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 PREFACE. 
 
 The introduction of manual training as a necessary part of education has raised sewing to an art 
 of great importance. Outside of the practical advantage of being able to use the needle, the mental 
 training through hand and eye has been proved to have a permanent effect on the character. The 
 training of the hand makes it dextrous in other employments. Habits of thrift, cleanliness, patience 
 and accuracy are inculcated, economy taught, and the inventive faculty developed. Attention and the 
 power of observation are increased by giving the lesson to the entire class at one time instead of by 
 the old method of showing each pupil separately. 
 
 In order to get the best results, certain fixed rules must be followed ; to meet this want, these 
 brief notes are given for the use of teachers. The course is carefully graded to lead the mind gradual- 
 ly upward to more difficult needlework. An enthusiastic and progressive teacher can, through sewing, 
 make freer and more capable beings of her pupils and help round out their characters. 
 
TEACHER'S POINTS. 
 
 The object before the teacher of needlework should be to educate her pupils to be intelligent 
 workers with the needle and to develop faculties within them which will benefit them for life. The 
 training should be made as interesting as possible. Children like to do the things they know how to 
 do, and, having once learned to sew, can be taught orally, or by reading aloud to them, many useful 
 things connected with their work, for, when the hands are occupied, the mind is particularly acute and 
 receptive. 
 
 The comfort of each pupil must be considered and low seats provided for them. Strict attention 
 must be paid to the position of each one. They should sit upright, bending the body forward, if neces- 
 sary, but never hanging the head down. 
 
 Cleanliness must be obligatory, as soiled hands make poor work. 
 
 Bags or boxes for each, with a full outfit of needles, cotton, thimble, scissors, emery, etc., must 
 be near at hand. If the school (ioes not provide these implements the scholars must each do so. 
 
 Each scrap of useless material should be put in a waste-bag to teach neatness and economy. 
 The sale of these scraps will often be sufficient to provide needles for the class. 
 
 The teacher must set a standard in which work is to be carried out so no discussion can arise as 
 to methods. She should allow no imperfect stitches to remain. 
 
 Knots in the thread are inadmissible except in a few instances such as basting, gathering, etc. 
 The teacher should carefully examine the work to see if the threads are well fastened, for if they are 
 merely pushed under they will rip out. 
 
 One stitch should be thoroughly understood before taking up another, the only variation in this 
 rule is in kindergarten and primary classes, where, if a child does not at first succeed with one stitch, it 
 will keep her from being discouraged to leave it for a time and take up another. She will, in the mean 
 while, be getting more used to holding her needle and will go back to the puzzling stitch with renewed 
 interest. 
 
 For young children, a variation in the color of the cottons is often found to add pleasure. As a 
 reward for doing a straight line of stitches well, a child will work doubly hard if, at the end, a picture 
 of something amusing, but not intricate, can be drawn on her muslin for her to follow with the same 
 stitch. Another reward for work well done is the initials of the child put on her piece for her to outline. 
 
 Canvas with colored wool should be used for the first practice in every stitch, as it places before 
 the child a perfect ideal of direction, length, and distance of stitches. 
 
The first work on muslin should be with colored stitches on coarse enough material to count the 
 
 threads. 
 
 As far as possible the pupils should prepare their own work. This gives them important lessons 
 in economy, judgment and invention. Provide a large piece of material and let each cut from it the 
 portion she requires. Have the cutting table so arranged that two can work at one time on either end 
 of the cloth. Give an incentive to the workers by promising that the girl who first learns to do a stitch 
 well on her strip shall precede the others in cutting her piece from the material of which the corres- 
 ponding patch is to be made. When she has cut the piece then let her baste, turn hems, or fell, as may 
 be necessary. Classes following the primary are capable of cutting out their own work, and the teach- 
 er by doing it deprives them of the benefit. 
 
 Thread the cotton with the end as it comes from the spool, and fasten the other end to the ma- 
 terial, as it is less apt to snarl than when working against the winding of the cotton. 
 
 The teacher should carefully explain the way to form a stitch, the use to which it is put, and why 
 it is adapted to this use. Let all descriptions for work, after being given by the teacher, be written 
 clearly on the board, that the pupils may refer to it when necessary. 
 
 Small sample pieces with the different stitches made accurately on them, can be given to each 
 pupil as a pattern. Every class will need specimens of the stitches to be made by them during the 
 year. These pieces can be kept from year to year. The pupils should always be shown models of the 
 work they are to do, so they may have an ideal before their minds. 
 
 Each pupil should have a sewing book that all approved models may be placed in it and de- 
 scribed by her. 
 
 Pupils that have no need for much practice in a stitch can begin at once on the model. When 
 no supplemental work is suggested in connection with a stitch, let the pupil occupy the extra time by 
 working her initials on the model in some different stitch ; by trying to make herself a perfect sample 
 piece ; or certain models, which it is found cannot be accomplished by most of the class within the 
 school year, can be set apart for this purpose and worked on from time to time as opportunity is afford- 
 ed, and then added to the sewing book. 
 
 The practice strips can be made narrower if economy requires it, but the wider strips are easier 
 to use. 
 
 All teachers should prepare beforehand little talks on the invention and manufacture of thimbles, 
 needles, cloth, etc.; the locality in which raw materials are grown ; the stitches which are used in cer- 
 tain garments, with the names of the parts, or any other subject which will be useful and interesting 
 in connection with needle work. 
 
 Care has been taken to give exact dimensions in the models so that the eye may be trained to 
 recognize units of measure at a glance. 
 
 Drills should be given in the primary classes on threading the needle, position of hands in sew- 
 ing, use of thimble, breaking and knotting the thread, and pushing the needle through with the thimble. 
 
In intermediate classes drills can be given on the use of the tape measure and paper cutting pre- 
 paratory to cutting their models. 
 
 Let each teacher bear in mind the mental training, and that accuracy, patience, perseverance, 
 order, judgment, economy, etc., are being developed through the hand and eye. The power of expres- 
 sion must be cultivated both in teacher and pupils, as it leads to greater accuracy in the work and a 
 more thorough understanding of the subject. 
 
 The classes should be carefully graded, and the entire class given the lesson at one time, to de- 
 velop the attention and observation of the children, and save the time which was taken by the old! 
 method of showing each child. Demonstration frames or large pieces of canvas, on which the stitch 
 can be worked with colored wool, can be used by the teacher to show a stitch to the class. 
 
 Free hand drawings of the models and stitches are a great help in the work of interesting and in- 
 structing the pupils, who also should be taught to draw their ideals of the stitches either on paper or 
 on the board. 
 
 Every teacher will have to use her ingenuity in responding to the needs of her classes. When- 
 ever it is possible let the pupils apply the stitches they have learned in making some complete and use- 
 ful article, this gives incentive and interest to the work and practically teaches the child to adapt the 
 lessons she has learned. 
 
PRICKED DESIGNS. 
 
 MATERIALS. 
 
 Kindergarten Cards (183.) 
 
 Red Wool. 
 
 Red Embroidery Cotton (coarse.) 
 
 (MODEL No. 1.) 
 
 Worsted Needles. 
 Between Needles No. 5. 
 
 In the kindergarten these designs are the first step toward sewing. By them the children can 
 illustrate the lessons they have learned on any subject and, at the same time, get ideas on the threading 
 and handling of the needle, and the form of the stitches. The diversity in outline and color makes 
 these models interesting so that the little pupils learn with less difficulty and can more easily take up 
 the practice strips of muslin. The running stitch and stitching can both be learned in this way.' 
 
 Primary classes can begin with this model after some drilling in the use of the needle, and so 
 connect their kindergarten and primary work. The use of the wool can follow a drill on threading 
 worsted needles, and the cotton, a drill on the between needles. Teachers can prick any design desired 
 on the cards or buy cards already pricked, it is not well to have the children do this work, as it is hard 
 on their eyes. Simple designs are the best for sewing. 
 
CANVAS SAMPLER, 
 
 MATERIALS. (MODEL No. 2.) 
 
 Java Canvas. Wools in Standard Colors. Worsted Needles. 
 
 7 in. X 5 in. 
 
 By means of the canvas sampler a perfect ideal of the various stitches is placed before a pupil's 
 mind and she gains thereby the correct form of direction, length, and distance, of the stitches. 
 
 The colors of the rainbow have been used for the stitches so that, when the sampler is completed, 
 all these colors will be fully known by the pupils as well as the harmony in which the hues blend. 
 
 The Sampler as it is, is for the teacher's use, the practical application for the scholar is to take as 
 many of these stitches as the class can learn and have them work them on burlap, canvas or scrim, for 
 mats, needle-books or bags. The teacher must use her own inventive faculty here and consider the 
 wants of her class and the interest she can excite in them. 
 
 The stitches represented are ; running, basting, stitching, backstitching, two runs and a back- 
 stitch, overcasting, hemming, overhanding, chainstitch, gathering, herringbone, blanketstitch, three 
 varieties of featherstitching, buttonhole stitch, a buttonhole, hemstitching and cross-stitch. 
 
CANVAS MODEL. 
 
 MATERIALS. (MODEL No. 3.) 
 
 Canvas 6 inches square. Red Wool. Worsted Needles. 
 
 (Coarse Stiffened Scrim.) 
 
 This model shows the interweaving requisite in repairing material by restoring the texture. It 
 also clearly indicates how materials are woven. Explain to the scholars that the warp is the thread run- 
 ning lengthwise of the goods, or the selvedge (self-edge) way of material. The woof runs across to bind 
 the fabric more closely together, it is often called the wrong way of the stuff. The warp generally 
 has straight, stiff threads while the woof is apt to be crooked, strained and loose. In connection with 
 this lesson the class should be drilled on the principles of weaving. 
 
 Practice. — Take six inches square of canvas and baste a hem around the edge. Cut and pull 
 out half an inch from the middle, a dozen woof threads and insert threads of red wool in their places. 
 At either end of the model skip a couple of warp threads turn the wool in a loop and go back where the 
 second thread was. Explain that this is the reason of the security of the selvedge otherwise it would 
 pull out. In darning we leave the same little loop on the edge so that when it is washed the mending 
 material will have room to shrink and not tear the dam. Begin to cut the woof threads inside the 
 basted hem so the canvas will not fray. 
 
FOLDING HEM IN PAPER. 
 
 MATERIALS. (MODEL No. 4.) 
 
 Engine Colored Paper, two sheets (red) 4x4. 
 
 Rule.— A hem is made by folding a piece of material twice over. The first turn should be 
 about six threads wide, the second is regulated by the garment for which it is required. Keep the 
 wrong side of the material toward you with the edge uppermost which you are about to turn. Turn six 
 threads of the edge toward you, keeping it even to a thread, and press the fold thus made between your 
 fingers to keep it flat. When the first turn is finished proceed in the same way to the second, measuring 
 it, if it is too deep to keep even otherwise. If the hem is narrow fold the corners over each other, if 
 wide, mitre them. 
 
 Practice. — Cut two pieces of paper 4 inches square, fold a narrow hem on one and a wide hem 
 on the other. Mitre two of the comers of the broad hem and cut the material from under according to 
 the direction for mitering. If a very broad hem is to be made cut a paper measure for it. Turn two 
 opposite sides before folding the other sides over them, so there will be regularity in the corners. Give 
 the lesson in the form of a drill to teach exactness. When the class can turn a neat hem give them two 
 pieces of engine colored paper and let them turn a narrow hem on one and a broad, on the other. Red 
 is given because it is one of the first colors studied. 
 
RUNNING. 
 
 MATERIALS. (MODEL No, 5.) 
 
 Canvas Sampler. Wool. Worsted Needles. 
 
 Practice Strips. Red Cotton No. 50. Needles No. 8. 
 
 Piece of Unbleached Muslin Red Cotton No. 60. Needles No. 9. 
 
 6 Inches Square. 
 
 Running is the first useful stitch for children to learn. 
 
 Use. — For joining breadths of material, gathering, tucking, basting, etc. 
 
 Fitness. — It is rapidly executed; formed for drawing up material on the thread, as in gathering; 
 and easy in removal as required in basting. 
 
