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ELEMENTS 
 
 GARMENT CUTTING, 
 
 TOQETHEU WITH 
 
 PRACTICAL HINTS TO CUTTERS; 
 
 A CHAPTER ON PROBABLE FAULTS; OPTICAL ILLUSIONS IN DRAFTING; ETIQUETTE 
 
 OF THE CUTTING-ROOM; EXPLANATIONS OF MADISON'S RATIONAL 
 
 SYSTEM; ECONOMY IN CUTTING; MAKING; HOW TO ALTER; 
 
 ANECDOTES OF CUTTERS, TAILORS, AND TAILORING: 
 
 AND AN APPENDIX, CONTAINING COPIOUS EXTRACTS FROM THE 
 CELEBRATED WORKS OP THE AUTHOR'S FATHER. 
 
 f 
 
 /-^ , By J. O. MADISON. 
 
 4- ■' i? 
 
 HARTFORD, CONN.: 
 THE CASE, LOCKWOOD & BRAINARD COMPANY, PRINTERS. 
 
 1878. 
 
 X 
 

 Copyright 1878, 
 
 BY 
 
 The Case, Lockwood & Brainard Company. 
 
 
 A 
 
FACTS ABOUT THIS BOOK. 
 
 1. It is entirely unlike any other work in matter, manner, and purpose. 
 
 2. It is the largest book ever published on the subject of garment cutting. 
 
 3. It is not piiblished in the interest of any system. 
 
 4. It thoroughly explains every principle empjit^ed in measuring and drafting. 
 
 5. It illustrates all the faults to which garments are liable, explains their causes 
 and how to discover, avoid, and remedy them. 
 
 6. It expounds in a plain, comprehensive manner the peculiarities of deformities, 
 and renders it as easy to fit a hunchback as an Adonis. 
 
 7. It minutely details a vast number of devices successfully employed by eminent 
 cutters to assist in producing style and fit. 
 
 8. It instructs the cutter in regard to his duties, rights, and privileges, and gives 
 valuable rules for his deportment. 
 
 9. It contains a large number of amusing and instructive anecdotes and incidents 
 connected with the craft, which are of peculiar value to every cutter who has a fondness 
 for, and is proud of his profession. 
 
 10. It contains explanations of coat, vest, and pantaloon systems (worth |40), 
 which have no equals in simplicity or accuracy, which require only the inch tape and 
 common square. The coat system is a self-balancing, shoulder measure, requiring the 
 measures, ten only, to be taken over the vest. 
 
 11. It will enable any jour, to become a successful cutter with a little study and 
 practice. 
 
 12. It contains a history of the late Otis Madison's professional career. 
 
 13. It illustrates how to save cloth, enabling the cutter to cut a suit out of from 
 six to six and a half yards of cloth, instead of using from seven to seven and a half, as 
 is generally done. 
 
 14. It contains copious extracts from the works of the late Otis Madison, the 
 author's father. 
 
 15. It aims to elevate the craft to a scientific profession, and to make the cutter, 
 in the highest sense of the word, an artist. 
 
 16. It contains aljout 150 original engravings. 
 
 (iii) 
 
17. Among the engraviugs, less than ten are appropriated to the system. The 
 rest are applicable to any and all systems. 
 
 Tlie engravings in this book were made by John L. Connelly <fc Co., designers and 
 engravers on wood in all its branches, 248 Washington street, opposite the old Herald 
 building, Boston, Mass. 
 
PREFACE. 
 
 I have finished a difficult task, and it is with a feeling of relief that I 
 now attempt to write a jjreface. 
 
 There is not much that I ^\^sh to say, and I am not an admirer of long 
 prefaces ; therefore this portion of my work will not occupy much space. 
 
 It has been my endeavor to treat upon nothing that was not of real 
 importance, or that I did not thoroughly understand. 
 
 I am confident that I have been accurate, and hope that I have been 
 lucid. 
 
 I believe that I have produced a work which is of real value to every 
 cutter which will stand the test of time, and become a standard text-book. 
 
 I have denounced no man's teachings, belittled no system. I desire my 
 systems and my book to stand upon their o'wn merits. 
 
 Hoping that the first may be thoroughly tested, and the second carefully 
 studiedj I remain^ sincerely youi-s, 
 
 THE AUTHOR 
 
 (3) 
 
INTEODUCTION. 
 
 Upon the science and art of garment cutting there has never been written 
 a work of mucli practical value to the profession. 
 
 Hundreds of books and pamphlets have been published, but most of 
 them, though containing a few valuable hints and some little information, have 
 been very limited in their scope. Nearly all have been chiefly devoted to the 
 explanation of some system, which, in the author's opinion, was the ne phis 
 nltra of excellence. 
 
 On the subject of cutting outside of all systems, on the science itself and 
 the laws which govern it, there has been little or nothing written. 
 
 I propose to make this work exhaustive, to make it a w^ork Avhich every 
 cutter will find indispensable (no matter by what system he may draft), a 
 work which will be to the entire profession as adaptable and as valuable as a 
 standard work on rhetoric to a writer, no matter what peculiar style he may 
 adopt. 
 
 I believe myself qualified to produce such a work. My father for over 
 forty years was regarded as the most scientific man in the trade. He did 
 more for our business than any other man. He first introduced the shoulder 
 measures, and gave to the trade the first work on cutting that had any scientific 
 claims. 
 
 He was a man of extraordinary ability, classical education, vast experience, 
 and matchless taste. 
 
 Cutting was the study of his life, and as every cutter, outside of breast- 
 measure fossils, employs the principles upon which his system was based, he 
 may well be called (as he is very generally, and as he should be universally), 
 the Father of the trade. 
 
 He did not teach me to cut. I learned it from him as a child learns to 
 talk. 
 
 (4) 
 
When I was a mere boy I could draft imderstandingly and well. 
 
 Cutting is an instinct witli me, and under my father's tuition I was 
 prepared to study deeper into the science, and to grasp in my mind the subtle 
 laws which puzzle so many of our first artists, and reduce them to writing and 
 diagrams Avliich ^vill render them as plain to all as they are to myself. 
 
 These laws are immutable, and to produce a good garment, whether it is 
 required to be loose or tight, and whatever the style, they nuist be observed, 
 and when observed, will invariably produce a garment graceful and excellent 
 in fit. 
 
 Cutting requires mechanical skill and taste of a high order. A man 
 deficient in these qualities can no more be a successful cutter than a mute can 
 be an orator. 
 
 This book ^Yill be useful to, and appreciated by, only those who have 
 talent for the profession, and to such only do I address myself. 
 
 I do not claim that I can make a cutter of every one. I have no 
 sympathy -with those quacks ^vho attempt to convince carpenters and shoe- 
 makers that they can become cutters after a few weeks of study. 
 
 I have only contempt for those ignorant, egotistical teachers of systems ' 
 who undertake to turn out finished cutters in a month ; Avho advertise in 
 execrable grammai- and with disgusting bombast that there is nothing easier 
 than to produce a good-fitting coat by using the system they have for sale. 
 
 There are many who succeed in making a great deal of money by loud 
 and persistent talk of reform, who are so contemptible in soiil that they bleed 
 every cutter they can of a few dollars for a set of patterns that cannot fail to 
 produce a fit, while at the same time they insult their patrons and strike a 
 deadly blow at the fair valuation of a cutter's services, by proclaiming that 
 cutting is so simple and easy that it can be done as well by a canal-driyei- as 
 by an old expeiienced cutter, and that cutters, therefore, ai-e perpetrating a 
 gigantic fraud upon those who employ them, by demanding better Avages than 
 a common clerk or a stupid blacksmith's striker receives. 
 
 The reform they advocate is retrogressive; they propose to carry the 
 trade back to what it was in the days of our grandfathers, and so put it upon 
 the level of dress-making. 
 
 They decry drafting and advocate iJatterns ; this they call reform. Biit 
 
fortunately for the trade, cutters are not all unsophisticated, and do not, many 
 of til em, become victims. 
 
 This is sucli refoi-m as it would be for architects to design nothing ne\v, 
 but, if a building is required to be constructed, to build it according to some 
 old design of doubtful excellence. 
 
 Such reform would ruin our ti-ade, and reduce it to the level of clothes- 
 pin making. 
 
 They cry i-eform, and urge that cutting should be conducted in the manner 
 of dress-making, to wit : measm'e your client, cut your gaiinent by their pat- 
 terns, which ahoays 'produce a fit, and, confident that your gannent is correctly 
 cut, and can need no alteration, tnj it on once or twice to see tohat alterations 
 are required. 
 
 All who advocate such reform as this are either dishonest or grossly 
 ignorant, and many of them are both. 
 
 The only reform in cutting that can receive encouragement fi-om honest 
 and skillful cutters, is a reform that simplifies and secures accuracy in measur- 
 ing and di'afting. 
 
 This reform I strongly advocate, and I have almost invariably found that 
 even those cuttei's who use the most complicated systems, who strap and harness 
 a customer as though he were a horse, ai'e as much in favor of it as myself, and 
 only adhere to their old tortuous methods because they have not met with good 
 success in the use of simpler systems. 
 
 In cutting a coat only a few measures are needed, and they can be cor- 
 rectly taken only with a tape measui'e. 
 
 Give me a man's height, the length of his ann, his breast and shoulder 
 measures, and let me glance at him, and I will cut a coat that will fit him 
 properly. 
 
 The measures required for a coat can be taken in less than a minute, and 
 the draft can be easily completed in less than five. 
 
 I have cut beside eminent cutters who used patterns, more because they 
 fancied it saved time to do so than becaiise they believed it a better method 
 than to draft, and I have always been able to make my draft and cut my gar-" 
 ment with ease -while they were applying their measures, making their varia- 
 tions, and cuttiuff theirs. 
 
This pattern business is a fraud. It saves no time, it wastes cloth, it is 
 stereotyped, and consetpiently debars improvement, and it is unceiiain. 
 
 The laws of the science of cutting, ho\vever, can b(( applied to any system 
 with advantage. 
 
 I can take any shoulder-measure system extant, and after cutting a fe^v 
 garments by it so as to learn its peculiarities, apply the huvs I propose to 
 expound in this ■work to it, so as to be positive that every garment I cut 
 Avill fit. 
 
 A system is merely a method of procedure. If a cutter understands the 
 principles Avhich the system he uses employs, he can dispense with the system, 
 though he would probably use it as a convenience. 
 
 After a careful study of the priucijjles ^vhich I shall endea^•or to explain, 
 a cutter of fair ability could easily invent a system Avhich would serve him 
 better than any he e\'er learned. 
 
 The system A\diich I explain, explains itself so far as principle is concerned. 
 It produces a draft to fit the form measured j^i'operlj-. It ^vill fit any deform- 
 ity, where both sides are alike, with no variation in drafting ; for a hunchback, 
 however, a slight change is necessary in the back, -which I shall desciibe in 
 the proper place. 
 
 In conclusion, I have only to say, that I believe it "will profit any cutter, 
 however skillful and experienced, or however ignorant and conceited, to study 
 my Avork ; and if, as I believe, the trade Avill be advanced and the cutter's labor 
 be lessened by what I do, I shall be moi'e than satisfied- 
 
CHAPTER I 
 
 PRINCIPLES OF CUTTING. 
 
 Coats. — Pitch of Shoulder. 
 
 To treat upon the principles which govern the science of garment cutting 
 aj^ait. from their I'elation to any system is a task of no ordinaiy magnitude. 
 
 To one ^vho has devoted a lifetime to their investigation, whose oppoiiu- 
 nities for research have been extraordinaiy, and who has enjoyed the advantage 
 of the instiTTction of a father whose knowledge of them, for over half a cen- 
 tury, was unrivaled, they are not difficult to comprehend, while at the same 
 time, to reduce them from the chaos in which they now are, to logical, com- 
 prehensive, and available order, is so difficult an undertaking that I almost 
 shrink back appalled from the task before me. 
 
 Works on logic are addressed to, and are iiudei'stood by, only those who 
 have a knowledge of grammar, so the language and method of this work will 
 be adaptable only to those who have, at least, a rudimental knowledge of 
 cutting. 
 
 The teclmical terms and axioms of the craft employed in this work Avill 
 not, therefoi'e, be explained. 
 
 I now invite your careful attention to the principles which govern coat 
 cutting. 
 
 First in order are those which govern what is generally known as the 
 shoulder point. 
 
 This point is regarded as the key to the -whole coat. 
 
 Almost any cutter will assert that if that point is established, he can di'aft 
 his coat correctly. 
 
 The delusion concerning this matter is remarkable, and I ex^^ect that when 
 I assert that there is no possibility of failing to establish it, many Avill be, at 
 first, disposed to doubt my sanity. 
 
 (8) 
 
9 
 
 Yet, I do assert it to be a fact, that this point is always the same for 
 every shape. I further assert that, as it is generally understood, it is no point 
 at all. 
 
 Let me demonstrate this. 
 
 Take a j)iece of cloth of an oblong shape, place it about your shoulders, 
 cut it to fit the neck smoothly, and you will find it to be shaped as represented 
 in dia>rram 1. 
 
 Diagram 1. 
 
 Now place it about the shoidders of any shaped man, and you will find 
 that it ^vill always fit. [In the center of the back there will be found too 
 
 Diagram 2. 
 
 much cloth for sloping and too little for high shoulders, which fact, however, 
 does not affect my proposition.] 
 
10 
 
 It makes a jJerfect shoulder, and is, you will observe, a solid piece of cloth. 
 The so-called shoulder point is established, and is the same for every shape. 
 
 This is the foundation of a coat. 
 
 Now if you cut the cloth so as to fit about the anns you A\ill have the 
 form of the upper portion of a coat, as in diagi'am 2. 
 
 You vnU now be able to perceive the fallacy of the would-lx; learned 
 talk about the different pitch of the shoulder, for various shapes. The pitch 
 is always the same. 
 
 Diagram 3. 
 
 To illustrate: supjiose that the above diagi-am will fit about the neck 
 and shoulders of a well-shaped man. 
 
11 
 
 Now most cutters, if the client be extra erect, would change the shoulder 
 as indicated by dotted lines. 
 
 The coat ^vould fit, and they argue from this fact, that a change in the 
 pitch of the shoulder has effected this desirable residt. But tliey are mis- 
 taken. They have only placed more cloth upon the breast and taken a like 
 amount fi'om the back. 
 
 Diagram 4. 
 
 This fact ■\\tI1 be evident if you allow your back to remain stationary 
 \v'hile you move your forepart forward to fit it. You will have then the result 
 I have indicated in diagram 4. 
 
 The dotted lines represent the fii'st position of the forepart. 
 
12 
 
 The shoulder is absolutely unchanged, yet the two coats will only fit dif- 
 ferent shajjes. 
 
 No^v let us examine the other extreme. 
 
 The dark lines in diagram 5 represent a draft for a well-shaped man. The 
 dotted lines represent the change usually made for stooping shoulders. 
 
 Diagram 5. 
 
 By moving the forepart as before to fit the back, you will discover that 
 there has been no change made in the draft, except so far as affects the breast. 
 
i;} 
 
 Diagram 6 represents the forepart changed in its position. 
 
 The dotted lines show the only change made in the front of coat. 
 
 Diagram 6. 
 
 You will also observe that what is commonly called the shoulder j^oiut 
 has no real existence, hy omitting the shoulder seam, which leaves you an 
 uncut piece of cloth as represented in diagram 7. 
 
14 
 
 Yoii can place the seam wherever you choose, as style or taste may dic- 
 tate, without uli'ecting the fit. 
 
 Diagram 7. 
 
 I think every intelligent, canclid cutter must admit after this demonstra- 
 tion, that there is no shoulder point, or, more pro2)ei-ly, that the neck, where 
 the shoulder point is supposed to be, and the shape and dii-ection of sye, 
 must in\aiiably be the same, however the l)ody to be fitted may be'shajjed. 
 
15 
 
 From these facts I deduce the follo^ving principle: If a certain xhotddei' 
 is ri(jlitfor one slmpe, it must he right for every sluxjje. 
 Illustration — 
 
 Diagram 8. 
 
 The dark line represents a draft that ^vill fit one shape; place it upon a 
 more sloping-shouldered man and you will find it necessary to cut from the 
 back seam as indicated by broken lines. 
 
 Place upon a higher-shouldered man, and the change indicated by dotted 
 line will be necessary. 
 
 But these changes do not affect the pitch, as it is called. 
 
 Application of Principle. If drafting for two men of dilferent shapes, 
 let the pitch of shoulder be the same for each. The reason for this will be 
 apparent upon an examination of diagram 9.. 
 
16 
 
 [It -will be observed that in pre\'ious diagrams the pitch of shoulder is 
 not really changed, but in diagram 9 the change is actual : the shoulder in 
 front of arm converging, in both drafts, to same point.] 
 
 Diagram 9. 
 
 The dark lines represent a draft for an erect man ; the dotted lines repre- 
 sent the shoulder as it is generally pitched for stooping shoulders. 
 
 That this actual change of pitch cannot be con-ect will be e\ndent from a 
 study of diagram 10, which represents the shoulders of both drafts fitted to 
 the back. 
 
 The dotted lines, as before, represent the draft for one who stoops. 
 
17 
 
 Now it is a self-evident proposition that the stooping form requires less 
 cloth in front of arm than the erect, but the change of pitch has reversed this 
 
 Diagram 10. 
 
 and given to the stooping foi-m more cloth in front of arm than the other 
 di-aft for the erect man gives, which must of necessity be wi'ong. 
 
 I think I have succeeded in establishing, in this connection, an irrefutable 
 and immutable law, which I now give. 
 
 Law. Tlie pitch of shoulder must he the same for every form. 
 
CHAPTER TI. 
 
 DISTRIBUTION OF CLOTH IN FRONT AND BACK OF SYE. 
 
 That the arm-hole should be farther to the front for one who is round- 
 shoiddered, than for a straight man, every cutter knows ; but the placing of 
 the sye in a different position for different shapes, is in pei'fect harmony with 
 the la^v I have given in regard to the pitch of shoulders. 
 
 It may suggest itself to some thinkers that this cannot be the truth, for 
 the reason that the distance from the front of sye to socket-bone is less for a 
 round-shouldered than for an erect man, and that, therefore, the spread of 
 cloth between these points should be less for one than for the other, and they 
 may conclude from this that my theory is incorrect. 
 
 But my I'easoning is based upon shoulder-measures, and their application 
 to the draft ; whether they are long or short measm-es, does not affect, in the 
 least, the slope or pitch of shoulder. 
 
 This vnll be better understood upon an examination of diagram 11. 
 
 The dark lines represent a draft foi' an erect, and the broken lines for a 
 round-shoiddered man. 
 
 From a casual study of this diagram, one would naturally be imjoi'essed 
 with the belief that the shoulders were differently pitched, but they are not. 
 
 The breast and upper shoulder of the two subjects are the same, but one 
 is larger over the blade and flatter in the breast than the other, and his head 
 is farther forward. 
 
 We draft, of course, from the back seam. The waist being the same for 
 each, the coat remains stationary at the waist point ; but the blade being larger 
 for one than the other, throws fi'ont of sye farther to the front, draws in the 
 top of sidebody, lowers and throws forward the socket-point, depresses the 
 neck, and narrows the breast. 
 
 (18) 
 
19 
 
 Yet the shape and pitch of shoulder is unchanged. 
 
 There is merely more cloth distiibuted back of the sye, and less in front 
 or the stooping than for the erect man. 
 
 Diagram II. 
 
20 
 
 Diagram 12 represents the two foreparts fitted together. 
 The shoulders are alike, but the coat is differently balanced. The blade 
 of one is larger than the other, the shoulders of both are of the same width 
 
 Diagram 12. 
 
 and pitch, the distance from socket-bone to front of sye on the one is cnmimr- 
 atively less than on the other, because the distance fi'om fi'ont of sye to the 
 back is actually more. 
 
 The distribution of the extra cloth over the blade -v^athout disturbing 
 the shoulder may be more plainly understood by an examiuation of diagrams 
 13 and 14. 
 
21 
 
 Diagram 13 represents a well-proportioned coat, and diagram 14 the same, 
 with au imaginary " fish " inserted under the arm to give the necessary size to 
 
 Diagram 13. 
 
 blade, and the top of sidebody cut down to preserve the shoulder measure, and 
 the front as much narrower as blade is larger. 
 
 From these facts I deduce the follo^ving pi-inciple : 
 
 The coat for a stooping man sJiotdd he drafted precmlii as one for a well- 
 slmjyed man, tvith this exception : the coat for tlm stooping nuin should he made 
 as much laiger hack of the sye and over tlw hlade as the size of hlcuk requires. 
 
22 
 
 Diagram 14. 
 
 Diagram 15 is an illustration of this principle : 
 
 The dark lines represent a draft for a Avell-proportioned man ; the broken 
 lines represent the sidebody moved from the forepart to make the blade-meas- 
 ure prove ; the dotted lines connect the round over the blade with the top of 
 blade-point, Avhich must not be changed from the position it occupies for a 
 well-propoitioned man, the shoulder-measures being equal. 
 
 Application : The sJimdder-meas^ires heing equal, tJie top of sidebody and the 
 sidehody at waist for a stoojnng man slio^dd he the same as for a mellformed 
 man, — tlie sidehody over tlie hlads shoidd he enlarged to maJce hlade-meas^ii'e 
 prove. 
 
 Reasons : If the top of sidebody is carried out proportionately with the 
 enlargement over the blade, the shoulder-measiu'e "will be too large. If the 
 sidebody does not retain its position at waist the coat will not balance propei'ly. 
 
23 
 
 Law : Draft your coat hwh of the front of the sye independently of the 
 shoulder and front of coat, adding to or tahbuj from tJie blade for roand-slioul- 
 
 DlAQKAM 15. 
 
 dered or flat-hacked men, witlwut changing the position of top of sidebody or side 
 body at waist, from what it wovld occupy in a well-proportioned draft for same 
 shoulder-measures. 
 
CHAPTER III 
 
 BALANCE. 
 
 There is no more intricate and no greater problem in drafting the coat 
 than how to balance it. 
 
 It is more talked about and is less understood than anything else that 
 puzzles the cutter's brain. 
 
 A thousand methods have been devised to remove this great stumbling- 
 block to success ; some are based upon true scientific principles, but most are 
 unworthy of the slightest respect. 
 
 A measure taken from front of sye to natural waist, if applied to draft, 
 with proper allowance for making up, is a tolerable safe guide ; but I incline 
 more to long measures. I prefer one taken from socket-bone around fi'ont of 
 arm to natural 'waist. This measure, taken as part of the shoulder-measures, 
 so as to insure the same degree of closeness, if propei'ly applied, is infallible. 
 
 But the difficulty with all measures is to apply them properly. They 
 cannot be applied with any considerable degree of accuracy, from the fact that 
 the sye of draft ai'ound which the measure passes is neither of the size nor in 
 the jiosition of the arm, around ^vhich the measure is taken. Again, the por- 
 tion of draft over Avhich the tape passes in applying it, is not the same as that 
 ov^er which it passed on the man. 
 
