X 
 
 .)___ i 
 
 PROGRESSIVE 
 LESSONS IN 
 NEEDLEWORK 
 
 JOHNSON 
 
 x \\X\\\ \\V\\ -
 
 This book is DUE on the last date stamped beloi 
 
 1926
 
 PROGRESSIVE LESSONS 
 
 IN THE 
 
 ART AND PRACTICE OF NEEDLEWORK 
 
 FOR USE IN SCHOOLS. 
 
 BY 
 
 CATHERINE F. JOHNSON. 
 
 SECOND EDITION, REVISED. 
 
 BOSTON : 
 
 D. C. HEATH & CO., PUBLISHERS. 
 1895,
 
 COPYRIGHT, 1893, 
 CATHERINE F. JOHNSON. 
 
 Xorluooti }prcss : 
 
 J. S. Gushing & Co. Berwick & Smith, 
 Boston, Mass., U.S.A.
 
 TT 
 
 a\ o 
 
 PREFACE. 
 
 DURING several years' experience in teaching sewing, I felt the need 
 of a text-book which would explain needlework from its rudiments and 
 give directions for practical demonstration in class work. For my own 
 use, I planned a course of instruction for the pupils of the W. H. Lincoln 
 School, Brookline. Its use has given such satisfactory results that a 
 demand has arisen for its publication. 
 
 For valuable assistance, sincere thanks are due to Miss Marion S. 
 Deveraux, First Superintendent of the South End Industrial School, Rox- 
 bury, Mass. ; Mrs. Joshua Crane, Member of the School Board, Brookline, 
 Mass. ; Miss Florence M. Starbuck, Teacher of Drawing, South End Indus- 
 trial School, Roxbury, Mass. ; and Mr. Arthur R. Wilmarth, Photographer, 
 Jamaica Plain. 
 
 C. F. J. 
 
 JANIAICA PLAIN, MASS., April 9, 1893.
 
 INTRODUCTORY NOTE. 
 
 IT gives me much pleasure to say that I have seen the method of 
 teaching the theory and practice of sewing, as set forth in this book, 
 grow up in the public schools of Brookline, Mass., and can testify to 
 the excellent results. The' pupils have not only learned to sew well, 
 but their study of drawing and English has been so combined with the 
 instruction in sewing as to make it the foundation of an excellent mental 
 training. 
 
 They also learn that sewing is not merely a useful handicraft, but 
 an art, having its body of principles and rules, according to which it 
 must be taught, to secure the best practical, as well as educational, 
 results ; that the fundamental principles of the art must determine the 
 progressive series of lessons upon which the instruction must be based. 
 
 Any teacher who is an expert in the use of the needle, and will 
 faithfully follow the method of this book, cannot fail to secure good 
 results ; and particularly, if she keep in mind that learning to sew is 
 by no means the only end to be gained by the study of the' subject. 
 
 I heartily commend this book to the attention of all who are in 
 any way interested in the subject of Industrial Education. 
 
 MASS., April 25, 1893. 
 
 JOHN D. RUNKLE, 
 
 Chairman of Industrial Committee of School Board.
 
 CONTENTS. 
 
 INTRODUCTION vii 
 
 CHAPTER I. 
 First Year's Sewing. 
 
 Class Drill. Practice in position. Practice with thimble. Thimble exercise. 
 
 Holding the needle. Threading the needle. Making the knot. Prac- 
 tice with scissors ............ 1-4 
 
 Description of Sampler No. 1. Materials. Basting. Stitching. Back- 
 stitching. Running. Oversewing. Hemming. Buttonhole. Cross- 
 stitch. Buttonhole stitch. Patching. Darning ...... 5-8 
 
 Questions and Answers 8-13 
 
 CHAPTER II. 
 Second Year's Sewing. 
 
 Work for this Year. Measuring and cutting. Paper folding and cutting. 
 
 Patching on paper. Buttonhole. Running and gathering. Work bag . 14-22 
 
 Description of Sampler No. 2. Materials. Basting. Stitching and back- 
 stitching. Felling. Running. Hemming. Oversewing. French seam.- \/ k 
 
 Name. Felling. Patching. Oversewing. Gusset. - Felling. Tuck- 
 ing. Overcasting. Band. Ruffle 22-27 
 
 Questions and Answers 27-48
 
 vi CONTENTS. 
 
 CHAPTER III. 
 Third Year's Sewmg. 
 
 PACK 
 
 Work for this Year. Buttonhole making on flannel and on linen. Cross- 
 stitch. Kerringoone. Feather-stitch. Hemstitch. Practice in cutting 49,50 
 
 Description of Sampler No. 3. Materials. Hemming. Oversewing. 
 Gusset. Darning. Hemmed-on patch. Stitched-in patch. French 
 seam. Oversewed patch. Darn. Buttonholes made with cotton and with 
 twist. Band. Tucking. Whipping. Ruffling. Marking initial and 
 age. Embroidered edge on flannel. Flannel patch .... 50-55 
 
 Questions and Answers ........... 57-68 
 
 Cottons and Needles used in Sampler Work . . . . . . 68, 69 
 
 CHAPTER IV. 
 Fourth Year's Sewing. 
 
 Work for this Year. Patching. Darned-on patch. Darning. Mexican 
 work. Catting. How to measure for drawers pattern. Scale of measure- 
 ments for different size drawers ......... 70-81 
 
 Directions for Cutting Patterns for a Child 81-86 
 
 CHAPTER V. 
 
 Fifth Year's Sewing. 9 
 
 Work for this Year. Measuring the form. Pattern for front of tier. 
 Pattern for back of tier. Sleeve. Measuring for sleeve. Front or 
 upper part of sleeve. Back or lower part of sleeve. Basting and 
 making sleeve. Ornament . . . . . ... . . 87-101 
 
 CHAPTER VI. 
 Sixth Year's Sewing. 
 
 Work for this Year. Basting wide hems and facings. To fit a basque 
 lining. To pin the lining to a form. To form the darts. To fit the 
 under-arm pieces. To fit the back. To cut the back arm-size. To fit 
 the side form. A plain round skirt. To sew a skirt to the waist or 
 band. To cut a gored skirt. Front Side gore. Back . . . 102-114
 
 INTRODUCTION. 
 
 THE system of instruction in needlework, as given in this book, is 
 the result of many years' study of the subject, and of practical application 
 of the methods in the public schools of Brookline, Massachusetts. 
 
 Experience has shown that careful preparation can make sewing as 
 educational as any other subject of school instruction. 
 
 Drawings of the various stitches and kinds of work, with accurate 
 written descriptions of the same copied into blank books for future refer- 
 ence ; drawing diagrams of patterns from measurements ; fitting the parts 
 of these patterns together for garments ; cutting and fitting simple dresses, 
 first cutting to a model and fitting to a form which can be easily handled, 
 afterwards fitting to a pupil's form, all these can be taught step by step 
 in a progressive course. Such a course tends, not only to train the hand, 
 but to develop, strengthen, and mature the mind and judgment. By these 
 methods, sewing can be taught in* our schools with the most satisfactory 
 results, and may lead both teacher and pupil to a clearer knowledge of 
 the many beautiful possibilities of the needle. 
 
 When the kindergarten is fully established in the public school 
 system, and its value is understood, the first sewing, that on coarse canvas, 
 may be taught by the regular teacher in the first primary year. When 
 there has been no kindergarten instruction let this work begin in the 
 second primary year. The methods used in the class work of the first
 
 viii INTRODUCTION. 
 
 three years are given in the form of questions and answers at the end of 
 each chapter.* 
 
 Questions for the day's work, not exceeding three in number, should 
 be upon the blackboard, and if for any reason a child is waiting for 
 direction in her sewing she can write the answers. When questions are 
 given to a class, great care should be taken to frame each in a complete 
 sentence and fo have the child's written answer in another complete 
 sentence, in which the point of the question is embodied. This creates a 
 habit of thinking and of expressing clearly. 
 
 I. The position of the body while sewing is of great importance, because 
 a careless attitude may cramp the arms and hands and also be prejudicial to 
 the health. The chair should be of a height to permit the feet to rest flat 
 upon the floor; the lower end of the spine should be firm against the back 
 of the chair, the rest of the body free and erect, and the work never nearer 
 the eyes than is necessary for a clear view of the stitches. The shoulders 
 should be kept well back to allow the chest full expansion, and the head 
 should not be allowed to droop so as to affect the circulation of blood to 
 and from the brain. The arms should never rest upon the desk while sewing. 
 The position of a pupil indicates the amount of interest felt in her work ; 
 if the attitude be free and alert, the mind will co-operate, and not otherwise. 
 
 While most children rest their eyes more than sufficiently by allow- 
 ing them to wander from their work, there are, occasionally, pupils who 
 need to be cautioned against fixing their eyes too intently upon it. 
 
 II. When a class is large, it is difficult to keep all the pupils at the 
 same point in the progress of the work even in simultaneous instruction ; 
 the quicker ones are employed by various devices continuing active thought, 
 such as assisting the slower ones or making a drawing of their own finished 
 work on the blackboard and writing a description of this work and its use. 
 
 * A strict adherence to these questions and answers may not always be practicable; any ingenious 
 teacher will be able to form rules and questions from her own idea of the needs of her pupils.
 
 INTR OD UC TION. 
 
 IX 
 
 After correction, these drawings* and descriptions are copied into blank 
 books for future reference. These books have been found invaluable. 
 
 III. The development of those senses which lead to quick and accu- 
 rate perceptions of form and color is essential to artistic work in dress- 
 making and embroidery. This matter of taste is one of education, and 
 should not be neglected. In the fifth year of sewing, possibly the fourth 
 year, a pupil should be able to draw and color designs for garments, using 
 crayons or water colors. 
 
 IV. From the beginning, a child should be taught to prepare her 
 work in a thorough manner.f Judgment is trained more in the preparation 
 than in any other part of the work ; on the sampler the short seams are 
 easily prepared by the pupils, the colored threads and the varied work 
 holding their interest and attention until more difficult work is under- 
 taken in the second year of sewing. The most difficult part of preparation 
 is first taught upon paper, the second year ; this includes patches, bands, 
 gussets, etc. It is helpful to use papers of two colors, one to represent 
 a garment, and the other showing distinctly the shape of the gusset. 
 
 Sampler work is adopted in the beginning, because progressive lessons 
 in sewing can be more readily taught upon short seams. Afterwards these 
 samplers can be used as reference for all future work, since all kinds of 
 sewing are exemplified in them. 
 
 In the public school work economizing of material should be con- 
 sidered ; the cost of these samplers is so small that they could be pro- 
 vided in the same way as all other supplies for the school. 
 
 The youngest pupils are given canvas in the first sampler, because 
 judging of distances, size, slope, and direction of stitches are all made 
 easier and given more exactness by the use of the coarse and even web. 
 The second sampler is of unbleached cotton ; the third, of bleached cotton. 
 
 * Several cuts in this book are made from drawings of the pupils of the W. H. Lincoln 
 School, Brookline, Mass., and from the pupils of the South End Industrial School, Roxbury, Mass, 
 t See Circular of English Education Department, p. 120.
 
 INTRODUCTION. 
 
 V. In the first-year practice in position, the use of the fingers and 
 of the implements of sewing should precede actual work. Thoroughness 
 in this is a safeguard against awkwardness and mistakes that otherwise 
 would waste time and material. The class drill is given minutely in 
 Chapter I. The drill secures prompt obedience, cultivates the faculty of 
 observation, and trains the muscles for future work. 
 
 At the period allowed for the lesson one girl is selected to have 
 charge of the box or boxes of cotton and of the needles. Whenever a 
 pupil's work requires either cotton or needle different from that which 
 she has, she makes known her wants and is supplied by the one having 
 charge of the boxes. In this way every pupil soon becomes familiar with 
 all variations of size, and understands what she needs and the reasons for it. 
 In the third year's sewing, a piece of flannel is marked 8, 9, 10, n, 
 12, and one needle corresponding to each number is placed at the side of 
 that number. This is kept in the work bag always ready for use. Small 
 pieces of cloth for practice work should always be in the work bag, ready 
 for a pupil to take up while waiting for the teacher's attention. When a 
 piece of this practice work is especially well done, it may be fastened 
 
 upon a sheet of card-board known as 
 the " Class Card of Models." This may 
 be considered an honor. 
 
 See description of work -bag in 
 second year. 
 
 VI. Each pupil should have a 
 clean apron to wear in the class, or 
 the work will soon become soiled ; 
 bags containing the apron, work, 
 thimble, etc., may be collected and 
 put away by some pupil after each 
 Fig. i. sewing desk. lesson. This has a marked influence
 
 INTRODUCTION. 
 
 XI 
 
 in making children careful and neat. When special sewing desks (Fig. i) 
 are provided, the scissors stand in one corner of the waste pocket and 
 the spools of thread with the pincushion and emery bag are left on the 
 rod at the back or the side of the desk. Otherwise a teacher must use 
 some device by which she can carry with her the things needed ; a cord 
 may be fastened on her apron, to which may be attached scissors, while 
 spools, etc., are carried in the work apron pocket. 
 
 VII. If the day's work be clearly mapped out in the mind of the 
 teacher before she goes into her class, and diligent use made of the two 
 hours a week given to the sewing, most excellent results may be obtained 
 by following such a system as the one given in this book. When a pupil 
 has reached the fifth year of sewing, she has gained sufficient self-reliance 
 to work with less help from the teacher. 
 
 VIII. The first sampler is composed of Penelope canvas* worked with 
 colored yarns. In the construction of this sampler nearly all stitches 
 used in plain sewing can be taught. The strips, when finished, are joined 
 by oversewing to make the sampler. 
 
 The transition is naturally to a coarse, unbleached cotton sampler, 
 and by the time a pupil has finished these two samplers, she is ready for 
 finer work upon bleached cotton. Having satisfactorily made the three 
 samplers, the pupil is now trained to the point of doing good work, and 
 can proceed to the cutting and making of garments. 
 
 IX. When the uncut cloth or a prepared garment is brought from 
 home, it causes endless complications and hinderances, and makes it impos- 
 sible to systematize the work or teach the cutting. Therefore, it is con- 
 sidered more practical for schools to provide material used in the grade 
 work, letting the pupil pay for each garment as it is made, thus lessening 
 the cost. 
 
 * Coarse Penelope canvas No. I or. 2.
 
 xii 
 
 INTRODUCTION, 
 
 GENERAL REMARKS. 
 
 1. Every child instinctively uses the teeth for biting the thread. She 
 
 should be taught that she must never do this. It injures the teeth 
 and' soils the work. Never draw the thread under the little finger, 
 but always over it. If the thread is grasped in the hand, it becomes 
 dampened and soiled. 
 
 2. Never use a knot in sewing when it cannot be hidden completely. 
 
 3. Never let the scissors become too dull to cut well. 
 
 4. Never use a bent, rusty, or too large needle. 
 
 5. Never "turn under a selvedge in a hem or a band. 
 
 6. Never hurry, especially in the preparation of work. However little is 
 
 done, let that little be done thoroughly. 
 
 7. Never waste material of any kind. 
 
 n an 
 
 Showing position of the hands in the finger exercises.
 
 PROGRESSIVE LESSONS 
 
 IN THE 
 
 ART AND PRACTICE OF NEEDLEWORK. 
 
 CHAPTER i. 
 First Year's Sewing. 
 
 IN the first year must come the drill in position, as also a drill in 
 using the fingers and all implements of sewing. Thoroughness in this and 
 in all details of the work is important. 
 
 CLASS DRILL. 
 Practice in position : 
 
 1. Instruct the pupils in the proper position, and the reasons for taking 
 and keeping it. 
 
 2. Practice in distinguishing the right and left hands, also the different 
 fingers. 
 
 3. Train a child to call that part of a thimble that rests on the back of 
 the finger the back of the thimble. 
 
 Practice in preparing the right hand for the use of the thimble : 
 Raise the right hand, hold the thumb and first finger in a horizontal 
 position, while the second or thimble finger is held vertically ; then lay the 
 first finger over the third and fourth, holding the three down to the palm 
 with the thumb.* This is a difficult exercise for untrained muscles, and the 
 child should rest after four or five trials. 
 
 * See finger exercises, Nos. I. and II., on the opposite page.
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 Practice with thimble : 
 
 1. Give each child a thimble which fits snugly. Let her place it on her 
 desk directly in front of her. 
 
 2. As in the exercise "preparing for use of thimble," raise the right 
 hand in position ; then, taking the thimble between the thumb and finger of 
 the left hand, place it on the erect second finger of the right hand. Put 
 thimble back on desk, rest, and repeat. 
 
 Thimble exercise : 
 
 i. Again raise the right hand, and place the thimble as has been directed. 
 Turn the arm till the palm is opposite to the chest ; then bend the thimble- 
 finger at the second joint until the thimble 
 rests upon the top of the thumb.* Raise the 
 finger, and repeat the movement four times. 
 
 2. Raise the thimble just to clear 
 the top of the thumb ; and keeping all the 
 joints limber, move the thimble-finger hori- 
 zontally back and forth four times over the 
 top of the thumb, f 
 
 3. With the right hand raised and all 
 the fingers free, bring the thimble-finger 
 into the sewing position, having the front 
 and back of the thimble parallel with the 
 palm of the hand. Now make movements 
 with the thimble-finger, as if the eye of a 
 
 needle was resting against the back of the thimble.^ The thimble-finger 
 is thus bent, and the needle pushed by the back of the thimble in order 
 to exercise more force. If this habit is once acquired, a stitch is taken 
 with less effort than when the top of the thimble is used. 
 
 * No. III., finger exercises, p. xii. t Finger exercises, No. III. J Finger exercises, No. IV. 
 
 When a child has formed the habit of using the top or side of her thimble, it is not 
 always best to change, as a slow and poor result is produced, which is discouraging to her; 
 however, in simultaneous work, all the pupils must follow the teacher's directions.
 
 FIRST YEAR'S SEWING. 3 
 
 Holding the needle : 
 
 1. Give each child one of the finest chenille needles, and have her 
 place it on her desk, with its length parallel with the front edge of her desk, 
 the eye of the needle to the right hand. 
 
 2. Let the child grasp the needle near the point between the thumb 
 and forefinger of the left hand, and, lifting it, place it between the thumb and 
 forefinger of the right hand, with the eye against the back of the thimble 
 \ in. from the top. See Fig. 2, A and B. 
 
 Moving the needle as for sewing : 
 
 Let the child move the thimble-finger as in the thimble exercise ; and 
 pushing the needle forward its full length, through a small piece of cloth or 
 paper, slip the thumb and forefinger of the right hand forward and grasp the 
 needle \ in. from the point, drawing it through the cloth. Repeat this 
 movement. 
 