 Rule. — Each stitch must be of the same length. The stitches follow each other along one line 
 between two parallel threads of the material or, as in the model, along a drawn design. The number 
 of threads taken up by the needle depends on the stufiE used. For fine running take up two threads and 
 skip two, it is not necessary to count the threads, the eye can be trained to judge the correct length. 
 The position should be to hold the work with the thumb and first finger of the left hand, insert the 
 needle with the right hand, keep the thimble against the needle, the thumb over the needle and the 
 first finger back of the needle on the other side of the cloth, the left hand pushes the cloth on the 
 needle. When proficient, the needle is seldom removed but beginners should take but one stitch at a 
 time. Begin with a knot or with a double stitch which will come under the first stitch on the right side. 
 Finish off with a double stitch on the wrong side in the first space back of where the thread comes out, 
 this will bring the fastening under a stitch on the right side. 
 
 Practice. — First teach the stitch on the canvas sampler. Long strips of unbleached muslin can 
 then be used for practicing the stitch with the incentive, that, as soon as approved, they shall be followed 
 by the Sewing Book Model. When ready for the model let the pupil cut her piece from the material 
 according to the instructions written on the board. Turn the raw edges on all four sides of the model 
 into one-quarter of an inch hems, and baste with the even basting stitch being careful to turn first two 
 opposite sides and then the other sides over them. Have the comers square. Trace a design in the 
 center and follow with fine running stitches; on the outside of this make a square of running stitches 
 following threads of the material. 
 
 These same practice strips can be utilized for teaching basting which, perfectly done, securely 
 and evenly holds two pieces of material in place and serves as a guide for working. Regular basting 
 is running with long stitches. Irregular basting is taking up a number of threads on the needle and 
 skipping two or three times as many. 
 
 The model can serve several times by making one square inside of another with various colored 
 threads, until skill is gained. 
 
 For variety let the pupils bring leaves, or any geometrical design which they have devised and 
 draw them on their pieces of muslin inside the square, instead of using the one on the model. 
 
 • 
 
PATCH WORK MODEL. 
 
 MATERIALS. (MODEL No. 6.) 
 
 Calico or Gingham, Needles No. 8. 
 
 9 pieces i}^ inches square. Cotton No. 6o. Needles No. 9. 
 
 4 " 2^ " " Needles No. 10. 
 
 This model teaches several useful lessons. Accuracy, in cutting the pieces to the thread ; pre- 
 cision, in joining each little piece, so the final union will be perfect ; neatness in beginning and ending 
 the thread, as knots must not be used but the thread held by two backstitches, one over the other. 
 First join the three pieces on the top row with the running stitch, then the three next, and then the 
 third row ; afterward join the three pieces thus made to each other. 
 
 As it takes more care and neatness to join little pieces than large ones, pupils who do not use the 
 needle and fingers deftly might cut four larger pieces and join them, and the first model can be given 
 to those who are most expert. 
 
STITCHING AND BACKSTITCHING. 
 MATERIALS. (MODEL No. 7.) 
 
 Canvas Sampler. Wool. Worsted Needles. 
 
 Practice Strips of Unbleached Muslin. Red Cotton No. 50. Needles No. 8. 
 
 Unbleached Muslin, 6 in. X 3 in. (2 pieces.) " " " 60. " " 9. 
 
 Use. — For seams, putting on bands and tapes, holding down hems, etc. As an ornamental stitch. 
 Hems when stitched down are usually folded on the right side of the material and worked on this fold, 
 thus making a pretty finish. This can only be done on material which is the same on both sides, such 
 as linen. 
 
 Fitness. — As it is a double stitch it is strong for purposes where durability is required. 
 
 The way of taking these two stitches is alike, but in stitching one stitch meets another ; in back- 
 stitching there is a space between. 
 
 Rule for Stitching. — When the thread is on the right side of the material put the needle back 
 to meet the stitch behind and draw it through to the wrong side, bring it up again two stitches in ad- 
 vance. This will make the stitch on the wrong side twice as long as on the right. The wrong side 
 should have a cord-like effect, and the twist of the cord should run always in the same direction. Begin 
 with a running stitch at the back which will be covered by the first stitches. Hold the work over the 
 first finger of the left hand and slant the needle toward the left shoulder. 
 
 Practice. — On the canvas sampler, then on the practice strips ; as soon as six inches of either 
 stitch is approved on the practice strips it may be cut off and, after being overcast, can be placed in 
 the Sewing Book. If the strips are carefully basted together it will not be hard to have the line of 
 stitching straight, as the basting can serve as a guide. Make the line of work one-half an inch from 
 the raw edges of the pieces. 
 
 OVERCASTING. 
 MATERIALS. 
 
 Canvas Sampler. Wool. Worsted Needles. 
 
 Practice Strips of Red Cotton No. 50. Needles No. 8. 
 
 Unbleached Muslin. " " " 60. " " 9. 
 
 Use. — In tailoring and lighter kinds of needlework where raw edges are exposed. 
 
 Fitness. — Its form is adapted to hold threads from raveling. 
 
 Rule. — A loose stitch taken over the raw edge of a seam. The stitches should be slanting, of 
 equal size, and just deep enough to keep the material from raveling. It is worked from right to left. 
 Hold the work over the first finger of the left hand and slant the needle toward the left shoulder. 
 Begin with a knot which can be concealed between the two raw edges. When a new thread is neces- 
 
sary, insert the needle as if to take a new stitch, withdraw it, and fasten off on the wrong side where 
 the hole was punctured by the needle ; begin the new thread with a knot, insert it between the raw edges 
 and bring the thread through to the right side where the punctured hole was made ; this will continue 
 the stitch as if it had never been interrupted. When turning a comer put the first stitch around the 
 corner in the same hole as the previous one, this will make a V shaped stitch in the comer and a neat 
 turn. 
 
 Practice. — On the canvas sampler, and then on the practice strips ; as soon as the stitch is ap- 
 proved, overcast the edges of the Sewing Book models for stitching, backstitching, and two runs and 
 a backstitch. Do not overcast the two pieces of these models together, except where the line of work 
 is, that each model may be opened and show the inside of the seam. 
 
 Suggestion. — This stitch should be used to complete the raw edges of all the Sewing Book 
 models which are not finished in any other way. 
 
TWO RUNS AND A BACKSTITCH. 
 
 MATERIALS. (MODEL No. 8.) 
 
 Canvas Sampler. Wool. Worsted Needles. 
 
 Practice Strips of Unbleached Muslin. Red Cotton No. 50. Needles No. 8. 
 
 Unbleached Muslin, 6 x 3 in. (2 pieces.) " " " 60. " " 9. 
 
 Use. — For seams and other purposes where strength is required. 
 
 Fitness. — It is rapidly executed, and yet strong and can take the place of the backstitching or 
 stitching where so much strength is unnecessary. 
 
 Rule. — Three forms of the stitch are given : 
 
 No. I. This one gives the effect of a running stitch on the side toward the worker. Take two 
 running stitches, which will show on the right side and then twice the length of one of the running 
 stitches on the needle and a backstitch which will cover half the space. Pass the needle forward under 
 the backstitch and ahead the length of one running stitch and bring the needle to the right side again 
 to begin a new running stitch. This form is used in the seam holding double material. 
 
 No. 2. This one gives the effect of a running stitch on the side away from the worker and is 
 thus particularly adapted to the fell. Its form is really two runs and a stitching stitch. Take two run- 
 ning stitches and bring the needle to the right side as if for a third, instead of continuing take a stitch 
 back to the previous running stitch and bring it forward on the wrong side across the last running 
 stitch, and then to the right side in the same place the former stitch came through. This will make 
 one stitch over the other on the wrong side but the effect is the running stitch. Three stitches meet 
 on the right side. 
 
 No. 3. This also is two runs and a stitching stitch. Take two running stitches and a stitching 
 stitch which will meet the last running stitch. Pass the needle behind the stitching stitch and ahead 
 the length of a running stitch and bring it to the right side for the running stitch again. This is a form 
 very generally used but is not as neat in appearance as the others. 
 
 Practice. — Proceed as in stitching. Hold the seam together with No. i. Begin without a knot. 
 Work Nos. 2 and 3 along a thread of the single material parallel with the seam. 
 
HEMMING. 
 MATERIALS. (MODEL No. 9.) 
 
 Canvas Sampler. Wool. Worsted Needles. 
 
 Practice Strips. Red Cotton No. 50. Needles No. 8. 
 
 Piece of Unbleached Muslin Red Cotton No. 60. Needles No. 10. 
 
 6 inches square. 
 
 Use.— For finishing the rough edges of underclothing and other garments, handkerchiefs, aprons, 
 dusters, towels, etc. 
 
 Fitness. — The folded material and oft repeated stitch make a strong finish. 
 
 Rule.— When the hem is well turned down and carefully basted, lay the work across the first 
 finger of the left hand, put the threaded needle, pointing it to the right, through the end of the folded 
 hem and draw through all but a little end of thread, which must lie along the hem, to be sewed in with 
 the first stitches. Now point the needle toward the left, almost on a line with the hem, and make 
 slanting stitches. Uniformity of slant and size are more important than small stitches for beginners. 
 If pupils are taught to notice carefully, they will observe that in a correct position the two thumbs are 
 at right angles with each other. When the thread has been pulled through the fold on the wrong side, 
 be particular not to begin the next stitch directly under it, but a little in advance. The stitch is com- 
 posed of two parts slanting toward each other and forming a tent shape, the two sides of which are 
 equal. The needle should go fully through to the right side or it makes an insecure stitch. 
 
 Care must be taken in beginning a new thread in the middle of a hem. Break the old thread off 
 short, pull out a stitch or two leaving the end between the fold and the material, and begin the new 
 thread in the fold where the last stitch was pulled out, hold down both the old and new ends of thread 
 with the next stitches, letting them lie along the fold. Fasten off by taking two stitches in the fold 
 over the last stitches taken. There is no necessity for pricking the finger in hemming if the pupil is 
 taught to loosen the work just a little as she takes the stitch. 
 
 Practice. — When the canvas sampler and practice strips have served their purpose, cut a square 
 of unbleached muslin, fold a hem three-eighths of an inch deep when finished, mitre two diagonal cor- 
 ners and square two, and hem with colored cotton so that the weak points in the stitch may be seen 
 and criticised. If the muslin is cut and folded to a thread it is easier to make the stitch regular for the 
 threads can be counted. Begin the sewing at an unmitered corner by overhanding the straight edge. 
 
 Let apt pupils mitre all four corners in place of mitering two and squaring two. 
 
 CHAIN STITCHING, 
 
 The stitch is made vertically and should be very regular. The same amount of material is tak- 
 en up with each stitch. The stitch is in the form of the rings of a chain. The needle goes into the 
 
material where the other stitch came out and then comes out a little below, catching the thread under 
 the needle. Hold the work over the first finger of the left hand, make a few running stitches to the 
 point of beginning and work the chain over them. 
 
 Draw letters on one of the models and follow the lines with the chain stitch. It is often used 
 for marking in place of the cross stitch. 
 
 MITERING. 
 
 To MITRE is to change a fold from having a square end at the corner to an abrupt angle in which 
 one fold will exactly meet the one at right angles to it. The superfluous material can be cut out in 
 two ways after the hem has been accurately folded : 
 
 No. I. By cutting an oblong from the under fold and then turning back the corner into an 
 abrupt angle. 
 
 No. 2. By cutting a triangular piece from the muslin at the corner, the base of which will be 
 one-eighth of an inch from the crease made by the top fold. Turn the one-eighth of an inch down for 
 the first fold and the sides of the mitered part should exactly join. 
 
 Practice. — No. i, on Hemming Model ; No. 2, Pillow Sham Model. 
 
PAPER PATTERN OF FELL. 
 MATERIAL. (MODEL No. 10.) 
 
 Kindergarten Paper. 
 
 Cut a piece of kindergarten paper 6 inches by 5 inches, fold the narrower ends into three equal 
 parts, and mark. Double over the paper so it will slant from the first mark on one end to the second 
 mark on the other end. Hold the two ends in hand, stretch the paper out and make a crease connect- 
 ing the two marks across the length of the paper. Cut through the crease and you will have the bias 
 pieces for felling. Fells can also be made on straight material This paper represents a bias often 
 ■occurring in garments, such as chemises, drawers, etc., and can vary with the requirements of the gar- 
 ment ; a true bias can never vary. The length in articles of clothing is cut along the warp, as material 
 is stronger in that direction. The gores in the side of a skirt when the material is the same on both 
 sides can also be cut in this way. 
 
 A TRUE BIAS. 
 
