Tec 5898.82
T STANDS AT THE HEAD!
THE LIGHT-RUNNING
99
KARDIA
EMIA
OLS12
ECCL,
TAS
10N
CHR)
ADEM
31
ONVIN
The Largest Armed,
barvard College Library
FROM
BIS
Domestic Sewing Machine Company.
Broadway and 14th Street, New York.
CHICAGO,
DISTRIBUTING OFFICES:
DETROIT,
SAN FRANCISCO,
St. Louis,
MILWAUKEE, CLEVELAND, MACK BROS.
Kansas City,
RICHMOND, CINCINNATI, Mace


ADVERTISEMENTS.
BOOKS ON ART.
Introduction to the Study of Art.
By M. A. Dwight, author of “Grecian and Roman Mythology."
12mo. Cloth, $1.26.
II.
Great Lights in Sculpture and Painting.
A Manual for Young Students. By S. D. DOREMUS. 12mo. Cloth,
$1.00.
"This little volume has grown out of a want long felt by a writer who desired to
take a class through the history of the great sculptors and painters, as a preliminary
step to an intelligent journey through Europe."-From Preface.
III.
Schools and Masters of Painting.
With an Appendix on the Principal Galleries of Europe. With
numerous Illustrations. By A. G. RADCLIFFE. 12mo. Cloth,
$3.00.
"The volume is one of great practical utility, and may be used to advantage as an
artistic guide-book by persons visiting the collections of Italy, France, and Germany,
for the first time. The twelve great pictures of the world, wbich are familiar by copies
and engravings to all who have the slightest tincture of taste for art, are described in
a special chapter, which affords a convenient stepping-stone to a just appreciation of
the most celebrated masterpieces of painting. An important feature of the work, and
one which may save the traveler much time and expense, is the sketch presented in
the Appendix, of the galleries of Florence, Rome, Venice, Paris, Dresden, and other
European collections."-N. Y. Tribune.
IV.
Studio, Field, and Gallery,
A Manual of Painting, for the Student and Amateur ; with Infor.
mation for the General Reader. By HORACE J. Rollin. 12mo.
Cloth, $1.50.
"The work is a small one, but it is comprehensive in its scope; it is written as
tersely as possible, with no waste sentences, and scarcely any waste words, and to
amateur artists and art-students it will be invaluable as a hand-book of varied infor-
mation for ready reference."-N. Y. Evening Post.

V
Ruskin on Painting.
With a Biographical Sketch. (Forming No. 29 of Appletons
“New Handy-Volume Series.") 18mo. Paper, 30 cents; cloth,
60 cents.
Majati



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and can not be sold in competition with the inultitude of low
test, short weight, alum, or phosphate powders. Sold only in
cans.
ROYAL BAKING POWDER Co., 106 Wall St., N. Y.
A copy of the “ Royal Baker and Pastry Cook,” by Pro-
fessor Rudmani, containing over 700 Baking and Cooking
Receipts, will be mailed-free to any address.
ROYAL BAKING POWDER CO.,
P. O. Box 679, New York.


Appletons' Home Books.
THE HOME NEEDLE.
BY
ELLA RODMAN CHURCH,
AUTHOR OF
"HOW TO FURNISH A HOME,” “THE HOME GARDEN,” ETC.
NEW YORK:
D. APPLETON AND COMPANY,
1, 3, AND 5 BOND STREET.
1882.


ᏢᎡ E FA C Ꭼ .
Of books on embroidery and fancy-work, and all
kinds of home decoration, there is no lack, and very
charming and suggestive these dainty volumes are; but
the humbler occupations of plain sewing and useful
needle-work are too much neglected.
In a “Home Series,” at least, these topics should
have a place; and the making of garments at home, as
well as the many other practical uses to which that es-
sentially feminine implement—the needle—can be put,
is a subject that interests all women, except, perhaps,
the favored few whose pathway lies among the velvets
and roses of life, and whose only use of the marvelous
little instrument is when it is threaded with embroi-
dery-silk.
For purposes of economy, and even of money-mak-
ing, a deft use of the needle is a power not to be
despised; and the encomium, “She can make anything
that is to be made,” applied to a skillful needle-wom-
an, is of itself a liberal endowment. The suggestions


PREFACE.
in this little volume are intended for those who desire
a practical knowledge of plain sewing, millinery, and
dress-making, who may find in the hints here offered
a safe guide to experimental knowledge.





THE HOME NEEDLE.
“GO TEACH THE ORPHAN-GIRL TO SEW.”
It is not at all probable that the lady who received this
very practical exhortation knew anything about sewing ;
and, in this respect at least, there are many who resemble
the proud daughter of a hundred earls.
The sewing-machine, though undoubtedly a great gain
as a labor-saving invention, has much of this to answer for.
Like a willing servant, more is expected of it than it is able
to perform. “Just run it up on the machine" is a direc-
tion that does not apply with equally good results to all
kinds of sewing; and the habit is apt to produce a careless
style of working. Then, too, the finishing off of work
after the machine has done its duty is quite an important
item; the working of button-holes is no trifle; and even
preparing the garments to be stitched requires neatness,
regularity, and dispatch.
Work that is too hastily done is never well done; and
the tearing manner in which some people attack a piece of
sewing promises an abundant harvest of broken needles,
snapped threads, and drawn and twisted seams, in lieu of
the garments made by steam, which is their apparent aim.


Tee 5898.82
IT STANDS AT THE HEAD!
- ... THE LIGHT-RUNNING
TARDIA
TANA
ARD
MWALI
EMIA
ECCLE
CHRIS
ESIA
NOVI
OSIANG
CADE
| The Largest Armed,
barvard College Library
FROM
Domestic Sewing Machine Company.
Broadway and 14th Street, New York.
DISTRIBUTING OFFICES :
CHICAGO,
DETROIT,
San Francisco,
St. Louis,
MILWAUKEE,
CLEVELAND, MACK Bros.,
Kansas City,
RICHMOND,
CINCINNATI, Mack Bros.


ADVERTISEMENTS.
BOOKS ON ART.
1.
Introduction to the Study of Art.
By M. A. Dwight, author of “Grecian and Roman Mythology."
12mo. Cloth, $1.26.
II.
Great Lights in Sculpture and Painting.
A Manual for Young Students. By S. D. DOREMUS. 12mo. Cloth,
$1.00.
"This little volume has grown out of a want long felt by a writer who desired to
take a class through the history of the great sculptors and painters, as a preliminary
step to an intelligent journey through Europe."-From Preface.
III.
Schools and Masters of Painting.
With an Appendix on the Principal Galleries of Europe. With
numerous Illustrations. By A. G. RADCLIFFE, 12mo. Cloth,
$3.00.
"The volume is one of great practical utility, and may be used to advantage as ad
artistic guide-book by persons visiting the collections of Italy, France, and Germany,
for the first time. The twelve great pictures of the world, which are familiar by copies
and engravings to all who have the slightest tincture of taste for art, are described in
& special chapter, which affords a convenient stepping-stone to a just appreciation of
the most celebrated masterpieces of painting. An important feature of the work, and
one which may save the traveler much time and expense, is the sketch presented in
the Appendix, of the galleries of Florence, Rome, Venice, Paris, Dresden, and other
European collections."-N. Y. Tribune.
IV.
Studio, Field, and Gallery,
A Manual of Painting, for the Student and Amateur; with Infor.
mation for the General Reader. By HORACE J. ROLLIN. 12mo.
Cloth, $1.50.
“The work is a small one, but it is comprehensive in its scope; it is written as
tersely as possible, with no waste sentences, and scarcely any waste words, and to
amateur artists and art-students it will be invaluable as a hand-book of varied infor-
mation for ready reference."--N. Y. Evening Post.
Ruskin on Painting.
With a Biographical Sketch. (Forming No. 29 of Appletons'
“New Handy-Volume Series.") 18mo. Paper, 30 cents; cloth,
60 cents.
VI.
Majolica and Fayence:
Italian, Sicilian, Majorcan, Hispano-Moresque, and Persian. By
ARTHUR BECKWITH. With Photo-Engraved Illustrations. Second
edition, 12mo. Clotb, $1.00.
D. APPLETON & CO., PUBLISHERS, 1, 3, & 8 BOND STREET, N. Y.
ERS&STATIONERSI
KW.B.CLARKE COS
BOOKSELLERS&STAT
26828 TREMONT ST.&
30 COURT SQ.,BOSTON.
VA



ROY
FULL WEIGH
ROYAL POWDER
ABSOLUTELY PURS
ROYAL
O POWDER
BAKING
POWDER
Absolutely Pure.
This powder never varies. A marvel of purity, strength,
and wholesomeness. More economical than the ordinary kinds,
and can not be sold in competition with the inultitude of low
test, short weight, alam, or phosphate powders. Sold only in
cans.
ROYAL BAKING POWDER Co., 106 Wall St., N. Y.
A copy of the “ Royal Baker and Pastry Cook," by Pro-
fessor Rudmani, containing over 700 Baking and Cocking
Receipts, will be mailed free to any address.
ROYAL BAKING POWDER CO.,
P. 0. Box 679, New York.


Appletons' Home Books.
THE HOME NEEDLE.
BY
ELLA RODMAN CHURCH,
AUTHOR OF
“HOW TO FURNISH A HOME,” “THE HOME GARDEN," ETC.
NEW YORK:
D. APPLETON AND COMPANY,
1, 3, AND 5 BOND STREET.
1882.


Ter 5898,82
GVARD COLLECT
HARVARD
June 6,1933
C LIBRARY
Haverhill Public Lidictie
MICROFILMED
AT HARVARD
COPYRIGHT BY
D. APPLETON AND COMPANY.
1882.


PREFACE.
OF books on embroidery and fancy-work, and all
kinds of home decoration, there is no lack, and very
charming and suggestive these dainty volumes are; but
the humbler occupations of plain sewing and useful
needle-work are too much neglected.
In a “Home Series," at least, these topics should
have a place; and the making of garments at home, as
well as the many other practical uses to which that es-
sentially feminine implement—the needle—can be put,
is a subject that interests all women, except, perhaps,
the favored few whose pathway lies among the velvets
and roses of life, and whose only use of the marvelous
little instrument is when it is threaded with embroi-
dery-silk.
For purposes of economy, and even of money-mak-
ing, a deft use of the needle is a power not to be
despised; and the encomium, “She can make anything
that is to be made,” applied to a skillful needle-wom-
an, is of itself a liberal endowment. The suggestions


PREFACE.
in this little volume are intended for those who desire
a practical knowledge of plain sewing, millinery, and
dress-making, who may find in the hints here offered
a safe guide to experimental knowledge.


CONTENTS.
PAGE
.
.
.
7
.
I.—“Go TEACH THE ORPHAN-GIRL to Sew”
II.-BEGINNING Right.-UNDER-GARMENTS
III.—UNDER-GARMENTS.--(CONTINUED.) .
IV.—“The Song OF THE SHIRT” .
V.-RUDIMENTS OF DRESS-MAKING . .
.
.
RESS-MAKING IN DETAIL
.
VII.—Sewing and FINISHING
VIII.—THE MILLINER'S ART
IX.-CHILDREN'S GARMENTS .
X.—HOUSE-LINEN . .
XI.—THE MENDING Basket .
XII.-A PATCHWORK CHAPTER .
.
.
.
.
.
. 103
114
.
.
.
.





