TX165 .C6
Iomestic art in woman's education.
Iutman Library AII1745

3 2044 028 547 834


HARVARD UNIVERSITY

LIBRARY OF THE
GRADUATE SCHOOL
OF EDUCATION











DOMESTIC ART
IN
WOMAN'S EDUCATION
FOR THE USE OF THOSE
STUDYING THE METHOI OF TEACHING DOMESTIC ART AND
ITS PLACE IN THE SCHOOL CURRICULUM
BY
ANNA M. COOLEY, B.S.
ASSISTANT PROFESSOR OF IOMESTIC ART IN TAE TEACAERS
COLLEIE, COLUMBIA UNIVERSITY
NEW YORK
CHARLES SCRIBNER'S SONS
1911


Hasvako uiMivtK.siTy
fi&WUATE SCHOOL1 OF EIUCATION
ttt&m, C IUTMAN UBRAJjt
■'MY 17 1311

LIBRARY OF THE
GRADUATE SCHOOL OF EDUCATION
I {20
COPYAiIAT. I»I I, BY
CHARLES SCRIBNER'S SONS


TO MY GRANDMOTHER
ANNA MARIA COOLEY





PREFACE
The permanency of Domestic Art as a feature in
the education of woman is assured. It is so vital an
expression of her nature that any curriculum which
does not include training for the home sphere ignores
the very centre about which her life revolves. Many
of the home talents are innate and develop naturally,
but many He dormant because untrained. When
woman begins to preside over her own home, she
soon discovers her limitation if she has not had the
advantages of training along the lines of household
arts and economics. This book is not an argument
for the introduction of Domestic Art, for that is un-
necessary, but it is hoped that it may be of value to
those who do not see its relationship to other ele-
mentary school subjects nor the place it may occupy
in high schools, colleges, or trade schools.
Domestic Art has suffered because many have
tried to teach it who were not fully prepared to do
so, and who have failed to see the vital relationships
and the thought content involved. The subject has
vii


viii
PREFACE
been so poorly presented in some places that it has
naturally lost favor, but this is not because it lacks
content. It is hoped that this little book may be of
assistance to those who, knowing the practical tech-
nique of Domestic Art, may seek for more light on
methods of presentation of subjects and planning of
courses of study in various types of schools. It is
also hoped that it may offer suggestion of the content
which is involved in the study of Domestic Art.
The author wishes to express her thanks to the
students in her classes who have kindly permitted
the use of some of their class plans, illustrative of
courses of study suggested for different kinds of
schools, and to her friend and teacher, Mary Schenck
Woolman, for her enthusiasm and inspiration which
prompted this work.
Anna M. Cooley.
January, 1911.


CONTENTS
PART I. SOME PROBLEMS CONFRONTING
THOSE INTERESTED IN TEACHING
DOMESTIC ART
CHAPTER PATE
I. The Field of Domestic Art 3
II. The Relation or Domestic Art to Education 10
III. The Necessity for Study of the Pupil. . 20
IV. Problems Connected with the Presentation
of Domestic-Art Subjects 34
V. The Study Involved in Planning a Domes-
tic-Art Lesson or Series of Lessons . 57
VI. The Economics of Domestic Art .... 87
VII. How to Keep in Touch with Progress in the
Domestic-Art Field 100
PART II. DOMESTIC ART IN THE ELEMENTARY
SCHOOL
VIII. Division of Subject-Matter for the Ele-
mentary School 108
ix


X
CONTENTS
IX. The Factors Involved in Planning a Course
of Domestic-Art Work for the Ele-
mentary School 122
(a) Course of study for Grades 1-4, showing
use of many lines of hand-work of which
domestic art is but one phase.
(b) Course of study for New York Elementary
School, Grades 1-8, showing use of
domestic-art work.
(c) Course of study showing use of textile
phase of industry as one line of industrial
thought for Grades 1-8.
(d) Course of study in domestic art for Ele-
mentary School, Grades 7, 8, 9, with
emphasis on the vocational aspect of the
work.
(c) Course of study in domestic art for Ele-
mentary Schools, Grades 5, 6, 7, 8.
PART III. THE RELATION OF DOMESTIC ART
TO SECONDARY EDUCATION
X." Can Domestic Art Contribute to the Gen-
eral Aims of Secondary Education? . 175
XL The Selection and Planning of Work for
the Secondary Schools 187
(a) Part of Household Arts Course for Secon-
dary School of Classical type.
(b) Domestic-Art Course for Manual Training
High School.
(c) Domestic-Art Course of Study for Manual
Training High School.
(d) Dressmakers' Course in Technical High
School.


CONTENTS
xi
PART IV. DOMESTIC ART IN HIGHER
EDUCATION
CHAPTER PATE
XII. Domestic Art as a Part of College Training
for Women 246
XIII. Domestic Art in Other Higher Institutions
of Learning 261
A Selected Bibliography of Books Helpful
in the Study of the Various Phases of
Domestic Art 269





DOMESTIC ART
IN
WOMAN'S EDUCATION


1


PART I
SOME PROBLEMS CONFRONTING THOSE
INTERESTED IN TEACHING
DOMESTIC ART
CHAPTER I
THE FIELD OF DOMESTIC ART
The term domestic art as applied to part of
woman's education has been in use for about twenty
confusion of years. During the past five or six years
terminology. a confusion 0f terminology has arisen,
and throughout the West the term domestic science
is used to designate all the arts centring about the
home. In another section of our country, especially
the Middle West, household arts is used synony-
mously with domestic science, so that naturally one
often hears the questions, "What is domestic art?"
"What is domestic science or domestic economy?"
3


4
DOMESTIC ART
and "What is meant by household arts?" The last
title is probably the one which should be made the
general term to include all the arts and sciences
which centre about home-making. This seems large
enough to include all of the following subjects, which
may be classified thus:
Physics and chemistry.
Physiology and hygiene.
Chemistry of foods and dietetics.
Cooking and serving of meals.
Bacteriology and biology.
Laundering.
Economics and sociology.
History of foods, preparation, and
manufacture.
Home nursing and invalid cookery.
Keeping household accounts, of
food, shelter, and clothing, etc.
Domestic service.
Household sanitation and decora-
tion.
Institutional and home shopping.
Repairing and renovating.
History of home, sociology, eco-
nomics, and business law.
Domestic
Science.
Household
Manage-
ment.


THE FIELD OF DOMESTIC ART
Domestic
Art.
Art, especially design in relation
to the home, its furnishings, and
dress.
Sewing, dressmaking, millinery,
embroidery, crocheting, and knit-
ting.
Study of textiles, their history,
manufacture, and properties in
relation to use.
Repairing and care of clothing.
Physiology and hygiene of clothing.
History of architecture and dress.
Economics and sociology.
This broad outline is perhaps suggestive of what
the work of this field of household arts may mean,
woman's It is all woman's realm, and there is no
Sneraiiydwe°u reason why woman should not run her
organized. household on scientific and artistic prin-
ciples. In the business world one finds that man is
ever ready to try and adopt any new method of keep-
ing books, filing, or cataloguing, and is constantly on
the lookout for new developments of science which
will send him ahead of his competitors. He would
not expect success without system, organization,
knowledge, and principles upon which to base his
planning. If woman is to be trained to run her


6
DOMESTIC ART
household scientifically and artistically, to know the
meaning of the true home-life, and the study of family
and the child, teachers must certainly be well trained
to introduce this subject into the school curriculum,
so that when the mothers of the coming generations
rear their children it will be on a foundation which
will tend toward their development into truly good
citizens—physically and morally strong.
The subject-matter included under any one of
these heads involves so many subjects that it is not
the attempt of this book to describe them all—rather,
attention will be centred (for discussion of subject-
matter) about the field of domestic art, as one phase
of the household arts, although the suggestions for
methods of teaching, planning of courses of study,
relation to general education, may be as truly appli-
cable to the fields of domestic science and household
management.
One generally hears the term " domestic art" in use
in relation to sewing in either the elementary or high
school. This is a very narrow usage of
Common use
oi domestic the term when one considers all the sub-
art narrow. , .
jects above outlined and the underlying
ideals and content which such subjects imply.
The ethical, social, and aesthetic values are often lost


THE FIELD OF DOMESTIC ART
7
sight of and the material or utilitarian side made the
main issue. Not but that this should be strongly
emphasized, but the field may be so much broader
and the results so much more satisfactory, in relation
to both work and child, if teachers are trained with
a view to including the cultural and educational
foundations of this great field of work.
A closer analysis of subject-matter
Closer analysis
of domestic art may be advisable before discussing the
subject-matter,
relation of this field of work to general
education, or to trade and industrial life:
1. Hand Sewing.—The direct application of
stitches to articles of interest to the pupils.
2. Machine Sewing.—The use of foot-power and
electric-power machines, the latter especially in
schools of trade type, in garment-making, dressmak-
ing, and other articles.
3. Drafting of Patterns.—Some form of simple rule
drafting or system drafting, pattern modelling, and
use of bought patterns.
4. Millinery.—The making, designing, and trim-
ming of hats of various styles for all seasons.
5. Embroidery.—The use of stitches in decoration
of garments, household articles or other furnishings.
6. Crocheting and Knitting.—The making of simple
articles—forming foundation formore advanced work.


8
DOMESTIC ART
7. Repairing and Care of Clothing.—Patching,
darning, remaking; economy in relation to planning
for one's wardrobe—or for family wardrobe; adapta-
tion of garment to use.
8. Textiles.—This may include the study of the
textile arts of weaving, netting; properties of textiles
in relation to use; history of the evolution and manu-
facture of textile industries; dyeing and cleansing;
study of widths, prices, and qualities of materials, as
well as adaptation to use.
9. Hygiene in relation to dress and furnishings.
10. Art in relation to design and color for use in
the home and for dress; arrangement of interiors of
houses; suitability of line and color in relation to
dress; study of general principles of design.
11. Woman's Relation to the Social Field.—Discus-
sion of sweatshop labor; leagues for social betterment,
as Consumers' and Municipal League; bargains;
ethics of shopping; development of social conscious-
ness; training in accuracy, neatness, foresight, and
responsibility.
12. History.—Industrial history; history of archi-
tecture; history of costume; development of house-
hold art, and history of handicraft.
13. Economics and Simple Business Law.—Ec-
onomics of the home, relation of expenditure to in-
come. Household management, especially in rela-
tion to purchase and care of clothing and furnishings.


THE FIELD OF DOMESTIC ART 9
Household arts, of which this domestic art is a part,
has been happily defined comprehensive term
which includes the scientific study of all matters and
means which will contribute to the happiest, health-
iest, and most efficient family life."
Reference for Study
"History of Home Economics Movement," Bevier and Usher.


CHAPTER II
THE RELATION OF DOMESTIC ART TO
EDUCATION
In order to see the relation of industrial work to
education, it is necessary for us to consider, in a few
industrial statements, the meaning of education
pa°r?ofrduca- as ifc is now generally accepted. The
tion- following words seem to sum up the
situation: "The education of the individual is the
process of adjustment to or participation in the world
of social relationships and in the fund of social ex-
perience, the ideals and methods which those relation-
ships conserve." We have, therefore, the little child
in our midst, the little child who is to be brought to
a realization of his own self and place in the world
and to see his relation to the progress of events. All
the culture of the race is his "spiritual possession"
and the unknown land through which he is to be
guided, in order that he may become an efficient
individual.
10


RELATION OF DOMESTIC ART TO EDUCATION II
There are two points for us to keep before us, in
considering the relation of industrial work to edu-
cation:
1. How can it help to interpret the child's social
relationship?
2. Can industrial work help him to trace the
progress of events which have led to present civiliza-
tion and help him to become intellectually, emotion-
ally, and volitionally adjusted?
People have been slow to realize that hand-work
has been a potent factor in the spiritual and mental
development of nations. There is a longing in every
soul for expression. There are many useless people
in the world to-day because of lack of training in the
industrial arts. The individual must be given a
chance to express and the mind allowed to react to
the ideas and impressions received, in order that
through use there may be the necessary brain devel-
opment and adjustment to new conditions.
From time immemorial man has worked with his
hands, and his time and attention have been utilized
Hand-work as in tne production of things both USe-
old as man. ful and ornamental. "Necessity" very
often was the "mother of invention," and the need
for food, shelter, and clothing led to the gradual de-


12
DOMESTIC ART
velopment of industries, from the simple hand-work
to the elaborate products of the factory system of
to-day.
Whether, then, through necessity or simply because
of joy in expression through the hands, the world is
to-day a rich treasure-house stored with the wonder-
ful products which man has created. The instinct
for production is not dead, but will last as long as
man, for to create is a divine and God-given instinct.
Froebel, in his study of the child, realized that his
natural activity could be utilized and turned into
channels which would lead to his gradual physical,
moral, and intellectual development. He believed
this should be of the head, heart, and hand. For
that purpose he introduced the gifts, occupations,
songs, and plays, and allowed the child to invent and
create. Joy and happiness in work were the results.
For some time kindergarten training was a pre-
carious feature in education, but now that this branch
has been incorporated in the public
Froebel real-
ised the value school systems and colleges, and finds
of hand-work. .
a place even in university work, it seems
an assured fact that children are to receive some of
their early training in the kindergarten. Here their
crude ideas are worked out through the materials


RELATION OF DOMESTIC ART TO EDUCATION 13
offered, and the child improves in his ability to ex-
press himself with his hands—for expression is neces-
sary if images are to be clear. This hand-work
satisfies the early craving of the child for play and
the practical, and the gifts and occupations become
playthings in his hands, but, unknown to him, things
of educational value.
When the child leaves the kindergarten and passes
to the grade school, too often the change is a very
abrupt one. There is a lack of the old-time freedom,
and an absence of the play materials. Children
then begin to lose interest, and the attention is often
forced rather than spontaneous, and teaching ceases
to be as effective.
As a help in alleviating this difficulty, hand-work,
as one of the mediums of expression, has been intro-
The introduc- duced into many of the grade schools,
pational way. Hand-work as manual training is most
effective when taught in relation to the other work of
the grade, so that there is unity and a harmonious
development. By manual training is meant not
simply work which is spontaneously interesting and
keeps the child alert and active, but work which is
tion of hand-
work into
schools.
sometimes in correlation with other sub-
jects, but more often simply in an occu-


14
DOMESTIC ART
educationally effective. This effectiveness is in the
hands of the teacher, and will be worked out by her
if she understands the theory back of real manual
training and the true relationship to industrial life.
It is not that hand-work is to be introduced as a
study which is a unity in itself, but with other studies
which go to make up the curriculum, so that it may
help to vitalize the rest and bring the child directly in
contact with the world and the reality of things. The
constructive activities may be made the centre of all
studies and radiate into all life, beginning primarily
with the home, which is nearest akin to the life and
interests of the young child. Through the different
lines of hand-work the child becomes acquainted with
the materials and processes which have made social
life what it is, because it has contributed to culture
a share of the scientific, literary, aesthetic, institu-
tional, and religious inheritance of the child.
In tracing the elements in the curricula of various
ages, one notices that they are the result of the domi-
Hand-work nant social tendencies. The seventeenth
nacular and the realistic subjects into education. The
eighteenth and nineteenth centuries were characterized
formerly a part
of household
work.
century saw a change in the character of
society, and the introduction of the ver-


RELATION OF DOMESTIC ART TO EDUCATION 15
by the prominence of the scientific element. The
twentieth century is particularly the era of economic
advancement, and we may hope to see the industrial
element becoming more and more a feature of mod-
ern education. This revolution in economic changes
has caused a shifting of population and brought
about changes in habits of living. People living a
nomadic life are, in their family group, economically
sufficient unto themselves. When society developed
and people grouped themselves in towns and villages
the neighborhood produced nearly all that was
necessary for life. The industrial occupations were
centred especially in the home, where all the processes
of development were seen and participated in, from
the raising of the wool and flax to the spinning, dye-
ing, and weaving of the cloth, and the production of
all the necessities of life. This work was partici-
pated in by all the members of the household.
Since the industrial revolution and the rapid ex-
pansion of the factory system the elements in the
curriculum have not kept pace accordingly. While
this change brings so much that is good, it also
almost eliminates much that was of value in the
old neighborhood system. Should not our modern
curriculum respond and, if possible, try to make


i6
DOMESTIC ART
amends to the child for the lack of some of the old-
time family training, where the child was taught to
do in the home, and to be responsible, and to feel
that he had an economic share in production?
Should not the training which is given the children
in the upper grades be planned to prepare them for
Direct bearing a society which is industrial, as ninety-
SSSSL five Per cent d0 not Pass •mt0 hisher
tng for life. schools? Is not hand-work for the little
people if directly connected, first with home inter-
ests and then with the evolution of the social in-
dustrial interests, a step in the right direction,
keeping in mind what the future development must
be? Can we not, through making these construc-
tive activities a part of our curriculum, acquaint
the child with the things which make for true
culture and liberal education, as well as give him
an introduction to industrial life? Let us teach
him the wisdom of foresight which is so essential
to success, to be a responsible being with obliga-
tions toward his fellowmen; let us acquaint him
with their needs and conditions, that his sympathies
may become broadened and a deeper reverence for
man and God may result. If acquaintance with
industrial work can help to contribute some of these


i8
DOMESTIC ART
selection of desirable work for life. A connection is
made between life and technical work. If properly
taught, domestic art should have a highly moral ef-
fect. It makes for perfect sanity and mental health,
it develops the will and power of inhibition which is
the root of self-control in morals; it makes for firm-
ness and force of character. A product which is
correctly and neatly finished certainly fosters this.
It must be clean, simple, accurate—this accuracy, of
course, after a child has passed the age of about
nine years.
Girls learn to understand the value of a well-made
article. This affects supply and demand, as woman
is the greatest consumer, and will also affect the
salary of the wage-earner. Good articles will be in
demand. Domestic art also gives an understanding
of materials, which will be of economic value in the
home, and will also regulate the materials put upon
the market. There is certainly created a greater
respect for labor. While learning through this natu-
ral method of doing, the observation, judgment, and
imagination of the girl are all receiving training. A
vital connection is being made with the home, for
this new interest finds expression there and opportu-
nity for further cultivation. Girls value most highly


RELATION OF DOMESTIC ART TO EDUCATION 19
the ability to utilize things which they have, and
are interested in making home comfortable and
pleasant through decoration and the ability to do
which this new art makes possible. There is an
ever-increasing pleasure in correct color combina-
tions and restful effects, and increased enjoyment of
the beauties of nature. As the girl advances in the
work she also learns how to plan her wardrobe eco-
nomically, how to purchase wisely, and how to make
her own clothes so that they will be adapted to her
use and personality. This may lead her into trade
work as a means of livelihood, for the opportunities
are many which this field of domestic art affords.
There is no stronger argument for this work than
this, that it should make her a more truly capable
woman, one sympathetically awake to the difficul-
ties of others, able and ready to lend her trained
hand, and responsible to bear her share of the bur-
den of life.
References for Study
"The Child and the Curriculum," Dewey.
"Education of Man," Froebel.
"The Meaning of Education," Butler.
"School and Society," Dewey.
"The Place of Industries in Elementary Education," K. Dopp.


CHAPTER III
THE NECESSITY FOR STUDY OF THE PUPIL
One may be very familiar with the technique of
domestic art and have intimate knowledge of the
underlying thought content, may know
Knowledge of
child nature how to present all of these thoughts,
important. ^ ^ ^ ^ teacher of domestic art
because of lack of understanding of the different
periods of childhood and girlhood. It is equally
as important as technique of subject-matter to
know the intricacies of working of the mind with
which the teacher must deal and the effect various
kinds of work may have on the pupil at different
periods. A study of the many expressions of the
self-activity of the child is a basis for planning the
curriculum—either of general studies or of domestic
art in relation to them.
"The Case is of Child. It is his present powers
which are to assert themselves; his present capacities
which are to be exercised; his present attitudes
which are to be realized. But save as the teacher


THE NECESSITY FOR STUDY OF THE PUPIL 21
knows, knows wisely and thoroughly the race experi-
ence which is embodied in.that thing we call curri-
culum, the teacher knows neither what the present
power, capacity, or attitude is, nor yet how it is to
be asserted, exercised, and realized."
The problem before us in planning hand-work for
children, is one which should centre directly in the
work should child. We should begin with him and ,
bear directly end ith nim in our consideration, and
on interests of'
the child. plan our WOrk with his growth and de-
velopment in view. The teacher must select the
right stimuli for those impulses which are to be
employed and must know the aim and direction of
movement in planning—there must be a basis for ac-
tion. The experience of the teacher therefore must
interpret the mind of the child and lead on to some
definite aim.
It is not the accumulation of knowledge which we
hope to heap upon him in our planning, or direct
information in relation ,to concrete things, but to
bring him to a realization of his relation to life. It
has been said that ""knowledge is not valuable, but
knowledge as a function in life is indispensable."
The little child loves to do, to act, to express what
he sees in a constructive way. He first learns to


22
DOMESTIC ART
construct through play in making believe. He loves
to see results quickly and to make wholes rather
the little child. for tne processes by which they are made.
Both are necessary for complete education. He wishes
to imitate all phases of adult activity, but as play, not
as work. There are, though, occasional periods when
the child likes to feel that he is working, even though
it is in a play way, as helping mother to dust, clean,
or sew. The real work attitude comes later in the
child's life and must be kept in mind in planning
courses in hand-work. But play as well as work is
necessary in the development of mind and most of
early development comes through play in games, etc.
Aristotle and Plato would have us realize the value
in play, and Froebel's philosophy is based upon the
development of the child through his activity in play,
games, and occupations. Later he must learn to
work in order to become truly socialized and be
taught to see that products of work have an economic
value.
The child loves also to investigate, to explore—
and this may later lead him to science. He under-
stands things and the lives of those about him,
Love of ex-
pression and
construction of
than parts of things. At this period he
cares more for the actual products than


THE NECESSITY FOR STUDY OF THE PUPIL 23
in so far as he realizes his ability to do and sees
his relation to the lives of others. He finds himself
in the midst of a complex world. Per-
Love of ex-
ploration and haps to him it may not appear so, for
investigation. .
he is directly concerned with the con-
crete world which lies nearest to and just about him.
His interests centre in the home, the people and
animals there, the personal attachments and love
and sympathy of those about him. Therefore the
early activities in school in order to connect with
the home and be vitalized should centre there also.
He loves best the things which he understands best.
The teacher must guard against the impulse in
children to do things at random and must direct
the impulse into paths where real value may be the
result.
The child likes also to talk about his work; the
mind must react and express itself if it has been
Avenues of ex- impressed. The teacher of hand-work
thought expressed in words and the act as con-
structed. A chance for additional expression is
through the medium of pencil or crayon. Hand-
work, then, should mean for the child interpretation
pression for
the young
child.
must utilize this instinct and help the
children to see relation between the


24
DOMESTIC AET
of this social life through the mediums of form,
color, and materials.
Because of the above natural instincts of little
children, we must, in planning our work, utilize them
to best advantage in order to make hand-work a
vital part in education.
Owing to the reasons given above, the constructive
work of the later kindergarten and first grade should
be related to the child's home life.
Early grade
work to relate This will necessarily vary with locality
to home life. .
and environment. The central thought
of mother, family, household activities may be the
starting-point for nearly all. If the children under
consideration are those in a small village, the inter-
ests following the home would be those of village
life, construction in relation to the farm and agri-
cultural life, the village blacksmith, store, church,
etc. By the time he reaches the second or third
grade and his own surroundings have in a degree
been interpreted, he may be introduced to the lives
of other little children and primitive people and their
methods of securing food, shelter, and clothing,
which have come to him so easily. In later years,
after comparisons have been drawn, he may be
led from the knowledge of rural life to that of the


THE NECESSITY FOR STUDY OF THE PUPIL 25
industrial life of city, state, and national affairs, in
order that he may understand something of their
complexity and his relation to it. By the time the
high school period is reached, the relation of trade
and industry may be understood and the child have
some knowledge of the relationships existing in them
and of the obligation resting upon him to share in
the activity.
If the locality of the city child is the starting-point
in planning, the construction of things in relation
. ,. , to home interests may again be the
Locality and J 0
environment centre, and the radiation from them into
aSect the , .
course of the field of interests nearest akm to the
study. ^ qf or p0or The compari-
son of present life as the child knows it with that of
more primitive people, the different stages of hunting,
fishing, and agricultural development, in some locali-
ties must necessarily be postponed a little later than
the second grade, until the children are ready for it.
There can be no hard and fast rules in relation to the
general course of study or particular relation of hand-
work to it.
The real spirit of work or construction as work
does not begin until about the twelfth year of the
child's life. Then the industrial work may be closely


26
DOMESTIC ART
related to the particular trade or industry of a lo-
cality. With the young children one must keep in
Main aim with muid the idea that finished products of
the young nne technique are not the end and aim
child is train-
ing. in view. It is the child's development
Results ex-
pected to be first and foremost and one must expect
cru e' rather crude results. Owing to the physi-
cal growth and peculiar nervous development of chil-
dren, a large variety of materials for constructive work
should be used, and only those which excite to broad
action in which no details of perfection are required.
In the use of these materials and processes there
must be adjustment to the mental and physical
capacities of the child.
As Dr. Dewey says, the school should represent to
the child the real life of society. It should be a
miniature community because an individual can
have no life apart from society and he can realize
his aims best by making them accord with the desires
of society in general. The work of education in the
school, therefore, whether through hand-work or
otherwise, is to help the child to see his relation to
the whole. All the possessions of the race are to be
bestowed upon the individual so that he may carry


THE NECESSITY FOR STUDY OF THE PUPIL 27
them forward with the additional thought and prog-
ress of his times. Here, also, he is to glance ahead
into the future and to learn to take his place among
the men of real life. Here he must learn justice,
order, and co-operation; he must develop inde-
pendence of action which shall later become leader-
ship.
Because the child is a social being and the school
is to be made his little world, attention should be
value of group given to group work. Through it the
interests and natures and to work for a common
good or whole. "The mere absorption of facts or
truths is so expressly individual an affair, that it
tends very naturally to selfishness. When children
are engaged in active work, helping others, it sets
free the powers of the one who gives and is an in-
centive to the one helped." While the individual
parts mean much to each child as his contribution
or help toward the whole, it is the whole result
which is of value to the little community because
of the co-operative spirit expended in bringing them
together. This combination of interests has been
happily called orchestration, and surely it reaches
work in devel-
opment of the
child.
child learns to work with others, to
respect and adapt himself to various