 There seems to me to be but one coirect method, theoretically, of bal- 
 ancing a coat, and that is, to place the waist according to amoimt of laj) neces- 
 sary over the blade ; that is, after establishing the blade, to pivot the toji of 
 side-seam of back upon the top of side-seam of sidebody, and s^ving in the back 
 until the sidebody at blade laps the back a given amount, according to the 
 i-elative value of the blade to the average of the shoulder and balance measures. 
 
 This theoiy Avill be more thoroughly explained hereafter. 
 
 The ignorance prevalent upon what constitutes balance is lamentable. 
 
 (24) 
 
25 
 
 Probably a majoi-ity of cutters believe it is governed by the pointimi of the 
 shoulder — the more a man stoops, the farther forward, he holds, the shoulder 
 shoidd be pitched, and the more erect, the straighter it should be. 
 
 The fallacy of this I have abeady demonsti'ated by proving that the pitch 
 of the shoulder should invariably be the same. 
 
 There is nothing easier than to con-ectly balance a coat if the cutter clearly 
 understands what constitutes the balance. 
 
 The upper and the lower portions of the coat should be di-afted indepe^(^ 
 eutly of each other ; that is to say, the portion of the coat above the most 
 prominent pai-t of blade and the I'ouud of breast should be di'afted without 
 
 Diagram 16. 
 
 the least regard to the lower portion of the coat. The lower portion shoidd 
 be adjusted to the upper poi*tion so as to place a proper round over the blade 
 and to lay the cloth smoothly over the hollow of back. 
 
26 
 
 This can be better understood from an examination of diagram 16. 
 A represents the upper portion of the coat di-afted independently of the 
 lower poi-tion. 
 
 DiAGKAM 17. 
 
 -B represents the lower adjusted to the upper portion in such manner as to 
 give one-half inch lap at point over blade mai'ked 1, which is the proper amount 
 for a well-formed man. 
 
 The side-seam of sidebody should close mth tlie back at Avaist to balance 
 the gamient. 
 
 Diagi'am 17 represents a draft for a stooping form. The lower portion is 
 adjusted to the upper portion to allow a lap at blade of three-quarters of an 
 inch. The dotted lines represent the position the lower part occupies in 
 diagram 16. 
 
 It Avill be observed that the balance is different for the two coats, and 
 that the difference is effected by swauging in the back for the stooping form 
 
27 
 
 to give the extra amount necessary over tlie blade. The lower and upper 
 parts lap at the breast. 
 
 Diagram 18 represents the other extreme. 
 
 Diagram 18. 
 
 The dotted lines represent a draft for a well-formed man, and the daj'k 
 lines one for an extra erect man who reqiiii'es but one-quarter inch lap over 
 the blade. 
 
 The shoulders are unchanged, but the adjustment of the lower to the 
 upper portion of the coat is such as to caiTy the waist farther out, as it should 
 be to fit an extra erect fomi. 
 
 It Avill be noticed that the upper and the lower parts do not close at the 
 breast. 
 
 [In diagrams IT and 18 the shoulder and blade measures are supposed to 
 
28 
 
 be the same for each, while the balance-measure varies in length, being shorter 
 for the stooping and longer for the erect forms.] 
 
 To show how many are led into the belief that a change of the pitch of 
 shoulder regulates the balance, I introduce diagram 19. 
 
 Diagram 19. 
 
 The dark lines represent the coat balanced for an erect man, the dotted 
 lines for one who stoops. 
 
 The shoulder certainly seems to be farther forward for the latter than for 
 the former, and the careless student would not suppose that one shoulder would 
 fit both forms ; but in reality the shoulders are alike, as can be seen in 
 diagram 20, which represents the shoulders fitted to each other. 
 
 The shoulders are alike, the lower portions, however, are different. 
 
 It must be evident to every sensible cutter, after a study of what I have 
 
L>y 
 
 ^mtteu, that the balance of the coat is governed entirely by the adjustment 
 of the lower to the upper portion. 
 
 Diagram 20. 
 
 If I succeed in influencing those who have followed me so far to cease 
 tinkering at the shoulder to balance the coat, I have done a good Avork. 
 
 Any cutter can j)erceive the fallacy of shoulder balancing by a simple 
 experiment, which I borrow from one of my father's works : 
 
 Let him make a coat of padding or some other cheap matei-ial, for a 
 well-formed man. 
 
 Let it be made in two parts. 
 
 The upper part to extend down to the round of the breast and most 
 prominent part of blade, as in A, and the lower portion to cover the rest of 
 body, as in JB, of diagram 16. 
 
 Now, baste the two parts together and close the coat. 
 
30 
 
 We will suppose, of course, that it fits your client, that it is properly 
 balanced. 
 
 But let him round his shouldei-s and stoop, and the coat ^^■ill kick at the 
 waist. 
 
 Now, disconnect the two parts, and lap the lower over the upper more or 
 less, and the coat will come in at the Avaist. 
 
 No one can be so dull as not to comprehend what I mean, nor so stupid, 
 after such an experiment, as to deny that the adjustment of the lower to the 
 upper portion of the coat regulates the balance. 
 
 From this reasoning I deduce the follo^^^ng principle : The upper portion 
 of coat being correctly drafted, the bcdance shotdd he ohtained hy sioinging in 
 tJie lack until it laps tlie sidehody at hlade, the amount required by the diffei'- 
 ence between the blade-nieasure and the average of the shmdder and balance 
 measures. 
 
 "What I mean by the difference between the blade and the average 
 between the shoulder and balance measures is this : For instance, there is a 
 difference in the value a blade-measure of 21 and a blade-measm-e of 22 beai-s 
 to the shoulder and balance measures. Now, if for a blade-measm-e of 21^, 
 \vith a shoulder-measure of 25 and a balance-measure of 2 3 J, the sidebody 
 should lap the back half an inch, the lap should be a proportionate quantity 
 greater if the blade-measure is 22 or the shoulder or balance measm'e less than 
 25 or 23} respectively. 
 
 By experimenting with the following table, which I have prepared after 
 much study and mth the greatest care, this important and beautiful principle 
 may be better understood : 
 
31 
 
 Bhule 
 
 Shoulder 
 
 Shoulder 
 
 Shoulder 
 
 Shoulder 
 
 Shoulder 
 
 Shoulder 
 
 Shoulder 
 
 Measure. 
 
 1 inch. 
 
 i inch. 
 
 i inch. 
 
 i inch. 
 
 i inch. 
 
 i inch. 
 
 1 inch. 
 
 16 
 
 19| 
 
 m 
 
 18| 
 
 171 
 
 17| 
 
 161 
 
 16| 
 
 m 
 
 19f 
 
 m 
 
 isa 
 
 181 
 
 17i£ 
 
 17^ 
 
 16f 
 
 m 
 
 20 
 
 19i 
 
 19 
 
 18^ 
 
 18 
 
 174 
 
 17 
 
 m 
 
 201 
 
 19| 
 
 m 
 
 18| 
 
 181 
 
 17^ 
 
 17^ 
 
 17 
 
 2O2L 
 
 20 
 
 191 
 
 19 
 
 184 
 
 18 
 
 'H 
 
 m 
 
 201 
 
 20f 
 
 191 
 
 193- 
 
 181 
 
 18| 
 
 171 
 
 iH 
 
 2U 
 
 20f 
 
 m 
 
 m 
 
 194 
 
 18| 
 
 184 
 
 17f 
 
 21J 
 
 201 
 
 20| 
 
 191 
 
 19| 
 
 181 
 
 18| 
 
 18 
 
 21;- 
 
 211 
 
 20f 
 
 20* 
 
 19f 
 
 194 
 
 18f 
 
 18i 
 
 211 
 
 21| 
 
 201 
 
 20| 
 
 194 
 
 19a 
 
 181 
 
 18i 
 
 22i 
 
 21a 
 
 21i 
 
 20f 
 
 20^ 
 
 19a 
 
 19i 
 
 18^ 
 
 22^ 
 
 22 
 
 21^ 
 
 21 
 
 204 
 
 20 
 
 194 
 
 19 
 
 22| 
 
 221 
 
 21| 
 
 21i 
 
 20f 
 
 201 
 
 191 
 
 19i 
 
 23 
 
 22| 
 
 22 
 
 211 
 
 21 
 
 20| 
 
 20 
 
 m 
 
 23| 
 
 221 
 
 22f 
 
 211 
 
 21| 
 
 204 
 
 20a 
 
 19f 
 
 m 
 
 23| 
 
 22f 
 
 224 
 
 21f 
 
 214 
 
 20| 
 
 20 
 
 231 
 
 23| 
 
 221 
 
 22| 
 
 214 
 
 21f 
 
 201 
 
 20^ 
 
 24i 
 
 234 
 
 23-4 
 
 
 224 
 
 21| 
 
 214 
 
 20^ 
 
 24i 
 
 24 
 
 231 
 
 23 
 
 224 
 
 22 
 
 2H 
 
 20| 
 
 24f 
 
 241 
 
 23j 
 
 231 
 
 22a 
 
 221 
 
 21f 
 
 *21 
 
 25 
 
 2H 
 
 *24 
 
 23i^ 
 
 23 
 
 224 
 
 22 
 
 21i 
 
 25| 
 
 241 
 
 24| 
 
 231 
 
 23a 
 
 221 
 
 22a 
 
 21i 
 
 25| 
 
 25i 
 
 245 
 
 244 
 
 23| 
 
 234 
 
 221 
 
 21f 
 
 251 
 
 25a 
 
 241 
 
 24a 
 
 231 
 
 23f 
 
 221 
 
 22 
 
 26i 
 
 25f 
 
 251 
 
 24f 
 
 244 
 
 m 
 
 234 
 
 22i 
 
 26i 
 
 26 
 
 25^ 
 
 25 
 
 244- 
 
 24 
 
 234 
 
 221- 
 
 26J 
 
 261 
 
 25J 
 
 25i 
 
 24a 
 
 24i 
 
 23a 
 
 223- 
 
 27 
 
 26i- 
 
 26 
 
 25^ 
 
 25 
 
 244 
 
 24 
 
 23 
 
 271 
 
 2g| 
 
 261 
 
 25| 
 
 25i 
 
 24f 
 
 24i 
 
 231 
 
 27^ 
 
 271 
 
 26i 
 
 264 
 
 251 
 
 254 
 
 24i 
 
 23.V 
 
 271 
 
 27t 
 
 261 
 
 261 
 
 251 
 
 25a 
 
 241 
 
 23f 
 
 284 
 
 271 
 
 271 
 
 26i 
 
 264 
 
 25f 
 
 254 
 
 24 
 
 28| 
 
 271 
 
 27f 
 
 261 
 
 261 
 
 251 
 
 25a 
 
 24i 
 
 28J 
 
 281 
 
 27J 
 
 271 
 
 26f 
 
 261 
 
 25f 
 
 24^ 
 
 29 
 
 28:V 
 
 28 
 
 27^ 
 
 27 
 
 26^ 
 
 26 
 
 24| 
 
 291 
 
 28| 
 
 281 
 
 27f 
 
 271 
 
 26a 
 
 261 
 
 25 
 
 29i- 
 
 29 
 
 28.I- 
 
 28 
 
 274 
 
 27 
 
 261 
 
 251 
 
 291 
 
 293. 
 
 281 
 
 28| 
 
 271 
 
 27f 
 
 261 
 
 251 
 
 301 
 
 29i 
 
 m 
 
 m 
 
 284 
 
 27| 
 
 274 
 
 25| 
 
 30| 
 
 291 
 
 291 
 
 281 
 
 281 
 
 271 
 
 27a 
 
 26 
 
 30| 
 
 30i 
 
 29| 
 
 294 
 
 281 
 
 284 
 
 27^ 
 
 261 
 
 31 
 
 .30^^ 
 
 30 
 
 294 
 
 29 
 
 284 
 
 28 
 
 26| 
 
 31i 
 
 30| 
 
 301 
 
 29J 
 
 291 
 
 28a 
 
 281 
 
 26a 
 
 3U 
 
 31 
 
 30.V 
 
 30 
 
 294 
 
 29 
 
 284 
 
 27 
 
 31| 
 
 311 
 
 30-J 
 
 301 
 
 29a 
 
 291 
 
 28a 
 
32 
 
 The figures in left-hand column represent the various blade-measures, 
 those in the other columns the various probable averages of shoulder and 
 bjilance measui-es. 
 
 Example 1st. Shoulder-measure 25, balance-measure 23, blade-measure 21. 
 The average of shoulder and balance measures is obtained thus : 
 Half of shoulder-measure, - - - - - 12i 
 
 Half of balance measui'e, - - - - - 11^ 
 
 Average of the t\vo measures, • - - - 24 
 
 Now proceed to find the blade-measure in the left-hand column. I have 
 mai'ked it thus, *. Find 24 or its closest approximate upon the same line, as 
 the blade-measure, among the columns to the right of blade column, marked 
 thus, * ; and looking at top of column you will see how much the sidebody 
 should lap the back at blade point, viz., ^-inch. Pivot top of side seam of 
 back on top of side seam of sidebody, and swing the back in until it laps the 
 sidebody at blade point ^-inch. Then shape side seam of sidebody to close 
 with the back at the waist, and your coat will be properly balanced. 
 
 Diagrams 21, 22, and 23 will illustrate this more fully. 
 
 21 represents the upper portion of coat drafted to fit the shoulder. 22 
 represents the back lapped over the blade of sidebody the requii-ed amoimt. 
 23 represents the side seam of sidebody shaped to close ^^'ith back. 
 
 Example 2. — Shoulder measure, 26, Balance measure, • 24 
 
 Half of shoulder measure, - - - 13 
 
 Half of balance measure, - - - 12 
 
 Average between the two measures, - • - 25 
 
 Blade measure, 22f. 
 
 Note. — If, for instance, blade measure should be 21J, and the average between the shoulder and 
 balance measures should be 24^, you will find that 24| in the fourth column is i inch too large, and 23| 
 in the fifth column is J inch too small, 24f require * inch, and 23| require | inch lap ; you will therefore 
 lap sidebody over back i inch and a sixteenth, that being the mean between i and | inch. 
 
 Proceed in like manner with any average which is not found in the table. 
 
•,v.\ 
 
 Diagrams 21, 22, and 23. 
 
34 
 
 Opposite the blade measure, in the sixth column from the left, we find the 
 average of shoulder and balance measm-es, 25. Looking at top of column we 
 find that thi-ee-quarters of an inch is the lap required. 
 
 Now proceed to balance coat as before, lapping back and sidebody at 
 blade point, thi-ee-quaitei-s instead of half inch, as illustrated in diagram 24. 
 
 DUOBAU 24. 
 
CHAPTER IV 
 
 HEIGHT OF NECK. 
 
 There are but few cutters, I apprehend, Avho thoroughly understand the 
 principles which govern the height of neck. 
 
 So long as the fonn to be fitted is well proportioned, most cutters have 
 no difficulty in cutting the coat so as to fit properly about the neck ; but when 
 it is stooping, or has extra high, or sloping, shoulders they are at fault. 
 
 The expedients that are resorted to to overcome this difficulty are fre- 
 quently laughably absurd. 
 
 I have one in my mind now, which, though it is ingenious, is peculiarly 
 laughable from the fact of its being such a roundabout and awkward manner 
 of doing a very simple thing. 
 
 It is especially amusing to me, because so many young cutters have shown 
 it to me as a new and particularly brilliant "bright." 
 
 Diagram 25 represents the "brig^ht." 
 
 Diagram 25. 
 
 The back has been cut as for a well-fonned man, then cut across from a 
 to J, and opened out as represented. This certainly raises the neck, but not, 
 as many suppose, simply because the back seam is lengthened. The secret of 
 
 (35) 
 
36 
 
 its bringing the coat higher about the neck is, that it increases the amount of 
 cloth between a and c, and between d and e, thereby making room for the 
 large round of the client's shoulders. 
 
 The objections to this method are that it destroys the shape of the back, 
 and is unscientific and unreliable. 
 
 The desired result may be effected in a simple and surer manner, as 
 represented in diagram 26. 
 
 Diagram 26. 
 
 The dotted lines represent the only alteration necessaiy from a draft for 
 a well-proportioned man, of the same upper-shoulder and balance measures. 
 
 The extra cloth over the shoulder and blade enables the coat to round 
 smoothly over the prominent blades and round shoulders. 
 
 TJiat it produces the same result as that produced by the unsightly round- 
 ing of the back, vnW. be evident fi-om a careful examination of diagram 27. 
 
37 
 
 The dark lines represent the coat as changed from a draft for a well-shaped 
 man to fit another who has round shoulders, by opening the back as repre- 
 
 DlAGRAM 27. 
 
 sented in diagram 25 : the dotted lines represent the same draft with projier 
 additions made to lilade and droop of shoulder. 
 
38 
 
 It will be observed that the distance from point at front of sye to A, fi'om 
 same point to i?, and from same point to top of back, is the same in each di'aft, 
 and also that both coats ai'e balanced alike. 
 
 The following experiment will illustrate the principles Avhich govern the 
 height of neck. 
 
 Take a coat that fits a well-formed man, and rip the back and side seams, 
 let him then put it on and round or hunch his shoulders as much as he can. 
 You will find that the neck "will remain of the light height, and that the coat 
 ■will preserve its balance ; but the back seam and the side seams A\dll gap as 
 illustrated by figure 1. 
 
 Fig. 1. 
 
 It is evident that there is nothing the matter with the coat except that it 
 is not large enough across the back. More cloth added to the top of back 
 would merely make the back too long for the forepart. 
 
 Now close the back seam and rip the shoulder seam to Avithin one mch 
 of the neck, and place the coat again upon your client, avIio, of coin-se, is still 
 stooping; you will find the coat to lay smoothly down the back and to be of 
 the right height at the neck, biit the shoulder and side seams gaji, as in 
 figure 2. 
 
ay 
 
 It is clear, then, that all that is necessary to preser\-e the height of neck, 
 is to add more cloth to the shoiilder and over the blades. 
 
 Fio. 2. 
 
 You can experiment, also, to advantage with sloping and high-shouldered 
 
 Take a coat to fit a well-formed man whose shoulder measure is, say, 26, 
 try it on a high-shouldered man of the same shoulder-measure, and it will be 
 too high at the neck, but rip the shoiilder seams and the coat will settle about 
 the shoulders and fit him properly. 
 
 Take the same garment and try it on a sloping-shouldered man whose 
 shoulder-measure is the same. You will find it too low in the neck, but raise 
 the coat until it is the right height at neck, and you will find that there is too 
 much cloth over the droop of shoulder ; pin this up and the coat will stay to 
 its place. 
 
 From these facts I deduce the following principle : The height of neck is 
 governed hy the depth of sye and the amount of cloth placed over the blades and 
 shoulders. 
 
40 
 
 Application. For all whose upper shoulder measures are alike (meas- 
 ure from socket-bone around arm, back to socket-boue), make length of back 
 above bottom of sye the same, but add to or take from the blade, and shoid- 
 der except at neck, as requii'ed by blade and lower shoulder measures, or theii' 
 e(|uivalents. 
 
 By lower shoulder, I mean a measure taken from center of back opposite 
 sleeve seam, around arm and back. 
 
 Law. Tlie top of hack must for all shapes he placed at a distance frmu 
 bottom of sye p>roport'ionate to tJie upper or first slumlder-ineasure, or its eqiiiva- 
 lent. 
 
CHAPTER V 
 
 PROBABLE FAULTS. 
 
 In the four previous cliapters I have treated upon principles Avliicli are 
 strictly fundamental. 
 
 As I remarked at the outset, I am addressing myself to those only who 
 hav^e at least a rudimental knowledge of the science of cutting. 
 
 All who have, are of course able to draft a coat that will fit a well- 
 propoi'tioned man. 
 
 These fundamental principles, although they enable an expert to draft a 
 coat for any and every shape, will be chiefly useful to a majority of cutters as 
 sure guides to variations necessary to be made from a draft for a well- 
 propoi-tioned coat, for various shapes of the same upper shoulder-measure. 
 
 They will enable cuttei's to work understandingly. 
 
 I believe that most cutters are men of supei'ior intellect, and that they 
 will be able to aj>ply correctly these principles when they once comprehend 
 them. 
 
 I shall now offer a few remarks in regard to the shoulder. 
 
 If the shoulder be too long or too short, the coat Avill of course be wrong. 
 
 Every cutter knows this, and yet so firmly do many believe that the 
 balance is governed by the shoulder that they frequently cut it too short, and 
 less frequently, though (piite often, too long. 
 
 If the man stoop, they will shorten the shoulder instead of adjusting the 
 lower to the upper portion of coat in a different manner. 
 
 The result is a bad coat. 
 
 Not moi'e than one cutter in three cuts his shoulder long enough. 
 
 This prevalent error arises, I believe, fi-om undertaking to make what are 
 culled "actual measures" prove. 
 
 For instance: If a man's shoulder measure "2 Ho inches, it is difficult to 
 
 (H) 
 
42 
 
 convance a cutter that the draft should measure 28 inches or more ; hence they 
 allow to di'aft Ijut little if any more than for the seams. The play of muscles 
 and necessary ease foi' grace are not considered, — the result is too shoit a 
 shoulder. 
 
 Half the coats we see upon the street have this failing. 
 
 It is singular how cutters will go on year after year turning out coats 
 which are too short from fi'ont of sye to socket-bone in front, and never 
 discover wherein they are at fault. 
 
 They are afi'aid to cut the shoulder longer, fearing it ^vill cause the 
 coat to be loose about the neck, or to hang off at Avaist. 
 
 Their coats when first put on may, if well made and considerably stiffened 
 with hair cloth, set smoothly about the shoulders, but after they have been 
 worn a week or so they ■\vill -wrinkle and break through the shoulders, as 
 represented by figui'e 3. 
 
 Fig. 3. 
 
 The shouldei- of this coat from socket-bone to front of sye is at least 
 three-(|uarters of an inch too short ; that amount added to it would make it 
 smooth and would not affect the balance. 
 
 The length of shoulder should be the same for all shapes that measure 
 
43 
 
 alike from the points I have indicated, id est, from socket-bone around arm 
 and back ; so that it' you can place a good shoulder upon one man, you may 
 upon all. 
 
 How to find the proper length I do not propose to demonstrate, as it is 
 a matter that every cutter can determine by a few experiments. 
 
 I merely call attention to a common fault in coats, and to its remed}-. 
 
 Thei'e is no occasion for any cutter ever to produce a coat the shoulder 
 of "which bears any resemblance to that represented by figui'e 3. 
 
 The shoulder is too short, and should be lengthened as I'epresented iu 
 diagi'am 28. 
 
 A shoulder too long is a less frequent, though (piite a common fault. 
 
 Figui'e 4 represents a coat the shoulder of ^vhich is too long. 
 
 Fin. 4. 
 
 It will be observed that it hangs from the neck. 
 
