the Lathi Laqueus ; Italian, Laccio ; Spanish, 
 Lazo ; French, Lacet. Its various meanings come to us as follows, viz : "A noose;" 
 "a snare;" "agin;" "a trap;" "anet;" "a delicate ornamental net-work; the meshes 
 of which, are formed by plaiting together threads or cords of linen, cotton, silk, or 
 other material." Shakespeare grasped its figurative meaning in that expressive sen- 
 tence "Here lay Duncan, his silver skin /ar(?^with his golden blood." It is of very 
 ancient origin; and it has always been one of the chief ornaments, in woman's dress. 
 It was prized above all earthly gifts, among ancient queens, save the precious stones 
 that burned and flashed fire from among its tangled meshes, as they lay upon hearts 
 that too often burned with the consuming fires of false ambitions and merciless 
 cruelties. 
 
 The kinds and their names, are almost innumerable ; and they represent every 
 degree and shade of enlightenment and refinement, in civilization and culture. Their 
 values are not based upon positive worth, but are measured by the ratio of expense 
 in the labor and time, necessarily consumed in their production. From Brussels, 
 come our principal laces ; and the finest, are hand-made. There are various grades 
 of "Brussels-Lace." The majority of articles termed "Brussels-plait," come within 
 
UTILITY AND DECORATIVE ART. 1 87 
 
 the great general province of "Polnte-d-l' aiguille." These resemble somewhat the 
 "Honiton-applique;" in which however, tne flowers are formed separately on the 
 pillow; and are attached thereafter, to a "made-formation." Two kinds of "net," 
 are also used. The best '"resean," is formed by bobbins, on the pillow. It has 
 good imitations however, made by machinery. The best "Brussels-Lace" contains 
 only, the finest possible thread of flax ; the best quality of which, comes from Hal, 
 and from Rebecque. The finest thread is hand-spun, in damp and gloomy cellars ; 
 the tenuity being so great, that this process can not be accomplished in open light 
 and dry air. Belgian " thread-spinners" are apparently well-paid ; but they might 
 be said to almost hterally give themselves "a living sacrifice," for the gift and pro- 
 duction of their hands. Every inch is accurately examined, as it is drawn from the dis- 
 taff, and is closely scrutinized, as to any possible imperfections and inequalities; which, 
 are immediately and carefully corrected. The thread is held in front of a dark back- 
 ground, while being formed ; and the scene of labor is often so arranged that but a 
 single ray of light is left to cheer the lonely place ; and this is made to fall directly 
 and accurately upon the forming-thread ! ^ Each department of lace-making is under 
 the supervision of thoroughly-trained specialists. 
 
 The "platteuses," make only flowers, and form patterns for the ground-work, 
 on the pillow. Some work them in point, by means of the needle ; and which, when 
 joined to the net, forms the " Brussels-applique." 
 
 The "striqueuses," join the flowers to the net. The " Attacheuses," jointhe 
 different parts of a pattern to simulate a whole so perfectly, that it often deceives 
 an expert to detect their joinings. 
 
 The " faiseuses de point-a-l' aiguille," shows her taste and skill by forming the 
 floral-patterns in relief, upon the plain flat surface ; and under her trained hand we 
 see, the plain lace budding and blossoming into all possible variations of clusters and 
 wreaths of grasses, leaves, and flowers ; shadow and shades, being reflected by the 
 transparency of the texture. The embroidery is often so fine and perfect, that a 
 needle would pass through the meshes, only with considerable difficulty. It comes 
 to us as "Guipure," "Maltese," "Pillow," "Saxony," "Point d' Alengon" and 
 coundess other names ; which, are naturally drawn from the circumstance of place, 
 style, or quality. As examples of "method," we give the following, viz : 
 
 Point d' Alen^on-Lace : Have the design first engraved on copper. This is 
 then printed from the plate, in divisions, on pieces of parchment. Number these, in 
 their order and, then prick holes along the outlines of the flowers. 
 
 Placing upon this a piece of course linen, sew with a tracing-thread, by fine 
 stitches, uniting them. Holding two fiat threads beneath the thumb of ^ the 
 left-hand, guide them and fix them along the edges of the pattern, by very delicate 
 stitches passing through the punctures ot the parchment. This completes the skele- 
 ton. Next, fill up the centres of the flowers. 
 
 By means of a long fine needle and very fine thread, work in " knotted-stitch " 
 from left to right; until, by successive rows of the same, all the interstices are filled. 
 Form the plain ground by first laying one thread across the pattern, and then com- 
 pleting its formation by a system of the regular intersections; this forms the dehcate 
 meshes. 
 
 Spaces can be reserved for any desired fancy-stitches. These are sometimes 
 termed the "modes." Ornament it to fancy, and to design, by stitches of " em- 
 broidery-in-relief;" which are known, as the brode. Then unite thesections, so that 
 their junctions are not perceptible. This forms the celebrated "point d'e Alenjon- 
 lace," sometimes quoted "point de Venise-lace;" and which is one, at least, of the 
 most costly laces of the age. 
 
 Brussels-Point-Lace.— This pretty and easily-formed lace is simply a succession 
 of rows of "Brussels' -edge," which is worked backwards and forwards; and which 
 is so simple, that it is understood by all — needing no formal instructions. 
 
 Scotch-Lace. — Form seven stitches. For first row: three plain, over, narrow, 
 over twice, two plain. Second row: three plain, purl one, two plain, over, narrow, 
 one plain. Third row: slip one, two plain, over, narrow, four plain. Fourth row: 
 
l88 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 bind off two, three plain, over, narrow, one plain. Now repeat from the first row. 
 
 Berlin-Insertion. — Form thirteen stitches. Knit across plain, slip one, knit one, 
 thread over twice, seam two together, knit one, thread over, narrow, knit two, 
 thread over twice, seam two together, knit two. Then knit all the rows the same. 
 
 Venetian-Lace. — This is simply a pretty net- work of successive rows of Vene- 
 tian-edge, which should all be worked one way — from left to right. 
 
 Sorrento-Lace. — This is the same as sorrento-edging; and it is simply worked 
 on the principle of *' netting backwards and forwards." 
 
 Spanish-Point-Lace. — Secure the desired number of threads for the design, to 
 give the lace a raised or heavy appearance; then work from one side to the other, 
 repeatedly, with " buttonhole-stitches." Finish the edge to taste or design. 
 
 English- Point- Lace. — Fill any desired given space with threads crossed at right 
 angles with each other, and at the distance of }i of an inch apart. Secure your 
 thread to the braid, forming the " spots," by passing the needle around the thread 
 until you reach a point where the first threads cross; then insert the needle in a 
 manner, under and over said "cross," until you have a sufficiently large space. 
 Then arrange the next the same way; continuing this process until all are completed. 
 The pattern is at your option. 
 
 Open English- Point-Lace. — This is made exactly the same as the preceding, 
 with these exceptions, viz: four threads cross each other, only; and the "spots" are 
 only located upon the " cross." This effect can still be more enhanced in beauty, if 
 the horizontal and upper right-threads are taken several sizes coarser than the other 
 two threads. 
 
 Spanish-Bar-Lace. — A very fine lace is formed by making "bars " in filling up 
 any space between two pieces of braid, which are edged either with Venetian or 
 Brussels-edging. The method is as follows, viz: Pass the thread from side to side, 
 through pairs of opposite loops; but the process demands the needle to pass from 
 the under-side of one stitch and the upper-side of the other. 
 
 French-Rosette-Lace. — Form this in from four to eight threads, according to 
 the space and the desired effect. 
 
 First, form " sorrento-bars ;" then bridging the space from side to side, pass the 
 thread under and over the alternate threads, until the proper size is reached — begin- 
 ning at the centre. Now secure the work by taking the needle around the last bar, 
 and then into the braid; and complete the process by four " buttonhole-stitches." 
 
 Portugese-Lace. — This is formed on "sheet-linen," which is best when old. 
 Draw an even number of threads, each way; then join the cotton by means of the 
 needle, to one of the bars; and then carry it on to the next, drawing it up tightly, 
 leaving the cotton of sufficient length not to draw the lace. Complete the entire 
 work one way, first; then the opposite way; and so arranging, that each thread will 
 cross the centre of an open space. Pass the thread over each former thread, and se- 
 cure it at the cross with a firm stitch; then form a stitch where it meets the bar, and 
 use "cross-stitches" over the linen. The design can be varied, and a plain linen 
 band can be used with raised and profuse embroidery in leaves, buds, wreaths, scrolls, 
 etc., and having a "dotted ground-work." 
 
 "Barred-muslin" is sometimes used; the thin part being cutout, and the edges 
 overcast, and then completed as before. This facihtates the work. It is nice for 
 altar-cloths, and spreads for infants' cots, etc. 
 
 N. B. — For both crochet-work and lace-work, the student will find the following 
 the "key" to our abbreviations, viz: 
 
 K, — knit; o, — over; to, — thread over; n, — narrow; s, — slip; p, — purl; k 2. — 
 knit two stitches; p 3, — purl three stitches; s i, — slip one stitch; tot, or t o 2, — 
 thread over twice; p t t, or p 2 t, — purl two stitches together; s t t, or s 2 t, — slip 
 two stitches together; and k 1, — knit loop or last, etc. 
 
 Torchon-Lace. — O two, purl two together, knit three, n, o, n, o, k one, o, k 1. 
 Next row — slip one, knit all plain, up to last two, then o two, purl two together. 
 Next row — O two, purl two together, k two, n, o, n, o, k three, o, k one. Next, 
 and each alternate row — the same as second row. Fifth row — O two, purl two 
 
UTILITY AND DECORATIVE ART. 189 
 
 together, k one, n, o, n, o, k five, knit one. Seventh row — -O two, purl two 
 together, k three, o, n, o, n, knit one, n, o, n. Ninth row — O two, purl two together, 
 knit four, o, n, o, n two together, o, n. Next row — O two, purl two together, knit 
 five, o, n three together, o, n. Form the last row, the same as the second. 
 
 Saw-Teeth- Edging. — Form thirteen stitches, knitting across plain. Knit one, 
 narrow, throw thread over twice, narrow, knit one, slip one, knit one, throw thread 
 over, narrow, thread over, narrow, throw thread over, knit one. Next row — knit 
 across plain to within six stitches, knit two, purl one, knit three. Next row — knit 
 one, narrow, throw thread over twice, narrow, knit one, slip one, knit two, throw 
 thread over, narrow, throw thread over, narrow, throw thread over, knit one. Next 
 row — knit all but six stitches plain, knit two, purl one, knit three. Next row — knit 
 one, narrow, throw thread over, narrow, knit one, slip one, knit three, throw thread 
 over, narrow, throw thread over, knit one. Next row — knit all but six stitches plain, 
 knit two, purl one, knit three. Next row — knit one, narrow, throw thread over 
 twice, narrow, knit one, slip one, knit four, throw thread over, narrow, throw thread 
 over, knit one. Next row — knit all but six stitches plain, knit two, purl one, knit 
 three. Next row — knit one, narrow, throw thread over twice, narrow, knit one, 
 knit plain across. Last row — slip eight, bind four, knit all but six stitches plain, 
 knit two, purl one, knit three. 
 
 Double Oak- Leaf- Lace. — Make a foundation of seventeen stitches, by plain 
 stitches across. Then proceed as follows, viz : Si, ki, tot, ptt, k2, tot, n, tot, n, k2, 
 tot, n, tot, n, ki. Second: Si, k2, pi, k2, pi, k2, n, pi, n, pi, k2, tot, ptt, k2. 
 Third — Si, ki, tot, pttt, k3, t o, n, to, n, k3, to, n, to, n, ki. Fourth — Si, k2, pi, k2, 
 pi, k3, n, p, n, k3, tot, ptt, k2. Fifth — Si, k i, to t, p 1 1, k 4, to t, n, to t, n, k4, 
 to t, to t, n, k I. Sixth — Si, k 2, pi, k 2, p i, k 4, n, p i, n. p i, k 4, t o t, p 1 1, 
 k 2.. Seventh — S i, k i, t o t, p t t, k 5, t o t, n, k 12. Eighth — k 12, n, p i, k 5, 
 tot, ptt, k2, k 17, n. Ninth — B,o 5, k 12, t o t, p 1 1, k 2. This completes the 
 process. 
 
 Clydesdale-Lace. — Form a foundation of fifteen stitches, knitting across plain. 
 First — k 2, t o t, s t t, k I, t o t, n, k 8. Second — k 9, k i 1, s i 1, k i, t o t, s 1 1, 
 k 2. Third — k 2, t o t, s 1 1, k 12. Fourth — k 12, t o t, s 1 1, k 2. Fifth — k 2, t o t, 
 s 1 1, k I, tot, n, tot, n, k 7. Sixth — k 8, k 1 1. s i 1, k i, k i 1, k i, tot, 
 s 1 1, k 2. Seventh — k 2, t o t, to 2, s 1 1, k 14. Eighth — k 14, tot, s 1 1, k 2. 
 Ninth— k 2, t o t, s tt, k I, t o t, n, t o t, n, t o t, n, k 7. Tenth — k 8, k i 1, sil, k i, 
 kil, sil, ki,kil, sil, ki,tot, stt, k2. Eleventh — k 2, to t, s 1 1, k 1 7. Twelfth — 
 Bo, all but 14 on left-hand needle, k 10, t o t, s 1 1, k 2. Begin at first row, throw thread 
 over twice before seaming two, each time. This completes the entire process. This 
 nicely executed in Andalusian-wool is charmingly beautiful. 
 
 Wide Normandy-Lace. — Form a foundation of thirty-one stitches, knitting plain 
 across. First — k 8, n, o, k 3, o, n, k 9, n, o, k 3, o, k 2. Second — k 2, o, k 5, o, n, 
 k 7, n, o, k5, o, n, k 7. Third — k 6, n, o, k 7, o, n, k 5, n, o, k i, o, n, k i, o, n, 
 k I, o, k 2. Fourth — k 2, o, k i, n, o, k 3, o, n, k i, o, n, k 3, n, o, k 9, o, n, k 5. Fifth — 
 k 4, n, o, k II, o, n, k I, n, o, k i, n, o, k5, o, n, k i, o, k 2. Sixth — k 2, o, k i, n, o, 
 k 3, o, n, k 2,0, n, k i, o, k 3 t, o, k 13, o, n, k 3. Seventh — k 5, o, n, k 9, n, o, k 3, 
 
 0, n, k I, o, n, k 3, n, o, k i, n, o, k i, n. Eighth — Throw off i, k i, o, n, k i, o, n, 
 k I, n, o, k I, n, o, k 5, o, n, k 7, n, o, k 6. Ninth — k 7, o, n, k 5, n, o, k 7, o, n, 
 k I, o, s I, n, transfer slip-stitch over, then o, k i, n, o, k i, n. Tenth — Throw off 
 
 1, k I, o, n, k 3, n, o, k 9, o, n, k 3, n, o, k 8. Eleventh — k 9, o, n, k i, n, o, k 11, 
 o, n, k I, n, o, k I, n. Twelfth — throw off i, k i, o, k 3 t, o, k 13, o, k 3 t, o, k 10. 
 Repeat the process to the desired number of times. It will be found to be very 
 pretty. 
 
 Collar in Waved-Braid. — The materials required are "waved-braid;" cotton 
 Nos. 20 and 30. 
 
 Proceed as follows, viz: Having transferred the fit, and the design upon paper, 
 unite it by means of mucilage on the back, with a piece of muslin ; then stitch the 
 braid firmly on the patterns. If the design is in diamonds, rosettes of point d'An- 
 
190 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 gleterre, can be worked in the same. This is done by beginning the first stitch 
 in the diamond, at the point where the braid crosses to the opposite side. 
 
 The thread should be twisted seven-times around the first thread. Then the 
 needle should be turned along the back of the braid, in such a manner as to divide 
 the space octagonal, or in eight parts. The last, should be finished in the centre, 
 leaving a half-thread single. Now secure the work by forming one stitch in the 
 centre, and working around it by inserting the needle around one thread and under 
 the next ; then around the second, under the third, etc. This should be repeated 
 eight-times ; and the work is then completed by folding the cord twice around the 
 single thread, and securing it. The spaces at the edge should be filled closely with 
 "embroidery-work," as fancy or design may dictate. Bars of thick "buttonhole- 
 stitch," should connect the spaces. For the border, form a large "buttonhole-stitch,"' 
 working into it four closer stitches. Repeat this, entirely around the collar. Now 
 cutting the stitches, joining the design and collar, carefully remove the same ; 
 and you will then have a handsome "Waved Braid-Collar." 
 
 Worsted-Work. 
 
 Mosaic-Knitting : — Suppose a mat, in two distinct colors of wool, deep garnet 
 and old-gold ; and that when completed it is finished by a border of cloth, of the 
 darkest shade of wool used ; which, should also harmonize with the hangings of the 
 apartment. Proceed as follows, viz : Form a foundation of twelve stitches, and purl 
 one row. Form from these, four designs ; each design will, necessarily, have three 
 stitches. Now for the first row, use deep garnet wool ; work the wool forward ; knit 
 2 1 (or jointly) * working wool forward, and knitting three plain ; draw the former of 
 the three plain, over the two latter ; repeat this process, from * to close : this now 
 leaves one stitch ; now bringing wool toward the front, proceed — knitting. You 
 now have thirteen loops, on the hook. For the second row, use old-gold, attaching 
 it, and purling the entire row. Third row : Bring the wool toward the front ; knit 
 2t ; then, not bringing the thread forward, knit three plain, drawing the third loop 
 (toward the back) over the latter two ; * wool toward front ; knit three plain ; draw 
 first loop over the latter two ; and then repeat from * to the close of this row. 
 
 Fourth : Purl the entire row — using the deep-garnet wool. Any design, accu- 
 rately calculated and based upon any fixed size, can be easily, quickly, and beauti- 
 fully formed according to the above rules and principles. 
 
 Berlin-Work. — This popular method of "worsted-work," admits of great lati- 
 tude, both in the materials used, and also in the designs. It is worked either in 
 "double," "treble," "quadruple," or otherwise — in "single "-wool. The most 
 popular designs are executed in seven shades of the same color. The stitches are laid 
 over from two to eight threads of the canvas, in a diagonal form ; the shades, begin- 
 ning with black and closing with white. Systems of smaller stitches are arranged 
 and filled-in, at the upper parts of the points. Crossing the centres of the various 
 patterns, long stitches of fine chenille, crochet-silk, beads or gold and silver cords, 
 may be laid, with good taste and with artistic effect. 
 
 The Violet. — The usual materials used, are the single threads of fine " Berlin," 
 or "Germantown-wool, " in shades green and purple, along with steel or gold beads. 
 Form all the petals separately — as you would the petals of the rose. Do not use the 
 "card-board-process." Proceed as follows, viz : Taking the purple thread, arrange 
 it in the natural "oval-form," by "turning" it a few times ; and, having performed 
 this part of the process, lay the fine purple thread across it, each way ; thus, crossing 
 it neatly, in each direction. Form the "heart," by threading a very fine gold bead 
 upon a fine wire ; and then, arranging a tiny tuft of the green silk or wool under- 
 neath said bead, secure your work by bending the wire and neatly twisting 
 and hiding it, underneath. By careful stitches, attach the five petals first made, to 
 
UTILITY AND DECORATIVE ART. I9I 
 
 said tuft — winding the green material around the ends of the wire, used — which forms 
 the stem, and completes the work. 
 
 Fancy- Mitten. — Materials — Four needles. No. 20 ; and one skein of Saxony- 
 wool. Form foundation of 24 stitches upon each needle, k 2 plain, p 2, k 2, p 2 ; 
 and repeat this, until five rounds are completed. K i, to, k 2, s i, k 2 t, then slip 
 the slipped-stitch over the pair knit together, k 2, t o, and repeat until all are taken 
 up ; 2 rounds plain, 4 rounds as first, next two plain, seventh as first, next two plain; 
 then repeat to desired length of wrist. Carrying four strips up the back, k 4 p 
 between fancy part and thumb. If mitten covers little finger, knit fancy part thus : 
 k 2, t o, k I, s I, k 2 t, slip slipped stitch over, k i, t o, k i, and repeat over fancy 
 portion. Form next two rounds plain. Fourth : k 3, to, s i, k 2 t, slip slipped 
 stitch over, t o, k 2, and repeat. Knit remainder of mitten plain. Narrow on the 
 inner two needles after leaving the palm of the hand, each alternate sixth round, until 
 you drop the fancy part ; then each alternate round is narrowed, until all the stitches 
 are consumed. 
 
 French-Open-Hose. — The design is in quadruple, and finished in four rounds. 
 For instep, take number of stitches representing a multiple of four, knitting the rest 
 plain until you reach the instep-needle. First : knit i, n, tto, and knit one ; repeat 
 the same. 
 
 Second : Plain around. Third : narrow, tto, knit 2 ; and repeat as before. 
 Fourth : Plain, entirely around. Now begin again from first. It can be varied, by 
 knitting either the entire hose open, or only to the instep. 
 
 Saxony-Edging. — Form 25 stitches. First : k 2 plain, t o t, n back, *, o, n 
 back, *, repreat from * to *, t o, knit plain to close. Second : Take up first, wind 
 around twice, k, *, putting needle through next stitch wind thrice and knit, *, repeat 
 from * to * for next 15 successive stitches, and k 9 plain. Third : k 2, tot, n back, 
 *, t o, n back, *, repeat from * to *, k, plain, transfer 8 upon right-needle, slip one 
 back upon left-hand needle, bringing fifth loop over the first four — knit, next three 
 the same, k 4, and remaining stitches, like the first. Knit fourth row entirely plain. 
 
 Forest-Moss-Border. — The materials are, all kinds of odds and ends of the 
 work-basket. The pieces are selected by chance, and sewn upon a made-founda- 
 tion, after being thoroughly steamed. Form a foundation of stitches, double the 
 desired width ; and in knitting, draw the work very closely, in plain stitches. Knit 
 in successive rows, to the desired length. 
 
 After completion and steaming, press it thoroughly with a hot iron. The 
 "mossy-effect" is produced by the strip being cut through the centre, the wool 
 raveled open, and then being neatly brushed into curling forms — beautifully simulat- 
 ing the "mountain-moss." 
 
 Spanish-Fringe. — Twisted yarn. No. 9 ; tidy needles : Foundation, 12 stitches; 
 knit plain, entirely across. First: to, n, to, n, to, n, to, n, to, n, to, n, k i p. 
 Repeat this, each way, to the desired length. Bind off all — lacking four ; drop 
 those, and ravel back to the place you began. 
 
 Ladies' French-Hood. — Requisites : Ivory needles, medium size ; delicate 
 shade of "split-zephyr." Foundation — 60 stitches. Knit 15 inches in very easy 
 and plain "garter-stitch." Slipping off half of the stitches and securing them on a 
 "bent-needle," knit alternately backwards and forwards, until the length of 20 
 inches is produced. Then knit the "reserved-stitches" to the same length, and 
 bind off the work. A fancy border is now crotcheted, around the entire edge ; and 
 then, "gauging" or gathering the extreme lower ends, form a tassel on each. 
 After gathering the top, garnish the same with a handsome "bow of ribbon," of the 
 same shade, upon said gathers. It is jaunty, and very pretty. 
 