28
DOMESTIC ART
that where the work is the expression of joy, and
good will and sweet harmony are the result.
If, then, through group work and individual con-
structive work the child is made to feel that he is
really a part of society in his little world, and is given
an insight into the culture of the race possessions and
industrial development and a foresight as he works
with others, surely this work may be said to con-
tribute its share in the vital education of the child.
The task before the teacher is one of great respon-
sibility. We are to make this hand-work one means
of developing the child in the fullest possible manner.
During the early grades, the child is not able to
make the fine adjustments which are required for
fine sewing—one expects crude results, but by the
time the fifth grade is reached the teacher should
demand more accurate work and greater neatness.
Very often teachers neglect to do so and the result
is that slovenly habits of action are formed.
It is during the period from eight to fourteen
sciousness and is able to suggest opportunities of
Close contact
between
teacher and
girl a factor in
development.
years of age that the teacher of domes-
tic art has an unusual opportunity, be-
cause of her close contact with the
girls, to help develop their social con-


THE NECESSITY FOR STUDY OF THE PUPIL 29
thinking about and helping others in a practical way.
It is during this period too that supplementary talks
on clothing, hygiene, appropriateness of dress are of
particular value—and make much impression. It is
the period when the inner life of the girl is con-
cealed from others and is so often fraught with
many dangers. The teacher of domestic art has
many responsibilities here, for comparatively few
girls pass beyond the elementary school education,
so that the time is limited in which much must be
accomplished if the teacher would be of the greatest
possible aid.
As the girl enters upon the age of adolescence, the
teacher should understand this period of girlhood
Physical and not only adapt her work to it, but
£Xtod5* make the most of the expressions of this
adoieacence. period of development. It is the time of
abrupt bodily transitions, the girl is restless, is grow-
ing rapidly and needs plenty of rest, and exercise,
proper food and clothing. The teacher of domes-
tic art should be alive to these things, and the girl
should not be overtaxed nervously nor the eyesight
strained. It is often possible for the domestic-art
teacher to discover defects of eyesight that may not
have been noticed by any one else. Because of the


3°
DOMESTIC ART
intimacy of relationship between teacher and pupils,
the hopes, ambitions, needs of the girls are expressed
to the teacher, so that opportunity is afforded to
guide them perhaps in choosing their life work. As-
sistance may often be given which will affect the
whole life trend of the girl, for this is the period of
intense ambition for her own life, either in respect to
marriage, self-support, or even socially in the school
or community. It is the age of interest in manual
training, when the development of the muscles gives
strength for the control and use of tools. The most
important service the domestic-art teacher can render
during this period is to instruct the girls in the im-
portance of proper clothing and food as the foun-
dations of good health. This aspect of the work
also emphasizes the principles of domestic science.
During this adolescent period, the domestic-art
teacher should be conscious of the mental changes
mindedness as it were. It is the time of the develop-
ment of the reason and judgment and should not be
hampered by too much memorizing. There is every
opportunity for developing judgment in the domestic-
art work—and the teacher may soon learn whether
Mental
changes.
of her pupils. She will be aware of a cer-
tain increase of vigor of mind and open-


THE NECESSITY FOR STUDY OF THE PUPIL 31
the service is of the lips or based on individual grasp
of the problem. Girls are often lazy and are content
to accept subject-matter which is given to them
without question, whereas a boy would wish to
know "the why." Generally the girl is alert, bright,
and interested in things—and the teacher should
utilize this interest in organized activity. This is the
period when girls are apt to worry over their prob-
lems and to have little patience with the minute,
exact, methodical. It is also the period of certain
emotional development, and consequently it often
happens that the young teacher with a happy,
spontaneous nature is more apt to be successful
with girls of high school age than an older person
perhaps better trained and more experienced in
technique. This is the period of storm and stress,
of excitements, ambitions, hopes—religious doubts
and introspections, sex impulses, and the adoration
of teachers and friends. All these impulses must be
understood by the domestic-art teacher if she will
deal wisely with the girls under her care. It is the
period of great responsiveness to all stimuli whether
right or wrong, the period of development of self-
conceit and superior airs, and that welcomes new,
radical, or even revolutionary thoughts. There can


3a
DOMESTIC ART
be no more important field than this for the domestic-
art teacher, and comparatively few teachers plan
with foresight to make the lessons with the girls of
this age really tell. It is the time when true impres-
sions can be made and a responsibility and social
conscience awakened that will have a lasting value.
The close contact of the domestic-art teacher makes
it possible for her to give instruction which will
train for character and the development of intelli-
gent and independent women who will be the back-
bone and safeguard of our nation.
There will probably be many discouragements for
the teacher during this period. It will be necessary
to have faith and to await results which may be long
in appearing. Mr. Stanley Hall says that at this
period the soul is so sensitized that nothing is lost.
It is the period of insight and receptivity—and the
harvest will surely come—the mental life is becoming
organized and permanently fixed and there is a power
of apprehension and appreciation which is far beyond
the ability of the girl of this period to express.
It is a big problem and one of great responsibility
for the teacher of domestic art to know when and
where to help to strengthen, to direct or inhibit the
various impulses of this critical period of womanhood.


THE NECESSITY FOR STUDY OF THE PUPIL
References for Sttoy
"The Child and the Curriculum," Dewey.
"The Educative Process," Bagley.
"Notes on Child Study," Thorndike.
"Adolescence," G. S. Hall.
"The Meaning of Education," Butler.
"School and Society," Dewey.


CHAPTER IV
PROBLEMS CONNECTED WITH THE PRESENTA-
TATION OF DOMESTIC-ART SUBJECTS
It has been said that teachers are born, not made.
Not every one who understands the technical work
of the field of domestic art is able to present it—
even in some cases after much training. Neverthe-
less a conscientious study of the child or person to
be taught and an intelligent understanding of the
best methods of presentation of that subject-matter
can but produce decidedly better results. As we
have noted, the mass of subject-matter which we call
domestic art is so very broad that it is not possible
to present all the phases of it to the children in the
elementary or high schools. Special discussions of
curricula for various types of schools will follow, in
other chapters, but it is the purpose of this to sug-
gest the best way to present different phases of the
domestic-art work and to leave the selection of
subjects for later discussion. One must keep con-
stantly in mind the person or child to be taught,
34


36
DOMESTIC ART
No teacher of domestic art, or any subject in fact,
should approach her class without some definite plan
The teacher's of action in mind. Much time is wasted
preparation. in this field of teaching because of lack
of clearly defined ideas on the part of the teacher,
and lessons are conducted in a haphazard way
which could have been brought to the point had
time been given to thoughtful preparation. A
special chapter will be devoted to the subject of
lesson planning and the thought involved in correct
presentation of this subject.
Every detail of preparation in the way of materials
for illustration should be arranged before the hour
for the lesson arrives. The failure to have at hand
a demonstration model or tools may often mar the
effect of an otherwise good lesson.
There are many children who see things with
their eyes only and to whom a spoken word in rela-
niustration tion to direction means very little. For
of lessons. actuaj demonstration on the
frame or cloth is of greatest value. It is not neces-
sary to have a regular store frame—a piece of un-
bleached muslin attached to the blackboard frame
with thumb tacks will answer every purpose. A
large darning needle and red or black Germantown


PRESENTATION OF SUBJECTS 37
yarn complete the outfit. The stitches should be
large enough for all to see without difficulty. The
blackboard is also a valuable adjunct and should
supplement the demonstration frame. The teacher
of domestic art should be ready to illustrate as she
talks and to represent the stitches with needle in
position if it is a sewing lesson, or to outline the
points made in discussion of other subjects. Lessons
may also be illustrated by pictures, when talks on
textile and household art subjects are given, and by
collections of other exhibits when materials, etc.,
may have been discussed. Trips to museums sup-
plement these as another avenue of illustration. It is
always well to have illustrations of completed articles
in which the stitch or lesson to be taught is plainly
emphasized so that additional application for use
may be really seen as well as discussed in class.
Every complete domestic-art laboratory should have
some cases for illustrations, not only of completed
articles that have been made in class, but for studies
of ethnological subjects in connection with the field
of domestic art. Basketry, pottery, weaving, primi-
tive spindles and looms, laces, embroideries, study
of historic costume, all help to illustrate the talks
and interest the pupils in this field of work. An


PRESENTATION OF SUBJECTS
39
discussing courses of study, but certain hints for
presentation may be given here. There are so
suggestions many phases of this work that the op-
ual problems in the lower grades of the elementary
school and is often begun in the kindergarten.
Dyeing of materials may be done in this connection.
In the fourth or fifth grades weaving may be given on
individual looms and the results joined, forming a
rug or textile of value in house-furnishing problems.
Later in high school, or even before, opportunity
may be given for co-operative problems on the
colonial type of loom. Weaving is often "overdone,"
especially in the lower grades. As one line of indus-
trial study it is of interest and value, but little chil-
dren need variety of work and the subjects are so
numerous and can with foresight be so grouped as
to develop thought in relation to the various fields of
industry that there is no excuse for confining the
work to this one subject. The reason is apparently
lack of willingness on the part of the teacher to
exert herself or an absence of originality in her
scheme of work. Charts will be found of much
value in teaching textile work. These may represent
for the presen-
tation of tex-
tile work.
portunity is almost limitless. Weaving
may be given on small looms as individ-


PRESENTATION OF SUBJECTS 41
help in either elementary or high school. The teacher
may supply books for each textile and plan the clas-
sification. The samples, with widths and prices, may
be mounted by the children as contributed.
In connection with history and geography the
interest in textile work will be much increased by
study and presentation by the children of informal
lectures on the evolution of the various industries
connected with clothing and shelter. If these are
supplemented with a stereopticon, the interest of the
little lecturers knows no bounds.
Of late years there has been much discussion in
normal domestic-art circles as to the use of drafting
in elementary and high schools. The
The use of
drafting and simple drafting of shirtwaist, kimono,
patterns. small petticoat is often given in
the elementary school, and very often in the high
school one finds quite elaborate systems being used.
The writer believes that there is a certain value
in it all, but as a rule it is very slight. The be-
ginning of this line of work and thought may be
as early as the fourth or fifth grade of the elementary
school, where free-hand cutting of paper dolls'
clothes gives an insight in a simple way into the
relation between line and figure. This is of great


43
DOMESTIC ART
value to the child. The work is free, never stereo-
typed, and these small paper garments may be basted
together or real material made into garments using
the paper patterns. There is so much to be crowded
into the domestic-art work of the elementary school
that the writer believes it much better in nearly
every locality and under varying conditions for the
use of commercial patterns to be taught in the
upper grades rather than any form of drafting. If
girls can be taught to cut out garments easily and
correctly and make simple alterations of patterns,
much has been gained. In the ordinary high school,
either manual training, or classical, where some
domestic-art work is given, some simple drafting and
pattern modelling in crinoline is advisable. The
simple modelling should precede the drafting, so that
the lines of the pattern in relation to figure may be
learned. With these relationships in mind, drafting
will be quite intelligible and enables the girl to put
it to practical use later. If this work is combined
the student will have an excellent idea of the mak-
ing of real patterns and be able to originate and
plan for simple gowns in crinoline as a pattern,
thus learning an additional method and one which is
more full and natural.


PRESENTATION OF SUBJECTS
43
In technical and trade schools it is often advisable
that the students study some regular system of
drafting and have quite a good deal of experience in
making patterns by both of the above methods.
This work should be more advanced than that
given in the other types of secondary schools men-
tioned.
The greatest error in the teaching of drafting is
the stereotyped dictation method by which it is
often presented. This may not be an
Errors in
teaching draft- error where older students with limited
mgo patterns. familiar with such work are
receiving instruction, but in either elementary or
secondary schools where the training of the girls is
being considered and drafting is being presented for
the first time this method of approach is certainly
wrong. The children may actually work it out as
they would a puzzle, but there is no real connection
of line with the idea of human form and the girls
are not being taught to think for themselves. This
criticism is especially true of high school teaching.
It is possible, however, by a simple developmental
method to make the girls think, and to have them
understand before they begin to draft the necessity
of certain lines, the relation of one line to another,


44
DOMESTIC ART
their relation to the human form, and the possibili-
ties of change to suit the different figures and styles.
The value of crinoline modelling as a prerequisite
will be seen. Even unbleached muslin may be used
in this connection to advantage, and the modelling
done on one another in class. This method of
presentation may be accomplished by questioning
on the part of the teacher, who must be alert and
skilful in order to present her lesson successfully in
this way. There is no comparison as far as results
are concerned, for the girls gain a thorough mastery
of the subject because it is the result of their own
thought and can be used later instead of filed in
note-books.
It is often a debatable question whether machine
work should be given to girls between ten and fifteen
Machine work years of age. This the writer feels must
in schools. be left to the decision of the teacher of
each group. If the teacher of domestic art knows
that the girls in her classes in the elementary school
are so conditioned that they must go to work
often before the work of the grades is finished, she
will feel the necessity of introducing machine work
early in order that this knowledge, which is of so
much help, may be gained before the girl leaves


PRESENTATION OF SUBJECTS
45
school. The teacher must be the judge as to whether
there is any physical reason why a girl should not
run the machine. As a rule, the short period de-
voted to this kind of work is quite harmless and the
girls thoroughly enjoy it. In trade schools where
the girls may be more closely confined at this kind of
work, the teacher should be more careful and watch-
ful. As a rule, the high school is the place where the
use of machines should be begun, but in many
localities it is necessary to begin it as early as the
sixth grade. If the girls of a certain school in a cer-
tain locality cannot remain after fourteen years of
age, this work should be included as one of the
domestic-art subjects of value for the school in this
locality and should be considered by the domestic-
art teacher as subject-matter for her consideration
and selection.
Machine work should be begun on simple articles
which will give practice in straight stitching, and use
of the simple attachments, before more advanced
garment-making is done. Aprons, bags, cases of
various kinds, covers, pillow-cases, etc., are all
simple and offer opportunity for practice.
The writer has noticed much time wasted in
classes doing machine work. This is nearly always


46
DOMESTIC ART
due to lack of thought and good management on the
part of the teacher. She should plan carefully to
have the machines always in use and so arrange
that some of the class are sewing by hand in prepara-
tion for machine work while others are at the
machines. An exchange can be made as occasion
arises, and in this way no time is lost.
There is a difference of opinion between teachers
as to the advisability of using single- or double-
thread machines with beginners. The writer finds
the single thread of value during the early process of
learning because it is easily ripped, but difficult to
handle because of the necessity for stitching on the
right side of the garment. As it is not possible to
have two sets of machines, the writer believes that a
light-running double-thread machine will prove the
most satisfactory in the long run.
Millinery and embroidery are subjects which may
be taught in either the elementary or high school
Millinery and and may be continued in trade or
embroidery. technical schools or classes. The work
given in the grades must be quite elementary in
character. The children may buy their own frames
or hats to be trimmed, or even prepare them from
braided raffia. Simple lessons in bow-making may


PRESENTATION OF SUBJECTS 47
also be given. The domestic-art teacher of each
school, however, must decide whether there is time
to include millinery in her course and whether it
will be of value to her group of girls to have it,
rather than some other line of domestic-art work.
Expert millinery and trimming should not be ex-
pected from young girls. Even in trade and tech-
nical schools the trimming is an art which may be
demonstrated by an expert trimmer, but it seldom
happens that girls under twenty are proficient in
this line or have learned the fundamental technique
which would enable them to be good trimmers.
This branch of the work requires experts where
the work is done for trade purposes; it seems
almost innate and can seldom be taught.
The high school work in millinery may include the
making and covering of all kinds of hats; frame-
making, trimming, and renovating. The lessons
should be illustrated by blackboard drawings, pict-
ures from magazines, and demonstrations. Visits
to shops are of value in this connection for study of
styles. The type of school will determine how much
of this work should be given and whether this or
some other domestic-art subject is of greatest value
to the girl in the limited time allowed.


48
DOMESTIC ART
Simple embroidery may also be given in the
grades. In the lower grades this may be in the
use of overcasting, blanket stitch, and others, as a
means of decoration on coarse burlap pillows, table
covers, etc.; or in the upper grades, outline, cross,
chain, Kensington, darning, satin stitch may all be
applied on articles which will be of interest to the
pupils. Design work given by the art instructor
should be closely in touch here, as well as in high
school, where more advanced embroidery may be
given if time permits and it seems of most worth
to the group of girls considered. There is always
interest in this class of work, and it may be presented
all along the way either as supplementary work or
to introduce variety into the course. Needlebook
covers, pin-cushions, tray covers, table scarfs, pil-
low tops, embroidery of table linen and towels, are
simply the beginning of a long list. In high school—
lingerie hats, shirtwaists, collars, ties, stocks, gradu-
ating gowns, may be ornamented with simple em-
broidery. The demonstration frame will be found
of use in illustrating the various stitches. It is well
for the teacher to collect samples of embroidery and
to have as many articles as possible showing the
application.


PRESENTATION OF SUBJECTS
49
It is not necessary to wait until pupils are of high
school age before introducing problems in furnishing
and decoration. As early as the first
Problems in
household grade, it is possible to begin with simple
furnishings. . , , .
suggestions in the relation of line to
space, color combinations, wall coverings, etc., ap-
plied to the fitting up of small houses or rooms
made from soap-boxes, if nothing else is available.
A very interesting problem is one in which the
whole elementary school may have a share. A room
should be chosen, if available, and furnished by the
different grades. Rugs may be made by some—
co-operatively—couch cover, window curtains—sim-
ple hangings, pillows, table covers, and baskets, etc.,
may be added by different classes. If space allows
and a suite of rooms can be furnished and actually
used by instructors or others, it will be of inestimable
value.
In many towns or cities by co-operating with large
departmental stores or even smaller ones it may be
possible to secure loan exhibits of furniture, hang-
ings, or house furnishings which if well arranged
will be of great value to the pupils. In some schools
simple lessons in upholstery may be given with
excellent results. Talks on hygienic furnishing


DOMESTIC ART
should accompany the working out of all these
problems. Charts illustrating interiors make an
interesting variation of domestic-art work. Chairs,
tables, etc., may be cut from catalogues and ar-
ranged on cardboards. Color schemes of interiors
may be furnished and plans made for the wall, floor,
and covering of ceiling. With older girls in high
school it is possible to sketch interiors and to color
them with water-colors. It is often possible to secure
drummers' sample designs for furniture, when some-
what old-fashioned, and these may be utilized in the
chart work. The furniture houses are quite willing
to dispose of them. A model suite of rooms is of
great assistance in a high school, but it is to be
hoped that all the interiors of the high school class-
rooms, halls, and offices may be as attractive as
possible. The proper placing of pictures, casts, and
plants cannot help having an effect on the general
atmosphere of the school. Loan exhibits of pictures,
school work, etc., are also of help. The high school
course in house furnishing may be made very inter-
esting, by interspersing the talks with hand-work,
either the making of charts and color schemes as sug-
gested or the weaving and embroidering of pillows,
covers, or other house furnishings. The importance


PRESENTATION OF SUBJECTS
of the simplicity of furnishing, the planning with
reference to use, adaptability, and economy of time,
energy, and money, the true home atmosphere and
the relation of furnishing to it should all be brought
out in the talks or discussions. Books and pictures
will be found of much help in a course of this kind.
Lessons in design should go hand in hand with
domestic-art work, and all teachers of domestic art
should have a good course in design be-
Design as part
of domestic yond whatever study of art and drawing
art.
general education may have provided.
If there is an art instructor in the school, the do-
mestic-art teacher should have her co-operation
and the two work together in order that unity of
action may be the result. Designs for all the
domestic-art problems may be worked out in this
way. Paper dolls and their coloring, dressing, sim-
ple interiors—all may come under the direction of
the art supervisor and in the elementary as well as
high school should go hand in hand with domestic-
art problems and the two be worked out in harmony.
The interest in the art work is much more keen when
this definite relationship is seen and understood.
One of the most important subjects for growing
girls is a knowledge and close acquaintance with the


52
DOMESTIC ART
laws governing health. The influence of proper
food and clothing on health cannot be overesti-
„ ,_, J mated. It is part of the domestic-art
Repairing and r
hygiene ot teacher's privilege to give talks as sup-
clothing as
part of this plementary work while teaching the
field of work. tecjlniqUe 0f sewing, or to have definite
periods devoted to the discussion of this subject.
This work should be given in a very simple way in
the elementary school, but in the secondary schools
tests in relation to materials, their strength, warmth,
texture, shrinkage, and cleanliness, may be worked
out in the laboratory and be of particular value.
The talks for either elementary or secondary work
should cover such subjects as the following:—The
care of the body, cleanliness and use of underwear,
the brushing of garments, care of the feet, proper
footwear, dressing of the hair, proper hats, the
storage of clothing, etc.; many of these may be
illustrated by demonstrations.
The question of how and when to teach repairing
is a much disputed one. As a rule, in many schools
the subject is disliked by the girls and there is a loss
of interest when repair lessons are announced. This
lack of interest need not necessarily follow, and the
success of such work will depend on the ingenuity,


PRESENTATION OF SUBJECTS
53
skill, and tact of the teacher. Perhaps a clever way
to present the repair work is between problems of
greater interest—just before Christmas gifts or some
other application of vital importance. Simple patch-
ing, darning of stockings, and darning of simple
rents in woollen or linen materials may be given in
the fifth, sixth, seventh, or eighth grades. If pos-
sible it is best to begin repair at once on the stocking
or garment, but if such things are not available
scraps of stockinet or cashmere must suffice. By
canvassing among the teachers of a school or impress-
ing the children with the necessity of bringing the
necessary stockings from home it is quite possible to
have a direct application of the repairing. Repair-
ing which necessitates a knowledge of the construc-
tion of garments is a part of high school work, and
rebinding of skirts, replacing worn collars or cuffs,
patching, replacing parts of worn sleeves, are too dif-
ficult to be given to children of elementary school age,
for they require good judgment, skill, and technical
knowledge of garment-making for proper execution.
The yearly festivals are always of interest to the
Christmas children, and the more nearly it is pos-
Blfts- sible for the domestic-art teacher to re-
late her work to their life interests, the more effective


54
DOMESTIC ART
will be the results. Simple Christmas gifts may be
prepared by children of every grade. They should
be simple, appropriate, artistic, and adapted to the
use of the little giver. The time devoted to the mak-
ing of these may be a part of the regular sewing pro-
gramme each year, or it may be given as extra work
for those who finish ahead of their class-mates.
The Christmas season is often a happy time for
informal exhibits of the work of the children; the
parents may be invited, and a real social feature
made of this part of the work. The annual exhibit
may be more formal, but the Christmas party may
show the progress of the fall term of work and be
an incentive to many of the children. The rooms
and blackboards may be decorated by the children,
and the domestic-art laboratory may become a centre
of school interest and spirit. If a special room is not
set aside for this work, then the principal of the school
may be willing to designate a certain room or space
for this particular feature of the life of the school.
"A place for everything and everything in its
place" is a very good general rule
Care of sup-
plies saves with which to start. The work bags or
boxes of the children should be care-
fully labelled and kept in a conveniently located


PRESENTATION OF SUBJECTS 55
place, if possible. Extra supplies and materials
should be so classified and labelled that they may be
found with ease. A system of noting when supplies
are low will guard against a general skirmishing
about at the eleventh hour for a particular kind of
machine needle or a certain number of thread, and
the consequent loss of time involved.
If the teacher has a special room for her work,
she should have the supplies most often used and
such materials as she may need for demonstration
conveniently at hand. If as supervisor she must
travel from room to room in the school, a box for her
use may be kept in each room, or one supplied with
the few things she is most likely to need carried from
class to class. The demonstration cloth mentioned
above will be found an almost indispensable addi-
tion to this box for the quick demonstration of the
method of making stitches. This cloth may be
mounted in the frames for such purpose or easily
adjusted with thumb tacks to the wooden frame of
a wall map and the height so regulated for the use
of children as well as teacher. In demonstrating on
this cloth the stitches should be very large so the
children at the back of the room may have no diffi-
culty in seeing. This is of help, for the teacher is


DOMESTIC ART
spared the necessity of giving so much individual
attention later and time is thus saved for other more
important work.
References for Study
"Textiles and Clothing," Watson.
"How We are Clothed," Chamberlain.
"A Sewing Course," Woolman.
"Occupations for Little Fingers," Sage and Cooley.
"School Needlework," Hapgood.
"Domestic Art Review," February and April, 1909.