 Many cuttei-s who have this fault, instead of cutting the shoulder shorter 
 betw-eeu the fi-ont of sye and socket-bone, add cloth to di-oop of shoulder so as 
 to alloio the coat to fall to its place, as represented iu diagram 29. 
 
■14 
 
 Tlie result is, that altliougli the coat falls to its place about the neck, 
 whenever the Avearer sits it will climb up toward his ears, the annhole being 
 made too deep. 
 
 Diagram 28. 
 
 Diagram 29. 
 
 Another very frequent fault with coats is that ^vhen they are buttoned 
 the roll flares out instead of lying smoothly over the breast, as represented by 
 figure 5. 
 
 Fig 
 
45 
 
 There are two causes for this : one is the l)alance. If the coat is 
 improperly balanced and s^ving from the waist, Avhen it is drawn to its place 
 by being buttoned there iiuist be loose cloth in the break. 
 
 The other cause is that tliei'e is not enough cloth over droop of shoulder. 
 
 If your coat ha\'e this faidt and swing at waist, carry the side seam of 
 sidebody farther forward at the \s\aist, and you -wall remove it. 
 
 But if your coat hang properly, add more cloth to shoulder over droop, 
 as represented in diagram 29. 
 
 Another common favdt mth coats is, that they \vnukle fi'om under arm 
 to side seam, as represented in figure 6. 
 
 This is sometimes caused by the coat stiiking too closely at the hips; 
 sometimes by there being too little cloth over the blades ; sometimes by the 
 shoulder being too short ; and more frequently by cutting out too much under 
 the arm between sidebody and forepart, as represented in diagram 30. 
 
46 
 
 When the sidebody is joined to the forepart, it is thrown out and down 
 at A, so that -when it is held to its place by the back it is twisted, and loose 
 cloth is thrown in wrinkles under and back of the arm, as represented. 
 
 Diagram 30. 
 
 This fault is also not infrequently the result of cutting too little cloth 
 over the droop of shoulder, which prevents the back seam of back coming 
 naturally to its place, as represented in diagram 31. 
 
 The broken lines represent the vest, the solid lines represent the backs, 
 which, it will be observed, do not come together below the neck. 
 
 Now, it is evident that when they are seamed there will be loose cloth 
 forced to their closing edges, which will give the back a baggy appearance, 
 and cause the coat to draw into wrinkles, as represented in plate. 
 
 After these explanations a cutter should be able to see which of these 
 eiTors in drafting has caused the fault we are discussing, and to remedy it by 
 
47 
 
 adding more cloth to blade or hip, by cutting out less under the arm, or by 
 adding more to the droop of shoulder. 
 
 Diagram 31. 
 
 Another common fault which arises from cutting too much out from 
 under the anus is, that the coat when unbuttoned flares at the hips. 
 
 To cut a graceful coat you must cut but little out under the anu, unless 
 the hips are extremely prominent. 
 
 The coat should be cut large, so as to button without any forcing 
 whatever. 
 
 A good guide is to take a hip-measure and to cut the hip by it, adding 
 two and a haK inches foi- making and necessary ease. This relieves you of 
 the necessity of cutting out so much under the ami to allow coat to spring 
 over the hips. 
 
 Half an inch is enough to cut from under the arm for ninety-nine men out 
 of eveiy hundred. Even if a man requires more it is better not to cut it, or at 
 least not to cut out over three-quarters of an inch. 
 
 The coat will hang more gracefully if but little is cut out, and will not 
 splay if inibuttoned. 
 
48 
 
 Another common fault is represented by figure 7. 
 
 Fig. 7. 
 
 This is generally caused by cutting too much cloth on sidebody over 
 blades, and is an easy matter to avoid after you find yom' coats incline to this 
 fault. 
 
 Sometimes it is caused by cutting too much cloth over droop of shoulder. 
 
 This error probably originates fi'om cutters endeavoring to make a square 
 and handsome shoulder, as represented in diagram 32. 
 
 Diagram 32. 
 
49 
 
 The dark lines represent a, coat that will fit, but the shoulder-seam is round 
 and homely. 
 
 The broken lines represent the shoidder-seara straight and square, but the 
 coat will have the fault we are discussing. 
 
 This error arises from the cutter forgetting or not knowing enough to take 
 fi'om top of sidebody some of the extra cloth he has added to the shoulder, 
 or building the shoulder up with wadding. 
 
 Had diagi'am as represented by dark lines been manipulated as indicated 
 by diagram 33, the fit would have been preser\'ed, and the shoulder-seam 
 would have been straightened and squared. 
 
 The dotted lines represent the changes made. 
 
 From top of sidebody it will be observed there is taken nearly as much 
 as has been added to the shoidder. 
 
 Diagram 33. 
 
 Sometimes the back is cut too long ; this can be easily detected, and can 
 always be avoided by governing yom- di-aft by my method of regulating the 
 height of neck as explained in my system. 
 
 There are several faults that arise fi'um the collar. 
 
50 
 
 Figure 8 represents one. 
 
 Fig. 8. 
 
 In tliis the breast is made to break lower than was intended, by the collar 
 having been cut too crooked. 
 
 "Wrinkles frequently appear in the shoulder from the collar being too 
 tightly put on. 
 
 Many coats are too liigh at side of neck. This is caused by collar being 
 cut Avith too much clotli below the break. 
 
 It hajjpens frequently when short rolls are in vogue, the gorge being then 
 generally cut straight Avhile the same amount of cloth is placed on collar 
 below the break. 
 
 Diagrams 34 and 86 will more fiilly illustrate my meaning. 
 
 Diagram 34 represents a crooked gorge ; more cloth being cut from the 
 forepart, more should of coiu'se be cut to the collai'. 
 
51 
 
 Diagram 35 represents a straight gorge ; more cloth being cut to forepart, 
 less should of course be cut from collar. 
 
 Diagram 34. 
 
 Diagram 35. 
 
 A simple and excellent rule for drafting a collar may be found among 
 explanations of my Rational System. 
 
 Though perhaps a little out of place, as it has nothing to do with the 
 fit, I wish to call your attention to the cutting of the breast of the coat. 
 
 Very many coats which roll low ai'e ruined in aj)peai'ance by the timidity 
 and ignorance of the cutter, -who "will not add to or take from the size of the 
 breast. 
 
 Diagram 36 will make what I mean more fully understood. 
 
 The dotted lines represent a coat drafted to the size of breast, with the 
 usual amount, two and a half inches, added. 
 
 The roll of this coat Avould be too light, yet the ordinary cutter Avould so 
 cut it rather than go beyond his measure at breast. 
 
 The dark lines represent the breast rounded so as to give a full, graceful 
 roll. 
 
 This does not, as so many suppose^ affect the size, as the coat buttons 
 below the breast, and the extra cloth turns over and does not change the size 
 of the cjarment. 
 
Diagram 37 represents the other extreme. 
 
 The dotted lines, as before, represent the coat drafted with usual allow- 
 ance to breast-measure. This would make too heavy a roll, yet the ordinary 
 
 Diagram 36. 
 
 Diagram 37. 
 
 cutter would not dare to cut down the breast as he should to reduce the size 
 of roU as represented by dai'k lines. 
 
 The fit of a coat is not infrequently ruined by the sleeve. If the sleeve 
 is not properly cut, or if it is put in wi-ong, it "will aft'ect the coat. 
 
 A very common erroi" is to cut all sleeves for the same sized anuhole by 
 the same pattern ; the result is, that some have too much, while others have 
 too little, I'ound over the top. 
 
 The sleeve should be cut according to width of shoulder, flat or I'oiuid, as 
 the shoulder is wide or narrow. 
 
 A simple and infallible rule for di'afting the sleeve may be tound among 
 the explanations of my Rational System. 
 
53 
 
 Faults iu the skirt are very corainou ; sometimes the skirts ^vill hip and 
 sometimes spread apart. 
 
 They are also very frequently cut too full or too scant in front. 
 
 These faidts, however, never occur with fii'st-class artists ; thev result 
 from a lamentable lack of judgment. They are veiy unsightly, and ruin the 
 appearance of a garment, however perfect it may be in other respects. 
 
 A very simple and accurate skirt-rule may be found among the explana- 
 tions of my Rational System. 
 
 Sacks. 
 
 The sack is a gannent that is always more or less Avorn. 
 
 Strange as it may seem, it is only a few years since it was almost univer- 
 sally di-afted by the breast-measure, and even now many cutters use nothing 
 else. 
 
 Diagram 38. 
 
 It is a garment that is decidedly unsightly unless well cut, but is graceful 
 and becoming to certain forms if cut in an artistic manner. 
 
 A popular error in regard to the sack is that the shoulder should be cut 
 different from that of the frock, but such certainly cannot be the case. 
 
 The upper portion of the sack should be cut precisely as that of a frock. 
 
54 
 
 The only change that is ever necessary is when no cut is made under the 
 arm ; when this is the case, the blade should be cut down to the size a frock 
 would be with the sidebody seamed to the forejiart. 
 
 Diagram 38 illustrates my meaning. 
 
 The dai'k lines represent the coat di"afted as a frock Avith cut imder the 
 arm, the broken lines represent the side seam where it would be with the 
 edges of cut lapped for seams, and as it should be drafted were the cut imder 
 the arm omitted. 
 
 The coat should be balanced in the same manner as a frock, adding about 
 an inch at the waist for fullness. 
 
 There is no difference between the frock and sack, so far as principles are 
 concerned. The same principles govern both. In detail there are differences 
 which ^vill be fully treated uj^on under the heading of Hints to Cutters. 
 
PRACTICAL HINTS TO CUTTERS 
 
 In enteinng upon this branch of my woi'k I feel considerable diffidence 
 from the fact that some of my ideas Avill clash with the pet prejudices, the 
 fond delusions, and the fossilized notions of many. 
 
 Diffidence, however, will not prevent my giving full expression to my 
 views, nor does it imply that I lack confidence in the soundness of anything I 
 advocate or teach. 
 
 I advise nothing that I have not tested thoroughly myself and seen so 
 tested, time and again, by othei's. 
 
 Many of my ideas ai-e not original with myself, but have been picked up 
 in my intercourse with thousands of our best cutters. 
 
 Many of them will be familiar to metropolitan cutters, but there are veiy 
 few, I fancy, who will not find something new and valuable. 
 
 To young cutters they wall be especially valuable, and such will do \vell 
 to devote to them considerable carefid attention. 
 
 The Sye. 
 
 The comfort, and to a gi'eat extent the style of a coat, depend upon the 
 shape and size of the arm-hole. 
 
 The sye may be cut small, and yet, if properly shaped, it will not be too 
 close. 
 
 It is better, however, to cut the sye of a medium size, as it is safer, and 
 prevents the breast breaking fi-om the for\vard motion of the anus. 
 
 I am aware that some will disagree with me about the shape of sye, nev- 
 ertheless, I am confident that I am right. 
 
 I have tried every conceivable shape, and have found but one that opera- 
 ted with unvarying success. 
 
 The sye in diagram 39 is shaped, I think, precisely as a sye should be 
 shaped, ■with a back of medium width. 
 
56 
 
 It ^vill be observed that the sye is cut well out at A. This is done to 
 give room to prominence of ann at this point. 
 
 Diagram 39. 
 
 It vrill also be observed that the bottom of sye is flat. This is to prevent 
 the coat lia\'ing a tendency to climb when the amis are raised. 
 
 An arm-sye cut in this shape should measure about 17 inches for a 25- 
 inch shoulder. 
 
 Diagram 40. 
 
57 
 
 It Avill be large and comfortable, aud wiU make an elegant shouldei'. 
 
 There are many faults coimuon in the slia2)ing of sye, to a few of which 
 I propose to call attention. 
 
 Diagram 40 represents one which is extremely prevalent. 
 
 The dark lines represent a sye properly shaped. The broken lines one 
 shaped in the faulty manner to which I refer. The latter ^\ill bind the arm 
 and cause Avrinkles, and will permit the coat to chmb with the raising of the 
 anns. 
 
 Another common fault is cutting the sye so that at the shoulder and the 
 side-seams there are corners. What I mean may be readily understood by an 
 examination of diagrams 41 and 42. 
 
 Diagram 41. 
 
 The sye portion of the back does not range with the other portion of sye. 
 The result is a badly fitting sleeve and an imsightly coat. 
 
oS 
 
 Diagram -12. 
 Another common fault is illustrated in diatrram 43. 
 
 Diagram 43. 
 
 The cutter de.sires to cut a large, easy sye, but instead of doing so, merely 
 cuts downi the shoulder -ttathout giving the arm any extra room ; the dotted 
 lines represent the sye before its shape was changed. 
 
59 
 
 More tliaii half the cutters for such a sye would di'aft precisely the sleeve 
 they would if sye Avere shaped as indicated by dotted lines. As a natural 
 consequence, the sleeve will swing too far forward, and draw the shoulder out 
 of shape. 
 
 Many cutters are deceived in regard to the size of the sye ])y the number 
 of inches it measures. 
 
 This, though it seems paradoxical, is peii'ectly consistent. 
 
 The sye, liowever many inches it measm-es, if it bind the arm, is small, 
 and however few it measures, if it is easy and comfortable, is large. 
 
 The sye may be made to i-equire a large sleeve-head, and to seem large, by 
 cutting it large where it is unnecessaiy to do so. 
 
 Diagrams 44 and 45 illustrate my meaning. 
 
 Diagram 44. 
 
 Diagram 45. 
 
 In diagram 44 the dark line represents the change the unskillful cutter has 
 made from the original draft, as represented by dotted lines, to give his cus- 
 tomer ease. 
 
 In diagram 4§ the dark lines represent a common error which makes the 
 sye very wide and apparently large without giving it real, pi'actical increase 
 of size. 
 
 The dotted lines represent where the sye should be cut ; the dark lines 
 where it is frequently placed. 
 
60 
 
 In botli of these examples the sye will look and measure large, but of 
 course will be no easier to the customer. 
 
 The fault represented in diagram 45 is often caused by a badly-shaped 
 back, as represented in diagram 46. 
 
 Diagram 46. 
 
 The sye portion of back is cut at too great an angle with the back seam, 
 and unless the back is of extraordinaiy width, aWII, if sye portion of sidebody 
 is made to I'ange with it, cause too much cloth to be cut from back of arm. 
 
 The Back. 
 
 The shape of the back has very little to do with the fit of the coat, 
 though it has much to do mth the style and appearance. 
 
 It has little to do -wdth the fit, because the rest of the coat, in drafting, is 
 always shaped according to the shape of back. 
 
 For instance : if the shoulder seam of back is cut high over droop, or 
 wide at top, the forepaii; over di'oop is cut shorter, or the shoulder point not 
 so long, as it would otherwise be. 
 
 Diagram 47. 
 
61 
 
 So also, if side-seam of back is cut thick over the blade, the side-seam of 
 sidebody over that portion is cut naiTower, aud vice versa. 
 
 The shape of back affects the fit to a small extent. For instance : if jour 
 client is round-shouldered, the back should be slightly roiuided on back-seam, 
 as in diaajram 47. 
 
 Diagram 48. 
 
 Or, if your client is veiy hollow in the back, the back-seam should ])e 
 hollowed at waist, as in diagi'am 48. 
 
 Or, if your client is very hollow in the back and narrow between the 
 shoulders, the back should be hollowed, as in diagram 49. 
 
 Diagram 49. 
 
 Care should be taken, when back is so hollowed, not to place the 
 anioiuit taken from back upon the shoulder, as is sometimes done. 
 
 The shoidder should be drafted as though the back-seam Avere straight, 
 as illustrated by diagram 50. 
 
62 
 
 The (lark lines represent the shoulder drafted as though the back-seam 
 were straight, ^\'hich is right. The broken lines represent it drafted to fit the 
 
 Diagram 50. 
 
 back, with hollowed back-seam even ■with the straight back-seam at point 
 mai'ked a, which is ^\'roug — the I'esult being too much cloth o\'er droop of 
 shoulder. 
 
 It is things little in themselves Avhich constitute the difference between 
 a good cutter and a poor one. Therefore I shall call attention to a number of 
 little things in regard to shaping of back, which, though they may seem 
 trivial, are nevertheless not to be disregarded without detracting from the 
 appearance of the coat. 
 
 ■ Cutters, as a general thing, admire a high and square shoulder, as it 
 improves the appearance of the customer, and consequently of the coat. 
 
 But in cutting the back with an extra amcjiuit of cloth o\-er droop, they 
 are una])le to make the forejiart look exactly right. 
 
63 
 
 It seems too long and sliai'p at shoukler-poiut, as illustrated in diagram 51. 
 
 Diagram 51. 
 
 To obviate this, he cuts the back wider at top ; this improves the appear- 
 ance of draft, but injures the appearance of the coat. The top of back being 
 wide and the shoulder-seam straight, it will appear to be extremely wide when 
 
 DiAGUAM 52. 
 
 the collar is turned over it, giving to the neck of coat a thick, heavy, and 
 clumsy appearance. 
 
64 
 
 There are two remedies for this. 
 
 One is to spring out the back at top, as represented iu diagi-am 52. 
 
 The effect of this method is illustrated in diagram 53. 
 
 Diagram 53. 
 
 The broken lines represent the edge of collar. 
 
 It will be observed that the springing out of back at top decreases the 
 
 Diagrams 54 and 55. 
 
 Avidth between A and B, preserves the straightness and squareness of the 
 shoulder-seam, and prevents the shoulder-point of draft from being too sharp. 
 
65 
 
 The second method can only be employed when collars are cut tolerably 
 wide. This method is to cut do^vn the top of back and curve of gorge, and 
 to add to stand of collar, as illustrated by diagrams 54 and 55. 
 
 The dotted line of diagram 54 represents the neck cut down ; while that 
 of 55 represents the amount cut fi'om 54 added to collar to presei-\'e the 
 height of neck. 
 
 By this method the distance between the shoulder seams at neck seems 
 less than it would without the change we are discussing, for the reason that 
 the turn-down part of collar extends but very little below neck-seam, and 
 covers less of the top of back than it would if cut otherwise. 
 
 The shape of side-seam of back has much to do with the appearance of 
 the coat. It should not be carried too high nor be cut too low. 
 
 The first will make the top of sidebody too long and narrow to look well, 
 besides rendering it liable to stretch out of shape ; while the second makes it 
 thick and clumsy, and destroys the gracefulness of the lines of the back. 
 
 If carried too high it forces the sidebody into a bad shape, as illustrated 
 in diagram 56. 
 
 Diagrams 56 and 57. 
 
 If cut too low, as stated above, it makes the sidebody thick and clumsy, 
 as can be seen in diagram 57. 
 
66 
 
 The SroEBODY. 
 
 The shape of the sidebody, unlike the shape of the back, greatly affects 
 the fit of the coat. 
 
 Ill these " hints " I am treating on matters pertaining to taste and the 
 artistic in cutting, more than of the principles which govern the fit. 
 
 Therefore I shall not refer to the amount of cloth requii-ed over the 
 blade, to the height of top, or to the balance. 
 
 These matters have ah'eady been considered. 
 
 The sye portion of sidebody should be cut to range exactly with the sye 
 portion of back ; any neglect in this particular wU ruin the appearance of 
 the back of the coat, or may tempt the jour to use his shears to the ruin of 
 the garment. 
 
 The curve of the side seam should be smooth and graceful, and the lap 
 should not be extended veiy far downi the seam, else the back of coat will 
 have a baggy appearance, as though the back were too long. 
 
 Diagrams 58 and 59 will illustrate my meaning. 
 
 Diagram 58. 
 
 Diagram 59. 
 
67 
 
 Diagram 58 represents the side seam of sidebody falling into that of back 
 about half way between blade-point and natural waist. 
 
 Diagram 59 represents the side seam of sidebody joining that of back 
 nearly as low down as the waist, which cannot fail to produce an ungraceful 
 garment. 
 
 The amount of spring over the hip should depend, of course, upon the 
 shape of the form to be fitted and the length of waist 
 
 Many cutters fonn the side-seam vdth no guide but the eye. 
 
 This is a dangerous method, as any considerable change in the shape of 
 side-seam of back will be liable to mislead their judgment. 
 
 The better and safer way is, after establishing jjoint for top of sidebodj-, 
 blade-point, and waist-point, to lay the back upon the di-aft, the top of side- 
 seam resting upon point for top of sidebody, and its side-seam touching point 
 for side-seam of sidebody at waist, then to mark down the side-seam and 
 remove the back, as illustrated in diagram 60. 
 
 Diagram 60. 
 
68 
 
 The side-seam of sidebody is not formed in diagram 60, but the points 
 marked A, £, and C, have been obtained. 
 
 The back touches upon points A and 6' and a line is marked do^vn the 
 side-seam. 
 
 When the back is removed the di'aft will have the apj)earance of dia- 
 gram 61. 
 
 Diagram 61. 
 
 Now you have to shape the side-seam of sidebody. The line made down 
 the side-seam of back is an excellent guide, as it enables you to see exactly 
 how much cloth you are cutting over blade, how far down you are making 
 sidebody and back lap, and how much you are springing sidebody over hip. 
 
69 
 
 Diagram 62 represents diagram 61 with the side-seam of sidebody and 
 back of sye formed. 
 
 Diagram 62. 
 
 A is the length of side-seam of back with about one-quarter of an incli 
 added, and is the point to which bottom of sidebody must come. 
 
 The side-seam of sidebody should be drafted longer than the side-seam of 
 back, because in making up it is shortened while the back is lengthened. 
 
 The amount of spring over the hip should vary for different lengths of 
 waist and for different forms, from one-quarter of an inch to one inch over the 
 guiding line made along side-seam of back. 
 
 For a well-proportioned man whose waist is extended three inches below 
 the hollow of back, the side-seam of sidebody should laj) the back three-quar- 
 ters of an inch at A, the hip point ; while for a stooping man whose back from 
 
70 
 
 blade to hip has but little cui-ve, it should not lap more than one-quarter of 
 au inch. 
 
 Forepart. 
 
 The length of neck and shape of gorge are, of course, governed to a gi-eat 
 extent by fashion. As a general rale, however, the lower the roll the shorter 
 should be the neck and the lower and sti-aighter the gorge, else you will have 
 too heavy a breast, and your coat will pull from the neck. 
 
 It sometimes occurs that yom- client measures small about the shoulders 
 while his breast-measure is very large. 
 
 In such a case yom- neck will be too long, or you will have too much 
 round over the breast. From this dilemma you can release yom-self by cutting 
 a V, as in diagram 63. 
 
 Diagram 63. 
 
 On the other hand, youi' client will sometimes have enonnous shoulders 
 and a narrow breast. 
 
 In such a case you should never insert a V in the neck, as it will make it 
 too short, and throw imnecessary fullness in the breast. 
 
 Omit the V, and make the gorge extend a reasonable distance beyond the 
 break, making the breast flatter, taking out, if you choose, a V between the 
 forepart and lapel to assist in forming the roll. 
 