 Gent's English-Scarf — Requisites: The desired contrasting shades of " Berlin" 
 or " Germantown-yarn;" 5 skeins of the principal color, and three skeins of the 
 shade for border. Two large needles. Foundation — 70 stitches in dark shade. 
 Knit easily across, in plain-stitch. First: * 5 p, seam 5, *. 
 
 Repeat process from * to *, entirely across ; and continue thus, until sixth row. 
 Seam 5, and 5 plain, to eleventh row. Then reverse backwards, forming the checked- 
 
192 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 design. Check 4 rows, and then finish with border, adjusting a neat fringe in each 
 end. 
 
 Fancy-Wristlets. — Form 30 stitches on each of two needles, and 31 on the 
 other, and knit around plain. S i, n and t slipped-stitch over; k 3 p, form i, k i, 
 form I, k 3 p; then repeat to proper length. The last stitch on the needle is always 
 the one having been slipped, which should not be knit, but thrown over those nar- 
 rowed at the beginning of each needle. Any number of colors and any design, can 
 be adopted. 
 
 Persian- Afghan. — Requisites: The desired shade of "quadruple-saxony." 
 Some prefer courser grades. Fine ivory, or coarse steel needles. Form seven 
 stripes: Three of one, and four of the contrasting color. The outside two should be 
 of the same color. Form a ground-work of 24 stitches. 
 Always knit the first and last three of each row plain. 
 
 (i) — * 2 p, s I, k I, thendrawthe "slipped-stitch" overthislast "plain-stitch," 
 k2p, toi,kip, toi, *, repeat from * to * to close. 
 
 (2) — Seam all in this row, and also all other " even-rows." 
 (3) — k I p, * n, n, k 2 p, t o I, k I p, t o I, k 2 p, * repeat from star to star. 
 (5) — * n, n, k I p, t o I, k 2 p; now kip and one " seam-stitch " in the next. 
 T o I, I p, *, and repeat from star to star. 
 
 (7) — k I p, * narrow, t o i, k 6 p, t o i, n, * repeat from star to star. 
 (9) — * n, t o I, k 2 p, n, n, k 2 p, to i, * repeat from star to star. 
 (11) — k I p, * t o I, k 2 p, n, n, k 2 p, t o i, k i p, * repeat from star to star. 
 (13) — k 2 p, * t o I, kip, n, n, n, kip, tor, k 2 p; now form one "plain" and 
 one "seam-stitch" out of the next; * repeat from star to star. 
 
 ( 1 5 ) — k 3p, *toi, n, n, toi,k6p, * repeat from star to star. 
 (17) — *n, k2p, toi,n, toi,k2p, n, *toi,k2p, n,* repeat from star to star. 
 The bottom-edge can be finished either by attaching a " knitting-fringe," by 
 means of the needle, or otherwise it can be crochet upon the same; and also to any 
 desired or chosen design and suitable shade of color. 
 
 French Half-Hose. — Requisites: 2j4 ozs. best "knitting-silk;" four needles, 
 No. 18. Form 113 stitches on three needles. Knit entirely around, plain. Then, 
 k4p, seam 2; and repeat this "ribbing" for 72 successive rounds. Then knit six 
 inches, plain. Begin the heel by throwing 57 stitches on one needle, * seam- 
 ing across and knitting back in plain-stitch. Repeat this process from star to star 
 for 57 successive rows, slipping first stitch of each row, and keeping the seam-stitch 
 at the side back of the heel. Begin to narrow at 5Sth row, and proceed as follows, 
 viz: — K13P, SI, kip, draw "slipped-stitch" over, kiop, n, k 3 p, si, kip, 
 draw "slipped-stitch" over, k 10 p, n, ki3p. 59th row: seam entire row. 60th 
 row: k 13 p, s and b, kSp, n, k 3 p, s and b, k 8 p, n, ki3p. 6 ist row: seam all. 
 62d row: ki3p, sandb, k 6 p, n, k 3 p, s and b, k 6 p, n, k 13 p. Seam all in 
 next row. 64th row: k 13 p, sandb, k 4 p, n, k 3 p, s and b, k 4 p, n, k 13 p. 
 Seam all in next row. 66th row: ki3p, sandb, k 2 p, n, k 3 p, sandb, k 2 p, n, 
 k 13 p. Seam all in next row. 6Sth row: k 13 p, s and b, n, k 3 p, sand b, n, k 13 p. 
 Seam all in next row. 70th row: k 17 p, fold needles together reversing heel, s i, n, 
 draw "slipped-stitch" over, continuing until but one is left. Bring right side of 
 heel out, take up side-stitches of heel toward the left hand, k across "instep-needle;" 
 and then take up stitches of opposite side of heel. This forms the first round of the 
 foot-part. 
 
 Form extra stitches in next round, at sides of heel only, in every fourth stitch; 
 and subtract or decrease two stitches, by narrowing at " right-hand point " and slip- 
 ping and binding at " left-hand point" near instep. Decrease two in next two rounds 
 in the same manner; and then decrease two in each alternate round, down to 112 
 stitches. Now finish the desired length of the foot-part, plain. Arrange so that an 
 equal number of stitches are on each needle, in narrowing at the toe-part. Beginning 
 at centre of instep-needle, knit all except three; then s and b, k i p on next needle, 
 k p until three remain, s and b, k i p; k i p on next needle, n, k p until all but three, 
 s and b i p ; thlj finishes last I'ow of toe-part. Knit three rounds in plain, not nar- 
 
UTILITY AND DECORATIVE ART. 1 93 
 
 rowing; knit succeeding row like first of toe-part. Two rounds plain ; then, as first 
 of toe-part. Two rounds plain; succeeding row like first of toe-part. Proceed thus, 
 to its completion. 
 
 Fancy and Artistic Needle-Work. 
 
 Under this general division we embrace and include what is given in separate 
 form, under the various legitimate departments in its province, under "Seaming," 
 "Stitching," "Button-holes," "Tailor- Finishing," "Embroidery," etc.; to which 
 we refer the student. 
 
 Hair-Work. 
 
 Human hair, can be artistically and beautifully wrought into wreathes, chains, 
 shrubbery, flowers, branches and buds, by a little thought and care. Nearly all the 
 "loopings" and "stitches" given for other fancy work, can be applied in this art. 
 To form chains or braids, many of the "crochet-stitches" come in place. In other 
 forms of working, you will want a simple arrangement in the form of a hand-loom, 
 in order to hold the strands. Anything will do, that will secure them at the ends; 
 and so it will be accessible to the application of the mesh, or the needle, whichever 
 you please to term it. For ' ' nets, ' ' you can apply the * ' Grecian-stitch, ' ' as given for 
 "netting." Select your pattern in guards or chains, and produce the different parts 
 by any of the given stitches that may be required; make it in "sections," and then 
 let the junctions come together within gold mountings, secured thoroughly with glue; 
 and having joined the sections, apply the mountings at each end in the same man- 
 ner. In representing trees, leaves, wreathes, and flowers, etc., use fine "French- 
 wire," to form the stamens and centres of support; upon which frame- work (the wire 
 being bent into the desired shapes), place the hair in such ' ' loopings ' ' and ' ' stitches, ' ' 
 as will best answer your purpose; and work on a similar principle with that used in 
 making flowers and shrubbery, in "worsted-work." Try a simple leaf, first; then 
 twigs and branches ; then perhaps a rosebush complete; or, out of the emblems and 
 tokens of sorrow and grief, perhaps the ' ' weeping-willow. ' ' 
 
 Feather-Work. 
 
 Art ' ' feather- work ' ' is growing intensely popular. Geese and duck-feathers are 
 made to bud and blossom as the rose. With fine-pointed and very sharp scissors, 
 notches, edgings, and leaves, are formed. Begin at the lower part of the leaf, notch- 
 ing one side first, then the leaf. Petals of any flower can be cut, according to nature. 
 The most delicate feathers, are utilized for curled-flowers. Never paint these. Draw 
 the scissors quickly over their under-side, to curl them. Leaves are painted with 
 dry paints. Paris-green is much used. Balsam of fir reduced with alcohol, forms a 
 good medium, A feather can be converted into a brush. When dry, they can be 
 arranged and mounted on soft, fine wire; and these again, covered with green tissue- 
 paper, for stems. The main colors used are rose-madder, for pink; ultramarine, for 
 blue; gamboge, for yellow; carmine, for scarlet, etc. By means of wax, secured 
 within bent wire of the proper shape, the flowers and petals are fixed and retained in 
 position. 
 
 13 
 
194 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Brown and gray feathers of the duck, mingled with both the painted and natu- 
 ral, form fine combinations. Ingenious methods of arranging sprays, among flowers, 
 buds, vines, etc. , are shown with great credit of artistic effect. 
 
 Lime-water, cleanses feathers. Heating them and drawing a sharp instrument 
 over them, makes them curl. 
 
 Indigo in boiling water, gives shades of blue; verditer, verdigris, and gum -water, 
 shades of green ; cudbear in boiling water, lilac; Brazil-wood, vermillion, alum and 
 vinegar, red ; tumeric, yellow ; cochineal, cream -of- tartar, and muriate of tin, scar- 
 let, etc. All the colors that have naturally fallen upon the wings of birds and the 
 fair forms of flowers, can be placed upon feathers, by the trained and skilled hand of 
 art. 
 
 Leather-Work. 
 
 The Russian-Cleansing-Bath. — Uncolored leather, is cleansed by first washing 
 with benzine; and applying with a sponge, a solution of oxalic-acid dissolved in 
 warm water. 
 
 German Leather-Cement. — Take ^^Ib. gutta-percha; 2 ozs. india-rubber ; i oz. 
 pitch ; J^ oz. shellac ; i oz. "boiled-oil." Melt, mix, and use hot. 
 
 French Water-proof-Leather-Cement. — One pint boiled linseed-oil; i lb. mut- 
 ton-suet ; ^ lb. beeswax; ^ lb. resin. Melt, mix, and apply warm. 
 
 "American- Process :" — Equal parts of gutta-percha and india-rubber, dissolved 
 in wood naptha. 
 
 French Stamping-Process. — Wash right side, in weak solution of oxalic-acid 
 and warm water. Placed upon a plain surface, the heated stamp (engraved upon 
 steel), is heavily pressed upon the same. Let remain, till dry. Finish with "leather- 
 varnish," when removed. Leaves, flowers, buds, blossoms and vines, can thus be 
 transferred, and made to show exquisitely perfect and beautiful. In its perfectly 
 cleansed and dry form, leather is cut, by various means and instruments, into "shav- 
 ings," "strips,,' "stalks," "branches," etc.; and is then, upon the principle em- 
 ployed in making paper and wax-work, converted into all the diversified forms of 
 nature's beauties. And thus, the material out of which were made the ever memor- 
 able garments called "coats of skins," is made "to bud and blossom as the rose." 
 
 Bead-Work. 
 
 French Card-Case. — Conceive any design; and as materials, select a piece of 
 the best kid, steel beads, and gold-" thread." Outline, in the gold- "thread ;" and 
 fill-in the interior parts, with very delicate "cut-steel-beads." Pass the end of the 
 "thread" through to the under side of kid, when commencing the outlining- work ; 
 and repeat the same, on returning and concluding. Form the border, by ' ' loopings" 
 of the gold-cord, ornamenting each loop at the centre, with one bead. Bronze is a 
 good color, for the kid. Complete, by mounting the same upon a card-board- ' 'form ;" 
 decorating the inside with silk, and the edges with beads; which will hide the stitches, 
 as well as ornament the work. Only one end, is left open to receive the cards. 
 
 Bracelets and Chains. — Any desired number of rows, may be adopted. When 
 jet, or "immitation-pearl" is used for the bracelet, it should be repeated in the 
 chain. Suppose three strings : thread i bead for the centre, larger than those out- 
 side. Thread two on right-hand, and four on left hand. In doing this, pass needle 
 of right-hand through two beads on left-hand ; and leave the centre-thread, under- 
 neath. Again, two on left-hand-side, passing needle from right-hand-side through 
 beads on left-hand-side: and so arranging, tis to have the centre-thread pass over the 
 
UTILITY AND DECORATIVE ART. 1 95 
 
 top. By these alternations, the centre-thread and beads, are firmly secured ; this is 
 repeated to any desired length ; and is then finished with a jet-ornament, of the 
 desired or fancied pattern. 
 
 The American Toilet-Cushion. — Requisites: }l yd. bright-colored "silk -velvet;" 
 3/^ lb. "alabaster-beads;" 2)2 ozs. "chalk-beads;" 2% ozs. "crystal-beads;" 4^ yds. 
 silk- "Russia-braid" in white; fine "purse-silk," in black. 
 
 Conceive any fancy design. Arrange artistically, for a centre, squares of the 
 braid; and secure the same, by the "cross-stitch" in the "purse-silk." Forma 
 circle out of card-board, and secure it upon the velvet, covering the ends of the braid. 
 Cover this, by the bead-work, using the chalk -beads, threading and laying them 
 upon it in an angular form ; and threading a sufficient number, at one time, to form 
 a row. 
 
 The arrangement of the leaves, flowers, buds, etc. , are necessarily, a matter of 
 taste. For the leaves, you might take equal parts of the alabaster and chalk-beads ; 
 for the flowers, crystal and alabaster ; and then form the tendrils, in chalk ; and the 
 fringe and border, in alabaster; or according to taste and fancy. Never work the 
 last row of loops forming the fringe, until after the cushion is filled and mounted. 
 Thus, to the careful and thoughtful student, innumerable designs and methods will 
 present themselves. And by a little practice, coupled with good taste, the whole 
 art will soon become exceedingly simple, as well as interesting ; and beads will fall 
 into positions of grace and beauty, as naturally as dew-drops fall upon opening buds, 
 and leaves and flowers. 
 
 Wax- Flowers and Wax- Work. 
 
 Almost, every school-girl knows the secrets of this beautiful art. We will simply 
 say, whatever you do be true to nature. To cultivate accuracy in this, do not trust 
 your memory; at least, until after long practice. Secure the best "French-wax- 
 sheet-paper," and the finest and best quality of wire ; and always work in a room of 
 the proper degree of temperature, suitable to the material. If it be a rosebud, or 
 flower, take it apart carefully; and very accurately trace a pattern of each and every 
 part of the same, in the wax ; and then rebuild it, from the beginning, accurately 
 securing it upon the "frame-work" of wire; or in some work, upon its own sufficient 
 strength. Let the fastening of the leaves and stamens, and the petals, all be done 
 with exceeding neatness ; but with sufficient firmness, to give it strength. In the 
 shading of colors, study the "apple-blossom," or that of the "peach;" rather than 
 what any one might do, or say, or write, upon the same. It is one of those arts 
 which comes easy to all, after schooling one's self, to accuracy of observation and 
 work ; and which, to those endowed with a true appreciation and conception of the 
 beautiful, is exceedingly simple; and when mastered, is an art of both exquisite plea- 
 sure and charming beauty. 
 
 Shell-Flowers and Shell-Work. 
 
 The formation of "shells" by means of "embroidery," "crocheting," etc., we 
 have treated elsewhere. We now refer to actual shells, found along the sea-shore 
 and elsewhere ; and to the art of transferring upon them the highest human concep- 
 tions of that which is beautiful and decorative, according to correct art. As we look 
 upon those exquisitely beautiful things called "shells," it would seem almost, that 
 to touch them by decoration, would only be to mar their perfect pristine beauty. 
 But in arranging them, taste is certainly allowable, and also valuable ; and as to 
 decoration, we offer a few suggestions, viz. : 
 
196 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 "Outline-patterns" of vines, wreaths, buds, blossoms, leaves and flowers, can all 
 be nicely outlined upon shells, by means of compasses and the graver. 
 
 An application of nitrate of silver into the incisions, exposed to the sunshine, 
 fixes the same. Repeat, until sufficiently deep and clear. Polish with emery-paper. 
 The incisions, can be inlaid with gold ; or any other method of decoration can be 
 adopted. By boiling shells in various solutions, we stamp upon them the decora- 
 tion of color. Bi-chromate of potash gives brown ; lime-water and Brazil-wood, 
 red ; increasing the amount of alum in the latter solution, gives a brilliant scarlet ; 
 verdigris and vinegar, green ; after being green, dipped into a strong and boiling 
 solution of pearl-ash, we get blue ; first boiled in alum, and afterward in a solution 
 of French-berries and pearl-ash, brings green, etc. 
 
 Abundant room is here presented to the artist, of both form and color. The 
 decoration first described, admits of an endless variety in design, method, and effect. 
 If the work is artistically executed, any of the many naturally beautiful shells, can 
 still be made more beautiful ; and can also be made to reflect an almost matchless 
 degree of culture in artistic taste, as well as being at the same time precious gems 
 of adornment in our earthly homes — "while gathering shells upon the sea-shore." 
 
 Transparencies. 
 
 A beautiful art of copying the various designs and outlines, we find Scattered 
 throughout books, papers, fashion journals, etc., consists in the following, viz: Get the 
 finest French "transparent-copying-paper;" fasten it securely upon the sheet, on 
 which appears the given design. Then, with a very finely pointed pencil, indicate 
 by delicate points or lines, the exact image or form of the outline, while the copy- 
 ing-paper is pressed firmly upon the same. 
 
 On removing the paper, you will have a true copy of the given design ; which, 
 is then easily transferred or reproduced upon any "canvas-work ;" or, which can be 
 formed in wax, or in many different ways. By a little practice, all the shadings and 
 colorings can be carried over, in the same manner. 
 
 Transfer-Work. 
 
 By means of a fine and sharply-pointed tracing-wheel, puncture small holes or 
 "openings" through the paper, very accurately around the design, to be transferred. 
 Otherwise, unthread the needle of the sewing-machine, and run the needle carefully 
 around it; thus leaving regularly graduated "holes," to outline the design. Then 
 finely pulverize a mixture of charcoal and pipe-clay, or any plain or colored " French- 
 chalk;" place it in a coarse white cloth, and secure it from loss, by tying the gath- 
 ered ends by means of a cord or string. Now securely fasten the punctured paper, 
 upon which the desired design appears, upon the material upon which you wish it to 
 be transferred; and then rub over the punctures, with this cloth of chalk; until all 
 the "openings," are well filled. Carefully remove the paper with the design, and 
 "set" the outlines with white paint mixed with gum. Any design, can thus be beau- 
 tifully and artistically transferred. 
 
 Leaf-Work. 
 
 Leaf-Impressions. — To transfer an impression of some choice leaves upon paper, 
 proceed as follows, viz. : Cover a sheet of white paper with a thin coating of glyce- 
 rine; smoke the same side, with "lamp-black;" placing the leaf upon this sheet, fold 
 it in such a manner that the smoked paper will touch both sides of the leaf; remove 
 
UTILITY AND DECORATIVE ART. 197 
 
 the leaf, placing it upon a clean sheet ; now, folding the leaf within the paper, press 
 it for a time, very heavily under a weight. 
 
 When removed, both sides of the leaf are transferred upon said paper ; which 
 will be found to be almost equal to the best pencil or pen-drawing; besides, being 
 much more true and accurate. Any leaf, or similar prize, can thus be transferred 
 and kept. 
 
 Oil and India-Ink Leaf- Work. — Place the leaf between two sheets of "French 
 Impression-Paper," securing each sheet, against a substantial plain white surface of 
 card-board. Press this very heavily between two plain hard surfaces, for one hour, 
 then carefully remove the same, and touch-up the outlines according to the rules 
 and principles of painting ; either in oil, or otherwise in India-ink, as may be desired; 
 and as the natural leaf shows, and appears. The most exact and perfect reproduc- 
 tions, can thus be given very quickly, and very prettily. 
 
 Skeleton- Leaf- Work. — To preserve the "skeleton" of a leaf, proceed as follows, 
 viz. : Form a solution of ^ gallon of water ; }^ pound common potash ; % pound 
 quick-lime ; boil this, and place the leaves carefully within it, boiling them thor- 
 oughly. After removing and cleansing them, all the cellular matter will come from 
 off the outline or "skeleton" of the leaf; which will then show very beautifully, and 
 can then be kept in this form. 
 
 And thus, the leaf — the very emblem of the transitoriness of all earthly things, 
 may be made the enduring monument or "remembrance-token" of memories of 
 persons, places, things, or circumstances; which perhaps we cherish, and might 
 wish to perpetuate. 
 
 Millinery. 
 
 The term ' ' millinery, ' ' has baffled the skill and wisdom of the best lexicogra- 
 phers. The exact limit of its provincial meaning, is yet to be decided. The waters 
 that wash upon its beach seem a shoreless ocean, whose waves roll in all directions 
 of both art and science. Suffice it to say for all practical purposes, its province lies 
 over the head of woman! Its generally accepted legislation has to do with the natu- 
 ral and artificial coverings of woman's head — the hair, and the hat or bonnet. Nat- 
 urally, it is divided into two great general departments, viz: the scientific and the 
 artistic. Science has fixed the perspective of the artist in painting, and has also leg- 
 islated upon the same in millinery. It is true in a certain sense, that "fashion rules 
 the world;" and as the greater includes the lesser, we might say, fashion rules milH- 
 nery! But the term "fashion" expresses a variable and changeable quantity ; and 
 its boundaries and limitations are both uncertain and illy-defined. Neither does the 
 term "fashion," always express correct artistic taste; but correct artistic taste is 
 always good fashion ! Neither is correct artistic taste, as seen and displayed upon 
 any certain and particular head, necessarily any longer the same, when this same 
 given medium is dropped upon a different head. Differently-shaped heads and 
 faces, require different methods of arranging the hair and the hat or bonnet, if we 
 wish to keep in the line of correct art and true taste. To detect the various deficien- 
 cies and necessities, under all exigencies and emergencies, and to promptly supply 
 the same, is the province and work of the true milliner. Art, holds the scepter in the 
 province of garnishing; but outside of her legitimate territory she is powerless, and 
 must appeal to science. Millinery is therefore, both an art and a science. Mathe- 
 matics legislates upon, and regulates the lines and angles for the proper and symmet- 
 ric arrangement of the hair, for each particular head and face; and also the propor- 
 tional size, shape, height and width of the proper hat or bonnet, most suitable for 
 each; while it is the province of art to select the materials, and to garnish it with cor- 
 rect taste and beauty in displaying harmony in materials, colors, and complexion; 
 and to also make it, as a whole, both pleasing and restful to the eye. 
 
 Science also controls the processes of manufacturing the materials, and governs 
 the chemistry in the solutions used for the processes of bleaching, dyeing, etc. Sci- 
 
198 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 ence dyes the ribbons, feathers, etc. , and art selects, associates, and decides upon 
 their locations, etc. 
 
 In the perfect-shaped head and face, a horizontal line drawn through the centre 
 of the eyes, divides the face and head into two equal parts, on a perpendicular line 
 from the under-side of the chin to the horizontal line touching the top of the head; 
 the upper-half of the head and face is again equally divided, by the horizontal line 
 touching the upper part of the forehead, at the junction of the hair with the forehead; 
 and the lower-half is again divided into equal parts, by the horizontal line touching 
 the upper lip, equidistant from its lower-edge and its junction with the lower part of 
 the nose. 
 