 It is better to learn to cut a true bias on paper. Take a piece of paper 7x4 inches. Fold the 
 narrow side so it exactly meets the long, press it over into a triangle and cut through the fold. Now 
 measure and mark the large piece into inch wide bias pieces by placing the measure at right angles 
 with the bias cut, measuring an inch and putting a dot to show it. Do this at the top and bottom of the 
 part cut and then rule a line from the top dot to the lower, and you will have a true bias. Call attention 
 to the fact that along the ends of the bias pieces there is more than an inch. It would not do to mark 
 it along the edge instead of at right angles with the cut. 
 
 Bia.s cutting severs both warp and woof threads. If it is a true bias, which never varies, lay the 
 warp threads of the material on a line with the woof threads, in this way a diagonal fold is made which, 
 when cut through, is a true bias. In finding a perfect square, therefore, we find a true bias. If it is a 
 garment bias such as is used in the fell, the warp and woof threads are both cut, but this bias can vary 
 with the requirements of the garment and is never so extreme as the true bias. 
 
 In buying material on the bias, the end of the goods is folded over as for the true bias and cut 
 through the diagonal fold, this makes a bias end ; the measuring for the quantity required is then made 
 first along one selvedge then the other and a fold made fi'om one selvedge to the other. The cut is 
 made through the fold. 
 
 Give clashes a careful drilling on the difference between a true bias and the bias used in the fell. 
 
FELLING. 
 
 MATERIALS. 
 
 Practice Strips. 
 Piece of Unbleached Muslin 
 6 inches by 5 inches. 
 
 Red Cotton No. 50. 
 Red Cotton No. 60. 
 
 (MODEL No. 11.) 
 
 Needles No. 8. 
 Needles No. 10. 
 
 Use — For finishing the seams of chemises, drawers, etc., that no raw edges may be visible. 
 
 Fitness. — Double sewing makes it strong, the turned in edges keep it from fraying, and the 
 effect is neat and pleasing. 
 
 Rule. — Baste together the bias edges, placing one one-eighth of an inch below the other. Begin 
 sewing at the wide end so that the stitches will run in the direction of the grain of the muslin and pre- 
 vent it from fraying. Sew the basted parts together with two running stitches and a backstitch. 
 Take out the basting threads, open the seam flat, so the wide edge will cover the narrow and turn it in 
 carefully with the needle, but do not baste it. Hem down neatly, completely covering all the raw edges 
 and ravelings. The fell seam should be narrow and even, and lie perfectly flat on both sides of the 
 material. This rule is for a bias fell, a straight one follows the same general directions. 
 
 The first sewing of a fell can also be stitching or overhanding when it needs to be very strong. 
 
 Practice. — First use the strips for practice, then cut the material as shown in the paper fell. 
 With two runs and a backstitch (No. 2) sew together the two bias pieces of the muslin, then open with 
 the nail and hem the wider edge over the narrower. 
 
 Note. — After felling is learned, the cla.ss can cut for themselves a small gored skirt and fell it 
 together. A simple way to teach them to cut a skirt is to take three pieces of muslin (6x5 or any 
 other dimension,) and use one piece for the gores (see Paper Pattern of Fell) ; use another piece for 
 the back, making a vent down the centre ; the third piece is for the front, divide one end into sixths 
 and slope one-sixth on each side of this end into nothing at the bottom. 
 
FRENCH SEAM. 
 
 MATERIALS. 
 
 Practice Strips. 
 Piece of Muslin 
 
 6 inches by 5 inches. 
 
 Cotton No. 50. 
 Cotton No. 60. 
 
 (MODEL No. 12.) 
 
 Needles No. 8. 
 Needles No. 10. 
 
 Use. — For seams in wash goods and thin materials that are not lined, lace, embroidery, etc. 
 
 Fitness. — The inside is thus as neatly finished as the outside. It washes better and has a nicer 
 effect than if the raw edges showed through the fabric. 
 
 Rule. — Lay the two edges to be united exactly together on the right side, and baste as near the 
 edge as possible. Run together in a narrow seam. Open the seam and flatten it with the nail. Turn 
 out the wrong side of the muslin and make a seam on that side which will cover the former seam, sew- 
 ing it with two runs and a backstitch, (No. i,) or a running stitch, according to the material used, and 
 the strain the seam will be called upon to endure. When making a bias seam, begin sewing at the 
 wide end or with the grain. 
 
 Practice. — Use the practice strips until approved, then cut two bias pieces of muslin according 
 to the paper model of a bias fell, and finish the model as given in the rule. 
 
COMBINATION STITCHES. 
 RUNNING, HEMMING AND OVERCASTING. 
 
 BAG MODEL. 
 
 MATERIALS. (MODEL No. 13.) 
 
 A Piece of Material Cotton No. 6o. Needles No. io. 
 
 14 inches by 6 inches. 
 
 Suggestion.— For variety and additional interest let each pupil bring the requisite material from 
 home. 
 
 Practice.— Cut a piece of material 14 inches by 6 inches. Fold it with the wrong side out and, 
 beginning at the bottom, run or stitch together the joined sides 3^ inches toward the top, and fasten 
 securely. The rest of the way to the top, hem the four sides separately in a narrow hem. Turn the 
 top down in a I J^ inch hem, and hem neatly. Run in above the hem two casings at one-half inch dis- 
 tance above each other. Overcast the raw edges of the inside of the bag. Put a cord through the 
 lower casing, — it will easily pass from one side to the other through the hemmed edges — fasten the 
 ends together and draw its extra length out on one side. Proceed the same way with the upper cas- 
 ing and pull that cord out at the opposite side so that the bag will draw together, by pulling on both 
 strings at once. 
 
 Use. — It can be utilized for spools, thimbles, etc. 
 
OVBRHANDING, SEAMING OR TOP= SEWING. 
 
 MATERIALS. (MODEL No. 14.) 
 
 . Canvas Sampler. Wool. Worsted Needles. 
 
 Practice Strips. ' Red Cotton No. 50. Needles No. 8. 
 
 Gingham, two pieces which, when White Cotton No. 100. Needles No. 10. 
 
 overhanded, will be 6 in. square. 
 
 Use.— To so fasten together two parts of material that, when pressed down, the joining will 
 scarcely be noticed, as in a patch ; uniting seams ; sewing on lace ; edging ; etc. 
 
 Fitness.— The close stitch is strong while the form makes it almost invisible as it goes in the 
 direction of the threads of the cloth. 
 
 Rule.— Double the two edges of the material. Place one against the other, baste, and sew on 
 the wrong side. Hold the material in the left hand with the folded edges lying along the first finger; 
 the thumb and second finger keep the material in place. The right elbow should be raised from the 
 side and the needle pointed to the chest in each stitch. The direction of the sewing is from right to 
 left. The stitches should be straight on the right side, not crowded, and but a couple of threads deep ; 
 on the wrong side they will slant from right to left. Begin by pointing the needle to the right and 
 taking the first stitch in the fold nearest you at the extreme right end, leave an end of thread to lie on 
 the fold and sew it down with the first stitches. When a new thread is necessary pull the end of the 
 old one, which has just been broken off, out of the fold nearest you and insert the new one in the same 
 hole, now both threads will be together between the folds and can be held down together by the next 
 stitches. Finish off by sewing back a couple of stitches. Pull out the basting thread, open the seam 
 and rub it down with the nail. If the right arm has been held well out there will be no puckers. Too 
 deep a stitch makes a bad seam. 
 
 Practice. — Make the shape of the stitch on the canvas sampler before practicing on the strips. 
 When approved, cut two pieces of gingham, match exactly the pattern, noticing how the design runs, 
 and if it has an up or down. Let the model when completed be 6 inches square. 
 
 Overhanding should not be considered finished until it is opened and pressed down. 
 
 The raw edges on the inside can be overcast by those who finish the model in time for more 
 work. 
 
OVERHANDING ON THE BIAS. 
 MATERIALS. (MODEL No. 15.) 
 
 Gingham. Cotton No. 8o. Needles No. io. 
 
 This model teaches precision and neatness in joining bias pieces. The pattern must be perfect, 
 and the two bias pieces overhanded together on the wrong side according to the rule. Be careful not 
 to stretch the bias while sewing. The difficult task is to cut the second bias to match the first, let the 
 teacher provide triangular pieces of gingham, the straight edges of which are five and one quarter 
 inches long and the other edge a true bias, and let the pupils cut from the material another triangular 
 piece which will join the first piece, complete the pattern, when the seam is taken off, and make a 
 model five inches square. 
 
 Suggestion. — If it is a narrow striped material, apiece can be cut 5X^6 in., then out of it a true 
 bias with its two straight sides 5^ inches long. One bias piece can be fitted into the one remaining, 
 overhanded and cut square afterward. 
 
OVERHANDING SELVEDGES. 
 
 MATERIALS. (MODEL No. 16.) 
 
 Practice Strips, 2 Pieces : Red Cotton No. 50. Needles No. 8. 
 
 Muslin, 2 Pieces, 6 inches White Cotton No. 100. Needles No. 10. 
 
 by 2^ inches. 
 
 Follow the rule for overhanding. It is not advisable for young pupils to unite selvedges as the 
 weaving makes them often so unequal and stiff that a bad habit is formed of taking too deep a stitch, 
 which makes an ugly ridge. Great care is needed in joining material that has a pattern on it that the 
 design is perfectly carried out. 
 
 Practice. — In the model two pieces of muslin are overhanded together, as is required in pillow 
 and bolster cases. Turn an inch hem up at the bottom. The lace can be put on for supplemental 
 work, the overhand stitch is used to sew it to the muslin. 
 
N APERY STITCH. 
 
 MATERIALS. . (MODEL No. 17.) 
 
 Damask, White Cotton No. ioo. Needles No. ii. 
 
 6 inches square. 
 
 Use. — For all fine damask in place of the ordinary hemming. 
 
 Fitness. — As the stitch runs the way the linen is woven it sinks into the weave and is rarely 
 seen. It is so strong a stitch that it seldom washes out. 
 
 Rule. — Always turn as narrow a hem as possible in damask. After the hem is turned, turn it 
 back the exact width of the hem, so that it looks like an overhand seam, and overhand it closely. 
 
 Damask is more easily sewed after being washed, consequently many rinse the linen out in water 
 before working. 
 
 Practice. — Cut a piece of damask 6 inches square, turn a narrow hem according to instructions, 
 and overhand. As all the principles have been learned before, no additional practice will be required. 
 
GUSSET. 
 MATERIALS. (MODEL No. 18.) 
 
 Two Pieces of White Muslin : Cotton No. ioo. Needles No. io. 
 
 6 inches by 3 inches. 
 One-half of a 3 inch square 
 of muslin cut diagonally. 
 
 Use. — A g-usset is a triangular piece of material put in the opening of sleeves, shirts, etc., to 
 prevent the strain on these places tearing the material apart. 
 
 Fitness. — The overhanding of the three cornered piece on the right side of the garment and the 
 strength gained by the material which acts as a stay on the wrong side gives durability to the end of 
 the seam. 
 
 Practice. — Draw a gusset on the board, and explain how to fold. Cut two pieces of muslin 
 6x^ inches. Join the two pieces in an overhanded and felled seam for 1%. inches. For this fell, turn 
 down one raw edge twice as much as the other and overhand together ; flatten it down with the nail 
 and fell the wide side over the narrow. Turn narrow hems on the raw edges of the piece below the 
 fell. ( The end of the fell will need to be cut a little ). Cut the gusset by taking a three inch square 
 of muslin, folding it in a triangle, and cutting it through the fold. This will make two gussets, as only 
 one is used here the other might be utilized by any one sewing the same model. ( i ) Turn a nar- 
 row fold on all three sides of this triangle, the two sides first and then the base. ( 2 ) Turn the apex 
 down to meet the raw edge of the fold at the base, ( it must not go to the base or it would interfere 
 with the strength of the gusset ). The new triangle thus formed is the gusset proper, while the re- 
 mainder will be the lining. ( 3 ) Turn each point of the base up into another equilateral triangle to 
 make the piece hexagonal in shape. Cut off the unnecessary edge of this new turn so it leaves only a 
 small fold. ( 4 ) Place the straight angle exactly at the end of the fell and overhand it on the wrong 
 side from the apex to where it was folded down into the second triangle. ( 5 ) Turn the extra material 
 back on the wrong side of the model, baste it carefully so the sides will be quite even and the lining 
 perfectly flat and hem the lining down. ( 6 ) Put a line of stitching across the bottom of the gusset 
 to fasten it securely to the lining and keep it flat. Overcast the raw edges. 
 
\ 
 
 FLAP AND FLY. 
 
 (MODEL No. 19.) 
 