TIE HOME NEEDLE.
Such workers will destroy nearly a paper of needles of an
afternoon, sow pins broadcast over the floor, and make
seams and hems that fray out for want of sufficient "edge."
For, to do any work well, requires time; and seamstresses
who twitch and jerk their thread, with an assumed superi-
ority over more careful workers, rarely accomplish any-
thing worth the doing.
In teaching the orphan-girl to sew—the average one at
least, who frequents the Saturday sewing-school-it will
invariably be found that she pins her work to her knee,
and pulls and stretches the seam, with the laudable desire
of reaching the end as soon as possible. The idea of run-
ning or hemming while holding the work in her hands is
to her mind an innovation which she is very slow to adopt.
Yet so many people do their work in the wrong way, and
teach others as they do it themselves, that this is not to be
wondered at.
It is better, however, to make the orphan understand at
once that pinning the work to her knee is bad both for the
work and for herself, as it bends the back and chest in a
most injurious way for a growing girl. The proper way to
hold the work is on a line with the chest ; and the stitches
should never be drawn, but lie easily when finished. Roll-
ing the work around the finger is another fault with pu-
pils, who should be taught to hold it properly between the
thumb and forefinger. To prevent the side of a seam next
to the worker from drawing up, and thus becoming shorter
than the other, it should be gently stretched from time to
time.
The first requisite for good sewing is good implements.
A great many respectable people never have a decent pair
of scissors : dull points, uneven edges, and even rusty
blades, prevail to such a degree, that one would suppose
this very necessary appendage to an ordinary needle-woman
to be a foreign article of luxury unattainable except by the


10
THE HOME NEEDLE.
case of stitching (back-stitching ?), when a coarser cotton
can be used. The choice of thread merits great consider-
ation, because upon the strength of the thread or silk the
solidity of the work depends. In order to judge the strength
of the thread to be used, it is well to try and break a nee-
dleful. The stronger it is the greater will be its resistance
before it breaks. It ought to be sound and equal, without
being too twisted ; it should, however, be twisted suffi-
ciently to form a sharp point, and to wear well when pass-
ing constantly through the stuff. For the same reason,
care must be taken not to use too long a needleful. The
thread ought always to be cut, and never broken off.”
A thimble with a poor sewer is usually lost or mislaid ;
and, when found, it is apt to be of the cheapest material,
and battered in at the side. A thimble should fit the fin-
ger closely, without pinching it; and if a souvenir of gold,
with the owner's monogram or initials prettily engraved
upon it, the sewing will be none the worse for it, and the
thimble will last all the longer.
A work-table, with a good-sized drawer divided into
compartments for holding the various trimmings in ordi-
nary use, is almost indispensable in a sewing-room ; but,
where it can not be had, a large box, divided in the same
way by pieces of pasteboard, will answer very well. Here
should always be found a stock of needles, cotton, sewing-
silk, pins, tapes, buttons, cord, hooks and eyes, and all the
innumerable odds and ends so constantly used in household
sewing, that no time may be lost by almost daily going or
sending for one or other of these small necessities. A lady
who was in the habit of sending her one servant from the
wash-tub to buy her a spool of cotton or a piece of braid
often wondered why the work of the house did not get on
better.
The sewing-machine, when well constructed and well
managed, and kept to its proper duties, is a valuable aid in


14
THE HOME NEEDLE.
STEM-STITCH, D.—This is a sort of back-stitch in which
the stitches overlap, as seen in the illustration. It is taken

Fig. 1.
from left to right, and forms a neat finish for the right
side of a hem.


“GO TEACH THE ORPHAN-GIRL TO SEW.”
15
STITCHING, E.—This is composed of a row of back-
stitches without any interval between them—the needle
being at once inserted backward into the stitch just made,
to be drawn out at an equal distance in front of the stitch
which has to be formed.
HEM - STITCH, F.—This stitch is employed to fit a hem
in any stuff, the needle to be placed under the material, and
drawn out about two threads above the edge.
SIDE - STITCH, G.–By the help of this stitch the folds,
or rather the folded edges, of two pieces of stuff are joined ;
the stitch is made slantingly in the opposite side to that
which is held toward the worker.
SEWING - STITCH, H.-This is employed to join two
edges of material. The needle, directed over the edges,
stitches through the outer fold, and comes under that which
is held nearest the worker. A depth of some threads must
be observed. This stitch is always required to join the two
selvages of calico or other cloth, and is familiarly called
sewing a seam.
HERRING-BONE OR CROSS-STITCH, I. - This is used to
join two edges of matertal which, instead of being folded
together, are laid one over the other and worked from left
to right, making alternately a stitch below and one above.
The cross-stitch is made by the thread being drawn out
each time above the stitch which
has just been done. This stitch is
used particularly for making flan-
nel garments.
BUTTON-HOLE STITCH, J, and
Fig. 2.—A straight slit having been
Fig. 2.
cut for the button-hole (and it is
of advantage in order to strengthen the work to run two
threads, one below and one above the hole), the stitches
are taken from left to right in the slit of the button-hole,
to be drawn out behind the tracing at the upper end,


16
THE HOME NEEDLE.
making the thread form a species of knot. This is done
either by holding it with the thumb below the needle, or
in casting it upward ; the thread is drawn out gently to-
ward the slit upon the edges of which the knots ought to
be formed.
It is of importance to remember, when making button-
holes, to place some stitches across each end of the hole, to
give it a nice appearance, and also to insure its wearing well.
In needle-work, nothing is more difficult than to make a
button-hole properly, especially in stuffs of all kinds, it
being easier to form them in linen or calico than in any
other material. There is a difference in the appearance of
the back and front of the button-hole. This stitch is also
used for making eyelet-holes. The eyelet is a round hole
pierced with a stiletto. It is prepared for working in the
same manner as the button-hole, having a thread run
round below and above the hole in order to strengthen the
work and to guide the stitch.
CHAIN-STITCH, K.-The needle is held straight, and
always placed in the last ring or stitch, to be drawn out at
an equal distance to the length of the following ring ; the
cotton is to be held below the needle.
SEAMS are formed by the various stitches explained
above, and may be called simple or double. A simple seam
is that which is finished at once-for example, the hem of
a handkerchief or of any garment Double seams and
over-sewing exact double work. The former are frequently
made with two sorts of stitches, such as turned-down seams,
those turned up, those flattened out, etc.
A turned-down seam is used when it is desired to give
extra finish to any work. Two pieces of material are joined
80 that one side is higher than the other. One side of the
seam is made either by “English stitch,” B, or by the
running-stitch, A. When this is done, the material is un-
folded, so as to flatten out the sewing; then the longer side


“GO TEACH THE ORPHAN-GIRL TO SEW.”
17
is turned down in a tiny fold and hemmed. These seams,
which are as much flattened as possible, are made, with few
exceptions, very narrow.
A TURNED-UP OR FRENCH SEAM.—This is used in fine
linen and light stuffs. Two pieces of material are joined
together near the edge. A running or slip stitch is used.
When the seam is finished, the work is turned so as to make
a similar seam at the back and close to the first. These
seams are often employed for the bodies of habit-shirts,
sleeves, etc.
FLATTENED SEAMS.— These are employed in making
the seams of garments. After the two pieces of stuff are
joined, whether by a simple running or by a back-stitch
(the latter is far better for making bodices, etc.), they are
opened and laid upon an ironing-board, and a hot iron is
passed quickly over them. In the case of a thin material,
this process greatly improves the appearance of the work.
When this is done, the edges of the seams are fixed to the
garment in question in various ways. It is best to use a
cross-stitch, or to run them down, taking care, however,
that the stitches do not go through to the right side of the
article. The seams of shirts, chemises, and under-linen,
unless they are sewed together, that is, overhanded, are
made by simply running up the widths, and hemming or
“felling” them down.
A DOUBLE HEM, OR HEMMED SEAM, is employed to
join pieces of material of moderate thickness, folding them
down together, and at once hemming the seam, dispensing
with any other stitch.
ROLLED HEM.—This is made in fine linen, light stuffs,
etc. This hem is prepared as required-that is to say, by
rolling the edge of the material between the fingers while
sewing.
WHIPPED SCROLL.- This is prepared like the foregoing
hem ; the difference exists in working the needle over the


18
THE HOME NEEDLE.
edge so as to take several stitches at the same time. This
whipping is generally used to make tiny frills, as the thread,
if taken loosely, can be drawn up to form a gathering.
Gathering proper is formed by a running-stitch, A. These
stitches for running can not be too regularly made, but are
larger or smaller according to the thickness of the mate-
rial. Only one needleful of thread is used to make a gath-
ering. This is never broken off until the running is fin-
ished. This work exacts a certain amount of skill, because,
while making the needle run in front, the back-stitches are
thrown off as they amass themselves.
When the gathering is of requisite length, it is firmly
fastened off at the end. This must be carefully seen to, as
few things are more irritating than for the thread to run
back and all the work to come undone. The running must
be graduated, it being above all necessary to equalize the
gathering. This is done by taking a strong needle or pin
and stroking down each plait of the gathering separately,
so that it is all equally divided.


II.
BEGINNING RIGHT.-UNDER-GARMENTS.
To cut out the materials for garments in an exact and
careful manner requires good judgment, a steady hand,
and proper conveniences. The cook who in instructing a
younger sister charged her “always to have a good fire to
begin with,” understood her business ; but those workers
who do their cutting out on uneven surfaces, on their laps,
or on the floor, have not yet mastered the rudiments of
needle-work.
Nothing can be well done except in the right way; and
an inequality in the two sides of a joining, the redundant
side being slightly puckered, or the lacking one pulled “ to
make it come right," or an irregular bias, will spoil the
entire appearance of a garment.
A single-bed, that can be approached from both sides,
or a dining-table, will answer very nicely for large pieces of
work; but for ordinary garments nothing is so convenient
as the low table, folding or adjustable, at which the wea-
ried worker can sit comfortably. A lap-board is the next
best thing ; but one or the other is indispensable where
patterns are to be laid down smoothly and carefully fol-
lowed.
Having made sure that the material is placed to run the
right way, the pattern should be laid on it and carefully
secured from slipping even a hair's breadth, by slender pins.
The best pins for white goods, silk, and thin stuffs are nee-


20
THE HOME NEEDLE.
dles with sealing-wax heads, as these leave no marks of
their presence; but for woolen goods, cloth, etc., ordinary
pins are more substantial. It is better to arrange the dif-
ferent parts of a pattern on the goods before using the scis-
sors, as the material is then cut to better advantage ; and,
if a number of garments are cut out at once, there will be
quite a saving of cloth.
Careless workers and people who “work by steam " are
always wasteful of material, while fashionable dress-makers
are proverbial for “never turning a pattern.” But a great
deal may be gained in valuable material by changing the
arrangement of a pattern until it fits almost as closely as a
puzzle—although the example of the frugal lady who spent
her time over a chemise composed of sixty small pieces of
shilling muslin is not to be recommended for general imi-
tation.
Patterns should always be cut to allow for seams, as,
besides preventing mistakes, this insures a better fit and
more harmonious joining of the different parts.
For children in sewing-schools, etc., the first actual
garment which they are permitted to make is usually an
apron of the simplest kind. This involves very little cut-
ting out—the material, which is calico or gingham, being
torn off of the proper length--and it is finished with a
band and strings at the waist. A child's apron often has
a bib attached ; or the garment is cut out in sacque-shape,
with or without sleeves, and buttoned up in the back.
The making of the simplest kind of apron will teach
a beginner to run up seams, overcast, hem, gather, etc.;
while the more complicated ones include the making of
button-holes, sewing on of buttons, and facing.
A lady's apron for use, instead of ornament, should be
of substantial size ; and gray or white linen, although mus-
lin may be used, will be found the best material. A kitchen
apron can scarcely be too wide ; if made without gathers,


UNDER-GARMENTS.
21
two breadths of wide linen will answer-one breadth being
cut into two narrow ones, which are joined one on either
side of the wide one. Such aprons should always have
bibs or waists, in order to protect the dress as much as pos-
sible; and a quarter of a yard extra of material will make
three or four bibs, according to the width. These are cut
straight across the top, and slope at each side to the waist.
These bibs are either hemmed or faced round—the smaller
part joined to the apron at the waist, and the upper part
pinned at each end to the dress.
Patterns for all kinds of aprons are so easily obtained,
with the amount of material required marked on them,
that it is scarcely safe to give an estimate of yards, as this
varies with the style of apron and the size of the wearer.
A plain, straight apron of calico, to cover the dress well
and tie around the waist--the fullness at the top being
gathered into a band will take three yards ; with a bib
attached, a quarter of a yard more.
Aprons of gray linen cut in some pretty shape (which
need not interfere with their usefulness), and trimmed
with worsted feather-stitching in red or blue, can be made
quite ornamental. They should have a pocket on either side.
A sewing-apron is very convenient when made of extra
length to allow of the turning up of a quarter of a yard or
so for a pocket. In this case, the bottom of the apron
should be hemmed on the right side, and also as much of
each side as is to be turned up. The ends of the pocket
thus formed have their two sides joined by an overhand
seam ; and the pocket may be divided into two compart-
'ments by a row of stitching down the middle. Thread,
worsted, embroidery silk, and the various small parapher-
nalia of sewing, can all be carried in this convenient re-
ceptacle, which prevents much tiresome searching for the
thimble, scissors, and thread, that are so apt to go astray
when the worker is called off for a moment.