 This divides the perfect-shaped head and face into four equal parts, horizontally. 
 Two perpendicular lines equidistant from the centre between the eyes, and the first 
 touching the inside af the right eye and the right side of the mouth; and the second 
 touching the inside of the left eye and the left side of the mouth; these said 
 lines will then include between them the nose and mouth, and represent one-fifth of 
 the width of the head and face. Now by two more perpendicular lines, one at the 
 outside of each eye, we divide the width of the perfect face and head into five equal 
 parts ; one-fifth included within and between said lines, respectively ; and two- 
 fifths outside of each respective outside line. Upon the divisions included within 
 these said five horizontal lines and six perpendicular lines, all mathematical symme- 
 tries in the science of millinery depend; at least, so far as the front of the head or the 
 face is concerned, as well as the back part of the head. A similar division of the 
 side of the head might be founded upon the width of the ear ; having twice its width 
 back of the ear, and four times its width in front of the ear; thus dividing the entire 
 width of the head into seven equal parts; having two-sevenths back of the ear, and 
 four-sevenths in front of the ear; and then founding or basing all symmetries in the 
 side-view, upon said mathematical divisions. 
 
 Where these symmetries, whether as tested from the front, side, or back-view, 
 are naturally deficient, it is the province of the millinery-scientist to detect and supply 
 them, in the arranging of the coiffure ; and also, in proportioning the size, shape, 
 height, width, and position of the hat or bonnet, so as to correct them ; and certainly, 
 where said symmetries exist, and are naturally perfect, not to destroy them by 
 the same, in a mere blind devotion to some stereotyped and falsely so-called 
 "fashion!" This is, the science of millinery. The art of millinery is, to select 
 the appropriate materials, their associations, their colors and blendings, etc. ; 
 and also to stamp the work with appropriateness as to complexion, color of 
 the eyes, hair, etc.; and finally, to make it one grand harmonious whole, 
 according to the principles of what is universally recognized as correct art. To be in 
 fashion, does not necessarily mean to be in sameness ! To be in the line of elegance 
 and good taste in the choice of materials, coupled with mathematical symmetry and 
 appropriateness, is to be in the very height of fashion — regardless of ignorant and 
 false criticism to the contrary. The true artist will not be the servant of fashion, but 
 will make fashion her slave ! Furthermore, such artists will naturally have such a 
 degree of influence over their customers, as to voluntarily compel the latter, to sub- 
 mit both the selection of the materials and their arrangement ; which, will secure the 
 artist against the adverse criticisms, so very often and so very unjustly heaped upon 
 the artists head on account of some inappropriate and ridiculous outfit, which was 
 produced in answer to the demand af an ignorant conceit and false taste in the cus- 
 tomer. If this would seem to open the door to an opportunity for imposition, on the 
 part of the artist, we would simply remark that the general public will very quickly 
 detect the degree of honesty or dishonesty, with which said service is rendered, as 
 well as decide upon its actual worth. First, decide upon the arrangement of the 
 coiffure ; then, upon the hat or bonnet. A well-shaped head, forbids a large accu- 
 mulation in arranging the hair, on the centre-line at the back of the head ; while a 
 depressed-head at the back, requires the deficiency to be supplied in the same. 
 High-cheeked faces, demand broad foundations in the arrangement of the hair, at 
 the top of the front-side of the head ; depressed cheek-bones, want the opposite. 
 
UTILITY AND DECORATIVE ART. I99 
 
 Angular-faces, call for a close and plain coiffure ; curving features, waves and curls. 
 Long-necked customers, are improved by wide-curls at the back ; Shorter necks, 
 demand a higher and closer coiffure, at the back, etc. 
 
 Again, broad-faced persons need narrowness, in the appearances of the hat or 
 bonnet; while narrow faces can be helped by broad-rimmed hats, or broader bonnets. 
 
 Short faces with low foreheads, can be improved and helped by a high-coiffure 
 at the front-top of the head ; and also by " throwing-up " the hat or bonnet, at the 
 front; so as to apparently furnish through art, that which is lacking in nature. These 
 will serve as general indices, to the thoughtful student. The manufacturing depart- 
 ment, pertains to the preparation of material, etc. . As things are arranged in the 
 commercial world, this department is of but little interest to the practical student ; 
 since, they largely come ready-prepared. The great work of the modern student, 
 necessarily lies in the direction of the scientific and artistic departments. 
 
 The mechanical methods employed in the artistic department are exceedingly 
 simple, and naturally come to any one, by practice. 
 
 The particular method, has no special value; only, so that the result is truly 
 obtained and thoroughly secured. Having a few of the leading sizes and shapes, in 
 "blocks," the "home-milliner " can do her own re-shaping; and thus, "old hats" 
 often become " new !" For after all, the hat itself is but little effected by style, from 
 season to season. 
 
 Fashion lives more particularly in the land of laces, ribbons, velvets, silks, and 
 plushes ; and in the world of plumes, tips, leaves, vines, and flowers; and in the 
 gorgeous plumage of the beautiful birds, which are so wickedly and relentlessly sacri- 
 ficed upon her consuming altar. For the benefit of the mere beginner, we would 
 simply suggest the following, viz.: Frames are generally covered either with the 
 same material as that of the dress, or otherwise, with some other material properly 
 shading with the same. A "shirring" is put on the inside; about the junction of 
 the rim and crown. Artistic bows of ribbons, generally grace one side ; while either 
 a long plume falls about the crown, or a cluster of tips droop over the other side. 
 
 The range in stitchery, in the methods of adjusting and forming trimmings, etc., 
 is largely at the option of the artist ; the same rules to be observed only, as given 
 under said department, elsewhere. 
 
 If, in all this world of flowers, ribbons, laces, jets, silver, steel, and gold orna- 
 ments, fashion can not be satisfied; and the sweet and innocent birds must, addition- 
 ally thereto, be wickedly and cruelly slain — as an offering of life and blood, upon her 
 altar ! Then, their wings should be first carefully secured together, by stitching en- 
 tirely through them, hiding the stitches underneath the feathers ; and afterwards, 
 carefully, securely and artistically attached, as parts of the trimmings. In trimming, 
 the knots of the thread should be arranged on the outside, of the hat or bonnet ; 
 which will then, naturally fall underneath the trimmings. A "draw-string," is 
 tastefully arranged in the lining; which however, should not be drawn until the 
 entire completion of the hat or bonnet ; so as to prevent it from being caught in the 
 stitches. Odds-and-ends of silks, can often be used to great advantage, and with 
 artistic effect ; by utilizing them as binding, shirring, etc. 
 
 Small tufts of lace and ribbon, otherwise considered useless, often become ele- 
 ments of the principal graces in a hat or bonnet ; when arranged by the deft and 
 trained hand of art. In millinery, art flows from the brain through the fingers ; and 
 that which once seemed a mere homely thing, is often changed as if by magic, into 
 matchless grace and beauty, at the mere touch of the artistic hand. This power is 
 a natural endowment, in some ; in others, while not impossible, is only attained by 
 hard study, severe training, and long practice. It was very natural for one, to have 
 placed one tip upon another, and thereby to have created a "French-tip !" Others 
 would not have thought of it. Such things come, as painting comes ! All can 
 paint, if they but tried; but it is given to some, to excel. Steel-cut-ornaments, such as 
 arrows, pins, buckles, etc., often can be set as brilliant stars in an open "firmament;" 
 where naturally otherwise, a vacancy would appear. 
 
200 THE EA'CYCLOPEDIA OF GARMENT-MAKING, 
 
 The very carelessness in the method of trimming, often seems to make it appear 
 all the more beautiful ; and lends it a peculiar and lustrous richness, and gives it that 
 peculiar charm of grace that both captivates and rests the eye. 
 
 When the "tips" and ''plumes" have lost their curl, place them over a cur- 
 rent of heat, for a time; and afterwards carefully, and lightly draw their edges between 
 some dull instrument of steel, or the back of a knife and your thumb or finger; this 
 will re-curl them, beautifully. The finest effects do not, as a general thing, fall in the 
 line of flowers. Let the trimming have a proper "ground-work " of some subdued 
 color, and then decorate by a few simple but rich and striking ornaments; to bril- 
 liantly contrast, and brighten the same. Nature, has often enhanced the charm of the 
 opening bud by half concealing it, underneath a cluster of leaves and a shower of 
 dew-drops. The very carelessness of the arrangement, pleases and rests the eye. 
 In this art above all others, will be needed a correct and thorough knowledge of the 
 laws which govern the shadings, and the blendings of color. Leghorn and straw 
 can be beautifully bleached, by first cleansing them in a bath of borax soap; and when 
 yet moist, covering them with " sulphur-dust." Let the sulphur remain a sufficient 
 number of hours upon the same, to complete the work. Or, it can also be done by 
 the confined " sulphur- vapor-process." A strong solution of soda and glutten, also 
 cleanses straw hats or bonnets; and by letting them remain in said solution for a day, 
 and afterwards dipping them into a solution of logwood, acetate of iron, and bichro- 
 mate of potash, they come out a beautiful black. Thus, the " home-milliner" can 
 change a light and delicate shade, in the summer-hat, into the darker and more be- 
 coming shades for the autumn-season. Bathing plumes, tips, or ribbons, in a solu- 
 tion of alum, and dipping them afterwards, into a solution of archil and indigo, 
 brings them out a beautiful blue. Potash in solution with ground annotta, makes 
 them bufi". Logwood and copperas brings black. A solution of sulphuric-acid, 
 glauber-salts, violet-liquor, magenta-liquor, and water, brings plumb-color. Sulphu- 
 ric-acid, imperial violet-liquor, and water, gives a light mauve. Magenta-liquor, and 
 water, gives magenta and magenta-pink. Paste cochineal, cream of tartar, and ni- 
 trate of tin, gives crimson. AH the analine-colors can also be used, to great advant- 
 age in securing the various shades and colors. Here, as in all other departments of 
 the work, much that goes toward securing success, depends on the natural taste, edu- 
 cation, and habits of the artist. Study the mathematical principles governing sym- 
 metries, position, shape and proportion. Study correct taste in the combination and 
 display of color and beauty, as seen in nature; and above all, strive to be indepen- 
 dent, natural, and true to your own highest conceptions, as to what is beautiful and 
 artistic; and you will certainly reach a high standard of success. The finest pro- 
 ductions of the world's choicest looms, are laid upon the table of the milliner; and 
 the navies of the world bring to her, their richest treasures from every nation and 
 people ; and it is her work, as the artist, to select out of all these the most befitting; 
 and to arrange the same, in the most appropriate and becoming manner for a dra- 
 pery and covering for the head — the royal palace and chamber of the spirit. 
 
 Harmony of Complexion and Color. 
 
 There is charming music or harmony, in color ; and the opposite, is discord ! 
 Discord in sounds, grates no more harshly upon the educated ear, than discord in 
 color, grates upon the cultivated eye. 
 
 We have room for but a few thoughts or hints, to the inexperienced, viz. : 
 
 Violet and purple are beautiful to look upon ; but bring only discord, when 
 draped about the fairest faces ; and as do also, the softer shades of ecru, yellow, or 
 grayish-blues. The darker shades in red and garnet, like the rose, reflect rich lus- 
 tre and lend strength to beauty, everywhere. 
 
 Dark brown on wool, is a general friend ; but when placed on silk or satin- 
 threads and bordering on the golden-shade, is at constant variance with all blondes ; 
 
UTILITY AND DECORATIVE ART. 20l 
 
 while orange and bright yellows, almost annihilate their existence ! The blonde 
 with golden hair, would do well to seek the friendship of the softer shades, in blue. 
 
 Where whiteness in the complexion is desired, seek the help of violet. 
 Dark myrtle greens are friendly to all, and cling to their brilliant contrast, in red ; 
 but blondes alone, should venture upon the lighter "cresson-shades." 
 
 A complexion having a redish-tint will find a contrast in the softer shades of 
 blue, lemon, green, gold, or pearl. White, is kind to all complexions ; and is also, 
 the friend of all colors. Green, finds a contrast either in its own lighter-shades ; or, 
 otherwise, in yellow, stone, gold, lemon, flesh, purple, dove, or pink. Yellow loves 
 the lighter-shades of all colors, but is the special friend of orange; also contrasts 
 white, and does not shrink from purple. Gold, drab, salmon, buff, and yellow, are 
 the servants of blue ; while red, makes music with crimson, and beautifully contrasts 
 with green. In a canopy of white, we might set stars of brown, blue, green, purple, 
 and violet ; while light colors, bring harmony with gold ; which, again is contrasted 
 by all the shades in dark. Black, is at peace when wedded to deep colors; and it 
 also finds contrast, in those of a paler shades. 
 
 We term the colors from yellow to purple, "cold-colors;" combinations in these 
 alone, are in bad taste. Red is at constant war with violet, and has but little affec- 
 tion for ultramarine; but, is a warm and true friend to blue. Colors have the power, 
 in certain combinations, to reflect both " coldness" and harshness;" either of which 
 effects, should be avoided. Warm colors should be mixed with cold colors, and 
 vice-versa. The ground- work of the color of the heavens and the earth, are vast oceans 
 of low-colors; while brilliant colors are only seen, in suns and stars and planets, in 
 the heavens; and only appear in the leaves and flowers, on earth. 
 
 Hence, low-colors should form our "ground-works;" and out of brilliant colors, 
 we should mainly form our "decorations." It is the province of the true artist, to 
 bring this music out of color; and to so touch the entire "key-board" of color in 
 material, eyes, hair, and complexion, as to bring harmony and cadence in all their 
 shadings and blendings; and so to minister at the altar of good taste, as to approxi- 
 mately at least, imitate nature in her bountiful and perfect ministrations of constant, 
 satisfying, and enduring pleasure and restfulness to the eye. 
 
 Fancy Dyeing. 
 
 Black. — A solution of equal parts of sumac, galls, log^'ood, and copperas. 
 
 Blue. — Bathe in a solution of alum ; then in a solution of indigo ; and then in a 
 solution of Archil. 
 
 Brown. — A solution of equal parts of Persian Berry liquor, saffron, and bichro- 
 mate of potash. 
 
 Green. — A solution of equal parts Persian Berry liquor, extract of indigo, quer- 
 citron-bark, and alum. 
 
 Gray. — A beautiful gray is obtained by simply reducing or diluting the solution 
 for dyeing black ; as given above. 
 
 Crimson-Dye for Silk. — For each lb. of silk, dissolve in boiling water 2^ oz. of 
 alum, i^ ozs. of white tartar. Boil two minutes ; put in the silk and boil i^ hours. 
 Remove silk, and add fresh water ; when it boils add i^ ozs. of cochineal powdered; 
 boil I hour. Th6 shade is made lighter, by using less of the ingredients. 
 
 Golden- Yellow-Dye. — Take of "shaggy spunk" or Boletus hirstihis of Lin - 
 neatis, a species of mushroom on apple or walnut-trees, and pound it in a mortar. 
 Mixing with water, boil % hour, i oz. will tinge six quarts of fluid. Immersing 
 the goods in it, boil 20 minutes. Wash silk or goods then, in soft soap-water. 
 
 "Harmless "-Black. — Equal parts of potash, and vitriol of copper, separately 
 dissolved ; gradually, mix the solutions. Then combine, with decoctions of logwood. 
 This gives a beautiful glossy-black, and is entirely uninjurious to goods of any kind; 
 which, can not be said of any "verdigris-blacks." 
 
202 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Lilac. — Logwood, first dipping the article in a weak solution of alum; or use 
 archil. 
 
 Pink. — From safflower and alum; or brazil wood, and quercitron bark, or 
 Persian berry liquor. 
 
 Purple. — From archil, or logwood and roche alum. 
 
 Scarlet. — Cochineal and Persian berry liquor. Or dye in a soap lather with 
 annotta, boiling hot, for an orange bottom. Wash the article; then dye with cochi- 
 neal and a little nitrate of tin. 
 
 Red. — From Brazil-wood and madder. 
 
 Nankeen — From annotta and pearl-ash. 
 
 Orange. — From Brazil-wood and quercitron bark, or young fustic, or Persian 
 berry liquor, and alum. 
 
 Lavender. — Extract of indigo, alum, a little plum liquor. The shade may be 
 altered by decreasing the indigo. 
 
 Blue-Black. — Steep in nitrate of iron for about one hour ; then wash, make a 
 soap lather, and add logwood-liquor; dip the article into the liquor. 
 
 Black, for Worsted or Woolen. — Water, 3 gallons; bi-chromate of potash, ^ oz. 
 Boil the goods in this 40 minutes; then wash in cold water. Then take 3 gallons of 
 water, add 9 ozs. of logwood, 3 ozs. of fustic, and one or two drops of Double Oil of 
 Vitriol; boil the goods 40 minutes, and wash out in cold water. This will dye from 
 I to 2 lbs. of cloth, or a lady's dress, if of a dark color, as brown, claret, &c. 
 
 All colored dresses with cotton warps should be previously steeped one hour in 
 sumach liquor; and then saddened in 3 gallons of clean water, with one cupful of 
 nitrate of iron for 30 minutes, then it must be well washed and dyed as first stated. 
 
 Black, for Silk. — Dye the same as black for worsted; but previously steep the 
 silk in the following liquor: Scald 4 ozs. of logwood, and }( oz. of tumeric in a pint 
 of boiling water. Then add 7 pints of cold water. Steep 30 or 40 minutes; take out, 
 and add i oz. of sulphate of iron, (or copperas) dissolved in hot water; steep the silk 
 30 minutes longer. 
 
 Brown, for Worsted or Wool. — Water, 3 gallons; bi-chromate of potash, |^ oz. 
 Boil the goods in this 40 minutes. Wash out in cold water. Then take water, 3 
 gallons; 6 ozs. ofpeachwood, and 2 ozs. of tumeric. Boil the goods in this 40 min- 
 utes. Wash out. 
 
 Imperial- Blue, for Silk, Wool, and Worsted. — Water, i gallon; sulphuric acid, 
 a wine-glassful ; imperial blue, i tablespoonful, or more, according to the shade re- 
 quired. Put in the silk, worsted, or wool, and boil 10 minutes. Wash in a weak 
 solution of soap lather. 
 
 Sky-Blue, for Worsted and Woolen. — Water, i gallon; sulphuric acid, a wine- 
 glassful; glauber salts, or crystals, two tablespoonfuls; liquid extract of indigo, a tea- 
 spoonful; boil the goods about 15 minutes. Rinse in cold water. 
 
 Claret, for Wool or Worsted. — Water, 3 gallons; cudbear, 12 ozs.; logwood, 4 
 ozs. ; old fustic, 4 ozs. ; alum, ^ oz. Boil the goods in it one hour. Wash. This 
 will dye from i to 2 lbs. of material. 
 
 Crimson, for Worsted or Wool. — Water, 3 gallons; paste cochineal, i oz. ; cream 
 of tartar, i oz. ; nitrate of tin, a wine-glassful. Boil your goods in this one hour. 
 Wash out in cold water. Then in another vessel with three gallons of warm water, 
 a cupful of ammonia, the whole well mixed. Put in the goods, and work well 15 
 minutes. For a bluer shade, add more ammonia. Then wash out. 
 
 Fawn-Drab, for Silk. — Hot water, i gallon; annotta liquor, a wine-glassful; 2 ozs. 
 each of sumach and fustic. Add copperas liquor, according to the required shade. 
 Wash out. 
 
 It is best to have the copperas liquor in another vessel. 
 
 A dark-drab, may be obtained by using a little archil, and extract of indigo. 
 
 Flesh-Color, for Dyeing Silk. — Boiling water, i gallon ; put in one ounce of 
 white soap, and one ounce of pearlash. Mix well ; then add a cupful of annotta 
 liquor. Put the silk through several times, and proportion the liquor till you obtain 
 the required shade. 
 
UTILITY AND DECORATIVE ART. 203 
 
 A salmon-color may be obtained, by first passing through the above liquor, and 
 then through diluted muriate of tin. 
 
 Magenta for Silk, Wool, or Worsted. — Water, i gallon, heated up to 180 de- 
 grees; add magenta liquor, i tablespoonful ; stir it up well. This will dye a broad 
 ribbon, 4 yards long; or a pair of small stockings. To dye a large quantity of mate- 
 rial, add more magenta liquor and water. The shade of color may be easily regu- 
 lated by using more or less. Magenta-pink may be obtained by increased dilution. 
 
 Mauv6 for Silk, Wool, or Worsted. — Water, i gallon; add one tablespoonful 
 of sulphuric acid; then heat to boiling point. For a very light mauv6, add one tea- 
 spoonful of imperial violet liquor; boil the same amount of material, as stated under 
 magenta, about 10 minutes. Rinse in cold water. If the color be too deep, use a 
 little soap in rinsing, using warm water. 
 
 A violet color may be produced, by using a tablespoonful of violet liquor instead 
 of a teaspoonful. 
 
 Pea-Green for Silk. — To one quart of water, put half a teasponful of picric acid, 
 and rather more than half a wine-glassful of sulphuric acid, and a teaspoonful of paste 
 extract of indigo; boil about five minutes; then add water to cool it down to blood 
 heat, or 100 degrees. Put in the silk, and work about 20 minutes. The shade may 
 be varied by adding more or less of the picric acid, or extract of indigo; if more of 
 either be added, boil separately in a little water, and add to the previous liquor. 
 
 Pea-Green for Worsted. — Use the same materials as the aforesaid; but boil all 
 the time in i gallon of water for about 20 or 30 minutes. 
 
 A darker green may be obtained by using a larger quantity of material. 
 
 Plum-Color for Worsted, Silk, or Cotton. — Water, i gallon ; sulphuric acid, a 
 teaspoonful; glauber salts, or common dyers' crystals, 2 tablespoonfuls ; violet liquor, 
 a tablespoonful; magenta liquor, half a tablespoonful. Boil the article (silk, wool, or 
 worsted,) about 10 minutes. 
 
 Cotton should be dyed the above colors separately, and by first running them 
 through weak gall liquor, and weak double muriate of tin. Then wash well, and 
 work in the aforesaid liquor, according to color and shade. The liquor should be 
 cold for cotton. 
 
 Scarlet on Worsted or Wool. — Water, 3 gallons; 2 ozs. of dry cochineal, i oz. 
 of cream of tartar, nitrate of tin, a wine-glassful ; boil the goods i hour. To give the 
 goods a yellow hue, and a little young fustic, wash out as before. 
 
 Yellow, for Dyeing Silk. — Proceed the same in dyeing as pea-green, omitting 
 the extract of indigo, and using oxalic tin instead of sulphuric acid. 
 
 Water-Color Painting. 
 
 Painting in water-colors, is a very simple process, and an art very easily and 
 quickly attained. But like oil-painting, it admits of unlimited progress, in its study 
 and practice. The requisites for the beginner, are an out-fit of all the principle 
 water-color-paints, either in the form of cakes or tubes ; and a first class out-fit in 
 sable-pencils or brushes, of the proper sizes. Now having a smooth surface, upon 
 which to touch your brush and bring it to a point after supplying it with the color or 
 shades, and any legitimate and proper surface that admits of and serves for the pur- 
 pose of water-color-painting, you are ready to commence the work. The paints are, 
 of course, simply mixed with water. When applied, they become dry and will ' 'set. ' ' 
 Begin on some easy and simple object, first; and as you learn by practice, gradually 
 take up the more difiicult and complicated paintings. The art of shading, toning, 
 etc., will soon come by practice. Sounds must be heard by the pupil, before the 
 student in music can even conceive of either discord or harmony, much less under- 
 stand their science ; and in like-manner, the effect and results of the various shadings 
 and blendings of color must be practically seen, and must be self-created by the 
 
:J04 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Student, before their science can be either properly conceived of or understood. 
 But it comes by practice, as if by " inspiration ! " 
 
 The art of photography, has opened up new methods and branches of study, in 
 this beatutiful art. 
 