 Threading the needle : 
 
 1. Give each child one of the finest chenille needles and a needleful 
 of fine darning cotton. 
 
 2. Direct the child to hold the needle between the thumb and first 
 finger of the left hand, with the eye uppermost and squarely in front of 
 her so that she can see through it. 
 
 3. Let the child take the thread between the thumb and first 
 finger of the right hand J in. from the end, and pass this end through 
 the eye of the needle, while, at the same time, she pushes the needle 
 between the thumb and forefinger of the right hand, where it must be 
 grasped, drawing the thread through with the left thumb and forefinger 
 about 4 in. 
 
 Making the knot : 
 
 Holding the threaded needle in the right hand, take the other end 
 of the thread between the thumb and first finger of the left hand, and,
 
 4 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 keeping the thread tightly stretched, wind it around the top of the first 
 finger and cross it over the end held between the finger and thumb ; 
 then roll the finger down the thumb, carrying the thread with it about 
 ^ in., and with the nail of the second finger push the knot thus formed 
 to the end of the thread. 
 
 Practice with scissors : 
 
 Each child should be given a pair of scissors (5 to 5} in. long), of 
 the best steel and light weight. When using an ordinary school desk, 
 have the scissors placed on top and in front of the child, the bows to 
 the right hand. 
 
 1. Let the child lift the scissors by placing the thumb of the right 
 hand through the bow of the broader blade, and the third finger of the 
 right hand through the other bow, the scissors resting on the first and 
 second fingers of the right hand for guidance and support. Let the child 
 now push them from her towards the back of the desk, being careful to 
 slip the blunt end, without raising it, along the top of the desk, and at 
 the same time opening and shutting the scissors with the cutting motion 
 as in use. 
 
 2. Let the child practise the cutting movement from right to left 
 along her desk in the same manner. 
 
 3. Give each child a piece of ruled paper, and let her cut by the 
 lines on the paper. Then practise cutting half-way between the lines and 
 also across the lines. 
 
 4. Direct the child to cut two straight strips of stiff paper 4 in. x 
 2 in., and measure distances by holding the edges a certain space apart, 
 according to direction. 
 
 5. Cut a 2|- in. paper square, using rule and pencil. Make this 
 exact by placing the diagonally opposite corners on each other, meas- 
 uring and paring. This is for a pattern for a canvas patch.
 
 FIRST YEAR'S SEWING. 
 
 5 
 
 DESCRIPTION OF SAMPLER No. I. 
 MATERIALS REQUIRED. 
 
 4 strips of canvas,* 3 in. x 9 in. 
 
 I strip of canvas, 4 in. x 9 in. 
 
 3 skeins of Saxony yarn, red, yellow, and blue.f 
 
 Chenille needle, No. 24. 
 
 For methods of work on first strip, refer to Nos. 12, 15, 16, in questions 
 and answers of the first year's work. 
 
 For methods of work on second strip, refer to Nos. 20, 22, 27, in ques- 
 tions and answers of the first year's work. 
 
 Estimated cost of canvas sampler, 1 1 cents. 
 
 First strip of canvas, 3 in. x 9 in. 
 
 i. 
 
 Basting. Make a line of basting \ in. from the top, in red worsted, as 
 described in answer to question 12. 
 
 Ten threads below this line make a second line of basting in yellow 
 worsted. 
 
 Ten threads below make a third line of basting in blue worsted: 
 
 ii. 
 
 Stitching. Fourteen threads below make a line of stitching, using the three 
 colors, each one-third the length of the line, as described in answer to 
 question 15. 
 
 in. 
 
 Backstitching. Fourteen threads below this make a line of backstitching, as 
 described in answer to question 16. This is also done in three colors. 
 For joining the colors, refer to questions and answers 14 and 17. 
 
 * Commercial name, Penelope canvas, No. 6. f This will supply twenty pupils.
 
 6 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 Second strip of canvas, 4 in. x 9 in. 
 
 IV. 
 
 Running. \ in. from the top make a line of running stitches in red, as 
 described in answer to question 19. 
 
 Ten threads below make a similar line in yellow. 
 Ten threads below make a similar line in blue. 
 
 Oversewing. Fourteen threads below crease the canvas for the whole 
 length, so that the two threads will be on the edge ; oversew this, 
 as described in answer to question 20. Make the line in three 
 colors, joining as described in answer to question 21. Lay the 
 canvas flat again. 
 
 VI. 
 
 Hemming. Eight threads below make one line of hemming stitches. On 
 
 the lower edge of the canvas turn up four threads for the first 
 
 turning of a hem ; turn again, to make a hem of about | in. Sew 
 
 the hem in three colors, as described in answer to question 24. Join 
 as described in answer to question 25. 
 
 Third strip of canvas, 3 in. x 9 in. 
 
 VII. 
 
 Buttonhole. I in. from the upper edge and 4| in. from the left-hand 
 edge, begin a buttonhole. Hold the canvas with the left hand, 
 between the thumb and forefinger, working lengthwise. With a 
 needleful of red worsted make three running stitches on the under 
 side. Put the needle up from the under side, draw the thread 
 through, cross diagonally four threads, take up two threads, with 
 the needle pointing directly towards the chest ; and proceed in this 
 way" until seventeen stitches are made. Turning the canvas round, 
 make a line of stitches same as the first, with two threads between.
 
 FIRST YEAR'S SEWING. 7 
 
 Twenty threads below, repeat this ; fasten off the red worsted. 
 Beginning with yellow worsted in the same place, cross each stitch 
 until the closed end is reached, when the cross-bar must be made. 
 This is done by making one stitch to the left, then one to the right, 
 until three have been made on each side. Continue with cross- 
 stitch until the starting-point is reached. 
 
 VIII. 
 
 Darning. This is a series of running stitches in parallel lines, taking 
 up two threads and going over two, beginning with one stitch in 
 the first line, increasing to twelve stitches in a line, then decreasing 
 to one. 
 
 Fourth strip of canvas, 3 in. x 9 in. 
 
 IX. 
 
 Cross-stitch. Fourteen threads from the top make a line of cross-stitches, 
 as shown in the illustration, three colors. 
 
 x. 
 
 Buttonhole stitch. Twenty threads below draw the needle through the 
 upper side. Take up vertically four threads. Then the thread from 
 the eye of the needle is brought around the point of the needle 
 from right to left, care being taken that it passes over the other 
 end of the thread, and the needle pulled through, bringing the 
 loop up straight to the top of the four threads, continuing these 
 stitches across the canvas, in three colors. 
 
 Fifth strip of canvas, 3 in. x 9 in. 
 
 XI. 
 
 Patching. Cut a small hole in the canvas 2\ in. from the end. Cut a 
 piece of canvas 2\ in. square. Turn in the edges \ in. and baste 
 on the under side of the canvas, the centre of the patch coming
 
 8 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 directly over the centre of the hole, being careful to have the threads 
 match. Now cut the hole i in. square. On each corner cut diago- 
 nally across four threads. Turn in the edges all around, and baste 
 to the patch. 
 
 XII. 
 
 Darning. Let a torn place be represented by two lines making a right 
 angle, as shown in the cut. Overcast these lines, .taking up two 
 threads. Make a line of basting all around, \ in. from these lines. 
 In the corner of the darn make oblique lines of running stitches, 
 being careful to leave a small loop at each turning, so that they 
 will come together at the corner of the inside basting. The 
 remainder of the darn is made by straight lines of running stitches 
 back and forth, making small loops at each turning. 
 
 The first four strips of canvas, when finished, are joined by 
 oversewing, the edges being turned down \ in. The fifth strip is 
 joined to the others by a line of buttonhole stitches, worked over 
 the raw edges. Overcasting the edges all around finishes the canvas 
 sampler (Fig. 3). 
 
 QUESTIONS AND ANSWERS. 
 
 1. On what finger should the thimble be worn ? Ans. The thimble 
 
 should be worn on the second finger of the right hand. 
 
 2. Of what use is the thimble? Ans. The thimble protects the finger, 
 
 and helps in pushing the needle through the work. 
 Show how the thimble should move in sewing. 
 
 3. How should the needle be held ? Ans. The needle should be 
 
 held between the thumb and first finger of the right hand, 
 ^ in. from the point, the eye of the needle resting against the 
 thimble. 
 
 4. What part of the thimble should the needle rest against ? Ans. The 
 
 needle should rest against the back of the thimble, \ in. below 
 the top.
 
 FIRST YEAR'S SEWING. 
 
 Fig. 3. Sampler No. i. This sampler is made of Penelope canvas, No. 6; in the primary grades a 
 coarser canvas, No. 3 or 4. should be used.
 
 I0 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 5. What is the back of the thimble? Ans. The back of the thimble 
 
 is that part which covers the back of the finger. 
 
 6. Why is the needle pressed against the back of the thimble, and not 
 
 against the top? Ans. Because more force can be used when both 
 joints of the thimble ringer are bent ; when the top of the thimble 
 is used, only one joint is bent. Stitches can be more rapidly 
 and more evenly made when more force is used. 
 
 7. What is the name of the cloth on which practice stitches are made ? 
 
 Ans. The cloth on which practice stitches are made is called 
 canvas. 
 
 8. What is the name of the thread used ? Ans. The thread used is 
 
 called worsted. 
 
 9. How is a worsted needle threaded ? Ans. To thread a worsted 
 
 needle, hold it between the thumb and forefinger of the right 
 hand, the eye pointing towards the thumb and forefinger of the 
 left hand, between which is held a loop of the worsted. Pass 
 the eye of the needle through this loop, and draw the worsted 
 tightly over it. Then pull out the needle, and push the loop of 
 worsted through its eye. (Illustrate on the blackboard.) 
 
 10. How should the scissors be held ? Ans. For cutting light cloths, 
 
 especially woollens, the blunt side of the scissors should be under- 
 neath ; then the point will not catch in the cloth. The thumb 
 should run through the upper bow, and the third finger through 
 the lower, the first and second fingers supporting and guiding the 
 scissors. (Illustrate on the blackboard.) 
 
 11. How many kinds of basting stitches are made? Ans. Three kinds 
 
 of basting stitches are made. 
 
 12. How are the basting stitches made on canvas ? Ans. To make 
 
 basting stitches on canvas, begin at the right-hand edge, the first 
 line of basting \ in. from the upper right-hand corner. For the 
 even stitches, pass the needle first under four threads, and then
 
 FIRST YEAR'S SEWING. U 
 
 over four threads, until a line is made across the canvas. In the 
 second line of basting, pass the needle first under four threads, 
 and then over eight, and so on across the canvas. In the third 
 line of basting, pass the needle first under four threads, and then 
 over sixteen, and repeat to the end of the canvas. (Illustrate on 
 the blackboard.) 
 
 13. Is basting begun with a knot? Ans. Yes; knot the thread to begin 
 
 basting, because the basting te finally pulled out. 
 
 14. How is the thread fastened for stitching and back-stitching? Ans. To 
 
 fasten the thread for stitching and back-stitching, turn the upper 
 right-hand corner of the canvas over the first finger of the left 
 hand, and take up two threads on the under side with the needle, 
 and draw through all of the thread except \ in., which is held 
 down with the left-hand thumb, and take a stitch over it to 
 prevent its loosening and drawing through. Then put the needle 
 through to the upper side, four threads from the edge, and begin 
 to work. 
 
 15. How is the stitching on canvas made? Ans. Begin to stitch on 
 
 canvas with the needle four threads from the right-hand edge, 
 on the upper side, and put it through to the under side, two 
 threads nearer the edge, in a horizontal line ; then take up four 
 threads horizontally on the needle, and bring it to the upper side. 
 This will be two threads in front of its first position. This is 
 repeated along the whole seam. (Illustrate on the blackboard.) 
 
 16. How is back-stitching done? Ans. In back-stitching, take up six 
 
 threads on the needle, then go back and take up the last two of these 
 and four more in advance, and so on. (Illustrate on the blackboard.) 
 
 17. How is the thread joined in stitching and back-stitching? Ans. The 
 
 thread in stitching and back-stitching is joined in the same way 
 that it is fastened, beginning on the wrong side, over the second 
 stitch from the last.
 
 I2 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 1 8. What is the difference between stitching and back-stitching? Ans. In 
 
 stitching, the stitches touch ; and in back-stitching there is a short 
 space between the stitches. 
 
 Show the difference between stitching and back-stitching by drawings 
 on the blackboard. 
 
 19. How are running stitches made ? Ans. Running stitches are made 
 
 by taking up two threads of the canvas, then passing the needle 
 over two threads, then taking "up two more and passing over the 
 next two, and so on. 
 
 20. How is the thread fastened and the stitch made in oversewing ? 
 
 Ans. To fasten the thread and make the stitch in oversewing, 
 put the needle from behind through the two thicknesses of the 
 canvas, two threads from the top and two threads from the right- 
 hand edge. Then pull all but |- in. of the thread through. That 
 -| in. of thread lay over the top of the seam, and sew over it by 
 putting the needle up from behind and two threads in advance 
 of its first position, then pulling the thread through until the 
 stitch is tight. Repeat this over the length of the seam. (Illus- 
 trate on the blackboard.) 
 
 21. How is a new needleful joined in oversewing? Ans. Join the thread 
 
 in oversewing the same as it is fastened in beginning, taking care 
 to begin at the second stitch from the last one made, in order to 
 make the seam firm, and sewing over these last stitches with both 
 ends on top. (Illustrate on the blackboard.) 
 
 22. In oversewing are the stitches straight across the top ? Ans. In 
 
 oversewing, the stitches slant from right to left over the top of 
 the seam. 
 
 23. How may the oversewed seam be finished ? Ans. The oversewed 
 
 seam may be strongly finished by sewing back over the last four 
 or five stitches. (Illustrate this on the blackboard.) 
 
 24. How should the thread be fastened to begin to hem, and how should
 
 FIRST YEAR'S SEWING. l $ 
 
 the stitches be made? Ans. To fasten the thread to begin hem- 
 ming, start two threads from the right-hand edge of the canvas 
 and take up the two threads of the folded .edge diagonally to the 
 right and directly above ; pull the thread of red worsted through 
 all but | in. at the end ; put this remaining | in. of thread up 
 under the fold to the left, and hold it there with the thumb of 
 the left hand ; now bring the needle down and put it through the 
 canvas below the fold, two threads in advance of the point at 
 which it came out before, and pointing it to the left ; take up two 
 threads diagonally forward and upward. This is repeated for each 
 stitch, (Illustrate on the blackboard.) 
 
 25. How is the thread joined in hemming? Ans. To join the thread 
 
 in hemming, leave \ in. of the old needleful, and pull this down 
 under the fold of the hem, the edge of which is lifted to place 
 the thread under. Then put the newly threaded jieedle back 
 and under the hem, as far as the second stitch from the last, 
 and, beginning there, hem over these last three stitches and on 
 to the end of the seam. 
 
 26. Should hemming stitches be slanting or straight ? Ans. Hemming 
 
 stitches should be slanting on both upper and under sides. 
 
 27. How should a hem be finished ? Ans. By taking two hemming 
 
 stitches over the last stitch ; then run the needle under the hem 
 back four stitches, draw the thread tight, and cut close. 
 Show these steps on the blackboard. 
 
 28. In what direction is the work done in basting, overcasting, running, 
 
 stitching, back-stitching and hemming? Ans. In basting, oversew- 
 ing, running, stitching, back-stitching and hemming, the work is 
 done from right to left.
 
 CHAPTER II. 
 Second Year's Sewing. 
 
 THE second year sampler is made of coarse unbleached cotton for 
 the following reasons : 
 
 The threads are large and easily seen without straining the eyes. 
 
 It is softer than bleached cloth of the same quality and more easily 
 handled in preparing seams. 
 
 It is not so quickly soiled. 
 
 The pupil in learning to thread the needle for work on cotton cloth 
 must use a coarse needle and thread, which should be used only on 
 coarse cloth. Fine cloth requires a fine needle and thread. 
 
 Colored sewing cottons are used, because a child can more readily 
 see her stitches and their shape, size, and method of joining. 
 
 The teacher of this class should interest her pupils, and awaken a 
 desire to know all about steel, from which needles, scissors, and emery 
 are made.. Also have talks on the nature and growth of cotton, or 
 tree wool, and its various uses.* Show cotton seed and tell the processes 
 of growth until the raw cotton appears. Tell how the cotton is 
 gathered and made into threads ; how the threads are woven to make 
 cloth. 
 
 Cloth has two kinds of threads ; these are called length and width 
 threads, or warp and woof. The length threads are always stronger 
 
 * " Every Day Occupations," by H. Warren Clifford, S.D., will be found useful as a reference, 
 when studying about these raw materials.
 
 SECOND YEAR'S SEWING. 
 
 than the width threads, because they must be stretched on the loom 
 while the width threads are woven into them. When a piece of cloth 
 is woven or finished, the length is readily known by the selvedge, or 
 
 Fig. 4. Canvas showing finished edges or selvedges. 
 
 finished edge. The width is between the selvedges. The bias is the 
 diagonal fold formed by placing the selvedge and width edge evenly 
 together. Take one yard of the coarsest Penelope canvas (Figs. 4 
 and 5) ; hold this in sight of the class, and have the pupils tell the 
 length and width threads, and how the bias is formed.
 
 i6 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 The pupil should make a drawing on the blackboard of a piece of 
 cloth, showing the selvedge, cut edge, and bias ; she should also 
 express in writing the idea formed in her mind by these 
 terms. A clear perception of all this, when once gained, 
 will be a help in every lesson. 
 
 Measuring and cutting : 
 
 The class should be provided, with rulers, 
 from which to learn the inch and its divi- 
 sions. Have each child cut from stiff 
 and unruled paper a piece exactly 
 6 in. long and i in. wide, to use 
 for measuring; have the edges 
 even and the corners square. 
 This measure is kept in 
 the work bag. Mark, 
 as on a ruler, the 
 whole, half, quarter, 
 and eighth inches. 
 The pupil must re- 
 member these lengths, 
 as they are often 
 spoken of in her 
 work and in places 
 which cannot be 
 easily measured. Let the pupils space the different measures on paper 
 and on the blackboard by means of dots and lines, using the ruler as a 
 test of exactness only. 
 
 Folding and cutting : 
 
 Give the child a piece of paper 3 in. x 9 in. Let her fold the 
 lower left-hand corner over to the upper edge, and crease the diagonal 
 
 Fig. 5. Canvas showing width and bias, or diagonal fold.
 
 SECOND YEAR'S SEWING. 
 
 '7 
 
 or bias line thus formed. Then crease the line parallel with the outer 
 edge, to mark a piece 3 in. square. Measuring with this square, fold 
 and crease the whole nine inches of length into squares. Cut the squares 
 apart, and lay aside for patching in paper (Fig. 6). 
 
 Fig. 6. Measuring and paper folding. 
 