22
THE HOME NEEDLE.
The cutting out of a chemise was, some years ago, an
intricate and mysterious proceeding because of “gores” and
“gussets.” But modern progress has changed all that ;
gussets are things of the past; and with wide French mus-
lin, or our own American products, gores in this age of
narrow skirts are well-nigh discarded.
Stout people, however, still require them, as a garment
that forbids any but the most circumspect movement of
the limbs is an uncomfortable affair. It will be seen by
the illustration (Fig. 3) how much a gore on each side adds
Fig. 3.
to the width of a chemise ; and Fig. 4 shows the shape
and comparative size of the gore.


UNDER-GARMENTS.
23
A gore has always one straight side, being cut from the
selvage edge of the material ; and this is joined by a fine
overhand seam to the corresponding edge of the
garment, the wide end being at the bottom and
the narrow or pointed end at the top. In the
illustration, the gores are cut from each side of
the chemise ; and in this way the garment is pre-
vented from being too wide at the top and not
wide enough at the bottom.
The directions for cutting these gores are :
first, to mark with pins the width required for
the neck—about five inches representing the width
of the gore at its base, e; from this the material
must be cut bias and narrowed to a point toward
the middle of the chemise, or the outside edge of
the muslin. For a beginner, it will be safer, be-
fore cutting, to crease the material just where the
scissors are to go. After these first gores are cut
-two being cut at the same time, one from the
back-width and one from the front—the others
are cut in the same manner from the other side
of the chemise, and all are then joined by the selvage to
their proper sides.
This method of cutting forms gores that reach only
about half the length of the chemise, and makes the top
of the garment quite narrow in proportion to the width of
the bottom.
Another plan is to put gores on one side only, using
two instead of four ; and this answers admirably with wide
material. These gores, one for the back-width and one
for the front, are larger than when taken from both sides ;
and they are sewed to the opposite sides from which they
have been taken. After sewing them on by the selvage,
the gores (as in all other cases) are closed at the sides by
running and felling the seam. For felling, one edge of the
e
FIG. 4.


24
THE HOME NEEDLE.
seam is left wider than the other, and this longer edge is.
neatly turned under with the needle and hemmed down.
A quick and lazy way of making a chemise (when ele-
gance is not required) is the bag method in Fig. 5. After
cutting off whatever amount of material is required for
sleeves and other things, that intended for the chemise is
folded into three parts (a, b, c), so that two ends meet in
the middle of the piece. The sides are then sewed togeth-
dle
Fig. 5.
er; and this forms a double bag with two ends (d and e).
The gores are cut from each side of this bag near the sew-
ing, so that the straight ends of each of them meet in the
middle of the under portion of the bag. The edges of the
opening of the bag are the lower ends of the chemise,
which lie exactly on the center of the material, that cen- .
ter being the top of the chemise.


UNDER-GARMENTS.
25
It is from the lower portion of the chemise that the
gores are cut-taken, as usual, from the width remaining
after the size of the shoulders has been arranged. Fig. 4
shows one gore, which serves as a sample of all. When the
gores are all cut, the bag is unfolded ; and the gores are
found to be sewed up. It only remains to finish the che-
mise according to one of the ways described further on.
The chemise is closed at each side by a seam run and felled
from the slope ; and the bottom is finished with a hem,
which varies from one inch to two and a half according to
taste.
A general rule for the neck of a chemise is to slope it at
least an inch in the middle of the front, and to put a little
more fullness in the front than in the back. A band
straight at the top, and cut down into sleeve-gussets on the
lower side, is neatly stitched on after the neck of the che-
mise has been gathered and “stroked." A needle of good
size is a neater implement than a pin for this stroking-
the gathering having been previously done on one or two
threads, taking up and skipping alternately. The band is
sewed first on the right side, using the English stitch and
taking up a gather with each one, and then basted carefully
down and done in the same way on the wrong side.
A slit of some inches is often made in the front of the
chemise, and it is then necessary to finish the band with a
button and button-hole, or with two button-holes, one at
each end, to accommodate a stud. Sometimes, this slit is
finished merely with a hem, the side that laps over being
considerably wider than the other, and sometimes a piece
of inserting is laid over it and trimmed around with lace.
It is quite optional to have the slit at all; and it is less
trouble to leave the chemise closed and define the front by
tucks and inserting.
For sleeves there are various styles ; but all should be
short and cut to wear well. The puffed sleeve and the


26
THE HOME NEEDLE.
“dollar” sleeve are great favorites, as they both look and
wear well, the latter being the more simple of the two.
To cut this, double, down the length, a piece of muslin or
linen about thirteen inches long and ten wide; then cut a
round hole for the bottom of the sleeve, leaving six inches
at the lower end on which comes the strain of the arm.
Begin at this end on the other side of the crease, making a
point of it, and round up, the top of the sleeve to be about
two and a half inches deep. A band is stitched on the
lower end of the sleeve, and the top is gathered into the
armhole for rather more than half its length, the lower
portion being sewed in plain.
The lower part of the sleeves is always sewed into a che-
mise before the band is put on.
Very pretty French patterns for chemises can be bought
at the pattern-stores, and among these patterns the French
sacque-chemise is the simplest and most comfortable, sleeves
and all being cut in one, without even a band to put on the
neck, only a tape facing, through which is run a draw-
string. The neck above this can be scalloped or trimmed
with narrow edging.
THE PRINCESS shape is very much liked by some be-
cause of its fitting rather close at the waist, and not being
bunchy elsewhere. This is a very comfortable garment
when properly cut; but, when it is cut badly, it drags and
pulls in a most annoying manner. For those who wish to
look particularly slender, it is very much in demand ; but
it can be cut only by a regular pattern.
THE COMBINATION GARMENT also has its advocates, as
saving trouble and being conducive to health. It consists
of chemise and drawers in one, buttoning in front to the
end of the bust, while the gathers at the back are put on a
narrow band. In other ways, it is made like the ordinary
chemise and drawers; and Fig. 6 gives a diagram of the
pieces belonging to this curious garment.


UNDER-GARMENTS.
29
d shows the center of the line a c. The third line, near
the extreme end, makes an angle with point e. These
DUIDIIIIIIIIII
-
-
Fig. 7.
three straight lines indicate, first, the measurement of the
waist ; secondly, the width at the lower part of the thigh ;
and, thirdly, the width of the lower part of the leg. The
measurement of the waist is taken at point a, and is shown
at the right at point e. If the length of the side be thirty


30
THE HOME NEEDLE.
inches, fifteen inches (the half) will be the measurement
of the widest part of the leg. This width is to be laid at
d, upon the straight line at the center shown at point f.
The measurement for the lower part of the leg is marked
upon the third straight line. The length of this line must
always depend more upon personal convenience than upon
custom. This size is to be placed upon the pattern at e,
and the length shown at g. By the help of the above
measurements, carefully marked, the pattern for the front
half of the drawers may be traced in the following manner :
A few inches from e, a straight line is to be drawn to h,
which ought to be at half the distance from the second
line (d f). A slanting line is to be drawn from h to f to
form the slope of the drawers. Again, another slanting
line, hollowed out in the center, and almost straight at the
end, is to be drawn from point f to g. This line is for the
inner seam of the leg.
To make the back of the drawers higher and wider than
the front, about five inches must be marked off above the
first straight line, i, which will not be exactly over e, but
taken some inches toward the right. A sloping line from
i to a is to be drawn for the shape of the top, and a curved
line from i to f for the line of the back.
The illustration shows, at the same time, the front and
the back of the drawers. The two halves are always cut
at the same time from one piece of material, which is
doubled for the purpose, and cut after the shape of the
pattern from the lower end c to the top. Then the
stuff is to be unfolded in order to cut half after the shape
C, e, h, f, and the front part; and the other half to follow
the shape a, e, f, of the back, allowing about half an inch
everywhere for seams. The pattern is now taken off and
the material unfolded, and one half of the drawers is found
complete. The second half is to be cut exactly like it..
Each half of the drawers is joined by a run and felled


UNDER-GARMENTS.
31
seam, and the bottoms can be finished according to indi-
vidual taste. If tucks are wanted (and narrow tucks above
a hem and ruffle are exceedingly neat), room must be al-
lowed for them in cutting out. Puffings and Hamburgh
edging are also used, while some prefer a simple hem with
button-hole scallops. The two halves are next joined in
the front by a strong seam from the waist, e to h, where
the slope begins. The two back halves remain separate
from e to f; these, with the remaining open portion, have
a strong facing of the material, two inches wide, at the
widest part, which is about the middle of the whole, and
tapering off to half that width at the top of the back.
Some persons use nothing stronger for facing than a
moderately wide tape, while others, again, only use this for
the middle, merely hemming the backs, the strong facing
being “ too much trouble.” But it is a trouble that pays,
as this portion of the garment is sure to wear out first.
In preparing the band for the waist, it is quite custom-
ary to tear off a straight piece of muslin, about an inch
wide when doubled, and to fasten this with one large but-
ton and button-hole. A better way is to slope up the band
to two inches in the back, the even width of one inch to
cover about one third of the band in the middle of it, and
the opposite third (the middle of the back) to contain the
two-inch portion, the small portion between being used for
the slope. Two medium-sized (not small) buttons and but-
ton-holes bear the strain better than one large one on a
narrow band; and they should be sewed on three thick-
nesses of the material, one being placed between the double
binding. The upper, or folded, edge is, of course, straight,
and the slope is made at the bottom, where it is joined to
the garment.
In putting on the band, there are scarcely any gathers un-
til the slope begins, and most of the fullness is put in the back.
Fig. 8 represents the garment complete ; but in the


32
THE HOME NEEDLE.
pattern it is finished with drawing-strings at the waist in
place of buttons and button-holes. The former are de-
.
..
i
OD
Fig. 8.
cidedly perishable and inconvenient. The general prin-
ciples are the same for all patterns of drawers, the ends in
view consisting chiefly of strength and neatness.