 Use. — For finishing the vent in shirts, chemises, shirt-waists, nightshirts, skirts, drawers, etc. 
 Fitness. — The piece set on or folded over strengthens the material in places where it has to bear 
 a strain and is liable to be torn. 
 
 FLAP AND FLY MODEL, No. 1. 
 
 MATERIALS. 
 
 Muslin, 6 inches by 6 inches. Cotton No. 8o. Needles No. lo. 
 
 Use. — This flap and fly is used in the back of men's shirts, for the placket-hole in skirts, etc 
 As it is for the back it folds in the opposite direction than if for the front. 
 
 Practice.— Cut a slit of three and one-half inches down the middle of the piece of muslin. Put 
 a. narrow hem on the left side of the slit that will fold inside, and a broad hem of five-eighths of an inch 
 on the other side. Fold the entire width of the broad hem over the narrow, making a plait in the mus- 
 lin. Securely stitch down the end of the opening where the plait begins, with a row of stitches across 
 the end of the hem and two rows crossing each other at right angles beneath. Other lines which 
 cross and make a star can be used as supplementary work. 
 
FLAP AND Fl Y MODEL, No. .2. 
 
 MATERIALS. (MODEL No. 20.) 
 
 Muslin : Cotton No. So. Needles No. io. 
 
 6 inches by 6 inches. 
 3 inches by i inch. 
 3>^ inches by 2% inches. 
 
 Use. — For the front of shirt waists, the opening of shirt sleeves, etc. 
 
 Practice. — Cut three inches down the middle of the piece of muslin. Cut a strip of muslin 
 three inches by one inch, sew it with two runs and a backstitch on the inner right side of the vent 
 and turn it over on the right side of the model, baste it, and stitch it along the edge to make a neat fin- 
 ish. Cut a larger piece of muslin three and one-half inches by two and three quarter inches, sew it with 
 two runs and a backstitch on the outer left side of the vent, turn it back and hem it down on the wrong 
 side, so as to just cover the stitches, and make a false hem of one and one eighth inches. Turn up the 
 bottom of the large false hem and make two rows of stitching which will securely hold the large hem 
 over the small one. Be sure the extra pieces run the same way of the goods as the model, i. e. along 
 the warp. 
 
 When buttonholes are needed in a shirt waist, they are placed in the wide supplemental hem, and 
 the buttons in the other. 
 
FLAP AND FLY MODEL, No. S. 
 MATERIALS. (MODEL No. 21.) 
 
 Muslin : 
 
 6 inches by 5 inches. Cotton Xo. 80. Needles No. 10. 
 
 Strip ■]% inches by i inch. 
 
 Use. — This flap and fly is particularly strong and well adapted to the vents in the sides of chil- 
 dren's drawers, and in the back of skirts, etc. 
 
 Practice. — Cut three and one-half inches in the middle of the piece of muslin. Put a narrow 
 hem half way down one side of the strip, lay the opposite raw edge of the strip on the outer left side of the 
 vent so it will turn back and fell down on the wrong side. Sew it with two runs and a backstitch (No. 2) 
 and hem the fell down. This disposes of but half of the strip. Begin at the end of the vent and sew 
 the remainder of the raw edge of the strip to the opposite side of the vent, so that it will turn back on 
 the wrong side and hem down. This will turn the strip back on itself. It must be hemmed or 
 stitched neatlj' and closely to the muslin on the wrong side where the turn begins. 
 
 The strip in this flap and fly is often made of double material when unusual strength is needed, 
 in this case both raw edges will be felled together to the underside of the placket. A selvedge strip 
 also can be used instead of one with raw edges. 
 
SEWING ON A TAPE. 
 
 MATERIALS. 
 
 Two Pieces of Muslin, 
 
 3 inches by 2j^ inches. 
 
 Two Pieces of Tape, 
 6^ inches long. 
 
 Cotton No. 8o. 
 
 (MODEL No. 22.) 
 Needles No. io. 
 
 Use. — For strings on pinafores, underclothes, aprons, etc. 
 
 Practice. — Make one quarter of an inch hem on one end of each piece of muslin. Lay the tape 
 on the wrong side of the hem with its raw edge toward the end. Stitch it down closely just where the 
 hemming is, and make the stitching perfect on the right side. Turn back the tape so that it covers the 
 stitch and, after hemming each side, stitch the tape on one piece of muslin and overhand the tape on 
 the other across the end of the hem. Hem the end of one of the tapes, fold the other into a point, and 
 overhand and hem. This will prevent the ends from fraying. 
 
 The two pieces are finished differently and show the use of strings and the tying of a bow-knot. 
 Those who do not take the entire lesson to finish one piece can m.ake the second as supplemental work. 
 Loops of tape on towels are sewed in the same way. Lay the raw edges side by side and baste both, 
 Ihen stitch, etc. Be sure the same sides of the tape are together, so there will be no twist in the loop. 
 
HBM WITH EDGING. 
 
 MATERIALS. 
 
 Muslin, 6 inches by 5 inches. 
 
 Cotton No. 80. 
 
 (MODEL No. 23.) 
 
 Needles No. 10. 
 
 Use. — For trimming the ends of underclothing, children's dresses, etc. It also teaches how to 
 lengthen a skirt which has become too short, or to repair one which is worn on the edge. 
 
 Practice. — Make a hem of an inch at the bottom of the piece of muslin. Cut the hem through 
 the fold at the bottom. Lay the edging with its wrong side out on the right side of the hem and sew 
 it with two runs and a backstitch one-eighth of an inch from the bottom. Turn the edging over with 
 its right side out and baste the hem down on the edging. Hem the wrong side of the cut hem on the 
 embroidery, just covering the former stitches. 
 
 Embroideries will last much longer if the hem comes just to the work, instead of leaving the 
 muslin exposed. 
 
 This model can be made another way. Cut 1% inches from the bottom of the piece of muslin 
 6x5, baste this strip and the embroidery to the bottom of the muslin and sew all three with two runs 
 and a backstitch. Turn the strip up as a facing, baste neatly, and hem it to the muslin. This will 
 make a little less sewing than the other wp.y. 
 
GATHERING. 
 
 xMATERIALS. 
 
 Practice Strips : 
 
 Muslin, S inches by 4 inches. 
 
 (MODEL No. 24.) 
 
 Cotton No. 40. 
 Cotton No. 60. 
 
 Needles No. 8. 
 Needles No. 10. 
 
 Use. — For skirts and petticoats, putting shirt sleeves into wristbands, aprons, flounces, puffed 
 trimming, etc. 
 
 Fitness. — By this means fulness can be easily inserted into a narrow space. In certain garments 
 width of material is required to give the limbs full play, but to keep the garments in place it must be 
 confined in narrow limits ; this is accomplished in gathering. 
 
 Rule. — First prepare the band. Cut one-eighth of an inch off of each corner and fold under the 
 edges. Overhand the ends, if the band is to be hemmed on. Divide the part of the band which is to 
 contain the gathers into halves and quarters and mark with cotton. Divide the part to be gathered in 
 the same way, and mark. Take the edge of the material to be gathered, turn it down about twelve 
 threads from the top and crease it, so as to show the line on which the gathering thread is to run. 
 Double fine cotton for use or else take a little coarser thread than usual. Let your thread be a little 
 longer than the part to which your gathering is to be fastened, (when a long gather is to be made, as 
 for a petticoat, four threads should be taken, one for each quarter, as too long a gather on one thread is 
 apt to break.) Make a knot in the thread and take through the crease an irregular running stitch, tak- 
 ing up two threads of material and skipping four in fine material. When this is done the gathers must 
 be placed. Draw up the gathering thread tightly and secure it around a pin. Begin at the left side 
 and with the fingers place the gathers as neatly as possible, then take a coarse needle and carefully 
 stroke every gather straight, pushing it under the left thumb and forefinger and pinching it. No 
 scratching noise should be made, as this shows the material is being injured. The upper part of the 
 gathers must also be laid in place. Spread them out, when stroked, to the length of the band in which 
 they are to go and match the marks of halves and quarters. In some materials the hand stroking is 
 sufficient. Each gather must be taken up by a stitch when fastened to the band. 
 
 The band can be hemmed, backstitched, or overhanded, and should just cover the gathering 
 thread. When the band is to be backstitched on, lay the band with the crease in its fold exactly over 
 the gathering thread and baste. Turn the gathers toward you and sew with a backstitch, catching 
 down each gather with a stitch. Press the right side of the band back from the stitches and baste ; if 
 the band has not been sewed on straight, it will show when it is pressed back, for it will overhang in 
 places instead of pressing back to the line of stitches. Hem the back of the band to the back of the 
 gathers and overhand the turned in ends. 
 
 When the band is to be hemmed on, the shape of the hemming stitch is changed, so it can vertically 
 enter the gathers instead of slanting ; this way of putting on a band is called " setting in " the gathers. 
 Prepare the band and gathers as before and place the gathers within the folded band and baste it down 
 
on the right side. Begin as in hemming, but when the needle is on the right side, in place of slanting 
 put it vertically into each gather and slant it on the wrong side into the band just above the next 
 gather. This will make the shape of the stitch like the letter N. Sew the wrong side of the band the 
 same way, but do not let the stitch show on the right side. 
 
 For overhanding on a band, the gathering must be made on the double material, so the raw edge 
 is not exposed. Prepare the band, baste it exactly together and overhand the ends. Match halves and 
 quarters in the band and gathers and lay the band with its double edges against the right side of the 
 gathers. Overhand neatly, taking up each gather. 
 
 Practice. — On the unbleached muslin, then on white muslin 8 inches by 4 inches. For practical 
 use see the Petticoat and Apron Models. 
 
 Running, hemming, overhanding, overcasting, stitching and gathering are the necessary stitches 
 in plain undergarments. 
 
PETTICOAT MODEL. 
 
 HEMMING, RUNNING, GATHERING, STROKING, PUTTING ON THE BAND, AND 
 
 OVERCASTING. 
 MATERIALS. (MODEL No. 25.) 
 
 Muslin, 8 inches by 6 inches. Cotton No. ioo. Needles No. ii. 
 
 Muslin for band 3 inches by i inch. 
 
 Turn up at the bottom of the piece of muslin a hem of three quarters of an inch, and hem neatly. 
 The hem should be straight to a thread as irregularity affects the appearance of the tucks. 
 
 Rule for tucking. The tucking can be easily done by taking a card with notches in it at the 
 required distances. Mark five eighths of an inch on the card for the distance from the hem to the 
 sewing of the tuck, and three eighths of an inch more for the depth of the tuck. Place the card on the 
 hem and with a strong pin prick through the material at the marks on the card, moving the card grad- 
 ually across the stuff. Make a crease from one pin prick to the other, folding over the muslin at the 
 upper line and using the lower line as a guide to the running, which goes through the material double 
 on what will be the inner side of the tuck. When one tuck is finished proceed to the second in the same 
 way or mark both at the same time. Make small stitches and let them show clearly through on both 
 sides. 
 
 In fine needlework a thread is sometimes drawn to show the place to sew the tuck. 
 
 After the tucks are run in, gather, stroke and put on the band according to the rule for setting 
 in gathers. Be particular to take up each gather with a stitch. 
 
 Suggestion. A tucked petticoat can be made at this time instead of the model and, as soon as 
 buttonholes are learned one can be worked in the band. 
 
BUTTON=HOLBS. 
 
 MATERIALS. (MODEL No. 26.) 
 
 Canvas Sampler. Wool. Worsted Needles. 
 
 Practice Strips. Red Cotton No. 40. Needles No. 9. 
 
 Muslin, 2 pieces 4 inches square. White Cotton No. 50. Needles No. 10. 
 
 Fitness. — The button-hole stitch makes a strong edge where constant wear requires durability. 
 
 Rule. — Cut the hole the length of the diameter of the button and even to a thread. As button- 
 holes are made on double material they need to be overcast lightly to hold the two edges together. 
 After cutting make one bar of thread along each side if it is fine material, two if it is heavy. At the 
 lower end make two stitches across over which the bar of button-hole stitches, which finishes that end, 
 will be made. 
 