 In drafting the lapel, it should be borne in mind that the larger the breast 
 the larger the V should be which is cut between it and the forepart. 
 
 Cuttei-s fi'equently ai-e annoyed by finding that the space between the 
 
71 
 
 lapel aud tlie collar is greater tliau they designed, aud attribute the fault to 
 the joui'. But they have ouly themselves to blame. 
 
 Diagram 64. 
 
 Diagram 64 represents the lapel and collar placed to draft as they ^vi^ 
 seam. 
 
 It certainly looks as though there would be no daylight between them 
 when made up, but there Avill be. 
 
 If you desire the collar and lapel to close Avhen made, you must draft the 
 collar so as to lap lapel from one-quarter to one-haK an inch, for a low or high 
 roll respectively. 
 
Diiiirram di") illustrates what I mean. 
 
 Diagram 65. 
 
 Diagrams OG and 67. 
 
The colliir at ^1 projects over tlie lapel oiuMpiarter of an iiieh, Init wbeu 
 tlie coat is finished tlie two edges will just meet. 
 
 In coats for full-breasted men, it will greatly assist the joui-. in formin<' 
 the breast to cut one or two V's in forepart a(-c'oi-ding to the fullness of your 
 client's breast, as represented in diagrams ()(> and 07. 
 
 In cutting the ordinary V between hipel and forepaii, consideraljle trouble 
 may be saved, and you will be able to design your roll Avith greater accuracy, 
 by adopting the method illustrated in diagram 08. 
 
 Diagram C8. 
 
 DiAcnAM GO. 
 
74 
 
 Draft forepart ^vitll lapel as represented. 
 
 The line marked A is for the Y ; cut down this line and open it out to 
 the size of cut you desii"e. This Avill throw loose cloth over the breast. Pinch 
 this tof^ether and press it down A\-ith }oxu- nail. Your draft viiM then present 
 the appearance indicated by dark lines of diagi-am 69. 
 
 A represents the fullness caused by opening the Y pressed do^vn. 
 
 All vou have to do now is to fill out the breast as represented by broken 
 line, when you lay out the coat upon the cloth. 
 
 In cuttino' single-breasted cutawjiys, cuttere sometimes get their coats too 
 small to button over the breast. This results from cutting the front with an 
 even taper from round of breast to bottom, instead of rounding it to point 
 where it is to break and cutting it away as desired fi-om that point down, as 
 illustrated in diagi-am 70. 
 
 JJlAGBAM 70. 
 
 ^4 repi-esents a line draAvn fi-om the breast to the waist point. 
 
The dark lines represent the breast drafted in the faulty manner we are 
 discussing. 
 
 The distance from this line at bottom of roll to line A, is not more than 
 an inch, which will not penuit the coat to button without forcing. 
 
 The dotted line represents the breast shaped so as to pennit the coat to 
 button. 
 
 This may seem a small matter to those who have no difficulty in this 
 respect ; but I rarely ever passed a day while traveling without meeting some 
 cutter who was annoyed by this very fault. 
 
 In shaping the bottom, considerable taste may be displayed. 
 
 Whether it be made to droop or to come straight around the form, is, of 
 course, regulated to a great extent by fashion. 
 
 But whatever the fashion may be, the bottom should never be made too 
 short or too long in front. 
 
 A slight droop always looks well and is never unfashionable. 
 
 A V should be cut in the bottom except for very naiTow-chested men. 
 
 Many cutters labor under a strange delusion in regard to this V, thinking 
 that its puqiose is to give spring over the hip. 
 
 A moment's reflection should disabuse their minds of this. Unless the 
 V is cut very large it cannot be made to give any perceptible spring, and if 
 it coidd, it wovdd place it where it is not required. It would make the coat 
 splay at the hips, than which there are few faults more detrimental to the 
 appearance of a coat. 
 
 The V in the bottom is to enable the jour to fomi the breast, and should 
 be cut with that single purpose. It should also be cut in such a manner as 
 not to disarrange the form of bottom when it is seamed. 
 
 This is done by making the edges run parallel for an inch or more from 
 the bottom. 
 
 Diagrams 71, 72, 73. 
 
 In 71, the V is cut to give fullness to the breast, it is the same size at the 
 bottom that it is two inches above : the two sides are parallel for that dis- 
 tance; when seamed, the shape of bottom will be unchanged. 
 
76 
 
 Diagrams 72 and 73. 
 
In 72, the V is cut so as to produce the same effect without springing the 
 hips, but it is ^videst at the bottom and tapers in straight lines to a point. 
 When it is seamed, the shape of bottom will be the reverse of that ilhistrated 
 
 m (iiairram v o. 
 
 In diagram 73, tlie V is shaped to spring the hip ; when it is seamed the 
 bottom A\'ill have the shape of bottom in diagram 75. 
 
 Diagram 75. 
 
 Diagram 76. 
 
78 
 
 The shape of bottom can of course be preserved by trimming tlie pattern 
 when the edges of the V are closed, but not one cutter in a hundred who so cuts 
 liis Vs, changes the shape of the bottom fi'om what it would he -without the 
 cut, the cousecpiences are the coat splays at hip, aud the skirt hangs badly. 
 
 Skirt. 
 
 The first thing to be done in drafting the skirt is to shape the top. The 
 manner in which it should be shaped depends upon the fashion in vogue. 
 
 Sometimes fashion requires the skirt to have considerable drajoery, and 
 sometimes, as at this writing, the skirt is cut with no drapeiy whatever. 
 
 We will consider the latter firet. 
 
 It may be laid down as an axiom, that a skirt without draj^eiy should be 
 
 Diagram 77. 
 
draped to fit the bottom of f'()re[)ai't and sidel)ody exactly; tliis will make it 
 liaiig as though the l)ody and the skirt were one luiciit piece of cloth. 
 
 The following metlu)d \vill he found very sini[)le and accuiate. 
 
 Lay your hi[)el, forepart, and sidelxxly upon }-oui- cloth with theii- edges 
 evenly joined at bottom, as illustrated b}' diagram 70. 
 
 Mark across the bottom, and, after marking width remove the forepait and 
 sidebody, leaving the lapel ; noAv shape the front, letting it be at an angle 
 Avhich will lap the laj)el at the most 2»romineut point one inch, as illustrated in 
 diagram 77. 
 
 A is the line for front of skiii, it laj^s the lapel at 7> one inch. This will 
 give the pi'oper amount of spring for the front. 
 
 The spring of back is more difHcult to regulate, as some fomis refpiire 
 more spring than others. It should, hoAvever, be ranged with sidebody, and if 
 that is properly drafted the spring must be light. 
 
 Vest. 
 Many cutters are e.xtremely slovenly about the manner in which they cut 
 their vest backs, and, as a natural consequence, very seldom pi-oduce a good 
 vest. 
 
 Diagram.'? 78 and 79. 
 
80 
 
 The practice of cutting the back without a seam is a bad one; it should 
 never be done except for very fleshy men, and even for them only occa- 
 sionally. 
 
 It necessitates the drawing in of the vest Ijy the l)ack straps, \\-hich is 
 something the cutter should always seek to avoid, not only because it injures 
 the vest, but chiefly because it ruins the appeai-ance of the coat, unless it is of 
 very he;ivy matei'ial, or is a sack. 
 
 There is nothing that is more offensive to the artistic cutter than a pro- 
 tubei'ance at the waist caused by the cloth in a vest-back puckered together by 
 the sti-ap. 
 
 The back, as a I'ule, then, should always be hollowed. 
 
 In cutting the shoulder, the vest may be made to fit about the neck 
 smoothly, by giving it proper shape. 
 
 Diagrams 80 and 81. 
 
81 
 
 Instead of cutting it straight, hollow it near shoulder point, as in 
 diagram 78. 
 
 In shaping the sye, too much cloth should not be cut out ; a large amount 
 of shirt sleeve exposed over the back shoulder, always looks bad, and should 
 be avoided. 
 
 Diagram 79 will show the difference between the proper and improper 
 manner of forming the sye. 
 
 The broken line represents, of course, the faulty manner. 
 
 Forepart. 
 The shoulder of forepart should be shaped in the same manner as that of 
 back, id est, as in diagram 80. 
 
 Diagrams 82 and 8.3. 
 
82 
 
 The neck should he cut toleral)ly straight, especially for long rolls. If 
 cut too crooked the silesia ■\\dll sometimes shoAV between the collar and 
 lapel. 
 
 Unless the roll is veiy short, a V should be taken fi'om the gorge, to pre- 
 vent loose cloth in break, and to give fullness to the breast. 
 
 For a very obese man, cut a large V in forepart, as illustrated in 
 diagram 81. 
 
 This will draw the vest in at bottom and throAV extra cloth where it is 
 required. 
 
 For very long vests this V may be taken out. Its width should be about 
 one-half inch, and it should extend the \vidth of pocket. 
 
 For small-waisted men with prominent hips, insert in same place a " fish," 
 as illustrated in diagram 82. 
 
 Collar. 
 
 The collar should be cut from one-half to one inch shorter than the neck, 
 according to length of roll. 
 
 Vests are frequently too high at the side of the neck. This may be 
 avoided by cutting the collar as illustrated in diagram 83. 
 
 Diagram 84. 
 
83 
 
 It will be obsei'ved that bet\\'eeii the collar and forepart, at curve of necki 
 there is some space. This lowei's the break and improves the appearance of 
 the neck. 
 
 Many cutters experience some difficulty in getting their vests to lay 
 properly about the neck ^vhen cut collai'less. 
 
 This may be avoided in several -ways. 
 
 First, by stretching the neck, which is a dangerous method, unless done 
 by a workman of skill and excellent judgment. 
 
 Second, by inserting a " fish," as illustrated in diagram 84. 
 
 A represents a cut made into forepart, and H the " fish " to be inseiled. 
 
 Third, by cutting the l^ack widei', as in diagram 85. 
 
 Diagram 85. 
 
 The dotted lines represent a piece cut from shoulder of foi'epart, and 
 added to that of back. This gives the same spring to the neck that a collar 
 woukl. 
 
 This is a simple method, and Avill ]>e foimd very effective. 
 
84 
 
 Pantaloons. 
 
 There are a few points in connection wdth pantaloon cutting to -whic-li I 
 shall briefly refer. 
 
 Many cutters seriously injure the appearance of their pantaloons by 
 cutting the crotch of forepart with too great a curv^e. This causes too much 
 cloth to appear in front, and often draws them too tight about the hips. 
 
 The curve of crotch should be quite straight. 
 
 Diagram 86 illustrates the diii'erence between a straight crotch and one 
 curved too much. 
 
 Diagrams 86 and 87. 
 
 In adding the dress, many cutters destroy the fit of the pantaloons. 
 
 If the dress is added in such manner as to lengthen the distance from top 
 of forepart around crotch to top of backpart, the pantaloons must inevitably 
 be injured. 
 
 The pantaloons must close without fullness, and if they are cut as 
 described above, the e.xtra length must be cut from top of backpart. The 
 inside seams will not come evenly together, and, as a consequence, the two 
 legs cannot hang alike, and the pantaloons A^^ll be liable to twist. 
 
 In adding dress, the left side should be enlai'ged, so as to give the e.xtivi 
 cloth required without having it show too conspiciiously at one place. 
 
 The dress should be distiibuted between top of forepart and half -way 
 between crotch and knee. 
 
From three-quarters of an inch to an inch is enougli to add oitlinaiily. 
 
 This should be added as represented in diagram 87. 
 
 The curve of the left side is straighter so as to make the length of both 
 sides the same. 
 
 For large men the top of forepai-t at front should be raised from one-half 
 to two inches, according to the relative size of waist and belly measures. 
 
 The front should be curved over the most prominent part of abdomen, 
 as illustrated in diagram 88. 
 
 The dotted line represents the shape for lean form. The dark line 
 represents the shape for man of same waist and hip measure, but with a large 
 abdomen. 
 
 The proper amount of round to be given in front, and rise to be added 
 to top of forepart, for any shape, may be determined in the folloAving simple 
 manner : 
 
 Establish your waist and hip points, square down from waist-point l)y 
 top of forepart; at most prominent part of abdomen add one-eighth inch for 
 eveiy inch the belly-measure exceeds the waist-measure. 
 
 Draw a straight line from this point through waist-point and to hip-point, 
 and then curve gracefuU^^ 
 
 Square from line extending through waist-point to the top of forepart at 
 side seam, and you will have the correct rise and round. 
 
 Diagram 89 is an illustration of this method. 
 
 Diagrams 88 and 89. 
 
86 
 
 Waist-measure 40, belly 43, height of top of forepart from most promi- 
 nent pai-t of abdomen, 4 inches. 
 
 A is waist-point. C is line squared down from this point by to]) of 
 forepart. H is distance from top of forepart to most prominent pai't of 
 abdomen (4 inches) ; at this point three-eighths inch is added for round, this 
 being one-eighth inch, for each inch the belly-measure is larger than the Avaist- 
 measure. D and J^ are straight lines i-unning from this point through waist 
 and hip points, i'^ is squared by line D to top of forepart at top of side seam. 
 
 Shape as represented by broken lines. 
 
 The top of pants should, of course, be made to come just over the hips, 
 with the waistband added. 
 
 Sometimes, however, customers desire their pantaloons to rise t^vo or 
 even thi-ee inches highei'. In such cases, besides the length of outside seam, 
 the length from just above the hip should be taken, and the pantaloons at this 
 height should be cut to the waist-measure, as represented in diagram 90. 
 
 Diagram 90. 
 
 A and Ji are the top of hip ; at this height the pantaloons shoidd be no 
 larger than aromid the top. 
 
87 
 
 All almost universal fault with pantaloons is, that -when a man sits they 
 draw up badly. 
 
 This may be caused by the fork being too short, the rise being too little, 
 or the top of back at side-seam not being sufficiently sprung out, and sometimes 
 by all these faults combined. 
 
 The remedies are obvious : to increase the length of fork, the height of 
 rise ; to spring the top of backpart out farther, or to do all three. 
 
 The reasons for the two first remedies are plain, but the reason for the 
 last is not so easily understood. 
 
 Diagram 91 Avill make it plain. 
 
 Diagram 91. 
 
 The dark lines represent the backpart drafted with the top of side-seam 
 not sufficiently sprung out. 
 
 A represents a cut made across the back and opened out as much as 
 required to give the necessary spring to top of back at side-seam. 
 
 This gives, it will be observed, greater length from i> to 6^ and from B to 
 D, wdthout in any way interfering with the size of body around either waist 
 or hips. 
 
88 
 
 Pants must be properly balanced or they ^viY[ inevitably hang badly. 
 
 A very simple and perfect method of hanging the legs to the body may 
 be found in the explanations of the principles upon which my Pantaloon System 
 is based. 
 
 Waistbands should be cut from one-half to three-quarters of an inch 
 longer than waist-measure, to allow for making up. 
 
 Whole-Fall Pantaloons. 
 
 These differ from ordinaiy pants only about the fronts. 
 
 All old cutters, of course, understand how to cut them. 
 
 But as this style of pants is now seldom worn, there are hundreds of young 
 cutters to whom a little light on the pecidiaiity of this style of gai'ment will 
 be acceptable. 
 
 It is especially for their benefit that diagram 92 and the e.xplanations 
 following it are gi\'eu. 
 
 Diagram 92. 
 
89 
 
 The top of forepart is cut oue-half au inch longer than the measure 
 re(]^uires, to allow it to tui'U in. The waistbands are cut on — not on to the 
 forepart, hoAvever — but on to the fall-bearer, as re2)reseuted 1)}' l)roken lines. 
 
 The side-seam is left open to notch on forepart. 
 
 OVEIICO.VTS AND MlLITAlJY CoATS. 
 
 Overcoats should be measured for o\ev the coat, and should be drafted 
 precisely as undercoats, except that there should be more added to the breast ; 
 say three inches. 
 
 Militaiy coats should be ^vell rounded over the breast and the round 
 ^vorked out by the jour, cai'e being taken not to press the fullness too far back 
 towai'd the sye. 
 
 They should be cut closer about the body than other coats, and should 
 therefore be given more spring about the hips. 
 
 The collar foi' a miUtar}' coat or an overcoat, to button under the chin, if 
 it turn down, should be cut as illustrated in diao^ram 98. 
 
 DiAQBAM 93. 
 
OPTICAL ILLUSIONS. 
 
 This at first tLouglit may seem a strange subject to treat iipou iu a Avoi'k 
 of this description. I sliall demonstrate, however, that it is a subject which 
 very nearly concerns every cutter, and which it behooves him to carefully study. 
 
 More good cutters are ruined and more garments are killed through opti- 
 cal illusions, than through any other cause. 
 
 This assertion, I apprehend, ^vill seem I'ather enigmatical, but it is, never- 
 theless, true. 
 
 Why is it that many cutters, who, ten or fifteen years ago, were i-egarded 
 as first-class artists ; cutters whose garments rarely needed alteration, and were 
 always tasty and graceful, have now lost their prestige, and are old fogyish 
 and uncertain ? 
 
 Their garments do not fit as they used to ; they do not hang so well. Why 
 have they degenerated ? 
 
 It is because of optical illusions. 
 
 When they were successful they became accustomed to, and fell in love 
 v/ith, a certain form of forej^aii;, back, sidebody, skirt, sleeve, collai', etc. 
 
 They could, then, almost tell whether a coat would fit or not by a glance 
 at the pattern. 
 
 But the styles changed, necessitating a different formation of the various 
 parts of the coat. 
 
 The back and shoulder, we will say, for illustration, became Avider, chang- 
 ing the shape of sye. 
 
 The side seam became straighter, or more curved, changing the form of 
 sidebody, and so on through the entire garment. 
 
 They designed a coat : the shoulder of foi-epart, the sye, the sidebody, all 
 looked wrong ; they were so different from the forms they had so long used, 
 that it seemed impossible they could be right, 
 
 (90) 
 
91 
 
 They looked cat eacli part l)y itself, and so \-iewe(l each seemed badly 
 shaped. 
 
 The shoulder of forepart appeared to have too little cloth over the droop, 
 the sye seemed not deep nor hroad enough, the sidebody -was too nari'ow oxer 
 the blade and too sharp at the hip. 
 
 They used their judgment (?) and whittled, and pared, and added until 
 their draft conformed more nearly to their preconceived ideas, — and so injured 
 and often killed their coats, — and so fell fi-om the first to the rear rank of 
 cutters. 
 
 Had they viewed their draft as a whole, keeping in mind the modifica- 
 tions and changes of the parts made by style, they would have seen that the 
 draft was essentially the same as that with which they had been successful. 
 
 Diagram 94. 
 
 The faults they seemed to see Avere merely optical illusions, but they seemed 
 so glaring that they could not bring themselves to leave the shape of the vari- 
 ous parts unchanged. 
 
92 
 
 Optical illusions are killing coats every day. 
 
 A cutter drafts his back a little narrower than usual, and his sidebod}- 
 looks as though it would bag at top, so he cuts it do\vn. 
 
 He cuts the shoulder seam of back liigher at the sye, which makes the 
 .shoulder of foi'epart look too short over the droop, so he adds to it, and his 
 ct)at is too lai'ge about the back seam of sleeve. 
 
 Following are examples of such optical illusions as we are discussing'- which 
 so frequently tempt the cutter to alter his di'aft to the I'uin of his coat. 
 
 Diagrams 94, 95. 
 
 Diagram 95. 
 
 The cuttei', ^ve ^\^ll sup^iose, has been making drafts proportioned as in 
 diagram 94, nan-ow back Avith curved sided seam, and shoulder seam cut down 
 at sye. He changes to A\ide back, straight side, and high shoulder seam. The 
 vanous parts of draft A\ill be proportioned then as rejjresented in diagram 95. 
 
 To the cutter's eye, accustomed as it is to such widely different forms, each 
 ])ai't of 95 seems out of projiortion. 
 
93 
 
 He thinks the coat will kick at the waist, that there is not sufficient cloth 
 over the blade, that the sye is too narrow, and that the forepart over droop of 
 shoulder is too short. 
 
 Therefore he tinkers his pattern to the niin of his coat. 
 
 Diagram 96 illustrates the changes he would probably make. 
 
 Diagram 96. 
 
 These changes would certainly destroy the fit of the coat, any one of them 
 would injure it. 
 
 Of course it is not often that such complete changes of style come at 
 once. They come one by one, but each one as it comes leads the cutter into 
 more or less trouble, through some optical illusion. 
 
 Diagrams 94 and 95 placed together will appear as represented in dia- 
 gram 97. 
 
94 
 
 Diagram 94 is represented by the broken lines, and diagram 95 by those 
 which ai'e solid. 
 
 Diagram 97. 
 
 It will be observed that the outlines of the two drafts are precisely alike, 
 except that the shoulder of 95 is wider than that of 94. 
 
95 
 
 Diagram 98 represents the draft cliauged as represented in diagram 96, 
 placed upon diagram 94. 
 
 Diagram 
 
 The dark lines represent diagram 96, the broken lines diagram 94. 
 Unquestionably if draft 94 would fit, draft 96 would not. The changes 
 the cutter made to make draft 95 resemble 94 have killed the coat. 
 
96 
 
 In drafting sacks, cutters are especially liable to be misled by optical 
 illusions. 
 
 They imdertake to make the forepart to confoi-m to an ideal form regai'd- 
 less of the manner in which the back may be shaped, and, as a consequence, 
 their sacks frecj^uently have too much or too little spring, and ai'e too tight or 
 too loose about the blade. 
 
 Diagram 99. 
 
 Narrow backs, we will suppose, have been fasliionable for some time, the 
 style has changed and backs are cut vAdev. 
 
 The cutter drafts his forepart to fit the wide back, and when he has 
 finished, fancies there is not enough spring, he therefore adds more, and has to 
 make an alteration in consequence. 
 
97 
 
 On the other hand, wide backs have been in vogue for some time, the style 
 clianges and backs are cut nari-ower. The cutter drafts his coat to fit the nar- 
 row back, and when he has finished, fancies he has too much spring, lie there- 
 fore cuts down the forepart, and perhaps kills the coat. 
 
 Diagrams 99 and 100 represent the illusions we are discussing. 
 
 Diagram 100. 
 
 Diagram 99 represents the sack wath narrow back, which we will suppose 
 the cuttei- has been drafting until the form of that style of sack is thoroughly 
 impi-essed upon his mind. 
 
 He desires to cut a wider back, the style having changed. 
 
 His draft, when finished, is represented by diagram 100, ^vhich, if placed 
 
98 
 
 upon diagram 99, will be fouucl to be exactly the same gannent, except in 
 regard to the position of the seams. 
 
 ' The cutter, however, accustomed to the greater apparent spring of diagram 
 99, and not bearing sufficiently in mind the difference between the widths of 
 backs, is impressed with the idea that more spring should be added. 
 
 The draft 100 appealing to have less spring than 99, is, of course, only 
 an optical illusion. 
 
 But the cutter stupidly adds more spring, as represented by dotted lines. 
 Of course his coat is too full in the skirt. 
 