III.
UNDER-GARMENTS.-(CONTINUED.)
In order to a right understanding of the method of
cutting a NIGHT-DRESS, it is necessary, although rather out
of place among under-garments, to describe the process of
constructing a SACQUE.
This useful article is invaluable both for out-door and
in-door wear, and can be made to suit any need. The style
is that of the basque waist; and, if intended to fit the
waist, the basque can be lengthened to the required depth,
and widened in proportion. If, as in Figs. 9 and 10, the
garment is to be half-fitting, it is only necessary to enlarge
the size of the waist, upon which the size of the whole de-
pends. The depth of the side, front, back, etc., should be
marked, so that the length (6) of the latter is placed about
one or two inches above the proper place for the waist.
This shortening the waist gives the garment a more pro-
nounced bend over the hips. If the skirt is large, no plaits
will be required, hollowing out the lines of the side (a, c)
being sufficient.
The BACK is finished first (if the pattern has been traced
on the lining) by adding the skirt of the garment. Then
the material must be cut in one piece for the back, two for
the sides, and two for the fronts. These different parts are
joined, using the outline of the pattern as the place for the
seams.
The SLEEVES can be made after any desired style, and


34
THE HOME NEEDLE.
adapted to the current fashion. The neck is finished by
a band, a small turned-down.collar, or a straight, upright
one.
The EDGE of the garment is bordered by a false hem
Fig. 9.
Fig. 10.
or an appropriate trimming. A simple and inexpensive
one is made by cutting bands of the material on the cross,
slightly raveling the edges, and plaiting them in the cen-
ter. This looks especially well in cashmere; and, placed
at the top of lace or fringe, or even by itself, is very suit-
able for some jackets.
This same shape can be used as a dressing-sacque, and
made in any material, such as cambric, flannel, etc.; or it
forms a handsome out-door jacket in velvet, cloth, or other


IV.
“THE SONG OF THE SHIRT.”
MORE tears have probably been shed over amateur shirt-
making, with its frightfully complicated "seam and gusset
and band,” than over any other branch of needle-work.
Often the most painstaking toil seems to be rewarded with
the least success; and “giving up” is the only alternative
left to the disheartened young wife.
A generation or two ago, to be able to make a shirt was
an indispensable accomplishment for a young lady who
aspired to the honors of matrimony; for in those days there
were no establishments where dozens could be had ready-
made at a moment's notice, and at wonderfully reasonable
prices. In view of these facts, it is often a source of won-
der why some industrious mater familias will spend so
many hours, day after day, over her needle and sewing-
machine, making shirts for husband and sons, when they
can go to a dozen places and be as well supplied at a great
saving of time and trouble.
But mater familias will answer that they are not so
well supplied. The shirts look beautiful—that first gloss
of bosom, collar, and cuffs, is indescribable—but, like the
bloom on the fruit, once rubbed off it never comes again.
Ordinary laundrying gives them a different aspect; and
soon edges begin to fray out, seams to give way, and join-
ings to slit, until a general air of shabbiness pervades the
whole. Ready-made clothes are seldom well made; in the


40
THE HOME NEEDLE.
haste attendant upon accomplishing them in wholesale
fashion, there is no time to turn in proper seams, to put
stays where the strain comes, or to sew in any other way
than with the machine.
The good housewife declares that a set of bought shirts
last but one year, while the same number of home manu-
facture are good for two. Experience proves that it is the
same with all under-garments; and, for this reason alone,
it is desirable to know how to do the work one's self.
Much of it may be done on the sewing-machine; and by
“making a day” of it, with one to sew, and one to baste-
and another, if possible, to finish off—a great deal can be
accomplished in a comparatively short time.
Besides, shirts are not what they once were, with their
long, wide, bulgy bosoms, tucked to the bitter end, and
opening in front for the further maliciousness of buttons
and button-holes; and neither are carefully-stitched collars
and cuffs now appended. The generation that cried over
shirts had reason to cry; a fact of which any one who reads
ancient volumes of needle-work soon becomes convinced.
“ The Song of the Shirt” is a dismal ditty, but the subject
was dismal too.
In the illustration, Fig. 11, the bosom is made in the
old style ; but with this exception it answers very well to
explain the modern method.
The best way of proceeding in making shirts at home is
to have a good paper pattern (which is very easily pro-
cured), but, if this is not at hand, exact measurements must
be taken from the person. The points to be noted in do-
ing this are :
1. The length of the whole shirt, which is taken from
the nape of the neck at the back to the knee.
2. The width of the chest, taken from under one arm
to the corresponding point on the other side.
3. The size of the neck.


“ THE SONG OF THE SAIRT.”
41
4. Length of the sleeves.
5. Size of the wrist.
For a medium-sized man, the shirt would measure in
the back about a yard and six inches; and in the front
24.
Fig. 11.
(which is always cut shorter) a yard and three inches.
Three yards and a half of muslin will make the garment.
It is well to cut off sleeves and yoke first, and make the
two straight breadths of what remains. These breadths
are prepared separately before being sewed together.
For the front a crease is first made down the middle, to
mark the exact half, but this is neither plaited nor cut out,
as in the old method, in order to form the bosom. The
latter is made of linen, about fifteen and a half inches
being a medium length, and eight inches of breadth. A
crease is marked down the middle of this piece, on which
to work the eyelet-holes for studs; and it is tapered to


42
THE HOME NEEDLE.
about half the width at the bottom. Sometimes the bosom
is quite plain, and sometimes a single tuck, which must be
allowed for, is made on either side of the eyelets. Too
fine a quality of linen is not desirable, but one with some
6 body," as this retains the starch better. It is lined with
“butchers' linen,” and stitched on over the corresponding
place in the middle of the front breadth, thus making two
thicknesses of linen and one of muslin. After hollowing
out the neck, the linen bosom should descend on the
shoulder for about two inches.
At the lower end of the bosom a sort of flap, represented
in Fig. 12, is stitched, to keep the front down
smoothly. This is accomplished by means of a
button-hole fastened on a button of the vest.
The needle-woman who does not particular-
ly fancy either patching shirts or making new
Fig. 12. ones, will next baste on a muslin facing, stop-
ping at the line where the shirt-bosom stops,
and covering every inch above it except where there are
already three thicknesses. This will be found an excellent
preventive against wearing out, and a great improvement
on the two-inch facing generally used. When the bottom
is hemmed, and neck, shoulders, and arm-holes cut out,
the front may be considered finished.
- The modern shirt opens in the back; and the most
elegant style of treating the slit is to turn down a hem of
an inch in width, or rather to put a facing of that depth
on the right side of the muslin, but left side of the shirt,
and lap it over a narrow hem on the other side, the whole
to be stitched down. A less troublesome and more com-
mon way is to put a narrow hem on each side, and secure
the end with a small gusset.
The upper part of the back below the yoke has the same
facing as the front; and these two linings are evenly joined
under the arms. This half of the shirt is sewed, after be-


“THE SONG OF THE SHIRT."
43
ing gathered, on a yoke, which is necessarily in two pieces,
one of which is represented in Fig. 13. This yoke is
lined, and the gathers are placed between and stitched on
UULUU
INATIIVIISTITUINTITU
ITINTIN
UNT NOOR
Fig. 18.
each side. On either end is a plain piece of about two
inches, and midway of the yoke, where it joins, are button
and button-hole to fasten the shirt together.
The bottom of the back is hemmed in the same way as
that of the front, both being rounded at the corners; and
the sides are also hemmed for a space of about two fingers.
The two halves of the shirt are then united by a felled
seam, as the sides are sloped ; and a small gusset at the end
of this seam prevents it from giving way.


RUDIMENTS OF DRESS-MAKING.
DRESS-MAKING, when one understands it, and has an
eye for color, and some taste and ingenuity in trimming, is
one of the most fascinating phases of needle-work. The
results are more showy than in making under-garments;
there is a greater amount of creative skill implied ; and a
dress ranks so much higher in the world of clothing than a
garment that is hidden from sight, that the triumph of
such an achievement is great in proportion.
If there is economy in making under-garments at home,
the saving is incomparably greater in the making of dresses.
Unless the material is costly, the dress-maker's bill frequently
exceeds the price of the dress pattern, and it swells in pro-
portion to the value of the stuff, “trimmings” and “find-
ings” being most convenient cloaks for inordinate charges.
Careless work, too, often emanates from the hands of the
over-driven sewing girls, who really execute what Madame
directs, and only half superintends; while the loss of time,
and wear and tear of temper, under the disappointments
and mistakes that seem inevitable in putting work out, are
worthy of more consideration than they receive. Many a
dress has finally been altered at home, after paying largely
for a misfit and waste of material.
Having a dress-maker in the house, the plan usually
pursued by the economical, is a species of bondage, a tying
down to days and hours which, like some matrimonial en.


RUDIMENTS OF DRESS-MAKING.
gagements or “understandings,” binds one side while the
other is free. The dress-maker who goes out by the day-
especially if she is greatly in demand-is not apparently
bound in the least. You make all your arrangements for
her in advance, decline pleasant invitations for the ap-
pointed day, or days, of her expected visitation, put your-
self in other ways to great inconvenience because of the
mysterious perversity of inanimate things; rise at some
unwonted hour, that has, at least, the bloom of the dawn
upon it, to transact before breakfast various matters that
are indispensable to the proper beginning of the day, but
which are generally postponed until after that meal, dis-
pense with anything like “a social time” at table, and
hurriedly regain your room, that has the look of decks
cleared for action, to be for the next hour a Marianna in a
moated grange, saying to yourself, with more and more of
certainty; "She cometh not.”
And she doesn't come. In the course of the day, per-
haps, a postal card brings the information that she has a
cold, or a felon, or has remembered a previous engagement;
or, as likely as not, nothing is heard from her. When
sought out and remonstrated with, you find that she had
quite forgotten you, or “thrown you over” for the delights
of ball or wedding finery. For dress-makers are not unlike
small colored persons in their fondness for places where
“things are going on”; and such engagements are of far
more importance in their eyes than those which concern
economical walking-dresses or humdrum black silks.
There are, of course, fortunate people, whose dress-mak-
ers always come when they are expected, and who seem
exempt from the usual troubles encountered with Madame;
but the experience recorded is that of many, and few would
not be free from the dress-maker's tyranny if they could,
while many, in fact, might be if they would but think so.
Some women have no other way of making money than


48
THE HOME NEEDLE.
by saving it; and in making one's own dresses the dollars
saved count up very rapidly. From eight to ten dollars is
the common price for making an ordinary dress, and
twenty dollars is thought reasonable for a handsome silk,
these charges not including even a spool of cotton; while a
dress-maker who goes out to work is paid from two to three
dollars a day, sometimes rather more and occasionally a
little less, car fares being paid besides. In the latter case,
the employer's time is almost entirely taken up in helping
her and attending to her wants; and, considering that, be-
sides this, there is usually so much left to finish afterward,
the question arises whether the lady could not, with the
same outlay of time and trouble, make her dress without
the inconvenience of the dress-maker's presence, and at a
saving of whatever sum she would pay her ?
Another item of economy in making one's own dresses
is the amount of material used. An unnecessary quantity
is always consumed at a fashionable establishment, where
no account has to be rendered ; but, when the cutting out
is done at home, there is some chance of saving the mate-
rial. One's own property is usually more precious than
that of another, and one who is in the constant habit of
cutting up goods is apt to become a little reckless. There-
fore, the person who is portioning out her own material
with a realizing sense of the difficulty of replacing it is far
more likely to cut it economically.
Fathers of families, who have a peculiar dread of dress-
makers' bills, and are by no means partial to the visits of
the dress-maker at home, always advocate the theory of
making one's own dresses ; and one gentleman offered as
an incentive to his oldest daughter a new dress for every
one that she made for her little sisters. The younger girls
may not have enjoyed this arrangement, but the grown-up
sister did ; and in a comparatively short time she became
an accomplished dress-maker.