 Hold the button-hole slanting across the first finger of the left hand with the edge of the cloth 
 toward the second finger. Begin the work at the part of the button-hole which will be farthest from 
 the edge of the cloth. Bring the needle out on the upper edge three threads from the slit and make a 
 bar to the end of the slit, put the needle underneath and bar the lower side, bring the needle out where 
 it began the bar and overcast lightly the button-hole on both sides to hold together the two raw edges 
 of the material. Do not overcast across the end bar but, after finishing the overcasting on the lower 
 edge, bring the needle up four threads from the edge of the slit on the upper side. Before pulling the 
 needle through put the thread from the eye around from right to left under the point of the needle (if 
 you bring it down from left to right it will make the flat button-hole stitch used in embroidery, which 
 does not make the strong finish needed in button-holes.) Draw the needle away from you so that the 
 twist comes on the edge of the slit. Make the stitches upright, of the same depth, and one thread of 
 the material between each stitch. The part of the button-hole can be made round where the shank 
 goes and the other end barred ; in shirt bosoms both ends are barred. The round part of the button- 
 hole takes about nine stitches and is often made without the twist in the thread as there is not space for 
 it to be done neatly. The square end has the same number of stitches but is made with the twist and 
 serves as a brace to the button-hole. The stitch in the bar that comes over the first stitch made in the 
 button-hole must pass through its loop so as to hold it from slipping. Fasten all securely. Take a long 
 enough thread to complete the button-hole. 
 
 It is easier to make a button-hole the way of the selvedge but, in a garment, it is frequently 
 necessary to cut the other way. 
 
 Practice. — Draw the detail of the button-hole on the board. Explain the difference between 
 round and barred ends and that the idea to be borne in mind is to make it look like a slit rather than a 
 hole. The stitch should be made first on the canvas sampler then along the edge of the practice strips. 
 Old strips can be made available here. When the stitch is learned the pupil can baste two pieces of 
 unbleached muslin together, cut button-holes and work them, until thej' can do the whole process. 
 
When approved cut two 4 inch square pieces of muslin, turn in the edges and run them together neatly. 
 Have a small pearl button and cut a slit in one corner of the model the size for it ; make the button- 
 hole according to directions and round both ends. Diagonally cut another slit the same size and make 
 this button-hole round on one end and barred on the other. In another corner put three eyelet holes 
 and in the fourth corner three small loops. In the middle of one side make a large loop and sew the 
 button on in the middle of the model. The directions for eyelets, loops, and sewing on buttons will 
 be found below. 
 
 The whole model can be finished around the edge by a flat button-hole stitch, by those who com- 
 plete it in time to do extra work. 
 
 EYELET. 
 
 Pierce a hole in the material at the place you desire of sufficient size for the tape or lacing cord 
 to pass through. Work it around the edge with the button-hole stitch, or closely overhand it. 
 Practice. — No. i. Button-hole stitch with the purl turned outward. 
 
 " 2. " " " " " inward. 
 
 " 3. A close over and over stitch. 
 
 LOOP. 
 
 A loop is used as a button-hole instead of cutting the material. It is also used as the eye for a 
 hook. Determine the size which will be sufficient to just hold the button or hook, then make a loop of 
 three or four strong threads in the material ; fasten them securely at each end so they can bear a strain 
 and work over them the button-hole stitch. 
 
 SEWING ON A BUTTON. 
 
 Use double cotton and fasten it securely just under where the button will go. Do not draw the 
 cotton very tight as you sew, if it is a button without a shank. It is a good idea to lay a pin on top of 
 a flat button or under one which is concave and make the stitches over the pin. When enough stitches 
 have been taken withdraw the pin and pass the cotton several times around the stitches between the 
 material and the button, making a sort of stem. This protects the stitches and makes room for the 
 button-hole. When the button is sewed down tight, it is apt to pull off bringing a piece of the band 
 
with it. In sewing on a button with four holes make the stitches in the direction of the warp and woof, 
 as it is stronger that way than when running diagonally across the threads. Fasten securely, either 
 directly under the button or on the wrong side of the material. 
 
 BLANKET STITCH OR FLAT BLTTON^HOLE STITCH. 
 
 Use.— For finishing raw edges in place of overcasting. It is used ornamentally in scallops on 
 flannel or linen by making the stitches close together over the edge. 
 
 Fitness.— It holds an edge from raveling at the same time decorates it. When worked close 
 together it is very strong and durable as well as beautiful. 
 
 Rule. — It is worked from left to right and held over the first finger of the left hand with the 
 raw edge toward you. Insert the needle }( of an inch from the edge and at a right angle to it. To 
 fasten the thread make a running stitch toward the edge drawing the thread almost through, insert 
 again at the same place and take one stitch, working toward you, but this time slip the thread under the 
 needle and make a loop over the edge. Insert the needle again at the same height but to the right of 
 the last stitch and make a loop in the thread. Continue the same way. Make three stitches in the 
 same hole in the corners to make a neat turn. When a new thread is to be taken, fasten off the old 
 thread back of the last stitch and above the raw edge. Begin the new by a running stitch back of the 
 last stitch and catch the new thread through the loop and proceed as before. Each stitch should be of 
 equal height and the distances between should be equal. 
 
 Variations can be made in the blanket stitch by making them vary in depth at regular intervals. 
 An ornamental net work can be made over a surface by catching each succeeding row of the stitch in 
 the one before. 
 
 Practice. — Finishing the raw edges of flannel and cashmere models, and the scallops in the 
 flannel embroidery. 
 
PATCHING. 
 
 Use.— A patch is a piece put in a garment to take the place of a worn or torn part, it is set on 
 where the rent is too large to be darned. 
 
 Rule.— If possible use an old piece of the same material in the patch, as new will tear away the 
 fabric, if that cannot be obtained, use new of a lighter quality than the old was originally. The right 
 side of the patch should come on the right side of the material, the pattern should match, the warp 
 threads join the warp threads, and the woof, the woof. The patch should be larger than the hole so it 
 can allow for turning in. A piece that is to be felled should be larger than if merely overcast. The 
 way it is sewed on depends on the material. When the stuff is old and worth little trouble, the patch 
 can be run on or hemmed on the right side and overcast on the wrong. When the material is good an 
 overhand and fell, or a counterhem is generally used. Use fine thread for patching so the seam will 
 not be clumsy. 
 
 The pupil must prepare her own patch and cut the hole. 
 
 After cutting the piece of gingham, fold it in half across the warp and crease, then across the 
 woof and crease. Do the same with the patch and it will be found to be very easy to match the patch 
 to the piece by the creases. Take the piece, put a pin prick where the creases cross which will be the 
 centre, measure from this centre along the creased lines and put a pin prick at the required dimensions 
 of the hole. Crease again through these pin pricks along a thread of the material on both warp and 
 woof and then cut out the material. Use the piece cut out as a guide for cutting the patch. Cut the 
 piece diagonally in the corners so it will turn easil}-. 
 
 Prepare the patch, crease, cut a little off each corner so it will not be clumsy and turn the edges 
 down one-eighth of an inch. 
 
 GINGHAM PATCH. 
 MATERIALS. (MODEL No. 27.) 
 
 Striped Gingham 6 inches square. Cotton No. 8o. Needles No. lo. 
 
 Striped Gingham Patch 
 3 inches square. 
 
 Practice, — Follow the rule for patching, cut the hole two inches square until it is correct to a 
 thread. Nick at the corners so they will turn easily. Cut the repairing piece to a thread. Have it 
 large enough to entirely cover the weak portions. Exactly fit the piece to the place, noticing that the 
 warp, woof, and pattern are all perfect. Turn the edges and baste down on the wrong side. Hem 
 down, first the right side and then the wrong, making the pattern perfect. As the material is not val- 
 
liable, it is not necessary to overhand and fell it down, but, as it requires constant washing, it is better 
 in order to keep it from fraying, to hem it on both the right and wrong side. 
 
 Patching in Calico may also be done by simply overcasting the wrong side and hemming down 
 the right. 
 
 As supplemental work, a diagonal patch in the corner can be made by perfectly matching the 
 pattern after turning a bias fold on both patch and corner. Overhand neatly and press open with the 
 nail. The raw edges lie open on either side and are overcast. This way of mending is also used in 
 dress goods that need a square patch. 
 
OVERHANDED PATCH. 
 
 (MODEL No. 28.) 
 
 Gingham 6 inches square. Cotton No. So. Needles No. io. 
 
 Patch 3 inches square. 
 
 Use. — For a durable, neat, patch on gingham, fine muslin, wool, silk, etc. 
 
 Practice. — Crease the piece 2% inches square according to instructions and cut a little hole in the 
 centre. Prepare the patch by cutting with regard to the pattern, and then creasing and folding the 
 edge. Lay the patch on the right side of the material with the fold turned inward, baste carefully, turn 
 back the piece along the four sides of the patch and overhand. Turn to the wrong side, cut the piece 
 to within one-quarter of an inch of the overhanding stitches, cut diagonally in each corner and press 
 the edges beyond the patch. Overcast the raw edges and press the wrong side. 
 
 In preparing the patch before turning the folds, the corners can be cut deep enough to mitre or 
 they need not be cut at all. The first way has a neater appearance but is not as strong, as, at each cor- 
 ner, the raw edges of the piece and patch will come together. 
 
 Instead of overhanding the wrong side the flat buttonhole stitch can be used to secure the edges. 
 
FLANNEL PATCHING. 
 
 MATERIALS. (MODEL No. 29.) 
 
 Flannel, 5 inches square. White Silk No. A. Needles No. 9. 
 
 Flannel Patch, White Cotton No. So. Needles No. 10. 
 
 2)4 inches square. 
 
 Use. This model shows how to mend a hole in flannel, it does not need any turning in as the 
 herringbone protects the raw edges. 
 
 Practice. Cut a two inch hole in the flannel perfectly even. Place the patch on the wrong side 
 of the material exactly over the hole and extending one quarter of an inch beyond on all four sides. Be 
 careful to match the selvedge way, ply, and the right side of the flannel. Baste the patch in place, turn 
 to the right side and the basting threads will guide the eye to see if the hole is square to a thread. Be- 
 gin on the right side, slip the needle, threaded with silk, between the patch and the garment and begin 
 at the left hand top corner. Herringbone around the hole letting the needle go all the way through, 
 and over the raw edges of the flannel on the inner side. (See Herringbone.) 
 
 Turn to the wrong side and herringbone in the same way the outside of the patch. The herring- 
 bone stitch can all be done in cotton instead of silk. 
 
 Make a flat button-hole stitch around the edge of the model. 
 
DAMASK PATCHING. 
 
 MATERIALS. (MODEL No. 30.) 
 
 Damask, 5 inches square. Cotton No. 100. Needles No. 10. 
 
 Patch, 2 inches square. 
 
 Use. — Circular patches are sometimes placed in cloth and linen, though square ones are usually- 
 preferred. The knees and elbows of boys' suits often wear in this way but, in cloth, the edges cannot 
 be turned in as they are too clumsy. (See Cloth Patching ) In damask, the square side of the patch 
 needs to be as neat as the other as the material is reversible. 
 
 Practice. — Cut a circular hole in the damask, prepare a patch that will exactly match in pattern 
 the part cut away and lay it over the hole on the wrong side, baste neatly, and turn the material on the 
 right side. In order to make the circular sides turn in smoothly, nick a number of little places with 
 the scissors above, below, and on each side. Turn in the raw edges with the needle and baste down 
 carefully. Be sure the shape of the hole is circular and the pattern perfectly matched. Overhand the 
 part turned in to the patch beneath, turn to the wrong side and fell down all the raw edges of the patch. 
 
CLOTH PATCHING. 
 MATERIALS. (MODEL No. 31.) 
 
 Cloth, 5 inches square. Ravelings of Cloth. Needles No. 6. 
 
 Patch, 2 inches square. Black Silk No. B. Needles No. 9. 
 
 Use. — For mending holes in cloth suits. 
 
 Cloth is too clumsy to be turned in around the edges so must be darned down along the sides of 
 the hole on the right side. On the wrong side the patch is held with the herringbone stitch, as in the 
 flannel patch. 
 
 Practice — Cut the hole in the cloth 0/2 inches square and fit and baste the patch on the wrong 
 side. Turn to the right side and with ravelings of the material follow the pattern as nearly as possible, 
 darning the ra'.y edges down to the patch. In rough cloth the patching will be almost invisible, but in 
 smooth, the cut edges are harder to control. Turn to the wrong side and herringbone over the patch 
 to the cloth, but catch the stitch in the threads of the cloth without going all the way through. 
 
W£A VING MODEL. 
 MATERIALS. (MODEL No. 32.) 
 
 Penelope Canvas, Yellow Wool, or Worsted Needle. 
 
 4>4 inches square. Yellow Silk No. E.E. Needle No. 8. 
 