 On the other hand, let us suppose that he has been cutting wide backs, 
 until the fonn of that style of sack is thoroughly impressed upon his mind. 
 
 He has occasion to cut a narrow back. 
 
 His draft, when finished, does not suit him. 
 
 It has, he thinks, too much spring. 
 
 It is mei'e fancy — merely an optical illusion, of course, as can be readily 
 imderstood by regaixling diagram 100 as the style to which he is accustomed, 
 and diagram 99 as the di'aft he has just made. 
 
 Diagram 101. 
 
 He is confident, however, that his rule has given too much sjirinj. 
 cuts down his pattern, as represented by dotted lines in diagram 99. 
 His coat is killed through an optical illusion. 
 
 so he 
 
9!) 
 
 With the one-shcaped ]);ick liis judgment is good ; with the other it is 
 ruinous. 
 
 Let us suppose another case. 
 
 The cutter is accustomed to a "vvide back, which requires a foi'epart shaped 
 as represented in diagram 101. 
 
 The side-seam of forepart, it will be observed, is cut straight over the 
 blade. 
 
 But the style changes to a narrow back, necessitating a side-seam shaped 
 as I'epreseuted in diagram 102. 
 
 Diagram 102. 
 
 The side-seam is slightly curved over the blade. 
 
 The cutter, looking at his draft, so shaped, concludes that it must be 
 Avrong, and so shapes it to I'esemble that I'equired for the wider back. 
 
 The result is a bad fitting garment. 
 
 These are but a few of the cases in Avhich cutters are misled by optical 
 illusions. 
 
 I have pointed theni out from among the many others, because of their 
 more frequent occurrence. 
 
 The principal object of these remarks is to point out the danger of 
 
lUO 
 
 judging of any part of a di'aft by some preconceived idea of wliat its shape 
 should be. 
 
 The only safety is to examine your draft without regard to the shape of 
 the seams, that is, to look only to the outlines. If they are as they should be, 
 the position of the seams may be such as taste or fashion dictates. 
 
 These facts came to my knowledge once as a Godsend, and hoping they 
 may come as such to the knowledge of others, I dismiss the subject. 
 
MAKING. 
 
 Very few directions ai'e necessary for making, except for tight-fitting 
 garments. 
 
 Coats. 
 
 Coats are now worn so large that they need veiy little stretching or 
 shi-inking. 
 
 For extra erect men the gorge should be stretched a little for a couple of 
 inches from the shoulder seam. 
 
 The breast should be cut with sufficient round to allow for its being 
 shrunk in to give shape. 
 
 The collar should never l)e put on tight. 
 
 The edge stay should be put on fair. 
 
 It is never necessary to shrink or sti'etch the sidebody. If it is stretched 
 lengthwise it will shiink again and cause the back to become full. 
 
 For round-shouldered men, the sidebody should be put on a trifle shoi't 
 to the back ovei' the round of blade. 
 
 For tight-fitting coats the sye should be sti'etched from one-half to three- 
 quarters inch in front. 
 
 Pants. 
 
 For spring-bottom pants the canvas should be cut on the bias, as it can 
 be more easily shaped if cut in that manner. 
 
 The backpart, before seaming, should be stretched on the in-seam one-half 
 inch between the crotch and the knee, and a like amount on the side-seam 
 between the hip and knee. 
 
 The extra length caused by stretching should be kept full on the forepart 
 over the calf of the leg. 
 
 After the pants are seamed, they should be shrunk fi'om the seat to the 
 top of the calf of the leg on the backpart, and pressed into shape. 
 
 (101) 
 
1U2 
 
 Vests. 
 
 For rolling-collar vests, tlae collar should he put on short opposite the 
 largest part of bi-east. This shortens the crease, preventing it from flaring, 
 and produces a gi'aceful round on the breast. 
 
 The back should always be joined to the forepai't at the neck, and under 
 the arm even ; any e.xtra length shoxdd then be cut from the lower part of the 
 shoulder-strap and from the bottom. 
 
HOW TO ALTER. 
 
 Coats wincH Swing at tiie Waist. 
 
 If the coat fit pi-operly about the neck, and fastens or buttons as it 
 should, that is, -without force, the sidebody should be cut down. 
 
 If the coat when buttoned hang off from the neck, or does not button at 
 the waist naturally, the shoulder is WTong, and shoidd, if the neck is of the 
 right height, be cut down, but if the neck is short, the shoulder should be 
 moved further back. 
 
 If the neck is too short and have a tendency to hang off when the coat 
 is unbuttoned, you can do no better than to cut another coat. 
 
 Coats that Ride the Hips. 
 If a coat ride the lups and is loose about the top of the sidebody it 
 should be altered as illustrated in diagi'am 103. 
 
 Broken lines represent the changes to be made. 
 
 If the coat is not loose about the top of sidebody, it is imalterable. 
 
 Bad Necks. 
 
 If the coat is too high at the neck and fit properly elsewhere, cut the 
 neck down, or lower the stand of collar if it can be done sufficiently. 
 
 If too short in the neck and the fit is otherwise proper, lengthen the top 
 of back and front shoulder if you have outlets, if not, shorten the shoulder- 
 strap and drop the sye. 
 
 If the coat hang off fi-om the neck and the sye does not bind the arm 
 and the fit is otherwise good, cut down the shoulder-point and shorten the 
 collar. 
 
 If the coat have this fault and bind the arm, let the shoulder out over 
 the droop and the coat will fit properl}' about the neck. 
 
 (103) 
 
104 
 
 Bad SiiouLDr.ns. 
 
 If the sliouldei" wrinkle and dra\v diagonally fi-om tlie neck to the sye, 
 the shoulder is too crooked, or too shoit, or both. If too crooked the 
 wrinkles ^\•ill disappear if the arms are thro^\^l well back, and the coat can be 
 altered by caiTying the shoulder farther back and letting it out at the neck. 
 
 If the ^vrinkles do not disappear when tlie arms ai'e thrown back the 
 shoulder is too short and should be lengthened. 
 
 Diagram 103. 
 
 If the shoulder is both too short and too crooked, the coat ma}-, perhaps, 
 be altered, but I should not have courage enough to ti'}-. 
 
 If the shoulder have a tendency to fold horizontally, if it is full and 
 baggy, it is too straight and should be carried further forward, and shortened 
 a trifle over the droop. 
 
1U5 
 
 Bad Blades. 
 
 If tlie coat draw in wrinkles from uncier-arm to side-seam, tlie back is 
 probably too short. If this is the fault, it can be remedied by lifting the side- 
 body, cleaning out back sye and paring down bottom of forepait. 
 
 The fault is, however, fi-equently caused l^y the sidebody being entirely 
 out of haiTnony with the back. 
 
 By the following method you can easily discover where the trouble is : 
 Rip the side-seam to waist and try on the coat; if the back is too short it will 
 draw up fi'om the waist, but if the fault be in the sidebody, it moII lap the 
 back as illustrated in diagram 104'. 
 
 Diagram 104. 
 
 There is no other remedy in this case than a new and properly cut side- 
 body. 
 
 Sometimes these wrinkles are caused by there not being cloth enough 
 from fi'ont of arm to back seam; in this case the sye will bind the arm; to 
 enlarge the sye will remedy the fault. 
 
106 
 
 If the coat is baggy back of tlie arm, tlie fault may be in the shoulder or 
 at the blade. If the shoulder is too far for\vard, the coat will ride the hips, 
 and should be altered as illustrated in diagram 103. 
 
 If the shoulder is too long over di'oop, the loose cloth ^\-ill disappear if 
 you lift the shoulder or place a handkerchief upon it under the coat. In this 
 case the shoulder should be cut do^\•n or padded more. 
 
 If the coat is otherwise as it should be, and the loose cloth remain when 
 the shoulder is raised, the sidebody should be cut down either on side-seam or 
 luider arm-seam. 
 
 This defect is sometimes accompanied ^vith a baggy appearance across the 
 back ; when this occiu's the back is too long, the back must be raised and cut 
 down at the top and across the shoulder. 
 
 Bad Skirt. 
 If the skirts lap they may be made to hang right by altering, as in dia- 
 OTam 105. 
 
 Diagram 105. 
 Dotted line represents the alteration. 
 
107 
 
 If they spread apart they may be made to hang right by altering as in 
 diain*am 106. 
 
 Diagram IOC. 
 
DUTIES OF THE CUTTER, AND ETIQUETTE 
 OF THE CUTTING-ROOM. 
 
 Your duty to your employer requii-es you to treat him witli respect, to 
 couf'onn to the established 2'ules aud usages of his house, to be at your cut- 
 ting board at a reasonable houi-, to work diligently thi'ough working hours, if 
 you have work to do, to give him your best work of head and hand, to cut 
 your cloth to the best advantage, to treat his ciistomers with politeness, to 
 manifest a disposition to please, and to be a gentleman. 
 
 Yoiu' duty to youi' employer, requiring what I have mentioned, makes it 
 incumbent upon you to allow nothing that can be prevented to intei-fere A\nth 
 the successful execution of youi* work. 
 
 If your employer, or any in his emj)loy, annoy you by unnecessary sug- 
 gestions while ascertaining the style of gaiTuents desired by youi' client, or 
 while securing his measure, mention it at once, giving your reasons for desiring 
 the annoyance to be discontinued. 
 
 If they interfere with you while trying on a garment, insist that they do 
 so no more. This is your business, no one has a light to meddle ^vith it — no 
 one should be permitted to do so. 
 
 Be independent, but not impei'tinent. 
 
 Many confound the two. 
 
 Independence requires you to do what youi' duty to youi'self demands, 
 what is necessary to the building up oi' the sustaining of your reputation, to 
 demand fi-om all the consideration due from one gentleman to another, and to 
 permit no interference or meddling Avith your duties, and no usurpation of the 
 authority pertaining to your position. 
 
 You cease to be independent and become impudent, however, when you 
 presiune upon the value of your services, when you neglect youi- business, or 
 slight your work, because you think yoiu- employer cannot get along well 
 Avithout you. 
 
 (108) 
 
lU'.t 
 
 The first will make you respected ; the second contemptible. 
 
 If a customer ask your advice concerning a piece of cloth, the style of 
 a garment, or any other matter in connection vdih your department, give him 
 honestly the benefit of your experience and superior knowledge. 
 
 Be dignified : remembering always that " familiarity breeds contempt." 
 
 If a customer desire a certain style not in vogue, nor suitable to the 
 goods, nor becoming to himself, tell him so, and courteously try to persuade 
 him to have a more desirable style of garment made, but don't press him ; if 
 his mind is firmly made up, do your best to meet his ideas. 
 
 Manifest a desire to please your customers, ascertain and cai'efully note 
 anything peculiar -which they desire, number of extra pockets, etc., and be sure 
 their garments are so made. 
 
 When a customer tries a finished garment on, do not Jumj) aljout him like 
 a jumping-jack, and offend his good sense by telling him how admirable is 
 the fit. 
 
 Ask his opinion of it, and if he suggest any fault, examine it, and if it be 
 a fault, remedy it cheerfully. 
 
 If you see anything that should be changed, tell him so, and have it 
 changed. 
 
 Never try to persuade a customer that a bad garment is a good one. 
 
 Never allow yourself to become irritated by the fault-finding of the fas- 
 tidious, unless they offer you insult, or ai'e impertinent. 
 
 When a customer departs from the deportment of a gentleman in his deal- 
 ings with you, tell him so, and resent it like a gentleman. 
 
 If your garment is as it should be, and your customer, as is sometimes the 
 case, finds fault without reason, tell him fii'inly that he is mistaken, but at the 
 same time express your willingness to humor his whim, unless you cai-e nothing 
 about his trade or influence. 
 
 Never be afi-aid to acknowledge any fault in your garments; never refuse 
 to see one when pointed out; and never take offense at the criticism of a gar- 
 ment by the one who is to wear it. 
 
 If a customer complain that his coat is too long or too slioi-t, or find fault 
 with a garment in any way, and he is mistaken, call his attention to your fashion 
 reports, or to garments you are making for others, and let him see that he is 
 
no 
 
 ^\Tong ; then if he desire an alteration to be made, it must be as a favor, and 
 not as a right ; and instead of regarding you as an unskillful workman, he will 
 consider you a courteous and accommodating gentleman. 
 
 If you sometimes act as salesman, as cutters not infrequently do, never be 
 guilty of the impertinence of showing a piece of goods with some such remark 
 as. "This is exactly what you want," or, "I know this will please you." 
 
 Your duty is to exhibit goods for his inspection, to assist him in making 
 a choice, to advise him, if necessary, and to take his order, not to act as though 
 you considered him unable to think for himself. 
 
 Never ciiticise a ganuent cut by another in the presence of a customer ; 
 this savors too much of the common impudence of a barber, who remarks about 
 the bad manner in Avhich your hair was cut by some one else. 
 
 Never promise to have a garment finished at a given time, imless you 
 intend to have it finislied at the time promised ; and never disappoint a cus- 
 tomer if it can possibly be avoided. 
 
 Never misrepresent ; a reputation for integiity is of almost or quite as 
 much value in yoiu- profession as a I'eputation for skill and taste. 
 
 Your most valuable customers are refined gentlemen ; you Avill do -well, 
 therefore, to bear in mind that gentlemen love gentlemen. 
 
 A true gentleman respects another, and will rather deal with him, even 
 though not remarkably skillful, than with a person not a gentleman, however 
 gi'eat his skill. 
 
 Never appear to be in haste with a customer ; rather make him feel that he 
 is not interfering with your work, nor discommoding you. 
 
 In measuiing a gentleman do not prod him with your thumbs or fingers ; 
 when you touch him, do so -with your open hand, and gently. 
 
 Don't jerk, or push, or pull him, it is a^vk\vard and disagreeable. 
 
 Don't breathe in his face. 
 
 Don't call out jour measures like an auctioneer, to do so is coai-se and 
 nide. 
 
 If he liave any deformity, do not refer to it unuecessaril}', but note it in 
 your book Avithout remark. 
 
 Some cutters imagine it impresses their customers -with a respect for their 
 carefulness and ability to call out for entry upon the book such directions as 
 
Ill 
 
 "Left shoulder one iucli lower than the right;" "Round shoulders;" "VeiT 
 stooping;" "Pi-omineut blades;" "Narrow chest," etc. To do so is simply 
 ungeutlemanly and rude. 
 
 Do not be guilt)^ of boasting to }()ur customers, it only lowers you in 
 their estimation. 
 
 On the other hand, do not depi'eciate yourself, this will not give you a 
 I'eputation for modesty, but for affectation. 
 
 Let your addi'ess and manner be such as to convey the impression that 
 you suppose your ability to be undoubted, not such as to give the impression 
 that you ai'e desirous of having it acknowledged. 
 
 The former is the perfection of tact, the latter is foll\-. 
 
 The one, the manner of the acknowledged artist and skilled mechanic, 
 the other, that of his ambitious counterfeiter. 
 
 Di'ess well, but not foppishly. 
 
 Let your linen be clean. 
 
 Your garments should fit well, be stylish and of good material, but not 
 necessarily extravagant. 
 
 Avoid ^vearing garments whose colors are not in harmony, above all things 
 else, in this regard, do not wear garments cut in an exaggeration of the fash- 
 ion, to do so will make you appear ridiculous. 
 
 These I'ules and suggestions are imperative, and cannot l)e disregarded 
 with impunity. 
 
 If followed, )'ou cannot fail to please your employer, and to be popidar 
 with his customers. 
 
 If disregarded, you cannot command respect, you cannot hold your cus- 
 tomers, nor can you make a valuable reputation. 
 
 If the deportment of cutters were more generally up to the standard of 
 these rales, our profession would receive the recognition, the science and ail 
 I'equii'ed for its success, desei've. 
 
ECONOMY IN CUTTING 
 
 A large majority of cutters cannot take a suit out of less than from seven 
 to eight yards, which is much more than is necessaiy, unless the customer is of 
 great size, or the coat is a long double-breasted frock. 
 
 In my own practice, I rarely use more than six-and-a-half yards, and 
 frequently not more than six. 
 
 If the cloth is wide, say twenty-nine inches, I can cut a business suit for 
 a man five feet eight inches tall, thirty-eight breast, coat thirty-five inches long, 
 out of six yards. If the cloth is twenty-eight inches wide, I I'equire six and a 
 (quarter, and if it is only twenty-seven inches wide, six and a half yards. 
 
 To explain the manner in which I do this, I will give illustrations of how 
 I place my patterns for a inan of the size mentioned, on the various widths ; 
 but before I do this, I wish to give a few hints in regard to the plan I adopt. 
 
 I invariably cut my pantaloons first and save as much of the piece which 
 comes from between the legs as possible. This is often enough for a sidebody, 
 and invariably enough for the collars, and sometimes for the vest-facings too ; 
 oi', if my vest is double-breasted, it will make the collar. This piece I lay 
 aside to use in the coat or vest. Then I draft my patterns for coat and vest. 
 In laying these patterns on the cloth, I make my outside sleeve wider or nar- 
 rower as will best serve my purpose. If I am crowded for cloth I cut an inch, 
 more or less, fi-om the forepart of vest, from the sye do-\\Ti, which I add to the 
 back part; sometimes I cut the shoulder of vest one-half iTicli shorter and add 
 a like amount to the back. I never do any piecing, except to the facing oi' 
 toji of lapel. 
 
 Those cutters Avho are pro])rietc)rs can ^vell appi'eciate the value of 
 economy in cutting, and so Avill all who deserve success. It is very easy to 
 save from one to two thousand dollars' worth of cloth in a year, if you aver- 
 age four suits pel' day and save half a yard per suit. 
 
 It is this consideration which induces me to give numerous diagrams to 
 
 illustrate how this may be done. 
 
 The following diagrams explain themselves. 
 
 m2^ 
 
ii; 
 
 Coat— Length 35, breast 38, sleeve 33. Vest— Length 28. Width of 
 cloth, 29 inches. Vest collar saved from pants. Amount re(|uired, 3^ yards. 
 
 Plate A. 
 
114 
 
 Coat — Length 85, breast 38, sleeve S'6. Leiigtli of vest, -Jb. A\'idth vf 
 clotli, 28 inches. Amount requh'ed, 3f yaids. 
 
 Plate B. 
 
115 
 
 (jyjit — Length 35, breast 38, sleeve 3;-!. Length of vest, 2». Width uf 
 cloth, 27 iucheh. Amount requii'ed, 4 yards. 
 
 Flatts C. 
 
116 
 
 Plate D. 
 
Vest oollav saved from ]iants. 
 
 Plate E. 
 
EXPLANATION OF MADISON'S RATIONAL 
 COAT SYSTEM. 
 
 Tliis system is the outgrowth of my fathers systems aud my " Simplified 
 System" which was brought out in 1875. 
 
 It is entirely different fi-om both, veiy much simpler, and in mauy respects 
 vastly superior. 
 
 Besides the lengths, breast, waist, and hip measiires, but two measures 
 are requii'ed : the upper and the lower shoulder, taken under the coat 
 
 The lower shoulder measure governs the width of back, the amo^int of 
 cloth back of sye, the amount over droop of shoulder, and the position of 
 shoulder. 
 
 The upper shoidder measure govei'us the height of neck, the depth of 
 sye, and the length of shouldei'. 
 
 .The two combined govern the balance. 
 
 Only a common square and tape measm-e ai'e used. 
 
 Measurement. 
 There should be as much method in taking measures as in delineating. 
 If the measures are taken in a loose and careless manner, accuracy in cutting 
 will avail but little. But the common-sense principle which pervades this 
 system of delineating, i-enders unnecessary that excruciating process of measur- 
 ing so painful to the artist, which is required by some proof-measure systems. 
 If a ■'ii/stem he right, it needs tw proof-measures. 
 
 The following rules and order of measuring should be cai-ef ully observed : 
 
 To measure for an undercoat you will request your client to take off his 
 
 coat ; this done, make a mark on vest back where you wish the top of back to 
 
 come, and place the end of tape measure upon it and measui-e to the hollow 
 
 of back. 
 
 (118) 
 
119 
 
 I. Natural length of waist, 16^ inches, 
 
 II. Fasliionable length of waist, 19 inches. 
 
 III. Whole length of coat, 38 inches. 
 
 IV. From neck joint around the shoulder to place of beginning, 20 
 inches. This is called the Upper Shoulder measure. 
 
 V. Drop the end of measure down the back seam, directly bet\veen the 
 two back syes, and carry tape around the arm to place of beginning, 25^ 
 inches. This is called the Lower Shoulder measure. 
 
 VI. From back seam to elbow, 20 inches. 
 
 VII. From back seam to hand, 32 inches. 
 
 VIII. Circumference of breast, 37 inclies. 
 
 IX. Circumference of hip, Scinches. 
 
 These are all the measures that are required for any coat. The Avaist 
 measure is needed only for the vest. They are registered in the book as 
 follows : 
 
 16^ 19, 38, 26, 25i 20, 32, 37, 3 
 
 These measures should be copied for use as follows 
 
 20, sleeve. I 18L half of breast.' 
 32, sleeve. , 17, half of hip. 
 
 16^, length. -^%¥, half of upper shoulder 
 
 19, length. /J 
 
 38, length. 12f, half of lower shoulder 
 
 More explicit directions in regard to measuring may be found after the 
 explanation of sack. (See Plate F.) 
 
 Directions for Drafting. 
 
 The coat is drafted by the lower shoulder measiu*e, or i-ather by the half 
 of it, as folloAvs : 
 
 Pla,ce the square on the paper as represented by line from B to A and 
 from A to 6^ and make a line on the long and short -ai'ms. 
 
 From A to B is half of lower shoulder, 12f inches. 
 
 From A to 6' is half of lower shouldei-, 12f inches. 
 
 From G to D is 2| inclies. 
 
 Make a line from D to B. 
 
 From ^ to ^is half of lower shoulder, 12f inclies. 
 
 Square down from J5'to i^ 
 
 Make a line from B through F". 
 
 S(|uare down from B and extend the line up. 
 
120 
 
 Scpiare hy tliis line to D for heiglit of back. 
 Square by same lice tlirougli A. 
 
 G is half of lower shoulder, 12f on the division of halves on the square, 
 ^\•ith li inches, or three sizes added, from the back seam. 
 
 Platk F. 
 
1L>1 
 
 111 other words it is 5 of the whole htwer shouhh'r with 1 .1 inches a<hle(l, 
 from back seam, as follows: 
 
 One-fourth of 25A, lower shoulder, - - - - 6f inches. 
 Added, H " 
 
 Square up from G. 
 His half way between /and J. 
 ^is 2f inches from back seam. 
 X is f of an inch from JC 
 Make a straight line from X, to //. 
 
 Make width of shoulder fi-om D the same as A\idth of shoulder on Ijack 
 from L to // 
 
 Shape arm-hole and neck as represented. 
 
 Square in from Natural and Fashionable lengths of waist. 
 
 Shape side-seam of back. 
 