CHAPTER V
THE STUDY INVOLVED IN PLANNING A
DOMESTIC-ART LESSON OR SERIES
OF LESSONS
From previous discussion, we have discovered that
it is absolutely essential for the teacher of domestic
art to know thoroughly her technical subjects. It
is also quite as important for her to understand the
child or pupil before her, and it is again as truly
necessary that she should have some definite plan
of action in mind when she brings that subject-
matter to the pupils, in order that the best results
may be obtained with the greatest economy of time.
Much discussion might be given to the best method
of presenting the domestic-art subjects, but they are
so varied, as well as the conditions governing them,
that it must be left to the individual teacher to
present the type of lesson which is best adapted to
the needs of her pupils, their environment, aims,
etc., as well as the subject under consideration. It
may be best to enumerate the various types, and
57


6o
DOMESTIC ART
possible to apply the knowledge gained to new situ-
ations.
By deductive method is meant that way of pre-
senting a lesson, which gives first, the rule to be
6. Thededuc- learned, illustrates this rule, and then
tive method. expects the pupils to make direct ap-
plication. The procedure is from a general state-
ment to a particular application until proficiency is
gained. Care must be taken in presenting any sub-
ject by this method that the class is ready for the
step or abstract statement when it is presented.
Variations of the rule cause thought and lead to a
better understanding, but the discussions of the class
should illustrate why they fall under different heads.
By the inductive method is meant the general pro-
cedure through reasoning from individual notions to
6. The indue- generalizations. The reader is referred
tive method. to Dr McMurray's book on "The
Method of the Recitation," where the five formal
steps are discussed at length. By the first step of
preparation is meant the clearing of the ground, as
it were, for the new truth to be presented. It is the
conversation or questioning which leads to the point
of contact between the ideas which are the child's,
and the new thought to be presented. The teacher


PLANNING A DOMESTIC-ART LESSON 6l
is discovering what is the apperceptive mass of the
pupil before her and how far back she must begin in
order to make the new truth plain. There may be
many avenues of approach in preparing to present
the new lesson. New facts are not introduced in
this step, but old experiences recalled, which prepare
the pupil's mind for the new experiences to follow.
Between this and the second step of presentation
there must be close connection. The questions must
be clear, interesting, and definite, and such as will
arouse thought. They must follow, too, in close
sequence. There must be a definite aim in mind
for presentation, an aim for the child as well as for
the teacher, whose aim is naturally broader but
includes that of the child. The child's aim should
be made plain, so that he starts out with a definite
plan in mind. The more realistic the teacher can
make this the better. The teacher must keep in
mind also the doctrine of interest and make the sub-
ject vital and arousing. The illustrative material
will naturally depend on the subject and age of the
child, but should be varied so as to appeal to as many
senses as possible. The aim of the lesson to be
presented should be constantly in the teacher's mind,
and she should not be swerved from this purpose


63
DOMESTIC ART
unless it seems wise in developing her subject to
change. This may be due to a discovery that her
class is not quite ready for the new thought. The
teacher should be quick, alert, and ready to adapt
herself to any change in method of procedure when
necessary. The main or "pivotal questions" in the
new lesson should be firmly in mind, so that should
there be a digression it may be possible to return
easily to the course of procedure.
Comparison need not necessarily be made in each
lesson, although given as the third formal step.
Generalizations are comparatively few and very
often may not be made until after a series of lessons
on a given subject have been presented. By gen-
eralization is meant the review by comparison of
individual facts, and by picking out the common
essential characteristics, the formation of a general
notion in relation to a particular set of ideas. This
generalization should be given by the pupil in his
own words and then supplemented or rounded by
the teacher and text-book. This rounds up the
sequence of thought, whether it be in a lesson or
at the end of a series. The application comes as a
test when the new generalization or concept gained
is to be used. This, too, may come at the end of a


PLANNING A DOMESTIC-ART LESSON 63
lesson, and often not until the end of a series, or
longer period of study. In domestic-art lessons the
step of application of principles consumes much time.
The inductive method is often objected to because
it is too slow. Then, too, it cannot always be ap-
plied effectively to all subjects. It is, however, one
of the most useful methods of approach in teaching
domestic-art subjects and is used with much success
in combination with the deductive approach.
General prin- There are certain general principles
method'to of methocl, however, for the domestic-
bearinmind. art teacher to bear in mind in planning
her lessons.
1. Every good lesson should be planned to begin
with what is in the child's mind, and proceed to the
unknown, that is, there should be some preparation
for the second step through use of the old ideas.
The psychologist calls this general principle the law
of apperception.
2. There should be two definite aims. First, the
teacher's, a general topic to be taught, which means
that the teacher knows much more about her subject
than she will present to the class, but she selects that
part of her knowledge which she wishes to present
to the children and adapts it to their needs. The
teacher has also for her aim the developing of right


64
DOMESTIC ART
habits, intellectual, motor, and moral, the cultivation
of the child's reason, and the training of his powers
of appreciation. So we may say her aims are: con-
crete or practical, ethical, and social. Second, the
pupil's aim must be definite, clear, and concrete. If
the teacher would hold the interest and attention of
her class, she should make the problem or aim as
attractive as possible.
3. In selecting and adapting the subject-matter to
be taught, the teacher will bear in mind the age of her
pupils, their previous training, and the subject itself.
4. Every good lesson plan should contain certain
pivotal questions to be used in the lesson. These
should be logical, hold the attention of the class,
and control the reasoning powers of the pupils.
5. The teacher should have in mind definite illus-
trative material—the kind, how it is to be used and
where introduced to make the lesson effective. This
material will help to centre the attention and gain
the interest of the class.
6. The teacher in planning should keep in mind
the self-activity of the child. This is to be exercised
by him in thinking out his questions and answers—
in thinking out his applications and in giving phys-
ical expression by doing.
7. There should be in nearly every lesson a sum-
mary or review of the main points covered in the
lesson. This should be short, concrete, and quickly


PLANNING A DOMESTIC-ART LESSON 65
accomplished, focussing as it were the thought of
the hour.
8. Whenever possible there should be some appli-
cation of the lesson to broader fields.
We have discussed the main points for the do-
mestic-art teacher to keep in mind while planning,
who make the effort. Planning in this way is a
benefit, for it enables the teacher to know if she
has accomplished all she had in mind. The actual
lesson may be compared with the plan step by step,
and the points of discord noted. Very often the
teacher will discover that she has improved on her
plan. The self-criticism of a young teacher is
bound to count as an element in her success. If the
teacher must present the same lesson to several sec-
tions of a class, it would be wise to try different
methods of approach in presenting the same lesson
and compare the results.
Before planning the lesson of the day, the domestic-
art teacher must have clearly in mind, if possible,
the plan of action for the year. This will be dis-
Toung
teachers
should write
out their
daily plans.
but how is this actually to be done?
Until one becomes quite experienced it
is wise to write out each lesson quite
fully. It will more than repay those


66
DOMESTIC ART
cussed under courses of study for elementary and
secondary schools. This yearly course will be made
Outline of Up o* a numDer of problems to be pre-
seneaofiea- sented. A problem may need from one
sons to pre-
cede the daily to ten lessons, or more, for its com-
plan' pletion, and for each one of these day
lessons a definite plan should be prepared. Before
planning for each day it is well for the teacher to
make a general scheme, which will give a bird's-
eye view, as it were, of the lessons given to the
accomplishment of that problem, or to plan the
series of lessons so that she may be sure to group all
the material to be presented about that series of
lessons. By this method it is easy for her to dis-
tribute the supplementary material throughout the
series, and to keep constantly in mind the results
to be accomplished. It is well, too, for the teacher
to know what materials are to be used, the amount
and cost per child, as well as the illustrative materi-
als, books, and supplementary talks.
The following scheme for the series of lessons,
covering in a general way the work to be accom-
plished, may be suggestive, as well as the daily
lesson plans which follow. They will serve to
illustrate the points made above.


PLANNING A DOMESTIC-ART LESSON
67
STUDENT PLAN
Outline for Series of Lessons
Subject.—Cooking apron.
School.—Elementary School, New York. Grade.—7th.
Age.—11 to 15 years. Average age, 13 years.
Number of Lessons.—Nine approximately—1 hour each.
Teachers' Aims.—
(Ethical). To develop self-reliance arising from con-
sciousness of ability to do.
(Social). To emphasize the importance of cleanliness
and economy.
(Concrete). To compass the steps necessary in the
planning and making of a cooking aprop.
Pupils' Aim.—
To cut and make a cooking apron neatly by machine.
Finished apron.
Samples of material suitable for aprons.
Samples of bleached and unbleached
material.
Hems.
Stitching.
Illustrative
Samples showing j Gathering.
Buttonholes.
Sewed-on buttons.
Materials
Demonstration frame.
Chalk.
Blackboard.
Scissors.
Pencils.
Thread.
To be used
Sewing boxes containing
Tape measure.
Needles.
Thimbles.
Pins.
Apron lawn for the aprons.
Buttons.


68
DOMESTIC ART
S T Use.
I. Discussion of choice of material accord- Suitability.
ing to Durability.
[ Cost.
II. Economical cutting.
III. Bleaching of materials.
IV. Making of apron.
Subject- I (a) Laying hems.
Matter | (6) Basting.
(c) Stitching.
(d) Gathering.
(e) Stroking of gathers.
(/) Making buttonholes.
(g) Sewing on buttons.
V. Kinds of aprons.
VI. Textile talks on cotton manufacture.
Cost per child, as cents.
Note.—This subject-matter to be presented during course of lessons. Not in order
given, bat this ground to be covered as seems best in daily development of plans.
Elementary School
daily plan. lesson i
Grade VII.
Subject.—Cooking apron.
Teachers' Aim.—To have pupils gain an intelligent and
economical use of material through the planning and cutting
of a cooking apron.
Pupils' Aim.—To cut the apron.
Subject-Matter* Method
Note.—Step of preparation. This
shows the method of questioning and of
preparation for the new facts to be pre-
sented. It is introductory and leads to new
work.
Introduction. As you know, I have been visit-
ing, several days, in your school-
room. I want to speak of some-
* This subject-matter column should show the material which the teacher has in mind
on this subject as best fitted for the children in this particular class. This is the first
lesson only on this subject and shows only the subject-matter for the first lesson.


PLANNING A DOMESTIC-ART LESSON 69
Reference to neatness of desks.
The kitchen another place where
neatness is necessary.
Cooking apron.
To help keep the work and
clothes of the wearer clean.
Color.
Material.
Aprons differ in 1 Style of making.
Durability.
Cost.
according to their use.
thing I have noticed while there
and that is the neatness of your
desks.
I was glad to see it because I
felt that girls who had formed the
habit of keeping their desks neat
would be quite likely to be neat
about other things, so I hoped
your work in sewing would be as
neat as your desks.
Neatness is desirable in many
places. It is very necessary in
the kitchen.
When in the kitchen we not
only want to keep the kitchen neat,
but want to keep ourselves neat
also.
What could we make in the sew-
ing class which would help to keep
us neat when at work in the cook-
ing class?
Why are aprons worn?
Are all aprons alike?
How do they differ?
Materials suitable for cooking
aprons—lawn, cambric, gingham,
and calico, etc.
An apron worn by a person
cooking should always be clean.
White or light colors are the
most desirable for cooking aprons.
Of what materials may cooking
aprons be made?
In what condition should the
cooking apron always be?
Do you think light or dark
colors would be best to use for
cooking aprons?


7°
DOMESTIC ART
Advantages—
(1) They show when soiled,
therefore are not as apt to be worn
after they become soiled.
(2) As white soils easily the
wearer will be more careful about
her work.
(3) White is more cheerful and
looks better than a dark color.
Cooking aprons to be made of
apron lawn, which is 40 inches
wide and costs 11 cents per yard.
Other suitable materials, for
aprons, to be collected and width
and price noted.
A pattern is not necessary for a
cooking apron when the maker has
a model, or a clear idea of the
kind of apron desired.
Size of the apron—
Apron.
Bib.
Belt.
Straps.
Width of apron and bib.
Width of belt and straps 2
inches.
Size of f Wide, 2 inches,
hems I
Why? What are the advantages
of white and light colors?
Length of
Narrow, J inch.
Measures taken of person for
whom apron is being made.
Length of skirt.
Length of strap from waist, over
the shoulder. and across the back.
Size of waist.
I have apron lawn for you to
use for your aprons, but I would
like to have you bring some sam-
ples next Friday of materials either
white or colored which you think
would be suitable for aprons.
Find out the cost and width of
the material you select.
Note.—Beginning of the presentation of
the new work. the aim being to cut the
apron. Notice method of developing ideas
in relation to cutting.
Let us see how many things we
must think about in cutting out
an apron.
Is it necessary to have a pattern
for a cooking apron?
After the material is selected
what is the first thing that must
be decided upon?
How may this be determined?
(Children to take each other's
measures. Each child to write
down her own measures.)


PLANNING A DOMESTIC-ART LESSON 71
Cut with the warp threads run-
ning lengthwise of the pieces.
For strength.
Two widths will be needed.
Avoid a seam in the centre of
the front by dividing one width
lengthwise through the centre and
sewing one-half width on each
side of the whole width.
Which way of the material will
the pieces be cut?
Why?
Will one width be sufficient for
the skirt of the apron? How
many will be needed?
Would a seam be desirable in
the centre of the front?
How may this be avoided?
Two pieces for belt.
Two pieces for straps.
One piece for bib.
Waist measure taken loosely,
I inch allowed for lap and i inch determined?
for finishing.
What other pieces will be
needed?
How will the size of the belt be
A
How can we cut the pieces re-
quired from the material we have
to the best advantage?
-9* X 37*-
->
->
A
1
8*
1
Side Width
V
Centre
Width
Side Width
Shoulder Strap
Shoulder Strap
Belt
Belt
t
X
t6i"
I4*"
X
I 2'
V
(Use the board for illustrating, ask children to suggest ways of
arranging the parts.)


72
DOMESTIC ART
Begin at the straight end of the
cloth.
Where will you begin to cut?
Pieces to be measured, marked
with pins, creased, and cut on
crease.
Compare and discuss different
ways of arrangement if the class
has suggested them, if not give
only one drawing.
Directions for work.
Give each child a piece of lawn
2 yards long.
Pass scissors.
Work-
Measuring and cutting of pieces.
Strip for belt.
Two strips to go over the
shoulder.
Some material can be measured
and torn, but this lawn does not
tear satisfactorily so we will meas-
ure it carefully, mark with pins,
crease, and then cut on the fold.
I would like to have you cut
your aprons out to-day, but when
you measure and crease a line I
want to see it each time before it is
cut.
This is a statement of aim of work for
the day.
(1) On one side of cloth meas-
ure a 6j" strip the entire length of
the cloth.
Mark with pins or pencil dots.
Crease on places marked.
After I have seen it, cut on the
crease.
(2) Measure a 2" strip off the
6j" strip in the same manner.
(3) Fold the 4J" strip cross-wise
through the centre, be sure to fold
the edges together evenly, crease
and cut as before.
(4) Fold and pin these three
strips together.
(5) From the straight end of the
cloth measure 27" on both edges
and in the centre, fold on marks
and crease, before cutting on the
crease see that material is evenly
folded and cut across goods along
the even edge.


PLANNING A DOMESTIC-ART LESSON 73
Middle width and piece to be (6) Cut on the fold; this gives
divided. two pieces the same size, 27"!
33i"-
Side pieces. (7) Fold one of them length-
wise through the centre, crease,
and cut.
(8) Pin these two pieces to the
largest piece you have.
(9) You have one piece left.
How long is it?
Bib. (10) Measure a piece 9" long
and 8" wide, fold, crease and cut.
Round corners slightly at lower
edge.
(11) Fold the small piece that
is left and put it in your sewing-
box.
(12) Fold your work and pin
your name on it.
Work put away. Put things away in your sewing-
Scissors collected by one child. boxes.
As soon as your work is put
away sit down and face this way.
Summary of points brought out How many think they could cut
in the lesson. an apron out at home like the one
we have just cut?
Suppose you were going to
make one for some one at home,
who can tell me how to begin it?
What would you do next?


74
DOMESTIC ART
STUDENT PLAN
Outline for Series of Lessons
Subject.—Weaving rug.
School.—Elementary.
Grade— III.
Number of Children.—22.
Age—8-9.
Number of Lessons.—5.
Teachers' Aims.—
(a) Practical; weaving rug with pattern.
(6) Ethical; habits of accurate thinking and doing, per-
severance, and patience.
(c) Social; relation of rug weaving to home and school,
adaptation of material used.
Pupils' Aim.—Weaving rug.
Materials.—22 pieces cardboard, belt punch, 44 balls jute
(several colors), paper, No. 19 tapestry needles, scissors,
thimbles.
Cost per Child.—5 cents.
Illustrative Material.—Blackboard, small pieces of canvas
showing selvage and warp and woof, large cardboard with
bright-colored jute for demonstration, rug on small cardboard
partly woven, finished rug.
Outline of Subject-Matter.—
(1) Weaving rug. Planning size, arranging holes for warp
thread, threading needles, making knot, putting in warp
thread, weaving woof threads (darning, shuttle, heddle, batten),
selvage, joining threads, making simple and pleasing stripe for
pattern, removing from card, fringing.
(2) Accuracy of thought, skill.
(3) Jute, cultivation, manufacture, use, adaptation.


PLANNING A DOMESTIC-ART LESSON 75
DAILY PLAN. LESSON 2
Subject.—Weaving rug.
School.—Elementary.
Grade.—3d.
Teachers' Aim.—Have pupils put in pattern of two stripes
and begin weaving centre of rug.
Pupils' Aim.—To weave part of rug.
Subject-Matter
Drew woof threads too tight, so
made width of rug uneven. Didn't
tighten up the woof enough to
make good, firm, solid material.
In weaving, the jute was passed
under and over the first time across,
and over and under coming back.
Join well in toward centre,
never on selvage. Leave ends
about 1" long on wrong side. See
Lesson 1.
Method
Every one looks happy and eager
to work this afternoon. I'm glad,
for we have a great deal to do and
we'll want to do it well. You've
heard the old saying, "What's
worth doing at all, is worth doing
well." I'm sure we all feel that it
is worth while to weave a small
rug for the doll's house and so it is
worth weaving well.
Let us think for just a second
what troubled us in our weaving
last week. William, can you tell
us?
We'll try to overcome those faults
to-day and keep the woof threads
loose enough to make rug even;
also push the woof thread well up
to the end every time.
Just how did we put in the woof
threads?
Who remembers how we piece
the thread?


76
DOMESTIC ART
I expect every child to put in
two narrow stripes and begin
weaving centre of rug. Every
pupil ought to have a good rug.
Stripe is to be of different color.
Begin near centre under same warp
thread with first color. Weave in
two or three threads across for nar-
row stripe and six or seven for
wide one with few threads of brown
between.
Demonstration on blackboard
and large cardboard, illustrating
method of going over and under
the alternate threads and of piec-
ing the woof by lapping near the
middle of woven material.
Demonstrate with bright color.
On last row of stripe leave off
where you began. Cut thread
with long end, leaving it on wrong
side of rug.
Pass rugs, jute, scissors.
Work begins.
Woven two stripes and begun
on centre, keeping width even and
woof well battened.
Tell the class, Lulu, what they
are expected to do in the next half
hour. How many think they can
do it, and do it well? Good!
we'll be first-class weavers.
Those who have done what I
asked them to do, hold up rug,
please. We've done very well
this afternoon.
Over and under alternate What are the things we need to
threads, careful joining of thread, keep in mind to be good weavers?
width of rug, close firm mesh.
Collect


PLANNING A DOMESTIC-ART LESSON 77
STUDENT PLAN
Outline for Series or Lessons
Subject.—Making a petticoat.
School.—Public. Grade.—8th.
Age of Children.—14.
Number of Lessons.—12.
Teachers' Aim.—To teach the girl to make a neat, useful
petticoat for herself by machine, to give her an understanding
of the varying conditions under which ready-made underwear
is made, and the girl's responsibility as a consumer.
Pupils' Aim.—To make a petticoat for herself.
Materials.—
(a) Actual (for each girl):
Cambric, 2 lengths.
Ruffling, 3 J yards.
Button.
Thread, No. 50 and No. 80.
Needles.
Scissors.
Thimble.
Tape measure.
Pins.
Emery.
(6) Illustrative:
Paper.
Demonstration cloth.
Pictures of factory life, sweat-shop labor.
Work of the Consumers' League in bettering con-
ditions.
Plackets of various kinds.
Finished skirts.


7»
DOMESTIC ART
Subject-Matter.—
Points covered in making the petticoat:
(1) Cutting of the skirt from two lengths of material.
(2) Pinning and basting seams.
(3) Making French seams.
(4) Putting in the straight placket.
(5) Preparation of the top of the skirt for the band (sloping,
gathering).
(6) Fitting the skirt to the band.
(7) Putting on the band.
(8) Preparation of the bottom of the skirt for the ruffle.
(a) Curving the bottom of the skirt (not necessary
when cutting from a pattern).
(6) Creasing and stitching the J-inch tuck.
(c) Division of skirt into quarters.
(9) Preparation of the ruffle:
(a) Cutting to desired width.
(6) Joining.
(c) Division into quarters.
(d) Gathering.
(10) Fastening of the ruffle to the skirt.
(11) Button-hole (practice, then make in the band).
(12) Sewing on the button.
•
DAILY PLAN. LESSON 8*
Subject.—Making a petticoat by machine.
School.—Public.—Elementary.
Grade.—8 th.
Length of lesson—One hour.
Teachers' Aim.—To stroke the gathers of the ruffle. To baste
a part of the ruffle to the skirt, distributing the gathers properly.
* Note: The first seven plans are omitted; this is given as a type.


PLANNING A DOMESTIC-ART LESSON 79
Pupils' Aim.—To stroke the gathers of the ruffle. To baste
a part of the ruffle to the skirt, distributing the gathers properly.
Subject-Matter
To prepare the ruffle for gather-
ing, these steps were taken:
1. Cutting of the ruffle to the
desired width.
2. Joining of ruffle (French
seam).
3. Dividing of ruffle into quar-
ters.
Method
Tell me very briefly how you
prepared your ruffle for the gather-
ing—simply name the steps.
An embroidery ruffle is prepared
in the same way.
Can you think of any other kind
of ruffle that would be prepared in
the same way?
We seldom get ruffling already
prepared for us. If we wish to have
a cloth ruffle we must usually cut it
and make it.
In a cloth ruffle, the woof threads
extend the length of the ruffle and
the warp threads up and down—
the same way as in the body of the
skirt. The material cuts to bet-
ter advantage in this way and the
ruffle looks better (falls into pret-
tier folds).
In mak: ng a cloth ruffle, a num-
ber of strips should be torn across
the material.
The depth of the strips = the
depth of the ruffle when finished +
the amount for tucks, hem, and
making.
How many of you have ever
made a cloth ruffle or have seen one
made? Which set of threads ex-
tended the length of the ruffle?
Why?
(Teacher shows a cloth ruffle on
a skirt.)
(Teacher makes a diagram on
the board to illustrate the way in
which the strips are torn for the
ruffle.)
In measuring the depth of the
strips, for what would you have to
allow?


8o
DOMESTIC ART
The number of strips needed de-
pends upon:
(1) The width of the material.
(2) The width of the skirt
around the bottom.
(3) The amount of fulness de-
sired (usually 1J times).
What would determine the num-
ber of strips needed?
After the strips are cut, they are
joined.
The hem and tucks are then put
in. The ruffle is quartered and
gathered.
(Teacher names the steps taken
in finishing a cloth ruffle.)
Before the ruffle is fastened to
the skirt, the gathers must be
stroked. It was not necessary to
stroke the gathers at the top of the
skirt, because there were two rows
of gathering.
In the ruffle there is but one row
of gathering, therefore it is neces-
sary to stroke the gathers.
I shall show you to-day how to
stroke the gathers quickly.
Stroke gathers because it is a
help in getting them distributed
evenly.
(Teacher explains reason for
stroking gathers and demonstrates
the stroking.)
For fine materials, stroke the
gathers with a coarse needle. For
heavier materials, stroke the gath-
ers by drawing them between the
thumb and forefinger—pressing
them. The gathering thread is
held firmly—may be pinned to the
knee.
(To show the importance of
stroking gathers, teacher shows
two gathered pieces. In one, the
gathers will have been stroked j
in the other, not.)


PLANNING A DOMESTIC-ART LESSON 8l
After the gathers are stroked, the
ruffle is ready to be fastened to the
skirt.
Divide the skirt into fourths cor-
responding to the division of the
ruffle. Mark the divisions with
several large stitches.
Since the ruffle was quartered
for the gathering, what should be
done to the skirt before attaching
the ruffle, in order to get the gathers
evenly distributed?
In pinning and basting the ruffle
to the skirt, the following points
should be considered:
(i) Wrong side of ruffle to
wrong side of skirt; (2) joining of
ruffle in the back, divisions placed
to correspond; (3) draw up the
gathering thread and wind it
around a pin; (4) pin (pins ex-
tending at right angles to the
gathering thread), distributing the
gathers evenly, gathered side next
to the worker; (5) baste (being
careful not to disarrange the
gathers) J-inch seam.
I shall show you how to pin and
baste the ruffle to the skirt.
(Teacher demonstrates the pin-
ning and basting of the ruffle to
the skirt.)
Now you may stroke the gath-
ers of your ruffle, then fasten the
ruffle to the skirt. Every girl
should get at least one quarter of
her ruffle basted to-day.
Girls work for remainder of Practical work,
hour, and after work is collected
there is a brief summary as sug-
gested by the question following
practical work.
What do you think we must be
most careful about in basting the
remainder of the ruffle in place?


8a
DOMESTIC ART
Students of domestic art in training will find it
of great assistance to visit domestic-art classes for
observation and discussion. If this can be done in
groups, the discussions will prove of much greater
value. It is well to have, before visiting a class, a
pretty clear idea of the relation of domestic art to
other grade subjects, and to have discussed the value
of industrial lines of work, methods of presentation,
etc. The greater knowledge attained along these lines
before visiting, the greater will be the benefits derived,
and the eyes will be opened to many things before
unseen. There must be some basis for judgment of
the lesson observed. It is well, also, for students to
visit before there is much basis for judgment and
then later, when the thoughts have become better for-
mulated and arranged. The students' ideas should
not be moulded by the teacher, but liberated so they
will think and be free to observe for themselves.
The test for the judgment of a domestic-art les-
son is whether it is adapted to the physical and
psychical nature of the child or pupil. Again, an-
other tes't is, Has the environment been kept in mind?
The theory of the student-teacher, or the idea of
how the thing is done, the plan of action, is often
very different from the actual practice. Experi-


PLANNING A DOMESTIC-ART LESSON 83
ence or practice should enable a teacher to under-
stand herself, and then to formulate her own theory,
for it is only with experience that there comes a
clearing up of thought. This means that there is
control and appreciation of action and that the
teacher has reached the creative stage and under-
stands the reactions.
The following outline may be suggestive to those
not used to observing. It is wise to enter the name
of class, date, etc., with full particulars in the note-
book, under the following heads. The points may
be discussed later and much benefit derived from the
individual efforts made at observation.
OBSERVATION
(a) School.
(b) Grade. Number in class.
(c) Date, and name of teacher.
(d) Subject.
(e) Time allowed.
1. The Pupils—
(a) Physical condition, general health, sight, hear-
ing, any defects. Are these considered in any way
by teacher, in her plans or instructions?
(b) Mental aspects.