 If, it is desired to paint a photopraph in water-colors, proceed as follows, viz : 
 Procure a second copy, to guide you as to the exact original truth. The photo- 
 graph is then, first washed in a delicate tint of raw sienna and rose-madder, forming 
 a basis or ground-work for showing complexion. Let the original guide you. It is 
 deepened, by repetition. "Tone," with carnation. "Shade," with tints of raw 
 sienna and rose-madder ; with white and vermilion, for fair faces ; with Roman ochre 
 for dark complexions. Use a positive blue for the white of the eyes, in children ; 
 the light shades of pearl in a yellowish tint, for the same in old age. 
 
 For light, black, and brown eyes, use chinese-white, and purple and white, 
 respectively. Lake and vermillion, properly shade the upper-lip ; vermilion and 
 carmine, the lower. The iris is "laid in" with transparent color, and "toned" with 
 Chinese-white. Use a heavy tone of carnation about the mouth, temples, and eyes. 
 Yellow helps it. Dark colors, garnish the pupil of the eye. 
 
 For white hair, we use Roman ochre, carmine, and sepia ; and sometimes 
 purple and Chinese-white. Use the shadings from Roman ochre, for light auburn 
 hair ; darker auburn, is best attained by using burnt amber. For gray hair, a com- 
 pound of indigo and cobalt shaded with sepia, is best. Burnt amber and lake, gives 
 chestnut-color ; and gamboge, lake, and indigo, bring black hair. Let shadows fall, 
 upon your painting first ; then, the higher lights. A beautiful glaze is attained 
 by pearly-shadings. The shadings for the draperies can be read by the novice, 
 from those given above for shading the hair. Blue and spirit of carmine, bring 
 shades of purple and lilac. Draperies are painted best, by drawing the pencil-brush 
 in the same direction with that of the fold. Even the most inexperienced, will find 
 the whole process very simple, andof easy attainment; and by a few careful, thought- 
 ful, reflective, and patient efforts, will find himself or herself rapidly mastering an art 
 of fascinating entertainment and pleasure, as well as one of utility and profit. 
 
 Water-Color Lace- Painting. 
 
 A charming result in the reproduction of lace in water-colors, is as follows, viz : 
 Stretch over the "drawing-board" several thicknesses of good strong muslin; 
 stretching the lace, secure it firmly to said muslin by means of pins. Now, using a 
 fine camel's-hair-brush, and adding a small quantity of mucilage to the water when 
 mixing the colors, proceed to paint the design of the lace, as in ordinary " water- 
 color-painting." Blue mixed with lake, will be best to produce the various shades of 
 purple ; Chinese-white with new-blue, for the delicate shades of blue. Mix carmine 
 and lake, for roses, etc. And in the main, observe all the rules given elsewhere, for 
 water-color-painting. After completion, let the work dry thoroughly ; and then, 
 carefully removing it, fold it carefully. If carefully and artistically executed, it 
 makes a charmingly beautiful work of decoration. 
 
 Painted- Embroidery. 
 
 A very attractive and effective style of decoration is as follows, viz. : Take a 
 heavy double-ply of white or toned canvas, muslin, linen, or otherwise, velvet, or 
 silk, etc. , and stretch the same firmly over the ' ' drawing-board ; " as in lace- 
 painting. Upon this, place the stencils of the desired styles or patterns ; and 
 proceed to produce the design in either "water-color-dyes," or in oil-paints. You 
 
UTILITY AND DECORATIVE ART. 205 
 
 will find the dyes preferable. When completed and dry, give the work a fine finish 
 by re-touching it. Then with either silk or wool, as the circumstances may de- 
 mand, outline the entire work ; adapting and arranging the color of the same, to the 
 colors used in painting. It gives it a brilliant and tapestry-like appearance, which 
 will be found to be very elegant, when carefully and tastefully performed. 
 
 China and Pottery- Painting. 
 
 First, learn accurate ' ' drawing. ' ' In correctly drawing the outlines and designs, 
 lies the secret of much pertaining to success, in this beautiful art. 
 
 Any one can learn "to draw;" it only needs the elementary instructions and 
 principles ; and a good supply of patience, to practice them. This is the first step. 
 Then be original, above all things ; and true to the conceptions and natural instincts 
 with which you are endowed. 
 
 As an instrument with which to draw, use either pencil, pen and India-ink, or 
 the color itself. 
 
 The mineral paints to be used come in small tubes ; and are sometimes called 
 ' ' mineral tube-paints. ' ' The brush should be simply a small camel' s-hair ; o^ other- 
 wise the sable brush, used for oil-painting. A tile, of either earthen or otherwise, 
 chinaware, will be required ; and some turpentine, with which to mix the paints ; 
 which are not so moist as oil-colors. Some artists, also use glycerine ; any oil, 
 usually acknowledged as a good "mixer," will answer the purpose. Neatness, and 
 an exceedingly accurate cleanliness is all-important, in china-painting. Begin with 
 the most simple leaf or flower, in but one color at first. Have it "fired," and see 
 what the result is. Do not grow impatient or discouraged; but "try, try again ;" 
 until little by little you can extend your combinations, both in design and colors ; 
 and you will find yourself surprised, at the degree of perfection you are thus practi- 
 cally attaining. The touch in application, is similar to that in water-colors. 
 
 The heat, of course, entirely changes the original appearance of the colors ; 
 which, sometimes confuses the beginner. Experience will correct all mistakes here. 
 A "key" can also be made by any beginner, by painting all the colors on a white 
 plate, and having it fired. Thus, showing the correct transformations. Even a 
 common coal-fire can be utilized as a "kiln," by the amateur. 
 
 The ingenious wife, daughter, or sister, who has learned to paint on china, will 
 scatter beautiful buds, sprigs, blossoms, berries, leaves, cherries, fruits, etc., over 
 the entire set. And it enhances their charm and beauty, to have no two alike. 
 
 In embossed pottery, paints or bronze powders may be used. 
 
 In using tube-paints, the pieces should be glazed-over with "amber enamel," or 
 "shellac varnish." Apply the paints with a brush, directly from the tubes ; mixing 
 the shades as in other painting, and according to fancy and good taste. A coat of 
 silicate or amber enamel should be first applied, when using bronze powders ; which 
 serve as a "back-ground," when carefully applied with a "camel' s-hair brush." 
 
 Brush the loose and superfluous powder ofl", before giving the second coat of 
 silicate to flowers, after the first is thoroughly dry ; and sift upon it the ' ' metalics, ' ' 
 or "flitters." Polish thoroughly, before applying the varnish. Out of practice, 
 will grow all the rarest and choicest vines that fancy and good taste may dictate ; 
 and, under the sunshine of experience, they will bud and blossom into the many and 
 various-tinted flowers and fruits of both forest, field, and garden ; and in many ways 
 will reflect the culture and refinement, of the hand and mind of the artist, that 
 painted them. 
 
 Grecian Oil-Painting. 
 
 No one need despair of learning to paint in oil. There are however few artists, 
 in oil-painting. Painting, is like music. All could learn to play, if they but per- 
 sistently and patiently tried ; but the true artist in the harmony of sounds, has "music 
 
206 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 in his soul !" It seems natural, to some ; almost impossible to others. The rudi- 
 ments and elementary principles of oil-painting, are exceedingly simple and easy of 
 attainment ; but the sea that washes upon its shores has depths, that the accumu- 
 lated wisdom and experience of all the centuries past, have as yet been unable to 
 fathom. Oil-painting seems, the great art-ocean into which all the other streams of 
 the entire province of art pour their crystal waters. No art has had worse specimens 
 of taste and skill in the artist, than oil-painting ; but it has had many, which never 
 were equaled in any other department of art. Some paintings call forth both our 
 contempt and pity, for the artist ; but there are others, in whose crystal waters we 
 see the reflection of worlds of beauty, and which apparently entrance the soul. But 
 if you cannot be a Raphael, you can at least, be true to yourself and your own 
 highest and best conceptions of the beautiful, the true, and the good. Having your 
 canvas, paints, and brushes, simply form a groundwork; fix upon some simple scene 
 or design, and begin to paint ! The science and theory of mixing and blending 
 colors, etc., will come more quickly and more perfectly from practice than from 
 books. The laws of shading and blending of colors, etc., are unchangeable ; and 
 ever remain the same, in all departments of painting. What you have found true in 
 other departments as pertaining to color, will be of service here. Study nature ; and 
 learn correct principles of color and taste, as well as size, shape, and form, from her 
 truthful and unerring lips. 
 
 Paint the water as you would the sky, guided by nature and taste in tints, reflec- 
 tions, etc. Let the ripples appear distinctly, yet so as to blend carefully and softly. 
 Water, should not always have the same hue as the sky above it ; different scenes 
 will explain this principle, if carefully observed. The shades and varied hues of green 
 can be beautifully shown in landscapes having hills, ravines, etc. ; by bringing each 
 portion, with its own tint, into distinctness and clearness, in the painting. 
 
 Animals, houses, buildings, etc, should be so touched up as to be most true to 
 natures own best choice in colors. Foliage should appear in colors natural to the 
 season, and to its kind. 
 
 Each season has its tints and shades, peculiar to itself These should appear 
 correctly and true to the same. Autumn-foliage, is beautifully shown in Grecian oil. 
 The little things, such as the edges of leaves, etc., should be carefully shown in their 
 true form, only omitting this where they become a thick mass, and forbid the same. 
 Ihe trunks of trees, etc., should be in the color that nature has dressed them. And 
 each species, as well as the season in which it appears, should be carefully considered. 
 
 Let the foliage of the painting dry, before you throw the lights and shadows in 
 among the branches of the trees, etc. Let the color of the sky govern the hue of 
 the lights and shadows. A mild and mellowish tint of gray, merging into blue, 
 should tinge the distant mountains and hills; and let the shade of green increase, in 
 the ratio of the nearness of their approach. Let all departments of the applications 
 dry thoroughly, before beginning another. Above all, let nature be truly shown in 
 the appearance of flowers, leaves, etc. Much depends upon the condition of the at- 
 mosphere, and the degree of warmth, etc., in the place of painting; in order to have 
 the oil and colors work, properly. Having observed all of the above, paint your 
 thoughts and conceptions naturally; and as they flow from the brain and heart 
 through the brush upon the canvas. Be true to yourself, to your highest concep- 
 tions of truth and beauty, and true to nature. 
 
 For the benefit of the beginner we submit the following, in conclusion, viz : 
 
 For instance, suppose a cluster of natural flowers to be painted. First, study 
 them as they truly are, in nature. Now forming your ground-work, place the flowers 
 in a good light, having an appropriate back-ground ; and carefully observe the rela- 
 tions of lights and shades, the half-tints, fourth-tints, reflected lights, etc. These 
 make up a large part of the sum of values, in oil-painting. 
 
 Take for instance the "Jonquils ;" in forming the shades of creamy-white, use 
 the combinations of silver-white, raw-umber, vermilion, yellow value, along with 
 light tints of burnt sienna, permanent blue, and ivory black. For painting the ' ' Nar- 
 cissus" for instance, use raw umber, cadmium, and white; with light shades of ivory- 
 
UTILITY AND DECORATIVE ART. 207 
 
 black, permanent blue, and burnt sienna, for bringing out the deeper tones. In 
 shadow-painting, always select one of the darker shades, by which to measure or 
 upon which to base the degree, of all other lights and shadows. In painting the sky 
 of winter-scenes where it is overcast, arrange so that the gray clouds almost touch 
 the horizon. A clear sky of sunset blending in reds and yellows at the horizon, 
 will form a rich and effective back-ground for trees and foliage, in the distance and 
 the foreground. For the deep-tones of gray clouds, use sky-blue, black, and a 
 small quantity of brown-green. This tone, often reaches down over one half of the 
 entire surface of the sky. Use carnation shadings along the edges of clouds. A 
 large flat brush is most appropriate, for painting the clouds. Below the line of 
 clouds use yellow, deepening it with carnation ; until a deep red is thrown over the 
 horizon, in painting sunset-scenes. In painting the portraits of elderly persons, 
 pale complexions, and gray hair, etc., use a back-ground lending warmth, to the 
 surface. Perhaps a rich hue of deep dark-crimson, would not be amiss ; or other- 
 wise, a tone of dark blue-gray lights, thrown over the upper part of the canvas ; 
 and having rich and warmer shadows over the lower part, thus, forming a correct 
 and legitimate ground-work ; and yet, having it tinged with a sufficient degree of 
 variety, to make it pleasing and restful to the eye. 
 
 No arbitrary rules of course, can possibly be framed that will cover the entire 
 ground. Better often, that the student had never heard of rules, in oil-painting ; for 
 "rules," have often become the chains and manacles, that have bound and fettered 
 the hands and hearts and spirits of many, who ultimately proved failures, that might 
 otherwise have shone as brilliant stars, in the heavens of the artistic world. If you 
 have poetry and song within your heart, paint it ! If you have by nature, the 
 endowment of the perception, comprehension, and appreciation of harmony, beauty, 
 melody, pathos, ideality, picturesqueness, proportion, order, fitness, tenderness, 
 irascibility, power, and sublimity, paint them upon canvas ! 
 
 This, is Grecian Oil-Painting. 
 
 Tapestry- Painting. 
 
 All kinds and styles of furniture coverings, decorations for the walls, screens, 
 curtains, etc., can be beautifully and artistically decorated, by means of "tapestry- 
 painting." "Tapestry-painting" is done in the following manner, viz. : 
 
 Get a supply of liquid "canvas-colors," in black, cadmium, turquois, vegetal 
 green, crimson, vermillion, cobalt, sepia, Prussian-blue, etc. ; and a canvas of medium 
 weight and texture, and wide enough without a seam, for curtains. Stretch the can- 
 vas thoroughly, as is done for oil-painting. Use some stiff brush for applying the 
 main colors ; and the softer-grade, for finishing the painting. 
 
 It is best to have a brush for each color. By means of charcoal, outline the 
 design carefully upon the canvas, using it sparingly. Then proceed to sketch with 
 soft colors, as in oil-painting. Moistening the back of the canvas, aids it in 
 absorbing the colors. Re-paint it, after successive dryings ; until the tints and 
 shades are sufficiently heavy to suit the design, and according to correct taste. The 
 darker shades of the same color, should be used in the first applications. 
 
 Several shades should be in immediate readiness, to properly blend the colors ; 
 for it dries rapidly. Use as few colors as is possible, to produce the effect ; which is 
 worth remembering in any kind of painting. Always study to do the greatest 
 amount of shading and blending, with the least possible number of colors. For 
 flesh tints, use rose pink, and a light shade of chrome; for the summer-clouds, 
 French ultramarine, or cobalt and carmine. An application of cadmium, washed 
 over the entire surface, gives orange-tint ; for the leaves and grasses, mix yellow with 
 blue ; and vandyck brown, mixed with yellow ocre and shaded with sepia, gives the 
 proper color for the trunks of trees, etc. The painting should be gone over again, 
 
2o8 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 and again ; until every object is brought out, in true harmony with nature and truth. 
 Warmth and coldness, can be reflected from the sky and rock and from the depth 
 of the foliage and branches of trees and groves, as well as proportional size ; by the 
 correct and proper choice of the proper color and shading, at each particular place. 
 This can easily be done by even the amateur, after a little experience, study, thought, 
 observation, and reflection ; and any common tapestry, under such hands, will 
 quickly turn from the blank and bleak appearance of a cold and barren winter, into 
 the joyful aspect and blooming freshness and beauty of Spring and Summer. 
 
 Painting in Gold and Silver. 
 
 An art of exquisite beauty is now becoming intensely popular, by which the 
 same results are obtained in the colors of gold and silver as are obtained in water-color 
 and oil-painting. Terracotta, glass, and many other hard, smooth surfaces, admit of 
 this decoration ; but wood, is generally considered the best medium for the back- 
 ground. The brush should be a good quality of " camel' s-hair." Apply the gold 
 and silver-liquid over the entire surface, as a back-ground. Upon this back-ground 
 use the more subdued colors on the gold, and the brighter and more positive colors 
 on silver. Any artistic and expressive design may thus, easily be painted upon said 
 gold or silver; either in oil, or otherwise in water-colors. Richly toned, in the proper 
 shades, all possible artistic designs may be brought out ; and, in exquisitely beauti- 
 ful effects ; and for an endless variety of occasions and purposes, in " Decorative 
 Art." 
 
 Oil Photograph- Painting. 
 
 This art, comes to us under the various names of "Oleography," " Cameo-Oil- 
 Painting," "Photographic-Illumination," Crystal-Painting," etc.; all of which, repre- 
 sent one and the same principle, of reproducing the photograph in oil; having only 
 fanciful differences in shades of variation, and in effects and results. By "oil-photo- 
 graph-painting," a photograph can be reproduced in as permanent a form, as that of 
 the steel engraving. The method is brief and simple, viz: Subject the card upon 
 which the photograph appears, to the process of boiling in clean water. On taking 
 it out, after sufficient boiling, remove the thin paper upon which the photograph ap- 
 pears, from off" the card; and then place it between two sheets of blotting paper; and 
 thus, dry it by absorbtion. Now carefully and evenly paste this within the concave- 
 side of an oval-shaped and "prepared-glass;" using equal parts of fine starch, nitrate 
 of strontia, and gelatine; mixed and boiled in a sufficient amount of water to make it 
 the proper consistency, as to its degree of thickness. See that no air is confined be- 
 tween this sheet and the glass. It can be removed, by pressing from the centre to- 
 ward the edges, with a clean linen cloth. Let this dry thoroughly. Then apply a 
 solution of I part of turpentine, 2 parts of balsam of fir, and 2 parts of poppy-oil; 
 spreading it evenly over the entire surface, on the back of said paper on said glass, by 
 means of an ivory " spreading-knife;" or some similar-shaped and clean instrument. 
 This will, after sufficient length of time, make its appearance perfectly transparent. 
 Cleanse from all surplus matter when dry, and varnish it with 2 parts of balsam of 
 fir, and i part of turpentine, thoroughly mixed. By means of thin and narrow strips 
 of card-board or heavy paper placed along the edges of the same, so as to protect 
 the glass from actual contact with the former glass and picture, cover it with another 
 and similarly-shaped glass; securing them firmly to each other at the edges, by 
 means of tough thin paper and mucilage. 
 
 When dry, holding the picture toward a strong light and with the back toward 
 you, apply the necessary and desired colors, by the regular brushes used in oil-paint- 
 ing; and in like-manner. The work should be done accurately and carefully; and 
 
UTILITY AND DECORATIVE ART. 20g 
 
 in such a manner, as to enhance its appearance, and yet be true to the original. 
 For the complexion mix red, silver, and yellow ochre ; or tinge with silver white, 
 vermilion, and Naples yellow. Ivory black and chinese, is used for blue eyes; and 
 carmine and vermilion for the lips. For black hair, use burnt sienna and chrome- 
 yellow. Ivory black shows black eyes to the best advantage; and Naples yellow 
 and Vandyke brown, best bring out brown hair. A tinge of vermilion, brings out the 
 ruddy complexion of the young. The white of the eyes is best shown by the use of 
 white, slightly tinged with yellow. Turpentine removes mistaken applications. 
 Ochre shows jewelry. The darker complexions are brought out by Vandyke-shad- 
 ings. Ultramarine blue with Naples yellow, and ivory black, show gray hair to the 
 best advantage. These paints should all be applied on the back of the second glass; 
 as placing them on the first, gives a harsh and rough appearance to the completed 
 work. The laws of mixing and shading, being the same as in general oil-painting, 
 it is deemed unnecessary to go into further details. Any one, can readily and rapidly 
 learn to become quite an expert in the art; which is intensely popular, and has re- 
 cently become a favorite medium among many for embalming the features of both 
 the living and the dead, in an almost imperishable form. 
 
 Lustre- Painting. 
 
 By means of "bronze-powders" instead of paints, an exquisitely beautiful re- 
 sult in decorative-art is obtained, upon materials that can be embroidered. From its 
 brilliant and lustrous appearance, it derived the name — " Lustre- Painting." We 
 have this art brought to us, under the various and somewhat fanciful names of * ' Lus- 
 tro," "Bronze," " Prasmatine," "Metallic," and "Iridescent" -Painting, etc. The 
 elements and principles of ' ' Lustre-Painting,' ' embrace all of these. It is the parent- 
 stem, out of which all the above species grow; differing nothing in principle, only as 
 fancy has created them, in their names ; having only a mere shade of variation, in 
 effect. These same shades of fanciful differences, might with equal good authority 
 be carried to an indefinite extent; and thus, the subject could be transformed into a 
 "world of mysteries." It is a very plain and simple process, and is easily and 
 quickly attained by any ordinarily intelligent mind. 
 
 All the general rules of painting, are helpful aids in this province. It doubtless 
 had its origin, in the conception to simulate or imitate the ancient embroideries, in 
 silver and golden threads, or tinsel. 
 
 All materials admitting of embroidery, are legitimate ground-works for " Lus- 
 tre-Painting." 
 
 It clings however mostly, to bold and striking displays on large curtains, por- 
 tieres, lamberquins, bed-spreads, etc. ; and loves as a foundation, satins, felts, plushes, 
 etc. Good artists however, show flowers and fine work, to great advantage in this 
 art. But in the main, it is best adapted to heavier work, and bold and lustrous dec- 
 oration. Instead of paints, the artist supplies himself with " metallic-flitters," and 
 "dry-colors;" these are brightened by "bronze-powders" in all the desired colors, 
 being sprinkled upon the fixing-mediums. 
 
 A good recipe is, asphaltum varnish and white balsam of fir, in the proportion 
 of ^ of spirits of turpentine to f^ of asphaltum, or balsam of fir. The dark medium 
 is, of course, used for fixing the dark colors; and the other, for the lighter shades. 
 Shellac varnish is also, sometimes used; but, the former is preferable. The brushes 
 are bristol and sable. Good sizes run from 2 to 12. Procure a drawing board, a 
 palette, the flitters, powders, and turpentine for mixing. A good list of colors 
 would embrace green gold, antique green, maroon, steel, violet, dark -blue, pale blue, 
 carmine, purple, medium-pink, pale pink, rich gold, pale purple, dark green, dark 
 violet, pale gold, brown, brocade silver, lemon, orange, fire, light green, mauve, im- 
 perial blue, crimson, fawn drab, magenta, pea green, plum, yellow, and claret. 
 
 The flitters should embrace purple, blue, orange, red, gold, and silver; and in dry 
 colors, green, pea green, orange, dark red, silver, dark blue, and dark green. All 
 
 14 
 
2IO THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 of these are ready prepared. The artist, of course, forming the desired tints and 
 shades by mixing them. Some differences exist in the rules of shading and blend- 
 ing these, from those in other departments of painting. 
 
 But experience will soon correct all mistakes, and will set the student right. 
 