 From J/ to iV is 1^ inches. 
 
 Shape side-seam of sidebody through ]V. 
 
 is half of breast. 
 
 I* is 2^ inches from 0. ^ 
 
 Square down from J*. 
 
 Q is length of sidebody to match length of side-seam of back. 
 
 Sweep from ^ to -Z2 by i>. 
 
 Sqixare in by back-seam from Q for bottom of sidebody. 
 
 Make the cut under the arm as represented, taking out a V IJ inches 
 wide at waist, and three-quarters of an inch wide at the hip. 
 
 Make a line from the bottom of sidebody at the V to ^ for bottom of 
 forepart. 
 
 Shape fi'ont and finish. 
 
 The upper shoulder measure is half an inch longer than the lower shoul- 
 der, in the measure by which we are drafting, therefore Ave add a quarter of 
 an inch at top of back, and the same amount at shoulder-point from Z>, as 
 represented by dotted lines, Avhich gives the necessary increase. 
 
 If the upper-shoulder measm-e is smaller than the lower, we reverse the 
 process as illustrated by draft. 
 
 1 sometimes find as much as two inches difference between these measures 
 
122 
 
 on very sloping-shouldered men. I draft, of course, by the lower-slioulder 
 and add to top of back liaK the difference, and to shoulder at D the other 
 half. 
 
 Plate G. 
 
12 a 
 
 If both shoulder-measures are alike, the draft as first made is, of course, 
 correct. 
 
 The Sleeve. 
 
 No. 1. 
 
 The sleeve is drafted by the size of the arm-hole. Before cutting the 
 forepart of coat, measure the sye, and note the size on the pattern. 
 
 From ^ to ^ is one-sixth of sye. 
 
 From A to C is one-half of sye. 
 
 Square aci'oss from i?. 
 
 Square down from O. 
 
 From I) to D in one-sixth of sye. 
 
 Sweep from A by D. 
 
 From yl to -E" is one and a half inches. 
 
 Shape sleeve-top as represented. 
 
 Allow width of back and measure from A to i'' length to elbow, — to G 
 full length of sleeve. 
 
 Sweep from 6^^ by ^. 
 
 Make wddth at hand, say six to six and a half inches for an undercoat, 
 and seven to seven and a half inches for an overcoat. 
 
 Hollow forearm as represented. 
 
 No. 2. 
 In actual practice, I always cut the outside sleeve from two to three 
 inches wider than the inside sleeve, as illustrated by diagram No. 2. What- 
 ever I add to outside sleeve I take from the under sleeve. This is not only 
 an improvement to the appearance of the sleeve, but it is a material aid to the 
 saving of cloth. 
 
 The Sktrt. 
 
 No. 1. 
 To draft the skirt for a double-breasted frock proceed as follows : — 
 ^ is a line draAvn parallel with edge of cloth, and about three-quarters of 
 an inch from it. 
 
 Measure up from bottom of cloth the length of skirt, as at H. 
 
 Place lapel at B as represented, so that the line A laps it one inch at 
 
12-1 
 
 Plate H. 
 
125 
 
 most prominent point. Fit forepart to lapel, and sidebody to forepart as 
 represented. 
 
 Carry spring of skiit to range Avith side-seam of sidebody, and finisli as 
 repi'esented. 
 
 No. 2. 
 
 The break line is run to pass tbe shoulder-point half an inch, that is, for 
 the forepart. For the collar, run it from A to pass shoulder-point a quarter 
 of an inch from it, and continue the length of collar in a gentle curve ; let col- 
 lar project above shoulder quarter of an inch more than Avidth of back, and 
 shape to suit taste or fashion. 
 
 The Sack. 
 
 The sack is drafted exactly like the fi'ock, with these exceptions : — 
 
 The back is cut any width that taste or fashion dictates, hollowed on the 
 back seam at waist about half an inch, and sprung out at bottom a corre- 
 sponding amount. 
 
 From ^ to i? is one inch. 
 
 Spring forepart over the back belo^v the hips about one and a half inches, 
 at the length of thirty inches, increasing it with a regular slight curve to the 
 bottom of coat. 
 
 The front is scpiared down fi'om Iji'east-line. 
 
 The notch in back above A is half an inch nearei- sye than the notch on 
 forepart at A The back is sti'etched the half inch, and the forepart cut hall: 
 an inch longer at O, to give the required length. 
 
 OVKUCOATS. 
 
 Overcoats are drafted the same as imdei'coats, except that three inches are 
 added to Ijreast-point instead of two and a half inches. 
 
 The measures for oxercoats are taken over the undercoat. 
 
126 
 
 Plate I. 
 
GENERAL REMARKS ON THE COAT. 
 
 The coat system is so simple, and the explanations so plain, that 1 think 
 no one will have any difficulty in mastering it. 
 
 For a single-breasted coat to fasten with one button, add two inches to 
 the draft, that is, two inches beside the two and a half inches which is always 
 added to the half of breast-measure. 
 
 For a single-breasted coat to fasten with two or more buttons, but one 
 and a half inches should be added. 
 
 For a double-breasted cut-away, add three inches, setting the buttons that 
 fasten five inches from the edge. 
 
 Cut shoulder of forepart half an inch narrower than that of back, and 
 stretch it its entire length; this gives to the shoulder of coat when finished, if 
 pi'operly made, a square, graceful appearance, which cannot be so easily 
 obtained in any other way. 
 
 The buttons for a double-breasted coat should be squared for from the 
 button-holes by line squared down fi'om breast. 
 
 For double-breasted frock, the bottom of forepart should be rounded 
 slightly in front, else the buttons and holes will not mutch. 
 
 The collar for lo^v rolls should be i-ouuded up below the l)i'eak, from 
 the bi'eak to lapel. 
 
 Never stretch the shoulder in front of arm. 
 
 The shoulder requires eight, and the blade four-ply of wadding. If less 
 are used, the sidebody over the blade should be pared down more or less as 
 I'equired. 
 
 Measuking. 
 
 The whole science of drafting rests upon the truthfulness of the measui'es 
 obtained, and if the points of the coat you may ha\'e produced are not all of 
 them right, it is that some or all of the measures are wrong, and not owing to 
 
 (127) 
 
128 
 
 anything in the form of the client, or error of the system ; and by again 
 obtaining the measui'e of youi' client you will be convinced of this fact. 
 
 The importance of connect measurement cannot be easily over-estimated, 
 and when it is considered that it is easier to measure coirectly than incorrectly, 
 if you know how, and that a little study and practice will teach you how, you 
 will have no one but yourself to blame if you do not measure as you ought, 
 and liave many alterations and numerous misfits in consequence. 
 
 In studying to measure, it will assist you much to have some one read the 
 following rules and directions, one after another, until you have followed all : 
 
 Rule 1. Do not hold the end of the measui'e with your thumb when 
 taking the shoulder-measiu'es. 
 
 Rule 2. Take all measures of circumference sufficiently tight to feel 
 firm, but not so tight as to indent or compress the part measured. 
 
 Rule 3. Take the measures equally tight for every customer, whether 
 he wishes a tight coat or a loose one. 
 
 Rule 4. Endeavor to make your manner of measuring as agreeable to 
 your customer and yourself as possible. 
 
 Directions. — You will request your client to take off his coat, then mark 
 on the vest at back of neck at the height to which you wish the top of back 
 to come, generally about half an inch above the neck-joint. 
 
 Next, mark at the natural length of waist, or hollow of back. 
 
 Now measure from neck to waist, to fashionable length of waist, and the 
 length of coat. 
 
 Place the end of measure on the mark at neck, and hold it there by press- 
 ing the first and second fingers (not thumb) of the left hand on it, carry the 
 tape over in front of the arm with your right hand, having the first finger 
 extended on the measure for the purpose of pressing it close against the arm ; 
 bring the measure up to your left hand and place it between the thumb and 
 knuckle of the first finger of the left hand ; hold it firmly, then let go Avith 
 your right hand, and, still holding the measure with your left, Avith your right 
 hand press down your client's shoulder if it is hunched up, and press his arm 
 around the shoulder of which you are measuring to his side ; then place the 
 first finger of the right hand on the end of the measure, and press hard enough 
 to keep it in its place ; then Avith the left hand bring the tape up to the end 
 
129 
 
 of the tape at the neck-joiut, and see liow many inches it is, — this is the iq>per 
 ><]ioul(ler-meamre. 
 
 Next, place the end of measure directly between the shouldera, about 
 one-fifth of the upper shoulder-measure below the mark on the neck, and cairy 
 the tape around .the shoulder in the same manner as in taking the first or upper 
 shoulder-measure, and bring it to the place of beginning; this is the lower 
 shoulder -measure. 
 
 Now measure from back seam to elbow and hand, for the length of 
 sleeve. 
 
 __— " 
 
 
 \ 
 
 
 
 
 J 
 
 
 
 
 
 
 ^ 
 
 / 
 
 ^ 
 
 
 
 ' ""*~v 
 
 / 
 
 
 r 
 
 
 
 
 / ^v^ 
 
 
 J 
 
 1 
 
 
 ^^^ 
 
 "■"----„_ 
 
 
 D ■"=^:::n 
 
 J 
 
 £ 
 
 
 Plate J. 
 
 Still standing at the back of your client, carry the measure under his 
 right arm to directly in front of him, reach around with your left hand and 
 take the end of tape-measure and bring it aroimd, drawing the tape through 
 
130 
 
 the right hand to the center of back, then with the right hand bring the tape 
 
 around to meet the end held by the left hand ; this is the breast-measm-e. 
 
 The waist and hip-measnres should be taken in the same manner as the 
 
 breast-measure. 
 
 The Vest. 
 
 The measui'es necessary for the vest are the breast, waist, and lengths, as 
 follows : 
 
 14 Roll, 
 27 Length, 
 
 18 half of breast. 
 16 half of waist. 
 
 Forepart. — ^Place the square on the paper or cloth, and mark on outside 
 edges the length of each arm. 
 
 A is breast-measure on division of halves, one inch added for making. 
 
 Square do^vn from A. 
 
 B is one-quarter of breast fi-om A. 
 
 C is one-thii'd of breast fi'om £. 
 
 D is breast on division of halves, nine inches. 
 
 F is length of waist. 
 
 Square across from D and F. 
 
 Fis one-sixth of breast from D. 
 
 H is three-quarters of an inch more than half the waist, fi'om G. 
 
 Measure lengths and finish as represented, adding from G from three- 
 quartere of an inch to one inch for button-stand, according to cloth or finish. 
 
 Back. — Place forepart on silesia as represented by dotted lines. 
 Make a point at A, £, and O. 
 Sweep from O by waist at D. 
 Square from F, B, and A. 
 F is one-sixth breast from F. 
 G is three-quarters of an inch fi-om F. 
 
 H is breast-measure on division of halves, with one inch added foi- 
 making. 
 
 Square down fi-om H. 
 
 Mark shoidder from G to II as i-epreseuted. 
 
 / is from G the Avidth of forepart from B to C. 
 
 I) to tl is three-quarters of an inch more than half the waist. 
 
 Shape neck, back-seam, sye, and under arm-seam as represented. 
 
131 
 
 Plate K. 
 
 Double-Breasted Vest. 
 Draft the same as for a single-breasted vest except the fi'ont. 
 A is line squared down from A on Plate J. 
 A to J^ is one and a quarter inches, 
 yl to C is two and a lialf iiu-hes. 
 ^ to Z* is one and three-quarter inches. 
 
132 
 
 Vest witiiout Collar. 
 Drafted same as in Plate J, except that shoulder is cut do^^^l one and a 
 half inches from ^1 to B, and the shoulder of back is increased a correspond- 
 ing amount. 
 
 Pantaloons. 
 
 The measures required are the lengths, foot, knee, thigh, hip, and waist, 
 wliich are taken in the following order : outside seam, inside seam, foot, knee, 
 tliiu'h, hip, waist, which are entered in the measure-book thus : 
 42, 32, 19, 21, 21, 37, 30. 
 
 To Draft the Forepart. 
 
 A represents a line drawn upon edge of goods. 
 
 Squai-e in from B. 
 
 B to O is one-third of foot-measure. 
 
 C to I) is one-sixth of foot-measure. 
 
 Z> to ^ is inside seam. 
 
 Sweep from ^ by I). 
 
 F is half an inch more than half the thigh-measure from G, or one size 
 more than thigh-measure on division of halves. 
 
 ^is two inches less than half of inside seam. 
 
 Stpiare from // and F by line drawn from I) to F. 
 
 Kis one inch less than half the hip-measm-e, that is, in measure above 
 the hip-measure is thirty-seven ; as AA^e draft only half the pants in forepaii;, Ave 
 use half of thirty-seven, Avhich is eighteen and a half, Avhich Ave term the hip- 
 measure, therefore, as half of eighteen and a half is nine and a quarter, the 
 distance from G to K Avould be eight and a quarter, that being one inch less. 
 The simpler Avay, hoAveA-er, is to use the square, and on division of halves, 
 mark from G to IT tAvo sizes less than hip-measure, eighteen and a half. 
 
 Square up from JT. 
 
 I is length of outside-seam from O. 
 
 Square toAvard you from I. 
 
 J is half- waist measure on division of hah-es, or if waist is sixteen inches, 
 eight inches ; if fifteen inches, seven and a half inches. 
 
 Add fi-om three-ipiartei-s to one inch at F, for dress, and finish as repre- 
 sented. 
 
iiy.: 
 
 Plate L. 
 
134 
 
 To Draft the Back. 
 
 Cut the forepart, and without turning cloth, place it so that the fork just 
 comes to edge of cloth. 
 
 Square out to X, M, N, and O. 
 
 D to Zi is half an inch more than half the foot-measure. 
 
 ^ to Jf is half an inch more than half the foot-measure. 
 
 Width of forepart from H and H to iY is one inch more than the knee- 
 measure. 
 
 GtoK and ^ to 6> is one and a half inches more than half of the hij)- 
 measm-e (eighteen and a half), that is 20 inches. 
 
 Sweep from K by O. 
 
 Sweep from J by O. 
 
 J to P is one-thii'd of waist-measure. 
 
 Now measure -width of f orepai-t from I to J, add one inch, thus, width of 
 forepart seven and a half, one inch added, eight and a half. Place eight and 
 a half on short arm of square at P, let long arm rest on sweep from K, and 
 mark from P to Q, and from Q to sweep. 
 
 Finish as represented. 
 
 Spring-Bottom and Peg-tops. (Plate M.) 
 From ^ to ^ for spring-bottom pants is half an inch less than half the 
 
 knee, equally divided between the straight lines. 
 
 From CtoD for peg-top pants is half an inch less than half the knee, 
 
 equally divided outside the straight lines. 
 
 To DraI'T Forepart on Striped or Figured Goods. (Plate N.) 
 
 A is line drawn on edge of cloth. 
 
 A to B is half an inch moi'e than half thigh. 
 
 C is half way between A and B. 
 
 (J to D is one-sixth bottom. 
 
 Z? to J? is one-twenty-fourth bottom. 
 
 E is one inch from bottom of cloth. 
 
 E to F is inside length. 
 
 Mark line througli E and F. 
 
 S(|uare liy tliis line from E^ and from knee and waist. 
 
 Mai-k line from G tlii'ough E. 
 
 Square bottom l)y this line to E. 
 
 Finish as before. 
 
ins 
 
 Plate M. 
 
136 
 
 Plate N. 
 
i.-n 
 
 DEFORJriTrES. 
 
 It is generally believed that no system will fit a hunchback that will fit 
 a well-formed man, but any one who will give this system a trial will find that 
 it is as easy to fit one form as another. 
 
 Plate O represents a draft for a hunchback A\ho measui'es twenty-four 
 uj)per and twenty-six lower shoulder. 
 
 AVe draft by lower-shoulder the same as for a well-fonned man, the only 
 change made is at A and 7>. The upper-shoulder being two inches smaller 
 than the lower-shoulder we reduce the shoulder-point at ^4 one inch and the 
 back a like amount at I^. 
 
 Cut the back and forepart (in paper, of course). 
 
 Cut the back across, and open it out on a clean piece of drafting-papei', 
 as represented. 
 
 The back shoxdd sj)read at C, the amount of difference between the shoul- 
 der-measures, which, in the above measures, is two inches. 
 
 Mark around back as opened and remove it. 
 
 Come down at D one-half the difference between shoulder-measures which 
 is one inch, and shape and cut a new back as represented by broken lines. 
 
 To Draft for Boys. (Plate P.) 
 
 Draft as for men. But a boy's neck is much smaller than a man's, there- 
 fore a slight change is necessaiy. 
 
 The top of back shoidd not be more than two inches mde, therefore Ave 
 make it narrower as represented by broken lines at A. 
 
 The curve should be smaller, therefore we raise at A about a quarter of 
 an inch. 
 
 At ^ we lengthen the shoulder as much a Ave shortened it by cutting the 
 back narroAver, and carry it forAvard as much as Ave raised the neck at A. 
 
 These are all the changes necessary. 
 
las 
 
 Plate 0. 
 
VM 
 
 Plate P. 
 
140 
 
 Ladies' Coats. 
 
 Measure and draft tlie same as for gentlemen, ^vitli the follomng excep- 
 tions : — 
 
 From breast-line to A is ten inches. Square out fi-om A. 
 
 A to -Z? is two inches ; this gives the front. 
 
 Shape back-seam the same as for a sack coat. 
 
 Make bottom of back at C same width as back at D. 
 
 Cut out one and a half inches at waist between side-seams. 
 
 Make side-seam of sidebody at JE to range with bottom of back ; this 
 gives the con-ect amount of spring. 
 
 Commence under-arm cut at G, and let the bottom at i^ be as far fi-om 
 line J) II as the cut at G. 
 
 Spring forepart to H. 
 
 Sweep from H to fi-ont by shoulder-point and finish. 
 
 1 is breast-measure. 
 
 2 is two and a half inches from one. 
 
 3 is three inches from two for a double-breasted garment. 
 
 This is the foundation for any style, and can easily be made to produce 
 any vagary desired. 
 
141 
 
 Tlate Q. 
 
THE MYSTIC NINE. 
 
 In one of our large cities, a few years ago, a number of cutters organized 
 themselves into a secret society, under the name of the " Mystic Order of Nine." 
 This order enjoyed great popularity for a long time, and afforded much amuse- 
 ment to its members. As it has now ceased to exist, I violate no pledge in 
 disclosing its work. The order derived its name from the old saying, that it 
 takes nine tailors to make a man. The initiation fee was nine dollars ; there 
 were nine officers, and, in fact, nine of everything, so far as practicable. 
 
 The ceremony of initiation was the great feature of the order; outside of 
 this there was nothing in it. 
 
 The officers were as follows : 
 
 Most Worshipful Boss. 
 
 Senior Cutter. 
 
 Junior Cutter. 
 
 Trimmer (outside sentinel). 
 
 Honorable Coat-maker. 
 
 Honorable Vest-maker. 
 
 Honorable Pants-maker (inside sentinel). 
 
 Apprentice, | Conductors. 
 1 rotter, ) 
 
 The Lodge-room was ari'anged in the following manner : In tlie East was 
 a small circular office, like the cash office in a store. In this contrivance sat 
 the worshipful boss, ujion a high stool. In the West Avas a cutting-board with 
 shelves, squares, long rulers, tape measures, etc., emblematically arranged upon 
 it, behind which sat the senior and the Junior cutters — the senior-cutter being 
 secretary, and the junior treasurer. In the North and South were A\'oi-k- 
 boards, on one was seated the honorable coat-maker, and on the other the hon- 
 orable vest-maker. In the center of the room was a press-board with a mon- 
 ster goose upon it. 
 
 (142) 
 
14:5 
 
 The candidate being present in tlie ante-room, was waited upon by the 
 conductors, accompanied by the secretary and treasurer, when the following 
 questions were put to him by the secretary : 
 
 Question. What is your name ? 
 
 Answer. A. B. 
 
 Q. Do you desii'e to become a meml)er of the Mystic Nine? 
 
 A. I do. 
 
 Q. Have you nine dollars to spare ? 
 
 A. I h;ive. 
 
 Q. Will you spare them ? If so, please transfer them to the treasurer. 
 
 [The initiation fee is then paid.] 
 
 Q. Is this an act of your o\\n free will ? 
 
 A. It is. 
 
 Q. Are you bra\-e ? 
 
 A. I trust so. 
 
 Q. You need to be, for you ^vill encounter dangers. Are you strong ? 
 
 A. I trust so. 
 
 Q. You will need your strength. Are you able to bear pain ? 
 
 A. I Avill try. 
 
 Q. Well, you will cei'tainly have it to bear. 
 
 The candidate is then divested of all his clothing except his shii"t and 
 pants and his stockings, and his pants pockets are emptied. The secretary 
 and treasurer then re-enter the lodge and i-e^Jort to the worshipfid boss, imme- 
 diately after which the candidate is conducted to the door, upon ^\•hich nine 
 distinct knocks are given, which are answered by a like number from Avithin, 
 and the question asked, " VTho comes here ? " To which the trotter replies, 
 " A poor jour-tailor, kicking for a job." 
 
 " By what right does he expect to gain admittance to this Right Worship- 
 ful Lodge, and obtain a job ?" 
 
 " By the right of kicking and of a chronic inclination to growl at current 
 piices." 
 
 " Is he a white man ? " 
 
 " He is." 
 
 " Is he knock-kneed ? " 
 
 " He is not." 
 
144 
 
 " Do liis clothes fit him?" 
 
 "They do.". 
 
 " Then he may enter and be received in due and ancient form." 
 
 The door is then thro\vn open and the candidate admitted. Immediately 
 upon entering the lodge he is received in a wet spouge:cloth, which is wrapped 
 around him tightly. He is then laid upon the cutting-board, ^vhen the W. B. 
 pronounces over him the following oration : 
 
 IVIi'. A. B., Upon entering the lodge-room of our mystic order you are 
 hospitably received in a damp sponge-cloth, rolled in it in due form, and placed 
 upon the cutting-board. This is to teach you the beautiful lesson, that as a 
 piece of cloth shi'inks Avhen folded iu a damp sponge-cloth, and is improved 
 thereby, so should your pride and self-conceit be shrunk in the figui-ative 
 sponge-cloth of luuniliation, in order that you may be improved as a man, and 
 our order benefited by your connection -with it. Brothers, let the candidate 
 be unrolled. 
 
 The candidate is then conducted around the room nine times, Avhile the 
 brothers sing the follo^ving song : 
 
 Welcome, stranger, to our order. 
 Welcome to our mystic lore, 
 Thou hast had one useful lesson. 
 Thou shalt have a dozen more. 
 
 Thou hast been in mystic sponge-cloth, 
 Sponged in due and ancient form, 
 'Twas a cool reception of thee. 
 We will give thee now a warm. 
 