 To represent patching on paper : 
 
 Give to each pupil a piece of thin manilla paper large enough to cut 
 from it a strip 4 in. x 8 in., to represent the size of the paper or cloth 
 to which the patch is applied. Fold this strip into two 4 in. squares ; 
 fold again and again, making 2 in. squares. Now there are eight 2 in. 
 squares. In the centre of one of the 4 in. squares cut an irregular 
 hole to represent a worn place (Fig. 7). Cut another strip of paper 
 3 in. x 9 in. Fold and cut this into 3 in. squares for patches. 
 Crease these patches into four equal parts (Fig. 8). Mark with a pencil 
 on paper, or with a pin on cloth, the length or selvedge way of 
 material and of patch. Turn a fold of in. on the patch, then place 
 the centre of the patch directly over the centre of the worn place, 
 making the creases on material and patch match perfectly, continuing
 
 i8 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 the preparation for sewing as described in answer to question 45. On 
 the second 4 in. square make a stitched-in patch as described in answer 
 to question 49. When this has been done satisfactorily in plain paper, 
 give the class paper marked with even and uneven stripes. A striped 
 paper of German manufacture has been found very good for this purpose. 
 Several kinds of patches may be first taught upon paper. 
 
 PATCH 
 
 Fig. 7- Paper folded on dotted lines for patching. 
 
 Fig. 8. 
 
 After patching on paper has been taught, the blackboard may be 
 profitably used. Younger pupils are interested in watching the teacher 
 as she makes drawings to represent a tier or an apron having a worn 
 place, and a patch to mend it. Dotted lines across the worn place and 
 the patch show folds which are to be applied to one another. 
 
 Now, giving a ruler and pencil to every pupil, let her draw and cut 
 from striped paper a 3 in. patch ; turn down \ in. on the four sides. 
 Then give to each pupil a small pattern of a tier cut in striped paper, 
 with a worn place cut upon it. Baste the patch on the right side of 
 the tier, making the striped lines on the tier and the striped lines on
 
 SECOND YEAR'S SEWING. !g 
 
 the patch match perfectly, the centre of the patch being exactly over the 
 centre of the worn place. Baste | in. from the edges of the patch. 
 
 A patch well matched is less conspicuous hemmed to the outside of 
 most garments ; on white and many other kinds of cloth, it is better 
 to sew the patch to the wrong or under side, as described in answer to 
 question 45. 
 
 Fig. 9. Overcasting the right-hand side, making cross-stitches. 
 
 Buttonhole : 
 
 Although the buttonhole is a very difficult part of the work for 
 young children, if the method of making it is early learned it is a great 
 help to careful sewing, and can be practised on canvas in the early part 
 of the second year. 
 
 A fine needle and thread should be used in overcasting a button- 
 hole on cloth, because the edges may be overcast twice with a fine thread, 
 and these stitches will not show under the buttonhole stitch when it is 
 made with the coarser thread. 
 
 A buttonhole should be made with one needleful of thread, if possible. 
 In case of accidental breaking, it can be joined underneath by a running 
 stitch, while the unthreaded end is firmly held with the work by the thumb
 
 20 
 
 1'ROGRESSIV.E LESSONS IN NEEDLEWORK. 
 
 and forefinger of the left hand, and the needle put through the upper side 
 in the loop of the last stitch, making the joining perfect. Diagrams of this 
 work should be drawn upon the blackboard. 
 
 Explain the use of the buttonhole scissors,* and show how to find the 
 length needed for the buttonhole by measuring across the button ; then 
 give the class a piece of ruled paper 3 in. x 5 in., and let them fold or 
 double this paper across the lines ; on one of these lines make a dot 
 | in. from the folded edge. Now, with the pointed end of the scissors, 
 let the pupil make a small hole at the dot, and cut a perfectly straight 
 slit the length desired for the buttonhole, using the ruled line as a guide. 
 In order to acquire skill for well-finished work, the teacher should impress 
 on the pupils the necessity of grasping the work firmly between the thumb 
 and forefinger of the left hand, especially when working the buttonhole, 
 having the thumb-nail just below the point where the needle is to be 
 inserted. 
 
 IV. 
 Running or gathering : 
 
 When a longer piece of cloth is to be sewed to a shorter piece of 
 cloth to give additional fulness, gathers are used, as in frills and flounces ; 
 skirts are gathered into waistbands ; sleeves are gathered into wristbands, 
 etc. Test the firmness of the cotton before beginning to gather. 
 
 Gathering should not be undertaken until the running stitch can be 
 well done. A piece to be gathered should be taken from the width of 
 the cloth, as the fulness is easier to arrange, and the stroking has more 
 effect upon the width than the length. A binding should be taken 
 lengthwise of the cloth, because it will not stretch. These points must 
 be carefully explained to the class. 
 
 The next step is the careful marking of the half and quarter measure 
 of the ruffle and the band with a cross-stitch. The gathering thread 
 should be coarser than the thread of the cloth. The thread should be 
 
 * Buttonhole, scissors are not found in every home; and for that reason, it would be better 
 to use ordinary scissors in this lesson.
 
 SECOND YEAR'S SEWING. 
 
 21 
 
 a little longer than the piece to be gathered, and the needle large 
 enough to carry the thread easily. 
 
 The thread is fastened firmly about a pin at the end before stroking is 
 begun (see question and answer 64), as that part of the work cannot be 
 well done if the thread is loose. A large needle or pin should be used 
 for stroking, as a fine one would tear the cloth, which may b* done also 
 by too hard stroking. Any scratching sound is the sign that the stroking 
 is too hard. 
 
 WORK BAG (Fig. 10). 
 
 To hold this and the following year's work, a bag is made of printed 
 calico with a pocket on one side for the thimble, etc. 
 
 Making the bag: 
 
 Tear the cloth lengthwise into 
 halves. Double one strip of cloth in 
 the centre and oversew the selvedges. 
 Stitch the raw edges together and 
 overcast. Make a hem |- in. wide at 
 the top. The pocket can be made of 
 a small piece of calico 3 in. wide and 
 4 in. long with a hem I in. wide. 
 When a pupil has learned to make a 
 buttonhole, let her make one in the 
 middle of this hem, lengthwise with the pocket ; turn in \ in. of the 
 three raw edges ; now the pocket is 3 in. long and 2\ in. wide, and is 
 hemmed to the bag, the hem of the bag being a guide to the placing 
 of the pocket. The thimble, small spool of silk, etc., can be carefully 
 kept in this pocket. 
 
 Fig. io. Work bag.
 
 22 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 A small piece of tape i in. square is sewed on the inside of the bag, 
 as a stay for the button. The button is sewed on the bag, opposite to the 
 buttonhole in the pocket. Now the pupil first prints with a pencil and then 
 stitches her name on a piece of tape, which is sewed directly over the pocket. 
 Work bags should never be drawn with strings, as that will crush 
 the work and make it look untidy. After the work is neatly placed 
 inside, and a pupil selected to collect them, the bags should be placed 
 in a box or drawer until the next lesson. 
 
 If this care is taken, the work can be more quickly distributed, and 
 pupils may begin to work in a very short time after being seated. To 
 allow children, who are working at the same point on their samplers, to 
 
 sit near each other, has been found to 
 excite the ambition of all. 
 
 A pupil should always have in her 
 bag" pieces of white cotton, silesia, and 
 wool.len cloths, in which one, two, 
 three, or more buttonholes have been 
 cut. Whenever there come moments 
 
 Fig. ii. Metal measure. 
 
 of waiting for the teacher, or at other 
 
 unoccupied times, the pupil should practise buttonhole making on these, 
 according to the rules which have been given ; a perfectly made button- 
 hole being given her as a model. 
 
 A metal measure of the shape here shown (Fig. 11) will be found very 
 useful. It combines measurements of the various tucks and hems used in 
 samplers. 
 
 DESCRIPTION OF SAMPLER No. 2. 
 MATERIALS REQUIRED. 
 
 Eight strips of unbleached cotton cloth torn lengthwise, one torn 
 7 in. x 3 in. Two pieces of the same 3 in. square, for patches. i| in. 
 square of the same, for a gusset. One strip of striped or checked cloth
 
 SECOND YEAR'S SEWING. 2 $ 
 
 9 in. x 3 in. with selvedge on one side. Two pieces of the same 3 in. 
 square, for patches. Red, yellow, and blue spool cotton, No. 40. Needles 
 No. 8. One porcelain button. Estimated cost of unbleached sampler,, 
 15 cts. 
 
 DIRECTIONS FOR MAKING THE SAMPLER. 
 I. 
 
 Basting. Baste two strips together | in. from the top edge with red cot- 
 ton, the stitches ^ in. long and the spaces between ^ in. long. 
 
 in. below, a second line of basting in yellow. 
 
 .1 in. below, a third line of basting in blue. 
 
 -J in. below, a fourth line of basting, like the second line. Make 
 these basting stitches of different lengths, as on canvas samplers. 
 
 Stitching and back-stitching. Stitch with yellow and blue cotton close below 
 the first basting, and with yellow and red below the fourth basting. 
 
 in. 
 
 Hem felling. Cut off the under piece of cloth \ in. below the line of back- 
 stitching, turn the edge under ^ in. at a time with needle, and hem 
 with three colors. 
 
 IV. 
 
 Running. Three rows of running stitches below this, one of each color, 
 
 red, yellow, and blue. Keep the needle in the cloth all the time, as 
 
 in basting. 
 
 v. 
 Hemming. Take a third strip of cloth, turn one edge down -J- in. and turn 
 
 again with a metal measure | in. ; baste edge of hem, then hem with 
 
 three colors.
 
 24 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 VI. 
 
 Oversewing. Turn down the edge of the first strip -| in. and baste to 
 edge of hem ; then oversew with three colors. 
 
 VII. 
 
 French seam. Put a fourth strip to the wrong side of the third and baste 
 on the right side, \ in. from the top ; make a line of two running 
 stitches and a back-stitch just below the basting ; cut off the edges 
 \ in. above the sewing and turn the seam the other side out ; crease 
 hard, stitch with three colors just below the raw edges of the first 
 seam, so as to close them. 
 
 VIII. 
 
 Name. Print the pupil's name with a pencil in the middle of this strip, 
 and stitch with any color preferred directly on the pencil marks. 
 
 IX. 
 
 Felling. Baste the raw edge of the fifth strip to the fourth -| in. below 
 the top edge and stitch with the three colors ; then cut the edge of 
 the under side \ in. above the line of stitching, and the edge of upper 
 side \ in. above stitching. Open the seam flat, turn the broader edge 
 under with the needle, and hem with three colors, making a fell. 
 
 x. 
 
 Patching. Cut two small holes 3 in. from either end of the last strip 
 and midway between the fell and the selvedge. Mend one hole with 
 hemmed-on patch (question and answer 45), and the other with 
 stitched-in patch (question and answer 49). 
 
 XI. 
 
 Patching. Take a piece of striped or checked cloth for the sixth strip, 
 cut holes as in the fifth strip, and make a stitched-in patch and an
 
 SECOND YEAR'S SEWING. 
 
 Fig. 12. Sampler No. 2.
 
 2 6 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 oversewed patch (question and answer 50), matching the stripes or 
 checks. 
 
 XII. 
 
 Oversewing. Turn down one edge \ in. and baste to the selvedge of the 
 last strip, then oversew with two colors, leaving 2\ in. unsewed. 
 
 XIII. 
 
 Gusset. A gusset is put into the opening between the unbleached cotton 
 and the striped or checked cloth, according to question and answer 53. 
 
 XIV. 
 
 Felling. The sixth strip of unbleached cotton is then basted to the 
 striped cloth and a fell made, using running and back stitch, instead 
 of stitching, for the first seam of the fell. 
 
 xv. 
 
 Tucking. Two ^ in. tucks are made in this strip according to question 
 and answer 55. 
 
 XVI. 
 
 Overcasting seams. The seventh strip is joined by a running and back 
 stitched seam, the edges of which are evenly cut and overcast with 
 three colors. 
 
 xvn. 
 
 Putting on a band. The other edge is gathered, stroked, and put into a 
 
 band 2 in. x 4^ in., as described in questions and answers 61 to 66. 
 
 A buttonhole is then cut in the band and overcast with No. 70 
 
 cotton (questions and answers 67 to 70), and worked with any color 
 
 desired, 40 cotton (questions and answers 71 to 73). 
 
 A button is sewed on according to questions and answers 74 
 .to 75. 
 
 XVIII. 
 
 Hemmed and whipped ruffle. Make a \ in. hem on one edge and on the
 
 SECOND YEAR'S SEWING. 
 
 sides of the eighth strip. Mark the centre with a cross-stitch with 
 the blue cotton. Mark the centre of the band in the same way. 
 Whip the raw edge of the ruffle and oversew to the band (question 
 and answer 76 and 77). (Fig. 12.) 
 
 QUESTIONS AND ANSWERS. 
 
 1. Cloth. What kind of cloth is now used? Ans. Unbleached cloth. 
 
 2. Why is this kind of cloth used ? Ans. Because it is made, without 
 
 dressing and is easier to handle while learning to sew and to 
 prepare the seams. 
 
 3. Is unbleached cloth the only kind made without dressing? Ans. No, 
 
 bleached cotton and a great many kinds of cloth are made 
 without dressing. (Memorandum to Teacher. Show a kind of 
 fabric made with and without dressing.) 
 
 4. Then why is not undressed, bleached cotton now used ? Ans. 
 
 Because undressed, bleached cotton is made with finer threads 
 and is not so easy to prepare seams upon ; a fine needle must be 
 used when using fine cloth. 
 
 5. What number needle and thread is used on this unbleached cloth ? 
 
 Ans. No. 8 needle and No. 40 thread is used. 
 
 6. What length of thread should be used? Ans. A thread 10 in. long 
 
 should be used on the unbleached sampler. (Memorandum to 
 Teacher. Make plain to the pupils how time is wasted by drawing 
 a long thread through the cloth, how work can be better and more 
 rapidly done with a short thread.) 
 
 7. How many different colored threads are used for this sampler? 
 
 Ans. Three different colors are used. Red, blue, and yellow or 
 orange. 
 
 8. Why are these different colors used? Ans. To make the stitches 
 
 plain, and show how neatly thread can be joined.
 
 2 8 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 9. How can twisted or kinked thread be avoided or remedied? Ans. 
 Kinking can be avoided by not twisting the thread in sewing ; 
 if kinking does come, drop the threaded needle while fastened to 
 the work, and the weight of the needle will unwind all extra 
 twist. (Practice for position when sewing, etc. See exercise in 
 first year.) 
 
 10. What is the first work upon this sampler ? Ans. The first work is 
 
 basting, with stitches of three different lengths. 
 
 11. How is a seam formed? Ans. A seam is formed by basting or 
 
 sewing together two or more pieces of cloth. 
 
 12. What is the difference between sewing and basting a seam? Ans. 
 
 Basting is slight sewing, with long or short stitches, while sewing 
 is made with small firm stitches. 
 
 13. How is a seam basted for stitching or back-stitching? Ans. It is 
 
 basted ^ in. from the edge. 
 
 14. How long are basting stitches made for a stitched or back-stitched 
 
 seam ? Ans. For a stitched or back-stitched seam, make the 
 basting stitches | in. long and the space between ^ in. 
 
 15. In basting for seams should the 
 
 thread be drawn through the 
 cloth after taking each stitch ? 
 Ans. No ; work with the needle 
 
 in the cloth throughout its Fig. 13.- Basting, 
 
 length (Fig. 13). 
 
 How is this done? Ans. After making seven stitches, the cloth 
 becomes crowded, and then the point of the needle in the cloth 
 should be held between the thumb and first finger of the left 
 hand, and the first four stitches taken should be pushed off 
 the eye of the needle with the thumb and first finger of the 
 right hand.; then three more stitches should be made, and those 
 nearest the eye pushed back in the same way, until the seam is
 
 SECOND YEAR'S SEWING. 2 <) 
 
 basted. Gathering is done in the same way, but with small 
 stitches. (Illustrate on the blackboard.) 
 
 17. Why is it better to baste for a seam in this way? A/is. Because 
 
 it saves much time, and makes a straighter guide by which to 
 sew.* 
 
 18. Is a hem basted in this way? Ans. No, a hem has a straight edge 
 
 which can be the guide, and the basting line is made -^ Q in. 
 from the lower edge of the hem with one or more stitches on 
 the needle before the thread is drawn through the cloth, making 
 the basting stitch ^ in. long and the spaces between -^ in. 
 long. 
 
 19. How is basting done for oversewing? Ans. The bastings are made 
 
 for oversewing ^ in. below the top edge the stitches | in. long 
 and spaces between ^ in. long. 
 
 20. Why is basting for oversewing made near the edge? Ans. That 
 
 the edges may be held together firmly. 
 
 21. When a seam is basted, where is the line of stitching made? 
 
 Ans. The stitching is always below and as near the basting as 
 possible. * 
 
 22. Is a knot used in beginning to stitch ? Ans. No ; in beginning to 
 
 stitch the thread is fastened on the under side by one stitch and 
 a back-stitch. 
 
 23. What colors are used in stitching the first line ? Ans. Yellow and 
 
 blue are used. 
 
 24. What kind of sewing is made under the fourth line of basting? 
 
 Ans. Back-stitching is made under the fourth line of basting. 
 
 25. What is the difference between stitching and back-stitching ? 
 
 Ans. In stitching the stitches touch, in back-stitching there is 
 a small space between the stitches (Figs. 14 and 15). 
 
 * Fabrics that crush easily cannot be basted in this way.
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 Fig. 14. Stitching.* 
 
 26. What colors are here used ? Ans. Yellow and red are used. 
 
 27. How is a stitched or back-stitched seam finished ? Ans. A stitched 
 
 or back-stitched seam 
 is finished by sewing 
 back over the last three 
 stitches. 
 
 28. When should stitching and 
 
 when back-stitching be 
 used ? Ans. When much 
 wear or strain comes 
 upon a seam, it should be stitched, otherwise it can be back-stitched. 
 
 29. How are running stitches made ? Ans. The same way as basting, 
 
 but with smaller stitches. 
 
 30. Why is the needle not drawn through the cloth at every few stitches 
 
 in making running stitches ? Ans. In running for gathering the 
 needle is not drawn out until a certain part of the cloth is gath- 
 ered or the needleful 
 of thread is used, be- 
 cause the longer the 
 needle is kept in the 
 cloth, the straighter 
 will be the seam and 
 the quicker the work. 
 But in running tucks, where the cloth is double, the needle is 
 taken out every third or fourth stitch according to the thickness 
 of the cloth. 
 
 31. How can a broad hem be kept straight? Ans. By using a -measure 
 
 of the right width and basting carefully. 
 