50
THE HOME NEEDLE.
fits well, and lay it smoothly on the pattern. As the latter
is generally too large, it will easily allow of alteration.
It is a very difficult matter to fit one's self, but some
ladies who are highly successful in home dress-making have
frames made exactly the size of their own figures, and simi-
lar to those used in the shops for displaying dresses and
cloaks. This is an excellent plan, but one that can not be
followed by all. A simpler and more economical one is to
arrange a dress that fits well over a small pillow, using
stockings and handkerchiefs for the necessary filling out,
until a perfect fac-simile is obtained of the owner's own
figure. This pliable dummy can be handled with ease,
and have pins stuck in it without crying out; so that a
good paper pattern may be cut on it with very little
trouble.
Many prefer taking exact measurements from the per-
son with a tape measure, which must, of course, be done by
an assistant. The illustrations in Figs. 14 and 15 show the
method of doing this, in connection with the directions
below furnished by a practical Frenchwoman. The speci-
fications given in small capitals are to be written down
and supplemented by each measurement as it is taken :
1. LENGTH OF SKIRT, BACK.-(Fig. 14.) Measure from
the waist at the middle, b, to touch the floor, or longer, as
desired, allowing an extra half inch at top and bottom.
2. LENGTH OF SKIRT, FRONT.—(Fig. 15.) Measure from
the waist in front, b, to touch the floor, making the same
allowance at top and bottom as for the back.
3. LENGTH OF WAIST IN FRONT.-(Fig. 15.) Place
one end of the measure at the base of the neck, a, and carry
it down to the waist, b.
4. BREADTH OF THE CHEST. — Place one end of the
measure at the right side of the chest, close to the arm, at
the point d, and carry it, not too tightly drawn, across to
the left arm, e,


RUDIMENTS OF DRESS-MAKING.
51
5. LENGTH UNDER THE ARM.—Place the measure under
the arm at the point e (Fig. 14), and carry it down to the
waist, c.
LA
.
MWENGUSASULORUERUNT LEURS ECOLE
ARRALANDIRBRUILLADDAREN LOGITENKODERUS
me
Fig. 14.
6. SIZE OF THE WAIST.-Bring the tape around the
waist evenly, neither tight nor loose, and reduce the meas-
ure by a scant half inch, because the measurement is taken
outside the clothes.
17. FIRST HEIGHT OF SHOULDER.—(For the height of
the shoulders two measurements must be taken to allow for
the slope.) Place one end of the measure at the middle of
the waist, 6 (Fig. 15), carry it to the point f at the neck,
and thence down the back to the middle point, 6 (Fig. 14).
8. SECOND HEIGHT OF SHOULDER.—Place one end of


52
THE HOME NEEDLE.
the measure at the point e (Fig. 15), carry it straight up
over the shoulder at the point g, and down straight to the
point c on the waist (Fig. 14).
9. ARM-SIZE. -Slip the measure under the arm and
ARNE
TTTTTOO
TITUTUMLINSOLITUIDUTINITULIOLUTTAUTUU
Fig. 15.
meet it, without drawing it tightly, on the shoulder at the
point h (Fig. 14).
10. LENGTH OF ARM.—The measure is placed under
the arm, c (Fig. 15), and carried to the wrist, i. (The out-
side measure of the arm is useless.)
11. SIZE OF WRIST.—This measure is taken loosely.
12. LENGTH OF WAIST, BACK.—This measure is taken


RUDIMENTS OF DRESS-MAKING.
53
from the nape of the neck, a (Fig. 14), to the waist at the
point b.
13. BREADTH OF BACK.—This measure is taken across
the shoulder-blades from e to d (Fig. 14), and the tape
should be drawn tightly.
14. LENGTH OF SHOULDER. —Place one end of the
measure at the base of the neck, f (Fig. 14), carry it down
the slope of the shoulder to g, and an inch farther upon
the arm.
15. SIZE OF NECK.-Draw the measure very loosely
around the neck and meet it.
These measurements are intended for a plain, high-
necked waist, which is the foundation of all waists or
dresses, the varieties consisting of additions to this super-
structure.
In cutting any pattern, only half the width of the back
and front is needed, as the two halves are always alike.
Having taken exact measurements, according to the
above directions, a smooth piece of pattern-paper, suffi-
ra
MINERCORGORODILIBRIO
m andant NOOIT
1000000
secQBOSSOLOGICOLOSSORDBOG
738020100 LOE BOERATORUDSCOA
tounocom
Fig. 16.
ciently large, is laid on the cutting-table ; and a straight line
from a to 6 (Fig. 16) is traced for the front of the waist.


54
THE HOME NEEDLE.
This shows where the buttons are to go. At the bottom of
this line another straight one is taken—from the left to the
right-making an angle with b, and this shows the place
for the waist. After these first lines are drawn, the dif-
ferent measures are marked in the following manner :
Length of the Center of the Waist.—This is laid at b and
taken to c.
Width of the Chest.—The measure must be laid on line
a b, at a distance of about two thirds from the straight
line for the waist, and taken to the left and marked at d.
Depth of Side.—This is found by placing the width of
the chest on the line of the waist at i, immediately under
d. The true place for the top of the side is at e, which
should be one fourth of the straight line d.
First Shoulder-Depth.—The measure laid at b and taken
to the top in a slanting direction to the left at f, the sixth
part of the size of the neck, to be laid in a straight line
above point e of the line, for the front of the slope from f
to e, when cut, gives one third of the neck.
Second Height of the Shoulder.—The half is taken and
laid at the waist, g, near to the measure of the line at the
side to be taken straight up and marked at h.
Width of the Shoulder.—This is laid slantingly between
the points of h of the first and of the second height. With
all these different points marked, it will be easy to trace the
lines between them for the pattern of the front of the waist.
This is done in the following manner :
A sloped line from the points h d, and from thence a
slope to e for the arm-hole. A straight line from e to g
for the line at the side. On a pattern thus drawn, the size
of the sleeve can be exactly obtained by laying half its
measurement around the slope h d e. The size of the
neck can be arrived at by the third of this being laid be-
tween the points e f.
In preparing a pattern for the back of the waist, a ver-


56
THE HOME NEEDLE.
First HEIGHT OF SHOULDER.–Take half the measure,
place one end at the point c, and carry it up a little ob-
liquely to a point, h, which is fixed by taking one sixth of
the neck measure, placing it against the vertical line a b,
a little above the point d, and directing it toward the left.
The point h, however, will be removed a scant half-inch
farther to the left.
SECOND HEIGHT OF SHOULDER. —Take half the meas-
ure, place one end at a point, k, on the horizontal line,
carry it straight up to i, verifying the position of this
point, and consequently of k, by applying the measure for
the length of shoulder between h and i.
Ni
SIMILDINITIONSRUTHIBITIOSUSINSLU
FIG. 18.
These measures being indicated, the outlines are drawn
from point to point, until the complete pattern of the
back is represented as in Fig. 17.
The sleeve of a plain waist is usually the plain coat-
sleeve as in Fig. 18. To draw this pattern, begin with an


58
THE HOME NEEDLE.
the front and waist-line meet exclusive of margins; then
mark the point (the dot to the left of a) as the base of the
FIG. 19,
first dart. The height of the dart falls two inches below
the arm-size. The plait is now taken up, as shown in the
figure, straight down from the point b on the side toward
the back, and obliquely to a on the front. Measure again
a third of the chest-measure from this dart to the outer
side of the second, and take up the second dart. These
darts should be nearly of the same length; the one nearer
the arm may be a little longer; if the figure to be fitted is
very short, both must be somewhat shorter than here rep-
resented.
The “margin" alluded to above refers to the lining cut
from the paper pattern, in which an allowance is recom-
mended of two inches on the shoulder, one inch in front,
under the arms, and at the waist; while neck and arm-
holes exactly follow the pattern.
The beginner in dress-making will find it easier to buy


DRESS_MAKING IN DETAIL.
at the left; then draw the horizontal line ab across the
pattern, crossing the arm-size at about the middle, and cut
DO
FIG. 20.-BLOUSE Waist.
away what is above this line for the yoke. The outline of
the rest of the arm-size and the seam under the arm are
removed as far to the left as is desired, allowing two or
back
front
Fig. 21.
FIG. 82.


62
THE HOME NEEDLE.
three times the width of a plain waist for the gathers at top
and bottom.
The yoke and its lining (if there is one) being put to-
gether, the lower part is gathered and sewed in between
them, a narrow ruffle, or some other trimming, being fre-
quently placed on the seam. Plaits are often substituted
for gathers, in flannel and other thick materials, with very
good effect; and these waists, like the blouses, are finished
with a belt.
The appropriate sleeve for the blouse and yoke waists
is a full sleeve, or the ordinary shirt-sleeve; but a plain one
is often used. The gathered sleeve (Fig. 23) is cut from a
piece of material folded double, the straight way of the
cloth. The upper edge, a b, is drawn like that of the plain
coat-sleeve in Fig. 18; but it takes in the whole width of
the sleeve, which should be about twice that of the plain
C..
Fig. 23.
FIG. 24.
sleeve. The length is determined by the measure of the
arm; the corner d (see Fig. 24) is cut off from the bottom
of the inner side, which is hollowed out a little.


64
THE HOME NEEDLE.
The shape of the basque may be varied according to
taste and fashion, but the general principles of cutting are
the same. The sleeves for a basque also vary according to
the prevailing style ; at the present time (1882) the plain
coat-sleeve is most in demand for ordinary wear.
Under-skirts for dresses have scarcely changed at all for
some time past, the short, round skirt being used on most
occasions, while evening dresses are made with very long
trains. From two yards to two and a quarter, depending
Fig. 26.
on the slenderness or stoutness of the wearer, is a good
width at the bottom; and from twenty-seven to thirty


DRESS-MAKING IN DETAIL.
65
inches is put in straight for the back. The front is gored,
and also the side pieces, of which there are but two.
The manner of cutting these gores from a straight
breadth is given in Fig. 26, and it is very important that
both sides of the skirt should be exactly alike, or it will
hang badly; and the hang of the skirt is a very prominent
feature in the general appearance of a dress. Front and
sides have little or no fullness, what there is being gauged
or plaited into a small compass at the back, to which it is
still further drawn by strings, or elastic, at least half way
down.
The breadths having all been carefully cut and laid to-
gether, to make sure of their being even, a facing of twelve
or fourteen inches in depth should be cut by each breadth
and basted on it before the skirt is run up, leaving one
edge of the facing free on each side to be hemmed down
afterward, in order to cover the raw edges. This facing is
cut lengthwise of the muslin, instead of across, as it hangs
better, and is not so likely to sag.
In sewing up the breadths, the gored or bias side of one
breadth is always put to the straight side of another, and
this gored side should be held easily, and on no account
stretched. The opening, or placquet-hole, may be left at
the top of the back or side, as is preferred. It should
measure from nine to twelve inches for a person of ordinary
size, and be finished, to prevent gaping, with a doubled or
hemmed piece of the dress material, two or three inches
wide, sewed down the length of the under side.
A worsted braid, which has been thoroughly immersed
in water to shrink it, and thus prevent it from shrinking
after it is on the dress, should be bound, or faced, on the
bottom of the skirt, leaving, in the latter case, one edge in
sight below the edge of the dress. The waistband must
be of strong material, cut lengthwise of the stuff, and
doubled. It is marked in the middle of the front and


DRESS-MAKING IN DETAIL.
67
and lay it along the waist-line, beginning at the seam under
the arm, and mark the other end. Then take half of this
and lay it upon the waist-line, beginning at the front, and
mark the point where it ends. A vertical line is then
drawn from the middle of the shoulder-seam to the point
first marked on the waist-line; and from the point last
marked on the waist-line, a curving line, similar to the
front outline of a dart, to meet the vertical line about mid-
way of its height.
The paper is then cut, following these lines, and the
front thus divided into two pieces, cutting away a space
equivalent to what, in the plain waist, is taken up for darts;
mo ano agot
Fig. 27.
and the same rule that determines the height of darts for
persons of stouter figure than the average decides here


68
THE HOME NEEDLE.
whether the curved line shall meet the vertical midway of
the latter, or a little lower than that.
The portion of the waist toward the arm is now cut in
two, as shown in Fig. 27, for the purpose of obtaining suf-
ficient fullness in the skirt.
On the paper, when unfolded, only the first part of the
garment can be drawn in full. The pattern must be pieced
at the dotted line, a, a, for the second and third part. To
make the size and shape of these two parts perfectly clear,
bias
Fig. 28.
the pattern of each is given in full in Figs. 28 and 286
after being pieced.
The back is cut as for a basque; but frequently the
middle is cut in two pieces, as shown in Fig. 29, so that the


0U
THE HOME NEEDLE.
Middle of the
Back
Middle of the Back
piecing
Guigald
straight
bios
bias
FIG. 29.
FIG. 30.


DRESS-MAKING IN DETAIL.
the others) plaited into each other; arranged, in fact, in
any style, the basis of the cut of the garment being always
the same.
Very pretty morning dresses, as well as dressing-gowns
and wrappers, are made from the Princess pattern; and
the only alteration needed is to make it rather looser, par-
ticularly at the waist. The Watteau fold is especially suit-
able and becoming for a garment of this character.