 The candidate at the conclusion of the singing is laid upon the work- 
 board in the north, and so closely suiTounded by the brothers that he cannot 
 see beyond them, Avhen the handkerchief is remoA'ed from his e}'es. The W. 
 B. theii says : 
 
 INIr. A. B. — You now behold the most excellent goose of the mystic nine. 
 It is properly heated and will perform its work Avell. You I'ecpiire pressing 
 in order that the folds and creases may be smoothed out of you. 
 
 The candidate beholds ■\vith feelings of alarm a gigantic goose, aliout six 
 feet long, and lai'ge in proportion otherwise, suspended over him. This 
 
145 
 
 goose is made of wood, aud is very liglit, its face, wliicli is black-leaded, has 
 been heated imtil it is quite hot; slowly it descends upon him, and is moved 
 slowly forward and backward. It is lifted up and brouglit down upon him \vitli 
 its full weiglit nine times, when it is removed, and a brush nearly as large is 
 passed over him several times in a manner that is far from pleasant. 
 
 In a few minutes the W. B. examines the candidate, and pronouncing him 
 properly pressed, orders the handkerchief to be again bound about his eyes. 
 
 The candidate is then conducted several times around the room to the 
 work-bench in the south, Avhen the brothers flock about him, and pretending 
 that he is a piece of cloth, examine him by pinching, rubbing, etc., discussing 
 meanwhile its merits. " Badly finished, short wool," " Half cotton," " Poor dye," 
 " shoddy," are some of the remarks they pass upon him. At the conclusion 
 of this ceremony, he is addressed by the senior cutter in the following man- 
 ner : " You are not to suppose, Mr. A. B., that we are trifling with you ; this is 
 a beautiful lesson which we teach, and one you should thoroughly learn. It 
 is a ceremony which is intended to impress upon your mind the truth that a 
 man's character must be good, or it will be picked to pieces, and condemned, 
 even as a poor piece of cloth is, aud it behooves us all to see to it that our 
 lives are pure and blameless as we can make them." 
 
 Tlie candidate is again conducted several times around the room to the 
 "VV. B., in the east, who asks, 
 
 " Is that my coat ? " 
 
 A. " It is, sir." 
 
 "Let me see it. Ah, it is badly cut. There is no cliaracter to it. It is 
 not graceful. It fits badly. The work is also very bad. The collar is on too 
 tiglit. The button-holes are badly worked. The linings are too short. It is 
 not half pressed. It is killed ! " 
 
 "What shall ^ve do with it?" 
 
 To this the senior cutter replies, " Let's thro\v it among the buzzards." 
 
 " Agreed," says the W. B. 
 
 The candidate is then hustled about by the brothers, and finally tumbled 
 upon a pile of old clothing in a dark closet, where he is left for some little 
 time. At length the conductor takes him into the center of the room where 
 he is addressed by the W. B. in the following language : 
 
 Mr. A. B., — You have been taught several valuable lessons, not the least 
 
148 
 
 of -wlucli is tlie last, wliicli slioiild impress upon your understanding the fact, 
 that as a bad coat is thrown among the buzzards, so a bad man is kicked out 
 of good society. Therefore, be virtuous if }-ou would be happy. 
 
 If you are still ■willing to proceed, we ^vill no^v administer the oath of 
 the Mystic Nine. If you are not, "\ve shall in all kindness pitch you out of the 
 Avindow into the street. — " Ai-e you -willing to proceed ? " 
 
 "lam." 
 
 The candidate is then requested to kneel "with his liands resting upon 
 something Avhich he is informed is sacred to the oi'der, and is I'equired to I'epeat 
 the following promise after the W. B. : 
 
 "I, A. B., kneeling upon my two knees, my hands clasping the great 
 emblem of this ancient and worshijjful order, do solemnly promise and avo^v, 
 that I will alwa}-s keep the secrets that have been or may be given me in this 
 or any other lodge of tiiis order, that I will comply -with its laAvs and usages, 
 and assist a brother in distress, if I am al^le, and he is AVOii:hy. All this I 
 promise of my own free "will and accord, under the no less penalty than that 
 of being severed in twain "with a pair of shears, and of being pressed as flat as 
 a seam by the great goose of our order." 
 
 At the conclusion of this pledge the handkerchief is removed from the 
 eyes of the candidate, and he beholds the great "wooden goose which pressed 
 him a short time ago, and a monster pair of shears upon a table before him. 
 The W. B. tlien a2:)proaches him from the east, and grasping him liy the hand 
 says, " Ai'e you a crook ? " to Avhicli one of the conductors replies for the candi- 
 date, " I am an artist among woolen fabrics." 
 
 " To Avhat do you incline ? " 
 
 " To the great Mystic Nine." 
 
 " How may I know you to be a member of that gi'eat order ? " 
 
 " By trial. Try me." 
 
 " I A\-ill. Are you a good cutter ? " 
 
 "lam." 
 
 " Did jow ever make a misfit ? " 
 
 " Never." 
 
 "Did j"ou ever have an alteration?" 
 
 "Never." 
 
 "Do you know any one more skilfull than yourself?" 
 
147 
 
 "No one." 
 
 "Then you are the word?" 
 
 "Ego— I am." 
 
 " Tism — You are the word. Egotism is the avoixI, and we are its embodi- 
 ment." 
 
 The ne^v member is then shoAvn to a seat, and the regular business trans- 
 acted. 
 
 This description of the ^voi'k of the order conveys but a poor idea of the 
 amusement it afforded. 
 
 The initiation ceremony was varied now and then, to make more bois- 
 terous fun, and it never was monotonous or dull. 
 
 A tailor and his son Avere in the olden days doing a day's work in a fann- 
 house. The prudent housewife, to secure a good day's work, lighted candles 
 Avhen daylight began to fade. The tailor looked at his son and said, " Jack, 
 confoimd them that invented working by candle-light." "Ay," replied the 
 snip, " or by daylight either, father." 
 
 There is a learned scientist who insists that money is the missing link 
 between a man and a tailor. 
 
 A jirofessor was expostulating with a student for his idleness, when the 
 latter said, " It's no use ; I was cut out for a loafer." " Well," declared the 
 professor, surveying the student critically, "Avhoever cut you, underetood his 
 business." 
 
 A man, whose tailor's name was Uttennule, becoming incensed at some 
 of his blunders, said, " Uttennule, you're an utter Jackass ! " ^Miereupon the 
 tailor gave him a kick that sent him out of the shop, and exclaimed, "Deiu 
 kicks shoAvs you vat my name is petter den you can read." 
 
 What is the difference Ijetween chaiity and a tailor ? The first covere a 
 midtitude of sins ; the other a multitude of sinners. 
 
 A tailor, in skating, fell through the ice ; he was afterward heard to 
 declare that never ao;ain woidd he leave his " hot goose " for a " cold duck." 
 
148 
 
 '' Yes, gentlemen, certainly, of couree," said a polite clothier, " if you want 
 a pair of pants, step right into my pantry ; if a vest, walk I'ight up to my 
 vestiy ; and if a coat — here, Jacob, show this gentleman into the coterie. This 
 way, this way, gentlemen." 
 
 Some Assueaisce. 
 
 Tailor to Artist. — I say, Landscape, give me a nice sketch, and I'll have it 
 handsomely framed, and hang it in my room. 
 
 Artist to Tailor. — I say, Threadneedle, give me a handsome suit of clothes, 
 and ril put them on, and weai- them. 
 
 A Slight Difficulty. 
 
 Two tailors named Smith and Bro^ATi, rivals in love and business, quar- 
 relled upon the public square. 
 
 "You are a goose" said Smith. 
 
 "I'll put an outlet on youi- nose," threatened Bro^vn. 
 
 "(TiLst try it on, and I'll give you a basting," responded Smith. 
 
 With that they commenced fighting. 
 
 Smith gave Bro'wn a welt over the eye, and Brown administered a tre- 
 mendous cuff to his opponent's ear. 
 
 The battle waxed fierce. Smith succeeded in getting a twist upon Brown's 
 leg, and felled him to the eaiih ; Brown, however, would not stay undeiTieath, 
 but quickly turned Smith, and getting on top of him, p/'essed upon his waist- 
 bands "s^dth his knee. 
 
 Smith mean-while did some Jine drawing with his nails upon Brown's 
 face, which brought the gore. 
 
 By a tremendous effort. Smith thi-ew off his opponent, and springing to 
 his feet, seized a cahhage and hm-led it at his head. At this point, several by- 
 standers interfered and separated the combatants, ^vho repaired to a doctor's 
 office and had their woimds huslieled. 
 
 In a few days they made fiiends, and now they sigh (s}-e) over the 
 remembrance of their unfortunate difficulty. 
 
 XoT Sjiart Exoron fok a Cutter. 
 IMi'. Hull, the author of a system which had quite a i"eputation some years 
 ago, gave a memorable answer to a lawyer who was examining him in court. 
 
U9 
 
 His son, who was practicing at the l^ar, and was quite eminent is irH juvj- 
 fessiou, Avas present. 
 
 "I understand, sir," said the lawyer, "that you are a cutter." 
 
 "Yes, sir." 
 
 "You are probably acquainted Avith a great many cutters?" 
 
 " Yes, sir, with a great many." 
 
 "Now, sir," said the lawyer severely, "hoAV large a salaiy does a cutter 
 demand ? " 
 
 Mr. Hull straightened himself, and answered slowly, "According to liis 
 experience, connection, and ability, from $1,500 to So.OoO." 
 
 "Why, sii-," exclaimed the lawyer, in gi-eat surprise, "that Ls more than 
 many lawyers make ! " 
 
 "Yes, sir, their services are worth more," said Mr. Hull, M-ith great em- 
 phasis and dignity; "it requires greater ability," he contmued, "to be a success- 
 ful cutter than to be a successful lawyer; there Ls my son, for instance, who 
 practices at the bar, he has this reputation of being a first-rate lawyer. But I 
 tried for five years to make a cutter of him, and had to give it ujo; he hadn't 
 brains enough, so I made him a lawyer, and he succeeds very well." 
 
 The court was con\-ulsed -with laughter, and 'Mr. Hull was dismissed by 
 his discomfited inteiTogator. 
 
 Goose. 
 
 Much difficulty is experienced about the plural of the word ffoo-se, when 
 the article meant is a tailor's smoothing-iron. The article, however, was so 
 named because of the resemblance of its handle to the neck of a goose, hence, 
 the con-ect plural, Avhether of the fowl or the smoothing-iron, is ffeese. 
 
 A good storj" has been told on the subject. A country merchant ordered 
 two tailor's irons fi-om a firm of hardware merchants in the city. He ^vrote 
 the order thus : " Please send me two tailor's gooses." This did not seem right, 
 so he destroyed it, and -v^Tote another after this fashion : " Plea.se send me two 
 tailor's geese." Upon reflection he destroyed this one also, lest he should 
 receive living geese. He thought over the matter iintil his brain was on fire, 
 whereiipon, in a fit of desperation, he seized his jien and ■\\Tote as follows : 
 " Please send me one tailor's goose and, hang it, send me another." 
 
150 
 
 His Habit. 
 
 " Oue more question, Mr. Parker. You have lcno-\vu the defendant a long 
 time. What are his habits — loose, or otherwise ? " " The one he has on now, 
 I think, is rather tight under the arms, and too short-^vaisted for the fashion." 
 "You can stand down, Mr. Parker." 
 
 He ICjs^ew what He Wanted. 
 A gentleman called at a stationer's to order some note-paper, with a head- 
 inf. On being; shown various desi2;ns — monos;rams, etc., — he said : " No, I want 
 something simpler — just a forget-me-not." "But, sir, that Avould surely be 
 more suitable for a lady." " I kuoAV what I want," was the prompt reply ; 
 "I'm a tailor, and the paper is for my customers." 
 
 Was it Heartlessness ? 
 The folloAviug article, under the above heading, appeared recently in the 
 local columns of a city paper, and as it is not a bad sort of advertisement, I 
 copy it : " Last Thursday afternoon, about four o'clock, a pi'omiuent business 
 man of this city had a remarkable fit. He Avas conversing quietly with a 
 number of gentlemen upon art matters, when he was observed to throw his arms 
 about in an energetic and erratic manner, and his whole body seemed to be 
 convulsed. It was evident that he Avas in a pronounced fit. As the gentle- 
 man in question is now in perfect health, Ave would not refer to the matter but 
 for the conduct of the gentlemen Avho were present at the time. Instead of 
 manifesting sympathy and promptly sending for a physician, they seemed to 
 be moved only Avith admiration. One gentleman, aa'Iio is studying medicine, 
 remarked, 'It is a most remarkable fit;' another, an artist, observed, 'It is the 
 
 most elegant fit I ever saAv;' another said it was 'Exquisite;' and Mi". , 
 
 after the others had expressed their admiration, said Avitli quiet dignity, ' Gen- 
 tlemen, that is the kind of fit Ave give e\'ery one Avho orders gai'meuts from 
 us.'" 
 
 A Neav Systeji. 
 
 At Jackson, ]\Iiehigan, in 1873, I called upon a cutter Avho Avas a curious 
 specimen of his kind. 
 
 "I am having A-ery good success," he said, "A\'ith the system I use." 
 "Whoso are you using?" I asked. 
 
151 
 
 "It's one you never hoard of." 
 
 "I may liave heard of it ; there are very few that I ha\-en't seen." 
 
 "You never heard of tliis," lie asserts very positively. 
 
 This put me on my mettle somewliat, and I said, "I think you must Iw 
 mistaken ; I can draft by about a hundred." 
 
 "You couldn't draft by mine." 
 
 "My dear sir, will you 1)e so jrood as to tell me Avhose it is?" 
 
 "It's nobody's in particular." 
 
 "Has it a name?" 
 
 "It has." 
 
 "l\Tiat is it, please?" 
 
 "Well, sir," he answered, "it's by guess and by thimder, and to tell the 
 tnith, it's by thunder about half the time ! " 
 
 A Broadway Cutter. 
 
 My friend, Mr. T. J. Neil of Chicago, one of the best cutters in the ^N'est, 
 told me the following. He was cutting in one of the first houses in the cit}', 
 when one of the coat-cutters left. An elegantly-dressed gentleman, ■with a 
 gold-headed cane, and the air of a grand duke, made application for the posi- 
 tion. 
 
 He was a Broadway cutter, he said, and ■would like to introduce Xe^w 
 York styles in Chicago. 
 
 The firm engaged him, and he commenced work at once. 
 
 A prominent business man, Avho A\-as a regular customer of the house, left 
 his order for a suit the day our Broadway man commenced work. 
 
 "Would you like a Broadway cut?" asked our friend. 
 
 " I think I would ; can you give it to me ? " 
 
 " Oh, yes ; I'm from Broadway. I'll give you the real thing." 
 
 "Ah— thank you." 
 
 Saturday the suit was sent home, and Monday the gentleman came in with 
 it on. He Avalked iip the entii-e length of the store, calling the attention of 
 the clerks and salesmen as he went to his " Broadway suit." 
 
 "Fine, isn't it?" "Beautiful cut, eh?" "How do you like Broadway 
 style?" and, "It beats Chicago, don't it?" were some of the f^uestions he 
 asked. 
 
152 
 
 Tlie establisliment was in an uproar. The proprietors could not liel]i 
 laughing, and the poor cutter was tenibly chagrined. 
 
 The suit Avas a monstrosity. It had neither style nor fit. 
 
 The poor fellow said he could not imderstantl it. He had measured and 
 drafted according to his system, and had sujjposed it must fit. 
 
 As this was about the tenth suit he had killed in a ■week, his e.\'planati(jn 
 was hardly satisfactoiy. 
 
 "Where did you say }'ou cut in New York?" inquired one of the pro- 
 prietors. 
 
 "I cut at Institute, — patterns only. Mv. said I ^vas thor- 
 oughly instructed, and gave me my recommendations." 
 
 " Oh ! I see, you are a manufactured cutter. What did you do before 
 you went to Institute ? " 
 
 "I was a hotel clerk." 
 
 " All ! that accounts for your cheek. I admire your assurance, but I don't 
 think you Avill answer for our establishment." The BroadAvay cutter of course 
 A\'as discharged, and pei'haps I'eturned to Broadway Institute foi- further 
 instructions. ^Vliat became of him, ]\Ir. Neil does not kno\v. 
 
 A:x Experienced Cutter. 
 
 Capt. T. G. Suthei'land, Avho lias taught my system extensively in the 
 Western States and in Canada, and is Me\\ kno-wn by a great many in the 
 profession, is an inimitable wag. He Avas cutting, not many years ago, in a 
 city in Ohio. One day, Avhen he Avas quite busy, a I'ather seedy-looking indi- 
 A'idual came in and handed him his card, — 
 
 " Oliver La Libertie, 
 
 Profei<sor of Garment Cutting.'''' 
 
 "I am introducing," said Mr. La Libertie, "a iicav system of garment 
 cutting. It is undoubtedly the greatest iuA'ention of the age. It is a death- 
 bloAV to West, Madison, Glencross, Luthicum, and " 
 
 " What sort of a system is it ? " interrupted Mr. Suthei'land. 
 
 " It is a double-shoulder, actual-measure, treble-balance, geometrical, trigo- 
 metrical, and mathematical coml)ination. It is founded upon all the knoAvn 
 sciences, and is absolutely infallible \\\)0\\ any conformation " 
 
 Here he stopped for Avant of breath. 
 
153 
 
 " Who is using it ? " 
 
 " It is used, sir, by nine luuidi-ed and ninety-nine out of eveiy thousand 
 cutters iu New York, Boston, Philadelpliia, Baltimore, Cinciimati, Chicago, St. 
 Louis, and, in fact, in all the large cities. It is pronounced unaj)[)r<)achable 
 by everybody who tries it. I have a tnink full of indoi-seinents, and another 
 fidl of gold, silver, copper, brass, iron, and leather medals, pi-esented to me Tjy 
 my admiring puj^ils. If you have time I would like to make a draft for you." 
 
 " I don't •wish to put you to any troidjle, Mr. La Liberiie. I am not iu 
 want of any system at present." 
 
 " It is no trouble to make a draft. The price of my system is only ^25, 
 and it will be worth ^.oOO to you." 
 
 " Just so. But I'm using a system which suits me very well, and have no 
 Mash to change." 
 
 " Do you never have alterations ? " 
 
 " I have alterations sometimes, and sometimes I don't alter when I shoidd." 
 
 " Exactly — now by my system you Avill never have any. I can teach }'ou 
 more in one hour than yoit could learn yourself in ten years. My experience is 
 very extensive. I have been a cutter for moi'e than a (piarter of a centuiy." 
 
 "Ah! indeed!" 
 
 "Yes, sir, and with respect due all, pennit me to obsei've, that }()U really 
 know nothing about the art and science of garment cutting. IIo^v long have 
 you been cutting ? " 
 
 Mr. Sutherland laid his shears doAvn thoughtfull\-, and in the most eaniest, 
 impressive manner imaginable, said : " IVIy dear sir, your thii'ty years' expe- 
 rience are as a drop in the ocean compared with mine. I have been cutting for 
 more than two thousand yeare. I held the best situation in Jeioisalem Avheii 
 St. John was preaching; I was tailor to His Eoyal Highness Pontius Pilate; I 
 have cut garments for C;«sar, Bnitus, and Peter the Heniiit. I made the suit 
 in which Charles the First was executed ; I have cut gannents for Napoleon 
 Bonaparte, George the Fourth, and for the immortal Geoi-ge Washington. I 
 have cut the inaugural suit for eveiy president of the United States, and 
 have to-day received an order by cable from Genei-al Grant for sLxteen suits, 
 which he wishes me to have ready upon his return from England." 
 
 " Good gracious, sir ! Avhat do you meau ? " 
 
154 
 
 " I mean, sir, that I am the greatest cutter the world ever knew. I have 
 cut in every city in Europe, Asia, Afiica, Australia, the British Isles, and 
 America. I have not killed a coat for eight hundred and seventy-five years, 
 eight months, and eleven days. I have cut 273,652,281 coats, 576, " 
 
 "I guess you don't ^vant to look at my system. Good-day, sir," said 
 Mr. La Libertie, making toward the door with undignified haste. 
 
 Mr. Sutherland followed him to the door, and clutching him by the ami 
 just as he was going out, continued, — 
 
 " Yes, sir, I have invented seven hundred and eighty-two shouldei'-measure 
 systems, nine hundred and fifty-seven breast-measure " 
 
 " Good-day, sir ; I'll call again," said Mr. La Libertie, releasing himself , 
 from Mr. Sutherland, and leaping into the street. 
 
 " So do," shouted Sutherland after him ; " come soon, come often. I 
 would like to show you a few thousand of my inventions. Be sure to come." 
 
 An Excellent Fit. 
 
 Many years ago my father was teaching his system in New York. One 
 day, when quite busy with some half a dozen cutters whom he was teaching, 
 Mr. S , a Broadway cutter who was celebrated for his inordinate self- 
 conceit, and was anything but a first-class cutter, came in and was introduced 
 to my father. 
 
 After a little conversation jNIr. S. remarked, " I think one system as valu. 
 able as another; they are all useless to a real artist. I threw away eveiy sys- 
 tem I had learned two years ago, and now depend entii'ely upon my judgment 
 and experience." 
 
 "Both are no doubt very fine," said my father courteously. 
 
 "Yes, sir, — I take a man's height and breast-measure, and shape and bal- 
 ance the various parts of the coat by my eye, in the same manner as a painter 
 sketches a landscape." 
 
 " Your success is probably remarkable ? " 
 
 "Veiy. My coats have a peculiaa" appearance which no system could 
 give." 
 
 " Ah, indeed ! " 
 
 "Yes, sir. You would no doubt be surprised to see me di'aft. It has 
 liecome an instinct Avith me, — I seem to know by intuition precisely Avhat the 
 shape requires." 
 
155 
 
 "Your eye must be very accurate." 
 
 " Wonderfully so ! I can carry a man's shape in ray eye for months." 
 
 "Eemarkable!" 
 
 "The coat I am wearing is an illustration of my power. I tof)t<: my 
 height and breast-measure, stood before the mirror foi- iive or ten minutes, 
 studying my shape, then sketched the draft inside a squai-e ecpial to half my 
 size with two and a half inches added. You can see the residt." 
 
 "It seems to be a very graceful garment," said my father. 
 
 Mr. S. straightened himself, and by his attitude invited inspection of his 
 coat. 
 
 My father smoothed down the fronts so that the coat laid about the neck, 
 shoulder and breasts naturally. 
 
 "Beautiful!" "Admirable!" "Remarkable!" he exclaimed a.s he did 
 so, to the intense delight of Mr. S. 
 
 Then he reached his hand around to the back, keeping the fronts in posi- 
 tion, and gathered up some eight inches of surplus cloth. 
 
 " A very fine garment, gentlemen," he said, suddenly changing his position, 
 and placing himself at the back of Mr. S., still holding the loose cloth in the 
 back. "The architecture of this coat, gentlemen, is of the same quality of 
 excellence as the coats my dear old grandmother used to make me out of home- 
 spun, when I was a boy. I don't think, Mr. S., that any one else can hope to 
 rival you. You are unapproachable ! " 
 
 Mr. S. was of course greatly chagrined, and in great confusion Avithdrew 
 with some imintelligible excuse about having to meet some one. 
 