 Dry powders, tone and subdue brighter shades. From these, we get the ' ' lus- 
 tre. ' ' Use a different brush for each color. Use the flat-side of the brush, in applying 
 the paint, drawing it firmly in the direction of the nap of the goods. The design is 
 carefully stamped first, as in embroidery. Attend to leaves and petals, first; then 
 form the edges toward the heavier and more central parts of the work. Lights, 
 of course, should fall from the upper left-hand-corner. Shadows should be kept 
 underneath the leaves and flowers, etc.; and the laws of light, in nature, should 
 be carefully observed. 
 
 A good recipe for stamping, in" Lustre-painting," is as follows, viz: One-fifth 
 blueing-power, and four-fifths pulverized rosin. But very little is required at a 
 time. This is "fixed," by covering it with tissue-paper and passing a hot iron over 
 it. A tube-paint or white powder, can be utilized for stamping on dark goods. 
 Choose an easy design. Stamp it, or have it stamped upon the material. Pro- 
 cure all the above requisites; and then boldly, and with a determination to suc- 
 ceed, proceed to paint. And you will be surprised how rapidly you will attain 
 and master the art, in all its details. It is intensely popular; and, if artistically 
 designed and executed, is exceedingly handsome and very "lustrous," 
 
 Lincrusta- Painting. 
 
 This modern and very popular art, does not derive its name either from the 
 method, or the result ; but from the material, upon which it is executed. ' ' Lincrusta,' ' 
 is the name of a very recent and peculiar material, composed of paper or a pulpy 
 substance, and of canvas; having a "paper-side" and a "canvas-side." It is a special 
 production, for a special purpose; and comes in the various shades of ecru, in its 
 original form. It is comparatively thick, and ribbed in appearance; averaging i8 
 inches in width, and having an average cost at present of seventy-five cents per yard. 
 It is used for various purposes and in various ways, for decorating; but it is espe- 
 cially adapted for "pannel-work;" and is also, a very popular "vestibule-decora- 
 tion." Landscape-scenes, and all designs having objects in bold-relief, are very 
 beautifully and artistically executed upon the Lincrusta-surface. The Lincrusta, is 
 often prepared and pressed into the desired shapes and forms of pannels, plaques, 
 etc. ; and all possible styles of relief-work, are thus beautifully arranged and shown, 
 in the completed paintings. The painting is executed in oil. And, of course, all 
 the general principles of "oil-painting" apply to Lincrusta-painting; only, that the 
 work is decorated by means of the various ' ' bronzes, ' ' giving it a charming " lustre, 
 and a very striking and beautiful effect. The ordinary colors of flake white, perma- 
 nent white, chrome yellows, yellow ochre, raw sienna, Roman ochre, gamboge, yel- 
 low lake, brown ochre, burnt umber, Vandyke brown, raw umber, emerald green, 
 crimson lake, purple lake, Venetian red, Prussian blue, Chinese blue, permanent 
 blue, burnt Roman ochre, ivory black, blue black, vermilion, violet, carmine, etc., 
 are used, and will be sufficient for the amateur for beginning, in ordinary work. 
 Elegant landscape scenes, showing sky and mountains blending in the distance, are 
 shown with fine artistic effect, in careful and accurate shadings and tonings. The 
 design is sometimes stamped upon the material, as in " Lustre-painting,' ' Kensing- 
 ton-painting," and in embroidery; but it is best adapted to the process of " drawing " 
 the design, accurately upon the surface. After this is properly executed, proceed 
 to paint; observing all the ordinary laws of "oil-painting;" using the bronzes how- 
 ever, for decorating the same. Here as elsewhere in painting, much depends upon 
 the genius, education, and skill, of the artist who executes the work. 
 
 Outside of this, perhaps the result depends mainly, on the proper management 
 of the colors. And therefore, for the benefit of the mere beginner, we call attention 
 
UTILITY AND DECORATIVE ART. 211 
 
 to the following, viz: Color, is only another term to express the degree of "absorb- 
 tion of light." An object reflecting all the colored rays, we call white; while a body 
 absorbing all the rays, is called black. A ray of light, when decomposed by a prism, 
 or as it is seen in the rainbow, consists of six different colors, viz: blue, red, yellow, 
 violet, green, and orange. The first three are termed "primaries," the last three 
 "secondaries." 
 
 The violet is formed, by mixing blue with red; green, by mixing blue with yel- 
 low; orange, by mixing yellow with red. 
 
 These six colors are termed the "pure colors;" white, in reality being not a 
 color, but the complete reflection of all colors. When three primaries are mixed, 
 we get gray. Colors obtained in a similar way, we call "broken "-colors; which are 
 also sometimes called " tertiary " -colors. The tertiary colors, are colored grays and 
 and browns. Pure white and black give the ' ' normal ' '-gray; and the shades deepen 
 or grow light, in the exact ratio of increase or decrease of either preponderance. 
 From this principle, the amateur can secure the key to all the secrets of "shading " 
 and "toning;" if, it is properly understood. To get a "tone," we mix a normal 
 color with white or black; and in the varied and desired quantities. 
 
 Color can be seen and analyzed in its absolute purity, in the prismatic spectrum. 
 We can only approximate the colors as seen in the spectrum ; for there is scarcely a 
 pigment (which is but an opaque medium used to reflect light) that reflects only one 
 kind of rays. To detect the effects of this aberation from truth, and to properly cor- 
 rect it, requires considerable thought, education, and experience. But, it can be 
 thoroughly mastered, by implicitly trusting nature to guide us in the tones and shad- 
 ings; and then comparing the mediums used to represent color, by the absolute 
 standard as revealed in the spectrum. 
 
 " Lincrusta-painting," furnishes a high plane for the display of good taste and 
 skill, in the art of painting. Again we say, study nature ! Learn to love the leaves 
 and flowers, and the earth and sky, because of their beauty and perfection. And 
 when you sit down to paint, let the inspiration of truth and love govern the head and 
 heart, and allow nature to guide the hand; and experience will do the rest. 
 
 Be true to the above, to yourself, and to nature; and you will be happily sur- 
 prised at the measure and degree of success attained; and, the rapidity with which 
 you will be made to realize the glad fruition of your highest ambitions and most 
 cherished desires, in this entrancing and beautiful art. 
 
 Kensington- Painting. 
 
 "Kensington-Painting" and "Kensington-Embroidery" have a common 
 parentage, and are therefore sisters. The brush and paint are to the former, what 
 the needle and silk are to the latter. In "Kensington-painting" we simply aim to 
 imitate or simulate in paint, the peculiarity of the position and effect of the silk, in 
 "Kensington-embroidery." This is Kensington-painting, in a nut-shell! The 
 Kensington principles of stitchery, are the Kensington principles of applying and 
 shading in paint, and vice ve?'sa. Like "Lustre-Painting," the scope in materials 
 or surfaces, is as extensive and diversified as the materials for embroidery. But in 
 the main, silks, plushes, and nap and pile-goods, are the favorites. Stamp the ma- 
 terial, as for embroidery ; only observing that the process used, is such as will not 
 show the outlines, after the painting is completed. Much of course, rests upon the 
 good sense, education, refinement, taste, and culture of the artist performing the 
 work. The elementary principles however, are very simple and easy of attainment. 
 The requisites are, a hard wood or steel instrument similar to a "stub-pen," with 
 which to apply the paints. The "stub-pen" is often used, and will answer all 
 purposes for a " brush !' ' And a good supply of the various ' ' tube-paints. ' ' These 
 are not reduced, either with oil or spirits of turpentine. Also, a palette is needed — 
 otherwise, a ' ' dish ' ' of some kind, upon which or in which to mix the paints. A 
 "palette-knife" is used, as the means for mixing the paints. The process of paint- 
 
212 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 ing, is simply taking up some paint on the pen, by the process of "dipping" it up ; 
 the lower part of the same should be cleansed, and then the pen or instrument hold- 
 ing the paint, drawn over the goods ; having the cleansed-side next the goods, and 
 turning the instrument slightly, so as to leave a deposit of the paint. Attend to the 
 edges of the outlines first. In careful work here, lies the sovereign secret of beauty 
 in this art. The inside of the leaves and petals are covered, and then completed by 
 the "drawing-process" of the pen ; thus imitating the threads and stitches of "Ken- 
 sington-embroidery." A bodkin, or any instrument by means of which the stitches 
 can be best imitated in the paint, can be used as legitimate instruments. The end, 
 if correctly attained, will justify almost any means ! A delicate pen-knife, is often of 
 great value to the artist in this province. The paints should be applied profusely, 
 in this art ; and a sufficient length of time should be allowed for it to become perfectly 
 dry. Megilp, mixed with the paints, hastens the process of drying. The general princi- 
 ples of mixing, for shades and tones as taught in "Grecian-oil-painting," apply also, 
 to "Kensington-painting." For the benefit of the beginner, we would simply add 
 that rosemadder and vermilion, give deep red; crimson lake, is used for red. 
 Mixing these with Caledonian brown, gives deep shades ; with German yellow. bright 
 lights. For leaf-painting, mix dark and light German greens ; for white flowers, 
 light German yellow with flake-white. Flake-white with cork black, forms the 
 shadings. Shadows in general, come beautifully from German-greens and Vandyke- 
 brown. German-greens and white, produce the higher lights. The Chrome yellows 
 mixed with brown, give deep shadows, while silver-white produces high lights. For 
 purple, use mauve ; the shades of which, are produced by mixing with white and 
 light German yellow. 
 
 Rose-madder and crimson, are used for roses, etc. Antwerp, or Prussian blue, 
 give blue ; and are shaded with flake-white. A sufficient stock of colors would be 
 as follows, viz : Prussian blue, rose madder, Indian red, vermilion, crimson lake, 
 flake white, cork black, mauve, silver white, Caledonian brown, dark chrome green, 
 medium chrome green, Vandyke brown, light chrome green, Antwerp blue, light 
 German yellow, dai'k chrome yellow, helle jaune brilliant, medium chrome yellow, 
 etc. These will suffice for all ordinary work. 
 
 In using transparent colors, first paint in white ; and, after drying, apply the 
 desired shades and colors. Hare, as in all decorative arts, a wide scope is allowed 
 for the play of the imagination and the display of good taste in the artist; and those 
 who most ardently love and study nature, and whose pencils and canvas become the 
 reflecting mirrors of her matchless perfection and beauty, will inevitably shine as the 
 most brilliant stars, in the canopy of the heavens bending over its coveted honors. 
 
 UTILITO-DECORATIVE ARTS. 
 
 Under this general division we embrace all the various processes, methods, and 
 results in art and science, which have the property of utility or usefulness, as well as 
 that of decoration or beauty. Primarily therefore, and in its broadest sense, it em- 
 braces the entire scope of subjects treated in this volume ; but in a special sense, it 
 refers to the departments outside of the mathematical solutions given, touching the 
 problems in the art and science of garment-drafting; and to which, we refer the student. 
 We therefore close, by simply throwing in a few more buds and blossoms as a free- 
 will-offering, y 
 
 Painting on Glass. 
 
 A process of charming beauty has recently been, through the triumph of science, 
 brought to great perfection and simplicity. The art of painting on glass, is thereby 
 placed within the power of any one, possessing even a moderate degree of the knowledge 
 of drawing. The process, is performed in water-colors ; and, of course, the ordinary 
 
UTILITY AND DECORATIVE ART. 213 
 
 palette, brushes, etc., used in "water-color painting," will be required. First, 
 carefully outline and draw the design upon the surface of the glass. To accomplish 
 this, use intense brown, diluted with sufficient water to make it flow easily and freely 
 from the pencil. Let this dry, thoroughly. Now, having secured the prepared 
 "glass-varnish," apply it over said drawing while warm, so as to keep it from chill- 
 ing ; this, will insure the drawing from being disturbed by the applications of the 
 paint. As soon as said varnish is dry, which will take but a very short time, pro- 
 ceed to lay on the paints, according to the rules of "water-color painting;" without 
 mixing the different colors more than is positively necessary. After the paints are 
 laid upon the work, re-touch it with the varnish ; and then, give it the finishing- 
 tones and shadings, necessary to bring out the most artistic effects. Now, complete 
 by another coat of varnish. The following colors will be needed, and come as " me- 
 talic-tubes," viz: scarlet, intense brown, crimson, warm brown, orange, light green, 
 blue, dark green, and opaque black. By the above process, the beauty, richness, 
 and transparent clearness of the painting is greatly enhanced, over the more tedious 
 and imperfect processes formerly used ; and the result has a charming freshness and 
 beauty, that is both pleasing and restful. 
 
 m ♦ — ^ 
 
 Electro Glass- Engraving. 
 
 A very useful and decorative process of imprinting decorations upon glass, by 
 means of electricity, is as follows, viz : 
 
 First, the surface of the glass is thoroughly covered with a solution of nitrate of 
 potash. This is best accomplished by arranging so it will not flow over the edges, 
 and then pouring the solution upon the glass, ev^enly. A platinum wire, is placed 
 along the edges of glass; in such a manner as to have it immersed in the solution. 
 This is brought into contact with either the positive or negative pole of a secondary 
 battery; and thus, with the electric current. To the opposite pole, a second wire of 
 the same metal is attached; which, is insulated and inclosed in such a manner, that 
 only the point is exposed and left clear. By means of said wire and the current 
 brought to bear upon it, any design or engraving can be beautifully executed upon 
 said glass. 
 
 Spatter-Work. 
 
 A very simple but beautiful art is called '"Spatter-work." It is both entertain- 
 ing and pleasing, if carefully executed; and, it also has its side of utility. The pro- 
 cess is so well understood, that we deem it unnecessary to go into a detailed descrip- 
 tion of the same. Suffice it to say in a general way, that your designs, or leaves, 
 etc., should be carefully and artistically arranged upon a surface of "Bristol-board." 
 The means of "spattering" are, a tooth-brush, a fine wire-sieve, and India-ink. 
 The ground-work, lying outside of the design, should be thoroughly "spattered" 
 or covered; so as to show the outlines, very accurately and distinctly, when the ob- 
 ject is removed. After being thoroughly dry, it is nicely varnished. Thus, a world 
 of beauty in combinations, is often arranged as one general design; showing both 
 order, beauty, and fine conceptions of art, in those who so deftly and artistically exe- 
 cuted the work. 
 
 Transfering Engravings. 
 
 Engravings can be transferred upon paper, as follows, viz: 
 
 Place the engravings a few seconds over the vapor of iodine. Dip a sheet of 
 white paper in a weak solution of starch, and, when dry, in a weak solution of oil of 
 vitriol. When again dry, lay a sheet upon the engraving, and place both for a few 
 minutes under the press. The engraving will thus be reproduced in all its delicacy 
 and finish. The iodine has the property of fixing the black parts of the ink upon 
 the engraving, and not upon the white. 
 
214 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Ivory and Bone- Decoration. 
 
 Ivory and bone admit of being beautified, in many ways, by the decorating hand 
 of art. We submit the following, viz. : 
 
 To Polish Ivory. — Ivory is polished with putty and water, by means of a rubber 
 made of hat; which, in a short time produces a fine gloss. 
 
 To Stain Ivory and Bone — Black. — Rub over with diluted oil of vitriol ; wash, 
 and then steep in nitrate of silver and good ink. 
 
 To Stain Ivory and Bone — Blue. — Steep in a strong solution of extract of indigo 
 and a little potash. 
 
 To Stain Ivory and Bone — Green. — Dissolve copper in nitric acid, and steep the 
 ivory in it. Steep in oxalic tin, and then in a strong decoction of Brazil-wood, or 
 lac dye, and alum. 
 
 To Stain Ivory and Bone — Purple. — Nitric acid, 2 parts ; sal ammoniac, i part ; 
 mix, and steep the ivory in it. 
 
 Gold-Liquid. 
 
 A beautiful liquid in gold is made as follows, viz. : Take equal parts of honey 
 and gold-leaf Grind them thoroughly and finely, mixing them intimately. Now 
 agitate the same with thirty-times its own weght in very hot water. Let the solu- 
 tion settle, and pour off; now repeat the agitation. Dry the gold ; and then mix 
 with gum-water, for use. You will then have a beautiful gold-wash, for all kinds of 
 decoration. 
 
 Wood- Decoration. 
 
 Mahogany-Stain. — Put 2 ozs. of dragon's-blood, in small pieces, into i quart of 
 spirits of wine; let remain within a bottle for several days, in a warm place, agitating 
 it freely. Apply with brush. 
 
 Black-Stain. — Pour i quart of boiling water on ^ oz. of commercial extract ol 
 logwood. When thoroughly dissolved and mixed, add yi drachm of yellow chro- 
 mate of potash. Mix thoroughly, and apply with brush. 
 
 Marble-Stain. — Two parts alum, one part best glue; mix these with a quantity 
 of whiting, equal to that of the glue; and with three-times as much plaster of Paris, as 
 glue. It can be colored, by first stain;ng the water. It "sets" very hard. 
 
 South American-Mahogany-Stain. — Logwood, i part; water, 8 parts. Make a 
 decoction and apply the same to the wood, and let dry. Give it three successive 
 coats of varnish, letting it dry each time. For varnish, mix dragons' s-blood, i part; 
 spirits of wine, 20 parts. It is very fine; and beautifully imitates the real mahogany. 
 
 ^ « i^ 
 
 Fixing Pencil and Chalk-Drawings. 
 
 Pencil-Drawings. — Dissolve white resin in spirits of wine; lay the pencil-draw- 
 ing on its face, upon a sheet of clean paper; and brush the back of the drawing, with 
 the solution. This penetrates through the paper, and as the spirit evaporates, the 
 resin is deposited as a varnish on the drawing. It does not cockle the paper, which 
 watery solutions will do; and as the brush only passes over the back of the drawing, 
 none of the pencil marks are in any degree removed. 
 
 Chalk-Drawings. — Immerse the drawing in a weak solution of isinglass; allow- 
 ing no part of the drawing to remain without the isinglass passing over it, or it will 
 look spotty. Drain it, by holding the drawing up by one end, over a plate. 
 
UTILITY AND DECORATIVE ART. 215 
 
 Decorative Table-Spread. 
 
 Use any desired color of fine plush, old-gold, or otherwise, crimson. Crimson 
 will do for the ground- work, and old-gold or olive for the decoration. This can be 
 cut into some fanciful design, down toward the centre from the sides. Between these 
 cuttings, form diamonds of silver beads intersecting squares of gold beads ; and 
 decorate the centre and lower point, with some spray or flower; having the foliage in 
 silver beads, and using gold for the flowers. Or it could be stamped so as to define 
 a rich design, in the border, and left plain; and simply caught down on each side by 
 small cords of gold or silver, with nicely embroidered squares in each corner. This 
 looks admirably, if cream is used on fawn-colored plush. 
 
 Hanging Pictures. 
 
 Pictures are made to be seen. Let them not be hung too high ! Pictures in 
 detail, should be hung nearer the eye than those in bold outline and relief Let 
 family-pictures be placed within family-rooms ! Light, should fall upon a picture 
 from the same side as the light within the picture. Pictures on the plane of the eye, 
 should hang flat upon the wall ; those above that line should droop forward, in the 
 ratio of said height. Large and heavy paintings, should be thoroughly secured. 
 There should be harmony, in groups of pictures ; both as to subject, style, and size. 
 Great care should be exercised in choosing befitting subjects, for pictures in the vari- 
 ous departments. Death-bed-scenes, are not just exactly the proper thing, for the 
 dining-room ! Masonic-pictures, Diplomas, etc., are not strictly pictures, for deco- 
 rating a home. Study fitness, order, size, shape, appropriateness, etc. , in hanging 
 and arranging pictures, as you would in the art of producing them. Hanging pic- 
 tures, is an art. 
 
 Japan-Work. 
 
 The Japanese, are noted for their originality and their methods of designing and 
 decoration. Commerce furnishes many minor Japanese articles, ready-prepared; by 
 the help of which, we can admirably simulate the Japanese idea, in house-furnishing 
 and decoration. Especially, where rattan and bamboo furniture are used, in con- 
 junction with these. The circumstances of the student, will necessarily regulate the 
 quality and expense of said Japanese decorations; since, they come in all grades and 
 at all prices, according to the cost in time and labor expended in their manufacture. 
 Beautiful small Japanese pictures, in bright colors and odd figures, can now be pro- 
 cured in the general market. They come in paper-form, and long enough to form a 
 frieze. Various lacquered decorations in the form of boxes, trays, brackets, fans, etc., 
 in innumerable colors and designs, can be had at small cost. Having laid in a sup- 
 ply of said stock, according to a fixed design and purpose in house-furnishing, let us 
 suppose an airy and pleasant summer-room, which we wish to stamp with the Japan- 
 ese idea, in its peculiarity of decoration, etc., viz : Either paint the bare floor plain, 
 or otherwise in fanciful figures, squares, combinations of diamonds, etc. ; or let a cool 
 and fancy-colored matting cover it. Either paint the walls in pale-shaded yellow, 
 olive, or straw-color, etc. ; or select a fanciful design in paper, of similar color and 
 shades and tones. Let a frieze, in a striking design of bright paintings, supply the 
 place of a paper border. Let the ceiling have, a finish in a small but similar-shaded 
 design. Blue Japanese "crepe-cloth," relieved by quaint designs in reds, straw- 
 colors, and olives, can be utilized as easy and full hangings ; headed with dado- 
 mouldings. On the walls, you can place a few placid water- color paintings of Jap- 
 
2l6 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 anese conceptions ; joined perhaps, by a pair of narrow -framed "etchings." Jap- 
 anese chintz, may form the curtains. A screen of bamboo in reUef-embroidery, in 
 silk, will hide the grate. Lacquered ornaments, and small vases of blue, olive, or 
 yellow, and darker scrolls of Japanese designs, can be utilized as ornaments of deco- 
 ration upon small stands, centre-tables, brackets, etc. ; and over which, in the corners, 
 chintz-curtains suspended from polished brass rods are quaintly arranged, half- 
 concealing the same. Let the tables be very neat tripple-crossed supports of rattan, 
 in Japanese designs. Furthermore, let the couch or tete, chairs, easy rockers, etc., 
 all be composed of rattan. These may be cushioned with cretonne or "Indian- 
 Pongee," and ornamented with silk embroidered buds, blossoms, vines or tiny 
 leaves of green. 
 
 A bamboo case for books and music, a Japanese-painted piano with an em- 
 broidered "Indian-pongee" cover; a small centre-table, supported by tripple-crossed 
 brass rods, supporting a quaint card-case along with a Japanese glass-bowl full of 
 leafy crimson buds and roses ; now, having these furnishings, arranged in artistic 
 form, we would have, at not a extravagant cost, a very beautiful Japanese-summer- 
 parlor; which, would at one and the same time, combine the properties of healthful- 
 ness, restfulness, and pleasure. 
 
 Card- Decoration. 
 