74
THE HOME NEEDLE.
Closed and even locked doors would be a wise precau-
tion at such a momentous period as the cutting out of a
dress, if one desires to wrestle with the problem alone; for
pleasant conversation may cause the cutting of two backs
to one front; or bits of advice (to which fallen human nat-
ure is prone) culminate in the hopeless spoiling of a sleeve.
“I love you very much, but I don't want to see you for
some good hours, at least,” is a thought that, if spoken,
would prevent many mistakes. Sewing, when all is "plain
sailing," is a sociable employment in which fingers fly as
fast as tongues; but when there is cutting out to be done;
which requires thought and consideration, solitude is the
best companion.
The cutting table, or a good-sized table stripped of its
usual belongings, is especially necessary in dress-making;
although the bed is frequently used, and needles unpleas-
antly discovered in the watches of the night to be sticking
into the mattress. A firm, moderate-sized pin-cushion,
abundantly provided with slender, sharp-pointed pins, or
needles made into pins with sealing-wax, as described in a
previous chapter, is also an indispensable accompaniment;
and a large basket should be at hand in which to lay the
separate portions of the dress as they are cut and basted.
For this latter purpose, the white basting-cotton, which can
be bought for six or eight cents the dozen spools, is now
very generally used.
In Chapter V mention was made of two little plaits
at the top of the waist in front, made in the lining only,
which are shown in Fig. 19. A similar plait will be seen
at the arm-hole, neither of which appear on the outside
of the dress; and this is one of the minor points likely
to be overlooked by the inexperienced dress-maker. The
object of these plaits is to prevent wrinkles in the waist at
those places in which they are very likely to appear. An-
other point for wrinkles is the waist-line of a basque, which


SEWING AND FINISHING.
75
is also provided for by laying a plait lengthwise, as fully
described before.
The proper putting in of the sleeves is full of difficulties
to the novice; and to be assured on this point, she will find
it an advantage to examine the sleeves of all her ready-made
dresses. They will scarcely vary from the rule of placing
the top seam from two and a half to three inches back
of the shoulder-seam, while the under seam is about two
inches in front of the seam under the arm. The object is
to have the longest part of the sleeve loose on the top of
the shoulder, where length is most needed ; and to be quite
sure of accomplishing this, the sleeves should be closely
basted and tried on before the final sewing is done.
In putting a dress together, the backs and fronts—first
carefully prepared by close basting of their seams—are
joined, at the shoulders and under the arms, by evenly-
basted seams, the waist being then tried on to see what
alterations are needed. These alterations should be made
with care, basting a second time if too loose or too tight,
and never sewing until the proper fit is secured. The
sleeves are not basted in until the waist is finished up to
that point, as, if they are right, they can then remain to
be sewed.
The stitching of the seams of a dress, a tiresome opera-
tion by hand, can be admirably done on the sewing-machine
-provided the tension is not drawn too tight. This is a
common fault with sewing-machine workers, who seem to
be insatiable in their demands for speed; but the effect of
too tightly drawing the silk or thread on the waist-seams is
extremely bad. The dress may have been nicely cut and
fitted, but, with the seams pulled and drawn by careless
machine-work, it will show innumerable little wrinkles. It
is very rarely indeed that dress-making is not done alto-
gether on the machine, and the effect, when the work is
properly done, is very good.


THE HOME NEEDLE.
Hand-work is as likely to be bad as machine-work; and
the dress-maker who goes out by the day often groans at the
quality of the assistance that is tendered her. Such draw-
ing of seams, and puckering of folds, and uneven plaitings,
do not speak well for the skill of the worker where plain
sewing is concerned ; and it is an unmanageable fact that,
without being well grounded in the rudiments of sewing,
no one can hope to use the needle skillfully in the more
intricate mazes of dress-making. “It is of consequence to
understand the different sorts of seams. All seams are ugly
if they are drawn up, or shortened, by drawing the cotton
too tightly. Also, it is of importance to know how to make
button-holes (these, it may be observed, are exceedingly
difficult to make well); also, how to place a string and sew
on a button. In fact, it must be understood that the
better a person knows how to do 'plain sewing,' the better
will she be able to make dresses.”
When the seams of the dress are finished, either by a
machine or a close “ back-stitch” by hand, the most impor-
tant part is the making of button-holes and sewing on of
buttons. This is sometimes done before the fronts and
backs are joined, as the waist can then be tried on to better
advantage. They shouid fasten evenly; and great care is
necessary to prevent a bulging between the button-holes,
which entirely destroys the neat appearance of the dress.
If the button-holes are too small for the buttons, it will be
very disagreeable work to fasten them; if too large, the
effect is slovenly. The distance between should be care-
fully measured ; and the buttons, being sewed on the left
side, are placed at about the middle of the hem, while the
middle of the button-hole is in the middle of the corre-
sponding hem on the right.
A disposition to gap apart and show white underneath
is easily remedied by sewing on the wrong side of the but-
ton-front a piece of the outside material, or of ribbon to


SEWING AND FINISHING.
77
match it in color. It is not at all necessary that this should
be new.
The next point to secure is the neck, as this is apt to get
stretched with much handling, unless the binding is sewed
on it. The dress should be held next to the worker in
sewing on this binding, which is generally finished with a
collar of the material. In sewing in the sleeves, the sleeve
should be held next to the person; and any disposition to
fullness is to be brought under the arm, as the slightest
visible gather spoils the look of the sleeve. But it is still
worse for the arm-hole to gather; and great care should be
taken, in cutting both sleeve and arm-hole, that this is not
the case.
Many persons still cling to whalebones in the waist of a
dress (especially stout people); but these are very undesira-
ble, as, besides giving a stiff look to the figure, and prevent-
ing the dress from adjusting itself to its motions, they wear
unsightly holes in the material. A disagreeable part of the
work, too, is avoided by not being obliged to sew on bone-
casings and cut the whalebones to fit them.
In finishing the bottom of the basque or polonaise, one
should be very particular to see that the two sides are exactly
alike, as no dress can look well if it is at all uneven. Seam
should be laid to seam, and the tape-measure brought into
requisition before the final “trimming off” is done. For
making the various kinds of trimming in ordinary use, di-
rections have already been given ; but the present fashion
is to finish the waist of a dress quite plainly.
The proper looping or tying back of the skirt is not so
intricate as it looks, a broad elastic placed a little back of
the seams of the front breadth, and about midway the
length of the back, answering most purposes. A piece of
lining should always be sewed on where the elastic is fast-
ened, as the strain upon the single material would soon tear
it out.


80
THE HOME NEEDLE.
curling feather, from another; hums a gay tune as she
seats herself in the midst of the contents—perhaps of the
rag-bag—and, taking the bare frame in hand, produces in a
magically short time such an admirable imitation of the
old masters in French bonnets that she is the envy of all
her girl acquaintances at the opera that night. Miranda,
however, is a true artist; and if the privilege of earning
her own living had been bestowed upon her, the world of
fashion would not dare to wear any bonnets but hers.
Every one can not be a Miranda ; but a great deal may
be accomplished with some taste and much perseverance.
A young lady who desires to turn some real or imaginary
talent for bonnet-making to account in the family would
do well to take lessons of some good milliner. She need
not be afraid of the work-room, for there her experience is
to be gained, and she will soon become deeply interested
in the work. To make a bonnet from beginning to end,
under the milliner's eye, will give her an amount of prac-
tical insight into the subject which no description could
possibly impart; and there are certain ways of doing things
the knowledge of which saves a world of trouble.
The generally accepted idea in making a bonnet is, that
a frame is to be bought and covered just as it is-evidently
under the delusion that those who make the frames can not
err. French frames, of course, are the best; and French
frames, of course, must be right. But whoever has seen a
milliner who understands her business, cutting and piec-
ing and bending, and otherwise maltreating one of these
very French frames to suit the style of the person for whom
it is intended, would speedily become disabused of this
notion. A bonnet-frame in the hands of the expert is not,
like a pin-cushion, to have a cover fitted on it just as it is ;
but it may be bent in here, and pulled out there, and nar-
rowed or deepened, until it has an entirely different ex-
pression. A milliner lately told the writer that she sel-


THE MILLINER'S ART,
83
knowledge of this precise spot comes to Miranda by intui-
tion, while Sarah Jane gropes painfully for it, and does
not find it after all.
A bonnet of thin material, such as tulle, crape, lace,
etc., has an under-covering of the same material inferior in
quality, a white frame being used when the covering is
light, and a black one for black material.
Some people are gifted with such keen powers of observa-
tion and such naturally deft fingers that, after studying a
bonnet for a short time in a milliner's window, they can
produce a fac-simile in every respect, however unique the
design may be; and to such, making bonnets is simply a
delight. Others, while lacking this executive power, have
the same amount of taste and industry; the rudiments of
the mechanical process once mastered, they are ready for
action ; and to those a few plain suggestions, gathered from
an experienced milliner, may be of use.
Making one's bonnets is almost as great a convenience as
making one's dresses, and quite as great a saving, bonnet-
making being a particularly remunerative occupation. The
lady who makes her own bonnets is constantly appearing in
new ones; and there is a strong temptation to excess in
this respect. It is the fancy work of plain sewing, if such
a contradiction is admissible, and is, therefore, a far more
interesting employment than dress-making.
A gift for trimming hats and bonnets is sometimes pos-
sessed by those who yet do not venture on their manufac-
ture; and when the article is of straw, it makes a great
difference in the expense whether it is left at the milliner's
to have lining, ribbon, and feathers or flowers added at her
discretion, and to the increase of her bill—or brought forth
partly, perhaps, from some box at home, and what is lack-
ing purchased economically, while home fingers deftly put
the component parts together.
To be able to trim one's own hats is a great convenience


THE MILLINER'S ART.
85
Professional cap-makers say that caps should be made
on a block; but this is not necessary when a foundation of
stiff bobbinet is used. A slight point and depression in
front is a generally becoming style ; but some prefer a per-
fectly straight edge. The frame, or foundation, is cut in
two pieces; and for an old lady, rather than an elderly one,
the crown is round, and cut large enough to plait down on
the front. It is in forming this crown that the block comes
into use ; but the head of the wearer may be substituted, or
the size taken from the crown of an old cap. The front
piece should be about half a yard long and two and a half
inches deep at the sides, while the point is an inch or more
in width.
The outside covering is cut by the foundation, the
latter taking the place of a lining; and this foundation is
neatly put together before the lace is arranged on it. Caps
should be neatly made, as they require more stitches than
bonnets, and it is not so easy to conceal their defects with
trimming.
Wash-blonde is a very nice material for a cap of this de-
scription, which should have a thick ruching of the same
around the edge and at the joining point of the front and
crown, the latter being sometimes further embellished by
two rows of the ruching placed lengthwise. This ruching
would be less troublesome to make if wide footing is used
in place of the blonde, as in using the latter it is necessary
to roll the edge. A whipped roll, done with black worsted,
is sometimes used; but it is much prettier to have the cap
entirely of white. The ruching is made in double box-
plaits—for which three times the length is needed—and it
is attached to the cap by running it on the wrong side with
moderately fine cotton.
A bow and ends of the cap material ornament the back;
and the finishing touch is a pair of wide strings (also of the
blonde) one yard in length, with a hem nearly three quar-


THE MILLINER'S ART.
87
MEHEIM
UTI
CITITI MITHITHTHOUTITE
HINDUISMENIMI
INIMESTEM
MINI MIDTNAMMONIT. NEL
Fig. 31.–Front.
Fig. 32.-BACK.
and marked opposite at c at this point; the width of the
shoulders is placed at the lower end, of which a quarter
of the space of the shoulders is placed at d, and this ought
to touch the front line at e. These different points are
joined by lines drawn from each. The back is drawn on
the same plan, with the exception that the sixth part of the
entire neck is used instead of the third.
By rounding the shape in Fig. 33, or by making the
back longer or shorter, a high or low fichu can be made-
Fig. 83.—ENTIRE CAPE.
indeed, almost any shape, as will be seen by the lines in the
figure.


88
THE HOME NEEDLE.
By lengthening both back and fronts, a crossed fichu,
with the ends tied at the back, and the fronts sloped at
pleasure, can be made. These dressy capes are sometimes
made by joining the back and fronts with a seam upon the
shoulders; but they can also be cut without any seam at all
by folding and cutting the material on the cross.
Fichus are made of the same material as the dress, or of
muslin, lace, tulle, etc.