 Use. — To show how a twill is formed by weaving in the warp and woof threads. Cashmeres, as 
 well as other wool goods, and many silks are woven with a twill. 
 
 The threads are woven in, as in darning, with every other row alike, the alternate rows taking up 
 the threads dropped in the row before. Weave in all the warp threads first ; as this is a double thread 
 canvas put single threads of the silk where the vacant spaces are and alternately skip two and go under 
 two of the woof threads of the canvas. In the woof, skip three threads and go under three threads, al- 
 ternate each line with the one before it and the result will be a twill. Be careful in starting the first 
 thread of the woof, for the stitch which intersects the warp begins in the same hole and makes a right 
 angle with the warp stitch. 
 
 The stitch around the edge to hold it down is an easy one, all the upright stitches go in first and, 
 on the return, the cross bars at the top and bottom. With care, the stitches on both sides of the canvas 
 can be made alike. This is a Greek design and was often used by them in decoration. 
 
DARNING. 
 
 The stitches are easy but, as judgment is necessary in preparing the place to be mended, darn- 
 ing becomes the work of higher grades whose common sense has been developed and who have learned 
 patience and perseverance. 
 
 MATERIALS. 
 
 Canvas. 
 
 Piece of Unbleached Stocking 
 or Stockinet. 
 
 STOCKING DARN. 
 
 Wool. 
 
 French Unbleached Darning 
 Cotton No. 3. 
 
 (MODEL No. 33.) 
 
 Worsted Needle. 
 Darning Needle. 
 
 Use. — To repair holes and to strengthen worn or weak places. Stockings, Jersey cloth, under- 
 vests, knitted clothing and woolen materials are repaired by darning. 
 
 Fitness. — As it imitates the original texture it is almost invisible and the manner of weaving the 
 threads makes it strong. 
 
 Rule. — The darning needle follows the thread of the material. The darning thread must be as 
 like as possible to the fabric darned. Whenever the raveled thread of the material can be used it is ad- 
 visable to do so. The work must be done so neatly that it can scarcely be distinguished from the rest of 
 the stuff. The darn is made on the wrong side of the material and begun at the right hand corner. On 
 the wrong side of the stocking web one row of loops goes upward and the next turns down. When the 
 needle goes in at the lower part of the darn it takes up the loops that turn upward, and on returning it 
 takes those that turn downward. If the hole is large turn the web right side out and, with an ordinary 
 needle and thread, catch each loop and close the hole as much as possible, without puckering it in the 
 least. These catching threads can be picked out when the darn is finished, but each loop held by the 
 cotton must be picked up by the darning cotton. The warp threads are woven in first ; begin a little 
 distance from the hole, on the wrong side of the stocking and at the right hand corner of the hole. Lay 
 the threads on the edge of the darn as evenly as possible, cutting away any ragged ends. Take up one 
 loop and drop one until the hole is reached, lay the thread over it and take up the loop on the opposite 
 side, continuing a short distance beyond. In each succeeding row take up the loops which were passed 
 over in the preceding. When the warp threads are all in break the thread and put in the woof threads 
 in the same way. Lay the woof threads close to each other with the point of the needle, so they may 
 form a substantial web. When weaving in woof threads m a large darn it is well to begin in the middle 
 of the darn, instead of at one end, as the hole is more apt to keep its correct shape. Make the ends of 
 the darn slanting or wary as it distributes the strength of the darn and the strain does not all come in 
 one place. Loops must be left in the darning cotton at each end, so as to allow for shrinkage in wash- 
 
ing. The darn should be perfectly flat and even. 
 
 Practice. — First learn the stitch on canvas with colored wool, then take a piece of stocking web, 
 cut one or two threads and the broken ladders will stretch into a hole which can be darned according 
 to the rule. Hold the work securely over the forefinger of the left hand. The stockinet to be repaired 
 can also be basted to cardboard or stiff paper, and the work done over that. Darning over wooden or 
 china balls is not advisable, as it stretches the material out of shape. 
 
CASHMERE DARN. 
 
 MATERIALS. (MODEL No. 34.) 
 
 Canvas. Colored Wool. Needles No. 8. 
 
 Practice Strips. RavelingsofUnbleachedMuslin. Needles No. io. 
 
 Cashmere, 5 inches square. Ravelings of Cashmere. 
 
 Silk to Match. 
 
 French Darning Cotton. 
 
 This piece contains six darns. One is mended with white darning cotton to show the stitch 
 plainly, two are with the raveling of the cashmere, and three with silk. It is always better, if possible, 
 to use ravelings of the fabric, even if but one row can be done with the same thread, as it shows less, 
 the advantage of this can easily be seen from the model. Sometimes raveling cannot be procured, then 
 silk of the same color is the next best thing. The silk must be split and only one strand used with the 
 finest needle that can be threaded. Darn on the wrong side and make a small stitch. 
 
 The first darn is repaired in white darning cotton split or with the woof threads of muslin, to 
 clearly indicate the stitches. One thread runs over and another under across the break and then back 
 as in stockinet darning. It is not necessary to leave large loops in the repairing thread. The thread 
 must be loose or the darn will be puckered. This cut is along the woof and shows how the warp 
 threads have been broken and can be renewed. The next darn is the same but mended in split silk. 
 
 The third is over a straight cut along the warp, the woof threads being severed. The needle, 
 threaded with the raveling of cashmere, is inserted in and out along the woof. 
 
 A hedge tear repaired in silk is the fourth. Half of the tear is along the woof, the other along 
 the warp, and combines the two last darns. Repair by weaving in and out and replacing warp and 
 woof threads each way, and making on the back where the warp and woof meet, a square dam. This 
 darn is sometimes turned in a fan shape at the corner, the repairing threads following the twill. 
 
 In the diagonal darn the difficulty consists in the fact that the threads are cut crosswise, it is re- 
 paired by weaving in all the broken warp threads, and then the woof threads. 
 
 The sixth example shows a worn place too large for ordinary darning. This needs a piece of the 
 material underneath. Match exactly the warp, woof, and right side of the original material, and run 
 the little piece on neatly. Darn the worn place down on the new piece from the right side with ravel- 
 ings of the cashmere. 
 
 The pupils can prepare their own darns by inserting the point of the scissors and cutting along a 
 thread of the material. In the diagonal darn by folding the material and making a bias cut, or in the 
 worn place by cutting a thread or two and rubbing it with a thimble, on the wrong side. 
 
 Practice. — First on canvas, then on unbleached muslin repaired in ravelings of itself. 
 
BIAS RUFFLE. 
 
 MATERIALS. (MODEL No. 35.) 
 
 Triangle of Checked Gingham, Cotton No. 6o. Needles No. 9. 
 
 g% inches on its straight 
 sides. 
 
 Use. — For trimming. 
 
 Any bias pieces can be used for this ruffle but to teach economy of material take a triangle and 
 show how all of it may be utilized. The teacher can at her discretion cut bias pieces, as shown in the 
 model, for the paper bias and then recut them in this form to be put together, or can prepare 9>4 inch 
 squares of gingham, folded in a triangle and cut through the fold ; giving each pupil a triangular piece 
 to cut, put together, and make into a ruffle. It is simply a triangle with its top cut off and its base cut 
 through. 
 
 Practice. — Cut the gingham in bias pieces. Run a bias piece to each side of the triangle 
 matching the check. Make a narrow hem along the bottom. Turn the top of the material over a cord 
 and run it, being careful not to catch the cord with the stitch. Draw the ruffle up and put a knot in 
 each end of the cord, so it will not slip through. 
 
WHIPPED HEM. 
 
 MATERIALS, (MODEL No. 36.) 
 
 Sheer Muslin, Cotton No. ioo. Needles No. ii. 
 
 One foot by one inch. 
 
 Use. — For gathering muslin, gauze, lace, net, and other light materials. 
 
 Fitness.— For fine material it can take the place of gathering and, as it has no raw edge, it can 
 be finished more quickly. 
 
 Rule. — Hold the material with the wrong side toward you, and with the thumb and finger of the 
 left hand roll the raw edge into a tiny fold. After the thread is fastened, hem three stitches, and then 
 begin to whip by inserting the needle at the back of the roll in a slanting direction over the left thumb, 
 and bring it out just under the roll. Whipping is sometimes done by inserting the needle at the front 
 instead of the back. As you proceed draw the work up as in gathering. Make the material of the 
 ruffle twice the length of the band. Some needlewomen claim that it is easier to roll the first inch of 
 the frill with the right hand and then continue with the left. When skilful, several stitches can be 
 taken on the needle at one time. 
 
 Practice. — Strips of fine plain muslin can be used to practice the stitch. See the Apron Model 
 for the practical use. 
 
APRON MODEL. 
 
 HEMMING, GATHERING, STROKING, PUTTING ON A BAND, OVERHANDING, AND 
 
 WHIPPING. 
 
 MATERIALS. (MODEL No. 37.) 
 
 Sheer Muslin, 6 inches by 7 inches. Cotton No. loo. Needles No. ii. 
 
 Narrow Pieces of Muslin, for ruf- 
 fle, i^}4 inches long, i inch 
 wide ; for band .-6^ inches 
 long, I inch wide. 
 
 This shows the adaptation to every day use of several stitches. 
 
 Cut a piece of muslin six inches deep and seven inches wide. Turn one-quarter of an inch into 
 a hem on each side and one inch at the bottom, and hem. Divide the bottom into halves and quarters, 
 and mark. Cut an inch strip of the material twice the length of the big hem. Make a narrow hem on 
 the bottom of it and up each side. Whip according to the instruction for the whipped hem. Divide 
 the frill into halves and quarters and match it to the big hem. When sewing on, hold the band toward 
 you and the frill away from you, and put the needle into each curl of the ruffle so the thread falls into 
 the notch between. Gather, stroke and put on the band according to the instruction for Gathering. 
 Draw the gathers into four inches, match the halves and quarters to the band, and sew the band on by 
 backstitching it to the gathers, being careful to catch each gather, turn it over and finish the band on 
 the wrong side of the apron. 
 
MATERIALS. 
 
 Cashmere, 
 
 SLIP STITCHING. 
 
 Silk the Color of Cashmere. 
 
 (MODEL No. 38.) 
 
 Needles No. io. 
 
 6 inches long, 3 inches wide. 
 
 Use. — In dress-making and millinery to hold down a hem or to fasten on trimming, such as bias 
 bands, cording, etc. 
 
 Fitness. — The stitch does not show and the material can be slipped along the thread and made 
 to fit in certain places, which is often required in millinery. 
 
 Rule. — In preparing a fold to be slipstitched down, do not baste too near the edge, as the sewing 
 is to be done under the edge of the fold. Fasten the thread securely in the fold and hold the latter 
 toward you over the first finger of the left hand. Catch a couple of threads of the material with the 
 first stitch, but do not go all the way through to the right side ; then take a long stitch through the 
 fold. Work under the edge of the fold and do not draw the thread too tight. The form of the stitch 
 is somewhat like a running stitch and worked from right to left. 
 
 Practice. — Cut the cashmere, turn a fold three-fourths of an inch deep along the width and 
 baste one-fourth of an inch from the edge. Slipstitch the fold to the cashmere according to the rule. 
 Overcast raw edges. 
 
 The following method of holding down a lining is sometimes called slipstitching. The cashmere 
 is folded over, and the lining, also folded, laid a little below the edge. The lining is held to the cash- 
 mere by a stitch resembling an overcasting stitch, and the materials are held as if for hemming upside 
 down and worked from right to left. 
 
HERRINGBONE. 
 
 MATERIALS. 
 
 Canvas Sampler. 
 Practice Strips. 
 Flannel, two pieces 6 inches by 
 2% inches. 
 
 Wool. 
 
 Red Cotton No. 50. 
 Cotton No. 90. 
 Silk No. B. 
 
 (MODEL No. 39.) 
 
 Worsted Needles. 
 Needles No. 9. 
 Needles No. 10. 
 
 Use. — To hold down all hems and raw edges in flannel, so that they may felt when washed and 
 not ravel. 
 
 Rule. — Position over forefinger of left hand. This stitch, unlike all others, is begun at the left 
 hand side and worked backward, from the bottom to the top. One row of stitches is the same width as 
 the other, and the little crosses made by the stitch at one side come just between the little crosses at 
 the other side. In taking the stitch remember the bottom of one stitch is on a line with the top of the 
 last, and the width of the stitch is along a thread of the material. It is easier to learn on canvas as the 
 holes give an idea of the regularity of the stitch and after the first stitch is taken it is easy to proceed. 
 Begin with a small knot, which can be concealed, or leave an end of thread to be sewed down after- 
 ward. Begin at the left side and make an upward slanting stitch toward the right, insert the needle, 
 bringing it out directly toward you a few threads further down ; now make a slanting stitch toward 
 the left and bring the needle out on a line with the top of the last stitch to the right. Alternately take 
 the stitch from left to right, making a little cross on each side. 
 