PLANNING A DOMESTIC-ART LESSON 85
(b) Class management.
(1) Devices for securing attention.
(2) Skill and rapidity. Economy of time.
(3) Storage and distribution of materials.
(4) Ventilation, heating, and lighting. Order of
class-room.
(5) Class spirit.
(6) Devices for attending to routine matters.
(c) Personality of teacher.
(1) Appearance, manner.
(2) Peculiarities of habit. What effect, if any, do
these have on the class?
(3) Did you notice any particular result of teacher's
influence?
III. The Equipment—
(a) General. 1
(b) Illustrative; devices for inexpensive equipment
and use.
(c) Storage of equipment, permanent or tem-
porary.
IV. The Curriculum—
(a) Notice general curriculum of school.
(6) Notice curriculum in domestic art. Any at-
tempt at correlation.
(c) Read curriculum of grade under observation,
as well as previous work in domestic art.


DOMESTIC ART
References for Study
"The Method of the Recitation," McMurray.
"Teacher's College Record," January, 1903.
"Essentials of Method," De Garmo.
"The Educative Process," Bagley.


88
DOMESTIC ART
this will necessitate certain changes, as the work
for the boys must be considered too.
In the lower grades the industrial work of which
the textile field is one phase may be carried on in
the class-room. The many possibilities in the wide
range of material for selection make it possible to
reduce the cost of this work to five cents per child
per* year of one hour a week. Many schools allow
more than this. The cost of materials will depend
too on the person in charge of the work. If left to
the individual grade teachers who know nothing
of this field of work, there is apt to be a greater
waste than if there is a well-trained ingenious super-
visor to control costs. Such supervisors will com-
mand salaries ranging from $1,200 to $2,500 and
in some instances in large school systems $3,000
and more. This is really an economy in the long
run, for the work will progress more smoothly, it
will be better planned, the children will be better
taught, with better results, and there will be a saving
in expenditure for materials.
The permanent equipment in the lower grades
may be very inexpensive. A general supply of
scissors, emeries, tape-measures, etc., may be taken
from room to room if it is not possible to have


THE ECONOMICS OF DOMESTIC ART 89
enough for each grade. Thimbles may be brought
from home by the children and so the cost of perma-
nent equipment be reduced to almost nothing. The
same may be true of materials used. A teacher
who is awake to the possibilities of odds and ends
that are thrown into the waste-basket will be able
to reduce the cost greatly. If it is possible to have
the equipment for each grade, it may be bought as
follows:
1 dozen thimbles 25
1 " emeries 40
1 " scissors 3.00
1 " tape measures 40
1 " boxes for work 84
Permanent equipment for one dozen children $4.89
If it is not possible to afford the cloth-covered
boxes for the work, as itemized above, envelopes of
bogus paper may be made and decorated by the
children, or it may be possible to obtain from some
local shoe department store boxes of uniform size
and shape, for very little cost, and often for^nothing.
Tools for other lines of hand-work besides the
sewing are scarcely necessary. Clay work may
require a simple wood tool, but one can manage
without it, or with an odd bit of wood sharpened to


THE ECONOMICS OF DOMESTIC ART 91
sales may be made in this way. It is almost a neces-
sity to have a special teacher in the upper grades,
and really an economy, although the work is often
conducted by the grade teacher. The equipment in
the way of tools may cost very little as outlined above,
and one set of tools may be used for all the classes;
or each grade may have its own, which is of course
more desirable. The cost of furnishings for a simple
laboratory may be kept very low. The room should
be large enough to seat the children comfortably,
should be well lighted, the walls tastefully decorated,
and have convenient space for storing materials.
This room is almost a necessity where the school
is a local centre for work and the children of
the neighboring schools attend it for their exer-
cises in domestic art. This method is adopted in
smaller towns and cities in order to reduce the
cost.
The special room is also an incentive to work.
Children will often visit it at odd periods for com-
pletion of back work, or because of interest in the
exhibits and a desire to study. It should be a cen-
tre for such information as the teacher of domestic
art has to give. There should be low chairs for
sewing, work tables, a cutting table, machines,


92
DOMESTIC ART
blackboard, etc. This special room may often be
used for other purposes, as the sewing classes may
not occupy it during all the periods. On that
account it is wise to have folding tables which may
be removed when it is necessary to clear the floor
space. Tables hinged and attached to the walls
may be let down and be out of the way when it is
necessary to remove them. The following is a list
with cost of a simple, inexpensive laboratory equip-
ment for grade school use for twenty-four pupils:
2 dozen chairs $24.00
8 work tables 16.00
2 cutting tables (kitchen tables stained) . 6.00
4 sewing machines 100.00
Teacher's desk 10.00
"chair 3.00
1 demonstration cloth and needle .... .50
1 dozen waist forms 6.00
1 gas stove 1.50
2 flatirons • • • -72
1 mirror 2.00
Total cost $169.72
Good work may be done with the inexpensive
equipment. Elaborate furnishings do not tend to
increase the output or quality of the work. Addi-
tional facilities contribute to ease and convenience


THE ECONOMICS OF DOMESTIC ART 93
of the worker and especially the teacher. A more
expensive equipment is added below for upper
grade use:
2 dozen chairs $36.00
1 dozen work tables 36.00
6 cutting tables 60.00
6 sewing machines 180.00
1 exhibit case 30.00
1 teacher's desk 15 00
1 " chair 3.00
1 mirror 20.00
1 gas stove 3.00
6 flatirons 3 00
1 screen 6.00
1 demonstration frame 2.00
1 bulletin board 3.00
1 roll case for storing pupils' work—accom-
modating 4 classes 75-00
6 waist forms 3 , 00
1 ironing board 1.50
Total cost . $476-5°
The cost of the laboratory equipment for the high
school need be little more than that of the special
cost in high room for upper grade work. The addi-
gchooi. tional expense will probably be for the
necessary articles for drafting and garment-making,
such as yard-sticks, skirt forms, etc.


94 DOMESTIC ART
The cost of the temporary equipment for both
elementary and high school will depend somewhat
on the method of purchase of materials. Materials
bought at wholesale in large quantities may be
obtained at great reduction. The care and use of
the temporary equipment will also regulate the
cost.
The cost of equipment in other types of schools
will vary according to aim, number of pupils to be
accommodated, and the elaborateness of outfit.
The equipment need not necessarily be expensive.
The following lists of cost of articles will furnish
suggestions for those interested in both expensive
and inexpensive equipment:
Bias cutter and marker $5-oo
Boxes—sewing—cloth - covered—8x14x2 J,
per hundred 18.00
18x16^x4!, per hundred 45.00
6^x4^x3, per hundred 8.00
Bulletin boards, each 3.00 to 5.00
Chairs—
Bent wood, with cane seat, each ... 1.25
Kitchen chairs (to be stained), each . . .50
Willow (for office use), each 5.00
Desk chairs (revolving, bent wood), each 3.50
""(with arms), each .... 5.00 to 12.00
Laboratory chair (better class) each . . 3.00 to 5.00


THE ECONOMICS OF DOMESTIC ART
95
Cases—
Bookcases, each 10.00 to 50.00
Storage for work—for 50, each . . . . 30.00 to 75.00
Exhibit cases—gowns and hats, each . . 50.00 to 100.00
Exhibit cases—fiat, according to size and
finish 25.00 to 75.00
Exhibit cases—sliding glass doors, accord-
ing to size and finish 25.00 to 75.00
Ironing cabinets—zinc top (for ironing
outfit made to order) 15.00
Desks—
Flat top—well finished, with side drawers 25.00
Flat top table without side drawers . . 12.00 „
Roll-top desks for office use, each . . . 10.00 to 75.00
Dress forms—
Full length, each 3.00 to 8.00
Waist length, each 50 to 4.00
Demonstration frames (made to order), each 1.00 to 5.00
Emeries, per dozen 25 to .50
Embroidery rings, per dozen 75
"holders (Priscilla), per dozen . 2.50
Files—
Letter files (for office use), each . . . . 20.00 to 50.00
Card boxes and cataloguing schemes, each 1.00 to 50.00
Gas stoves, each 1.50 to 5.00
Irons, according to style and weight, each . . 36 to 1.00
Electric irons, 4 lb., nickel, each . . 3.75
"6" " " . . 5-75
""12" " " . . 9.00
Mirrors—
Hand-mirrors, each .75 to 3.00
Triple folding wall-mirrors (millinery
purpose), according to size . . . . 5.00 to 25.00


96
DOMESTIC ART
Triple folding dressmaking-mirror, each 30.00 to 75.00
Flat wall-mirrors, oak frames, according
to size 2.50 to 25.00
Machines—
Single-and double-thread, each . . . 20.00 to 60.00
With motor attachment, each . . . . 60.00 to 70.00
Pedestals (for fitting), each 4.00 to 10.00
Pinking machine, each 5.00
Plaiting machine, each 12.00
Rollers (paper)—
Jumbo rollers, stand, each 5.00
Drafting-paper (per roll), each .... 5.00
Rugs (fpr office use), according to size and
quality 20.00 to 50.00
Rattan couch, each 15.00
Stools, 24-inch cane-seat, per dozen . . . 13.00
24-inch wooden-seat, per dozen .... 7.00
Screens, triple-folding, each 5.00 to 20.00
Seatings, class-room, a seat 2.00 to 4.00
Skirt-markers, each 10.00 to 25.00
Sleeve forms (per set 2), each 4.00
Scissors—
Straight cutting, per dozen 3.00 to 6.00
"shears, per dozen 5.00 to 10.00
Button-hole, per dozen 4.80 to 6.00
Tables—
For conference purposes, each .... 20.00 to 200.00
Ironing—ready-made, each 1.50 to 5.00
Ironing, made to order with wood top,
4x2 ft., according to size and finish,
each 10.00 to 15.00
Kitchen tables, 5 ft, each 2.00 to 3.00
Folding sewing tables, each 1.00 to 3.00


THE ECONOMICS OF DOMESTIC ART 97
Drafting tables made to order—7 ft. long
by 3 ft. wide by 2 ft. 8 in. high, white
wood top, oak base, each 15.00 to 18.00
Drafting tables, removable tops and horses
for support, each 10.00 to 12.00
Sewing-tables made to order, oak, 6 ft.
long by 2 ft. 4 in. high, each . . . . 13.50
Tape measures, reversible, per dozen ... . 40 to .60
Tracing wheels, per dozen 1.00 to 4.00
Thimbles, German silver, by gross ... 3.90
Wire-cutters, side-cutting, per dozen . . . 4.00 to 6.00
Waist- and coat-hangers, per dozen ... . 36 to 1.00
Yard-sticks, per dozen 1.50 to 3.00
Illustrative material is rather difficult to collect.
The teacher of domestic art must be alert and seize
every available opportunity for getting
The cost of *■
illustrative it. Many articles may be easily ob-
material.
tained while travelling and through
interesting in the work the people one meets.
Expositions furnish opportunity for securing mate-
rial which will often be sold for little after the expo-
sition is over. Large manufactories sometimes
make boxes for sale illustrating the steps in the
manufacture of various materials such as thread,
needles, scissors, buttons, cotton, woollen, linen, or
silk materials. These will often be made to order,
but cost considerably more. The illustrative boxes


THE ECONOMICS OF DOMESTIC ART 99
In other localities the domestic-art teacher does not
control the industrial work of the lower grades; it
may be under the direction of the manual training
or arts supervisor. The ideal condition is super-
vision only of the upper grade work for girls in
either cooking or sewing or both. This is quite
enough for any one person to do well.
The salaries of teachers in high schools range
from $900 to $2,000, according to kind of work and
length of service. Directors of -departments in high
schools receive from $1,500 to $2,000.
In trade schools teachers receive from $800 to
$1,200, directors of departments from $1,200 to
$1,800, and school directors from $2,000 to $3,000.
In higher institutions, colleges for women, State
agricultural colleges, and normal schools, the
salaries vary from $1,200 to $3,500, according to
responsibility.


CHAPTER VII
HOW TO KEEP IN TOUCH WITH PROGRESS IN THE
DOMESTIC-ART FIELD
The writer has often been asked if domestic art
can be studied by correspondence. The answer has
always been, "No, not to advantage." It may
often happen, however, that a teacher has been
forced into this field of work, or is not quite ready
to go to a normal school for study, and in the mean
time may wish to come in touch with some of the
subjects. There are many lines of work in this
field, and the teacher of domestic art, if she is to do
the best kind of work, should know something about
psychology, the history of education, and the theory
and method of presenting this subject, as well as the
more technical work of sewing, dressmaking, and
millinery. A selected bibliography of these subjects
will be added later; much help and information may
also be gained from current magazines, reports of
associations, etc., all of which will help the teacher
in the field to keep in touch with the latest ideas
and movements.
IOO


PROGRESS IN THE DOMESTIC-ART FIELD IEI
ASSOCIATIONS AND THEIR REPORTS
The annual reports of the following associations
are of particular help and can be had by becoming
a member of the associations, or by buying them
from the secretaries of these associations:
(1) National Education Association. Member-
ship $2.00. Irwin Shepherd, Winona, Wis. Gen-
eral educational papers of the annual meetings are
published in this report. All are of help, the reports
of the sections on trade and industrial work espe-
cially.
(2) Lake Placid Conference on Home Economics,
Lake Placid Club, Essex County, N. Y. Annual
report of papers read at yearly meeting, also of the
teachers' section, a mid-winter conference. These
are of particular value to teachers of domestic art
and science. (This conference ceased with the or-
ganization of the American Home Economics Asso-
ciation in January, 1909. Back reports are of much
help.)
(3) American Home Economics Association, mem-
bership $2.00; includes journal published bimonthly,
Teachers College, New York. Of interest to all
classes of workers in the field of home economics.
(4) Public Education Association of New York,
105 East Twenty-second Street, Room 520.


102
DOMESTIC ART
(5) Society for the Promotion of Industrial Edu-
cation. Literature may be obtained from Mr.
Jas. C. Monaghan, Secretary, 546 Fifth Avenue,
New York City.
(6) Eastern Manual Training Teachers' Asso-
ciation.
(7) Western Manual Training and Drawing
Teachers' Association.
(8) Consumers' League. Reports of national and
New York City Leagues may be obtained on appli-
cation at office, 105 East Twenty-second Street,
New York City. The aim of this league is to im-
prove conditions of working women and children
as to hours, wages, etc.
(9) Woman's Municipal League of New York,
19 East Twenty-sixth Street. Bulletin 50 cents per
year. A society interested in civic improvements.
OTHER PUBLICATIONS
I. Magazines:
(1) "Teachers College Record." $1.00 per year.
Address "Teachers College Record," Columbia
University, New York. Devoted to discussion of
educational problems.
(2) "Elementary School Teacher." Published by
University of Chicago Press, Chicago. $1.50. De-
voted to discussion of all phases of work of the ele-
mentary school.


PROGRESS IN THE DOMESTIC-ART FIELD 103
(3) "Manual Training Magazine." $1.50. Pub-
lished bimonthly by Manual Arts Press, Peoria,
111. Devoted to discussion of industrial-arts subjects.
(4) "The Survey," formerly "Charities and the
Commons." $2.00 per year. Published by Charity
Organization Society, Twenty-second Street and
Fourth Avenue, New York City. Deals with prob-
lems relating to the education and improvement of
the poor. All interested in philanthropic work and
social advancement will find this of great value.
(5) "The Craftsman." $3.00 per year. Pub-
lished by Gustav Stickley, 41 West Thirty-fourth
Street, New York City. Of help along art lines.
Many suggestions for interior decoration and design.(
(6) "The School Arts Book." $1.50 per year.
Published by Davis Press, Worcester, Mass. A
practical magazine for the elementary and high
school, with many suggestions for applied design,
and many articles of value to the domestic-art
teacher.
(7) "The House Beautiful." $1.75 per year.
Suggestive for those interested in the crafts and
interior decoration.
(8) "The Ladies' Home Journal." $1.50 per year.
Published by Curtis Publishing Company, Phila-
delphia.
(9) "The Woman's Home Companion." $1.25
per year. Many suggestions in art needlework, sew-


104
DOMESTIC ART
ing, and dressmaking. Published by Crowell Pub-
lishing Company, New York City.
(9) "Good Housekeeping." $1.50 per year. Pub-
lished by Phelps Publishing Company, Springfield,
Mass. Articles of interest in relation to dress and
good housekeeping generally.
(10) "The Outlook." $3.00 per year. 287
Fourth Avenue, New York City.
(11) "The Educational Review." $3.00 per year.
Published by Educational Review Company, Colum-
bia University, New York City. Devoted to discus-
sion of topics of general interest in educational field.
II. Government Reports:
United States Department of Agriculture:
(1) "Farmer's Bulletins." Free distribution with
some exceptions. Address, Division of Publications,
Washington, D. C. Of great value to students of
domestic art and science. Many papers on wool,
silk, cotton, sheep, etc., of value in study of textiles.
(2) "Annual Reports of the Department of Agri-
culture." Division of Publications, Washington,
D. C. Textile crops and experiments are treated in
these reports, as well as other agricultural reports.
(3) "Reports of the Smithsonian Institute," Wash-
ington, D. C. The reports on ethnological subjects
of value in study of primitive life, industries, and
textiles.


PROGRESS IN THE DOMESTIC-ART FIELD 105
(4) "Reports of the Commissioner of Education,"
Department of the Interior, Washington, D. C.
These are issued every few years, and are of great
value to students of education in general, or of
particular fields.
(5) "Reports of the United States Commissioner
of Labor," Washington, D. C. Of value to those
interested in problems of economics, the wage-
earner, etc. Some of the back numbers are of great
interest and value, especially on technical and
industrial education.
III. Foreign Publications:
"Reports of Dr. M. Sadler for the English Gov-
ernment." Volumes X and XI are devoted to his
Study of American Education. Volume IX, German
Education. May be obtained from G. Seiler,
1228 Amsterdam Avenue, New York City. Price
80 cents each. Of value to those wishing to study
the system of, schools of the United States com-
paratively.
"Report by Alice Ravenhill on the Teaching of
Domestic Science in the United States." Commis-
sioner for Board of Education of Great Britain, 1905,
374 pages, price 75 cents.
IV. Publications of the American School of Home
Economics: M. Le Bosquet, Director, 610 West
Sixty-ninth Street, Chicago. Correspondence courses


106 DOMESTIC ART
for home-makers, teachers, social workers, and for
institutional managers. Special text-books and
library facilities.
V. Books:
A small selected bibliography will be added at the
close. To keep in touch with new publications,
consult lists of new books added to respective public
libraries. Send to the leading book-publishing con-
cerns for their monthly lists of new publications,
especially along educational lines. Notice the adver-
tisements of new books in the back of the current
educational magazines suggested above.
VI. Publications of some of the textile schools
and associations are of value in study of textiles.
"National Association of Wool Manufacturers'
Quarterly Magazine," devoted to the interests of
the National Wool Industry. Office, 683 Atlantic
Avenue, Boston, Mass.
The New England Cotton Manufacturers' Associa-
tion, International Trust Building, 45 Milk Street,
Boston, Mass.
Draper Company. "Cotton Chats." Published
by Secretary, Hopedale, Mass.
Lowell School publications.
VII. Catalogues of new schools, giving domestic
art and science subjects, may be suggestive, or those


PROGRESS IN THE DOMESTIC-ART FIELD 107
of old schools of note, that are constantly adding
new subjects of interest along these lines.
Another means of keeping in touch with progress
in this field is by attending the annual meetings of
the educational associations mentioned. Much in-
spiration may be gained in this way. School exhibits
are also of great help, and the educational divisions
of State fairs or expositions furnish many sugges-
tions. The teacher of domestic art must be alert and
alive to all progress of events about her. Clubs of
teachers interested in domestic-art subjects may
meet for discussion and much benefit be derived if
the meetings are conducted seriously and systemat-
ically.


PART II
DOMESTIC ART IN THE ELEMENTARY
SCHOOL
CHAPTER VIII
DIVISION OF SUBJECT-MATTER FOR THE ELE-
MENTARY SCHOOL
Some line of domestic-art work may be presented
in every grade of the elementary school. As it is
constructive generally placed in the school curricu-
giveninTeany lum it: means sewing and its allied sub-
every grade. jects, or often sewing alone in the
fifth, sixth, seventh, and eighth years of the graded
school.
Some constructive work of an industrial nature is
now generally given in all grades of the elementary
school. Arguments for its introduction have already
been given. Froebel in the kindergarten has pre-
sented theories that may well be advanced along
higher lines of education. Hand-work and doing
108


DIVISION OF SUBJECT-MATTER 109
are the keystones of the kindergarten work. The
paper-cutting, pasting, sewing, clay, all the various
occupations are avenues for self-expression as well
as the gifts, songs, and games which furnish further
opportunity for doing and thinking, or the self-
activity of the child.
When the child enters the kindergarten and begins
his school career, he faces the accumulation of the
knowledge of the world. All this is his inheritance
to which he has a right. The work of education is
to bring the child to his rightful possession of this
inheritance, and the work of the school to plan it
in such a way that the school as one institution
of society may do its share in bringing about this
education. The kindergarten is the first stepping-
stone and through its various lines of work—games,
songs, stories, gifts, and occupations—opens to the
mind of the child in a simple way some of the won-
ders of nature and of this complex world. The
point of contact is the home and the teacher leads
from this to the world of thought and action about
the child. Most of the interpretations are through
doing, and gradually the child is led to a compre-
hension of some of life's complexities. One may
say that domestic art almost begins in the kinder-


no
DOMESTIC ART
garten in a most simple way. Sewing and use of
the needle is one of its occupations. Furnishing of
a doll's house with paper furniture, rugs, curtains,
etc., is often undertaken, and simple talks in the
morning circle on textiles, as wool, silk, linen, and
cotton, often introduce the child to this field of
thought. Paper and rag weaving also furnish
another occupation and so we may trace the begin-
nings of domestic art from early to higher education.
Here, it is hand-work and only one of the many
kinds presented to little children who need change
and variety. The transition from kindergarten to
early grade work is often fraught with danger
because the transition to more formal work is not
more gradual. Hand-work and domestic art as one
branch of it should still continue and advance with
the child, offering new interests and difficulties and
helping to lead him to an interpretation of some
of the many wonders in the industrial world about
him.
Hand-work .in the elementary school has been
presented in many different ways. There have been
almost as many approaches as there are districts
or localities for its introduction. Hand-work as
the term is now generally used in the elementary


DIVISION OF SUBJECT-MATTER III
schods means the various lines of hand-work as in-
troduced in the first four grades of the elementary
school. From the fifth grade up, the
Many meth-
ods of ap- hand-work subjects are called specifi-
ntoe tajf- cally cooking, sewing, etc., for the girls,
work for the an(j 0faex lines of work, as wood-work-
lower grades.
ing, wood-carving, etc., for the boys.
All of these subjects are of an industrial or house-
hold arts nature.
The industrial work of the lower grades may in-
clude many lines of domestic-art thought, but should
not be confined to these subjects. The
Industrial .
work in lower ideals of the school or the plan of the
be^onflneVto curriculum of each grade will determine
be confined to
domestic-
branches.
domestic-art largely what and how much the teacher
can present. In the presentation of
certain lines of thought, the media of clay and wood
may more fitly be expressive than some line of do-
mestic art, as sewing, weaving, or spinning. Hand-
work as it is now given in the schools is approached
from several points of view. Some claim that the so-
called neighborhood approach is the only way, and
work along lines which make the child's immediate
needs and interests the centre or basis for planning.
Others claim that the organization of hand-work in


112 DOMESTIC ART
the lower grades should be planned along the lines
of social or racial development, and beginning with
the study of the activities of primitive people trace
their advancement through the different eras of
civilization, pastoral, agricultural, handicraft, and
factory eras. Another thought is that the child
should become acquainted with the essential proc-
esses of manufacture in the principal fields of modern
industry and that this industrial knowledge may be
presented partly through work with the hands, but
not entirely so. This curriculum should be worked
out by the grade teacher or head of the school so
that there may be as much unity of thought as pos-
sible and much saving of time. With the develop-
ment of this thought may come a simplified cur-
riculum. With the present stress put on vocational
training, the domestic-art phases of vocational work
for girls in the upper grades would be based on this
lower grade study of the essential processes of the
leading fields of industry. The girls would thus
have a knowledge of the textile field of industry and
the processes in the industries of spinning, weaving,
knitting, garment-construction, and sewing.
In some schools the hand-work is apparently
introduced in a hit-or-miss sort of manner, simply


DIVISION OF SUBJECT-MATTER 113
because it is hand-work or something for the chil-
dren to do and it is required by the controlling
board. This is the "fad" so often
Hand-work
may be a mere objected to and rightly. This aimless
"fad."
hand-work may be better than none and
undoubtedly is where it has a certain utilitarian value,
but there is scarcely any excuse for its being when it
is possible to present it in such a way as to connect
the thought of the development of industries with
it, whether the approach be from the neighbor-
hood point of view or along certain lines of primi-
tive life and industries. In the first four grades of
the elementary school many lines of industrial
thought may be given, to which the domestic-art
branches contribute quite a number. Little chil-
dren need change and variety, and the boys and girls
may be taught together during these early years.
There is every opportunity for originality and ver-
satility as the teacher works out her course of study.
This often falls to the domestic-art supervisor, but
more often to the supervisor of manual training.
The course of study should be worked out in con-
nection with the general curriculum and in con-
sultation with the grade teachers and head of the
school. With more ideal organization the develop-


DIVISION OF SUBJECT-MATTER 115
lines of work best adapted to help in presenting the
new ideas to the children and those fitted to be of
value in developing the child. This last, however,
is more largely a question of method than of se-
lection of subject-matter.
WORK FOR LOWER GRADES
Painting Coarse sewing
Drawing Dyeing, weaving
Paper cutting and folding Clay modelling
Pasting Cardboard
Simple woodwork Use of sand table
Stencilling and block printing Cooking
Selections should be made from these and adapted
to the children in carrying out the general thought of
the grade and in the planning of the course of study
for the lower grades.
These general lines of work include the domestic-
art subjects, which may be outlined more in detail
as follows:
DOMESTIC-ART SUBJECTS FOR THE ELEMENTARY
SCHOOL
The following subjects for all grades of the ele-
mentary school may be considered for selection in
the planning of work, regulated by age, grade, needs


n6
DOMESTIC ART
of locality, cost, ideals, relation to school study,
needs of home and schools, etc.:
(1) Articles of many varieties may be made by
the use of the following stitches: Basting, running,
stitching, back-stitching, overhanding, hemming,
blanket stitch, simple embroidery stitches, as Ken-
sington, cross, chain stitch, feather stitch, hemstitch,
couching, French knots, etc.
(2) Seams—plain seam, French, and flat fell.
(3) Patching—hemmed, overhanded, flannel; and
Darning—stocking darning, damask, and cashmere.
(4) Button-holes, plackets, putting on bands.
(5) Simple embroidery: use of stitches—chain,
catch, Kensington, feather, etc.; initials—embroid-
ered, applique; couching, etc.
(6) Textile work: weaving, study of materials, evo-
lution of textile industry, properties, uses, dyeing, etc.
(7) Cost of clothing: cost of dresses and trimming;
regulation of cost.
(8) Care of clothing, repairing, cleansing; color of
clothing; hygiene.
(9) Household art: decoration, furnishing of
rooms, color-work, design.
(10) Simple garment-making (under certain con-
ditions).
(11) Co-operation with grade work in history,
arithmetic, English, art, geography, etc., wherever it
can be done with service.