 "Card-decoration," is growing intensely popular. Secure a delicate shade of 
 any choice color of silk, the ordinary size of which is usually seven inches by five. 
 Fringe it nicely, to a proper depth. Stamp a chosen and befitting design upon it, 
 or draw it upon the same ; then paint it artistically, and attach it to a fine bristol- 
 board-card, somewhat larger than the silk. This is done by means of ribbons, taken 
 through holes in the card and quaintly arranged in tasteful tiny bows, on the right- 
 side. Two bows, in opposite corners, will suffice. Or, take as a foundation, a 
 cream-white card. Arrange a cluster of "golden-rods" on the right-hand side, 
 secured in place by a narrow ribbon coming from the back of the card over the 
 stems; and which, is then taken back through a second hole, and is secured at 
 the back. Taking a very fine-pointed brush, paint the desired motto, in but 
 one color. Sprigs of evergreen, showing interlacings of tiny vines with berries 
 intermingled, W'Ould help to decorate the same ; or, perhaps ferns and pansies, 
 beautifully arranged, might suit another's choice and taste. These tiny, yet often im- 
 pressive and appropriate decorations, will forever endear to the recipient, the gift 
 of an Easter or a Christmas-Card ; which, might otherwise be lightly appreciated. 
 
 Art Paper-Flowers. 
 
 Subjected to the skilled artistic hand, paper can be transformed into flowers, 
 wreaths, buds, vines, etc., with such effective beauty as to almost equal natural 
 flowers. Those having made "wax-flowers," certainly should be able to make 
 "paper-flowers," and vzce-versa. Take the natural rose, or any flower, which you 
 wish to reproduce in paper, apart, very carefully ; now, cut a pattern out of paper of 
 each separate petal; representing every petal by two thicknesses of the paper, which 
 should be the best quality of " French tissue-paper." 
 
 The edges are carefully trimmed with sharp scissors, and carefully and daintily 
 curled and crimped. The scissors can be utilized as the "joining-instrument" of 
 the leaves, petals, etc. By means of tiny wires and a little mucilage, the petals are 
 joined and permanently secured together, in the proper form of the calyx. 
 
 The leaves, of course, are cut from the green paper, and should be left a little 
 larger than the natural leaves ; which are afterwards reduced, by the process of crimp- 
 ing them with the fingers. The best method of obtaining the natural "centre-rib," 
 
UTILITY AND DECORATIVE ART. 217 
 
 and the fine "veinings," is obtained by first crimping them very finely crosswise ; 
 and afi:erwards, in a lengthwise manner, imitating nature. 
 
 The wires, are all nicely covered with paper of the same color seen in nature, 
 which serve for stems and stalks ; and the whole work is then mounted, and artisti- 
 cally arranged, to imitate the natural sprays and clusters. 
 
 Thus, out of the barren wilderness of plain colors and large sheets of paper, a 
 world of beauty can be made to spring, as if by magic. 
 
 Lam p-Shade- Decoration. 
 
 Lamps are made to give light ; and shades are intended to soften the light, and 
 not to intercept it. Dense and ornate lamp-decorations, are incongruous inconsis- 
 tencies. There is a "fitness of things," even in decorating lamp-shades. 
 
 As a general example of correct principles, suppose the following, viz. : Select 
 as the ground-work, a lamp having a glass-globe crowned with an arabasque in a metal 
 that matches the pedestal, upon which it rests ; otherwise, a soft porcelain or crystal 
 shade. Now, upon said foundation, draw or transfer some tasteful design, in either 
 landscape or water scenes, etc. By means of the process as given for "engraving on 
 glass,'' engrave the same beautifully ; or otherwise paint it artistically, in such colors 
 and in such a design, that the shades and tones, when the shade is placed over 
 the light, will blend with the greatest degree of beauty and truth, to the original. 
 
 Thus, the refreshing scenes of landscapes, clusters of buds and leaves and flowers, 
 or that of the placid and entrancing mountain-lake-scene, can be suspended in ex- 
 quisite transparent beauty, over the parlor-lamp ; or otherwise, placed upon the 
 library-lamp, on which the toiling student can, occasionally at least, rest and refresh 
 his weary eyes, while bending over his midnight-task. 
 
 Preservation of Natural- Flowers 
 
 Flowers are our close companions in health, happiness, sickness, sorrow, and 
 death ; and loving them, we grieve to see them die and pass into oblivion. A good 
 method for preserving then is, to immerse them in melted parafiine. The process 
 of immersing them and withdrawing them, should be quickly performed ; and the 
 melted parafiine should only be hot enough, to maintain its fluidity. Holding the 
 flowers by the stalks, dip them thus — one at a time. 
 
 They should be instantly moved about and retained just long enough in the 
 parafiine, to relieve them of the bubbles of air. Let the flowers be fresh-cut and 
 free from moisture, when wishing to preserve them. To improve the color of roses, 
 while growing them, place charcoal around the roots of the rosebush. It lends rich- 
 ness of lustre to all flowers. 
 
 Glass-Decoration. 
 
 A beautiful and very popular method of ornamenting or etching glass, is as fol- 
 lows, viz: 
 
 Taking the sheet of glass which is to be decorated, heat or warm it moderately, 
 so as to receive the composition with which it is to be covered; and at the same time 
 make provision, by means of a moistened strip of muslin and wax around the edges, 
 to keep said fluid on the glass. Now coat the glass thoroughly with fluid-wax. By 
 means of the etching-needle, draw any desired design upon this ground-work. Then 
 apply hydrofluoric acid. The length of time for it to remain, depends on the length 
 of time required to make the proper and necessary impressions of the design. The 
 glass is then again heated, and the composition is removed by means of turpentine. 
 
2l8 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Painting on Ivory. 
 
 The design is carefuUly and directly drawn upon the ivory, by the experienced 
 artist; but as this is rather difficult for the beginner, and as the correcting of mis- 
 takes soils and unfits the surface for the completion of the painting, we do not advise 
 it. Ivory being semi-transparent, a more safe process for the beginner is, to draw a 
 correct and satisfactory design on a white sheet of paper, the size of the ivory upon 
 which it is intended to paint the design. This, when pressed and secured between a 
 pane of glass and the ivory, will show through the latter; and in this simple manner, 
 can then be accurately reproduced by the brush, without the ivory surface having to 
 be subjected to erasures and corrections; as is often the case, in directly drawing upon 
 the ivory. Painting on ivory demands a scrupulous cleanliness, and great accuracy 
 in work. ^ The ivory should be secured from soiling, by having clean paper between 
 the drawing-board and the ivory. The requisites will be six or eight brushes, a pal- 
 ette, some refined gum, and several dishes of water, and the paints. 
 
 The accuracy of the painting will, of course, largely depend on the accuracy and 
 perfection ot the drawing; which is now being reproduced on the surface of the ivory, 
 by the brush and paint. Therefore, it should be very accurately and finely executed. 
 The required colors should be laid on in as small quantities as it is possible, to effect 
 the process. If it is a miniature-portrait, aim to bring the highest possible degree of 
 naturalness and perfection, in the face ; the most effective back-grounds for the fair 
 complexion being blue, with a slight tint of gray; and for a dark complexion, use 
 gray, with a slight tint of green. 
 
 Yellow ochre, red, and cobalt, form a fine shadow. Brown hair, can best be 
 shown by sepia and Vandyke brown; red hair, by ochre and burnt sienna. Chinese 
 white, best touches up the eyes. But, of course, all general rules in mixing, shading, 
 and toning, as used in painting elsewhere, and as taught heretofore, must be ob- 
 served for the various shades of complexion, eyes, hair, etc. After brief experiment, 
 and a little thought and care, the entire process of this beautiful department of paint- 
 ing, will become exceedingly simple and plain. If stippled too soon, however, it 
 gives the painting a ' ' watery ' ' appearance. 
 
 Pen-Drawing. 
 
 Although not generally so accepted, the pen and ink are instruments almost 
 rivaling the brush and paint, in art. Pen-drawing has also a commercial value, rais- 
 ing it to sufficient importance to receive our attention. A distinct clear black line on 
 a pure and perfectly white surface, is one of the strongest possible contrasts ; and ac- 
 curate pen-drawing is a most potent means of art-work, if properly executed. In 
 the main, it comes by accurate practice upon reproductions of accurate and perfect 
 copies. The materials are, simple and few : a bottle of India-ink, six graduated 
 sizes of good steel pens, a blotter, an ink-eraser, a fine-pointed penknife, and the best 
 quality of Bristol-board. In drawing, let the lines be very fine but distinct, and in 
 jet black; this latter property is regulated largely, by the quality of the ink. Clear- 
 ness and distinctness, are prime qualities in pen-drawing. Let the drawing be exe- 
 cuted in a size one-third larger than the intended engraving. The reproduction, by 
 the process of photography, will show contact in the lines, often, if executed other- 
 wise. The beginner should outline, by pencil-sketches, the entire work ; and thus, 
 corrections on the surface of the Bristol-board are obviated. In representing lights 
 and shadows, diaw the darkest shadows first; this is done by drawing a series of ap- 
 parently wide parallel-lines intersected by another series of parallels, governed as to 
 their direction by the requirement of the form or object illustrated. Shadows are 
 deepened or left light, by means of, and in the ratio of the degree and number of the 
 
UTILITY AND DECORATIVE ART. 219 
 
 intersections used. Let the line first appear in its lightest form ; the shadow can 
 afterward be regulated to its proper degree, by deepening the same. Begin by prac- 
 ticing on plain, simple work. Learn to outgrow timidity, and to cultivate a trust- 
 worthy confidence and boldness in work. Do not tire of practice, and aim high; 
 and pictures of matchless grace and beauty will soon be seen to fall from your pen, 
 in the simple shades and combinations of purest black and white. 
 
 Art Metal-Work. 
 
 A very beautiful and useful art consists in fixing impressions upon copper and 
 other metals, by means of the chemical action of acids. The metal should be first, 
 thoroughly cleansed, by means of benzine and whiting. The copper plate or metal 
 is then slightly heated and varnished, with a solution of three parts asphaltum, two 
 parts white wax, and one part Burgundy pitch, thoroughly boiled, mixed, and 
 worked. In applying it, melt the wax and varnish the plate by heating it and pour- 
 ing said solution over it, letting it drain off, evenly. This leaves a plain smooth 
 surface, when it is " set. ' ' The metal should then be thoroughly smoked, so as to not 
 be seen through the solution, immediately before the varnish has set. After solidi- 
 fying, the design is drawn upon this surface in outlines, by means of the drawing- 
 needle; and the copper is laid bare, showing in fine lines, imitating the same correctly. 
 This, requires exceedingly fine and accurate drawing ; so as to show fineness of the 
 lines, in the completed work. 
 
 The "closing-out-varnish," is composed of asphaltum, with a slightly greater 
 quantity of turpentine. The development of this solution often requires thirty-six 
 hours ; it is then of the consistency of syrup. The outline of the design is then 
 varnished with the same. The plate is now, by means of cords, carefully deposited 
 in a bath of equal parts of water and nitric acid, for four minutes ; letting the acid 
 flow over it, into the outlines. The bubbles should be kept from the lines, during 
 the process of the chemical action. Now rinse the plate in clean water, and dry by 
 means of a blotting-pad. Where the work is properly completed, the ' ' protective 
 varnish ' ' first used, is placed over the lines, and the remainder is again submitted to 
 a second or third action in the bath ; and, until the work is thoroughly completed. 
 Then cleanse the plate with benzine, and dry and polish the same by paper or cloth, 
 rubbing it. Any design can thus be accurately imprinted upon copper or other 
 metals, and an art of charming beauty and great utility is hereby accomplished. 
 
 Linen- Decoration. 
 
 A beautiful branch of art needle-work is shown in "Linen-Decorations." By 
 means of the hand of art, in this line, tidies grow on backs of chairs as gracefully as 
 apple-blossoms in the orchard ; and linen, fringed with insertions and laces, will fall 
 into place upon sofas, as naturally as autumn-leaves fall from trees. It can be made 
 very simple, and yet, admits of great intricacy ; thus, suiting all degrees of genius. 
 If edged with lace, the drawing should be made on fine white sateen ; and the laces 
 used, should have the quality of enduring washing. Insertion can also be used, to 
 beautify the work. By using fine linen, beautiful toilet-sets are constructed, by the 
 use of lawns or cambric upon which to form the sketch ; and in the process of com- 
 pletion, having the mats lined with silk in pink or blue; the color showing sufficiently 
 through the work, to lend it a charming and refreshing effect. In splashers for 
 washstands, "Jack and Jill" bearing the historical " pail of water" and accomplish- 
 ing extensive "splashing," might serve as an ornamental design. 
 
 Pillow-Shams can also, thus, be beautified by sprigs and branches and clusters 
 of various leaves or flowers. 
 
 The ingenious housekeeper, will also scatter these decorations over window- 
 shades, screens, hanging panels, and countless other household articles of both beauty 
 and utility ; and thus, please and gladden the hearts of those who gather there. 
 
220 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Portiere- Decoration. 
 
 The materials are satin, velvet, and plush. 
 
 An elegant design, having both the properties of art and utility, can be arranged 
 as follows, viz : In the upper panel, form the mixed shades of dark, red, and brown ; 
 choose a ground of a warm shade in green, for the lower ; with sage-green, at the 
 sides. Any suitable color may be chosen for the main body ; Persian-satin, looks 
 well. The decorative designs, should be wrought in velvet-material. It is best to 
 adopt some plain material in a neutral shade, ornamented with flower-designs attached 
 in neutral colored velvet. This makes an exquisite design, and will serve as a gen- 
 eral index, to "Portiere-Decoration." 
 
 Future Art. 
 
 Correct art, is the most perfect and beautiful expression possible, of absolute 
 truth, goodness, and beauty; as conceived of within the empire of human thought, 
 and expressed in the handiwork of man. This is true, whether as manifested in the 
 great industrial arts of agriculture, navigation, architecture, law, medicine, etc., or 
 in those we term "The Fine Arts;" such as music, poetry, sculpture, painting, 
 embroidery, etc. 
 
 Correct art, must ever be the minister to the desire and gratification of all right- 
 ful and lawful pleasures. The pleasures of eating and drinking, of exercise and re- 
 pose, of warmth and coolness, etc., form a class in direct contrast with the pleasures 
 coming through the ordinances of music, painting, and sculpture, or those of the 
 drama; for all of which, the human heart and mind hunger and thirst, as the body 
 craves for food and drink; and to which, it is the province of art, in unison with na- 
 ture, to minister. Pure art is therefore, an "angel of mercy," that stamps out im- 
 purity, injustice, and wrong ; and that lifts the empire of mind, thought, and affec- 
 tion, out of the shadows of darkness and the domain of sensualism, into that higher 
 and better sphere of perfect liberty, true happiness, and complete enjoyment, when 
 sanctified by the Great Teacher of both art and science. It is to the heart and mind 
 of humanity, under these circumstances, what the strong oak of the forest is to the 
 vine; — lifting it out of the dense shadows beneath, into the realms of the radiant light 
 of day — making it to "bud and blossom as the rose." This, must forever remain 
 the ideal of the true artist, and the guiding star to an endless and undying fame; and 
 among the many lustrous names that shine from the heavens of the artistic world to- 
 day, and as seen in the annals of the nations, those having the most brilliant lustre 
 are such as most closely approximated the above, in their ideal. 
 
 The bodily functions, while incidentally ministering to our pleasure, are in the 
 main subservient to maintaining our existence; having been created for that special 
 purpose. And when perverted by deviation from their intended purpose, we find 
 them instantly and intimately connected with the production of results in which their 
 short-lived and apparent pleasures turn only to bitter-ashes, both repulsive and loath- 
 some; all of which proves conclusively, that these sources are not fountains of pure, 
 unalloyed, and satisfying pleasure. The same may truthfully be written of the pleas- 
 ures of power and dignity. The eye, in viewing the landscape and flowers and buds 
 and blossoms of spring; and the ear, in feasting upon the harmony and cadence of 
 music and the song of the lark, drink in unalloyed pleasure; and that, too, from an 
 entirely different fountain, than the source of those sensations — which for want of a 
 better term, we call "pleasure" — coming to us through eating and drinking, etc. 
 The true province of art, therefore, seems to be encompassed by the boundaries of 
 
UTILITY AND DECORATIVE ART. 221 
 
 the eye and the ear. At the altars erected within these provinces, the ministrations 
 of art come to us in the various pleasures of harmony, beauty, melody, pathos ideal- 
 ity, picturesqueness, proportion, order, fitness, tenderness, irascibility, power and 
 sublimity. When sweet sounds are harmoniously combined, we have the musical 
 art; the painter has a similar aim, in reference to colors and forms; and through all 
 the "fine arts," this quality is found recurring, as the crowning work of the artistic 
 hand. Nothing is so indisputably included within the circle of the aesthetical or 
 beautiful as these properties, in their elements and principles, separately and collec- 
 tively. 
 
 Color in itself, imparts pleasure, apart from harmonious union. 
 
 Story is essential to romance and poetry; and sweetness, in the separate sounds, 
 is essentially requisite for good music. The unity in art, requires that a building, an 
 oratorio, a poem, a history, a dissertation, a painting, a piece of music, or embroid- 
 ery, etc., should have a discernable principle of order throughout; the discernment 
 of which, yields an artistic pleasure, even in works of pure utility, as well as in works 
 of pure decoration. A blind devotion to art, however, merely for the sake of art, 
 without esteeming it for its utility, aud as the language and expression of truth, 
 purity, and beauty — in their absolute sense, is, something, akin to idolatry; and de- 
 serves censure, rather than praise. 
 
 The injurious and deliterious effects of such blind idolatry, is clearly manifest in 
 its excessive forms, in the history of the Greeks; who were intoxicated thereby, and too 
 much drawn from the urgencies of practical truth, and real life ; rendering them an 
 easy prey to political despots, and foes within and without; as well as, making them 
 indifferent to moral principle; which, finally, proved the fatal quicksand underneath 
 their political and religious temples and altars; and which, finally dissolved the nation. 
 Grecian art proved itself a delusive snare. Correct art will, some day, have a synony- 
 mous definition with that of science — when both will be equal to, and express only 
 "The Beautiful, the good, and the true;" when the artist will subject the imagination, 
 strictly to the conditions of truth ; when sculpture, will no longer be permitted to 
 perpetuate a lie ; when, instead of the tales of "Fairyland," the "Arabian Knights," 
 and the romances of chivalry, the novelist will both entertain and teach truth, through 
 truthful pictures and manners of living men and women; and as they really are to-day. 
 When poetry, shall become true history as well as prophecy; when music and 
 painting, will be the true language of affection, sublimity, gratitude, devotion and 
 purity. And when, like the clear river that reflects the adjacent city with all its 
 domes and turrets and spires, along with the overhanging foliage of trees and flowers, 
 we shall see reflected in the clear and lucid stream of scientific art, as well as in 
 nature and Revelation, the flowers and foilage of a still more beautiful and a better 
 world ; and when, looking deeply into its crystal waters, we can discern, through 
 "The Gates Ajar," the outhnes of the uplifted domes and turrets and spires, and can 
 hear the distant music coming to greet us, from within the gates of " A city, not 
 made with hands — eternal in the heavens." 
 
 •-JSW^*^' 
 
PART FOURTH, 
 
 Gentlemen's Coat, Pantaloons, Vest, 
 
 AND 
 
 OVERCOAT-CUTTING. 
 
 222 
 
UTILITY AND DECORATIVE ART. 223 
 
 PREFATORY AND INTRODUCTORY. 
 
 It almost seems a mere formality to write a special preface and introduction to 
 each department; and yet, under the existing circumstances of the present confusion 
 and controversial strife prevailing in some communities, touching the science of gar- 
 ment-cutting, caused by the false teachings of self-constituted authorities, who neither 
 have practice nor correct knowledge, we feel the peculiar circumstances demand that 
 something should be said to aid those who are sincerely seeking the truth, and to 
 submit a few thoughts in vindication of the same. We have, however, only room for 
 but a few words. And we refer such persons to the general preface and introduction, 
 as given in the front part of the Encyclopedia. Sufhce it to say here, that the ele- 
 ments and principles of measurement and drafting, as given and taught in this depart- 
 ment — as everywhere throughout the work, are not simply theories, but practically 
 demonstrated truths; which, while entirely original in their arrangement and con- 
 struction, as to the methods of reading the indices and interpreting them in the draft — 
 as a whole, they represent the world's best science and practical experience of many 
 centuries combined; and are worthy of the most careful study of all, both experienced 
 and inexperienced. 
 
 In conclusion, we only remark as follows, viz: 
 
 The nonsensical theory, that it requires a different system or science for cutting 
 ladies' garments, from that of gentlemen's garments, is fortunately exploded. And 
 tailors, in all departments, have outgrown its confusing and blinding teachings. 
 Garment-cutting is a science; and when properly conceived and understood, can no 
 more be affected by the particular form or style of the garment, than the science of 
 geometry can be affected by the form of the object or figure which it measures. The 
 science of cutting is, to get the mathematical mould of the perfect fit; art and good 
 taste, attend to the style and shape — whether it be a pair of pantaloons for a gentle- 
 man, or otherwise a ladies' riding-habit, or a basque. The cutter is armed with a 
 system of mathematical elements and principles, in order to obtain the exact mould 
 or fit; and, he makes fashion minister to his wants; and, makes style his slave. As 
 well might we say, the shoe-fitter must have a different science for fitting a child's 
 shoe, from that of a ladies ; or otherwise, that of a shoe or boot for a gentleman. Or 
 again, that we needed a different science or system of surveying, each time we found 
 a differently-shaped body of land or water ! Or that we needed a different science 
 or system of music and instrument, whenever we wished to write or play a different 
 piece of music ! The age for such folly in thought, is past ! Any one who cannot 
 from the same simple measures alone, and by means of the same common plain inch- 
 rule and tape-measure alone, open any fashion journal and correctly reproduce 
 any design therein to said measures, for any garment — either for man, woman, or 
 child — does not understand the true and genuine "Scientific Tailor System," or the 
 
224 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 genuine science of garment-cutting ; and, would do well to begin again, at the 
 very beginning, and at the alphabet of said science. In our illustrations we give 
 the "scale-figures," based upon the scale of the mathematical-inch ; not because 
 we use or endorse scales in our method, but to accommodate those who are in- 
 separably wedded to the same The illustrations therefore serve the double pur- 
 pose of illustrating the principles of the work, and that of accommodating the 
 cutter who insists upon the scale-method. To those from whose eyes the scales have 
 fallen, we commit and commend the "actual-measurement-system," as given and 
 taught within the work. We cannot but feel gratified at the high appreciation that 
 has already been expressed for the same, by the profession and general public at 
 large; and to such, both present and future, it is hereby committed as a sacred trust, 
 in the hope that it will accomplish a mission of great usefulness. 
 
 '■•^Ss^* 
 
UTILITY AND DECORATIVE ART. 225 
 
 THE MEASURES. 
 
 1. Measure over a close and neatly fitting coat, otherwise a jacket, made plain 
 and to different sizes for that special purpose, for coat-cutting. 
 
 2. Over the waist-coat only, for vests. 
 
 3. Over the pantaloons only, for pantaloons. 
 
 Location oj Points for the Coat- Measures. 
 
 1. With the double corner of the Square toward the back, from the form being 
 measured, and the long arm toward the bottom and in a perpendicular position, 
 place the short arm underneath the junction of the body with the under-side of the 
 arm, from behind; in such a manner that said junction of shoulder, arm, and body, 
 will rest firmly upon the top-edge of the short-arm, and at the same time not being 
 raised up out of its natural position ; maintaining this position of the Square, locate 
 with a flattened pencil of crayon or chalk, upon the garment of the form, points 13 
 and 15, in their respective positions, even with the upper edge of the short-arm — on 
 each side of the arm or shoulder ; as illustrated in Figure LX, of Plate XIX. 
 