 When flannel is torn it has long threads left on one side and short on the other. In making up 
 a garment the long threads go to the bottom. In joining seams be sure the ply runs the same way and 
 that the same side of the flannel is up, for it has a right and a wrong side, though opinion differs as to 
 whether the full ply side is to go next the body or outside. It makes neater work to cut to a thread in 
 place of tearing. 
 
 Practice. — Draw the detail of the stitch on the board. Use the canvas sampler and the 
 practice strips until familiar with the stitch, then cut two pieces of flannel by the thread, run them to- 
 gether in a seam with two runs and a backstitch, turn back the raw edges from each other and baste. 
 Herringbone each side of the edge, taking the stitch through into the inner material where it comes 
 over the raw edge. Turn up a hem of one inch, baste and hold down with the herringbone stitch over 
 the raw edge. Finish the rough edges of the patch around with a flat button-hole stitch. This must 
 not be confused with the real button-hole stitch. 
 
 The two edges are sometimes held by one row of herringbone down the centre, but two rows 
 are preferred, as the purpose is to cover the raw edge of the flannel, which one row does not do. 
 
 A very good way of finishing a seam in flannel is to make a fell of it. Laj^ one edge one-eighth 
 •of an inch below the other. Sew with two runs and a backstitch No. 2. Turn the wide raw edge over 
 the sewing and hold the fell down with the herringbone stitch. 
 
PILLOW SHAM MODEL. 
 
 TURNING HEM, BASTING AND FEATHER-STITCHING. 
 
 MATERIALS, (MODEL No. 40.) 
 
 Canvas Sampler. Wool. Worsted Needles. 
 
 Practice Strips. Colored Cotton, No. 50. Needles No. 8. 
 
 White CAiMBRic, 6 inches square. White Crochet Cotton, No. 30. Needles No. 6. 
 
 ■"^ Use of Feather-stitching. — It is in continual use as an ornamental finish for underclothing and 
 children's dresses. It is worked in silk as well as wool and cotton. 
 
 Rule. — Position over the first finger of the left hand. Work from the top down. Begin with a 
 knot on the wrong side or leave an end of thread which can be sewed down afterward. There are two 
 varieties of feather-stitching and each of these is again varied by increasing the number of stitches on 
 a side. In one the needle goes along a thread of the material in taking the .stitch ; in the other diag- 
 onally across the threads. Bring the needle to the right side, insert it again a few threads distant but 
 on a direct line horizontally, leave the stitch loose and bring the needle out a few threads below, catch- 
 ing it through the loop. The variety of shape in the stitch is made by this downward stitch, it can go 
 along a thread of the material vertically or can be inserted diagonally. The width always should be 
 the same, following threads of the material. A new stitch should be begun at the same height as the 
 bottom of the last. 
 
 By working first on canvas, the accuracy of the stitch can easily be grasped and the pupils 
 taught to make it neat and compact. In finishing off the thread, an end can be left to be sewed down 
 afterward. The more angular variety of feather-stitching is called Coral-stitch. When increasing the 
 number of stitches on a side, it is not always necessary to begin each stitch on a line with the bottom 
 of the last, as it makes too straggly an effect. 
 
 Practice. — First make the stitch on the canvas sampler, then on the practice strips. As soon as 
 it is learned cut a piece of muslin six inches square, measure and turn a hem which will be three-quar- 
 ters of an inch when finished. Be sure to turn two opposite sides first and then the other sides over 
 them. Baste it neatly, mitering the corners according to the rule for mitering No, 2. Instead of hem- 
 ming, hold down the folds with feather-stitching, making on two sides the distinct single varieties, and 
 the other two with a double and a treble stitch. Let the stitches extend all the way across the sides, so 
 they will cross each other at right angles. 
 
MATERIALS. 
 
 Canvas Sampler. 
 Strip of Coarse Linen. 
 Fine Linen or Cambric, 
 4^ inches square. 
 
 HANDKERCHIEF MODEL. 
 
 HEMSTITCHING. 
 
 Wool. 
 
 Cotton, No. 50. 
 
 Cotton, No. 150. 
 
 (MODEL No. 41.) 
 
 Worsted Needles. 
 Needles, No. 8. 
 Needles, No. ii. 
 
 Use. — For an ornamental hem for handkerchiefs, ruffles, baby clothes, fine linen, etc. 
 
 Rule. — Determine the width of the hem and draw out carefully several threads from the material 
 on the four sides just where the double fold of the hem would come. Turn the material in a hem to the 
 edge of these drawn threads and baste carefully, especially at the corners where the drawn threads will 
 be double. Do not mitre the corners, but bring them exactly to the end and overhand them neatly. 
 Begin on the wrong side, as in hemming. Decide how many threads you will take up each time and 
 always take the same number. Fasten your thread in the fold and put the needle under (say three 
 threads) and bring it out without catching the material. Now put it back over these same threads and 
 under again as at first, but this time put the needle through the fold beside the third thread ; take the 
 next stitch the same way. At the corners take up more threads as it is double. 
 
 Practice. — Learn to do the stitch first on the canvas sampler, then on strips of coarse linen ; 
 when the stitch is approved, cut a piece from fine cambric or linen, four and one-half inches square. 
 Draw less than one-sixteenth of an inch of threads, one inch from the edge, all the way across the four 
 sides. Turn a hem, making the fold exactly reach the drawn threads. This will make a hem a little 
 less than half an inch. Follow carefully the rule for hemstitching and remember that careful basting 
 makes the stitch much easier. 
 
 Begin to hemstitch beyond the corner and finish the inside of the handkerchief first, as the 
 corners are more difficult and can be done last. Do not try to count the threads in fine linen, let the 
 eye be the guide. 
 
DRAWN WORK MODEL. 
 MATERIALS, (MODEL No. 42.) 
 
 Linen, 5 inches by 4 inches. Cotton, No. 150. Needles, No. ii. 
 
 Use. — For an ornamental finish on bureau and table scarfs, bed linen, fine baby clothes, etc. 
 
 Practice. — ist Row : Draw one-eighth of an inch of threads two and one-quarter inches from 
 the bottom and turn up an inch hem to meet the lowest line of the drawn threads. Hemstitch across 
 the hem according to the rule for hemstitching. Proceed in the same way on the upper side of the 
 drawn threads, taking up the same threads as at first. 
 
 2nd Row : Skip one-quarter of an inch of the linen and draw a few more threads than in the first 
 row. Make a double row of hemstitching as in the first row. One thread connects the whole line 
 in the finishing of the stitch. Fasten the thread in the middle of the first bar and put the needle 
 across two bars, let it go over the third, then under, and back first over and then under the second, 
 which will twist the third bar over the second with the thread through it. Continue the same 
 way. 
 
 3rd Row : Again skip one-quarter of an inch of the linen and draw threads the depth of the first 
 row. Hemstitch across one side. On the upper line, instead of returning the same way, take for the 
 first stitch but half of the stitch below, and then continue making one stitch out of two halves of the 
 stitches below. 
 
 Very much coarser linen can be used for this model if the pupils are not proficient in fine 
 needlework. 
 
 As supplemental work, featherstitching can be placed between the lines of drawn work and 
 above the top row. 
 
CROSS=STITCIL 
 
 MATERIALS. 
 
 Scrim or Penelope Canvas, 
 6 inches by 6 inches. 
 
 Violet Wool, or 
 Violet Silk, No. EE. 
 
 (MODEL No. 43.) 
 
 Worsted Needles. 
 Needles, No. 8. 
 
 Use. — For marking underclothing, linen, towels, etc. 
 
 Each stitch is double, being formed of two stitches which cross each other. In making a letter 
 put in all the stitches from left to right first, and then go back the other way. All the letters and 
 figures must be crossed in the same direction. 
 
 Practice — Turn a narrow hem on all four sides of the piece of canvas and hold it down with 
 the cross-stitch, alternating two cross-stitches above and two below to make a more ornamental finish 
 on the edge. In the inside make all the letters of the alphabet and the numerals, on the style of the 
 old samplers. Do not connect one letter with another, but finish off each one neatly at the back. 
 
EMBROIDERY. 
 
 MATERIALS. (MODEL No. 44.) 
 
 Linen, 6 inches square. Filling Cotton, a la Croix No. 6. Needles, No. 6. 
 
 {One large letter or tu'o smaller. Working Cotton, a la Croix, No. s Needles, No. 8. 
 
 stamped in the centre.) or No. 6 
 
 Use. — Embroidery or satin-stitch is used for marking linen and handkerchiefs, and for ornamen- 
 tal work on clothing, pillow cases, scarfs, etc. 
 
 Fitness. — The close over and over stitch, with its previous preparation in filling, makes a sub- 
 stantial design which will wear for years and have a chaste and beautiful effect. 
 
 Rule. — The iirst step in satin-stitch is to prepare the work ; with an irregular running stitch, 
 which leaves most of the thread on the surface, follow all the lines of the design going inside when the 
 lines are double. Use coarser, softer cotton than for the embroidery which follows ; where the lines 
 are double, fill the space between smoothly and solidly, but keep inside the stamped lines. Various 
 stitches are used in filling, but the chain and a long Kensington-stitch ar» preferred ; in the latter the 
 lines of the stitches must be made to fit into each other until the space is all covered. When commenc- 
 ing the embroidery take a running stitch with the thread toward the point of beginning. Hold the 
 work over the left fore-finger as in darning. Make the stitches close together and over and over, tak- 
 ing up very little material when the line is single, and from line to line when double. Work toward 
 the body. Carefully cover all the filling. A piece of stiff paper can be basted underneath for those 
 who are inclined to draw the work, which can be torn off afterward. Where curves come, the stitches 
 will need to be crowded a little on the inner side, but no gaps must occur on the outer edge. The work 
 must look as smooth on the wrong side as the right. When a new thread is necessary conceal it care- 
 fully by running a stitch or two in the unfinished work and beginning exactly where the old thread 
 should have come out. Where a letter is not continuous in form the thread must not be taken across 
 underneath from one part to the other unless the distance is almost imperceptible, always fasten off the 
 thread and begin again. 
 
 Practice — Embroider the letters on the square of linen according to the rule, keeping at right 
 angles with the pattern, then prepare for fringing by drawing eight or ten threads three-quarters of an 
 inch from the edge. The stitch for holding the threads of the fringe must be done before the fringing, 
 as it is easier to keep them in place. A small overcasting stitch keeps the fringe neat when it is 
 washed and does not take long to do, but the effect is not as good as in hemstitching or tying. For 
 tying, fasten the cotton in the linen just above the drawn threads, lay the linen over the left forefinger, 
 draw the cotton down straight from where it is fastened across the drawn threads, put the needle on 
 the left side of the cotton, pass it under four of the drawn threads, and bring it out on the right side of 
 the cotton, this will make a tie which should be drawn tight to hold the four threads. Continue this 
 along all four sides. When the tying is finished fringe out the linen. 
 
FLANNEL EMBROIDERY. 
 
 MATERIALS. (MODEL No. 45.) 
 
 Flannel, 5 inches square. Split Zephyr. Worsted Needles. 
 
 {A scalloped edge stamped on Silk No. E.E. Needles, No. 7. 
 
 each side and some n'mple 
 flowers in the interior.') 
 
 Use. — The border is used for finishing the edges of many articles made in flannel, as it gives 
 both beauty and durability. Satin stitch, as in linen, is used for the purpose of decoration, 
 
 The edge is worked in the flat embroidery stitch, the description of which has been given. (See 
 Flat Button-hole Stitch.) In working around the scallops gradually crowd the stitch on the inner edge 
 and have the outer edge firm and substantial. When the point of union between two scallops is 
 reached be careful not to lap one over the other. Cut the flannel close to the scallop when the em- 
 broidery is finished. In making garments wait until the flannel has been washed before cutting close. 
 The satin stitch in the flowers, follows the same rule as for linen, the stems can be done as in linen, but 
 are frequently outlined with a Kensington stitch as they are in the model. A finer silk can be used for 
 the flowers. 
 