 * Stitching, or back-stitching, as it is sometimes called, is the work which the sewing machine 
 imitates so accurately; two definitions are here given, because there are two different methods of 
 working it, one where strength is the important feature, and one where strength is not so important. 
 
 Fig. 15. Back-stitching.
 
 SECOND YEAR'S SEWING. 
 
 Fig. 16. Hem turned. 
 
 Fig. 17. Placing work on the 
 finger for hemming. 
 
 32. How should the hem be held for sewing ? Ans. The edge of the 
 hem to be sewed is placed over the first finger of the left hand 
 
 Fig. 18. Held over the finger 
 for hemming. 
 
 Fig. 19. Needle pointing to 
 the centre of left thumb- 
 nail, when hemming. 
 
 | in. from the end of the finger, held in place with the thumb 
 and second finger (Figs. 16, 17, 18). Sew with the needle point- 
 
 Hemming. 
 
 Fig. 20. 
 
 Beginning.
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 ing to the middle of the edge of the left thumb-nail (Fig. 
 19). Make the stitches small, but to show distinctly on the 
 under side. (Illustrate on the blackboard.) 
 
 Fig. 21. Work held for oversewing. 
 
 Fig. 22. Oversewing. 
 
 33. How should the work be held for oversewing ? Ans. The work 
 
 should be held around the end of the first finger of the left hand, 
 and kept firmly in place with the thumb and second finger (Fig. 21). 
 
 34. How should the needle be pointed in oversewing? Ans. In oversewing 
 
 the needle should be pointed directly toward the chest (Fig. 22). 
 
 35. What must always be done after the seam is oversewed ? Ans. Press 
 
 the stitches flat on the wrong side, with the right thumb-nail, 
 to finish the oversewing seam. 
 
 36. When is an oversewed seam 
 
 used ? Ans. An oversewed 
 seam is used in joining two 
 selvedges or two folded edges. 
 
 37. What is a selvedge ? Ans. A 
 
 woven or finished edge. 
 
 38. What is a raw edge? Ans. A 
 
 cut or torn edge. 
 
 39. What is overcasting ? Ans. Over- 
 
 casting is the same as over- 
 sewing, the stitches being larger, and is used over raw edges 
 to prevent them from ravelling (Fig. 23). 
 
 Fig. 23. Overcasting.
 
 SECOND YEAR'S SEWING. 
 
 33 
 
 40. How is the thread joined in overcasting ? Ans. Tie a knot in the end 
 
 of the thread, and put it between the two edges of the cloth, so 
 that it cannot be seen. 
 
 41. When is a French seam used? Ans. A French seam is used on deli- 
 
 cate material to conceal the raw edges. 
 
 42. In making a fell, how should the work be held in order to turn the edge 
 
 with the needle ? Ans. The work should be held as for hemming. 
 
 43. How should the needle be held in order to turn the edge of the fell ? 
 
 Ans. The needle should be held nearly parallel with the seam, the eye 
 resting on the thimble, and grasped firmly near the centre by the 
 thumb and forefinger of the right hand. Thus held, the edge of 
 the fell should be turned under with the point of the needle in.; 
 when that is hemmed another 
 in. is turned, until the seam is 
 finished (Fig. 24). 
 
 44. When is a fell used ? Ans. A 
 
 fell is used when a flat seam 
 
 without raw edges is required. Flg- 24< 
 
 45. How is a hemmed-on patch made ? Ans. A square piece of cloth is 
 
 turned down ^ in. on its four edges, and basted over the worn or torn 
 place, on the under side, being careful that the length and width 
 threads match the cloth, and then neatly hemmed down. On the 
 upper or right side the cloth is folded over ^ in. inside the hem- 
 ming stitches and creased hard with the thumb nail ; these creases 
 form a square around the tear (see dotted line, Fig. 26). A pin 
 is put through the cloth at the four corners of this square. Bias cuts 
 are then made with the scissors from the torn place to each of 
 these pin-holes, the edges x:ut off to J in. from the creases, this 
 j- in. turned under and hemmed to the patch. 
 
 46. What is a bias cut ? Ans. A bias cut is a cut made diagonally 
 
 across the warp and the woof.
 
 34 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 
 
 w \ 
 
 .*v\\\\\v>\\\\\\\\\\\\\\\min\H\V"i\v\n\iiiiiiiimtmrtij 
 
 
 f \ 
 
 
 
 \ ! 
 
 
 
 1 t,_^^___ j 
 
 
 
 Pig- 25. A hemmed-on patch. Under or wrong side of cloth. 
 
 flliltlirtfflllllllllWMIiitiM^ 
 
 Fig. 26. A hemmed-on patch. Upper or right side of cloth, showing 
 one half of worn part cut away.
 
 SECOND YEAR'S SEWING. 
 
 35 
 
 71 
 
 47. What is the warp? Ans. The threads that run up and down or 
 
 lengthwise of the cloth are called the warp. 
 
 48. What is the woof ? Ans. The threads that run across the cloth 
 
 from one selvedge to the other are called the woof. (Show these 
 on the blackboard.) 
 
 49. How is a stitched-in patch made ? Ans. The worn or torn part is first 
 
 cut out in a square (see Fig. 28). The straight edges of the hole are 
 made true by a drawn thread ; then two adjoining sides are folded 
 evenly together, and a bias cut \ in. is made at each of the four cor- 
 ners, and the edges of the hole thus cut are folded and creased down on 
 the under side \ in. (see dotted lines in Fig. 28). Then a square piece 
 is basted to these creases, so that it lies perfectly smooth at the corners. 
 Be sure to begin and end the basting on the patch, to make smooth 
 and square corners (Figs. 27, 28, 
 2 9> 3 3 1 )- Represent this on the 
 blackboard in the different stages. 
 
 50. How is an oversewed patch made ? 
 
 Ans. The torn part is cut out 
 and prepared in the same way as 
 for a stitched-in patch ; then the 
 square piece of cloth to be set 
 in is turned down by a thread 
 evenly on one side, and over- 
 sewed, on the under side, to one 
 side of the prepared hole from 
 corner to corner. The second, 
 third, and fourth sides are oversewed in the same way. Great care 
 must be taken to turn the edges evenly, so that the patch may 
 be flat when finished (Figs. 32, 33). (Show this on the blackboard.) 
 51 What is a gusset ? Ans. A gusset is a piece of cloth used to 
 strengthen the ends of a seam. 
 
 Fig. 28. Worn place cut out ; the cloth 
 prepared for a stitched-in patch.
 
 37
 
 n
 
 SECOND YEAR'S SEWING. 
 
 39 
 
 52. How is a gusset cut? Ans. Cut a piece of cloth \\ in. square, 
 cut off ^ in. diagonally from one corner (Figs. 34, 35, 36, 37, 38). 
 
 53. How is a gusset sewed in ? Ans. Place the apex of the triangle at 
 the end of the scam. Oversew to the cloth -.V in. on each side,
 
 40 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 beginning at the apex. The remaining part is folded over on the 
 under side of the work, carefully basted to lie smooth, and hemmed 
 down (see Figs. 37, 38). 
 
 54. Why does a gusset make the seam stronger ? Ans. A gusset 
 
 makes the seam stronger because its folded edge is on the bias, 
 and if it is strongly sewed at the corners, it is impossible to 
 tear it. 
 
 55. How is a tuck made? Ans. A tuck is made by folding the cloth 
 
 straight by a thread from edge to edge, and basting this fold at 
 the desired width. A running seam close below the basting fin- 
 ishes the tuck. 
 
 56. How are the stitches made in basting for a tuck ? Ans. The basting 
 
 stitches are made one inch long for a tuck. 
 
 57. How long are the spaces between? Ans. The spaces between are 
 
 -^ in. long. 
 
 58. Why should the stitches be longer than in basting an ordinary seam ? 
 
 Ans. The basting stitches should be longer for a tuck because they 
 make a better guide for the running stitches, which must be very 
 straight. 
 
 59. How is the thread joined in running tucks ? Ans. In running tucks 
 
 make a tied knot that can be easily concealed between the folds 
 of the tuck three stitches back. 
 
 60. What is the use of a tuck? Ans. A tuck is used for ornament, or 
 
 in order that the garment may be lengthened at some future time 
 by letting it down. 
 
 61. What is gathering? Ans. Gathering is making a line of running 
 
 stitches, and drawing the thread so as to full or gather the cloth 
 (Fig. 39, A and B). 
 
 62. What should always be done before gathering ? Ans. The edge 
 
 should be marked in halves and quarters by colored cross-stitches 
 (see Fig. 41, A).
 
 SECOND YEAR'S SEWING. 
 
 63. What should always be done after gathering? Ans. After gather- 
 
 ing, the gathers should be stroked or laid. 
 
 64. How is the stroking done ? Ans. For stroking, the gathers must be 
 
 pushed close together on the thread, and the loose end of the thread 
 
 Fig- 39. A. Gathering. 
 
 fastened firmly about a pin set at the end of the running, so that 
 it cannot slip. Then. the work is held between the thumb and first 
 finger of the left hand, the thumb being directly over the gather- 
 ing thread ; and with a large needle or pin in the right hand, work- 
 
 39. B. Running. 
 
 Fig. 40 Gathers stroked or laid. 
 
 ing from left to right, each gather is pressed separately under the 
 left thumb, while the pin strokes down a short distance between 
 it and the next gather (Fig. 40). Then turn the work and stroke 
 above the gathering stitches in the same way, but never so violently 
 as to make a scratching sound with the needle.
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 65. How is a gathered piece of cloth prepared for sewing to a band, or 
 binding ? Ans. In preparing gathers for sewing to a band, find 
 the middle of the band, and mark it with a line of small basting 
 stitches (see Fig. 41, B) ; pin the middle of the gathered piece to 
 
 Fig. 41. Clc 
 
 match band. 
 
 the middle of the band, placing the two right sides together. Then 
 pin the ends of the gathered piece to the same edge \ in. from 
 the ends of the band. This \ in. of the band is left to turn in, to 
 finish the ends. Then place the gathers evenly in each half of the 
 band, and baste the gathered piece and band together, holding the 
 gathers toward the person (Fig. 42).
 
 SECOND YEAR'S SEWING. 
 
 43 
 
 66. How should gathers be sewed to a band ? Ans. Fasten the ends of 
 the band securely to the gathered piece by oversewing together the 
 edge of the gathered piece and band from the right and left top 
 corners down to the line of gathers ; here take three oversewing 
 stitches. (If this is done securely, the garment will wear out before 
 the band rips at the ends.) Now, holding the gathers toward the 
 sewer, make a back-stitch over each gather. The basting is then 
 taken out. Now turn the band up from the gathers, crease, and 
 
 Fig. 42. Cloth basted to the band. 
 
 baste the band in position of Fig. 43 ; turn in, baste, and oversew 
 the ends of the band, the loose side of which, having been turned 
 over ^ in., must be pinned down over the line of stitching. Then 
 baste and hem it down. In hemming down this edge of the band, 
 take up one gather in each stitch * (Fig. 44). 
 
 67. How should a buttonhole be cut? Ans. A buttonhole should be 
 
 cut in double cloth, the end generally \ in. from the edge of the 
 cloth, and as long as the diameter of the button. 
 
 68. What is the first thing to be done to a buttonhole after cutting it ? 
 
 * Holding the work as shown in Fig. 44. 
 
 - *
 
 44 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 Ans. The buttonhole should be overcast immediately after being 
 cut. 
 
 69. Where is the overcasting of a buttonhole begun ? Ans. Begin to 
 
 overcast a buttonhole at the lower left-hand end, which is found 
 in the following manner. Place the buttonhole lengthwise on the 
 first finger of the left hand, with the folded edge towards the 
 knuckle, and point the finger towards the chest. The right side 
 of the buttonhole is then towards the right hand and the left side 
 towards the left hand ; for convenience, the end of the buttonhole 
 towards the knuckle (i.e. towards the folded edge of the cloth) is 
 called the upper end, and the end towards the point of the finger 
 is called the lower end. 
 
 70. How is a buttonhole overcast ? Ans. To overcast a buttonhole, hold 
 
 it lengthwise of the left forefinger, keeping that pointed to the 
 right, and having the folded edge of the cloth toward the wrist. 
 Then begin at the lower left-hand end and overcast the left-hand 
 side. Now turn the buttonhole, bring the folded edge to the end 
 of the finger, and overcast the right-hand side (see Fig. 45) ; then 
 back in cross-stitches to the upper end of the buttonhole. Here 
 make a cross-bar by overcasting one stitch to the right, and then 
 one stitch to the left, until three cross-stitches have been made.* 
 (This makes a round, strong outer end to the buttonhole when 
 worked.) Now cross-stitch the left-hand side back to the starting- 
 point (Fig. 46). Put the needle through to the under side, take 
 one running stitch, and cut the thread. 
 
 Represent on the blackboard the different steps of preparing and the 
 way of holding a buttonhole. 
 
 71. How is a buttonhole worked? Ans. From the lower left-hand end 
 
 to the lower right-hand end, then a straight bar is made across 
 the lower or inner end. See lower end of Fig. 46 B. 
 
 * See upper end of Fig. 46.
 
 SECOND YEAR'S SEWING. 
 
 45 
 
 72. How should the buttonhole stitch be made ? Ans. In making a 
 buttonhole stitch, the needle is put through the cloth, as for the 
 overcasting, at the lower left-hand end, then the thread from the 
 
 Fig. 43- Cloth oversewed, and stitched to the band, band turned up and basted. 
 
 Fig. 44. Showing how the work is held, and position of needle when hemming edge of band. 
 
 eye of the needle is brought around the point of the needle from 
 right to left, and the needle pulled through, bringing the loop up 
 straight (Fig. 46 A). The stitches should be made very near to- 
 gether, especially at the round end (Fig. 46 H).
 
 4 6 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 73. How should the straight bar be made at the lower end ? Ans. Draw 
 the worked edges together by making four stitches, one over the 
 other, across the lower end of the buttonhole, then, beginning at 
 the right-hand side, make five buttonhole stitches covering these, 
 the middle stitch directly in the middle between the two sides of the 
 buttonhole. Fig. 46 B. 
 Draw these steps in buttonhole making on the blackboard. 
 
 Fig. 45- 
 
 Fig. 46. 
 
 Fig. 46 A. 
 
 Fig. 46 B.
 
 SECOND YEAR'S SEWL\G. 
 
 47 
 
 74. Where should the button be sewed on ? Ans. The button should be 
 sewed on the other end of the band from the buttonhole, directly 
 
 Fig. 47- 
 
 opposite the buttonhole, the edge of the button being a little 
 inside of the edge of the band. 
 
 Fig. 48. 
 
 75. How should the button be sewed on ? Ans. To sew on the button, 
 the thread should be doubled, and a tied knot made in the end ;
 
 4 3 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 then the needle put through the cloth from the right or upper 
 side, leaving the knot where the button is to be sewed. Then 
 put the needle up through the cloth and one hole in the button 
 and down through an opposite hole until the needle goes through 
 a little hard, then bring the needle up between the button and 
 the cloth and wind the thread three times around the thread there, 
 to stem the button, and then fasten the thread on the wrong side. 
 
 76. How is the "whipping done ? Ans. After cutting the edge evenly by 
 
 one thread and marking with a cross-stitch the half and quarters, 
 the edge of the ruffle is rolled under in a small, hard roll, on the 
 wrong side between the thumb and first finger of the left hand, 
 one inch at a time, and stitches like hemming stitches are made 
 over it, except that the needle is put up under the roll and 
 brought out at the top of the roll (Fig. 47). At every fifth 
 stitch the thread is held firmly, and the ruffle is fulled "as on 
 a gathering thread. 
 
 77. How is this ruffle sewed to the sampler ? Ans. Pin the middle 
 
 of the ruffle to the middle of the band; holding the sampler 
 toward the person, oversew the ruffle to the band, sewing from 
 left to right in order to make one stitch come in every little 
 groove made by the whipping (see Fig. 48). 
 
 Although the pupils have learned to oversew from right to left, the 
 teacher should tell them that, in some kinds of work, a better 
 effect will be produced by sewing from left to right ; as, over- 
 casting woollens that fray or ravel easily, oversewing a whipped 
 ruffle to a band, herringbone stitch, etc.
 
 CHAPTER III. 
 Third Year's Sewing. 
 
 IN the third year the sampler is made of fine white cotton. For 
 this and the work of succeeding years on bleached cotton, the yard wide 
 Fitchville or Masonville cloths have been found most desirable for 
 handsewing, being without dressing. During the first five months of 
 this year, fifteen minutes of the first hour should be devoted to button- 
 hole making with fine cotton, Nos. 50, 60, and 70, and silk twist. 
 The teacher should have in readiness pieces of canvas and flannel, 
 3 in. x 8 in., on which to teach cross-stitch, herringbone, and feather- 
 stitch, also pieces of linen, to teach hemstitching upon. For several 
 months give class instruction of one-half hour each month in these 
 stitches, as all this kind of work will be used in making the white cloth 
 sampler. 
 
 In order to train the eyes and hands of pupils, that they may 
 be prepared for advanced work, let them now practise in cutting 
 exactly along the lines of striped and checked cloths, material for 
 which can be found in pieces left over from dressmaking in the sixth 
 class. 
 
 The class drill should be reviewed as often as practicable. 
 
 Letters of the alphabet may be made in cross-stitch (see Fig. 49). 
 This practice is to train the eye and hand in spacing distance by threads 
 both across and lengthwise of the cloth, and for marking the initials 
 and age on the sampler. Its practical value otherwise is small, and too 
 
 4Q
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 Outline-stitch can be used for 
 
 much time should not be given to it. 
 initials and age, if a pupil's eyesight is 
 
 too delicate to count threads. 
 
 Ill 
 
 111 
 
 - . **'"; *> * 
 
 ii 
 
 
 
 
 Fig. 49- 
 
 SAMPLER No. 3. 
 MATERIALS REQUIRED. 
 
 Two strips of bleached cotton (with selvedge on one side) 18 in. x 5 in. 
 Two strips of cotton (lengthwise, without selvedge) 9^ in. x 5 in. 
 Three pieces of cotton (for patches) 3 in. square. 
 One piece of cotton (for band) 3^ in. x 2 in.
 
 THIRD YEAR'S SEWING. 5! 
 
 One piece of cotton (for gusset) i^ in. square. 
 
 One piece of cotton, cut bias, in. wide and 10 in. long (for facing the 
 
 narrow ruffle). 
 
 One strip of Lonsdale cotton (across the cloth) i8| in. x 5 in 
 One strip of Lonsdale cotton (across the 'cloth) 14 in. x 2| in 
 One strip of flannel (even threads) lengthwise, 18 in. x 6 in. 
 One piece of crash (even threads) for pocket, 6 in. x 4| in. 
 White spool cotton Nos. 40, 50, 60, 70, 90, and 100. 
 Needles Nos. 9, 10, u, 12. 
 Fine crewel needle. 
 