DIVISION OF SUBJECT-MATTER 117
DISTRIBUTION OF DOMESTIC-ART SUBJECT-MATTER
FOR SELECTION AS PART OF THE ABOVE
WORK FOR LOWER GRADES
Grades i and 2
(1) Making of simple articles, in keeping with
underlying ideals of the school and grade. Blanket
stitch on canvas, running, basting (applied to
articles).
(2) Simple textile study, including dyeing, weav-
ing, and simple comparison of textiles.
(3) Care of clothing.
(4) Furnishing of doll's house.
(5) Christmas gifts.
Grade 3
(1) Making of simple articles in keeping with
underlying ideals, using following stitches: Blanket,
cross, running, basting, chain, and stitching stitch.
(2) Continuation of textile study—simple evolu-
tion of spinning and weaving. Comparison of
textiles.
(3) Care of clothing.
(4) Designing of letters and other designs, accord-
ing to articles selected.
(5) Christmas gifts.


n8
DOMESTIC ART
Grade 4
(1) Making of simple articles in keeping with
underlying ideals, using following stitches: Hem-
ming, couching, overhanding, two runs and back-
stitch, in addition to stitches in Grade 3.
(2) Designs made for articles; color-work; design-
ing pillows and table-spreads for applique.
(3) Doll dressing; free cutting of patterns.
(4) Christmas gifts.
(5) Simple crocheting and upholstery.
Crude work along all these lines should be ex-
pected from young children, but the teacher should
not be surprised if occasionally she receives unex-
pected results. An occasional child will contribute
something far beyond those of average ability, but
under no circumstances should the children be
forced to do fine or accurate work.
By the time the fifth grade is reached greater
accuracy should be expected and demanded along
any line of hand-work pursued. If it is not de-
manded at this time, the pupils will form slovenly
habits of action which are not likely to be corrected
later. At this point the hand-work may be divided,
the girls receiving instruction in sewing and cooking
and the allied subjects, and the boys in woodwork,
metal, etc. If the plan is to introduce vocational
work in the seventh, eighth, and ninth grades, then


DIVISION OF SUBJECT-MATTER 119
the first six years may be planned with this idea in
view. Plans for courses of study in the grades will
be discussed in another chapter on the factors
involved in planning a course of study.
DISTRIBUTION OF DOMESTIC-ART SUBJECT-MATTER
FOR SELECTION FOR THE FIFTH, SIXTH,
SEVENTH, AND EIGHTH GRADES
Grade 5
(1) Making of simple articles, using stitches pre-
viously learned as review, and in addition: cross
stitch, feather stitch, and Kensington stitch.
(2) Designs for articles made.
(3) Doll dressing (costumes of particular study or
for modern garment-construction).
(4) Textile study; weaving of rugs as co-operative
work, in order to learn parts of loom.
(5) Christmas gifts.
(6) Simple embroidery.
Grade 6
(1) Making of articles, using stitches learned in
grades below, and in addition: French seam, placket,
and putting on band, button-holes, and stocking-
darning.


120
DOMESTIC ART
(2) Textile study—comparative study of wool,
cotton, silk, and flax, applied to purchase, use, etc.,
of articles made.
(3) Designing for articles.
(4) Clothing—best and most healthful kinds.
(5) Christmas gifts.
(6) Simple embroidery.
(7) Biography of textile inventors—Eli Whitney,
Arkwright, Crompton, etc.
(8) Simple machine-work (where circumstances
would necessitate the child's leaving school at end
of elementary school course).
(9) Simple knitting.
Grade 7
(1) Making of articles using work of other grades
in review, and in addition: button-holes, herring-
bone and feather stitch.
(2) Simple embroidery.
(3) Christmas gifts.
(4) Textile study: discussion of early industries
and evolution of their manufacture.
(5) Economical buying and cutting of materials.
(6) Design—in relation to things made.
(7) Simple machine-work (where circumstances
would necessitate the child's leaving school at end of
elementary school course).
(8) Crocheting of articles.


DIVISION OF SUBJECT-MATTER 121
Grade 8
(1) Making of articles, using stitches previously
learned.
(2) Repairing, patching, and cleansing of garments.
(3) Making simple garments.
(4) Simple embroidery: towels and table linen—
initials, hemstitching—doilies.
(5) Textile study: quality, width, cost of materials.
(6) Study in color and design applied.
(7) Christmas gifts.
(8) The home—furnishings, order, beauty.
(9) Discussion of the relation of the girl to factory
life, sweatshop labor. Consumers' League, etc.
Development of social consciousness.
The subject-matter suggested for Grades 6, 7, and
8 may be too advanced for some localities and not
sufficiently so for others. This should be adjusted
to suit needs and would also depend on how many
years may be devoted to domestic-art study.
References for Study
"A Sewing Course," Woolman. 1910 edition.
"Teachers College Records." November, 1901; Janu-
ary, 1906; September, 1906; January, 1907; May, 1907.
Courses of Study of Public School Systems.
"The Place of Industries in Elementary Education," K. E.
Dopp.
"The School and Industrial Life," James Earl Russell,
"Educational Review," December, 1909.


CHAPTER IX
THE FACTORS INVOLVED IN PLANNING A
COURSE OF DOMESTIC-ART WORK FOR
THE ELEMENTARY SCHOOL
Before a teacher can decide what is the most
valuable and profitable domestic-art work for the
, . . children in her charge, she must fully
The relation of b' J
domestic-art comprehend what is meant by the many
subject-matter
to general ed- lines of thought which go to make up
ucation. . .
that mass of subject-matter. Then, too,
she must understand the conditions or factors which
will most assuredly affect her selection of material.
The subject-matter of domestic art has been fully dis-
cussed in previous chapters. The child has a right to
his inheritance and the possessions of learning which
have come down to him from past ages, from the
fields of literary, religious, scientific, institutional,
and aesthetic learning. The institutions of the home,
church, state, school, and society must interpret
these riches to him and develop all sides of the
123


THE FACTORS INVOLVED
123
child's nature. When we examine the many
branches to which he is heir, we discover that the
field of scientific and aesthetic learning, which may
be interpreted partly through doing, is not the least
part of his rightful inheritance, for the power to do
and act is surely the indication of a liberal educa-
tion. Domestic art is one phase of the "doing"
inheritance which comes to our girls and but a small
part of the full inheritance to which they have a
right. Teachers of this subject so often feel and
act as if domestic art were the whole curriculum
and do not see its relative importance. It must
be given its proper amount of time, but not to
the neglect of other studies, and in selecting the
best subjects from this field of work for her class,
the teacher must know not only what the possi-
bilities of subject-matter are, but must see their rela-
tion to the broad field of education and the factors
which will naturally affect the choice of material. As
subject-matter has previously been discussed, we may
turn to consider the factors involved in selection.
The teacher must know something of the physical
and psychological nature of the child be-
ne child.
fore her. If she understands the physi-
cal nature, she will be careful to adapt her work to


124
DOMESTIC ART
the physical development of the child. There will
be no demand for fine results where there is not
the development of the proper co-ordination of
muscles to make the fine adjustments. The defects
of eyesight and any physical troubles will be noted
and the work planned accordingly. In schools for
defectives, this would be a very important factor in
planning any course. The psychical nature must
also be considered; the laws governing interest,
memory, apperception, habits, etc., if understood,
will be a guide to the teacher in selecting, planning,
arranging, and presenting the course of study.
The environment and locality will most surely
affect and influence the planning of a course. Is it
Locality and fair to suppose that work planned to be
environment. of yalue an(j m£et the needg or children
in a district school will be appropriate or of most
value to children in a select private school or in the
Chinese or Italian quarter of a public school system
of a large city? So each course must vary to meet
the needs of the children for whom it is intended.
The industries of the locality, the peculiar conditions
of the pupils, environment at home and at school,
all are factors in determining what the choice of
subject-matter is to be. Each locality with its par-


THE FACTORS INVOLVED
127
mentary schools is to send their boys and girls on to
high school to continue their education, while others
realize that the children of their particular locality are
forced to labor when the elementary course is com-
pleted or even before, and must be given all the
possible help during that short period. When the
domestic-art teacher realizes the different aims, she
will plan her work so as to give to each group that
which will be of greatest value as each proceeds into
business or higher school work. This may often
mean the introduction, for instance, of machine-work
quite early in the grade school, perhaps in the
sixth or seventh year.
The introduction of vocational work into the
upper grades of the elementary school is one of the
Vocational difficult problems which those dealing
must surely come, considering the large percent-
age of children who drop out of school at the close of
the elementary school and before, and those who
continue their high school training for a short
period only—for one or two years. The plan pro-
posed by the City Club of New York for the read-
justment of the years of study in the New York
tendencies
must be con-
sidered.
with the courses of study must face in
the near future. The readjustment


THE FACTORS INVOLVED
129
early as the seventh grade would mean the read-
justment of the domestic-art course of study, or those
trades centring in the needle.
The social aspect of work should also govern the
domestic-art teacher in her plans. She should know
The social the home needs and conditions of her
aspect. particular children and should see the
connection that it is possible to make with the
school. There is a big question of economy of time
right here. It is certainly not economical of the
pupil's time for a teacher to present those things, for
instance, which the child may be learning well at
home. Again, greater interest is taken if the prob-
lems to be made are of value in the home or fit
into the school needs of the children. The social
needs of'the locality may afford opportunity for the
children to be of help and assistance to the hospitals,
asylums, etc., by furnishing certain work for these
institutions. In institutions of various types the
needs may be so great as to furnish occupation for
all the domestic-art pupils. These and other social
aspects should determine the teacher's plan of action.
The question arises very often, who is to direct
this work—a trained specialist, or shall it be left to
the grade teacher to work out under the direction of


130 DOMESTIC ART
the head of the school? The answer to this ques-
tion surely enters as a factor in the planning of the
hand-work for the lower grades and the
Who is to 6
direct the household-art work of the upper grades.
domestic art? . ....
The trained specialist is needed to see
the breadth of the field and to make the proper
connections, but with training the grade teacher
may be able to give the industrial work of the
lower grades.
With these numerous factors before us as influ-
encing our plans and a good understanding of the
what shaii be neld of subject-matter of domestic art,
presented? there should be no difficulty in planning
a good course of study. The question so often
arises, what is the best thing to present, what shall I
give to my children? It is easily answered. One
cannot give all of the subject-matter as outlined, but
one can choose from it that which will be of the
greatest possible help to the group under one's care.
There is another thought for consideration in the
shall it be planning of the course of study—shall
iemseIorPr°b that course be a mere formal presenting
£oSSWith of a number of problems or shall it
content? nave the thought content which is to
make it of greater value?


132
DOMESTIC ART
OUTLINE I
Student Plan
Course of Study for Grades 1-4, illustrating the use of
many lines of hand-work, of which sewing forms a part.
Local Conditions
Location.—Rural school in northern New York.
Instruction.—By grade teacher.
Time.—Twenty minutes daily for class work, but children
will have spare time during session and outside of school
hours for completing work begun in class lesson.
Materials.—The school board will furnish only drawing and
manila paper. It is not interested in hand-work and will
allow no appropriation for other materials. The people
of the district have given no attention to the subject, so the
teacher will have to interest the children sufficiently to have
them contribute a little money for materials which will need
to be bought, and to bring from home scraps of cloth, paper,
etc., as they are needed in the work. The people are farmers
and nearly every house will have abundance of pieces in the
store-room. Most of them will also give the children a few
cents at a time when they see them much interested. The
teacher herself may have to contribute.
Number.—There will be about twenty children in the school.
Grouping.—Grades 1 and 2 will work together. Grades 3
and 4 will work together.
Aim
To form taste for home life, to arouse the aesthetic faculty,
to broaden the outlook on life.


THE FACTORS INVOLVED
J33
Subjects
Drawing.—Usually on Tuesday and Thursday. Preceding
Christmas the days may be changed to accommodate the
kind of work being done. Paper furnished by school board,
colored crayons and pencils by the children.
Hand-work.—Remaining three days.
Sand table.
Paper-folding, cutting, construction.
Simple sewing and weaving.
Grades i and 2
furnishing doll's house
The greatest possible economy must be used, therefore
scraps of material which children can bring from home—
without expense to family—must be utilized. All the furni-
ture will be made from manila paper, the children varying
the style of chairs, etc., according to the rooms and their
original ideas.
Scissors, needles, thread, thimbles will be brought from
home.
SEPTEMBER
Drawing.—Grasses and fall flowers—attention given to
direction and character of growth.
Sand table.—Lay out farm—hills, meadows, fields, pasture,
orchard, pond or stream, sites for house, barns, etc., fences,
rail and wire (thread can be used for wire, twigs for rails and
posts).
House.—A good-sized box will be found either at the school
or among the farmers. Partitions can be put in by older
children or teacher.


134
DOMESTIC ART
Plan rooms.—Downstairs—parlor, dining-room, kitchen;
upstairs—two bedrooms.
Paint.—Outside.
Inner walls.—Kitchen—paint—why? Other rooms—paper.
Children can bring remnants of wall-paper from home. Dis-
cuss color, style, etc., most suitable to each room. Children
can select from papers brought. Use either entire pattern or
selections as best adapted to rooms.
Floors.—Kitchen—paint—easily cleaned. Other rooms—
stain. Paints and stain will probably have to be bought.
ECTOBER
Drawing.—Fruits, vegetables, autumn leaves—work for
pleasing arrangement.
Furnishing of House.—Each child can make every article.
What are necessary may be given to the house, and the others
taken home. Those giving to the house may make a second
for themselves.
Kitchen.—First, because most important room in farm-
house. Chairs, table, cupboard—fold, cut, paste—cut legs,
doors. Stove—use black paper if possible; if not, mark for
lids and doors. Roll paper for pipe.
Dining-room.—Chairs. Table.
NOVEMBER
Drawing.—Vegetables, Thanksgiving subjects and illustra-
tions. Design borders for rugs.
Sideboard for dining-room.
Rugs.—Weave square mat from kindergarten papers. Plan
rugs—colors for different rooms, borders on ends, materials.
String small piece of cardboard with holes for kitchen rug.
Warp—heavy thread or yarn.


THE FACTORS INVOLVED
135
Woof—rags.
Sand table.—Story of Pilgrims—sea, rocky shore, Plymouth
Rock, snow-covered land, forest, ship on sea, etc.
DECEMBER
Drawing.—Christmas subjects and illustrations.
Rugs.—Large for floors of all rooms except kitchen.
Looms.—Four strips of wood—tacks to hold warp threads.
Sticks and tacks can be found in any country home—older
children can nail them.
Dining-room.—Rags brought from home for this rug.
Parlor.—Some children will have macrame- cord at home, if
not, buy. Use for parlor rug.
Bedrooms.—One of rags, one of cord.
String looms.—Weave—the rugs for the four rooms can be
divided among the children according to the suitableness of
the material they bring.
Christmas gifts.—Sachet bag—kindergarten weaving papers
—cotton filling—powder.
Calendars.—Cardboard with holly design—tiny calendar
pasted on—tie with red ribbon.
Toy Christmas tree.—Spool for standard, green tissue paper
for trunk and leaves.
School Christmas tree.—Colored paper chains.
JANUARY
Drawing.—Christmas scenes, stories, and gifts. Winter
games and sports.
Doll House.—Bedrooms.—bedsteads, chairs, washstands,
bureaus, one cradle.
Mattresses.—Pillows—heavy cotton cloth—fill with cotton
batting—running stitch.


136
DOMESTIC ART
Talks on cotton plant and manufacture.
Sheets.—Fine cotton—run hems.
FEBRUARY
Drawing.—Illustrate stories—subjects relating to Lincoln
and Washington.
Doll House.—(1) Pillow cases.—Fine cotton—run hems—
care of mattress and pillows.
(2) Blankets.—White flannel from home—blanket stitch in
mercerized cotton or yarn as children may have.
Care of blankets.
(3) Wool.—Growth, manufacture.
(4) Comfortable.—Cheesecloth—blanket stitch edges—tie.
Valentines.—Make simple valentines from drawing-paper
and colored paper for decoration.
MARCH
Drawing.—Illustrated stories—objects of the season, kites,
etc.
Doll House.—Bureau scarfs and washstand covers fancy
muslins—run hems.
Parlor.—Chairs, table, couch.
Couch cover.—cretonne, denim, canvas, etc., as children
may bring. Blanket stitch on edge.
Cushions.—Bits of silk, denim, cretonne, etc.—fill with
cotton—running stitch.
APRIL
Drawing.—Spring growths—catkins, pussy-willows, etc.—
Easter lilies, rabbits, etc.
Doll House.—Window curtains for whole house—fancy
muslin or net as children may wish.


i38
DOMESTIC ART
Snow-shoes.
Cradle-board.
Quiver.
Moccasins.
Make and dress Indian doll—heavy cotton for body—stitch
—fill with sawdust—trousers, coat, headpiece—running stitch.
Weave Indian blanket—yarn—heddle.
DECEMBER-JANUARY
Tropical Home
Drawing.—Christmas illustrations, games, gifts, stories.
Life in tropical homes.
Sand table.—Palm trees—green and brown tissue papers.
Huts—sticks wattled with raffia or hay.
Weave mats of straw for roofs.
Raffia braided mat.
Hammock of cord.
Christmas gifts.—Button bags—denim, canvas, cretonne, as
children may have—stitch sides, run hem at top—may put on
design in chain stitch.
Picture frame—cardboard with raffia wound over it.
Calendar—similar to those in i and 2.
School Christmas tree—bell forms marked, cut, strung, red
tissue paper.
Lanterns—red paper.
FEBRUARY
Esquimau Home
Drawing.—Winter subjects—Lincoln, Washington—Make
cover for a Lincoln-Washington book—make a single valen-
tine.


THE FACTORS INVOLVED.
139
Sand table.—Esquimau village—rock-salt for snow. Dress
Esquimau doll in bits of fur—sled of wood.
Sewing.—Dust cloth—turn, baste, cross-stitch—proper use
of.
MARCH
Japanese Home
Drawing.—Appropriate to season—attention to grouping—
Japanese objects—lantern, parasol, fan, etc.
Sewing.—Make kimono for doll—seams, running, hems,
chain-stitch.
Iron-holder.—Denim, cretonne, etc., as children may have.
Baste edge of each side—fold and baste interlining. Baste
edges together. Blanket stitch edge.
APRIL, MAY, JUNE
Drawing.—Spring growths. Easter cover for nature book.
Sewing.—Hand towel—linen—turn, baste, run hems. Care
of. Talks on flax and linen.
Bean-bag—heavy cloth—stitch.
Textile charts.
Window racks and plant sticks.
Cost of Materials not Brought from Home
Grades 1 and 2
Colored crayons (10 cents a package) $1.00
Paint and stain 50
Kindergarten weaving paper 20
Macrame- cord 10
Sachet powder 25
Calendars 10


140 . DOMESTIC ART
Cardboard calendars 05
Ribbon 10
Tissue-paper—green 02
Paper for tree chains 05
Total $2-37
Per child
Grades 3 and 4
Colored crayons $1.00
Raffia 20
Cord 20
Calendars 10
Tissue paper 05
Valentine paper 10
Cardboard for calendars 05
Ribbon for calendars 10
Total $1-80
Per child 18
Note.—The above plan of student's work illustrates what can be ac-
complished with little money.


THE FACTORS INVOLVED
141
OUTLINE II
Student Plan
New York City Free Private Grade School.—General course
parallel to public grade school.
Locality.—Poor neighborhood—most of the children go to
work at the end of the elementary school.
General Aim.—To connect with the home and neighborhood
to raise the standard of living.
Some Ideas which Control the Course of Study
Grade I {fifty minutes per week)
(1) Some underlying ideas.—Home life and surrounding
occupations.
Fall.—Farm life. Sand-table work. Houses, barns, sheds,
fences, wagons, farm-animals. Materials of many kinds
used.
Farm life. A link extending to grocery, bakery, dairy, meat-
market.
Winter.—Study of a typical home of the neighborhood
(apartment). Drawing, block-building, furnishing a play-
house, activities of the home, dusting, cleaning, care of cloth-
ing. Care of play-house and some care of schoolroom fur-
nishings.
(2) Clothing and shelter.—In relation to activities of home.
Emphasize care of clothing; materials of which clothing is
made: cotton, silk, flax, wool. Where comes from (very ele-
mentary discussion of relation between plant or animal and
finished product).


142
DOMESTIC ART
(3) Some underlying ideas in carrying out following things
to be made.—Crude results are expected. The aim is to make
the child as creative as possible through use of principles
taught.
(a) Paint cloths—basting.
(b) Canvas work—blanket and running stitch, napkin ring,
etc.
(c) Cord work.
(d) Making of simple articles for play-houses—bedding, cur-
tains, table covers, etc.
(e) Farm life:
(1) Basket.
(2) Meal bag.
Grade II (fifty minutes per week)
(1) Some underlying ideas.—Home life and surrounding
occupations. Comparison with lives of primitive people.
Fall.—Farm life as related to our fall activities in the home.
Farm visited, fruit gathered and preserved for winter. Fall
housekeeping problems.
Winter.—In place of a play-house, a "real" room (rest-
room or living-room, third floor) to be partially furnished and
cared for.
Esquimau children's activities, those of early man and
American Indian, compared with our lives.
(2) Clothing and shelter.—Comparison of clothing of primi-
tive and modern people; of what made; how; tools used;
names of materials—bark cloth shown; practice in elemen-
tary spinning and weaving. Care of clothing at home. Prac-
tical work in simple household decoration.
(3) Some underlying ideas in carrying out things to be made.—
To make the child creative through the use of ideas and prin-
ciples taught.


THE FACTORS INVOLVED
143
(a) Paint cloths—basting.
(6) Canvas needle-book.
(c) Pin-cushion.
(d) Christmas stockings.
(e) Iron-holder.
(J) Bean-bags.
(g) Fitting up sitting-room (co-operative work).
Qi) Overshoe bags.
(i) Weaving.
Grade III (One hour forty minutes)
(1) Some underlying ideas.—Study of neighborhood occupa-
tions. Comparison with some primitive people.
(a) Farm life. More intensive study. Dairy farm; truck-
garden; cultivation of fruits and cereals.
Large distribution centres—milk-depots; beef storage house;
freight station; wholesale vegetable market.
(6) Comparison of modern agricultural and pastoral
methods with those of Eastern shepherd and Pueblo Indian.
(c) Beginnings of local history.
(2) Clothing and shelter.—Relation of farm life to clothing.
Comparison with that of Eastern shepherd and Pueblo Indian.
How and where made. Simple processes of spinning and weav-
ing in advance of the second grade. Use of heddle and other
tools in evolution of these arts. Local history in relation to
arts of spinning and weaving and production of clothing. Care
of clothing.
(3) Some underlying ideas in making of following articles.—
Relation of things made to home and school interests. Crea-
tive side of child nature to be developed; care in threading of
needles, position, thimble, knotting thread.
(a) Needle-book—canvas.


144
DOMESTIC ART
(b) Hand towels—running. Emphasis on threading, knot-
ting, holding needle.
(c) Paint cloths.
(d) Pin-cushions—canvas.
(e) Shoe bags.
(/) Paper dolls dressed.
(g) Textile chart: (i) Comparison of textiles, (2) adapta-
tion to use.
Grade IV (One hour forty minutes)
(1) Some underlying ideas.—More definite study of New
York City as a whole.
Main study: Some of the causes which led to its prominence
and which tend to maintain it.
Some study of various nationalities represented here.
Some study of the commodities sent from other lands.
Stories of sea-faring people of long ago (in connection with
navigation). Norsemen, Phoenicians.
New York architecture—buildings, bridges, streets.
Stories of Greece and Rome, suggested by a simple study of
political city organization.
Housework—cooking, setting of table, care of rooms, care
of clothes. Basis is found in trying to make the child his
mother's "helper."
(2) Clothing and shelter.—Study of Greek and Roman dress.
Arts of spinning and weaving as done in Greece and Rome;
materials used.
Commodities for clothing sent from other lands. Produc-
tion in New York—where—how.
(3) Some underlying ideas in making following articles.—To
inspire child to be mother's helper in home. Special atten-
tion to proper use of tools in sewing; correct method of
hemming.