 Practice.— The design must first be filled with wool or cotton, as required in the linen embroid- 
 ery, but flannel does not need as much filling as linen. Wool is better for the purpose than cotton, 
 as it will shrink with the flannel when washed. Proceed according to the rules given before. 
 
THE PRICE OF MATERIALS. 
 
 MUSLIN, Pride of the West, - - - - 
 
 CAMBRIC, Lonsdale, .. _ _ - 
 
 NAINSOOK, _ _ _ - - 
 
 LINEN, Pillow Case, _ _ - - 
 
 " India, _ _ _ _ _ 
 
 GINGHAM, _____ 
 
 DAMASK, _----- 
 
 FLANNEL, _____ 
 
 SATINE, __-__- 
 CANVAS, Java, _ - - - - 
 
 " Penelope, _ _ _ - - 
 
 STRIPED IRISH LAWN, _ _ _ 
 
 UNBLEACHED MUSLIN, _ _ _ - 
 
 CASHMERE, _ - - - - 
 
 HAMBURG EDGING, _ _ _ - 
 
 SCRIM, _ - - - - 
 
 STIFFENED SCRIM, _ _ _ - 
 
 STOCKINGS, - - - - - 
 
 NEEDLES, ------ 
 
 TAPE, ----- 
 
 COTTON, - - - - - 
 
 THIMBLE, - - - - - 
 
 SCISSORS, _ - _ - - 
 
 SILK, ------ 
 
 EMBROIDERY SILK, - - 
 
 CROCHET COTTON, - - - - 
 
 DARNING COTTON, _ _ _ - 
 
 WOOL, ------ 
 
 RAINBOW WOOLS, - - - - 
 
 SILK, Skein, _ _ _ _ - 
 
 EMBROIDERY COTTON, _ _ _ - 
 
 EMERY BAG, _ _ - - - 
 
 KINDERGARTEN SEWING CARDS, (loo in a package,) 
 
 Per Yard, 
 
 - .10 
 
 " 
 
 •15 
 
 •• 
 
 ■25 
 
 •( 
 
 - - 1. 00 
 
 ■' 
 
 .60 
 
 " 
 
 - - .12 
 
 " 
 
 •95 
 
 " 
 
 •45 
 
 •• 
 
 •25 
 
 •• 
 
 - .20 
 
 (i 
 
 •5° 
 
 " 
 
 - - .12 
 
 •• 
 
 .08 
 
 '• 
 
 - -so 
 
 (• 
 
 •°3 
 
 •• 
 
 - ^25 
 
 •• 
 
 •35 
 
 A Pair, 
 
 - •zs 
 
 A Paper, 
 
 .04 
 
 A Roll, 
 
 .04 
 
 A Spool, 
 
 .04 
 
 Each, 
 
 .03 or .01 
 
 A Pair, 
 
 - .25 or .15 
 
 Per Spool, 
 
 - -05 
 
 " 
 
 .10 
 
 Per Ball, 
 
 •15 
 
 it 
 
 •03 
 
 A Hank, 
 
 - - .12 
 
 . Package, 
 
 .60 
 
 - 
 
 - ^03 
 
 - 
 
 .02 
 
 - 
 
 .10 
 
 - 
 
 •25 
 
OUTLINE OF WORK. 
 
 GRADE I. 
 
 I. Drills: 
 
 Threading needles, use of thimbles and scissors, position of hands, etc. 
 
 II. A PRICKED DESIGN ON A CARD, FOLLOWING THE LESSON OF THE DAY, AND WORKED WITH COLORED 
 WOOL AS A REVIEW OF KINDERGARTEN WORK. 
 
 III. Running. 
 
 IV. Stitching. 
 V. Hemming. 
 
 VI. Overhanding. 
 VII. Blanket Stitch. 
 
 (a) First practice on the stitches is on a square of canvas with colored wool, (b) Second 
 practice on unbleached muslin. (c) Model for each stitch, (d) Applied stitches. — Canvas 
 squares made into lamp mat, needle book, pen wipers, thimble bag, etc. 
 
 GRADE II. 
 
 I. Drills: 
 
 Use of tape measure and paper cutting. 
 
 II. Weaving Model. 
 
 III. Review of Previous Year's Work. 
 
 IV. Backstitching. 
 
 V. Two Runs and a Backstitch. 
 
 VI. Felling. 
 
 VII. French Seam. 
 
 (a) First practice on scrim with colored wools, (b) Second, unbleached muslin, (c) Model 
 for each stitch. (d) Applied stitches. — Scrim sampler lined and made into a work bag, 
 doll's sheets, pillow cases, blankets and table linen, marble bag, etc. 
 
 GRADE III. 
 I. Review of Previous Year's Work. 
 
 II. Lessons in Cutting. 
 
 III. Gussets. 
 
 IV. Flaps and Flies. 
 V. Sewing on Tape. 
 
 VI. Inserting Edging in a Hem. 
 
 VII. Gathering and Stroking. 
 
 VIII. Tucking. 
 
IX. Buttonholes. 
 
 Applied stitches.— Girls : Doll's clothing. Boys : Sails and ball covers. 
 
 GRADE IV. 
 
 I. Review of Stitches. 
 
 II. Patching in Cotton, Linen, Flannel and Cloth. 
 
 III. Weaving Model to Show Twill. 
 
 IV. Darning on Stocking and Cashmere. 
 V. Cutting a Bias and Bias Ruffle. 
 
 VI. Whipped Hem. 
 
 VII. Apron. 
 
 VIII. Slip Stitching. 
 
 IX. Herringbone. 
 
 X. Featherstitching. 
 
 XI. Drawn Work. 
 
 XII. Embroidery on Linen and Flannel. 
 
 Applied Work. — Making hygienic clothing for dolls and fitting up a work basket. 
 
SUGGESTION FOR 
 
 A DAY'S WORK. 
 
 TOPIC : 
 
 WEAVING MODEL. 
 
 Supply each pupil with a piece of canvas, a crewel needle, red wool, tape measure, scissors 
 and thimble. 
 
 I. Drill on the use of tape measure. 
 II. Instruction for each to cut a piece of canvas 6 inches square. 
 
 III. Canvas held and examined by each pupil while a lesson is given on its manufacture 
 
 and the use to which it is to be applied. 
 (a) Topics of Discussion : — 
 
 Weaving, loom, warp, woof, shuttle, selvedge, the way to distinguish warp from woof 
 without the selvedge, treadles and the interlacing of threads, the lay which presses up the 
 woof thread. 
 
 IV. Instruction on preparation of the model ; cutting out the woof threads, replacing 
 
 them with wool, making a loop at each end where the wool turns back to take 
 
 THE next row up OF THE WARP, AND WHY THIS IS CALLED THE SELVEDGE ; THE USE OF 
 THE NEEDLE TO PUSH THE THREADS TOGETHER AS THE LAY DOES IN WEAVING. 
 
 V. Connection between the model and the process of darning or replacing of texture. 
 The reason loops are used in darning. 
 
BIBLIOGRAPHY OF NEEDLEWORK. 
 
 PLAIN NEEDLEWORK ; Edited by Lucretia P. Hale. Boston : S. W. Tilton & Company. 
 MANUAL OF HIGH SCHOOL NEEDLEWORK AND CUTTING OUT; Harriet Baker, 
 
 London: Griffith. 
 NEEDLEWORK AS AN ART ; Lady M. Alford, London. 
 ENCYCLOPEDIA OF NEEDLEWORK ; T. Delemont. Comptoir Alsacien, 267 Regent Street, 
 
 London . 
 HANDBOOK OF EMBROIDERY ; L. Higgin. London : Low. 
 ART AS APPLIED TO DRESS ; L. Higgin. London : Virtue. 
 
 L'ART DANS LA PARURE ET DANS LE VETEMENT ; C. Blanc. Paris. (lUus.) 
 PLAIN HINTS FOR NEEDLEWORK EXAMINERS ; Published by Griffith & Farren, London, 
 
 1S80. 
 PLAIN NEEDLEWORK ARRANGED IN SIX STANDARDS. Griffith & Farren, London. 
 PLAIN KNITTING AND MENDING. Griffith & Farren, London. 
 PLAIN CUTTING OUT, FOR STANDARDS IV, V, VI. Griffith & Farren, London. 
 NEEDLEWORK SCHEDULE III. Exemplified and Illustrated. Mrs. E. A. Curtis. Griffith & 
 
 Farren, London. 
 SEWING MADE EASY BY BURKE'S DOTTED CALICO. London : Moffatt & Paige. 
 PLAIN NEEDLEWORK AND KNITTING; By Brietzke & Roofer. London: Swan, Sonnen- 
 
 schein. 1S85. 
 NEEDLEWORK FOR LADIES ; By Dorikda. London : Swan, Sonnenschein. 
 SYSTEMATIC CUTTING-OUT ; Elizabeth M. Brant. London : Swan, Sonnenschein. 
 HOW TO TEACH PLAIN NEEDLEWORK ; By Miss Emily Jones, London. 
 SIMPLE CUTTING-OUT. Part I. Underclothing. Part II. Baby Linen. E. Carlisle, London : 
 
 Hatchard. 
 LEFfiBVRE, E. ; Embroidery and Lace. 1888. ($3.50) Lippincott : Philadelphia. (Authority,— 
 
 Sonnenschein.) 
 STANLEY, KATE ; Needlework and Cutting-Out. London, 1884. (Stanford.) 
 NEEDLE-CRAFT: Artistic and Practical. 1S89. $1.00 (Published by Butterick.) 
 EYRE, J.; Needles and Crushes, and How to Use Them. 1887. $r.oo. (Published by Belford, 
 
 Clarke & Co , 22 East i8th Street, New York. 
 SUMMER ART WORK ON LINEN. 1885. 35 cents. Art Interchange, 37 West 22nd St., N. Y. 
 DRAWN WORK ; Illustrated. 1885. 35 cents. Art Interchange. 
 ROBINS, E.; Art Needlework. Two Parts. 1885. 70 cents. Art Interchange. 
 •CHURCH, MRS. E. R.; Artistic Embroidery. 18S0. $1.00. (Published by Adams & Bishop, 57 
 
 Murray Street, New York.) 
 

 COLUMBIA SEWING BOOK. Arranged and Published by Elmira Cornwall, Chicago. -, 
 PjeDAGOGIE DES TRAVAUX A L'AIGUILLE ; Mme. P. W. Cocheris. Paris: i-ibraire "Ch. / 
 Delagrave. '^ 
 
 DER HANDARBEITS-UNTERRICHT IN SCHULEN. Von Rosalie Shallenfeld und Agnes 
 ScHALLENFELD. Frankfort am Main. 1878. 
 
 THE HOME NEEDLE ; Ella Rodman Church. New York : D. Appleton & Co. 
 
 ILLUSTRATED SEWING PRIMER ; Louise J. Kirkwood. New York : Ivison, Blakeman, 
 
 Taylor & Co. 1885. 
 SCHOOL NEEDLEWORK ; Olive C. Hapgood. Boston : Ginn & Co. 1893. 
 PROGRESSIVE LESSONS IN NEEDLEWORK ; Catherine F. Johnson. Boston : D. C. Heath 
 
 & Co. 1893. 
 NEEDLEWORK, KNITTING, CUTTING-OUT ; Elizabeth Rosevear. London : Macmillan & 
 
 Co. 1893. 
 
 SELF-INSTRUCTIONS IN SILK, KNITTING, CROCHETING AND EMBROIDERY ; 18S5. 
 
 15 cents. (Published by J. S. Ogilvie, 57 Rose Street, New York.) 
 COMPLETE GUIDE TO THE WORK-TABLE ; Instructions in Berlin Work, Crochet, Etc. 1884. 
 
 50 cents. (Published by New York News Company, 20 Beekman Street, New York.) 
 LADIES' GUIDE TO FANCY WORK. 1887. 25 cents. (Published by Lupton, 63 Murray Street, 
 
 New York.) 
 
 CROLY, MRS. J. C. ed. (Jenny June.) Knitting and Crochet, 1S87. Needlework, 1885. 
 LOCKWOOD, M. S. & GLAISTER, E. Art Embroidery. 1878. $10.50. (Scribner.) 
 GLAISTER, ELIZABETH. Needlework. 1880. 90 cents. (Macmillan.) 
 STANLEY, KATE. Needlework and Cutting-Out. London : Stanford. 1884. 
 DE DILLMONT, THERESE. Encyclopediedes Ouvrages des Dames. 
 HANDBOOK FOR SEWING SCHOOL TEACHERS. Thomas Whittaker, New York.