 One needleful of white buttonhole twist. 
 
 Three spools (three yards each) of embroidery silk in some color. 
 One shirt button. One large pearl button. 
 One piece of flannel, 2|- in. long, 2 in. wide, for patch. 
 The estimated cost of white cotton sampler is thirty cents. 
 
 DIRECTIONS FOR MAKING SAMPLER. 
 I. 
 
 Baste together selvedges of the first two strips of cloth and oversew 
 
 with No. 60 cotton and No. 10 needle, leaving a distance of 4 in. 
 
 open at one end for a gusset ; open the seam and press flat with 
 
 the thumb-nail. 
 
 u. 
 Turn a narrow "handkerchief hem" on the raw edge of the first strip 
 
 of cloth, as shown in illustration, and hem with No. 70 cotton and 
 
 No. 10 needle. 
 
 in. 
 6| in. from the bottom edge of the strip cut a small "hole, as shown 
 
 in illustration, and mend the hole by making a hemmed-on patch, 
 
 using a No. 10 needle and No. 70 cotton.
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 in. above this patch cut another hole, and mend it by inserting a 
 stitched-in patch, using No. 60 cotton and No. 9 needle for 
 stitching, and No. 70 cotton and No. 10 needle for overcasting. 
 
 Join by a French seam (for direction see second year) the two strips 
 9^ in. x 5 in. ; join on widths, making strip No. 3 18 in. long. 
 
 VI. 
 
 6 in. above the bottom edge of this strip make a cut having two right 
 angles, in this shape I , and darn it according to questions and 
 answers 10 to 16. 
 
 VII. 
 
 2 in. above the French seam cut a hole and mend with an oversewed 
 patch, using No. 60 cotton and No. 10 needle for the oversewing, 
 and No. 70 cotton and No. 10 needle 
 for overcasting. 
 
 Join strip No. 3 to the raw edge of 
 strip No. 2, making a fell, as de- 
 scribed in sampler No. 2 ; use No. 
 50 cotton and No. 9 needle for 
 stitching, No. 60 cotton and No. 9 
 needle for hemming. When felling 
 a bias seam, lay the hem with 
 the grain of the cloth. It is 
 much easier to hem with the grain than against it (Fig. 50). 
 
 Bias seam hemmed. 
 Fig:. 50 
 
 On the lower edge of the sampler turn a hem 2\ in. broad, and hem 
 with No. 70 cotton and No. 10 needle.
 
 THIKD YEAR'S SEWING. 
 
 53 
 
 X. 
 
 Make a buttonhole I in. long in the broad hem of strip No. 3 ; use 
 No. 70 cotton and No. 10 needle for overcasting, and No. 50 cotton 
 and No. 9 needle for working the buttonhole. Make a buttonhole 
 i in. long in the broad hem of strip No. I. See page 115. 
 
 XI. 
 
 Put in a gusset at the opening of the oversewed seam, using No. 60 
 cotton and No. 10 needle for oversewing, and No. 70 cotton 
 and No. 10 needle for hemming. 
 
 XII. 
 
 Gather strip No. i, \ in. below the top, stroke, and put into the band, 
 using No. 50 cotton and No. 9 needle for gathering and stitching, 
 No. 60 cotton and No. 9 needle for oversewing and hemming. 
 
 Make a buttonhole -|- in. long in the right-hand end of the band. 
 Sew a shirt button on the left-hand end of the band, using 
 No. 50 cotton and No. 9 needle. 
 
 XIII. 
 
 Take the smaller strip of Lonsdale and make a handkerchief hem on 
 each end and across one side, using No. 100 cotton and No. 12 
 needle. This is for a ruffle. 
 
 Gather the ruffle \ in. from the raw edge ; stroke and stitch to 
 the top of the sampler with No. 60 cotton and No. 10 needle. Still 
 holding the ruffle toward the person, baste to this seam the bias 
 strip of cloth, and make one back-stitch and two running stitches 
 directly over the gathering. Turn all these edges flat to the under 
 edge of the sampler ; turn under the top edge and one end of the 
 bias strip ; hem the turned edge to the sampler and oversew one 
 end. The other end is held in place by the stitching of the flannel.
 
 54 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 XIV. 
 
 Make a handkerchief hem on the ends of the second piece of Lonsdale, 
 then make a \ in. hem on one side of it. Above this hem make 
 three tucks the same width as the hem, using No. 90 cotton and 
 No. 1 1 needle. 
 
 Whip the upper edge of the ruffle, using No. 40 cotton and 
 No. 9 needle. 
 
 Oversew this ruffle to the lower edge of the sampler, holding the 
 sampler toward the person, sewing from left to right, so as to make 
 one stitch come in every little groove made by the whipping. Use 
 No. 50 cotton and No. 9 needle. 
 
 Turn down one end of the flannel strip i^ in., baste it, and then make 
 herringbone stitch over the edge with embroidery silk, using the 
 crewel needle (see question and answer 32). 
 
 Hold the flannel so that the herringbone stitches just made 
 will be at the right-hand side and on the under side of the flannel ; 
 then turn down and baste the upper edge of the flannel \ in., turn 
 again I in., and baste for a hem. Then blind-stitch this hem with 
 No. 9 needle and No. 60 cotton, according to question and 
 answer 33. 
 
 With embroidery silk, feather-stitch over the edge of this hem, 
 according to question and answer 35. 
 
 Measure the strip of flannel with the raw edge of the sampler, 
 and with a pencil draw scallops on the end so as to make it the 
 same length as the sampler when finished (see question and answer 
 36). Then, with embroidery silk, work as described in question and 
 answer 37. 
 
 3 in. above the scalloping make a cut in the flannel i^ in. long, 
 and darn, using No. 100 cotton and No. 12 needle for overcasting the
 
 THIRD YEAR'S SEWING. 
 
 55 
 
 cut edges together, and No. 8 needle and ravellings of flannel for 
 darning. 
 
 Half way between the darn and the top of the flannel strip cut 
 a hole and mend it with a patch, according to question and answer 38. 
 
 In the hem of the flannel strip, cut a buttonhole i in. long, over- 
 cast with No. 70 cotton and No. 10 needbe, and work with buttonhole 
 twist. 
 
 Baste the flannel to the raw edge of the sampler ^ in. from the 
 edge, and stitch with No. 50 cotton and No. 9 needle, holding the 
 flannel toward the person. 
 
 XVI. 
 
 Prepare and hemstitch the pocket according to questions and answers 
 40 to 48. 
 
 A buttonhole is cut in the middle of the hem of the pocket, and 
 overcast with No. 70 cotton and No. 10 needle, and worked with 
 No. 40 cotton and No. 9 needle. 
 
 The initials are to be worked in the centre of the pocket, \ in. 
 below the hemstitching ; work with embroidery silk, in cross-stitch 
 or outline-stitch (see questions and answers 50 to 53). The age is 
 worked in the same way, below the initials. 
 
 A row of double feather-stitching is made around the pocket, at 
 the option of the pupil. 
 
 The pocket is basted to the centre of the sampler and hemmed 
 on with No. 60 cotton and No. 9 needle. 
 
 XVII. 
 
 A stay is placed on the wrong side of the sampler (see questions and 
 answers 56 to 58), where the button is to be sewed on. This is 
 hemmed with No. 70 cotton and No. 10 needle. 
 
 The button is sewed on with No. 50 cotton and No. 9 needle 
 (white cloth sampler, Fig. 51).
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 V ' ^ 
 
 ill!!] \ ii/ii. 
 
 x^WV 
 
 W ; *<<!us> ;f 'wAiu>^ 
 
 Fig. 51. Sampler No. 3.
 
 THIRD YEAR'S SEWING. 
 
 57 
 
 QUESTIONS AND ANSWERS. 
 
 1. What number cotton and needle are used for all bastings on this 
 
 sampler? Ans. No. 50 cotton and No. 9 needle are used for 
 basting on the white sampler. 
 
 2. What seam is made first on the bleached or white cloth sampler ? 
 
 Ans. On the bleached sampler the oversewed seam is made first. 
 
 3. What number cotton and what number needle are used for the over-_ 
 
 sewing ? Ans. No. 60 cotton and No. 10 needle are used for 
 the oversewing. 
 
 4. For hemming the sampler, what cotton and needle are used ? 
 
 Ans. For hemming the sampler, No. 70 cotton and No. 10 
 needle are used. 
 
 5. For sewing the hemmed-on patch, what cotton and what needle are 
 
 used ? Ans. For sewing a hemmed-on patch, No. 70 cotton and 
 No. 10 needle are used. 
 
 6. For sewing the stitched-in patch, what cotton and what needle are 
 
 used ? Ans. For stitching the patch, No. 60 cotton and a No. 9 
 needle are used ; and No. 70 cotton and No. 10 needle for the 
 overcasting. 
 
 7. What number cotton and what number needle are used for the first 
 
 part of the French seam ? Ans. No. 60 cotton and No. 9 
 needle are used for the first part of the French seam. 
 
 8. What number cotton and what number needle are used for stitching 
 
 the French seam ? Ans. For stitching the French seam, No. 50 
 cotton and No. 9 needle are used. 
 
 9. For the oversewed patch, what cotton and what needle are used ? 
 
 Ans. No. 60 cotton and a No. 10 needle are used for oversewing 
 the patch, and No. 70 cotton and No. 10 needle for overcast- 
 ing it. 
 
 10. How should a torn or cut place be prepared for darning ? Ans. The 
 edges of the cut or tear should be caught together as evenly as
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 possible by fine overcasting on the wrong side, particular care being 
 taken at the corners (Fig. 52 A); then a straight line of basting 
 stitches should be made all around the tear, ^ inch from the joined 
 edges, to mark where the lines of darning end (Fig. 53). 
 
 11. What number cotton and what number needle are used for the darn 
 
 on the sampler? Ans. No. 100 cotton and No. 12 needle are used 
 for the darning on the sampler. 
 Show this preparation for darning on the blackboard. 
 
 12. How is the torn place darned after being prepared in this way? 
 
 Ans. Straight lines of fine stitches are made back and forth from 
 
 Fig. 52 
 
 Fig. 52 A. 
 
 
 Fig. 53- 
 
 basting to the other, leaving 
 
 4 
 
 3 
 -3 
 
 Fig 54 
 
 very small loop at 
 
 one guidim 
 each turning.* 
 
 13. How are the corners darned? Ans. The lines of running stitches are 
 
 made slanting instead of straight, so that they all come together 
 at the corner of the inside basting. (Illustrate on the blackboard.) 
 
 14. Why are the little loops left ? Ans. The little loops are left to allow 
 
 for drawing or shrinking. (Represent such a darn on the blackboard.) 
 
 15. Is the basting left in after the darning is finished? Ans. No; the 
 
 bastings are cut at every third or fourth stitch and carefully drawn out. 
 
 * Needles may be used in place of basting at each side of the darn, over which to make 
 the loops in turning. See Fig. 52.
 
 THIRD YEAR'S SEWING. 
 
 59 
 
 1 6. Should a darn be made on the right or the wrong side of the cloth ? 
 
 Ans. Generally, a darn should be on the wrong side of the cloth. 
 
 17. What number cotton and what number needle are used for stitching 
 
 the fell ? Ans. For stitching the fell, No. 50 cotton and No. 9 
 needle are used. 
 
 1 8. For hemming the fell, what cotton and needle are used ? Ans. For 
 
 hemming the fell, No. 60 cotton and No. 9 needle are used. 
 
 19. For overcasting buttonholes, what cotton and what needle are used? 
 
 Ans. For overcasting buttonholes, No. 70 cotton and No. 10 
 needle are used. 
 
 20. For working buttonholes, what cotton and what needle are used ? 
 
 Ans. For working buttonholes, No. 50 cotton and No. 9 needle 
 are used. 
 
 21. What number cotton and what number needle are used for the gusset 
 
 on the sampler ? Ans. For sewing a gusset on the sampler, No. 
 60 cotton and No. 10 needle are used for oversewing, No. 70 
 cotton and No. 10 needle for hemming. 
 
 22. What number cotton and what number needle are used for gathering ? 
 
 Ans. For gathering, No. 50 cotton and No. 9 needle are used. 
 
 23. For stitching gathers into a band, what cotton and what needle are 
 
 used ? Ans. For stitching gathers into a band, No. 50 cotton and 
 No. 9 needle are used. 
 
 24. For hemming the band down and oversewing the ends, what cotton 
 
 and what needle are used ? Ans. For hemming and oversewing 
 the band, No. 60 cotton and No. 9 needle are used. 
 
 25. For sewing the button on the band, what cotton and what needle 
 
 are used ? Ans. For sewing the button on the band, No. 50 
 cotton and No. 9 needle are used. 
 
 26. For hemming cambric ruffles, what cotton and what needle are used ? 
 
 Ans. For hemming cambric ruffles, No. 100 cotton and No. 12 
 needle are used.
 
 60 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 27. What is a ruffle ? Ans. A ruffle is a strip of cloth gathered on one 
 
 edge and hemmed on the other, which is then sewed to a plain 
 piece of cloth.* 
 
 28. What is the use of a ruffle ? Ans. A ruffle is used to trim, and 
 
 sometimes to lengthen a garment. 
 
 29. What number cotton and what number needle are used for gathering 
 
 the narrow ruffle ? Ans. For gathering the narrow ruffle, No. 50 
 cotton and No.- 9 needle are used. 
 
 30. For stitching the ruffled piece to the plain piece, what cotton and 
 
 what needle are used ? Ans. For stitching on the ruffled piece, 
 No. 50 cotton and No. 9 needle are -used. 
 
 31. What needle and cotton are used for sewing the bias facing to the 
 
 narrow ruffle ? Ans. No. 60 cotton and No. 9 needle for the 
 
 stitching part; No. 10 needle and No. 70 cotton for the hemming 
 part. 
 
 32. How is herringbone or cat-stitch made ? Ans. A knot is made in 
 
 the thread and the needle is brought up from the under side of 
 the work, at the point nearest the person, as this stitch is usually 
 worked upward or from the worker ; it is sometimes worked from 
 left to right. The work is held over the first finger of the left 
 hand, kept in place with the second finger and thumb. The thread 
 is first drawn through, then the needle is put through ^ in. to the 
 right and | in. above and brought up again ^ in. below perpendicu- 
 larly, care being taken to keep the thread at the left of the needle. 
 The needle is next put through ^ in. to the left and \ in. above, 
 and the stitch made in the same manner, keeping the thread to 
 
 * When gathering a ruffle with a raw edge for a heading, always gather on the under or 
 wrong side. When gathering a ruffle with a finished heading, or a dress skirt, gather on the 
 upper or right side, beginning on the right-hand end, for both upper and under side. Then the 
 long end of the gathering thread will be at the left end of the part gathered, and the work can 
 be easily drawn into place.
 
 THIRD YEAR'S SEWING. 
 
 61 
 
 the right of the needle. The third stitch is to the left and above, 
 as before (Fig. 55). 
 
 33. How is a hem blind-stitched ? Ans. A hem is blind-stitched by catch- 
 
 ing the under part of the first fold down to the single cloth below 
 it, with running stitches, so that no stitches show on the upper side. 
 
 34. What stitch is used to ornament the hem after blind-stitching it ? 
 
 Ans. To ornament the hem, feather or vine stitching is used. 
 
 35. How is feather or vine stitch made? Ans. A knot is made in the 
 
 thread, and the needle is brought up from the under side of the 
 
 work, at the point farthest from the person, as feather-stitch is 
 always worked downward or toward the worker. The work is held 
 over the first finger of the left hand, kept in place with the second 
 finger and thumb. The thread is drawn through, then placed under 
 the thumb while the next stitch is taken ; the needle is put through 
 to the under side \ in. to the right and a trifle below the place 
 where it was brought up, and brought up again | in. perpendicu- 
 larly ; the thread is drawn through until caught in the loop formed 
 by the thread held under the thumb. The next stitch is made in 
 the same manner | in. to the left and a trifle below, the third 
 stitch to the right and below, and so on. This is the simplest
 
 62 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 form of feather-stitch, which may be varied in many ways, as shown 
 by the illustrations. 
 
 In describing the so-called "buttonhole stitch" of embroidery, it is 
 spoken of as an embroidery edge stitch, so that the child may not 
 associate it with buttonholes, and be tempted, by the ease of making, 
 to use it for them. 
 
 Fig. 56. 
 
 Fig. 56 A. 
 
 36. How is the flannel prepared for the embroidery edge stitch ? 
 Ans. The flannel is prepared for the embroidery edge stitch by 
 first marking out on card-board scallops of the required size. Draw 
 a straight line 3 in. long, -| in. from the lower edge of the card- 
 board. Mark off this line by dots i in. apart, and half way 
 
 Fig. 57 A. 
 
 between each two make a dot on the lower edge of the card-board. 
 Connect these dots by half circles and cut them out with the 
 scissors. Then lay the card-board evenly on the edge of the cloth, 
 and mark the scallops on it with a lead pencil, holding the side of 
 the pencil with care perpendicularly against the edge of the card- 
 board. Then, making a dot on the cloth just \ in. above the 
 centre of the curve in each scallop, connect the ends of each out-
 
 THIRD YEAR'S SEWING. 63 
 
 side curve by a line drawn through this point. This marks out the 
 space covered by the stitches. With fine darning or tambour cotton 
 make running stitches on the lines marked out, to strengthen the edge. 
 37. How is the embroidery edge stitch made ? Ans. Fasten the thread, 
 to begin the embroidery edge stitch, by taking two or three running 
 stitches between the two curves of the scallop, and bring the needle 
 up at the left-hand point of the first scallop, just on the lower edge 
 of the lower curve, holding the edge toward the person. The central 
 stitch of the scallop should be vertical. See Fig. 58. 
 
 Fig. 58- 
 
 38. How is a patch made in flannel ? Ans. To mend a hole in flannel, 
 
 a square piece of the material with the edges cut even (not turned 
 in) is basted over the worn or torn place and on the wrong side ; 
 this is herringbone-stitched very finely all around the edges, using 
 No. 10 needle and No. 100 cotton. The worn place is then cut out 
 square, and the even edge herringbone-stitched, in the same manner, 
 to the patch J^see Figs. 58, 59). 
 
 39. Why are the edges of the patch not turned under, as in making a 
 
 similar patch on cloth ? Ans. Because turned edges in flannel are 
 
 clumsy and unnecessary, as the material will not ravel when held 
 by the herringbone stitches. 
 
 40. Of what material is the pocket of the sampler made ? Ans. The 
 
 pocket on the sampler is made of crash.
 