THE FACTORS INVOLVED
145
(a) Paint cloths.
(b) Pinball (2 circles overhanded; initials in chain stitch).
(c) Hand-towels—hemming.
(d) Christmas gifts, penwiper.
(e) Clothespin bag.
(J) Cover slips for home work.
(g) Cushion top—design transferred—painted—couched.
(h) Stuffed animals for stitching stitch.
Grade V (one hour a week)
(1) Some underlying ideas.—The dramatic development of
our country.
Discovery and Exploration.—Present geographical knowl-
edge compared with that of people of the fifteenth century.
India, and the wonderful stories told about the East by
the Crusaders.
Period of Colonization. (Up to the time of the quarrel with
England.)
Typical colonies studied. New England, New Amsterdam,
Southern Colony.
Biography. Brave men who helped build our country.
Housework.—Learning to be helpful at home, continued
from Grade IV.
(2) Clothing and shelter.—How made—beautiful fabrics—
simple tools. Columbus bartered for cotton. Materials and
clothing in use in East. Herodotus's description of Indian
cotton. Early travellers' story of cotton as animal. Biogra-
phy: Eli Whitney, Arkwright, Hargreaves, Crompton, etc.
(3) Some underlying ideas in making following articles.—Cre-
ativity on part of child centring about helpfulness in home.
More careful work required—neatness, accuracy. Correct
position of body, tools, and work. Discussion of cost and


146
DOMESTIC ART
kind of materials used. Economy in buying and cutting.
Care of materials and tools.
(a) Duster—cross stitch.
(b) Pinball (design in Kensington stitch).
(c) Christmas gifts.
(d) Laundry bag (feather-stitch).
(e) Doll dressing—simple notion of drafting and of gar-
ments in use.
(/) Furnishings for doll's bed.
Grade VI (one hour a week)
(1) Some underlying ideas.—The development of the nation
to the time of the slavery troubles and the division of the
Union.
Modern and immediate life remains the key-note here as in
previous grades. The past is drawn upon to illumine the
present. Problems of transportation, industrial development,
and economic growth will be viewed from the stand-point of
the present.
Literature will deal largely with stories of heroism and
chivalry. History and literature will frequently, though not
always, supplement each other. The mythical element still
appeals to this age, and the myths and sagas of the Northland,
the German tale, will be treated as carefully as will the purely
biographical material. Lives of great men studied: George
Washington, Benjamin Franklin, Daniel Boone, Alexander
Hamilton, John Paul Jones, Thomas Jefferson.
Housework—Girls.
Shopwork.—Boys.
Geography of South America and Europe.
(2) Clothing and shelter.—Districts located where clothing
materials are produced. Manufacture of clothing in South


THE FACTORS INVOLVED
147
America and Europe at this period. Now—where—history of
it. Development of spinning and weaving. Economic rela-
tion in United States between production of materials North
and South. Their transportation, location of mills and fac-
tories. Cotton, time of slavery. Silk, wool, flax.
(3) Some underlying ideas in making following.—Careful
work—knowledge of home things—helpfulness and use in
home, neatness, accuracy. Machine work started. Discus-
sion of simple machinery. Economic cutting, and buying of
materials. Care of tools. Patterns made for skirt. Collec-
tion of cotton and wool materials to be mounted in book for
use in grade.
(a) Cuffs (cooking costume).
(b) Needle-books.
(c) Christmas gifts.
(d) Darning.
(e) Ironing-board cover. (Machine work.)
if) Cooking apron. (Machine work.)
(g) Skirt. (Machine work.)
Grade VII (one hour a week)
(1) Some underlying ideas.—As in Grade VI. The develop-
ment of the nation is treated as a retrospect. The present
must be illumined. History is continued, up to the current
history, in the making.
Geography deals not so much with familiar conditions.
Asiatic and African lives are contrasted with our own.
(2) Clothing and shelter.—Processes in manufacture and
making cloth. Printing, dyeing, bleaching. Removal of
stains from clothing—care of clothing.
(3) Some underlying ideas in making following.—'Home life
and interests of girl as centre. Social consciousness to be


148
DOMESTIC ART
developed through making for others besides those in home.
Economy in buying and cutting. Use of patterns. Neat-
ness, accuracy. Collection of materials, silk, and flax, for
mounting in book. Hygiene of clothing—dressing of a
baby.
(a) Broom cover.
(b) Crocheted slippers.
(c) Jelly bag.
(d) Pot lifter.
(c) Combing towel.
(J) Baby wrappers.
Christmas gifts for those who have time to make them.
Grade VIII (one hour a week)
(1) Some underlying ideas.—Main study: How other coun-
tries influence our development.
Civics furnish the point of departure for a study of Greece
and Rome.
Social and economic conditions of western Europe which
influence us most strongly. The development of guilds, trade
unions.
(2) Clothing.—Discussions. Development of factory life
and conditions. Relation of old guilds to industries. Sweat-
shop labor, Consumers' League (continuation of idea of
development of social consciousness starting in 7th grade).
Economy through care of clothing by repair, remaking,
etc.
(3) Some underlying ideas in making following articles.—
Home life and personal interests of girl considered. Use of
patterns, care, and neatness in machine stitching. Economy
in buying and cutting. Collection of samples of lace edges
and insertions. Cutting lessons in paper (plaid).


THE FACTORS INVOLVED
(a) Hemstitched towels (lettering).
(6) Patching begun.
(c) Christmas gifts.
(d) Remainder of patching.
(e) Drawers or petticoat.
(/) Shirtwaist.


OUTLINE III
This outline is suggestive of what might be presented if the aim of the elementary course of
study is to give the children a knowledge of all the fields of industry. The following is illustrative
of the domestic art or textile phases for the first six grades, to be followed by a vocational course
in the 7th, 8th, and 9th grades.
I. TEXTILES
General Aim.—Greater efficiency through participation in the activities of social life that are
found in this field of industry.
Grade I (Time, 25 hours)
Central Ideas.—To group work about the home activities. The furnishing of the doll's house
provides opportunity for study of textiles in relation to home use.
THOUGHT CONTENT
Use of napkin—care—stitch—blanket.
Use in home—care—cleanliness.
Stitches—basting and running.
PROCESSES AND PROJECTS
Origin of cotton material.
I. Sewing—(16 hours).
(1) Napkin ring.
(2) Dust cloth.


(3) Bedding for doll's house.
(a) Sheets.
(6) Pillow cases.
(c) Mattress.
(d) Blanket.
II. Garment-making—(4 hours).
Paper dolls.
III. Weaving—(5 hours).
Mat (for doll's house).
Care of bedding and bedroom.
Origin of wool—use for blankets. Elementary talks.
Origin of linen—for sheets.
Comparison of four leading textile materials.
Stitches, basting, running, blanket stitch.
Care of clothing.
Wraps in school.
Shoes—brushing—putting away.
Elementary discussion of the four leading textiles, as to use
for various articles of clothing.
Elementary discussion of process.
Terms warp, woof, and selvedge.
Floor covering, care, and cleanliness.
Note.—Crude results are expected. The aim is to give an understanding of process and to
make the child as creative as possible through use of principles taught.


Grade II (Time, S0 hours)
Central Ideas.—To again group about home activities, but in advance of the play method of
Grade I; to deal with actual situations, as rest-room to be furnished and cared for.
Spool knitting compared with stocking knitting and flat
knitting. Comparison with machine projects. Com-
parison between knitted materials and woven cloth.
Discussion of origin of wool yarn and manufacture of yarn
by spinning; name of primitive tool.
Care of sewing tools—in home—place for everything.
Stitch: blanket stitch.
Care in schoolroom—stitch—running.
Tarleton stockings to be filled with popcorn for Christmas
tree.
Care in home—materials in use discussed as to method of
making—by weaving. Names of essential parts of loom.
THOUGHT CONTENT
Articles made given to day nursery.
RROCESSES AND RROJECTS
Thought of others.
Knitting (10 hours).
Horse reins or mats.
Sewing (30 hours).
Needle-book.
Paint cloth.
Christmas stocking.
Iron-holder.
I.
(0
II.
(1)
(2)
(3)
(S)


(5) Room furnishings (co-oper-
ative work).
Curtains.
Pillow covers.
Couch covers.
Desk cover.
Table cover.
Stitches: basting, running, overhanding, and blanket stitch.
Hygienic furnishings. Artistic use of materials.
Design: placing of furniture, hanging of pictures, etc.
(Very elementary discussion.) Order and beauty in the
home.
Making of articles for use in teacher's rest-room.
Discussion of care of rooms at home and simple decoration.
Comparison made with homes and materials of the primi-
tive peoples studied in their problems of securing shel-
ter and clothing. This for the purpose of laying a
foundation for the continued study of the industries of
materials.


Grade III (Time, S0 hours)
Central Ideas.—A study of neighborhood occupations. Relation of activities to life of child, at
home and in school.
Care of towels—in home—materials used for different kinds.
Stitches: basting, stitching, running, overhanding, and
Care of clothing—things in place. Names of materials
Care of tools in use—stitches used: basting, blanket, chain.
(a) Mounting on cardboard of samples of the four textile
materials and yarn. Talks on origin and manufacture
.
THOAGHT CONTENT
Turning of hems, basting and running hem.
used. Initials on bag in chain stitch.
Care of clothing; neatness in appearance.
RROCESSES AND RROJECTS
I. Sewing (and charts) (2S
chain stitches.
Design—placing of letters.
(3) Sewing on buttons.
(a) Comparison of four leading
of each.
(1) Kitchen towel.
(2) Bag for rubbers.
(S) Pencil case.
hours).
(5) Charts:
textiles.


(b) Processes of manufacture of
wool.
II. Spinning (6 hours).
Washing, drying, dyeing, card-
ing, spinning of wool in prepara-
tion for weaving.
Mounting results.
III. Weaving (10 hours).
(1) Small piece as mat, using
material spun.
(2) Co-operative rug, with ma-
chine-spun yarn.
(6) Mounting of materials and pictures showing processes of
manufacture of woollen materials and adaptation to use.
Evolution of spinning to use of wheels—spinning by hand by
children after individual experience in washing, carding,
dyeing, etc.
Use of vegetable dyes and modern dyes.
Demonstration of spinning on flax wheel.
Connection (very elementary) with modern process of spin-
ning by use of pictures and, if possible, visit to mill.
Material prepared and spun by individuals—used for mat
to be made for teacher's desk.
Process of weaving after construction of loom.
Names of parts, shuttle, heddle, batten, warp, woof, selvedge.
Rug to be made in sections to be sewed together for use
in teacher's rest-room.
Talks on how cloth is made to-day in factories.
Use of woven cloth for clothing.
Design—space relationship with stripe.


(2) School pennant.
(3) Rabbit.
(S) Table runner.
(5) Charts (5 hours).
(a) Origin and use of cotton
(3 hours).
(6) Co-operative chart (2
hours).
Processes of manufacture of
cotton.
Study of manufacture of felt. Use of pennant in school
games, stitching stitch—hemming and basting.
Stitching stitch, basting, and overhanding.
Care of pets. Gift for baby in home or day nursery.
Decoration in home—simplicity in relation to use.
Designs made in art class. Stitches used—hemming and
couching. Linen—origin—how made and transported.
Designs made by children.
Study of cotton, origin and transportation. Kinds of mate-
rial most common. Mounting on cardboard.
Talks on manufacture of cotton materials and thread,
mounting of pictures, visits to mills, if possible.


Grade V (Time, 30 hours)
Central Idea.—Modern industries in world relationships.
Stitches: Basting—combination, hemming—(French seam).
Care of clothing while working—neatness—use in cooking.
Stitches—basting, stitching, overcasting, and hemming.
Care of clothing. Buying of wardrobe. Economy and
suitability of clothing.
Mounting of samples on cardboard. Talks on purchase of
Stocking brought from home or furnished by teacher.
materials (cotton and wool), kinds, prices, and widths.
Care of clothing in home—neatness—economy.
Stitches—overhanding and basting. Design.
THOUGHT CONTENT
This work to come toward end of year.
(Use in shop.)
Giving—making for others.
PROCESSES AND PROJECTS
(1) Cuffs (girls', for cooking).
Sleeves (boys', for shop work).
(2) Christmas gift. Spool case.
(S) Repairing (hemmed patch)
Garment.
(5) Chart. Cost of cotton and
wool materials, uses, prices, and
widths.
I. Sewing (15 hours).
(3) Repairing.
Darning stocking.


Processes—seams, bands, gathering, button-holes, cutting of
patterns, fitting.
To give an understanding of the essential processes of gar-
ment-construction and modern conditions of manufac-
ture of clothing in workrooms and factories.
To dress boy and girl doll for children's playroom.
Machine work. Use and parts of machine—process.
Straight stitching and use of gauge.
Care of soiled clothing—care of tools. Design.
Stitches used. Basting in preparation for stitching.
Economy of time.
Grade VI (Time, 30 hours)
Central Idea.—Modern and immediate life in relation to industrial processes.
THOUGHT CONTENT
II. Garment Construction (15
hours).
(1) Doll dressing (co-operative
work).
Supplemented if possible with
additional articles.
I. Sewing (hand and machine
work) (2S hours).
Petticoat. Trousers.
PROCESSES AND PROJECTS
Dress. Blouse.
(1) Laundry-bag (girls).
Tool-bag (boys).
Girls. Boys.
Drawers. Coat.


I
>
H
U
O
H
Grade VI—Continued
RROCESSES AND RROJECTS
THOAGHT CONTENT
(2) Petticoat (girls).
Work apron and necktie (boys).
(3) Repairing of rents, sweaters,
patching trousers, darning rav-
elled edges, etc.
II. Weaving (6 hours).
(1) Colonial loom.
Rug—co-operative.
(2) Excursion to mill.
Modern spinning and weaving.
(3) Charts.
(a) Weaves of cloth.
(b) Printing of cloth.
Opportunity for further practice in stitching.
Talks on manufacture of clothing—great clothing industry.
Its economic bearing on life in New York.
Materials. Kinds used for particular purpose.
Care of clothing. Economy in care of wardrobe.
Demonstration for two hours to explain pattern, harness
and treadling. Loom set up and rug woven as extra
work as time affords opportunity.
Aim.—To show process of pattern weaving. Design.
Two trips with discussion to show modern spinning and
weaving.
To teach how pattern is made and controlled.
To give understanding of processes of printing of cloth.
Mounting on cardboards by individual children.


OUTLINE IV
Student Plan1
Course of Study
School.—Elementary, with vocational thought.
Grades.—7, 8, and 9.
Locality.—City.
Pupils.—Girls from families of moderate circumstances.
Aim.—To prepare girls for vocational life—(a) wage-earners, (b) home-makers.
Approach.—Home, and its connected fields. Presupposes sewing in fourth, fifth, and sixth
grades.
1 This student plan shows the kind of domestic-art work which might be given in the upper grades, where
vocational work is to be introduced.


Seventh Grade {Time, One and one half Hour Periods, Three Times a Week)
PRTCESS
THTCTHT COETEET
EST
TLATTE T THT
TISTT
Petticoat (plain with
tucked ruffle).
Drawers—
(Simple trimming
of embroidery.)
French seams.
Free-hand drafting.
Machine work.
Fitting.
Collection and
comparison of
samples.
Drafting.
Machine work.
Joining of embroid-
ery.
Increase in ability to sew neatly and
make the student more capable of
doing things that she should know
about. Appreciation of work on
a petticoat.
(a) Amount.
(i>) Neatness and quality of work.
Comparison with ready-made work.
Calculation of material and cost.
Textile study. (Cotton.)
Relation of industry to U. S.
Fibre, structure and properties.
Knowledge of cotton cloth.
(1) Characteristics.
(2) Material suitable for underwear.
(3) Widths and prices.
Better judgment of cotton materials.
Understanding of construction of
garments.
.60
Arithmetic.
Industrial activities.
History.
.40
Same as for skirt.


I
<
O
2OS
H
O
Mi
Corset Cover—
(Simple trimming of
lace.)
Flat fell seams.
Night-gown (slip-over.
Simple design em-
broidered).
Repair of underwear.
Patching.
Darning.
Drafting.
Fitting.
Hand and machine
work.
Joining of lace.
Rolling and whip-
ping of lace.
Use of patterns
bought.
Hand and machine
work.
Simple original de-
s i g n embroid-
ered.
To be applied on
garments.
Patches I hemmed
ratcnes j flannd
Darns, stockings.
Class discussions
and demonstra-
tions.
Greater skill and ability.
Embroidery, machine-made.
Embroidery, hand-made.
(Kinds and prices.)
Greater skill and ability.
Increased knowledge of construction
of garments.
Lace, hand-made.
Lace, machine-made.
(Kinds and prices.)
Hygiene of underwear.
Care of body.
Design and application.
Hygiene—clothing of body at night.
Neatness and economy of underwear.
Laundering.
Removal of stains.
Same as for skirt.
Physiology.
Art.
Physiology.
Chemistry.


Seventh Grade—Continued
TLATTE T THT
TISECT
Hygiene.
TLATTE T THT
TISTT
Arithmetic.
Industries.
Art
Art.
EST
■30
Eighth Grade (Time, Two Hours, Three Times a Week)
EST
•45
Suitable and appropriate bedroom
furnishings. Cost.
Artistic furnishing.
Greater interest and knowledge.
Good taste in dress for school.
Textile.
Shirtwaist material (quality, width,
price).
THECTHT EETEET
Home life and activities.
Bed furnishings.
Material.
Care.
THECTHT EETEET
Design.
Original design ap-
plied.
Collection of sam-
ples.
Taking measures.
Collection of sam-
ples.
PTECESS
Discussions, etc.
PRECESS
Drafting.
Fitting.
PTTHLEM
Bedroom furnishings.
Curtains.
PRTHLEM
Shirtwaist (tailored).


Wool skirt.
Repair—
Patching.
Darning.
Drafting.
Fitting.
Handling of wool
material.
Collection of sam-
ples.
To be applied to
garments.
Patch.
(Overhanded,
stitched-in,
darned.)
Darning (cloth).
Printing and finishing of cotton
material.
Better judgment of material.
More intelligent shopper.
Social consciousness developed
through remainder of course.
Textile study (wool).
Characteristics, fibre.
Characteristics, material.
Wool mixtures.
Study of material. Better judgment
of materials.
Hygiene and care of wool clothing.
Economy and care of clothing.
Neatness in appearance.
Repairing as a vocation.
Industrial history.
(si


Ninth Grade (Time, Three Hours Every Day)
TLATTE T THT
TISECT
Industrial field of
Art and design.
millinery.
Industries.
Art.
Geography.
EST
•S°
$3.00
4.00
3-°°
T.00
or less.
THTUTHT EETEET
Economy and utilization of old mate-
Development of resourcefulness.
Study of line in relation to the face
Comparison with ready-trimmed
Increased knowledge and ability.
Doing for others.
Style suited to age.
Study of line in dress.
(Similar to that for wool.)
Good taste in hats.
Design, costume.
Good taste in dress.
Intelligent shopping.
rials.
and figure.
Color.
hats.
Textile study.
PRTTESS
To be applied to
Ribbon, etc.
Buckram frame.
Calculation of cost.
Sketching of hats.
Crinoline model-
Adaptation of
bought patterns.
Trimming, original
hats.
Velvet.
Flowers.
Covering.
Trimming.
ling.
design.
Felt.
Renovation of mate-
rials and other es-
Hat for her mother.
Wool or silk dress or
other material (less
expensive) with fit-
(Designed by pupil.)
PTEHLEM
sential processes.
Millinery—
Facings.
Winter hat.
ted lining.
Folds.


THE FACTORS INVOLVED
169
upper grades has been planned with the end in view of making
as few expenses for the school as possible, and still giving the
girls a course of study which would be of value to them.
The work is to be given by the grade teacher, under the
direction of a domestic-art supervisor, and will have to be
given in the regular class-rooms until more buildings are put
up.
Machine sewing has been left out, partly on account of the
expense involved in getting machines and of finding room for
them, and also because two-thirds of the girls will continue
one or more years in one or the other of the high schools.
The material is to be purchased by the children; they are
not poor, and the parents will be perfectly willing and glad to
pay for it.
The aim of the course is to make the girls helpful at home
and in society, independent, and appreciative of good work, as
well as the many opportunities they have over those of their
parents. In the study of textiles, comparisons may be made
of the past and present conditions in the West with those of
large manufacturing centres in the East, and reasons shown
why the woollen mills in the West cannot successfully compete
with those in the East, and foreign lands, etc.
Whenever possible, the work in domestic art is to be cor-
related with drawing, nature study, arithmetic, history, and
geography.
Equipment, such as needles, thimbles, scissors, etc., will
be provided by the children, while illustrative material and a
few boxes for supplies and finished work will be provided by
the school. Most of the work should be kept for exhibition
to be given at the end of the year, especially for the first two
or three years.
For between work the children could make a second article,
and at the end of the year this could be disposed of in some


170
DOMESTIC ART
way, and the money go to an equipment fund, which should
be kept until more buildings are put up, and rooms fitted
equipped for sewing.
The schools are in session thirty-four weeks of the year.
Grade V (Fifty Minutes per Week)
Some Underlying Ideas.—
(1) Home life and surrounding occupations. The sheep in-
dustry. Indians and the early settlers.
(2) Clothing and shelter.—Relation of farm life to clothing.
Comparison of early pioneer life with present time. A study
of wool, cotton, linen, silk—making a chart.
(3) The underlying thought in making the following articles.
Care of clothing and furniture. Tools. Also care of what
belongs to others. School property.
HEURS COST
8 Work-basket. (For tools) $0.05
3 Canvas pin-cushion. (Basting and blanket
stitch) 0.05
3 Dust-cloth. (Basting and running) .... 0.03
8 Book-cover. (Stencilling with outline—over-
handing) original design 0.15
8 Laundry-bag. Basting, hemming, stitching
stitch) 0.25
4 Preparation of textile chart 0.02
34 $0.55
For between work initials may be made on the laundry-bag
in cross-stitch or outline. Design made in class.


THE FACTORS INVOLVED
171
Grade VI (Fifty Minutes per Week)
Some Underlying Ideas.—
(1) Study of the development of West. Problems in rela-
tion to transportation. Comparison of conditions in the East
and West. Comparison of prices of material with those in
early days (as much as a dollar was paid for a yard of calico).
(2) Clothing and shelter.—Industrial resources. Processes
of wool and cotton before weaving. The suitability of these
fibres to clothing. Visits to knitting factories. Simple
machinery discussion.
(3) Underlying thought in making the following articles.
Helpfulness in the home. Cleanliness, neatness, accuracy.
Correct position. Simple drafting.
HOURS
COST
3
Needle-case canvas. Blanket and cross stitch
$0.05
4
Jelly-bag. Hemming and overhanding. Tape
0.10
9
0.05
4
10
Short kimono. French seams. Facings . .
o-3S
4
34
$0.65
Grade VII (Fifty Minutes per Week)
Some Underlying Ideas.—
(1) The development of the nation. Large industrial cen-
tres. How other countries influenced our development.
(2) Clothing and shelter.—Weaving. Primitive methods
used by the Indians. Printing, dyeing. Study of silk and
linen. Properties. Suitability of materials for different uses.