 2. Locate point 4 at the junction of the under-side of the arm with the body, 
 on a perpendicular line through the centre of the true and natural arm's-eye; as 
 illustrated in said cut. 
 
 3. In the same manner and by the same principles, repeat the location of points 
 13, 15, and 4, on the opposite side of the person ; as said points are illustrated in said 
 cut, in their first position. 
 
 4. With the short arm of the square down, and the long arm in a horizontal 
 position across the chest at the front of the form, and at the same time having the 
 top of said arm of the square even with point 13 on the right-side and point 13 on 
 the left-side, locate points 9 and 22, even with the top edge, in their respective posi- 
 tions ; as shown in said cut : and, repeat point 22 on the opposite-side, in the like 
 position; as it is illustrated in its first position, in said cut. 
 
 5. In a similar manner, and by the same rules and principles that you located 
 points 9 and 22 on the front of the form, locate points 5 and 20 on the back of the 
 form, and in the positions respectively assigned to each; and as illustrated in said 
 cut : also, repeat point 20 on the opposite side, by the same principle that you 
 repeated point 22 at the front-side; and as point 20 is illustrated in its first position, 
 in said cut. 
 
 6. Locate point 26 on the form, back from the top of the shoulder, at the 
 desired and proper intersection of the shoulder-seam with that of the sleeve and coat ; 
 as illustrated in said cut by points 26 and 34, which represent one and the same point 
 on the form, when the measures are taken. 
 
 7. Locate point 3 on the form, on a perpendicular line through point 4, at the 
 bottom of the natural waist-depth ; as illustrated in said cut. 
 
 8. By the same rule and principle repeat point 3, at the opposite side of the 
 form. 
 
 9. Locate point 7 at the desired back waist-depth, on a direct perpendicular 
 line through the centre of the form, at the back ; as illustrated in said cut. 
 
 10. Locate point 11 at the desired front waist-depth, on a direct perpendicular 
 line through the centre of the form at the front ; as illustrated in said cut. 
 
 11. Locate point 8 at the intersection of a direct perpendicular line through the 
 centre of the form, at the back, with a horizontal line marking the proper junction 
 of the collar with the coat, at the back ; as illustrated in said cut. 
 
 12. Take an easy neck-circumference measure, around the bare neck, as low 
 down as possible; calling it, to be placed in the measure-book. 
 
 13. Locate point 23 on the form, on a line of the proper junction of the collar 
 with the coat, ^ of the neck-circumference from point 8, toward the front ; as illus- 
 
 15 
 
226 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 trated in said cut by points 23 and 21, which represent one and the same point on 
 the form, when taking the measures. 
 
 Completion. 
 
 14. Guided by the points and lines, as illustrated in said cut ; accurately take 
 the following measures in the following order; calling them, to be placed in the 
 measure-book, viz : 
 
 Skirt-Depth : From point 3, on a direct perpendicular line to line M^ 
 
 15. Blade- Width: From point 4, on line C extended over the back, to point 
 4, on the opposite side of the form. 
 
 16. Chest- Circumference: From point 5, on line C. extended as a circumfer- 
 ence line around the entire form, to point 5. 
 
 17. Waist- Depth : From point 4, on line B, to point 3. 
 
 18. Back- Waist-Depth: From point 5, on line D, to point 7. 
 
 19. Back- Height: From point 5, on line D, to point 8. 
 
 20. Front- Waist- Depth: From point 9, on line E, to point 11. 
 
 21. Front- Height : From point 9, on line E, to point 12. 
 
 22. Arm' s- Eye- Circumference : From point 26, on lines W and Y, to point 
 34 ; or the exact and entire circumference-measure, around the junction of the arm 
 and shoulder, with the body. 
 
 23. B ack- Shoulder- Height : From point 20, on line I, to point 21. 
 
 24. Fro7it- Shoulder- Height : From point 22, on line K, to point 23. 
 
 25. Shoulder- Depth: From point 23, on line O, to point 26 ; or from point 21, 
 on line X, to point 34; which represent one and the same thing, on the form, when 
 taking the measures. 
 
 26. Waist- Circumference : From point 2, on line A, extended as a circumfer- 
 ence, entirely around the form to point 2. 
 
 MEASURES FOR PRACTICE. 
 The Coat. 
 
 Inches. 
 
 1. Neck-Circumference, ------ 14 
 
 2. Skirt-Depth, - . . . . . 16 
 
 3. Blade-Width, ------- 18 
 
 4. Chest- Circumference, - - - - - " 3^ 
 
 5. Waist-Depth, ------- 8^ 
 
 6. Back Waist-Depth, - - - - - - 10 
 
 7. Back-Height, ------- 7^ 
 
 8. Front Waist-Depth, . - - - - - 9/^ 
 
 9. Front-Height, .--..- 51^ 
 
 10. Arm's Eye-Circumference, - - - - 16 
 
 11. Back Shoulder-Height, . . . . . 8^ 
 
 12. Front Shoulder-Height, ------ 8^ 
 
 13. Shoulder-Depth, - - - - - - 6^ 
 
 14. Waist-Circumference, . - - - - - 32 
 
 The Sleeve. 
 
 Guided by the points and lines, as illustrated in Figure LXI, on Plate XIX, 
 take the following measures in the following order ; calling them, to be placed in the 
 measure-book, viz : 
 
 1. Extreme Depth : From point 16, on a direct line to a point on line D, equidist- 
 ant from points 3 and 8 ; and from said point, on a direct line, to point 7. 
 
 2. Arm's-Eye- Circtimference : The same as taken for the body of the coat ; 
 and, unnecessary to be retaken. 
 
UTILITY AND DECORATIVE ART. 227 
 
 3. Elbow- Circunifcrence : From point 3, on line D, extended as a circumfer- 
 ence line around the elbow, to point 3. 
 
 4. Elbow-Depth : From point 16, on a direct line to a point on line D, equi- 
 distant from points 3 and 8, or the outside point of the elbow. 
 
 5. Hand- Circumference : From point 7, on line F, extended as a circumfer- 
 ence line, entirely around the front of the sleeve, to point 7. 
 
 6. Arm- Circumference : From point 11, on line J, extended as a circumference 
 line, entirely around the arm, to point 11. 
 
 7. Inside- Height : From point 6, on line I, to point 9. 
 
 8. Outside- Height : From a point on line D equidistant from points 3 and 8, 
 or the outside point of the elbow, on a direct line to a point on line L, equidistant 
 from points 12 and 13. 
 
 Measures for Practice. 
 
 Inches. 
 
 1. Extreme-Depth, . - - _ 233^ 
 
 2. Arm's-Eye Circumference, - - - 16 
 
 3. Elbow-Circumference, - - - 13M 
 
 The Sleeve • I +' Elbow-Depth, 14 
 
 inebleeve. ^^ Hand-Circumference, - - - 12 
 
 6. Arm -Circumference, - - - - 15 
 
 7. Inside-Height, - . . _ 8>^ 
 
 8. Outside-Height. - - - - 12 
 
 The Measures for Vests. 
 
 Explayiatioyi. — The measures for waist-coats or vests, are taken the same; only 
 omitting the skirt-depth measure; and taking the measure over the form, disrobed of 
 the coat; or otherwise, the measures can be safely chosen or made from the coat-mea- 
 sures, by the practical cutter. It is well to take, as extra measures, the depth to the 
 opening; and, desired depths of front and back, etc. 
 
 The experienced cutter will trace the design sought, directly from the " mould ' ' 
 or fit of the coat-draft, to the desired degree of closeness or ease of fit; shaping the 
 design, entirely, and instantly, at will. Otherwise, draft by scales, as laid down in 
 the cuts; which are based here, as elsewhere, upon the unit of the mathematical-inch, 
 to the measures given. 
 
 The Measures for Pantaloons. 
 
 The measures for pantaloons, are so simple and easily seen from the cuts, that 
 we deem it entirely unnecessary to go into details, as regards taking them. We will 
 therefore make the following instructions suffice, viz. : 
 
 1. Knee-Depth. — From the bottom of the waist, at the side; just above the 
 hip-bone, down the outside, to the knee; and the 
 
 Outside -Depth. — From the same point where you began the measure, in the 
 above, to the desired depth at the outside. 
 
 2. Front- Depth. — From a point on a horizontal line through the first point 
 from which you began, at the centre and in front of the form, on a direct line down 
 the leg, to the desired depth. 
 
 3. Inside- Depth. — From the inside junction of the leg with the body, (holding 
 the tape-measure up firmly, by the square) down the inside leg-seam, to the desired 
 depth. 
 
 4. Waist- Circumference. — On a circumference line, around the waist. 
 
 5. Hip- Circumference. — On a circumference line, around the fullest part of the 
 hips. 
 
228 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 6. Thigh- Circumference. — On a circumference line around the thigh, horizon- 
 tal with the junction of the inside of the leg with the body. 
 
 7. The same — on the opposite leg. 
 
 8. The Diagonal. — From the exact point you started for the side-seam, down 
 underneath and through the junction of the inside of the legs with the body, up over 
 the hip, to the point from which you started. 
 
 9. Knee- Circumference. — On a horizontal circumference-line around the knee. 
 
 10. Bottom- Circumference. — On a horizontal circumference-line around the 
 bottom of the pants. 
 
 MEASURES FOR PRACTICE. 
 Pantaloons. 
 
 Inches. 
 
 ! Knee-Depth, ---... 23^ 
 
 and 
 Outside- Depth, --.--.-42 
 
 2. Front-Depth, ------- 42 
 
 3. Inside-Depth, ...---.22 
 
 4. Waist-Circumference, ------ 32 
 
 5. Hip-Circumference, ------ 38 
 
 6. Thigh-Circumference, ------ 24 
 
 7. Thigh -Circumference, -.-.-. 24 
 
 8. Diaognal, ------- ^4 
 
 9. Knee-Circumference, - -- - - -16 
 
 10. Bottom-Circumference, ----- 18 
 
 N. B. — It is not necessary to take double-measures, either in coats, vests, or 
 pantaloons; only where a noticeable difference exists; when both sides of the form 
 must be measured in each department, and drafted and traced separately; and, 
 accurately marked right and left. 
 
 *-9*^^ 
 
 ^^5;<5-» 
 
rrib^ 
 
 The International Method 
 
 OF 
 
 French, Prussian, English, and American 
 
 $ClWlflC fAILOKfKIMCIl^L^S, 
 
 FOR ALL KINDS AND STYLES 
 
 OF 
 
 BODY-DRAFTING, 
 
 WITH ANY 
 
 SljUARE OR INCH-RULE AND TAPE-MEASURE ALONE. 
 
 o/i\o 
 
 a> 
 
 229 
 
230 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PLATE XIX.-FIGURE LX. 
 
 International Coat, Sleeve, and Collar-Plate. 
 
UTILITY AND DECORATIVE ART. 23I 
 
 International Coat- Drafting. 
 
 PLATE XIX.— FIGURE LX. 
 
 INSTRUCTIONS. 
 
 1. Add 1^2 inches to the skirt-depth: Locate point i on paper or material, 
 that distance from the bottom or right-hand edge, and 4 inches from the front edge, 
 toward the opposite edge of the same. 
 
 2. Draw Hne A, at right angles with the front edge, from point i toward the 
 opposite edge, to the distance of % of the chest-circumference from point i ; at which 
 point, locate point 2. 
 
 3. Locate point 3 on Hne A, the distance of ]/2 of the blade-width from point 2, 
 toward point i. 
 
 4. Draw line B, at right angles with line A, from point 3 toward the top, to 
 the distance of the waist-depth from point 3 ; at which point, locate point 4. 
 
 5. Draw line C, at right angles with line B, from point 4 toward the opposite 
 edge, to the distance of }4, of the blade-width from point 4; at which point, locate 
 point 5. 
 
 6. Find the sum of the waist-depth, plus the skirt-depth : Draw line D, at right 
 angles with line C, from point 5 toward the bottom, to the distance of that sum of 
 depths from point 5 ; at which point, locate point 6. 
 
 7. Locate point 7 on line D, the distance of the back waist-depth from point 5, 
 toward point 6. 
 
 8. Extend line D, from point 5 toward the top, to the distance of the back- 
 height from point 5; at which point, locate point 8. 
 
 9. Find the difference between j'i of the chest-circumference and % of the 
 blade-width : 
 
 Extend line C, from point 4 toward the front, to the distance of that difference 
 from point 4; at which point, locate point 9. 
 
 ID. Find the sum of the waist-depth, plus the skirt-depth : Draw line E, at 
 right angles with line C, from point 9 toward the bottom, to the distance of that sum 
 of depths at which point, locate point 10. 
 
 11. Locate point 11 on line E, the distance of the front waist-depth from point 
 9, toward point 10. 
 
 12. Extend line E, from point 9, toward the top, to the distance of the front- 
 height from point 9; at which point, locate point 12. 
 
 13. Locate point 13 on line C, at a point which is one-sixth of the arm's-eye- 
 circumference from point 4, toward point 9. 
 
 14. Draw line F, at right angles with line C, from point 13 toward the top, to 
 the distance of }i of the arm's-eye-circumference from 13; at which point, locate 
 point 14. 
 
 15. Locate point 15 on line C, at a point which is % of the arm's-eye-circum- 
 ference from point 4, toward point 5. 
 
 16. Draw line G, at right angles with line C, from point 15 toward the top, to 
 the distanc of ^ of the arm's-eye-circumference from point 15; at which point, locate 
 point 16. 
 
 17. Locate point 17 on line G, the distance of yi of the arm's-eye-circumfer- 
 ence from point 15, toward point 16. 
 
 18. Locate point 18 on line G, equidistant from points 15 and 16. 
 
 19. Draw line H, at right angles with line G, from point 18 to line D; and 
 locate point 19, at the point of intersection of lines H and E. 
 
 20. Locate point 20 on line C, the distance of j/s of the neck-circumference 
 from point 5; toward point 15. 
 
232 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 21. Draw line I, at right angles with line C, from point 20 toward the top, to the 
 distance of the back shoulder-height from point 20; at which point, locate point 21. 
 
 22. Draw curved line J, from point 21 to point 8; as illustrated in the cut. 
 
 23. Locate point 22 on line C, the distance of }( of the neck-circumference 
 from point 9; toward point 13. 
 
 24. Draw line K, at right angles with line C, from point 22 toward the top, to the 
 distance of the front shoulder-height from point 22; at which point, locate point 23. 
 
 25. Indicate pointed line L, from point 12 to point 23; as illustrated in the cut. 
 
 26. Locate point 24 on line L, equidistant from points 12 and 23. 
 
 27. Indicate pointed line M, at right angles with line L, from point 24 toward 
 line K, to the distance of one-twelfth of the neck-circumference; at which point, locate 
 point 25. 
 
 28. Draw curved line N, from point 23, through point 25, to point 12; as illus- 
 trated in the cut. 
 
 29. Draw line O, from point 23, toward point 16, to the distance of }{ inch 
 less than the shoulder-depth; at which point locate point 26. 
 
 30. Indicate pointed line P, from point 26 to point 27; as illustrated in the cut. 
 
 31. Locate point 27, on line P, equidistant from points 26 and 14. 
 
 32. Indicate pointed line Q, at right angles with line P, from point 27, toward 
 line K, to ^i of the distance between points 17 and 16 from point 27, over line G; 
 at which point, locate point 28; as illustrated in the cut, 
 
 33. Indicate pointed line R, from point 14 to point 4. 
 
 34. Locate point 29, on line R, equidistant from points 14 and 4. 
 
 35. Indicate pointed line S, at right angles with line R, from point 29 toward 
 point 13, to a point equidistant from points 29 and 13; at which point, locate point 
 30; as illustrated in the cut. 
 
 36. Indicate pointed line T, from point 18 toward point 13, to the same dis- 
 tance, from point 18, as the distance (on line G), between points 16 and 17; at which 
 point, locate point 31 ; as illustrated in the cut. 
 
 37. Indicate pointed line U, from point 31 to point 4. 
 
 38. Locate point 32 on line U, equidistant from points 4 and 31. 
 
 39. Indicate pointed line V, at right angles with line U, from point 32 toward 
 point 15, to ^ of the distance between points 18 and 31; at which point, locate point 
 33 ; as illustrated in the cut. 
 
 40. Draw curved line W, from point 26 through 28, 14, 30, 4, and 33, to point 
 31 ; as illustrated in the cut. 
 
 41. Draw line X, from point 21, through point 17, to the distance of the 
 shoulder-depth from point 21 ; at which point, locate point 34. 
 
 42. Draw curved line Y, from point 34 to point 18; as illustrated in the cut. 
 
 43. Locate point 35 on line E, at a point which is }{ of the distance between 
 points II and 9, from point 9, toward point 11. 
 
 44. Draw line Z from point 5, through point 35, to a point which is i inch in 
 front of point 35 (or to any desired degree of curve, at the front); at which point, 
 locate point 36. 
 
 45. Draw curved line A", from point 11, through point 36, to point 12; as illus- 
 trated in the cut. 
 
 46. Draw line B", from point 1 1 to point 3. 
 
 47. Draw line C\ from point 3 to point 7. 
 
 48. Find the difference between the chest-circumference and the waist-circum- 
 lerence : Locate point 37 on line A, j{ of that difference from point 2, toward 
 point 3. 
 
 49. Draw line D", from point 19 to point 37. 
 
 50. Find ys. of the waist-circumference : Locate point 38, on line A, 33 of that 
 distance from point 37, toward point 3. 
 
 51. With a radius on the tape-measure, of the distance between points i and 2, 
 (over line A), from a centre-point in front of line E, common to points 18 and 38, 
 draw curved line E', from point 1 8 to point 38 ; as illustrated in the cut. 
 
UTILITY AND DECORATIVE ART. 
 
 233 
 
 52. Locate point 39 at the point of intersection of lines E" and Z. 
 
 53. With the same radius, and by the same means, rules, and principles, given 
 for drawing line E^ draw curved line F^ from point 31 to point 39; as illustrated in 
 the cut. 
 
 54. Locate point 40 on line A, the distance from point 38 toward point 3, which 
 is Yz the distance from point 2 to point 37, on line A. 
 
 55. With the same radius, and by the same means, rules, and principles, given 
 for drawing lines E^ and F'^ draw curved line G^ from point 39 to point 40; as illus- 
 trated in the cut. 
 
 56. Draw curved line H^ and F, from point 3 to point 4, with an equidistant 
 and symmetrical curve of 3^ of an inch respectively, at the greatest depth, from line 
 B; and as said lines are illustrated in the cut. 
 
 57. Locate point 41 on line B", at a point equidistant from points 11 and 3. 
 
 58. Locate point 42 on line B'*, Y^ of the distance between points 38 and 40 
 from point 41, toward point 11. 
 
 59. Locate point 43 on line B^ the same distance from point 41 toward point 
 3; as the distance between points 41 and 42, on the same line. 
 
 60. Indicate line J", at right angles with line A, from point 41 toward line Z, to 
 the distance of Yz of the waist-depth, from point 41. 
 
 61. Draw curved line K^ from the upper terminus of line J'\ to point 42; as 
 illustrated in the cut. 
 
 62. Draw curve line \J, from the upper terminus of line J', to point 43; as illus- 
 trated in the cut. 
 
 63. Draw line "W, from point 6, through point 10, to a point in front of point 
 ID, which is the distance of ^ the distance between points 35 and 36, from point 10; 
 at which point, locate point 44. 
 
 64. Draw line N", from point 11 to point 44. 
 
 65. Lidicate and draw line O ', at right angles with line E, from point 11 to 
 line D; as illustrated in the cut. 
 
 66. Locate point 45 at the point of intersection of lines O^ and D^ when line 
 D^ is extended toward the bottom, as it should be; and as illustrated in the cut. 
 
 67. Locate point 46, at the point of intersection of lines E'^ and O', when line 
 E^ is extended toward the bottom, as it should be; and as illustrated in the cut. 
 
 68. Locate point 47 at the point of intersection of lines G^ and 0'\ when line 
 G* is extended toward the bottom, as it should be ; and as illustrated in the cut. 
 
 69. Locate point 48, the distance of Y of" an inch above line O", and }^ inch 
 from line E\ toward line G"; as illustrated in the cut. 
 
 70. Draw line P^ from point 48 to point 46. 
 
 71. Draw line Q", at right angles with line A, from point 48 to line M^, and 
 locate point 49, at the intersection of lines Q^ and M". 
 
 72. Locate point 50 on line M''', ^ inch from point 49, toward point 6. 
 
 73. Indicate pointed line R^ from point 46 to point 50. 
 
 74. Locale point 51 the distance of ^ inch above line O' and ^ inch from line 
 G^ toward line E%- as illustrated in the cut. 
 
 75. Draw line S", from point 47 to point 51. 
 
 76. Locate point 52 on line M", equidistant from points 49 and 6. 
 
 77. Draw line T^, from point 51 to point 52. 
 
 78. Locate point 53 on line M'% ^ inch from point 52, toward point 50. 
 
 79. Indicate line U^ from point 47 to point 53. 
 
 80. Indicate line V^ from point 3, to point 47. 
 
 81. Draw curved line W^ from point 11, through an imaginary point (on a di- 
 rect perpendicular line through point 3), equidistant from lines O'^ and A, to point 
 47, as illustrated in the cut ; which process, completes the entire body and skirt of 
 the coat; as the various parts appear and are illustrated, in the cut. Q. E. D. 
 
 N. B. — "The above draft, can, in its various parts, be traced upon the linings; 
 or the parts, cut out and used as patterns; or otherwise, can by the same principles 
 be drafted, in its various parts, directly upon the goods. 
 
234 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 2. All kinds and possible styles of body-garments, can instantly be drafted by 
 the above principles for obtaining the "mathematical mould," or fit of the form; — 
 which, when obtained, can be changed, at will (or according to the dictates of fashion), 
 to any desired degree of closeness or ease, in the garment; and the same applies 
 also, to the location, number, and style of the seams; the principles being entirely 
 independent of either, as well as the shape or design of the skirt. 
 
 The Sleeve. 
 
 PLATE XIX.— FIGURE LXI. 
 
 INSTRUCTIONS. 
 
 1. Add I inch to the extreme-depth : 
 
 Locate point i, that distance from the bottom or right-hand edge, and i inch 
 back from the front edge of the paper or material. 
 
 2. Draw line A, at right angles with the front edge, to the distance of ^i of the 
 arm's-eye-circumference from point i, toward the opposite edge ; at which point, 
 locate point 2. 
 
 3. Draw line B, at right angles with line A, from point 2 toward the right, to 
 the distance of }( inch less than the elbow depth from point 2 ; at which point, locate 
 point 3. 
 
 4. Find the difference between }^ of the extreme-depth and the elbow-depth ; 
 subtract this, from the extreme-depth: Then draw line C, at right angles with line 
 A, from point i toward the right, to that distance from point i ; at which point, lo- 
 cate point 4. 
 
 5. Locate point 5, on line C, the distance of >^ the extreme depth from point i ; 
 toward point 4. 
 
 6. Draw line D, from point 3 toward point 5, to the distance of }4 an inch 
 more than ^ of the elbow circumference from point 3; at which point, locate point 6. 
 