 6 4 
 
 J 
 
 1 3 
 
 1 I 
 I ' 
 
 1 1
 
 THIRD YEAR'S SEWING. 65 
 
 41. How is the pocket cut? Ans. Cut by a thread a piece of crash for 
 
 the pocket 6 in. x 4^ in. 
 
 42. What is the first step in preparing the hem for hemstitching ? Ans. To 
 
 prepare for the hemstitched hem, draw six threads across the crash 
 3 in. from the end. 
 
 43. What is the next step in preparing the pocket ? Ans. After drawing 
 
 the threads for the hemstitching, turn the edges of tfce piece of 
 crash down \ in. and baste them with No. 40 cotton and No. 8 needle. 
 
 44. What is the second step in preparing the hem ? Ans. The second 
 
 step in preparing the hem is to fold it down and baste it so that 
 the edge of the fold already made lies evenly along the upper edge 
 of the space left by the drawn threads. 
 
 45. How is the hemstitching done ? Ans. To begin the hemstitching, 
 
 make a tied knot in the thread and take two or three running 
 stitches on the under side of the fold, then bring the needle to the 
 lower side at the left-hand edge. Now, holding the work over the 
 first finger of the left hand, the hem toward the person, hold the left 
 thumb over the thread and put the needle down between the fourth 
 and fifth threads, take up the four threads to the left, bring the 
 needle up, and pull the loop thus made close to the edge of the 
 hem. Holding the thread firmly under the left thumb, take an 
 edging stitch over the edge of the hem close to the right of the 
 four threads just taken up. Then take up four more threads and 
 repeat. Always work on the side on which the hem is turned, and 
 from left to right (Fig. 60, A, B). 
 
 46. How is the thread joined in hemstitching? Ans. Tie a knot in the 
 
 fresh thread. Draw the needle through the upper fold of the hem, 
 two stitches back, working over these stitches, and proceed as before. 
 
 47. What number needle and what number thread are used in hemstitch- 
 
 ing the pocket ? Ans. In hemstitching the pocket, No. 60 cotton 
 and No. 9 needle are used.
 
 66 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 48. How should the ends of the hem be finished? Am. The ends of 
 
 the hem should be oversewed ; it is better to do this before the 
 hemstitching, as it sometimes prevents unequal stretching. 
 
 49. What number cotton and what number needle are used for the but- 
 
 tonhole on the pocket ? Am. For this buttonhole, No. 70 cotton 
 and No. 10 needle are used for overcasting, and No. 9 needle 
 and No. 40 cotton in making the buttonhole stitch. 
 
 Fig. 60, A. Hemstitching. 
 
 50. How are the letters made on the pocket ? Am. To begin the mark- 
 ing stitch, the needle is brought through to the upper side at the 
 place for beginning the letter, the end of the thread being held 
 on the under side until secured by the first stitch. The stitch is 
 made by putting the needle through to the lower side two threads 
 to the right and two threads upward (in marking on canvas or 
 coarse crash) and bringing it up two threads below, perpendicularly. 
 This makes the under half of the stitch. Next, the needle is put 
 through to the lower side two threads upward and two threads to
 
 THIRD YEAR'S SEWING. 67 
 
 the left, bringing the thread diagonally across the lower half of 
 the stitch and completing it. The pupil can see, from the letter 
 she is copying, where the needle should be brought up to begin 
 the next stitch, which is made in the same way. After finishing 
 the first initial, four threads are left and a period made with a 
 single cross-stitch. Leave four threads and begin the next 
 initial, and so on. 
 
 Fig. 60, B. Hemstitching. 
 
 51. How should the thread be fastened in finishing ? Ans. The thread 
 
 should be run between the stitch and the canvas on the under 
 side, for the length of three stitches, and cut off with the scissors. 
 
 52. In what direction should the letters be worked ? Ans. In marking, 
 
 the letters should be made from left to right. 
 
 53. How is the place to begin lettering the pocket to be found ? Ans. To 
 
 find the place of the first marking stitch, count the number of 
 stitches necessary for all the initials, the periods, and the spaces 
 between, then | in. below the hemstitching, count from the
 
 68 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 middle of the pocket half this number of stitches to the left, and 
 this gives the place for the first stitch of the first initial. 
 
 54. How is the pocket sewed to the sampler ? Ans. The pocket is 
 
 hemmed to the sampler. 
 
 55. What number thread and what number needle are used for hemming 
 
 on the pocket ? Ans. To hem on the pocket, No. 60 thread and 
 No. 9 needle are used. 
 
 56. Where should the button be sewed on ? Ans. After the pocket is 
 
 sewed on, lay the sampler flat on the desk and place a pin through 
 the buttonhole and cloth beneath, \ in. from the top of the 
 buttonhole ; this gives the place where the button should be 
 sewed. 
 
 57. Should the button be sewed on a single thickness of thin cloth ? 
 
 Ans. A button should never be sewed on a single thickness of 
 thin cloth, where it has to bear any strain. A small square piece 
 should be hemmed on under the place where the button belongs, 
 to strengthen it. Now the white cloth sampler is finished.* 
 
 58. What is this small piece called ? Ans. This small piece is called a 
 
 stay. 
 
 NUMBER OF COTTON AND NUMBER OF NEEDLE FOR 
 SAMPLER WORK. 
 
 
 Cotton. 
 
 Needle. 
 
 Oversewed seam ..... 
 
 60 
 
 IO 
 
 French seam, run and back-stitched . 
 
 ..,.'.. 60 
 
 9 
 
 French seam, stitched .... 
 
 50 
 
 9 
 
 Fell, stitched 
 
 50 
 
 9 
 
 Fell, hemmed ...... 
 
 60 
 
 9 
 
 Hems, broad and narrow .... 
 
 70 
 
 IO 
 
 Patch, hemmed on ..... 
 
 70 
 
 IO 
 
 Patch, stitched in ..... 
 
 60 
 
 9 
 
 * The idea of the white cloth sampler originated with Miss Emma F. Ware, Milton, Mass. 
 The one in use, here illustrated, has several alterations and additions.
 
 THIRD YEAR'S SEWING. 69 
 
 
 Cotton. 
 
 Needle. 
 
 Patch, overcast 
 
 70 
 
 10 
 
 Patch, oversewed ....... 
 
 60 
 
 IO 
 
 Darning 
 
 100 
 
 12 
 
 Gathering ......... 
 
 50 
 
 9 
 
 Band, stitched on ....... 
 
 50 
 
 9 
 
 Band, hemmed down and ends oversewed 
 
 60 
 
 9 
 
 Buttonholes, overcast 
 
 70 
 
 10 
 
 Buttonholes, worked . . 
 
 50 
 
 9 
 
 Button sewed on to band ..... 
 
 50 
 
 9 
 
 Button sewed on for pocket ... 
 
 40 
 
 9 
 
 Lonsdale ruffles, hemmed ...... 
 
 100 
 
 12 
 
 Narrow ruffle, gathered 
 
 50 
 
 9 
 
 Narrow ruffle, stitched on . 
 
 60 
 
 10 
 
 Narrow ruffle facing, backstitched and hemmed 
 
 60 
 
 10 
 
 Tucks run in broad ruffle ...... 
 
 90 
 
 II 
 
 Broad ruffle, whipped ...... 
 
 40 
 
 9 
 
 Broad ruffle, oversewed on . . . . . 
 
 50 
 
 9 
 
 Flannel, blind (or slip) stitched .... 
 
 60 
 
 9 
 
 Gusset, oversewed ....... 
 
 00 
 
 10 
 
 Gusset, hemmed 
 
 70 
 
 IO 
 
 Pocket, hemstitched 
 
 60 
 
 9 
 
 Pocket, buttonhole worked ..... 
 
 40 
 
 9 
 
 Pocket, hemmed on . 
 
 60 
 
 9 
 
 Stay for button, hemmed on 
 
 70 
 
 10 
 
 Flannel stitched on to sampler ..... 
 
 50 
 
 9 
 
 Flannel overcast 
 
 70 
 
 10 
 
 Flannel patch, herringbone stitches .... 
 
 100 
 
 IO 
 
 Darn on flannel with ravellings of same. 
 
 
 
 * Loops and eyelet ....... 
 
 40 
 
 8 
 
 * See page 115.
 
 CHAPTER IV. 
 Fourth Year's Sewing. 
 
 WHEN the fine white cotton sampler has not been finished in the 
 third year, it must be completed as early as possible in the fourth year, 
 to give the necessary time for advanced work. 
 
 The work laid out for this year includes advanced patching and darn- 
 ing on fine, plain, and figured woollens, heavy cloths, table linen, and 
 silk, the darning done with ravellings, fine worsted, linen and silk 
 threads. Also stocking-darning. 
 
 Pupils of this year can cut and prepare all that is necessary in the 
 sampler work for younger classes, such as cutting small paper patterns, 
 cutting linen for pockets, lengths of flannel, and ruffles from the width 
 of fine cambric. In this way they are learning to handle practically dif- 
 ferent kinds of cloth, to know thoroughly about the length, width, and 
 bias of ck>th, and why it should be cut certain ways for different pur- 
 poses. They also gain the ability to use their hands rapidly and easily 
 
 The class should study about different materials, such as wool, 
 linen, and silk ; explain how they are produced and how made into 
 fabrics. If possible, show specimens in various stages from the raw 
 product to the finished goods. 
 
 Patching: L 
 
 In patching, the pupil has been taught the importance of matching 
 the patch with the cloth of the garment in the direction of the threads, 
 
 70
 
 FOURTH YEAR'S SEWING. l 
 
 figures, etc. In flannel the way of the nap, the selvedge, and the right 
 and wrong sides of the cloth must be considered. As the edges of a 
 flannel patch will no t t ravel, the raw edges can be herringboned to the 
 under side of the cloth, and the raw edges of the cut can be neatly her- 
 ringboned to the patch, as shown in Figs. 58, 59. 
 
 Fig. 61. Patch hemmed to the right side. 
 
 Patching woollen dress material must be done according to the nature 
 of the goods, the tear, etc., and judgment must be exercised in doing it. 
 Sometimes more than one method may be wisely used. Four kinds of 
 patches are described, viz. the hemmed-on (Fig. 61), the stitched-in, the 
 oversewed, and the darned-on.
 
 y 2 PROGRESSIVE .LESSONS IN NEEDLEWORK. 
 
 Darned-on patch : 
 
 When a large patch is well matched to heavy cloth, it shows less 
 than a small one. Darning is better than a small patch. A thread of 
 the same color as the cloth should be used when patching and darning. 
 
 A darned-on patch is used for heavy cloths, especially in mending 
 
 Fig. 62. Showing darn for a thin place. 
 
 boys' trousers. If possible, use a patch of irregular edges, as when sewed 
 down it is less noticeable than one with straight edges, and can, with 
 care, often be made almost invisible. 
 
 By fine overcasting of cotton or silk secure the patch to the right 
 side of the garment, the stitch being taken through the upper surface of
 
 FOURTH YEAR'S SEWING. 
 
 73 
 
 the edge of the patch. This brings the upper surface of the patch nearly 
 to the level of the cloth of the garment. Then the darning stitches 
 should be taken below the surface of the patch and the garment, never 
 showing on the top. To hide the turning at the end of the lines of 
 darning, take a stitch diagonally (always under the surface) from the end 
 stitch of the line finished to the place where the next line is to begin. 
 
 Fig. 63, A. 
 
 Fig. 63, B. 
 
 Pare off as little as possible of the ragged edges beneath, and catch 
 them down securely to the under side of the patch with herringbone 
 stitch so that the stitches do not show through. 
 
 The most important points of instruction are to consider the char- 
 acter of the cloth, the worn place, and the method of mending it. 
 
 in. 
 
 Darning : 
 
 To darn a hole in a stocking (Fig. 63, A) or in woollen undercloth- 
 ing (if large), first draw the edges together as "i^ear as possible with fine
 
 74 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 cotton (Fig. 63, B) ; then make straight lines of darning between the two. 
 opposite sides of the hole, and leave a loop of the thread at the end 
 of each line of turning, to allow for shrinking ; darn across the hole 
 in like manner at right angles to these lines (see Fig. 64). Each line of 
 darning should begin i in. or more beyond the edge of the hole, and at 
 
 Fig. 64. 
 
 the left side of the worn or thin place. In one line pass the needle over 
 the first thread and under the second, over the third and under the 
 fourth, and so on, and in returning op the next line pass the needle over 
 the threads taken up before, and under the threads left down (Fig. 64). 
 (Illustrate on blackboard.) 
 
 If fine woollen thread is used in darning cotton stockings, the darn 
 is much softer than when cotton thread is used. Care should always be
 
 FOURTH YEAR'S SEWING. 
 
 75 
 
 taken when darning a worn place to make the lines of stitches of uneven 
 length for the sake of strength. If the lines are of even length the 
 whole strain is borne by one thread in the cloth, which soon gives way. 
 Explain the different kinds of needles used for darning. 
 
 To show the necessity of darning before the hole actually appears, 
 it should be explained that darning is a method of renewing the part of 
 the cloth destroyed or weakened by 
 wear, and in some cases is really hand- 
 weaving. Thus, if the darning is over a 
 thin place and not a hole, the work can 
 be made stronger and less clumsy. 
 
 It would be well for the teacher 
 to tell the child that, before stock- 
 ings or woollen undergarments are 
 washed, if a few stitches are taken 
 with fine thread, drawing the torn 
 edges evenly and as nearly together 
 as possible, the hole instead of grow- 
 ing larger will full together at the 
 edges and become smaller ; thus the 
 work of mending will be lessened, 
 the mended garment will be stronger, 
 and the mend itself is less con- 
 spicuous. Such information -from a teacher is valuable for home use. 
 
 For darning woollen material, use a ravelling of the same if possible. 
 Otherwise, use a fine worsted thread, splitting it if necessary and match- 
 ing the color of the cloth (see Fig. 65). 
 
 In damning on silk or linen fabrics with fine floss, sewing silk, 
 or ravellings of silk, the loops should be left shorter than in other 
 darning, as the linen and silk threads do not shrink like cotton and 
 wool threads. 
 
 Fig. 65. Darned with ravellings.
 
 7 6 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 Mexican work (Fig. 66), 
 
 As preliminary to general embroidery, is introduced in this grade. 
 It gives a child valuable artistic training. Some children have natural 
 gifts which are awakened and trained in this work in ways that are 
 invaluable in after life. As a saving of school time, pupils may be 
 allowed to take this work home and work on it there, when they show 
 
 sufficient appreciation of neatness. 
 It should be noticed that this pri- 
 mary Mexican work is practised in 
 hemstitching and in herringbone 
 stitch. 
 
 Cutting : 
 
 The scissors practice of the 
 lower grades now becomes the 
 wholly practical work of cutting 
 patterns and garments. The pupils 
 in this fourth year learn the use 
 of the tape measure by measuring 
 for patterns of plain undergarments. 
 The measures are taken by the 
 pupils on a child of the age and 
 size to be fitted. These measures 
 are written on the blackboard, where they are used in drawing a diagram 
 according to the method explained in the class work. The pupil makes 
 a similar diagram on paper. 
 
 Fig. 66. Mexican work. 
 
 How to measure for drawers pattern : 
 
 For the length, place the end of the tape measure at the waist 
 line on the upper part of the hip, and measure to three inches below
 
 FOURTH YEAR'S SEWING. 
 
 77 
 
 the knee. Draw the oblong 3 in. longer than that measurement, to 
 allow for the upper slope (see scale of measurements). The width of 
 the oblong is governed a little by the size of the pupil, and according 
 to the teacher's judgment. 15 in. is the right width for an average size 
 pupil of ten to fourteen years of age. For length of waistbands, pass 
 the tape measure around- the waist loosely ; allow 2 in. more than 
 the waist measure, as this length makes the front and back band. 
 The pattern for children's drawers is so made that the ' front and 
 back of the body may be either of equal or unequal length. 
 
 A scale of measurement for drawers of different sizes, is here 
 given, and the following diagram is drawn from a 22 hip to knee 
 measure. The oblong is made 3 in. longer than this measure, to 
 allow at the upper part of the pattern a slope of 3 in. from the folded 
 edge to the back and front, if front and back are made the same 
 length. The length of the seat usually determines the width of the 
 oblong, and the judgment of the teacher is here exercised when 
 the size of the pupil must be considered, as the oblong can be made 
 wider or narrower.* 
 
 * A blackboard ruled into inch squares with red lines, every ninth line of some other color, 
 to show the quarters of the yard, is a great help in the teaching and learning the proportions 
 of diagrams. 
 
 Sectional paper \ in. scale is an aid to accurate and rapid work; every point and line may 
 be drawn readily at the teacher's direction. It is also useful in reducing and drawing patterns. 
 
 These lessons on diagrams should be thoroughly learned before the drawing of them is 
 attempted.
 
 78 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 MEASUREMENT EXPRESSED IN INCHES FOR DIFFERENT SIZES OF DRAWERS. 
 
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 18 
 
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 8 
 
 10 
 
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 12 
 
 H 
 
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 9i 
 
 9 
 
 20 
 
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 8 
 
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 14 
 
 H 
 
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 9] 
 
 9 
 
 22 
 
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 15 
 
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 24 
 
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 16 
 
 16 
 
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 10', 
 
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 27 
 
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 13 
 
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 18 
 
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 30 
 
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 13 
 
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 12 
 
 Pattern of drawers for a child of ten to twelve years (Fig. 68) : 
 This pattern consists of three pieces, one-half of the % drawers, 
 
 and the front (Fig. 67, A) and back (Fig. 
 67, B) band. These bands are cut length- 
 wise of the cloth and sewed to the gar- 
 ment in the manner described in answer 
 to question 65 in the second year. Make 
 three buttonholes in each band. i| yds. 
 of cloth 36 in. wide is needed for drawers 
 of this size. 
 
 
 
 
 
 JJraiutrs anj Cut. 
 
 
 
 
 
 
 1 
 
 XraiuerzBaJd Finished 
 
 h 
 
 [ 
 
 Fig. 67. 
 
 I
 
 79 
 
 Fig. C3. Scale J"=i".
 
 go PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 1. Draw upon the blackboard an oblong 15 in. x 25 in., with the 
 
 shorter sides horizontal, making the left vertical a dotted line, 
 to represent the line at which the cloth or paper is doubled. 
 
 2. From the upper left-hand corner of the oblong, measure 3 in. down 
 
 on the dotted line, and mark the point A, for the lower end of 
 the upper slope. From the upper end of the left vertical, measure 
 to the right 10 in. Mark the point B, for the width of the upper 
 front slope. From the same end measure to the right 12 in. 
 Mark the point C, for the width of the upper back slope. 
 Connect A-C by a straight line for the back slope. 
 
 3. From point B draw downward a dotted vertical line of 2 in., mark 
 
 this point X. Connect A-X by a straight line for a short front 
 length, if desired. 
 