THE FACTORS INVOLVED 173
underwaist. Design for embroidery. Neatness in dress.
Choice of color. Collection of samples of lace edges and
insertion.
HOURS. COST.
6 Towel—hemstitched $0.20
10 Underwaist—simple design in eyelet .... 0.40
4 Repairing—various kinds
4 Napkin 0.30
10 Cushion-cover 0.50
34 $1.40
These outlines deal with the domestic-art work
as it is related to the present elementary school cur-
riculum. In the near future the writer believes it
will be necessary to so readjust the studies of the
elementary and high schools that there may be a
better relationship and continuity of study for those
who will go on to high school for a short period
only and a decided change of course of study for
the large percentage of children who leave school
at the end of the sixth or eighth grade. For those
who must leave at so young an age, a course of
study should be planned which will consider the
needs of those children who must join the large
army of wage-earners at the earliest possible moment.
They must be prepared for citizenship and social
living. The best which can possibly be given them


176
DOMESTIC ART
grade. This work may be literary, scientific, or
artistic, and of a practical or technical character.
"The education demanded by a democratic society
is, therefore, an education that prepares an indi-
vidual to overcome the inevitable diffi-
General aim
of secondary culties that stand in the way of his mate-
education. s
rial and spiritual advancement." While
this defines education generally, it seems also to be
particularly apt in application to this field of work,
for it is during this period of education that youth
is so often brought face to face with the difficulties
of life, especially in relation to livelihood. Mr.
Hanus has outlined the general aims of secondary
education very fully. Life in order to be worth while
must show growth and an ever-increasing usefulness
in the world, so that the secondary education of to-
day must be a preparation for life which is to be one
of helpfulness and service, both to the individual and
to society.
As the life interests of individuals are so various,
secondary education should offer pos-
Pupils to be J r
"led to the sibilities of choice so that during that
discovery of .11 1 ,
dominant period the pupil may discover the path
interests. ^ ^ which his interests direct him to
follow. This thought of discovery of life purpose,


i78
DOMESTIC ART
so interest the pupil in this field of thought that he
will continue to be interested and to develop along
these lines as he proceeds in life.
Secondary education should not neglect the phys-
ical advancement. Opportunity should be given
Physical the pupil for physical development and
importance. &n(j itg care This knowle(Jge is the
most vital and important if the individual is to ac-
complish anything in the world. This period of ado-
lescence adds another difficulty which must be consid-
ered by those planning the secondary school courses.
These aims which contribute to the development
of the individual count also for the development of
society and for the betterment of living. The func-
tion of secondary education has been given as "the
most widely available organized force for elevating,
refining, and unifying a democratic society."
All phases of work of secondary nature should
contribute to these general aims. If these aims are
analyzed more specifically, they are
(1) Those which relate the individual to society
and help him to take his place among his fellows.
(2) Those which give him the broader view of
:e, of its accumulation of culture, or aesthetics.
advancement
of great
intimate study of the laws governing life


GENERAL AIMS OF SECONDARY EDUCATION 181
social studies all contribute. This is not the function
of domestic-art work, but the teacher of this subject
can relate her work intelligently to it and lend a
hearty co-operation in the general training for good
citizenship.
Vocational education has been denned as "that
which equips an individual for self-support. Self-
support may not necessarily mean a
Domestic art J J
in relation to wage-earning capacity, it might be
vocational aim.
home-making or work along the line of
one's dominant interest." Not all of our girls are
privileged to proceed to college and enter upon
courses of work which may lead later to their life
vocations in large fields of professional interest and
study. The secondary school should provide some
means of enabling the girl to find herself in relation
to her life-work as a vocation along other lines than
those of the higher professions. Courses in house-
hold arts, commercial and other business courses,
are needed in order that if the girl have ability in these
directions, she may discover it and her relationship
to them, that she may emerge into larger life and
under wise direction learn the source of her pleasures
or the life-work in which she will voluntarily engage.
Secondary education should acquaint the girl with


l82
DOMESTIC ART
the importance of the discovery of a vocation so that
she may begin her life-work early. "The great
mass of human happiness will always arise out of
doing well the common things of life, and -the happi-
ness of the individual will lie in that creative genius
which does to-day the same thing it did yesterday,
but does it better."
Secondary education for girls must offer courses
which deal with the common things of life, as well
as the literary and aesthetic work. The two should
go hand in hand and one supplement the other.
Vocations may be the direct outgrowth of the house-
hold arts courses or may spring from the so-called
more cultural courses of the school. The aim of
either is for greater service and efficiency.
Courses in domestic art may lead directly into many
vocational fields. That of the home-maker is the
first and foremost in our consideration, for it is she
upon whom we depend for the growth and develop-
ment of the homes of the future and the rearing and
education of our children. There can be no greater
vocation, and any secondary school entirely fails in
its mission which neglects to give the girls an oppor-
tunity for studying it. Courses in dressmaking,
costume designing, or millinery may lead directly to


GENERAL AIMS OF SECONDARY EDUCATION 183
life-work along these lines. The secondary schools,
according to their type, may only introduce or offer
more intensive study in these fields of work. These
intensive courses will prepare for direct application
in establishments of trade. They may not give a
full trade experience, but they do give the girl a
foundation for later training which will cause her to
rise rapidly as she gains in experience.
Courses in domestic art can contribute to the so-
called general culture work and thought of the
Domestic art school. The modern idea of culture is
Seized much broader than that formerly in use,
cultural studies. an(j fae new SOcial relationships and
civilization call for a change in adjustment of our
so-called cultural courses. The practical studies ap-
peal most thoroughly to many girls and it may be
that through these only can the introduction be
given to the more general cultural studies. For the
girls who do not intend to go to college, Latin and
Greek are a waste of time. It is far better for
these to study the more modern subjects which are
adapted to their needs: the history of industry and
commerce, politics and education, art and phi-
lanthropy, modern foreign languages, literature of the
mother-tongue, the elements of commercial training,


GENERAL AIMS OF SECONDARY EDUCATION 185
offer a practical application of chemistry and its
principles. The hygiene of clothing relates directly
to the studies in physiology, and some of the princi-
ples of physics and geometry are exemplified in the
drafting of garments and the use of machines.
History has a decided connection with the domes-
tic-art field. The history of industry is most interest-
ing and vital in relation to the evolution of textile
manufacture. The history of rugs, old textiles, and
costume are as interesting as studies of ancient Greek
or Roman life and may be connected with these.
Economics and sociology bear directly on many
phases of domestic-art work, and commercial geog-
raphy makes the study of fabrics of much more
value and interest to the pupil.
The possible so-called cultural relationships are
very many, but it depends entirely on the skill and
tact of the domestic-art teacher in her co-operation
with the other instructors to make these relation-
ships vital.
With these general aims for secondary education
in mind, and the possible scope of domestic-art
work as it contributes to the accomplishment of these
aims, it is possible to turn to the selection of material
for various types of secondary schools, according to
their needs.


i86
DOMESTIC ART
References for Study
"A Modern School," Harms.
"Secondary Education in a Democratic Community,"
Hanus. Vol. XI "English Reports on Education."
"Report of Lake Placid Conference on Home Economics,"
1908.
"The American High School," J. F. Brown.


CHAPTER XI
THE SELECTION AND PLANNING OF WORK
FOR THE SECONDARY SCHOOLS
With the previous chapter in mind, we are ready
to turn to the selection and planning of work for
secondary schools.
We are at once confronted by the numerous factors
which must be considered in the planning of work.
They are somewhat similar to those affecting the ele-
mentary course and yet more difficult. Our primary
consideration is the girl—our girl with all her aspira-
tions, hopes, and fears. She is very appealing at
this period, for she is so very human in the develop-
ing and unfolding of her nature. We are to guard
and guide her, and to watch her physical and psy-
chological development. The teacher of domestic
art has an unusual opportunity to help and protect
in her close association. She must be guarded
against too great physical and mental strain when
she is in need of rest and relaxation. Her ambitions
187


i88
DOMESTIC ART
are to be encouraged, her fears allayed, her hopes
renewed. The teacher should be wise in her selec-
tion of problems during the early high school years
and should bear distinctly in mind the peculiar
character of this period of mental and physical de-
velopment. The good of the girl is the ultimate goal,
and without health nothing can be accomplished.
The social ideals and life of the community should
be kept in mind in planning the work for this course,
to promote its welfare. The needs of
the home, of the school, and neighborhood institu-
tions should be considered. Problems may be intro-
duced into the course which may be of use and value
in those institutions and develop an interest in them.
Any connection which the domestic-art teacher can
make to arouse the social consciousness of the girl
and put her in touch with useful life will be of great
value to her. This added interest which is the only
true interest certainly touches life and enables the
girl to see her relationship to some of its problems.
Time and locality enter as factors in relation to
the planning of this work. The local school board
may be authorized to decide the number of hours
Social life of
the commu-
nity a factor.
for after all we are preparing the girl
to take her place in the community and


WORK FOR SECONDARY SCHOOLS 191
unavoidable waste during the process of learning.
In many schools of classical and manual training type
students make articles for sale which are given to
the school, or take orders for household linen or
other articles for neighboring institutions. This
may or may not be an excellent plan according to
management, but often enables a school to purchase
the necessary permanent equipment of chairs, ta-
bles, machines, etc., when the local authorities may
not be able to do so.
Another factor to be considered is the final goal
of the secondary school. This will be more fully dis-
Aim of each cussed in considering the types of school.
to bekeptta1 Is the course to Prepare for college en-
mind- trance and will any credit be given for
it? is a question which the domestic-art teacher faces
in the planning of her work. The selection of sub-
ject-matter will be influenced as well by what has
gone before as by that which is to follow. Have the
pupils had any domestic-art training in the grades,
what has been its scope, in what grades was it given,
will a lengthy review be necessary? The course
must be moulded accordingly to meet these con-
siderations, which must be kept in mind if the
course is to be well planned. Very often the do-


192
DOMESTIC ART
mestic-art teacher discovers that the grade work has
been almost entirely forgotten because of its dis-
continuance during the seventh and eighth years of
study.
"When society enters distinctively into a new
phase of its evolution, there must be a new distri-
bution of educational values." The greatest diffi-
culty which the teacher of domestic art must face
is the differentiation of courses for various types of
secondary schools, for unless she understands the
aims and conditions which affect the various types
she is not apt to be wise in her selection of subject-
matter to meet those needs. As society has entered
this new phase of its evolution, the industrial era, one
finds such a variety of types of secondary schools that
it is difficult to distinguish and to differentiate the
work for the various kinds, because of the general
feeling of uncertainty as to the real goal of each
type. Unless the aims are understood the distri-
bution of values will lack balance and proportion.
The teacher of household arts must guard against
the temptation to think that her subject is the only
one in the curriculum for consideration.
It may be well to analyze somewhat briefly the
main aims of some of the types of secondary schools


194
DOMESTIC ART
work. The work of the classical domestic-art course
should be interesting and offer variety. The girls
work as a rule on problems of personal interest and
the main aim of the work is training the girl for
usefulness in her home and in her relationships with
others.
COURSE IN DOMESTIC ART
PART OF HOUSEHOLD ARTS COURSE FOR SECONDARY SCHOOL OF
CLASSICAL TYPE
I. Factors governing the selection of this subject-matter
for a possible condition.
(1) Previous Training.—Hand-sewing given in sixth and
seventh grades of elementary school.
(2) Secondary Course to count toward college entrance.
(3) Location of School.—Suburb of Philadelphia.
(4) Girls.—From homes of best middle class. Some go to
college, others to be prepared for home duties.
(5) Time.—Two hundred and forty hours, to be distri-
buted as seems best in working out programme of all studies,
possibly three hours per week for two years.
(6) Cost.—Pupils supply nearly all materials.
II. Course of study.—Clothing.
(1) Problems.
(a) Underwear (three pieces).
(b) Shirtwaist gown or simple lingerie gown (one piece or
waist and skirt),








WORK FOR SECONDARY SCHOOLS 19S
(c) Making of lined gown.—(1) Skirt—drop skirt.—(2)
Waist.
(d) Millinery.—(1) Fall or winter hat. (2) Summer hat—
straw or lingerie.
(e) Embroidery.—(1) Table cover or pillow top. (2)
Lingerie hat or underwear (above mentioned), or Christmas
gift.
(2) Processes involved in working out above problems,
(a) Hand-sewing (review).
(6) Machine-sewing.
(c) Drafting with use of patterns.
(d) Fitting and hanging of garment.
(e) Designing for decoration and draft of patterns.
(/) Computations of costs.
(3) Thought Content to be developed while presenting above
problems.
(a) Textile study. Source of materials, properties, manu-
facture, design, and workmanship of textiles.
(b) Use and adaptation of commerical patterns and relatien
to drafting.
(c) Hygiene in relation to wearing apparel. Sweatshop
labor.
(d) Study of relative values of hand and machine work.
(e) Suitability of apparel in relation to use and income.
Line and color to be adapted to wearer. Economics of the
purchase of materials, prices, widths, quality, etc., in rela-
tion to use and planning of the wardrobe. How to reduce
cost with good effect.
(f) Training for accuracy, neatness, foresight, and respon-
sibility. Development of social consciousness.
(4) Allied Subjects.


196
DOMESTIC ART
(a) Art in specific design, color, adaptation of line to space—
relation to human form. History of costume as expression
of social development; appropriateness of clothing and beauty.
(6) Physics.
(c) Commercial geography.
(d) Industrial history.
(e) Economics (simple form).
if) Physiology (hygiene of clothing),
(g) Chemistry (dyeing of materials).
(5) Related Interests.—To be developed while teaching above
problems.
(a) Visits to shops, factories, museums, and libraries.
(b) Use of books and current magazines as of value in above
study.
(c) Work of organizations, as Municipal League, Consum-
ers' League, Board of Health, Trades Unions (relation of
employer and employees).
(d) Sweatshop problems, duties, customs (imported gowns,
etc.).
III. Shelter and household management.
(1) Problems.
(a) Making of charts showing relation of cost of clothing
to income, also charts of color schemes for rooms and fur-
nishings.
(6) Making of furnishings.—(1) Scarf for table or pillow.
(2) Curtains. (3) Weaving of cover.
(c) Keeping of accounts—informal talks on house manage-
ment in relation to furnishings and clothing.
(d) Laundering of materials (cleansing, dyeing).
(2) Processes involved in working out the above problems.


WORK FOR SECONDARY SCHOOLS 197
(a) Stencilling.
(6) Block printing.
(c) Hand-loom weaving. Co-operative work.
(d) Exhibits in school of rooms furnished.
(e) Trial of method of keeping personal accounts.
(/) Cleansing and dyeing of old materials.
(3) Thought Content to be developed while presenting above
problems.
(a) Artistic and beautiful furnishings of home; spirit of
home-making; ethical and social side; kind of home in rela-
tion to income.
(b) Management in relation to repairs of clothing, linen,
rugs, etc. Care of clothing and house furnishings. Launder-
ing of materials.
(c) Keeping accounts. Clothing and furnishings, their rela-
tion to income.
(d) Economy of time in relation to making and use of home
things.
(e) Business management. Simple business rules, and law
for women.
(4) Allied Subjects.
(a) Art—study of design materials, color in relation to rooms.
(6) household sanitation—in relation to furnishings.
(c) Chemistry—color; cleansing of wood and materials;
dyeing, laundering.
(d) Economics (very simple). Law of supply and demand;
money—fall of price.
(5) Related Interests.
(Same as above subject, (II) Course of Study. Clothing.)


200
DOMESTIC ART
AIM OF THE SCHOOL
The aim of this manual training high school course in
domestic art is to offer to girls a practical education, in order
that they may discover and exercise their best powers, while
obtaining accurate information in many practical problems of
life.
The special aim of this course in domestic art is to prepare
the girls to be more efficient home-makers, and to be better
prepared to take their place in society; to cultivate an
appreciation of home, and to dignify housework by improving
the method of work as well as the articles made.
Throughout the course emphasis is to be placed upon
economy, suitability, and as far as possible, upon the culti-
vation of order, neatness, responsibility, and unselfishness
whenever there is a natural relationship.
The subject-matter is to be correlated with art, history,
geography, nature study, arithmetic, etc.
Twenty periods a week are to be devoted to academic studies
such as English, mathematics, science, history, language,
music, and elocution. By a wise selection of studies it would
be possible for those who intend to go on to college, to meet
the requirements.
Ten periods a week are given to domestic art, domestic
science, and drawing. Physical training will have to be given
outside of the ten periods, unless the hours can be arranged
differently.
The work is planned for one-hour-and-forty-minute periods,
which may seem long for the first year; but as a rule the first
year high school girls are not under fifteen years old and
would be able to stand it.
A good deal of garment and dress making have been ar-
ranged for in this course, for the reason that the parents are


WORK FOR SECONDARY SCHOOLS 201
inclined to appreciate the utilitarian value of this subject more
than the educational; hence an attempt is made to meet the
approval of the parents as well as to fulfil the aim of the school.
Many mothers depend on and greatly appreciate the help the
daughters can give them during vacation periods, especially the
help with the family sewing. This is one of the reasons for
introducing children's clothing.
The school year is thirty-four weeks.


FIRST YEAR
Domestic Art.—Two one-hour-and-forty-mimite periods a week.
Domestic Science.—Two one-hour-and-forty-minute periods a week.
Drawing.—Two fifty-minute periods a week.
EST
$0.25
0.03
0.25
0-3S
{0.25T
l°-3°
fS-ooT
\ 6.00
ALLTD TTECE
Art.
Physics.
Mathematics.
History.
Geography.
Physiology.
Hygiene.
EETHT ENENT
Orderliness, cleanli-
Suitability of mate-
Machines:Use; care
Economy in cutting.
Originality, unself-
ishness. Indian bas-
Study of textiles.
Properties of cotton,
fibre, history, manu-
ness, neatness.
rial.
of; value.
Appropriate use.
ketry.
facture.
Hand-sewing. Bast-
ing, backstitch, hem-
Overhanding, cross-
Hand and machine.
Drafting pattern.
Weaving of baskets.
Stencilling and hand-
Drafting of pattern.
Hand- and machine-
sewing, buttons and
button-holes, tucking,
PROCTS
ming, overcasting.
stitch, initials.
Hand and machine.
sewing.
setting in lace.
Workbag. To be
used during the year.
Cooking-apron.
Short kimono.
Christmas presents.
Making and fitting out
Skirt, corset-cover,
ARTICLT
Pin-cushion.
a work-basket.
drawers.
SEWINT
PERIODS
4T5
2
4
S
8-io
36


SECTD YEAR CTTTD
EST
fS-ooT
l8.oo
f°-5°T
[ i.oo
J3.00T
\6.00
ALLTD TTECE
Physiology.
Mathematics.
Geography.
EETE ENENT
Ethics of shopping,
hygiene of dress, keep-
ing accounts, and esti-
mating cost of ward-
Economy of time
Combination of text-
ure, study of textiles
continued, wool and
Properties and man-
ufacture. Sweatshop
robe.
and materials.
silk.
labor.
Estimate of mate-
rial, use of pattern, de-
signing cut pattern,
simple trimming.
Planning and mak-
Cleaning, planning,
More elaborate trim-
ming, hand-made if
EOCTS
Unlined dress, wool
•
Children's clothes,
ing-
and making.
time permits.
ARTICLT
or worsted.
little girls' dress.
Remodelling.
Summer dress.
DTSS-
MAKINT
PERIODS
3°T3S
T
5
3»"35


THIRD YTAR
Domestic Art.—Two one-hour-and-forty-minute periods a week.
Household Art.—Design, two fifty-minute periods a week.
Domestic Science.—One period a week. Or two fifty-minute periods. Hygiene may be given.
(0.30T
f1.00T
EST
$0.10
l°-5°
\ 2.00
ALLTD TTECE
Design and
Visit to furni-
Art.
color.
Hygiene.
ture stores.
Accuracy in execu-
Discussion of bed-
room and dining-room
furniture, artistic and
hygienic decorations.
(Illustrated with furni-
Collection of pictures
from catalogues
Dining-room and li-
EEGE ENEET
tion.
ture if possible.)
mounted.
brary, living-room.
EOCESS
Some of the most
prominent stitches
Cloister and drawn-
work, stamping.
Hemming and sten-
Applique1 or Arabian
embroidery.
Small practice piece.
given.
Hardanger or eyelet
cilling.
ARTICLT
centrepiece.
Tablerunner.
Cushion.
EMHROIDERY
PERIODS
4T6
T
4
15T17


FTTRTH YEAR
Domestic Art.—Two one-hour-and-forty-minute periods a week.
Domestic Science.—Three fifty-minute periods a week.
f 2.0C—
f 2.00-
f 8.00T
EST
12.5°
l3-°°
{ 12.00
ALLTD TTECE
Mathematics.
Visits to mil-
linery stores.
History of cos-
Art.
tume.
Line and form
Harmony of color
demonstrated with
pieces of material.
Style of hats for special
Relation of money
spent for hats to that of
Duty on imported
Original design,
judgment in buying
Independence, self-
EETE ENENT
other clothing.
studied.
occasion.
hats.
material.
reliance.
Cutting and sewing
Making patterns,
wiring, covering, and
trimming, making
bows, folds, ruches, etc.
Cleaning of frame
Construction of wire
frame, covering with
Making lining for
the waist (may be
made separate if not
wanted in the dress).
Hand-made trimming.
EOCES
and trimming.
net or straw.
on wire.
Buckram frame cov-
ered with material and
Graduation dress
and hat to match or a
ARTICLT
Remodelling.
Bandeaux.
trimmed.
Spring hat.
summer suit.
MILLIEERY
TD DTSS-
MAKING
PERIODS
2
IOTI2
4T5
12-14
35T4°


Drafting and
making of a pair
of drawers.
Household
decoration.
Hemming and
marking of ta-
ble-linen for do-
mestic science
department (co-
operative work).
Furnishing of
the dining-room.
Charts showing
the kind of fur-
niture and its
flounce. Adjust-
ment of top.
Careful measur-
ing. Free pattern-
cutting. Drafting.
Cutting. Making.
Napery hemming.
Marking (padding).
Satin stitch.
Arrangement
charts.
ferent methods of finishing
top, of setting on flounce.
Textiles, their properties in
relation to hygiene of under-
skirts. Care of underskirts.
Comparison of hand and ma-
chine work.
Economy in buying and cut-
ting. Selection of durable ma-
terial. Care in construction
"opposite sides." Care of
drawers, mending and patch-
ing. Consumers' League.
Sweatshop labor.
Selection and cost of good
table-linen. Cotton made to
look like linen through its fin-
ishing processes. Tests of real
linen. Care of table-linen.
Furniture necessary for
dining-room; good designs,
cost. Good color combina-
tions. Draperies, kinds and
cost. Rugs, kinds and cost.
Physiology.
History.
Drawing.
Bookkeeping.
Visits to shops,
furniture stores,
and craft shops.
Correlation with
manual training
suitable for underskirts
collected in note-
books.
After making the
corset-cover, petticoat,
and drawers, the girls
estimate number of
these articles required
each year and their
cost.
Samples of table-
linen collected in note-
books. Study of linen,
source, production, and
manufacture.
Samples of good
draperies and wall pa-
pers. Pictures of good
furniture and examples
of good color schemes


FIRST YEAR CTTTD
TSTSTE
kept in the room con-
tinually. It is possible
to secure the co-opera-
tion of the stores and
neighborhood. A part
of the exhibition-room
is to be furnished as a
dining-room. Study of
linen, its sources, pro-
duction, and manufact-
ure.
ETETTION TD
TTED INETSTS
in study of fur-
niture, etc. Art,
very close cor-
relation and co-
operation. Do-
mestic science.
•
EEGE ENENT
Wall finishes, kinds and cost.
Floor finishes, kinds and cost.
Pictures, good taste. (The ar-
tistic side of this is greatly em-
phasized because the Germans
of this locality spend a good
deal on their homes, but have
extremely bad taste.)
Cleansing of straw. Re-
modelling of shapes. Reno-
vation of trimming. Relation
of hat to wearer. Good color
combination. Good lines.
Care of millinery. Economy
in dress.
EOCTSES
Sponging. Clean-
ing. Pressing. Dye-
ing. Bow tying.
Trimming.
APPLICATIONS
cost. Samples of
materials used;
color scheme of
room, etc.
Millinery.
Renovation o f
spring and sum-
mer hats.


SECTD YEAR CTTTD m
On
TSTSTE
As far as possible
exhibition-room fur-
nished to show bed-
room fittings. The im-
agination of the girls is
to be developed as
much as possible with
a view to developing
their individuality and
originality.
ETETTIE TD
TTED INETSTS
Correlation
with domestic
science in ven-
tilation and care
of bedrooms.
Visits to fur-
niture and craft
shops. Manual
training.
furniture, its cost. Choice of
hangings and rug, paper or
wall finishes, pictures.
Necessity for bedrooms
which are healthful, restful,
hygienic, and beautiful. The
amount of time spent in bed-
room and its effect on health
of individual. Labor-saving
devices in bedroom.
Selection, care, and cost of
bedding. Necessity for light
bed-clothing. Care of bed-
ding, mending.
EETHT ENEET
Laying and tying
of cotton.
PROCTSES
Comforter
made for hos-
pital. (Co-op-
erative work.)
APPLICATIOES


THIRD YTAR
Two One-and-One-half-Hour Periods per Week. Garment-Making, Household
Decoration, and Millinery
TSTSTE
The study of wool,
its sources, production,
and manufacture, is to
continue throughout
this work in dressmak-
ing. Collections of
samples of woollen ma-
terials made by girls to
familiarize them with
names, widths, prices,
etc., with a view to
making them more in-
telligent buyers.
ERTTTIE TD
TTTED INETSTS
English.
History.
Business
arithmetic.
EETE EEENT
Textile study in relation to
choice of material for dress.
Adulterations of wool. Econ-
omy in buying good material.
Choice of style—good taste
in color and design. Suita-
bility. Use of patterns. Spong-
ing of material. Care in cut-
ting, marking, making, finish-
ing, and pressing. Neat, ac-
curate work. Economy of
time and materials through
wise planning. Hygiene of
clothing. Care of clothing.
Brushing, sponging, pressing,
removing spots, hanging up,
packing away for summer.
New braids. Darning of dif-
PROCESE
Sponging. Cut-
ting. Fitting. Mak-
ing. Finishing.
Pressing. Applica-
tion of a bit of em-
broidery or braid-
ing on waist for
trimming.
APPLICATIONS
Dressmaking.
Very simple
woollen dress.


FEURTH YEAR CTTTTD
made by the girls so
that they may become
familiar with the differ-
ent kinds of silk, the
widths, prices, etc.
In this year the girl
is to be helped to un-
derstand more fully her
duties and responsibili-
ties as a part of the so-
cial unit. She should
realize her influence on
industry as a consumer.
Her interest in many
social and industrial
questions of the day
should be awakened.
TSTSTE
ERTTTION TD
TTED INETSTS
Chemistry.
Domestic sci-
ence.
Civics.
Political Ec-
onomy.
Manual train-
ing.
Dress as the expression of in-
dividuality. Healthful, com-
fortable clothing. Care of
clothing. Cleansing of silk.
Customs duties on imported
gowns. Influence of women
on industry.
Apportionment of the budg-
et. Keeping of accounts.
Living within one's means.
Saving. Choice of home. Ar-
rangement of home. Business
connected with home. Care
of home and its furnishings.
Spirit and ideals of home and
their influence on its inmates.
Dignity and beauty of home-
making. Economy of time
and energy in systematic
methods of living and working.
Necessity of system.
EEGE ENENT
PROCESSES
Household
management.
Lectures. Pa-
pers. Charts.
Discussions.
APPLICATIOES


Millinery.
I Straw hat (wire
I frame).
Child's outfit
for orphan asy-
lum. (Co-oper-
ative work.)
Wire frame.
Making. Sewing
straw braid. Trim-
ming.
Cutting. Making.
Care of clothing. Brush-
ing, marking, sponging, re-
pairing, pressing, storing. Re-
modelling of clothing. Plan-
ning of wardrobes with ex-
penses for (i) girl in com-
fortable circumstances, living
at home. (2) For business
girl with $60 per month. (3)
For mother of a family.
Audubon Society. Suita-
bility—good design. Straws,
their prices and wearing qual-
ities. Hair-dressing. Good
taste.
Use of patterns. Necessi-
ties of a child's wardrobe.
Construction of garments.
Expense of children's cloth-
ing. Hygiene, suitability.
Practical charities. Social
consciousness developed.
Her originality, im-
agination, and powers
of invention should be
greatly stimulated.


DOMESTIC ART
(c) Lead girl to see where in her individual case the money
could have been more wisely spent.
(d) Economy of time as opposed to money.
(2) Problems dealing with the purchase of materials, (a)
Relations of consumer and dealer.
(b) Relative values, bargains, etc.
(c) Comparison of samples brought in by girls; use of
price lists; learn names and widths of materials.
(d) Some means of judging materials.
(e) Use of lists in shopping.
(J) Shopping etiquette; how to ask for what you wish.
(3) General appearance, (a) Good taste. (1) Color com-
binations. (2) Textile combinations. (3) Suitability of gar-
ment to occasion.
(b) Good and bad hair dressing. (1) Hair ribbons, orna-
ments, combs, etc.
(c) Ornamentation. (1) Use of cheap jewelry. (2) Cheap
laces, embroideries, etc.
(d) Shoes. (1) Well cleaned. (2) Heels in good condi-
tion.
(e) Gloves. (1) Clean, well-mended.
(4) Hygiene, (a) Care of the body.
(b) Hands. (1) Nails—clean, well-shaped. (2) Necessity
for business woman to have good-looking hands. (3) Care—
soaps, brushing, etc.
(c) Selection of garments that will launder easily.
(i) Frequent changes of underwear. (1) Necessity in shop-
work; use in this connection of knit, one-piece underwear.
(5) Excursions, etc. (a) Visits to neighboring stores in
relation to shopping, etc.
(b) Exhibit of undergarments in connection with making of
undergarments.