 7. Draw line E, from point 6 to point 4. 
 
 8. Draw line F, at right angles with line E, from point 4 toward the opposite 
 edge, to the distance of }2 of the hand-circumference, from point 4; at which point, 
 locate point 7. 
 
 9. Draw line G, from point 3 to point 7. 
 
 10. Locate point 8 on line D, j4 an inch from point 3, toward point 6. 
 
 11. Draw line H, from point 8 to point 7. 
 
 12. Draw line I, from point 6 toward point i, to the distance of the inside 
 height from point 6; at wnich point, locate point 9. 
 
 13. Locate point 10 on line I, 3^ of the distance between points 9 and 6 (on 
 line I) from point 9, toward point 6. 
 
 14. Draw line J, at right angles with line I, from point 10 to line B. 
 
 15. Subtract the distance between point 10 and line B — measuring over line J 
 — from the arm-circumference : Locate point 11, on line J, the distance of that dif- 
 ference from point 10. 
 
 16. Draw line K, from point 8 through point 11, to the distance of the outside 
 height from point 8; at which point, locate point 12. 
 
 17. Indicate line L, at right angles with line B, from point 12 to line B; and 
 locate point 13, at the point of intersection of lines L and B. 
 
 18. Extend line L, by indication, from point 12 toward line C, to the distance 
 of ^ of the arm's-eye-circumference from point 13; at which point, locate point 14; 
 as illustrated in the cut. 
 
 19. Indicate line M, at right angles with and from line A, through point 14, to 
 the distance of ^ of the arm's-eye-circumference from line A; at which point, locate 
 point 15; as illustrated in the cut. 
 
UTILITY AND DECORATIVE ART. 235 
 
 20. Draw curved line N, from point 12 through point 15, to point 9; as illus- 
 trated in the cut. 
 
 21. Locate point 16, on line A, ^3 of the distance between points i and 2, from 
 point 2 toward point i . 
 
 22. Draw curved line O, from point 13, through points 16 and 14, to point 9 ; 
 as illustrated in the cut. 
 
 N. B. — This draft can, also, be eliminated by tracing its parts and using the pat- 
 terns ; or otherwise, by the thoughtful student, can, by applying the same principles 
 separately to each part, be drafted in each part directly upon the goods; by the 
 same construction lines being used, to each part. 
 
 The Collar. 
 
 PLATE XIX.-FIGURE LXII. 
 
 1. Locate point i, on the paper or material, ^ inch from the right-hand 
 edge, and ^ inch from the front edge, toward the opposite edge, 
 
 2. Draw and indicate line A, at right angles with the front edge, from point 
 I toward the opposite edge, to ^ of the desired circumference-depth of the collar; 
 at which point, locate point 2. 
 
 3. Draw line B, at right angles with line A, from point i toward the top, to 
 the desired full-depth or width of the collar, at the back; at which point, locate point 3. 
 
 4. Locate point 4, on line B, the desired distance from point i, at which you 
 wish the crease-line of the collar. 
 
 5. Indicate line C, at right angles with line A, from point 2 toward the top, to 
 the desired full-depth or width of the collar, at the front ; at which point, locate 
 point 5; as illustrated in the cut. 
 
 6. Locate point 6, on line C, the distance of j4 of the neck-circumference from 
 point 2, toward point 5. 
 
 7. Locate point 7, on line A, the distance of yi of the neck-circumference from 
 point I ; toward point 2. 
 
 8. Draw curved line D, from point 7 to point 6; as illustrated in the cut. 
 
 9. Indicate line E, at right angles with line C, to the distance of j4 inch from 
 point 5 — toward line B; at which point, locate point 8; as illustrated in the cut. 
 
 10. Indicate pointed line F, from point 3 to point 8; as illustrated in the cut. 
 
 11. Draw curved line G, from point 3 to point 8, so that its extreme depth of 
 curve, at the centre, will be over a point ^ inch below line F; as illustrated in the 
 cut. 
 
 12. Draw line H, from point 8 to point 6. 
 
 13. Indicate line I, at right angles with line B, from point 4 to the point of in- 
 tersection of lines I and D. 
 
 Q. E. D. 
 N. B. — All kinds and styles of collars may be drafted to measure, from these 
 construction lines and principles; and shaped at will, and in accordance with the de- 
 mand of fashion. We take the crease-line as a basis, passing at the corner of the 
 shoulder-seam, and reaching the lapel-seam higher or lower, in the proportionate 
 degree that the coat is buttoned higher or lower. 
 
236 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 The International Method of French, Prussian, English, and American 
 Scientific Tailor. Principles for ail Kinds and Styles of 
 
 PANTALOON-DRAFTING 
 
 With any Square or Inch-Rule and Tapemeasure Alone. 
 
 PLATE XX.-FIGURELXIII. 
 
UTILITY AND DECORATIVE ART. 237 
 
 The International Method of Pantaloon- Drafting. 
 
 PLATE XX.-FIGURE LXIII. 
 
 INSTRUCTIONS. 
 
 1. Add I inch to the outside-depth ; Locate point i on the paper or material, 
 that distance from the bottom or right-hand edge, and the distance of yi of the hip- 
 circumference from the front, toward the opposite edge. 
 
 2. Indicate line A, at right angles with the front edge, from point i toward the 
 opposite edge, to the distance of }i of the waist-circumference from point i ; at which 
 point, locate point 2. 
 
 3. Locate point 3 on line A, ]^ of the distance between points i and 2 from 
 point I, toward point 2. 
 
 4. Indicate the extension of line A, from point 2, toward the opposite edge, to 
 I inch more from point 2, than the distance between points i and 3; at which point 
 or terminus, locate point 4. 
 
 5. Indicate line B, at right angles with line A, from point i toward the bottom, 
 to the distance of the outside-depth, from point i ; at which terminus, locate point 5. 
 
 6. Draw line C, at right angles with line B, from point 5 toward the opposite 
 edge, to the distance of ^3 of the bottom-circumference; at which terminus, locate 
 point 6. 
 
 7. Extend line C, from point 6, toward the opposite edge, to }^ of the dis- 
 tance between points 5 and 6 from point 6; at which terminus, locate point 7. 
 
 8. Locate point 8 on line C, equidistant from points 6 and 7. 
 
 9. Extend line C, from point 5 toward the front, to the same distance from 
 point 5, as the distance between points 6 and 7; at which terminus, locate point 9. 
 
 ID. Locate point 10 on line C, equidistant from points 5 and 9. 
 
 11. Locate point 11 on line B, the distance of the knee-depth from point i, 
 toward point 5. 
 
 12. Indicate line D, at right angles with line B, from point 11 toward the front 
 edge, to the distance of }i of the knee-circumference from point 11 ; at which ter- 
 minus, locate point 12. 
 
 13. Locate point 13 on line D, equidistant from points 11 and 12. 
 
 14. Locate point 14 on line D, equidistant from points 12 and 13. 
 
 15. Indicate the extension of line D, from point 11 toward the opposite edge, 
 to the distance of ^ inch more than % of the knee-circumference from point 14; 
 at which terminus, locate point 15. 
 
 16. Locate point 16 on line D, the same distance from point 15 toward point 
 II, as the distance between points 12 and 14. 
 
 17. Locate point 17 on line B, the distance of the inside-depth from point 5, 
 toward point i. 
 
 18. Indicate line E, at right angles with line B, from point 17, toward the 
 front, to the distance of one-fifth of the thigh-circumference, from point 17; at which 
 terminus, locate point 18. 
 
 19. Locate point 19 on line E, equidistant from points 17 and 18. 
 
 20. Locate point 20 on line E, equidistant from points 18 and 19. 
 
 21. Locate point 21 on line E, equidistant between points 19 and 20. 
 
 22. Indicate the extension of line E, in the opposite direction from point 17, 
 to the distance of yi inch more than yi of the thigh-circumference, from point 
 21; at which terminus, locate point 22. 
 
 23. Locate point 23 on line E, i inch from point 22, toword point 17. 
 
238 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 24. Locate point 24 on line B, at a point which is ^i of the distance between 
 points I and 17 from point 17, toward point i. 
 
 25. Indicate line F, at right angles with line B, from point 24 toward the front, 
 to ^2 of the distance between points 17 and 18 from point 24; at which terminus, 
 locate point 25. 
 
 26. Locate point 26 on line F, equidistant from points 24 and 25. 
 
 27. Locate point 27 on line F, equidistant from points 25 and 26. 
 
 28. Indicate the extension of line F, in the opposite direction from line B, to 
 the distance of ^ inch more than }( of the hip-circumference from point 27; at 
 which terminus, locate point 28. 
 
 29. Locate point 29 on line F, i inch from point 28; toward point 24. 
 
 30. Locate point 30, on line A, i inch from point 2 toward point i. 
 
 31. Locate point 31, on line B, }4 inch from point i toward point 24. 
 
 32. With the short arm of the square toward the front, and the double-corner 
 on point 4 and the outside edge of the long arm on point 23, draw line G, from point 
 4 toward the front, to i inch more than }{ of the waist-circumference from point 4; 
 at which terminus, locate point 32. 
 
 33. Locate point 33 on line G, yi of the distance between points 4 and 32. 
 
 34. Locate points 34 and 35, on line G, % inch each respectively, from point 
 33; and in opposite directions, from point 33. 
 
 35. Indicate line H, at right angles with line G, from point 33 toward line F, 
 to j4 the distance between points i and 17, from point 33; at which terminus, locate 
 point 36. 
 
 36. Now draw the following lines, from and to the following given points, in 
 the following order, and as said lines and points are illustrated in the cut, viz: 
 
 Line I, from point 35 to 36; J, from 34 to 36; K, from 31 to 30; L, from 25 to 
 32; M, from 25 to 18; N, from 31 — through 26 — to 20; O, fiom 26 to 19; P, from 
 18 — through 12 — to 9; Q, from 20 — through 13 — to 10; R, from 19 to 13; S, from 
 4, through 28, 23, and 16, to 7; T, from 30, through 29, 22, and 15, to 6; U, from 
 19 to 6. 
 
 O. E. D. 
 
 N. B. — I. The indicated lines V and W, show the method of applying the 
 proof "Diagonal-measure." Line A, may be used at option, instead of line K. In 
 very full waist-measures, use indicated line X, for that part of line T between points 
 22 and 30. In very small waists, draw line L through point 3; and arrange for the 
 necessary changes elsewhere, effected thereby. Line Y, shows the "crescent-cut" 
 at the bottom. 
 
 2. All possible kinds and styles of pantaloons can quickly and accurately be 
 drafted from these same construction lines, and by the same principles. 
 
 3. Many prefer to make the compound-draft, and preserve it; — as is also done 
 in coat-drafting — for the special form to whose measures it is drafted; and simply 
 tracing the parts separately upon pattern-paper, they use said patterns to mark or 
 chalk the fit npon the goods — cutting the patterns the exact fit, and allowing all 
 seams and extensions for finish, everywhere. 
 
 4. To draft directly upon the goods — for each part by itself — use the same con- 
 struction lines to each part separately, as they are used in the compound draft, — lo- 
 cating and numbering all the points, as in the compound draft — and then only using 
 the necessaJy points for that particular piece, and drawing only the necessary lines 
 through said points; and as each is illustrated, separately and distinctly, from the 
 others, in the compound-draft. All of which also applies to coat, vest, and overcoat- 
 drafting. The careful and thoughtful student will find the application of these prin- 
 ciples exceedingly simple, perfect and exhaustive; whether as applied in either com- 
 pound or direct-drafting. 
 
 In the following pages we give a number of styles; in the various departments 
 which, while illustrating styles for the Actual-Measure-method, also are arranged, for 
 those who wish to do so, to cut the same by the Scale-Method. 
 
UTILITY AND DECORATIVE ART. 239 
 
 Overcoats. 
 
 Overcoats are drafted precisely by the same principles, as the undercoat; only 
 that the measures are increased in the following ratio, and drafted to the desired 
 style, viz: 
 
 Inches 
 
 Neck-Circumference ...--... Increase y^ 
 Shoulder-Depth ....--..- 
 
 Arm's-Eye-Circumference _--.--. 
 Chest-Circumference .---...- 
 
 Waist-Circumference -------- 
 
 Hip-Circumference --------- 
 
 I to 2. 
 I to 2. 
 
 I to 2. 
 
 Lapels. 
 
 Lapels may be cut separate from the forepart, or in one piece with the same. 
 When cut separate, cut the seam joining with the forepart, straight. The width de- 
 pends entirely upon fashion. Perhaps the best method is, to bring the lapel -seam 
 back to the button line — if fashion does not forbid. From the following plates and 
 styles the thoughtful student will have no trouble in thoroughly mastering the art, in 
 all its details and practical applications. 
 
240 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PLATE XXI.-FIGURES 70-81. 
 
 EXPLANATION. 
 
 Figure 70, represents the Method of Measureing; Figure 7 1 , the Pantaloon-Draft; 
 Figures 72, 73, and 74. the inside, the outside, and the part of the outside containing 
 the buttons, respectively, of a pair of long gaiters ; Figures 75 and 76, two different 
 styles of short gaiters, respectively ; Figures 77, 78, 79, and 80, four different fronts of 
 the vest, as shown in its draft in Figure 81, showing the back and front. Draft the 
 actual measures, per instructions given for each respective garment; or, in the above 
 ratios, by the "Scale-System," from the respective construction lines for each, as is 
 easily seen ; and, as illustrated in the cuts. 
 
UTILITY AND DECORATIVE ART. 
 
 PLATE XXII. 
 
 241 
 
242 THE ENCYCLOPEDIA OF GARMENT-MAKInA, 
 
 PLATE XXII.-FIGURES 82-90. 
 
 EXPLANATION. 
 
 Figures 82, 83, 84, 85, 86, 87, 88, and 89, of Plate XXII, show respectively, 
 eight different styles of vest-fronts of one and the same back, as shown in Figure 90. 
 These styles can be drafted from the actual measures, per instructions given for body- 
 drafting; or, can be drafted to the ratios given *>er the "Scale-Method." 
 
 
UTILITY AND DECORATIVE ART. 
 
 243 
 
 PLATE XXIII. 
 
 3»f4 ^\^t 
 
 V% 1 
 
244 
 
 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 EXPLANATION. 
 
 PLATE XXIII.-FIGURES 91-100. 
 
 Figures 91, 92, 93, 94, and 95, respectively represent the front, the back, the 
 skirt, the sleeve and the collar, of a stylish dress-coat. And Figures 96, 97, and 98, 
 show still a different style of dress-coat; of which, figures 99 and 100, represent two 
 different styles of skirts. 
 
 Plan of Measure-Book for Ladies' Measures. 
 
 Name, 
 
 Residence, 
 
 Materials, 
 
 Garments, 
 
 To Fashion-Plates, Nos Page . .... 
 
 Time for Completion, day,. 
 
 Price for Materials Furnished, 
 
 Price for Manufacturing, 
 
 .of., 
 
 .M. 
 
 ...A. D. 188 Number. 
 
 .the A. D. 188 
 
 Total, . 
 
 
 TTTV. TSnriV-Mf iCTTTJt'C! 
 
 The Close 
 or 
 
 Standard 
 Measures 
 
 The Increased, or Coat- 
 Measures. 
 
 
 For all 
 
 Kinds of 
 
 Goods. 
 
 Medium 
 Weight 
 Goods. 
 
 Heavy 
 Weight 
 Goods. 
 
 Very 
 Heav'y 
 Weight 
 Goods. 
 
 
 Inches. 
 
 Inches. 
 
 Inches. 
 
 I.VCHES. 
 
 1. I^eck-Cir 
 
 2. Skirt-Dei 
 
 3. Blade-Wi 
 
 4. Chest-Cir 
 
 5. Waist-De 
 
 6. Back-Wa 
 
 7. Back-He 
 
 8. Front-Wj 
 
 9. Front-He 
 
 10. Arm's-E) 
 
 11. Back-She 
 
 12. Front-Sh 
 
 13. Shoulder 
 
 14. Bust-Circ 
 
 15. Waist-Cii 
 i6. Hip-Dep 
 17. Hip-Circi 
 
 :umference, 
 
 
 
 
 
 5th, 
 
 
 
 1 
 
 dth, 
 
 
 
 
 cumference, 
 
 
 
 
 pth, 
 
 
 
 
 
 ist-Depth, 
 
 
 
 
 
 ght, 
 
 
 
 
 
 list-Depth 
 
 
 
 
 
 ight, 
 
 
 
 
 
 ^e-Circumference 
 
 
 
 
 
 )ulder-Height 
 
 
 
 
 
 oulder-Height, 
 
 
 
 
 
 Depth, 
 
 
 
 
 
 um*^erence, 
 
 
 
 
 
 "cumference, 
 
 
 
 
 
 th, 
 
 
 
 
 
 imference, 
 
 
 
 
 
 
 r I. Extreme-Depth, 
 
 
 
 
 
 
 2. Arm's-Eye-Circumference, 
 
 
 
 
 
 
 3. Elbow-Circumference, 
 
 
 
 
 
 18. Sleeve : - 
 
 4. Elbow-Depth, 
 
 
 
 
 
 5. Hand-Circumference, 
 
 
 
 
 
 
 6. Inside-Height, 
 
 
 
 
 
 
 7. Arm-Circumference 
 
 
 
 
 
 L S. Oulside-Height, 
 
 
 
 
8 'B m , PLATE XXIV 
 
 17V2 
 
 mi . 
 
 17% 
 
 ffi_jiM 
 
 M^fe— -r 
 
246 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PLATE XXIV.-FIGURES 101-107. 
 
 EXPLANATION. 
 
 Figures loi and 102, of Plate XXIV, respectively represent the front and skirt, 
 of a single-breasted Frock-Coat; the back, sleeve, collar, etc., of which are drafted 
 the same, and by the same principles, as the Dress-coat. Figures 103 and 104, 
 respectively represent the front and skirt, of the open walking-coat. The principle 
 and shape of the backs, are all the same — only differing in lengths, to suit the skirts, 
 chosen. Figure 105, shows the form of the front of a neat jacket, of the register 
 style ; the back, is the same as for any other style — only, made suitable in length; 
 which, pertains to all the cuts in the above plates, unless stated otherwise. Figures 
 106 and 107, represent the front and skirt of the "English-Jacket." 
 
 *-9t^<e^'^ r > ' «<5*<-» 
 
UTILITY AND DECORATIVE ART. 
 
 PLATE XXV. 
 
 247 
 
248 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 PLATE XXV.-FIGURES 108-116. 
 
 EXPLANATION. 
 
 Figures 108 and 109 of Plate XXV, represent respectively the front and the 
 back, of the New York-Jacket. Figures no and in, represent the front and back 
 of the Pea-jacket or "Reefer." Figures 112, 113, and 114 represent the front, skirt, 
 and sleeve of a style of Livery, or Uniform-Coat ; as also do Figures 115 and 116. 
 
 »-^^^-^''^ " ^ '^■^5«^ 
 
I 
 
 UTILITY AND DECORATIVE ART. 
 
 PLATE XXVI. 
 
 249 
 
 «• S?^ 
 
 EXPLANATION. 
 
 i_. Figures 117, 118, 119 and 120, of Plate XXVI, show the front and back of 
 the, single-breasted Sack-Overcoat; and the front and collar of the double-breasted 
 style. Figure 121 shows the Half- Circle-cloak. Figure 122, the Three-Fourth- 
 Circle-Cloak. Figure 1 23, the Full-Circle or Spanish-Cloak ; as well as the various 
 sizes of the Spanish Cape. 
 
250 THE ENCYCLOPEDIA OF GARMENT-MAKING, 
 
 Surtout-Overcoats. 
 
 2. Surtout-Overcoats, are cut on the same principle as Frock-coats; only, 
 increasing the measures in the ratios given; and following the styles, outside of the 
 fit, at will, or according to fashion and good taste. 
 
 3. In placing the patterns upon the goods, always begin at the bottom and 
 place the largest piece first, then the second; and continue thus, to the end; arranging 
 them, in the most economical way. This rule, knows no exception. It is true of all 
 garments. 
 
 ^-^^t^f^' f ^ '*<«^f«if-* 
 
 Received of M resident of. County of 
 
 State of. ,this day of. A. D. 188 , the 
 
 full sum of Five Dollars, for the right of personal possession and individual and personal use, 
 only, of one copy of "The International Encyclopedia of Garment-Making, Artistic 
 Needle- Work, Utility, and Decorative Arts," etc., the receipt of which is hereby 
 
 acknowledged by the said 
 
 It is furthermore distinctly understood, mutually acknowledged, and declared hereby, 
 that said money is paid and accepted, only, for and in consideration of the possession of said 
 Book and said right ; for which this said receipt, as printed within said Book, shall be the 
 mutual and sufficient voucher. 
 
 Author and Pro'p. 
 
 Per 
 Agent. 
 
UTILITY AND DECORATIVE ART. 
 
 251 
 
 Plan of Measure-Book for Gentlemen's Measures. 
 
 Name, 
 
 Residence, . 
 Materials,.., 
 
 Garments, 
 
 To Fashion-Plates, Nos Page. 
 
 Time for Completion, day,.. 
 
 Price for / Materials Furnished, 
 
 I Manufacturing, 
 
 .of. A. D., 188...., Number. 
 
 ..M the A. D., 188 
 
 Total, . 
 
 THE COAT AND VEST MEASURES. 
 
 Neck-Circumference 
 
 Skirt-Depth, 
 
 Blade-\¥idth, 
 
 Chest-Circumference, 
 
 Waist-Depth 
 
 Back-Waist-Depth, 
 
 Back-Height, 
 
 Front-Waist- Depth, 
 
 Front-Height, 
 
 Arm's- Eye-Circumference, . 
 
 Back-Shoulder-Height, 
 
 Front-Shoulder-Height, 
 
 Shoulder-Depth, 
 
 Waist-Circumference, . 
 
 r 
 
 15. Sleeve : -| 
 
 16. Pantaloons: - 
 
 Extreme-Depth, 
 
 Arm's-Eye-Circumference, . 
 
 Elbow-Circumference, 
 
 Elbow-Depth, 
 
 Hand-Circumference 
 
 Arm's-Circumference, 
 
 Inside-Height, 
 
 Outside-Height, 
 
 Knee-Depth 
 
 and 
 
 Outside-Depth,.... 
 
 Front-Depth , 
 
 Inside-Depth, 
 
 Waist-Circumference, .. 
 
 Hip-Circumference, 
 
 Thigh-Circumference, . . 
 
 Thigh-Circumference, .. 
 
 Diagonal , 
 
 Knee-Circumference,... 
 
 Bottom-Circumference. 
 
 i: 
 
 The Close 
 
 or 
 
 Standard 
 Measures 
 
 For all 
 Kinds of 
 Goods. 
 
 Inches. 
 
 The Increased Mea- 
 sures for Overcoat 
 Cutting. 
 
 For 
 Heavy 
 Weight 
 Goods. 
 
 Inches. 
 
 L 10. 
 
 For Very 
 Heavy 
 Weight 
 Goods. 
 
 Inches. 
 
0^. 
 
 APR -i) 1^':2 
 
 '/7 
 
LIBRARY OF CONGRESS 
 
 .^^ 
 
 Jl^m.