 4. From the upper end on the right vertical, measure down 14 in. 
 
 Mark the point D, for length of seat. Connect C-D for the back 
 slope. Connect X-D for the front slope. 
 
 5. From the lower end of the left vertical line, measure upward \\ in. 
 
 Mark the point G, for width of the hem. From that point draw to 
 the right a dotted horizontal line of 9 in. Mark the point E, 
 for the fold of the hem. Connect D-E by curving gradually to 
 the left. This gives the curve for the leg. 
 
 6. From the left end of the lower horizontal, measure to the right 
 
 9^ in. Mark the point F. This leaves on the seam a slope for 
 the hem. Connect E-F. Draw the pattern on paper doubled. 
 Cut from A to C, C to D, to E, to F ; open the paper and cut from 
 A to X and X to D. Through one thickness of the paper only. 
 
 To make the opening at the side, from A cut down the fold 8 in. 
 from the top. For binding, take a strip 17 in. long, selvedge way of 
 the cloth, and bind the opening. Baste the binding on both sides of 
 the opening, to the right side of the garment, by \ in. basting stitches.
 
 FOURTH YEAR'S SEWING. 8 1 
 
 Back-stitch close below the basting, then turn the strip over and hem to the 
 wrong side directly over the stitching. This makes a very strong finish for 
 the side, which will seldom wear or tear. Back-stitch and fell the seams. 
 For children it is more economical and quite as comfortable to leave 
 the front and the back of the drawers of the same length ; then, being 
 worn evenly, the garment lasts longer. 
 
 Pattern for a chemise waist, for a child eight to ten years : 
 
 This pattern consists of four pieces, one-half of the front and back, 
 
 two pieces for the bias bands. 
 
 if yds. of yard-wide cloth are needed for two waists. One-half of 
 
 this will not cut one waist. 
 
 FRONT (Fig. 69). 
 
 1. For the front draw an oblong 13 in. x 20 in., with the short sides 
 
 horizontal, making the left vertical dotted to represent the line 
 at which the cloth or paper is doubled. 
 
 2. From the upper left corner measure vertically downward on the 
 
 dotted line 5^ in., n in., 13^ in. Mark the points, respectively, 
 A for the lower part of the front neck, K' for the upper, and R' 
 for the lower edge of the bias band. 
 
 3. From the upper left corner measure horizontally to the right 3j in., 
 
 marking the point B, for the upper part of the neck ; 6J in., mark- 
 ing the point X, for length of shoulder ; g\ in., marking the point 
 Y, for width of arm-size. Connect- B-A by a line, curving grad- 
 ually to the right for the curve of the neck. 
 
 4. From the point X draw downward a dotted vertical 6J in., and mark 
 
 the lower end E, for length of arm-size. Mark the point C on 
 this line I in. below the point X, for slope of shoulder seam. 
 Connect the points B-C by a straight line to give the slope of 
 the shoulder seam.
 
 FOURTH YEAR'S SEWING. 83 
 
 5. From Y draw downward a dotted vertical 6 in., and mark the lower 
 
 end of the line F, for the top of the under-arm seam. 
 
 6. From A draw a horizontal line 6 in. to the right, for width of chest, 
 
 and mark the end D. Connect C, D, E, and F by a line curving 
 to the left for the curve of the arm-size. 
 
 7. From the lower right corner measure vertically upward i^ in., and 
 
 mark the point G; 7|- in., and mark the point R; and 10^ in., 
 and mark the point K. Connect the points F and G by a straight 
 line, to give the slope of the side seam. The points R-K are 
 for the upper and lower edges of the bias band. 
 
 8. From the lower left corner measure 3 in. horizontally to the right, 
 
 and mark the point H. Connect the points H and G, to give the 
 slope at the lower end of the side seam. 
 
 9. Connect R and R' and K and K' by dotted lines, for the bias band 
 
 at the waist. 
 10. Draw the pattern on paper and cut from A to B, C, D, E, F, G, and H. 
 
 This garment serves as a chemise and a waist, to which the drawers- 
 and skirts can be buttoned. It is a comfortable garment for children. 
 
 The band is made bias for elasticity and strength, and hemmed on the 
 under side. It is 2j in. wide, to give opportunity to lower the buttons as 
 the child grows. 
 
 BACK (Fig. 70). 
 
 I. For the back draw an oblong 1 1 in. x 19 in., the shorter sides 
 horizontal, making the right vertical dotted, to represent the line 
 at which the cloth or paper is doubled. 
 
 From the upper left corner measure i^ in. horizontally to the right, 
 and mark the point S. From this point draw a dotted vertical to 
 the lower edge of the oblong, to mark the width of the hem at 
 the back. On this line mark measurements for the lower part of 
 back of neck and for width of bias band. From the upper end of
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 Fig. 70. Back of chemise waist. Scale J"=i".
 
 FOURTH YEAR'S SEWING. 85 
 
 this line measure vertically downward 3.] in., Q| in., 12 J in. Mark 
 the points, respectively, A for the lower part of the back nec< 
 K' for the upper, and R' for the lower edge of the bias band. 
 
 2. From the upper left corner of the oblong measure horizontally to 
 
 the right 5^ in., and mark the point B, for the upper part of the 
 back neck ; 8| in., mark X, for length of back shoulder. Connect 
 A and B, to give the curve of the neck, by a line curving gradu- 
 ally to the right. 
 
 3. From A on the hem line make a dotted horizontal line 6 in. to the 
 
 right, and mark the end D, for the width of the back. 
 
 4. From the point X draw downward a dotted vertical 5^ in., and mark 
 
 the lower end F, for the length of the back arm-size. Mark the point 
 C on this line i in. below X. Connect B and C by a straight line, 
 to give the slope for the shoulder seam. Connect C, D, and F by 
 a line curving to the left, to give the curve of the back arm-size. 
 5 From the lower right corner measure up i-J- in., and mark the point 
 G; 7|- in., mark the point R; and 10 in., and mark the point K. 
 Connect F and G, to give the slope of the side seam. The points 
 R and K are for the upper and lower edges of the bias band. 
 
 6. From the lower left corner of the oblong measure 3 in. to the right, 
 
 mark the point H. Connect G and H by a straight line, to give 
 the slope at the lower end of the side seam. 
 
 7. Connect R and R' and K and K' by straight lines for the bias band 
 
 of the waist. 
 
 8. Draw the pattern on paper and fold over the hem at the hem line, 
 
 then cut from A to B, C, D, E, F, and G. 
 
 Face the neck, arm-size, and lower edge with a strip of cloth cut 
 on the bias. 
 
 The advantage of material cut on the bias is in its power to stretch 
 when used as a facing on curves; and on a straight edge it makes a smoother
 
 86 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 lining than a straight strip of cloth. When cutting twilled fabric, fold 
 the corner so that the lines of the twill will be perpendicular to the 
 fold, crease firmly, and cut in the crease. 
 
 Cutting bias strips : 
 
 Fold the bias edge the desired width, crease as before, cut in the 
 
 crease. Use the first strip as a guide, 
 by pinning it to the bias edge of 
 the material and cutting all the strips 
 necessary. If one strip is not of 
 sufficient length, join the two right 
 sides together by a stitched seam. 
 I / Make the seam flat and the edges 
 
 even (see Fig. 71, A and B). 
 
 Bias strips are much used in dress- 
 making to cover -cord, etc. This cov- 
 ered cord makes a neat finish for a 
 child's dress waist. 
 Fig. 71, A and B. As in the preceding years, questions 
 
 on the work of the year are given out 
 
 to the pupils from time to time, to which they are required to write full 
 answers ; but it is not thought necessary to specify these questions as 
 heretofore.
 
 CHAPTER V. 
 Fifth Year's Sewing. 
 
 FROM the paper patterns cut in the fourth year the pupils may now 
 cut and make undergarments of fine white cotton. Flannel skirts are cut 
 and made, either lengthwise or widthwise of the flannel ; the seams are 
 finished with herringbone or feather stitching ; the hem is embroidered, 
 if the pupil desires it. Diagrams are drawn for long tiers and for 
 sleeves. The model form is studied (illustration of model form, 
 Fig. 72). 
 
 If very good and careful work has been done in plain sewing, the 
 pupil may select from their drawing lessons a design to arrange for 
 embroidery or advanced Mexican work, and when the stitches have been 
 thoroughly learned, a large part of this work can be done at home, thus 
 leaving the study hours for that part of the work which must be done 
 under the supervision of the teacher. 
 
 Study of the model form compared with the pupil's form : 
 
 Study the general character of the model form and describe it. 
 
 The front is curved, the back is flat, the sides curve in slightly from 
 the arm-size to the waist line, then curve outward. 
 
 Look at the cloth cover on the form ; into how many parts is it 
 divided ? Tell the name of each part. Front, under-arm piece, back, side 
 form for the back. These parts are joined together by seams. 
 
 Tell the names of these seams. 
 
 87
 
 88 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 Dart or bias seams, under-arm seams (all seams from the last dart to 
 the side-form seams are called under-arm seams), side-form seam (this 
 is a curved seam and joined to the back), back 
 centre seam, and shoulder seam. The fronts are 
 joined or closed by a hem, but when the waist 
 is opened at the back, a hem closes the back. 
 
 Notice the length of those parts which extend 
 from the neck to the lower part of the waist ; 
 look at the shorter parts ; notice and describe 
 the dart seams. 
 
 The use of a dart or bias is to lessen the 
 fulness of the cloth and make the part smaller. 
 
 Measure around the lower part of the waist 
 for a belt. Make a belt i^ in. wide and 2 in. 
 longer than the waist measure, so that one end of 
 the belt can lie over the other end for a lap. Pin 
 this belt close around the smallest part of the waist, 
 that all vertical measurements may be made from 
 its lowest edge, that edge being called the waist 
 line. 
 
 MEASURING THE FORM. 
 
 1. From the lower part of the neck curve, 
 
 measure vertically to the waist line ; this 
 makes a front centre line. 
 
 2. Measure from the lower edge of the front 
 
 centre of the belt to the upper edge of 
 the shoulder seam on the neck. Make a 
 note of this and all following measurements. 
 
 3. Measure horizontally from the lower part of the shoulder to the 
 
 front centre line. Observe the distance from the centre line to 
 the first dart seam and to the second dart seam. Measure hori- 
 
 Fig. 72. Model forr
 
 FIFTH YE AX'S SEWING. 
 
 8 9 
 
 zontally the distance from the top of the darts to this centre line, 
 also from these darts at the waist line to the centre line. Compare 
 these measures ; tell how they differ ; notice that the cloth has 
 been drawn into a small space to make this difference. Measure 
 horizontally from the top of the last dart to the first under-arm 
 seam ; to the second under-arm seam. At the waist line, from 
 the last dart, measure to these under-arm seams. Compare these 
 measurements ; tell how they differ. From the waist line at the 
 centre of the back measure vertically to the centre of the back 
 neck. Measure horizontally from the lower edge of the, shoulder 
 seam to this back centre seam ; from the lower part of the back 
 arm-size, measure horizontally to this back centre seam. Notice 
 where the side form joins the back by a curved seam, and where 
 this curved seam begins at the back arm-size. At the waist line, 
 measure the distance from the back centre seam to this curved 
 seam ; measure from this curved seam to the second under-arm 
 seam at the waist line. On the blackboard make a diagram of 
 these parts. Make diagrams on paper, cut them out, pin them to 
 the form, and see how they compare with the parts of the cover. 
 When a pupil has gained a knowledge of the form, let her take a 
 sheet of thin manilla paper and make a pattern of the cloth cover 
 by pinning the paper to the form and using its seams as a guide 
 for the seams in her paper pattern. Then make a pattern 
 in cloth. When a satisfactory pattern has been made in 
 cloth, let the pupil tell in writing how she made it. Take 
 measurements like these on the pupil's form and cut a paper 
 pattern from them. Let a teacher not be discouraged when her 
 pupil fails to make a perfect pattern from these measurements, 
 since this is but preparatory work, and pupils have not yet suffi- 
 cient judgment necessary for perfect work.
 
 QO PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 PATTERN FOR A TIER. 
 
 This pattern consists of five pieces : one-half of the front, one-half 
 of the back, upper and under part of sleeve, and neck band. 
 
 PATTERN OF THE FRONT OF TIER, HAVING CHEST MEASURE OF 29 IN. AND 
 
 LENGTH MEASURE OF 40 IN. (Fig. 73). 
 Measurements : 
 
 For the length of the tier, measure from the upper part of the shoulder 
 to the lower edge of the dress skirt. For the chest measure, pass the tape 
 over the chest, under the arms, and across the back. Allow the tape measure 
 to lie smoothly over these parts and observe the number of inches. 
 
 1. Draw upon the blackboard an oblong 18 in. x 40 in., the shorter sides 
 
 horizontal ; and make the left vertical dotted, to represent the line 
 where the cloth or paper is doubled. 
 
 2. From the upper left corner, measure vertically down 4^ in. and mark 
 
 the point A, for the lower part of the front neck. From the point 
 
 A, draw to the right a horizontal dotted line J\ in. and mark the 
 right end D, for width of chest. 
 
 3. From the upper left corner, measure horizontally to the right 2^ in. 
 
 for the upper part of the front neck, 8 in. and 10 in. for the length 
 of shoulder and width of arm-size, marking the points respectively 
 
 B, X, and Y. Connect B and A by a line curving gradually to the 
 right, for the curve of the neck. 
 
 4. From the point X draw downward a dotted vertical of 8 in. and mark 
 
 the lower end E, for length of arm-size. On this line mark the 
 point C i in. below X. Connect C and B by a straight line for 
 the slope of the shoulder. 
 
 5. From Y draw downward a dotted vertical 7^- in. and mark the lower 
 
 end F, for the upper end of the under-arm seam. Beginning at 
 
 C, connect C, D, E, and F by a line which curves gradually to 
 the left, for the arm-size.
 
 /&' 
 
 Fig 73-
 
 9 2 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 6. ' From the lower right corner, measure upward 2 in. on the right verti- 
 cal and mark the point G. Connect F and G by a straight line 
 for the side seam. 
 
 7. From the lower left corner, measure horizontally to the right 5 in. 
 
 and mark the point H. Connect G and H by a straight line, to 
 give the slope at the lower end of the side seam. 
 
 8. Copy on doubled paper and cut from A to B, C, D, E, F, G, and 
 
 H, leaving -|- in. outside the shoulders and side lines for seams. 
 
 PATTERN OF THE BACK OF TIER (Fig. 74). 
 
 1. Draw upon the blackboard an oblong 18 in. X 39 in., the short sides 
 
 horizontal, and the left vertical dotted, to represent the line where 
 the cloth or paper is doubled. 
 
 2. From the upper right corner, measure horizontally to the left 2 in. ; 
 
 mark this point A. From A draw a vertical line to the lower 
 edge of the oblong. This line gives the width of the hem for but- 
 tons' and buttonholes at the back. 
 
 3. From the upper right corner, measure horizontally to the left 4 in., 
 
 9^- in., and io.i in., for the length of the shoulder seams and width 
 of arm-size, marking the points respectively B, X, and Y. 
 
 4. From X draw downward a dotted vertical line 4 in. and mark 
 
 the lower end D, for the curve of the back arm-size. On 
 this line mark the point C, i| in. below X, for lower end of 
 shoulder seam. Connect B and C by a straight line. 
 
 5. From the point Y draw downward a dotted vertical 6|- in. and mark 
 
 the lower end F. Connect C, D, and F for the curve of the arm- 
 size by a line which curves slightly to the right. 
 
 6. From the lower left corner, measure upward 2 in. on the left vertical 
 
 and mark the point G. Connect F and G by a straight line for 
 the side seam.
 
 93 

 
 94 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 7. From the lower right corner, measure horizontally to the left 4 in. 
 
 and mark the point H. Connect G and H by a straight line, for 
 the slope at the lower edge of the side seam. 
 
 8. Copy on paper and cut from A to B, C, D, E, and F, leaving |- in. 
 
 outside the shoulder and side lines for seams. 
 
 9. Cut the cloth from the paper pattern thus made. For this tier it requires 
 
 3 yds. of cloth from 26 in. to 30 in. wide, according to the size of 
 the child. The pattern will fit pupils from ten to thirteen or four- 
 teen years of age. When 26 in. material is used, small gores may be 
 placed at the lower end of the side seam to make the required width. 
 
 The back of the tier is made shorter than the front, that the 
 shoulder seam may be sewed i in. below the top of the shoulder. The 
 front is carried over the shoulder to meet this line, and for this reason 
 is made I in. longer. 
 
 Baste with \ in. stitches, \ in. spaces, and sew together the seams that 
 are notched alike. Measure the number of inches around the neck of the 
 tier, and make a band from the selvedge way of the cloth 2\ in. wide and 
 i in. longer than the size of the neck. Baste the band to the neck (laying 
 the right sides together), then stitch the tier to the band, fold over \ in. of 
 the raw edges on the side and ends ; oversew the ends, and hem down the 
 side. Make the buttonholes on the right hem, and sew the buttons on the 
 left hem. 
 
 SLEEVE PATTERN FOR TIER. 
 
 This pattern consists of two pieces ; they are called upper and under 
 parts of the sleeve. The upper part is much larger than the under part, 
 that the two seams (the inner seam and the outer seam) may not be 
 easily seen when the sleeve is worn. 
 
 Measuring for a sleeve : 
 
 Begin 2 in. above the shoulder joint, carry the tape measure to the 
 bended elbow, and note the distance from the shoulder joint to this
 
 FIFTH YEAR'S SEWING. 
 
 95 
 
 point ; continue with the tape measure to the wrist and note the distance 
 from the elbow to the wrist. Measure from the upper ertd of the first 
 under-arm seam of the dress to the wrist ; notice the measure at the 
 bend of the arm. When sewing the sleeve to the garment, the sleeve 
 should be held next the sewer. 
 
 FRONT OR UPPER PART OF THE SLEEVE (pig. 75). 
 
 To draw a diagram for sleeve, when the arm on the outside meas- 
 ures 14 in. from shoulder joint to bended elbow ; 10 in. from bended 
 elbow to wrist ; 8 in. from upper part 
 of under-arm seam to elbow ; 8 in. 
 from elbow to wrist. 
 
 1. Draw an oblong iij in. X 24 in., the 
 
 short sides horizontal. 
 
 2. From the upper left corner, meas- 
 
 ure down 5 in. on the left verti- 
 cal and mark the point A. 
 From the same corner, measure 
 horizontally to the right 6^ in. 
 and mark the point B. Connect 
 A and B by a reversed curve, 
 that curves slightly to the right 
 and then slightly to the left, to 
 give the curve to the top of the 
 sleeve. 
 