232
DOMESTIC ART
(6) Seams. (a) Kinds. (i) Welt. (2) Flat stitched. (3)
Strapped. (4) Lapped. (5) Slot.
(b) Finishing. (1) Overcast. (2) Bound. (3) Turned in.
(7) Boning.
(8) Pressing.
(9) Pockets.
(10) Making of button-holes.
(11) Sewing on hooks and eyes.
(12) Hanging skirts.
(13) Finishing skirts.
(14) Decorating. (a) Machine. (1) Hemstitching. (2)
Tucking. (3) Stitching. (4) Ruffling.
(6) Hand. (1) French embroidery. (2) Coarse stitches.
(c) Trimmings for gowns. (1) Smocking. (2) Cording.
(3) Plaiting. (4) Braiding. (5) Application of previously
learned stitches to collars, belts, cuffs, shirtwaists, etc.
(15) Study of line and form to fit individual figures. Adjust-
ing garments to variety of figures. Much practice in taking
measures.
III. Related Subject-matter.
(1) Design. (a) Space relation.
(b) Proportion.
(c) Relative values.
(d) Color harmonies.
(e) Sketching. (1) Waists, gowns, and shirtwaists.
(2) Commercial and industrial geography.
(3) Commercial and industrial history.
IV. Thought Content.
(1) Materials. (a) Cost.
(b) Economy in use and cutting.
(c) Good taste in selection.


WORK FOR SECONDARY SCHOOLS 237
DRESSMAKERS' COURSE—THIRD YEAR
(Required Course)
Household Management and Home Furnishing
Time.—One period per week throughout year. Periods,
fifty minutes each.
Aim.—To improve the home conditions as far as possible
by discussions and practical demonstrations of the following
topics.
I. Problems.
(1) Economic aspect of study of the home. (a) Labor.
(1) Organized. (2) Systematic. (3) Regular times for doing
certain tasks. (4) Economy of time and energy by careful
planning. (5) Sharing of responsibilities. (6) Division of
labor.
(b) Home industries. (1) Ethical value. (2) Economic
value.
(c) Income. (1) Division according to value and necessity.
(2) Keeping of accounts. (3) Importance of wise spending.
(4) Relation of spender to community, to family, to quality of
commodity purchased, to condition of business. (5) Ele-
ments which regulate apportionment of income. (6) Use of
business methods in the home. (7) Some ideas of banking,
checking, drafts, etc.
(2) Furnishing of the home. (a) Fundamental principles of
good furnishing. (1) Effect of furnishings upon health, com-
fort, and development of family. (2) Artistic furnishings as
well as hygienic. (3) Choice of materials as to color, suita-
bility, design, wearing qualities.


238
DOMESTIC ART
(6) Care of rooms. (i) Weekly sweeping and dusting—best
methods. (2) Lighting. (3) Heat and ventilation. (4)
Sleeping-rooms. Bed furnishings and removal of soiled
clothes, etc. (5) Use of disinfectants and deodorants.
II. Processes.
(1) Largely class discussions.
(2) Free use of charts.
(3) Let class plan ways of dividing income.
(4) Practice in keeping accounts.
(5) Some practice in making out checks, drafts, etc., with
relation to banking, trade, etc.
(6) Visit if possible a good model apartment.
(7) Plan good division of daily household tasks.
DRESSMAKERS' COURSE—SECOND OR THIRD
YEAR
(Elective Course)
Time.—Five periods per week throughout year. Periods,
fifty minutes each.
Prerequisite.—Dressmakers' course first year.
Aim.—To enable girls to earn money at home making under-
garments for private trade. This course is for a girl who will
be needed at home part or all of the day, and yet have sufficient
time to enable her to help in the support of herself or family.
In most large cities there is ample opportunity for the employ-
ment of such girls, and need for their training.
I. Problems.
(1) Combination of hand- and machine-work. (a) Corset
cover. (1) Plain. (2) Lace-trimmed.


WORK FOR SECONDARY SCHOOLS 239
(b) Chemise. (1) Hand-embroidered.
(c) Underdrawers. (1) Ruffle trimmed with machine-tucks
or hemstitching, (2) Ruffle of lace or embroidery.
(d) Combination drawers and corset-cover. (1) Tight-fit-
ting and very plain.
(e) Night-gowns. (1) Plain. (2) Lace-trimmed or hand-
embroidered.
(/) Underskirts. (1) Plain (ruffle of same material trimmed
with machine tucking). (2) Fancy (ruffle of embroidery with
heading of beading, or lace-trimmed).
(g) Kimonos and dressing-jackets. (1) Daintily trimmed
with lace, etc. (2) This problem is for those finishing the first
six problems before the time of the term expires.
II. Principles and Processes Involved.
(1) Review of principles and processes as planned for first
year course.
(2) Extra stress laid on the finishing and decoration of
garments.
III. Related Subject-matter.
(1) Same as for first-year course.
IV. Thought Content.
(1) Materials.
(a) Cost.
(b) Suitability as to use.
(c) Laundering and wearing qualities.
(d) Trimmings adapted to various qualities of materials.
(e) Fitness of decoration (hand) to material and garment.
(2) Garment-making.
(a) Various shapes and kinds.
(b) Suitability as to age and size.
(c) Economical use of cloth.


240
DOMESTIC ART
(d) Estimation of cost.
(3) Suggestive exercises.
(a) Training in quickly estimating cost of a finished garment
with relation to trade.
(6) How to take orders for garments.
(c) Keeping of time accounts.
(<i) Estimate cost of making garment as to time required.
(e) Quick drill in designing and suggesting ways of making
undergarments.
The trade schools for women in this country are
few and have a distinct aim. They have been until
recently under private management and
Domestic art
in trade largely experimental. The aim is to
schools.
train the young wage-earner for a short
period in order that a certain amount of skill may be
developed before she enters a trade, and that she
may have an appreciation of the relationship of this
trade to other work of the world. This cuts short
the long apprenticeship period through which many
of the girls must pass if they enter the shop or factory
as soon as their working papers are obtained. The
girls in such a school are naturally young, poor, and
often in bad health. They cannot stay long in such
a school and the course is often accomplished at
great sacrifice. Such a school should aim to give
the girl a knowledge of the fundamental laws of


DOMESTIC ART
terpretation of aims of courses by those entering.
The writer has known of young girls placed in the
home-making courses who really desired more tech-
nical instruction and who were disappointed because
at the completion of the course it was impossible to
find work as a milliner's or dressmaker's assistant.
The aims of courses should be distinctly stated,
and advanced as well as elementary work offered in
both the home-maker's and trade sections of the
domestic-art work.
Catalogues of Christian Associations and settle-
ments will illustrate the courses offered by these
organizations.
References for Study
"Report of Lake Placid Conference on Home Economics,"
1908.
"Catalogues of Type Schools and Settlements."
"Trade and Technical Education," Seventeenth Annual
Report of United States Commissioner of Labor, 1902.
"The Manhattan Trade School for Girls," Mary S. Wool-
man. Educational Review, Vol. XXX, September, 1905.
"Trade Schools. An Educational and Industrial Necessity,"
Mary S. Woolman. The Social Education Quarterly, Vol. I,
March, 1907. ,
"Report of Massachusetts Commission on Industrial and
Technical Education," Boston, 1906.


PART IV
DOMESTIC ART IN HIGHER EDUCATION
CHAPTER XII
DOMESTIC ART AS A PART OF COLLEGE
TRAINING FOR WOMEN
Household arts work as a part of college training
for women is being introduced in many of the West-
introduction em State and agricultural colleges. It is
of household gradually winning its way against the
arts in state
and agricuit- old-time conservatism which made a
ural colleges. „ . . ,, ,
college course for women exactly parallel
to that for men. The changes which have come about
in college courses for men are bound to affect those
for women and eventually relate the work more direct-
ly to the life which the woman will enter after leaving
college. The Eastern colleges for women are slow
to adopt such a course, but before many years they
will feel the necessity of offering what the students
will demand and of readjusting their courses of study
246


DOMESTIC ART AS A PART OF COLLEGE TRAINING 247
so as to meet the needs of girls interested in the
home and its beautifying, organization, and improve-
ment. The majority of college women are far from
practical, and few see the real relationship of the
arts and sciences studied at college to the practical
affairs of life. The writer believes that college
women would marry earlier in life if their interests
were enlisted in the study of the problems directly
connected with home-making; there can be nothing
more interesting for the average normal woman. If
the well-trained, intelligent college women, the
leaders of affairs in the world's work for women,
would give their thoughts and energy to solving the
problems of domestic science, proper food, proper
clothing and shelter—in fact, "right living"—with
the least amount of expenditure of time, energy, and
money, the study would not only be interesting to
them, but benefit humanity more than years of study
of Greek and Latin classics, for it stands for economy
of health as well as economy of wealth. The college
woman is beginning to feel this and to make her
demands. It is only in very recent years that any
provision has been made in colleges for the women
who wished or were compelled to make teaching
their life-work. The women were filled with sub-


DOMESTIC ART AS A PART OF COLLEGE TRAINING 249
are slow to adopt it is due largely to the old-time
conservatism and lack of understanding of the real
meaning of "cultural"—for it has been claimed that
the college courses must be cultural. Regarding
the proposed college course in home economics of
the Lake Placid Conference, Dr. Balliet said: "The
work mapped out has as high cultural value as the
best courses now given in college, if we must keep
on contrasting the 'cultural' and the 'practical,' as
if they were mutually hostile to each other. Some
day—several thousand years to come—when spec-
tacled professors shall study 'American antiquities,'
all these 'common' 'practical' processes—the ways
of cooking meals, manufacturing clothes, etc.—will
be 'cultural' subjects on which learned courses of
lectures will be given, and which will be accepted
as proper subjects for theses for the degree of doctor
of philosophy. . . . Somehow, according to college
students, knowledge must have a certain age before
it becomes 'cultural.' When it is so far behind the
time that it ceases to be practical, then it becomes
cultural."
College authorities often have a singular method
of differentiating between the value of studies in the
curriculum. Mrs. Ellen Richards once said: "The


250 DOMESTIC ART
housing of the poor is already allowed as a college
course. Why not the housing of college students?
We have condescended to study the
Importance of
the home as slums, it is time we studied ourselves."
& study
To this might be added not only the
study of ourselves in relation to shelter, but also
in regard to proper food and clothing, the admin-
istration of our homes and the care and nurture
of our children. There can be no more impor-
tant college subject than the home. It covers the
earth as far as fulness of subject-matter is con-
cerned, and all the arts and sciences may be applied
to home practices. In this age and era of educa-
tion, the practical must be reckoned with by all
who are planning courses. The home stands as
the very centre, in training for the upbuilding of
character or for good citizenship; and if this effi-
ciency is the aim of the education for women, then
the home subjects must be better represented in
our college courses.
There have been many difficulties which those
Difficulties interested in the introduction of house-
before those hold art k int0 colleges haye had
introducing 0
household arts, to face. Perhaps the old-time conserv-
atism mentioned above has been the most diffi-


DOMESTIC ART AS A PART OF COLLEGE TRAINING 251
cult. This will soon pass away when those inter-
ested in this field of work are able to present the
subjects in such a manner as to appeal to college
authorities. There may be objection at first to the
introduction of any practical work, but at least
some subject-matter may be presented in lecture
courses and an introduction given to this field. It
very often happens that high school girls preparing
for college have no opportunity for the study of house-
hold arts, since their courses of study must be gov-
erned to a great extent by the college entrance re-
quirements. A girl who fails to get this work in
high school naturally goes through college with no
knowledge of the practical affairs of the home, and
if she is at college away from home there is no
opportunity for her to come in touch with the prac-
tical things of life. The results are often truly
pitiable. The author has known a good many such
girls and they have made a strong appeal to her for
some knowledge of the practical. As one girl re-
marked, "If I only knew how to make my own
shirtwaists and summer dresses and trim my own
hats, what a saving it would mean to father! And
all I can cook is fudge." This came from a girl
of fine mind, a graduate of one of the Eastern col-


252
DOMESTIC ART
leges for women, perfectly prepared in mathematics
and interested in her subject, but totally ignorant of
Meeting the home affairs. This girl is one of the mar-
affairstflife ^8 ^ reSultS are t0
is inevitable. follow! She must meet the practical af-
fairs: they are inevitable. She will be obliged to learn
through sad experience in a more or less painful
way and at the sacrifice of her own health, time,
energy, and money, as well as that of her family.
She is only one of many such girls who must face
the home problems. The fact that colleges have not
recognized for credit the high school work in house-
hold science has greatly hindered the development
of this work in both college and high school. The
time is almost here when college entrance boards
will accept for credit certain courses given in house-
hold arts in the high school. The fact that it has
not been credited in the past is due to poor teaching
rather than to insufficient value in the subject-
matter. Some associations for college entrance are
showing interest by requesting the formulation of
possible schemes of work for credit.
Another difficulty has been the lack of properly
trained teachers to present this work. It is only
very recently that women with college degrees have


DOMESTIC ART AS A PART OF COLLEGE TRAINING 253
become interested in the household arts work.
Many have previously considered it undignified
other and have turned from it to other fields
difficulties. of teaching. We must have our in-
structors in literature and the classics in order that
our girls may know this field of spiritual possession,
but we need strong women to take an interest in
the development of the home subjects as well. Each
year produces a few more and the time will surely
come when we shall have competent instruction for
college work in home economics. The field is very
broad and the opportunity very large for any one
who will prepare herself for this work. House-
keeping and home-making are certainly a profes-
sion, and intelligent, thoughtful preparation must be
demanded from those who are to present this sub-
ject to the next generation, for their health and hap-
piness are at stake.
Another difficulty is the readjustment of subject-
matter in order that this work may find a place.
This is easily managed when the authorities are
interested and face the value of this work. The
arrangement of periods, the opportunity for courses
in applied science instead of all pure science work,
the chance for elective courses, make possible the


254 DOMESTIC ART
introduction, if there is a willingness to have it in
the curriculum.
There are many possibilities in relation to subject-
matter on both the artistic and scientific sides
of home management and study. In
Possibilities in
college courses relation to the domestic-art work there
for women.
are many phases suitable for college.
The economic side of clothing and shelter offer
opportunities in connection with a general course in
college economics. Woman as spender—what
should her knowledge be of materials, their manu-
facture; how to purchase and regulate her expend-
itures; how to judge of the wage and demands
made of the worker or seamstress? Should she
know and study the relative expenditure for gowns,
shoes, hats, gloves, as well as household furnish-
ing? Should she be taught to think of economy of
time, money, and energy in order that she may have
time to enter into philanthropic study and service?
The home as a sociological study offers opportunity
for courses in this field—the family, the home-maker,
true and false standards of living, luxury, relation-
ship of members in the home, the true home spirit.
From an artistic point of view much of interest
can be offered—the history of architecture, and of


DOMESTIC ART AS A PART OF COLLEGE TRAINING 257
DOMESTIC ART AS PART OF A COURSE IN HOUSE-
HOLD ARTS, IN COLLEGES FOR WOMEN
Household
Arts
Domestic science
Domestic art
Food
Shelter
Clothing
Home management.
The courses following in domestic art are numbered I and II,
and could be given in the 1st and 3d or 2d and 4th college
years, leaving the alternate years for work in domestic science.
Course I.—Clothing and Design
Three Periods Weekly. One-hour Lecture. Two Hours Prac-
tical Work. Throughout the Year
I. Clothing—
(i) Economics of spending.
(1) Woman as spender.
(2) Cost of clothing.
(a) Materials. Affected by adulterations, bargain sales, sec-
onds, out of season and style, sweatshop labor, quality, econ-
omy in selection.
(6) Making. (1) Dressmaker, seamstress, time, wage.
(2) Home-made by self—hand-work on gowns. (3) Time for
various garments. (4) In harmony with means, occasion, and
personality—style, comfort, beauty. (5) Color in relation to
dress.
(c) Care and cleansing of clothes. Repairing. (Chemistry
of cleansing and textiles—related course.)
(3) Relation of cost of clothing to income. Proportion for
gowns, hats, coats, shoes, gloves, etc. Depending on life,
position, climate, etc.


DOMESTIC ART AS A PART OF COLLEGE TRAINING 259
Course II.—Shelter
(Two Periods per Week for One Year)
I. The House—
(i) The exterior. (History of architecture a related course.)
(1) Appearance, location, city, country, suburb.
(2) Rents. Proportion of rent to income, number of indi-
viduals, etc.
(a) Adaptation to needs, position, etc., of occupants.
(b) False standards.
(3) Municipal art. Municipal League. Woman in rela-
tion to civic affairs. (Social economics a related course.)
(ii) The interior.
(1) The home.
(a) Meaning, atmosphere, affected by social changes; effi-
ciency, happiness dependent on.
(b) The family, the home-maker, false standards; desire for
luxury.
(2) The decoration and furnishing.
(a) Economy. (1) Respect to beauty, comfort, and health;
position and needs of occupants. (2) Making most of existing
circumstances. Dealing with and planning for specific prob-
lems. (3) Least expenditure of time, energy, money.
(b) Specific rooms. (1) Bedrooms, living-rooms, dining-
room, etc. Ceilings, walls, floors, arrangement. (2) Decora-
tion and furnishing. Floor coverings, walls, draperies, lighting,
furniture, glass, pottery, tapestries, coloring, materials, quality,
amount, cost.
(3) Proportioning of household expenditures. Repairs.
New furnishing.


260
DOMESTIC ART
II. History of Periods of Decoration—
(1) Handicraft movement. Ruskin and Morris in relation
to household art.
(2) History of tapestries and other textiles.
(3) History of silver, glass, etc.
III. Excursions—
Stores, factories, museums, study of furniture, stained glass,
tapestry, etc.
References for Study
"Report of Lake Placid Conference on Home Economics,*
1907.


CHAPTER XIII
DOMESTIC ART IN OTHER HIGHER INSTITU-
TIONS OF LEARNING
Domestic art may or may not be a phase of a
girl's general training in college, but it now forms a
decided part of the work open to women in other
higher institutions of learning.
It is offered in many of the state and agricultural
colleges as work of educational value open to women
in the general course and counts for credit toward
graduation. This is often designated as a home-
maker's course and presents work in the various
phases of domestic art as previously outlined. The
work is often required as part of the general course,
with opportunity for electives if there is particular
interest in this specialty. In other instances this
work is entirely elective. The courses offered are
generally of a practical nature—garment and dress
making, millinery and embroidery, designing and
work in textiles. As yet little attention has been
paid to the economic and ethical phases of the
261


262
DOMESTIC ART
work, although the artistic and scientific sides have
received some attention. These should be of par-
ticular interest in higher education and make woman
a wiser administrator of the funds which it will be
her duty to disburse as she carries on the business
of home-making. The courses offered in the State
and agricultural colleges should aim to give this
direction to the work. It is fatal to the cause for
students graduating from this general course in
the State college to go into this teaching field
without additional preparation. Many of these
State colleges have normal departments where
additional training may be had in the more strictly
educational phases of the work. Examples of the
State and agricultural colleges giving work in do-
mestic art are Ohio State University; University of
Illinois; Ames Agricultural College, Ames, la; Mich-
igan State Agricultural College; University of Ten-
nessee.
Home-maker's courses are offered in many of the
higher institutions besides the State and agricultural
college. They are open, as a rule, to girls with
and without previous high school training, and may
be of an elementary or advanced nature. The work
offered covers practical courses in household man-


DOMESTIC ART IN OTHER INSTITUTIONS 263
agement, care of children, home nursing, elementary
and advanced cookery for household use, garment-
making, dressmaking, millinery, costume design,
house sanitation, housewifery, and others. These
studies group themselves about the shelter, nutri-
tion, and clothing of the family, and reach a large
class of girls who will probably marry early and
do not care for the more academic studies, but are
interested in the practical things of life. Such
courses cannot fail to produce better and more in-
telligent homekeepers. Domestic art offers such
students courses in dressmaking, garment-making,
millinery, and embroidery. Courses in costume
designing, color harmony, elementary design, and
house decoration, study in the fabrics for use both for
clothing and furnishings, and distinctive study in the
wise purchase of articles of clothing and furnishings.
The hygiene, cost, durability, repair, and selection
of materials are all closely allied in this economic
study. Examples of this type of course may be
found at the School of Household Arts, Teachers
College, Columbia University; Pratt Institute, Brook-
lyn; Stout Training School for Homemakers, Me-
nominee, Wis.; Drexel Institute, Philadelphia; Uni-
versity of Chicago, and others.


DOMESTIC ART IN OTHER INSTITUTIONS 265
(6) Garment-making, to include the application
of all the hand-sewing stitches.
(7) Dressmaking, both elementary and advanced,
with facilities for practice.
(8) Millinery.
(9) Miscellaneous hand-work, such as crocheting,
knitting, and weaving.
(10) Elementary design and color harmony. Ad-
vanced work in design and color, with direct appli-
cation to costume and home furnishings.
(11) The home as a sociological study. Its spirit,
plans for its artistic study, both on the exterior and
interior.
(12) Economics of the home in relation to home
management, expenditures, purchase and repair of
household clothing and furnishings.
Such training prepares for the teaching of sewing
in elementary or high schools and supervisory work
in schools or higher institutions. Not all teachers,
however, who pursue such a course are fitted to do
supervisory work. Much will depend on the pre-
vious training and experience. The demand in the
teaching field of higher education is at present for
women who have college degrees as well as diplomas
for teaching the specialty. Such women must
possess strong personalities and have the power of





A SELECTED BIBLIOGRAPHY OF BOOKS
HELPFUL IN THE STUDY OF THE
VARIOUS PHASES OF DOMESTIC ART
EDUCATIONAL
(1) "The Method of the Recitation." McMurray. (Mac-
millan, 1904.)
(2) "The Educative Process." Bagley. (Macmillan, 1905.)
(3) "Principles of Teaching, Elements of Psychology."
Thorndike. (A. G. Seiler, New York, 1907.)
(4) "School and Society." Dewey. (Chicago University
Press, 1899.)
(5) "The Place of Industries in Elementary Education."
K. E. Dopp. (Chicago University Press.)
(6) "English Reports on Education." Sadler. (Vols. 10 and
11, American Education.)
(7) "The Making of Our Middle Schools." Brown. (Long-
mans, 1903.)
(8) "Youth. Its Education, Regimen, and Hygiene." G. S.
Hall. (Appleton, 1907.)
(9) "Teachers College Records." (Teachers College, New
York.)
(10) "The Child and the Curriculum." Dewey. (University
of Chicago Press.)


270 DOMESTIC ART
(11) "Notes on Child Study." Thomdike. (Macmillan,
(12) "Report of Massachusetts Commission on Industrial
and Technical Education." (Boston, 1906.)
(13) "Trade and Technical Education." (Seventeenth Annual
Report of the United States Commissioner of Labor,
1902, Washington.)
(14) "The Manhattan Trade School for Girls." Mary S.
Woolman. (Educational Review, September, 1905,
vol. 30.)
(15) "Trade Schools—An Educational and Industrial Neces-
sity." Mary S. Woolman. (The Social Education
Quarterly, vol. 1, March, 1907,)
(16) "The American High School." J. F. Brown. (Mac-
millan, 1910.)
(17) "Beginnings in Industrial Education." Paul Hanus.
(Houghton Mifflin, 1908.)
(18) "The Making of a Girls' Trade School." Mary S.
Woolman. (Whitcomb and Barrows, Boston.)
SEWING AND DRESSMAKING
(1) "School Needlework." O. C. Hapgood, 1893 (Teachers'
Edition). (Ginn.)
(2) "A Sewing Course." Mary Schenck Woolman. (F. A.
Frenald, Buffalo, N. Y., 1908.)
(3) "Dressmaking Up to Date." (Butterick Publishing Com-
pany.)
(4) "The Complete Dressmaker." (Edited by C. E. Laugh-
lin, 1907.)
(5) "Dress Cutting, Drafting, and French Pattern Modelling."
M. Prince Brown. (Archibald Constable and Com-
pany, London.)


274
DOMESTIC ART
(10) "Silk Culture in California." Carrie Williams. (Whit-
aker, 1902.)
(11) "Weaving and Designing." Ashenhurst. (Simpkins,
London, 1879.)
The following magazines give helpful suggestions for those
interested in domestic art:
"The School Arts Book." $1.50 per year. (Davis Press,
Worcester, Mass.)
"The Manual Training Magazine." $1.50 per year. (Man-
ual Arts Press, Peoria, 111.)
"The Ladies' Home Journal." $1.50 per year. (Curtis Pub-
lishing Company, Philadelphia.)
"The Good Housekeeping Magazine." $1.50 per year.
(Phelps Publishing Company, Springfield, Mass.)
"The Woman's Home Companion." $1.25 per year. (Cro-
well Publishing Company, New York.)
"The Delineator." $1.00 per year. (Butterick Publishing
Company, New York.)
"Harper's Bazar." $1.25 per year. (Harper & Bros., New
York.)
"L'Art de la Mode." $3.50 per year. (Morse, Broughton Co.,
New York.)
"Elementary School Teacher." $1.50 per year. (University
of Chicago Press, Chicago.)
"Teachers College Record." $1.00 per year. (Teachers
College, Columbia University, New York.)
"Educational Review." $3.00 per year. (Educational Re-
view Company, Columbia University, New York.)
"The Survey," formerly "Charities and the Commons." $2.00
per year. (Charity Organization Society.)
"The Craftsman." $3.00 per year. (Gustav Stickley, 41
West Thirty-fourth Street, New York.)


4