IX.
CHILDREN'S GARMENTS.
The same general rules apply to the cutting and mak-
ing of children's clothes, except, perhaps, that in the first
dainty outfit the finest and softest of materials are used,
and sewed with invisible stitches-as though fairies had
created the whole wardrobe instead of mortal fingers.
The LAYETTE varies with circumstances—from that of
royalty on exhibition, consisting of twelve dozen of every-
thing, to the slenderest possible store with which the morsel
of humanity can make a decent appearance. A very fair
supply, for people in comfortable circumstances, is: A
dozen plain slips for ordinary wear, and six elaborate
dresses; a dozen night-dresses ; a dozen white skirts ; six
flannel skirts; a dozen flannel bands; one dozen cambric
shirts; a thick and a thin cloak for outdoor wear; merino
and lace and muslin caps for the same purpose ; half a dozen
pairs of socks; and hoods, blankets, knitted shawls, and
various other coverings, as the devotion of friends and rela-
tives may decide.
Patterns for all these articles may be had at any of the
pattern establishments; and, in addition, it will be found a
great assistance to a novice to order one ready-made gar-
ment of each kind, as all mistakes in putting together can
thus be avoided.
For the plain slips, night-dresses, and under-skirts,
lonsdale cambric is a good material ; for the little shirts,


CHILDREN'S GARMENTS.
91
ties are gathered and fastened into bands. These bands
can have elastics run in them (for trousers); and they are
always arranged to fasten beneath the child's knee.
These little trousers can be trimmed in various ways-
with rows of buttons, or braid, down the sides, or whatever
happens to be worn.
Charming patterns for CHILDREN'S DRESSES of all de-
scriptions—both girls and boys—as well as the dresses them-
selves, are to be had at the furnishing stores; but there are
few prettier garments for a little girl than the Gabrielle
dress. It is cut, like the Princess, all in one, and has an
ease and grace peculiarly its own. This is cut almost ex-
actly like a deep sacque; the back has a seam on each side
that reaches the shoulder, but none in the center (unless
for an older child than four or five); each front has, very
near the hem, a seam, like a dart, reaching the shoulder,
where it joins the back side-seam.

Fig. 34.—DRESS OF WHITE CAMBRIO.
The dress is buttoned from the neck to the bottom, and
may be trimmed in any way desired. Plain and exceedingly


92
THE HOME NEEDLE.
comfortable little dresses of calico, gingham, or thicker
cheap materials, can be made from this pattern, and also
very elaborate ones.
Two very pretty yoked dresses for young children are
given below, the styles being taken from “Harper's Ba-
zar.” Fig. 34 is made of white cambric, with a square
yoke at the top, to which back and front are gathered, and
also gathered at the waist. The borders that trim it are
strips of white lace-striped piqué-embroidered with two
shades of red cotton, as shown in Fig. 35. The cross-seam

NY SUIHIN
IN INZINININ
IN
YANNN
ANYA
2707
IN NAN
NININ
1
DAHANIN
ANNN
INVANINININ
INNANININIS
.
Fig. 35.- EMBROIDERY FOR DRESS.
on the solid stripe of the fabric, which forms the middle of
the border, is in the lighter shade; and the cross-stitches
on the open-work, or lace stripe on each side, are in the
darker. Narrow embroidered edging finishes the sleeves,
the front, and the bottom of the dress. A ribbon sash is
attached at the side-seams.
Fig. 36 represents a very pretty dress of white baptiste,
or nun's veiling, the waist of which is tucked, and the top
edged with wide embroidery. This is joined to a yoke com-
posed of alternate bands of lace and embroidered insertion.
The skirt is side-plaited, and edged with similar embroidery,
which is headed by a cluster of tucks. The neck and the
short puffed sleeves are trimmed with lace insertion, through
which narrow pink gros grain ribbon is drawn in and out;
and a broad sash of the same ribbon completes the dress.


CHILDREN'S GARMENTS.
A HOOD and CAPE made in one is a very useful thing
for children; and this is done by folding a square of mate-

<
<
A
FIG. 36.—DRESS OF NUN's VEILING.
rial on the cross, so that it forms a double fichu. One of
these fichus or capes is placed on the head, the corner fall-
ing over the forehead; the other covers the shoulders. It
will be necessary to make some plaits upon the line which
separates the actual hood from the cape, and also to fasten
the hood under the chin by a clasp or ribbon. This simple
form may be improved on, and the hoods lined or wadded,
as may be desired. The shape is a very becoming one for
a grown person.
The pattern in Fig. 37 has the back made very large
and the front exceedingly narrow—so narrow, in fact, as to
be almost imperceptible. The back—which is cut on the
cross, through the center, and the entire shape rounded-
is drawn together by a very full gathering, although the
cap itself is tight to the head. In order to make this gath-
ering, the outline of the back ought to be a third larger
than the edge of the front.


HOUSE-LINEN.
THERE is a fashion in the making of HOUSE-LINEN-
sheets, pillow-cases, table-covers, etc.—as in other things;
the size and elaboration of such articles have increased
wonderfully of late years, and the lady who was in the
habit of using her teeth in the desperate struggle of estab-
lishing a pillow in a fresh case would find, in the broad,
easy coverings of the present day, no necessity for such ex-
treme measures.
“In the old days,” says a modern writer, “housewives
used to pride themselves upon the quantity and quality of
the house-linen stored in their presses, handed down from
mother to daughter-each adding to the stock. Many a
long year ago this custom passed away, and a scantily-ade-
quate supply was purchased by a newly-married couple,
used, discarded, and replaced again and again, before the
daughter's day came. Fashion has now taken the matter
in hand, and, as everything in our modern houses must be
superfluous, house-linen has, at last, received its turn, and
no effort is spared to make it as elaborate and costly as pos-
sible; and, in æsthetic houses, each bed-chamber shows a
distinct style of beauty of workmanship and delicacy of
material.”
HOUSE-LINEN consists of chamber-linen, or bedding :
sheets, pillow-cases, bolster-cases, towels. Table-linen : ta-
ble-cloths, side-cloths, table-napkins. Pantry and kitchen-
linen : aprons, towels, table-cloths, etc.


98
THE HOME NEEDLE.
suggested which seems to combine economy and a good ap-
pearance. This is done by using two different qualities of
material—one of ordinary and the other of better linen, the
latter being intended for the sides of the bed. One way of
managing this combination is to have a width of the better
and a width of the commoner material, the former being
split and joined to each side of the other; while a second
method is to put the better material as a border around
that which is coarser or commoner. The last plan is the
more economical, one width of fine linen, cut in two, being
sufficient for a pair of sheets.
The work, however, is to be considered, four seams in
all being required to join the edges to the center, and the
patched appearance of such a sheet would certainly detract
from its elegance. The same expenditure of money and
loss of time would procure a whole sheet, of a quality finer
than the center and coarser than the edges; but the idea is
given for the benefit of those who may fancy putting it in
practice.
Linen is, of course, the handsomest, and, in warm
weather, the most comfortable material for sheets, but it is
not indispensable, and, with the thermometer in the region
of zero, either below or above, the feeling of it is indescrib-
ably icy, so that many who use it in summer discard it, on
hygienic principles, in winter. A straight piece of linen,
as long as the bed is wide, and about three quarters of a
yard in depth, is often used to turn over the quilt after the
bed is made. This is sometimes finished only with a plain
broad hem, and the monogram handsomely worked above
it-sometimes with the addition of a fluted ruffle, and
sometimes it is elaborately embroidered.
PILLOW-CASES naturally follow sheets, and of the vari-
ety of these there is no end, according to the shape of the
pillows. These are sometimes long and sometimes three-
cornered, but more frequently square.


100
THE HOME NEEDLE.
from the handsomely embroidered and fringed affair to lay
over the towel-rack in the best bedroom, to the crash roller
behind the kitchen-door.
The needle seems, at first sight, to have very little to do
with these, and often it has less to do than it should have.
Fringed towels, unless overcast with white cotton where
the fringe begins, will soon ravel further in a very uneven
way, which spoils the looks of the handsomest article ; and
a worked initial or monogram at one end is a great im-
provement. Old table-cloths are sometimes made into
towels for common use, and these are very soft and pleas-
ant. They require hemming all around. From a yard to
a yard and a quarter in length is considered a good size.
Kitchen towels are usually a yard long, with a hem at
each end and a loop on one corner. Crash of different
qualities, according to the purpose for which they are de-
signed, is the ordinary material.
TABLE-CLOTHS.—These, from a simple white covering
for the dining-room table, may be made articles of extreme
luxury. Wide damask linen is used for this purpose, and
may be purchased either by the yard or in the complete
bordered cover. In the latter case there is often a fringe
besides, which gives a very handsome finish.
There are few articles, says an authority upon the sub-
ject, in which there is a greater variety than in table-cloths.
Those intended for large dinners, etc., can be, and are, very
costly, having in some cases the crest, monogram, etc.,
woven in the pattern of the damask in the center of the
cloth, which is, of course, in one piece. Table-linen such
as this, having generally sets of table-napkins to corre-
spond, is an heir-loom in the family for which it has been
made.
Cloths, however, intended for ordinary use, are two and
a half and three yards in length, the width being in pro-
portion to the length. These are for the usual long dining-


104
THE HOME NEEDLE.
seldom worth patching; it is better economy to supply its
place with a new one. Neither is a garment that has many
thin places, for these will soon be dragged into holes by the
patches. Linen is worth mending almost as long as it will
hold together, for nothing is more delightful wear dur-
ing a heated term than old linen. It is worth mending
well, too, and deserves the finest and most durable of
work. Holes that are “caught together," instead of hav-
ing a piece properly set in, are soon gaping open again; and
darning that covers only the worst of a worn place makes
the surrounding part worse than ever. Darning and patch-
ing are not to be done at hap-hazard, but according to a
regular process, like any other species of needle-work; and
the following rules and illustrations, from the little English
work referred to, will be found a valuable assistance :
The first class of repairs is DARNING, of which there
are many sorts, which can be classed thus : 1. A plain darn.
2. A crossed darn. 3. An opened or figured darn. 4. The

XX
X
+
+
+
1
FIG. 39.—PLAIN DARN.
invisible or joined darn. All these are made at the back
of the article to be repaired.
For all darns, a warp and a woof have to be formed ; a


THE MENDING BASKET.
109
linen, is especially used in other materials. There is also
another way of piecing by overcasting, intended for worn

FIG. 44.
linen and thick stuff. For this, the worn or torn part,
which has to be cut away, is left until the piece has been
laid upon it and overcast or sewn there. Before sewing, it
should be carefully basted all around. The torn part, cut
away on the wrong side, should have enough allowed all
around its edges to make a good turned-down seam, with
which this kind of patch is often finished.
PIECING BY A TURNED-DOWN SEAM is prepared like
the above, and sewed either by overcasting or running, so
that the right side (or where the stitches are placed) is
always found above the turned-down seam. In this patch
the corners are very difficult to form, and, done by unprac-
ticed hands, they are sure to “pucker.”
It is just this detail which forms the greatest difficulty
in patching. In order to make the corners well, it is neces-
sary to keep to the straight thread for the seam ; and, when
the notch is arrived at, care must be taken to seize with the
10


THE MENDING BASKET.
111
In order to place these last-mentioned stitches, it is use-
less to cut notches in the sides, as the patch is cut exactly
to the same size as that taken away ; about the depth of
two or three threads may be left half-way round the piece,
so as to make a tiny turning by which to fit it into the hole.
It is kept in its place by the aid of a tuck like a darn, and
then the stitches are joined by the invisible stitch. The
thread used for this ought to be finer than that of the cloth
material. In cloth, a fine sewing-silk is used, and only
half the thickness of the cloth is sewed. When the piece
is sewn in, the work is turned on the right side so as to
slightly raise with the needle the nap of the cloth upon all
its repaired sides. This renders the patch completely invisi-
ble, and after this it is requisite to pass a hot iron over the
sewed edges at the back, as this greatly improves the ap-
pearance of the repair. (Fig. 46.)