 My father escorted him to the door, expressing regret at his depai-ture, 
 and remarked as he passed out, "Mr. S., Avhen you have leisure, I shall be 
 pleased to have you call upon me ^vith another specimen of your wonderful 
 skill. Good-day, sir." 
 
 Good Advice. 
 
 However long I may live, I shall never forget an intennew I had with 
 Mr. James- H. Croney, of New York, some three years after I commenced to 
 
 cut. 
 
 I had been cutting successfully in an inland town in New Hampshire, and 
 was firmly convinced that I was aix.ut the best cutter in the Avorld. I fan- 
 
15G 
 
 cied my father could teach me but little more than I already kncAN', foi' I flat- 
 tered myself that there was very little Avorth kuowiug that I did not thor- 
 oughly understand. 
 
 I had accepted a lucrative engagement with a prominent firm in one of 
 the largest and most fashionable cities in the New England States, and my 
 father, desiring me to be ■well posted, carried me to New York and introduced 
 me to Mr. Croney. 
 
 Now I had a veiy high respect for that gentleman, for my father had 
 remarked to me hundreds of times that he ^vas the model tailor of the world ; 
 but I confidently expected that I should be able to astonish him A\'ith my 
 skill in drafting, and with my Avonderful knowledge. 
 
 After shaking hands, my father and Mr. Croney stepped aside, and I was 
 greatly mortified and chagrined to hear my father remark to Mr. Croney in an 
 undertone, " He's green, biighten him up a little." 
 
 Duiing the forenoon I made a draft. It was good, for I could always 
 draft Avell, and using a pencil instead of chalk, my lines Avere clean and fine. 
 Mr. Croney said that it looked A'ery AA'ell indeed, complimented me on my 
 command of hand and — told me that I must guard against sacrificing the beauty 
 of my garment to the beauty of my draft, as he feared I Avas inclined to do. 
 He then kindly suggested changes for the better in my draft, and explained 
 several points Avhich he saAV I Avas not clear about. 
 
 My ignorance seemed like a mountain to me, my self-conceit Avas com- 
 pletely crushed — for the time being, (I have plenty of it now,) — and I realized 
 that I had more to learn than I had eA'er dreamed of. 
 
 In the afternoon, having a little time at his disposal, Mr. Croney engaged 
 in conversation Avith me, and gaA'e me the f oUoAving Avholesome adA^ce : " You 
 have a laudable ambition," he said, " to liecome a great cutter. You have the 
 ability, and can succeed if you do not prevent yourself; but joii have much 
 to learn, and must make up your mind to study all your life. You must study 
 men and their manners, you must thoroughly acquaint yourself Avith the phi- 
 losophy of dress, and Avith the laAvs of color. The center of dress is the neck, 
 everything should radiate from and center at the neck-tie. Your knoAvledge 
 concerning these matters should be so perfect, so aeciirate, that A'our clients 
 Avill acknoAvledge you as an authority, and be goA'erned by }our advice. The 
 
effect of an elegant snit may he destroyed })y an a\\-kAvar(l hat, a l)ad pair of 
 boots, or a wi'ongly-dressed neck. You must make it your business to jn-e- 
 vent, so far as possil)le, sucli mistakes in the toilet of the gentlemen you dress. 
 Never contradict a customei-. Never become careless. Never slight anything. 
 Never become satisfied Avith what you know, but always stiive to learn some- 
 thing more. Read and carefully study Chesterfield, make him youi- constant 
 companion and favorite author, and above all, I'emember that there is one royal 
 road to success, and that can be achie\^ed only by hard study and earnest laboi'." 
 
 This is the advice he gave me, almost -word for word. It fixed itself 
 firmly in my mind, and has done me great good. 
 
 His words deserve to be written in letters of gold. They should be in 
 the possession of every cutter who has ambition. They are invaluable to the 
 profession. They should stand for ceutunes as a monument to the rare skill 
 and ex<piisite taste of him who first uttered them, — as a monument more last- 
 ing than brass, to the great artist and accomplished gentleman, Mr. James H. 
 Croney. 
 
 Sir Peter Lansie, a shrewd, sagacious Scotchman, Avas originally a saddler. 
 By thrift, iudustiy, and foresight, he accumulated a large fortune. Sul)sequently 
 he served as alderman, Sheriff, and Lord Mayor of London. But, not unlike 
 men who have lisen fi'om a Ioav position to eminence, he ignored his humble 
 oi"igin. Some years after he had been sheriff of Loudon, a Mr. Nicoll, a tailor 
 and clothier, Avas proposed for that office. Sir Peter Avas somewhat indignant, 
 and publicly expressed the o2)iniou that the election of a tailor woidd be a 
 degradation to the office. " I don't see the objection," said a brother Scotch- 
 man, " if a saddler can be sheriff, why not a tailor ? Lideed, . a tailor is the 
 superior of the two. A saddler makes clothes for horses, but a tailor makes 
 clothes for men," Mr. Nicoll Avas elected. 
 
 The folloAving Avas told by Mr. Douohue of Walsh's, under McVicker's 
 
 Theatre, Chicago : 
 
 One of their customers Avas an immense eater, and very fond of lager beer- 
 He ordered a frock-coat one afternoon, and called for it during the next 
 
 week, in the morning. The coat Avas much too large for him about the body. 
 Mr. Donohue stepi)ed aside Avath Mr. Walsh and convei-sed Avith him a 
 
 moment, Avhen his face lighted up, and he said to his customer, — 
 
158 
 
 " Mr. B , we have discovered wliat is wrong with the coat, and will 
 
 remedy it. Can you call for it at about fiv^e o'clock this afternoon ? " 
 
 " Certainly, of course." 
 
 Mr. Donohue hung the coat up and left it until five, when the gentleman 
 returned. 
 
 " The coat Avill fit you light, now, I think," said the genial Dan. 
 
 And it did. It would just button comfortably. 
 
 " Altered by a big dinner and lager beer," exclaimed Mr. Donohue, when 
 the customer had dej)arted. 
 
 He Hadn't Any. 
 
 While I was teaching Mr. McDaniel's cutter in Dayton, Ohio, a fine-look- 
 ing elderly gentleman, who could not have weighed less than two hundred and 
 fifty pounds, entered the store. 
 
 Mr. McDaniel was at the extreme end. "Mr. McDaniel," shouted the 
 elderly gentleman, " have me a black cloth vest made by to-morrow night." 
 
 " All light," answered Mr. McD. 
 
 "And, by the way, Mr. McDaniel, tell your cutter that I haven't any 
 belly, and if I have, it isn't round ; and I'll murder him if he doesn't cut the 
 front edses as straight as a line." 
 
APPENDIX. 
 
 CONTAINING EXTRACTS FROM THE WRITINGS OF MY FATHER, THE LATE 
 
 OTIS MADISON. 
 
 Instrujients for Measuring. 
 The least that can be said Avitli truth against all machines and instruments 
 for measuring live men, is, that they are all useless. 
 
 Actual ]\Ieasure Rules, 
 Actual measure rules, so called, have been plenty for many years. I have 
 examined all I could find of them, but have never seen one that contained any 
 evidence that the author, compiler, or getter-up, knew ho^v to take "with accu- 
 racy, any measure for a coat. 
 
 Surface Measures. 
 The first purpose of the cutter is to shape the cloth -with an exactness 
 that ^\'ill fit the surface. Therefore, he has nothing to do Avdth the size of his 
 client's liver or spleen. An ideal measm-e of his brain may be useful to the 
 artistic cutter. 
 
 Measurejient. 
 " A long time ago," I was teacher of cutting during fifteen years ; was 
 l^atronized by all the best cutters then in Ameiica ; but in all that time, I did 
 not know how to take measures, nor did I exchange vieAvs with any cutter 
 who knew any better than I did. I am the first person that ever 2)ublished a 
 word about the shoulder-measures, and taught their use fifteen yeai-s before I 
 knew how to take them. I believe I am the first person who ever knew how 
 to take the measure for a coat, as they ought to be taken. 
 
 (159) 
 
IGO 
 
 The Principle. 
 
 This plan of drafting rests wholly on actual Tuieasurements ; proportions 
 have nothing to do with the fitting of the garment. Actual measures locate 
 every point in the draft. These measures are arbitraiy, and must be obeyed, 
 no matter where they lead, no matter how the draft may look ; the coat "s^dll 
 look well on the customer, whatever may be his shape. To di-aft a coat by 
 actual measures, without counting the play of the muscles, is like navigating 
 the ocean without reckoning lee-way. A cutter, after many years of painful 
 practice, may succeed generally; but he cannot impart his knowledge to 
 another, for he is governed by no definite principles of science ; and he cannot 
 sell his exj)erience to his neighbor. Talents, taste, and cxjjerience have made 
 some eminent cutters ; yet it would be imj)ossible for any of them to teach 
 another the skill they possess. Let not such object to this work as a leveller, 
 for it will aid them as much as it will the less gifted. Much of the time that 
 the fitting now costs them, may be devoted to the artistic branch of their pro- 
 fession ; and what admirable styles and beautiful garments may they not then 
 create. 
 
 The principle of this plan, is, that if appropriate measures of any part 
 of the human fomi are so aiTanged as to produce the desired fit and 
 shape of that part of the coat which is to be applied to the part whence 
 the measures were taken, — it is immaterial what may be the shape of that part, 
 because the measures will vary according to it, — then, if the several parts or 
 divisions of the coat be obtained by their respective measures, and Joined 
 together in such a manner that one pait will not keep an adjoining part out 
 of the place foi' -which it -was designed, the fitting of the coat must be certain. 
 Therefore, if a system resting on this principle be right for any one form, it 
 will, for the same reason, be right for every form. 
 
 JUDGJIENT. 
 
 . Many cutters talk a great deal about using their Judgment in drafting 
 garments, and seem to think that if a i"ule will draft to fit any fomi, they will 
 have no use for this article Avith which they are so abundantly supplied. Let 
 them not be alarmed. However perfect the science of cutting may be, the 
 cuttei will always have use for all the gumption he possesses. His profession 
 
1(U 
 
 makes it necessary to judge of liis customer's taste, as it is his duty to cater 
 for it to a degree that will not injure his reputation. He nmst, to be success- 
 ful, be a good judge of the fabiic he is to cut, that he may lessen or enlarge 
 his measures, to insure the desired size. He must provide for the diffei-ent 
 manner of ti-imming, etc. He should be a close observer of men and their 
 manners, and by no means neglectful of his o\vn manners and appearance. 
 
 If a cutter aim to be eminent in his profession, he can give his judgment 
 an "airing" often enough to keep it bright and vigorous, notwithstanding his 
 perfect knowledge of the tnie science of drafting garments. 
 
 Attititde. 
 Most gentlemen, when they stand to be measured, will assume an attitude 
 that is not natural. One will straighten himself up and swell out his chest, as 
 much as to say, " Make me a coat for a well-fonned man." It ^vould be folly 
 to ask him to stand natural ; he can't do it ; if he should attempt it, he would 
 Avork himself into a shape that he was never in before, and never will be again. 
 Place your hands in a gentle manner upon his shoulders, divert his attention, 
 and by the time you have obtained the length measures, he will be in his nat- 
 iiral posture. The next difficulty is your customer's temper. If he is of a 
 combative disposition, as soon as you place the measure in front of his shoul- 
 der, the musple will enlarge, and his shoulder press forward, and unless you 
 are watchfid your measure wll be too large. If your customer is of a mild, 
 timid disposition, the muscle ^v\\\ shrink, and the shoulder recede, as soon as 
 he feels the pressure, and your measure -will be too small, unless you put your 
 hand gently on his shoulder and j)lace it in its proper position. Some ^Y\\l 
 enlarge the chest or waist from one to three inches. This requires only yoiu- 
 attention. Yom- o-\\ti judgment will direct you what to do. 
 
 GE^^us and Taste. 
 Genius consists in the power of executing. Taste in the power of judg- 
 ing of the appropriate, of symmetry and beauty. Noav, the cutter, in the fii-st 
 process of his work, should concentrate his ideas Avith the sole view of pro- 
 ducino- the fitting of the gannent ; then Avhen this is done to his satisfaction, 
 which science will enable him to do, he Avill have accomplished the fii-st part 
 of his Avork, and produced a basis on Avhich to rear the temple of beauty he 
 
162 
 
 desires. Now, lils genius may rest, and taste be exercised. If the cutter had 
 mixed these talents, one might have destroyed the other, and his effort proved 
 an abortion ; but having the fitting of the garment secure, the cutter can fear- 
 lessly use Ms taste. Taste does not always demand a good fit, but having the 
 draft before you that you know "will fit, taste will teach you where to put on 
 or take off, so as to produce a coat that will improve the aj^pearance of your 
 client, and give character to the garment, Avithout endangering the balance. 
 
 There are many fonns that good taste would not lead you to fit ; yet the 
 artistic cutter will first make the draft to fit, then he will know how to improve 
 the appearance of his patron. 
 
 CuTxrNG. 
 
 There are a few rules that should always be observed in cutting. Make 
 up your mind to blame no one but yourself for a misfit or an awkward look- 
 ing garment. Cut every piece to the exact length for its position. Let the 
 ciu've of one piece fall gracefully into the curve of its neighbor, so as not to 
 invite the shears of the journe}nnan. Avoid as much as possible force Avork, 
 such as holding on, shiinking, stretching, etc. You can fit better without such 
 work, and the garment vnW keep its easy, graceful appearance much longer. 
 In obtaining the measures, never ask your customer to assist you ; it is your 
 business, not his. His duty is to be passive while you are securing his dimen- 
 sions. It would be as absurd for you to ask your client to stand natural, as it 
 would be for a barber to make faces at him while he is shaving you. 
 
 Theory. 
 By the circumference of a sphere, we can draft an envelope in many 
 pieces that will fit the surface of the sphere, as boys cover their bat-balls, and 
 the process requires but one measure, — the circumference. The surface of the 
 ball is not " a level plain," yet it is measurable. The body has points that 
 divide the surface ; therefore, every point requires a sejjarate measure and each 
 measure must shape the cloth for the part over Avhich the measure was taken ; 
 consequently, the envelope for the shouldei's and body, like the covering of a 
 ball, must be cut in sepai-ate pieces ; and then, the great desideratum is to join 
 these several parts or pieces together, in a manner that will produce harmony 
 among the different sections, so that each part will I'est at ease without strug- 
 gling to displace its neighbor. Thus, the two shoulder-measures shape the 
 
163 
 
 clotli for tlie shoulder and armhole, no matter A\liat the sliape of the slioulders 
 may be. Thus mucli these two measures eiial)le us to do, and nothing else. 
 The blade-measure gives us the exact ([uantity of cloth to cover tlie blade, 
 Avithout pulling on the shoulder, and nothing more. The shoulder and blade 
 being now supplied with tlie cloth they re(piire, we have no fui-ther use for 
 these measures. The basis of the coat is estaljlislu-d and nuist not be dis- 
 tui'bed. Now, if we are required to envelop a cone ten inches long, twelve 
 inches in circumference at one end, and sixteen inches at the other, we will 
 draft for one end by the smaller circumference, and for the other end by the 
 larger circumference, divide the two measures into ecpial parts, draft for each 
 end by its measure, then the clotli will wind straight round the cone, no matter 
 which end it stands on, the fitting Avill be the same. The body of oiu" client 
 is a cone ; and it matters not whether the waist is the larger or smaller end, 
 the same process enables us to button the cloth smoothly around his body. 
 
 Now, having produced the desired fit for the shoulders, and the wished- 
 for fit for the body, what remains to be done ? Simply to connect these two 
 halves, upper and lower half, in such a manner that one j)art Avill not disturb 
 the other part. Now, if these two halves are placed upon our client, we can 
 baste them together, and the coat will be complete in its balance, but we must 
 have no seam in this direction, therefore, we produce the same effect by the 
 balance and blade measures, and nothing more and nothing less. 
 
 Plausible Ekroe. 
 Buckle a metallic strap around the body under the arms, press the vertical 
 slide up against the front of the arm ; then measure from a point on, or made 
 by the strap and slide, to the neck-Joint ; and does it not look as if you were 
 sure of the right length of upper-shoulder point ? Then measure from points 
 on the strap to hip, hollow of waist, and other points on the body; and does 
 it not seem plausible that you have obtained the right dimensions ? Yet you have 
 not. It is a live man that you have been measuring.— You become disgusted 
 Avith this strap and slides, water-level, or plumb-line, and kindred instruments, 
 yet you Avill not give up the idea that from some point in fi-ont of the aiTa 
 you can get the shoulder-points right. Then you poke sticks, squares, or 
 pasteboards under his arm and make another failure. Still you stick to this 
 fallacy, and next try a jacket nicely buckled on, chalk points on it with a little 
 
164 
 
 better success, simply because you liave fewer useless things in tlie way ; still 
 adhering to this ])laimhle error you think you have succeeded, yet you hesi- 
 tate to complete the job until you do as grandmother does — baste and tiy on. 
 Then if not more than one coat in ten needs busheliug, you imagine that you 
 have reached the ne phjii idfra, and will stick to the sticks, squares, jackets, 
 etc., etc. One Avho has this pknisille error on the brain, says, "In giving my 
 opinion, I would say that if the science was divided into one hundred paits, 
 that the finding or locating of the front shouldei'-point is ninety-nine points in 
 the hundred." 
 
 Common-sense teaches us that the first point we make in drafting is 
 always I'ight, no matter "where it is made, or for ■\\'hat point. It is the begin- 
 ning, and if all the points ai'e in harmonious positions, and proper distances 
 from it, so as not to pull the first point from its position, the coat must be 
 right, no matter whei'e you start fi'om. The easiest and surest Avay to get rid 
 of this ^j/rtw.s/Zi/e and common erroi', that I know of, is to try an expeiiment, 
 " it will pay well," if it cost you a thousand dollars. 
 
 Select from your customers the straightest one, fit him exactly ■with a 
 coat, even if you call upon grandm()thei' to help you. Noa\', }-ou have pro- 
 duced for the veiy erect client a peifect fitting coat, faidtless in its balance — 
 keep the pattern. Noav, select a gentleman of the extreme opposite form, let 
 him be as ci'ooked as possible, and his shoulder-measures the same as the 
 straight man's, which often happens ; put the straight man's coat on him, and 
 you Avill see that it will fit him al)out the shoulders exactly as it did the 
 straight man's shoulders, but the lo\\"ei' half of the coat -will stick out a ridicu- 
 lous distance behind him, because his blade-measure is much longer, and the 
 balance much shorter than Avere these measures for the straight man. No^v, 
 take the upper-half of the pattern of the straight man's coat, and get the 
 quantity of cloth over the blade by the crooked man's blade-measure, and bring 
 it in at the hip, by his balance-measure, and the fitting -will be as pei'fect on 
 one as the other. 
 
 I recommend this exjieriment, for I know of no better plan of eradicating 
 from your mind this error — this jilausible and damaging error — and make you 
 sensible of the folly and danger of using straight-jackets, sipiai'es, girths, sad- 
 dles, or any other kind of harnesses. 
 
Ifi;-) 
 
 Obseuvatioxr. 
 
 A cutter sliould not attempt to cut any garment without first takiuo- 
 correct measurement, and kno^vi^g for what purpose each measui'e is taken ; 
 he should, in all garments, discard proportions, if he wishes to fit, and Ixilauce 
 his garments agreeable to the endless variety of confomiations. The tlieoi'y 
 of proportions is as tiiie for j)antaloons as it is for coats. In fact, there is 
 more consistency in it, because, in the pei-fect form, the hip-measui'e is the same 
 as the breast, and the thigh is just one-half as large as the hips. But in a 
 country like this, the close application of nearly eveiy man to some profession, 
 or some brancli of industry, has strengthened and enlarged some i)ai-t of his 
 structure at the expense of other parts, and this disproportion is greater in the 
 chest and shoulders than iu the limbs, because all the muscles pen-ade the 
 chest ; hence two boys, of equal age, size, and of perfect fomi, wiU be much 
 unlike at manhood, if one becomes a shoemaker and the other a soldier. At 
 manhood the circumference of their breasts may be equal, say thirty-six 
 inches. Yet, if by any rule of proportion you cut a coat for the soldier by 
 his breast-measure, it will be much too large in the back and armhole ; and if 
 for the shoemaker, it would be as much too small, and your mle of propor- 
 tion would fit neither. If cutting their pants the disproportion would be 
 less, — the soldier's hip-measure would probably remain the same as his breast, 
 and his thigh would remain half the size. The shoemaker's hip-measure 
 would probably be two or three inches larger than his breast, and his thigh 
 would be less than the soldier's. 
 
 In ^'iew of these facts, would it not be better to rely upon the several 
 measures, regardless of antiquated notions of proportions, ^vhetller you draft 
 a coat, a waistcoat, or pantaloons ? There shoidd be sometliing to distinguish 
 garments made to order, from those made to sell ; the latter are al\\'a}'S cut on 
 the principles of proportion. 
 
 About Sacks. 
 
 There are many cutters Avho succeed in cutting all kinds of coats except 
 sacks or Jackets ; but in getting up these garments they are compelled to call 
 wpon the mantua-maker or grandmother. 
 
 For the benefit of such cutters the following remarks are made : 
 
 A loose garaient of any kind shows more conspicuously an error in (lie 
 
166 
 
 balance than a close fit does. The ideas of cutters generally are vague on this 
 subject. Some will talk and act as if it was all, or neai'ly all, contained in the 
 npper-shoulder point, — a point that has nothing to do \\dth the balance. Oth- 
 ers, that the balance depends upon some point in front of the arm, — another 
 point that has nothing to do with the balance, and they will measure from this 
 point to the hip-point and other points. 
 
 Such cutters can show you how to hang a coat on a man's back by the 
 arms, as a boy hangs his hat against the wall by a bracket, but he knows noth- 
 ing about balancing a coat. Yet a child knows how to balance a stick on his 
 shoulders, he does not attempt to balance the stick on the neck-Joint, but 
 throws it instinctively across his shoulder, between his neck and shoulder-Joint. 
 Have cutters forgotten the instinct of their boyhood ? Can they not see that 
 the cloth must lie smoothly upon the shoulder, between the neck and shoul- 
 der-Joint, and must not be disturbed in the least by the cloth shaped for the 
 body ? If cutters understand this balance, they will see the absurdity of 
 attempting to keep a coat in its place by pressing against the ai'ms. Balance 
 a coat or sack right, and it must keep in its proper place, even if it does not 
 touch the aiTas within an inch. ~Wliy do not cutters use common-sense, and 
 not be eternally poking around the front of the arms ? 
 
 A sack balancing rightly on, and from the toji of the shoulders, can be a 
 perfect garment, no matter lio\v large it is : no matter if it does not come 
 within an inch of the front of the arms. 
 
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