Fig. 46.
DARNING STOCKINGS is perhaps the most constantly-
recurring phase of mending in ordinary use, and the stock-


112
TIE IIOME NEEDLE.
ing-bag, with all proper accompaniments, is one of the ac-
cessories of the sewing-room or work-basket. This bag is
usually made of bright-colored chintz, with pasteboard at
the front and back and a puffing of the material between.
On the outside of one half is a needle-book, and on the
other a pocket. The needle-book is well stocked with large
needles of graduated sizes, from the huge darning-needle
to its youngest brother; and the pocket contains darning-
cotton of various colors and qualities. The inside of the
bag affords abundant room for the stockings—supposing
that they are mended, as they should be, once a week.
Frequently stockings are left for the convenient season
that never comes, and, when this is the case, they have a
steady way of accumulating that is utterly disheartening.
A sudden raid is made upon the bag when any are needed,
and the most promising pair fished from its depths, but the
kind of darning done under such circumstances is not one
that would figure well in fancy work.
To darn stockings well one must not hurry over them,
and for this reason there is no better work to pick up for
a long chat with one's “ familiar," or a steady thinking.
The neatness of the work depends on the closeness and reg-
ularity with which the “ warp and woof” cross and recross
each other, and the careful manner in which the threads
are joined to the edges of the hole. Some skillful workers
will take stockings with dreadfully gaping toes and heels
and make things of beauty of them by their exquisite darn-
ing; while others “botch” the simplest hole, as though to
stop it, however temporarily, were the sole object in view.
Many persons use a wooden or china egg in darning
stockings, others use the old-fashioned mock-orange, while
a still greater number merely stretch the stocking over the
hand while working on it. Whichever of these methods is
most convenient to the person at work is the best one to
follow.


XII.
A PATCHWORK CHAPTER.
Of late years the feminine world has run very much to
patchwork of various kinds—not exactly the patchwork
of our grandmothers and their daughters, perhaps, who
spent their odd moments and many, too, that were not
odd) in piecing together infinitesimal scraps of calico, feel-
ing abundantly repaid for all this weary labor by the ris-
ing suns, stars, points, and fox-and-geese patterns which
adorned the quilts of their best bed-chambers.
Modern patchwork scorns these humble materials, and
arrays itself gorgeously in silk and velvet. Much of it is
very handsome, and admirably calculated for “company
work," and work to pick up when one is out of sorts with
ordinary employments. A silk quilt, or couvre pied, is a
particularly comfortable affair, being light, soft, and suffi-
ciently warm ; while the bright, well-arranged colors please
the eye and relieve the whiteness of the ordinary coverlet.
Patchwork may be called the fancy work of plain sew-
ing, the same stitches being used for its execution ; while
the arrangement of color and pattern take off the monotony
which the making of under-garments and house-linen pro-
duces. It is essentially the occupation of the HOME NEE-
DLE, and therefore not foreign to the other subjects of
these pages, while its general popularity demands some
mention in a book of this nature.
Before beginning a silk quilt, it will be well to take ac-


A PATCHWORK CHAPTER.
115
count of stock in the way of scraps and pieces, not forget-
ing that ribbons are equally serviceable, and that very
shabby ones may be induced to take on quite a fresh ap-
. pearance by a judicious application of ammonia and hot
iron. Ugly silks and ribbons, if sufficiently light, can be
dyed any desirable color. Figured material should be dis-
carded if the quilt is to be a handsome one.
A great deal of silk will be needed, and some patterns
require more of one kind than some others; buying will be
found expensive and begging precarious. Fortunately,
there is a strong chord of sympathy between people who
have made silk patchwork and those who are about to
make it, and the former class are always ready to help the
latter. Donations of silks pour in from various quarters ;
an obliging milliner, perhaps, contributes a valuable pack-
age; the dress-maker empties her rag-bag ; this one and
that one open their hoards, until finally there is a goodly-
sized box full. This store should be carefully sorted, and
made into bundles of each color and shade.
The LOG-CABIN pattern (see Fig. 47) is the least work,
and perhaps, on the whole, the most effective of the vari-
ous patterns used. In sewing the pieces together, the quilt
is wadded and quilted at the same time, and, as the run-
ning-stitch is used instead of the more tedious overhand,
the work is in every respect lessened. Before making a
beginning, it will be necessary to provide an old cotton gar-
ment, that can be torn into squares for the lining, and
some sheet-wadding.
Five and a half inches is a pretty size for the squares,
and to begin one of these, first crease a square of muslin
from end to end, on the bias, both ways. This gives the
central point, and on this is to be placed the center of a
small square of black velvet-size, one inch and three
quarters. This center is the same in every block. The
blocks are made of two shades of one color, as represented


116
THE HOME NEEDLE.
in the light and dark of the illustration. About a yard in
length is required for the light, and something like an

FIG. 47..
eighth more for the dark. The width of these strips, as
cut, is rather more than three quarters of an inch, to allow
a good seam on both sides. All these measurements in-
clude seams.
The wadding is cut in strips about the width of the silk,
and, before beginning to sew, it will be best to prepare sev-
eral foundation-pieces, several velvet centers, a number of
silk strips, and several lengths of the wadding. Neither
silk nor wadding should be cut off until joined to the foun-
dation. Sewing-silk of the same shades, or nearly the same,


A PATCHWORK CHAPTER.
117
as the silk, and about letter “B” in quality, will look
best, and wear best, for sewing the quilt.
Having carefully basted the velvet square in the center,
begin with the lighter shade of silk, and run a strip (with
the wrong side up) on one side of the velvet. Then lay a
strip of wadding on this, turn up the silk (with the wad-
ding under) on the right side, and baste down. A second
strip of light silk, beginning at the edge of the last strip
and leaving off at the edge of the velvet, is treated in the
same way; then follow two strips of dark; then two more
strips of light; and so on, until eight of each have quite
covered the foundation-square. When this is done, all
bastings, except those on the outer strips, can be removed.
A glance at the illustration will make this process quite
plain ; but, in joining the blocks together, there is great
variety of taste. Four blocks are formed into one by close-
ly back-stitching together on the wrong side, and joining
all the dark shades, then sewing these in stripes by putting
the light shades together. An afghan made in this style
is in the writer's possession, and the effect is very hand-
some.
Another way of putting them together is to make four
blocks exactly alike and join them by the light shades,
finishing the large square with a border all around of black
silk, like a picture frame. A third style is to have light
and light, dark and dark, face each other in the same
square, with the velvet center between ; and this is more
like the real log-cabin.
Some, again, make “mosaic" patchwork of this same
pattern by using different colors in the rows; and this is
much more economical than the former, as it requires only
small scraps. It is often very pretty, but the squares should
be small.
The proper bordering for such a quilt or afghan is black
velvet to match the centers, but, as this is quite expensive,


A PATCHWORK CHAPTER.
121
be very handsomely arranged for silk and velvet, with small
pieces of white silk between to simulate the ground-work.

FIG. 49.
Another very pretty quilt could be made by taking an
old silk dress (if one has it to take) and dividing it into
stripes, squares, oblongs, etc., with narrow strips of silk or
ribbon of a darker shade, and edging these strips with her-
ring-bone or feather-stitch. But this sounds like wander-
ing out of plain needle-work into the regions of fancy work
and embroidery.
All these quilts or afghans, with the exception of the


A PATCHWORK CHAPTER.
123
color effect. It is necessary to cut the silk into strips
about half an inch wide (a little more or less makes no dif-
ference), either straight or on the bias. Sew the pieces to-
gether strongly and roll into balls, keeping each color and
shade in a ball by itself. Pieces of narrow ribbon, old cra-
vats and sashes, old waists of dresses-in fact, every scrap
of silk-can be made of use, whether soiled or fresh.”
When a sufficient number of balls has been made, a
pound and a half of silk for every yard of material desired,
they are sent to a carpet-weaver (unless it is preferred to
crochet or knit them at home), who will do his part of the
work for twenty-five or twenty-eight cents a yard. Three
quarters of a yard is the width of his loom, and the amount
required must be calculated accordingly. If careful direc-
tions are given him about arranging the colors, an Oriental
looking material will be produced that is very effective.
The coloring of Roman scarfs is an excellent guide in the
weaving of silk rags, and with large spaces of black and light
blue, the effect will be very handsome. A material of this
sort should be hung on rings, with little or no fullness, and it
will be found more satisfactory for portières than for curtains.
In the latter case there seems to be too much of it at once.
It would also be a very durable material for furniture
covering, and any one with a propensity for sewing carpet-
rags, and a goodly supply of silk scraps, might thus adorn
a sofa or two.
Nor are carpet-rags proper worthy of the contempt
into which they have fallen, for many are the uses to which
this simple work can be put. Sewing carpet-rags is an oc-
cupation very generally liked by children and adopted by
the aged, and in economical households it is one that, in
some shape or other, is usually on hand. The materials
may be finer or more humble, but carpet-rags it is, by
whatever name it may happen to be called.
Rag carpets even may be made very pretty, and the


A PATCHWORK CHAPTER.
125
Another style of rug equally strong, but involving more
labor, is made of carpet-rags with the addition of carpet-
ravelings and the aid of the needle and knitting-pins.
The odd pieces, which may be of all sorts of material,
are cut on the bias, the thick ones being about half an inch
wide and the thin ones two inches, and the edges pulled
into rough ravelings. All are then loosely wound into
balls of carefully assorted colors, having previously been
sewed together like carpet-rags, and blocks are knitted, with
large wooden needles, of twelve-inch squares. The blocks
are then sewed together like patchwork, lined, and finished
with fringe of the carpet-ravelings.
Children delight in this work, and, being a happy com-
bination of patchwork and plain knitting in small pieces,
to say nothing of the carpet-rag element, it is very con-
venient to pick up at odd moments.
The caterpillar rug is also made of the general con-
tents of the rag-bag, cut on the bias, if possible, and strung
on heavy linen thread. The strips are about an inch wide,
and arranged without any regard to color, as everything is
mixed up together in sewing on to the foundation. They are
of uneven lengths, just as the goods will admit of being cut,
and are run through the middle of the width and gathered
closely together without sewing the ends. A piece of old
carpet makes a good foundation, and the strips can be
tacked on in lengths from end to end or turned around the
corners. A bordering of black an eighth of a yard deep is
a great improvement, and a square rug of this kind will be
found very useful.
Another style, which is handsomer, but more work still,
is made entirely of woolen goods in scraps an inch and a
half square, which are strung through the middle on stout
thread and sewn on a foundation. Very handsome mate-
rials can be introduced into this mat, as so little is required
for each square.


A PATCHWORK CHAPTER.
127
exact pattern made from it, no difficulty need be found in
cutting out another just like it, and, with the aid of a mat-
tress-needle (taking long stitches on the under side), even
the tuftings could be regularly followed. In addition to
the renovated furniture, there will probably be an aching
back; but then, what would you ?—the upholsterer will
have been defrauded of his unjust dues..
Slip-covers, for protecting the furniture in summer, are
comparatively easy to make at home, and if there is a worn-
out set for patterns, it is only a question of cutting and
stitching. Neat sewing and exact measurements show to
great advantage here, and produce covers that give the room
an attractive air, even when the glories of plush and raw
silk are hidden from view.
Rainy days are a boon to the housekeeper with a view to
executing various pieces of work that will not brook inter-
ruption. One of these odd jobs is connected with feathers,
which have an uncanny propensity for flying long after
they have been detached from the body that gave them
life ; and the making of pillows is an occupation that ne-
cessitates retirement into strictly private life. This work
is not often undertaken except in the country, or where the
making of two small pillows into one large one, or vice
versa, is suddenly required ; but it is well to know how to
do it in case of emergency:
Square pillows are not made quite square ; for one of
goodly proportions, twenty-eight by thirty-two inches is
considered the proper proportion. About five pounds of
best feathers, and seven of an inferior quality, will fill this
case comfortably. A double row of stitching is necessary
to strengthen the seams, for the volatile property of feathers
enables them to obtrude themselves upon the world again
through the slightest approach to an opening in their pris-
ons. Flying feathers whenever a pillow is beaten up are
an unmitigated nuisance.