 3. From the upper right-hand corner, 
 
 measure down on the right ver- 
 tical 2 in. and mark the point C. 
 
 Fig. 75. Scale J"=i". 
 
 Connect B and C by a line that 
 
 curves slightly to the right ; this completes the top line of the sleeve. 
 4 From the upper right corner, measure down on the right vertical
 
 96 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 I3|- in. and mark the elbow point D, -|- in. in from the right verti- 
 cal. Connect C and D by a straight line for the upper part of 
 the back seam. 
 
 5. From the lower right corner, measure horizontally to the left 6 in. 
 
 and mark the point F. From F measure vertically upward \\ in. 
 and mark this point E. Connect E'and F by a straight line for the 
 back slope of the hem of the lower part of the sleeve. Connect 
 E with D by a line which curves slightly to the right ; this finishes 
 the lower part of the back seam. 
 
 6. From the lower left corner, measure up on the left vertical 3 in. 
 
 and 5 in. and mark the points respectively G and H. Connect G 
 and F by a straight line for the lower edge of the sleeve. Con- 
 nect H and E by a straight line for the line at which the hem 
 is folded. 
 
 7. From D draw to the left a dotted horizontal of 8 in. (less or 
 
 more according to the width desired at the elbow) and mark 
 the left end X. Connect A, X, and G by a line which curves 
 gradually to the right. This line gives the curve for the inner 
 or front seam of the sleeve. Copy upon paper and cut from 
 A to B, C, D, E, F, G, H, X, and A. 
 
 BACK OR UNDER PART OF SLEEVE (Fig. 76). 
 
 1. Draw on the blackboard an oblong 8| in. x 22 in., with the shorter 
 
 sides horizontal. 
 
 2. From the upper left corner, measure horizontally to the right 2\ in. 
 
 and 7 in. and mark the points respectively C and X. From X 
 draw downward a dotted vertical 3^ in. and mark the lower end 
 A. Connect C and A by a line which curves downward and 
 which reaches its lowest point quite near A, making a curve on 
 the top of the under part of the sleeve. 
 
 3. From the upper left corner, measure down on the left vertical
 
 FIFTH YEAR'S SEWING. 
 
 97 
 
 6. 
 
 \2\ in. and mark the elbow point D. Connect C and D by a 
 straight line for the upper part of the back seam. 
 
 From the lower left corner, measure horizontally to the right 4] in. 
 and mark the point F. From the point F measure vertically upward 
 \\ in. and mark the point E. Connect E and F by a straight 
 line for the back slope of the hem at u 
 
 the lower part of the sleeve. Connect 
 D and E by a line two-thirds of which is 
 straight, one-third curved. The curve 
 begins 3 in. below D and continues to D 
 for the elbow curve. This finishes 
 the lower part of the back seam. 
 
 From the lower right corner, measure up on 
 the right vertical 2\ in. and 4 in., marking 
 the points respectively G and H. Con- 
 nect F and G by a straight line for the 
 lower edge of the sleeve. Connect E and 
 H by a straight line for the line upon 
 which the hem is to be folded. 
 
 From D draw to the right a dotted hori- 
 zontal of 5 in. (less or more according 
 to the width desired at the elbow) and 
 mark the right end X. Connect A, X, 
 and G by a line which curves gradually to 
 the left and becomes straight from X to G. This line gives the 
 curve for the inner or front seam of the sleeve. Copy upon paper 
 and cut from C to D, E, F, G, X, and A to C. 
 
 After a pupil has drawn the sleeve on paper and cut by the lines, 
 she can compare the parts until familiar with all the lines and 
 can see how these two parts differ and how they must be placed 
 to fit the arm. The cloth may next be cut from the paper pattern. 
 
 Fig 76. Scale J"=i
 
 9 8 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 BASTING AND MAKING A SLEEVE. 
 
 When the cloth has been cut from this pattern, place the lower 
 edges of the inner seam evenly together and baste from this point to 
 the top ; place the lower edges of the back seam evenly together and baste 
 in the same way. Stitch the seam below the basting ; turn, baste, and 
 sew the hem. At the top of the upper part of the sleeve make two 
 lines of running stitches, the first line | in., the second ^ in. below 
 the top edge, with which to gather the fulness. Make a notch in the 
 edge at the point B, and place this point i in. in front of the shoulder 
 seam on the arm-size, and then arrange the fulness to the arm-size 
 4 in. in front of B and 2 in. back of B, being careful to keep the 
 inner seam of the sleeve well under the arm. This pattern allows for 
 one-half inch seams. 
 
 When a coat sleeve with a full top is desired for the sleeve of a 
 dress, cut by this tier sleeve pattern ; if it is too loose below the arm- 
 size, curve the back seam to fit the arm. 
 
 In cutting sleeves, never double the cloth except in double width 
 material, because the four pieces can be cut more economically from 
 single cloth. 
 
 Pupils should learn to cut some of their patterns freehand. 
 
 The following description is for a blouse or shirt sleeve. The pupil 
 watches the teacher, who cuts out the pattern from a doubled piece of 
 paper, the folded edge of which is used as an* inner seam. After the 
 upper side of the sleeve is cut, the paper is unfolded, and the curve 
 of the top is cut for the under side. The pattern is then tried on 
 the arm and pared to fit exactly. The pupil now takes the pattern 
 and traces it upon the blackboard. She then spreads the pattern upon 
 her desk and compares it carefully with the one drawn on the black- 
 board. She then erases the drawing on the blackboard and draws on 
 paper, freehand, a sleeve for the right arm, then a sleeve for the left arm. 
 She then takes a piece of paper and cuts freehand this pattern of a sleeve.
 
 FIFTH YEAR'S SEWING. 
 
 ORNAMENT. 
 
 99 
 
 In this year a pleasing arrangement can be made from their drawing 
 lessons (Fig. 77) for a design to embroider in couching, French knot, 
 and outline-stitch, not alone for ornament, but to lead the pupil to 
 
 Fig. 77. Design for embroidery from a drawing lesson. 
 
 study the grace and beauty of designs for that' kind of needlework 
 which will make a garment or any article to which it is applied more 
 beautiful, thus carrying into ornament what has been learned for actual 
 use, such as hemstitching, darning, herringbone stitch, etc. 
 
 Embroidery darning is for ornament and is worked on the right 
 side of the cloth. It is made with straight edges and without loops.
 
 100 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 The slitch is the same as that used in darning a thin place which is 
 not yet worn into holes. 
 
 Couching is fastening a cord on a piece of work by oversewing 
 or by embroidery edging stitches ; it is used only in ornamental work 
 (Fig. 78). 
 
 To make a French knot, fasten the thread with a rolled knot on the 
 under side ; then bring the needle to the upper side, pulling the thread 
 
 through the cloth. Hold it by the left 
 thumb down to the cloth at nearly an 
 inch from this place, and pass the needle 
 alternately under and over the thread from 
 above to below between this place and 
 the thumb, pointing it toward the thumb. 
 Turn the needle back and pass it perpen- 
 dicularly through to the under side as 
 near as possible to the place where the 
 thread comes up, then draw the thread 
 through, not too tight. 
 
 With heavy worsted there should be 
 but one twist, with silk or cotton two or 
 more twists about the needle, according to 
 
 the size of the knot required. This French knot is used only for embroidery. 
 Outline-stitch is the stitch with which designs are outlined, and 
 is also used to fill in on some kinds of embroidery. 
 
 To make outline stitch, the work should be held so that the line 
 to, be embroidered runs from the person. Fasten the thread by three 
 running stitches along this line ; with the needle pointing toward the 
 chest, draw the thread through until but two stitches remain in the 
 cloth ; this leaves the end on the under side. Now carry the needle 
 \ in. backward over these stitches, and take up on it four threads 
 along the line of the design with the needle still pointing toward the 
 
 Fig. 78. Couching.
 
 FIFTH YEAR'S SEWING. IO I 
 
 chest, and the loop of the thread held to the right of the line. Draw 
 the needle through, and carry it backward another ^ in. along the line 
 of the design, and continue as before ; and so on. At points or corners 
 the ingenuity of the worker must be exercised in deciding how to 
 shorten the stitch, and where to put the needle through so as to 
 preserve the outline. 
 
 When a large design is made, or worked on coarse material, a longer 
 stitch is made.
 
 CHAPTER VI. 
 Sixth Year's Sewing. 
 
 THE training of previous years should have taught pupils the best 
 way of preparing and finishing work, so that the time in. this year may 
 be used in gaining a practical knowledge of cutting, fitting, and making 
 simple cotton dresses. 
 
 Linings for these dresses are fitted by the pupils to some girl's form ; 
 this work together with the practice in measuring makes a thorough founda- 
 tion for the future study of a " System for Dress-cutting." That process of 
 fitting is more rapid when the proportions of a form are well understood. 
 A gored skirt is often used for a skirt lining or for an under-skirt, and a 
 pattern for this is made from measurement this year. 
 
 In connection with this instruction, talks are to be given on what 
 constitutes true and refined taste in dress. The pupil should learn that 
 a good material simply made is always appropriate, attractive, and service- 
 able. The talks on good taste are illustrated and enforced when buying 
 neat prints and ginghams for school practice, and by showing how to 
 make garments fit well. 
 
 The importance of considering individual form in the choice of material, 
 and in the pattern and style of dress, should be pointed out. For instance, 
 fulness in waist or skirt, which is becoming to a slender person, is very 
 unbecoming to a stout person, especially if she is short also. A tall and 
 slender person, to whom checks are becoming, should avoid stripes that run 
 lengthwise, as they apparently add to her height. A short person looks
 
 SIXTH YEAR'S SEWING. 
 
 103 
 
 shorter and broader in plaids or large checks. Flounces decrease the 
 appearance of height and add to the width, as do tucks and puffings. 
 Narrow lengthwise pleats seemingly add to the height. Plain, dark colored 
 cloths make the figure appear slighter than do light colored cloths. These 
 and similar facts, should be considered before a dress is bought. 
 
 Also that the number of yards of material needed for a dress depends 
 upon the size of the person to be fitted and the width of the material 
 to be used. 
 
 The teacher may have for this class a book of fashion plates, such as 
 would be appropriate for pupils to use when choosing designs for making 
 their own dresses ; and also a few patterns to assist them in forming 
 others ; this practice will lay the foundation for dress designing. Crayons 
 or water colors can be used advantageously to illustrate patterns. 
 
 Especial care should be taken with the basting, as a waist which is 
 well cut may be spoiled by careless basting. The waist seams should have 
 bastings \ in. long, like the first basting taught on canvas. 
 
 In basting wide hems and facings, several points should be carefully 
 observed : 
 
 1. Any large piece of work, like a dress skirt, should be laid upon a 
 table or desk, the doubled edge of the hem nearest the worker. Then 
 the work is not being dragged out of the hands by its own weight. 
 
 2. The hem to be basted should lie flat upon the table, while the 
 fingers of the left hand move along the hem in front of the needle, as it 
 is pushed through by the right hand ; this holds the hem in place. The 
 basting should be kept evenly \ in. from the folded edge of the hem. 
 This practice greatly helps a person to properly baste linings to the dress 
 material, although the basting stitches are there made longer, and one inch 
 from the cut edges. 
 
 3. When turning the hem in checked or striped cloths, care should 
 be taken to match the checks or stripes at each seam. If they are exactly
 
 104 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 -rront 
 
 matched on the hem, there will be no further trouble with them. Good 
 results depend on careful preparation. 
 
 Great care should be used in cutting plaids : they are very difficult 
 to match, and material is often wasted when not cut by the right line. 
 When the checks are of two colors, say pink and white, cut them so as 
 to separate the checks exactly, then the whole pink checks will be on one 
 end of the length, and the whole white checks on the other end. Join 
 the pink checks for the lower edge of the skirt, and all the white checks 
 will be on the upper edge of the lengths. Uneven plaids, if cut exactly 
 
 in the centre of the checks or close 
 to the edge of the check, can be 
 matched the same way. 
 
 When a pupil has obtained 
 good results in cutting and fitting 
 a round waist pattern from paper 
 and cambric, then cloth for a dress 
 lining can be given to her. After 
 cutting a round waist lining, she can 
 be taught the difference between a 
 round waist and a basque. 
 
 A round waist is often made 
 with one dart at each side of the 
 front and has all its seams finished at the waist line (Fig. 79). A basque 
 differs from it in having all the seams fitted below the waist line ; two 
 or more darts at each side of the front ; one or more under-arm pieces for 
 each side of the waist ; and one side form for each side of the back 
 (Fig. 80). The back of a basque, like the round waist, is divided by a 
 centre seam. The centre pieces of the back have a gradual curve from 
 the back arm-size to the waist line. Particular attention should be given 
 to these back centre parts, as the symmetry of the entire back depends on 
 their proportion. For a 24 in. waist these centre pieces should measure 
 
 Fig. 79. Pattern of a round waist. See page 115.
 
 SIXTH YEAR'S SEWING. 
 
 105 
 
 at the waist line \\ in. after the seams are sewed; they should be increased 
 or lessened according to the size of the waist. 
 
 To prepare a lining and fit it to a form : * 
 
 For a form which has a bust measure of 32 in. and waist measure 
 of 24 in., take i^ yds. of lining. (The cut edges are on the width of 
 
 Fig. 80 Pattern of a basque. 
 
 the cloth.) Pin the cut edges together, as the cloth is to be cut double, 
 and both sides of the lining are fitted to one side of the form. Turn 
 \\ in., for a hem. The width is* now vertical, the length of the cloth 
 horizontal. The width threads of cloth stretch in wearing, and the 
 lining is cut in this way to remove all tendency to wear short-waisted. 
 
 * For a round waist or basque.
 
 IO 6 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 To pin the lining to the model form : 
 
 From one end of the fold of the hem, measure vertically 4^ in. From 
 the same end, measure horizontally 2 in. Cut the curve from 4^ in. to 
 2 in., place the 4^ in. point at the lower part of the front neck and pin 
 the hem to the centre of the front, placing the pins i^ in. apart. Pin 
 down the desired length for a basque or a round waist. 
 
 To form the darts : 
 
 From the folded edges of the hem at the fullest part of the chest, 
 measure horizontally to the left 3 in. and 5^ in., place a pin at the 3 in. 
 point and at 5^ in. point, for the top of the darts. Pin the darts in the same 
 manner as in the round waist, fitting the seams below the waist line. 
 The darts will now be 2| in. apart at the top, i in. apart at the waist line, 
 and i^ in. at the lower edge of the basque. Draw the lining smoothly 
 and pin it to the shoulder. From the folded edges of the hem smooth and 
 pin the lining to the arm-size and under the arm ; cut the arm-size. 
 
 To fit the under-arm pieces : 
 
 Pin vertically two straight pieces of the lining together (to hold the 
 under pieces together while fitting) ; pin these pieces by a horizontal thread 
 to the waist line, and pin by a vertical thread from the waist line to the 
 arm-size ; continue the front curve of the arm-size by cutting these pieces ; 
 pin the fronts to the under-arm pieces, making the curve for the body on 
 the fronts and below the waist line. This makes the first under-arm seam. 
 
 To fit the back : 
 
 Using the cloth double, fold i-| in. as for a hem, pin this fold down 
 the centre of the back, placing the pins i| in. apart. Five in. above the 
 waist line, pin a dart beginning with one thread (as in a front dart), curve 
 this dart to the form, making it | in. wide at the waist line ; then curve out- 
 ward below the waist line to fit the form. Beginning at the neck, smooth 
 the lining from the pinned fold to the shoulder, pin the front and back
 
 SIXTH YEAR'S SEWLVG. 
 
 107 
 
 together for the shoulder seam, which should be 5 in. long. Make this 
 seam I in. back from the top of the shoulder. 
 
 To cut the back arm-size and curve for the side form : 
 Cut vertically downward 3 in. from the lower end of the shoulder seam 
 for the back arm-size ; from this point cut the curve for the side form, 
 making the back centre pieces 2 in. wide at. the waist line. 
 
 To fit the side form : 
 
 Pin two straight pieces of the lining by a horizontal thread to the waist 
 line and pin by a vertical thread from the waist line to the upper part of the 
 curve ; pin this side form smoothly to the curve, taking J in. seam from the 
 back curve ; this seam curves the side form exactly like the back ; below 
 the waist line the side form has a straight edge. (We are describing a plain 
 basque, all these seams can be altered at the fancy of the maker.) The 
 curve to fit the body below the waist line is cut on the front edge of the 
 back centre pieces. Pin the side forms to the under-arm piece. Having 
 brought the front and back smoothly together, begin pinning these parts 
 together half-way between the waist line and the aVm-size ; from this point 
 continue pinning the seam down to the waist line, then pin from the 
 centre of the seam to the arm-size. By following these directions, the seam 
 will not wrinkle. The curve to fit the body below the waist line is cut on 
 the back edge of the under-arm piece. When all the seams are securely 
 pinned, take the pins from the front hem and from the back centre fold, 
 pare all the seams to within i in. of the pins. Make a notch in every seam at 
 the waist line for guides to commence basting the different parts together. 
 A dress waist, to be in good proportion, should have that part of the waist 
 lining which is between the last dart and first under-arm seam nearly equal 
 in measurement to the back side form and under-arm piece (or pieces). 
 
 If the eye is trained in proportions, a good pattern may be cut without 
 exact measurement. 
 
 A round waist or a basque lining may be fitted to a pupil's form in
 
 io8 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 the same manner. Before fitting to the form, let a pupil draw on the black- 
 board a picture of a round waist like Fig. 79; then, on a pupil's form, 
 
 measure from the top of the neck curve 
 to the waist line ; take her chest measure 
 according to direction for the tier ; make an 
 oblong from these measurements, using the 
 first measure for the length, and one-half of 
 the second measure for the width of the 
 oblong ; divide this oblong into four parts 
 by connecting the middle points of the oppo- 
 site sides. In this oblong draw freehand a 
 picture of a round waist, using the dividing 
 lines as guides for its proportions. This prac- 
 tice is a great help in learning proportions. 
 
 Thin white cotton is best for lining a 
 wash dress, because it has no color to stain 
 the dress when it is laundered. This lining 
 should be laundered before cutting, then the 
 shrinking will not affect the fitting. For a 
 girl fourteen years old, I yd. of lining is 
 needed for a round waist, and i| yds. of 
 lining for a basque. 
 
 Choose from the book of models the 
 pattern from which to make a dress. Make 
 a picture of this on the blackboard with col- 
 ored crayons, and on drawing paper with 
 pencil and colored inks (Fig. 81). Then cut 
 
 from stiff manilla paper a waist and skirt lining, as if for a good-sized doll ; 
 baste these together and use them for a foundation over which striped or 
 checked tissue paper can be pasted or sewed in the style chosen, being care- 
 ful to match checks or stripes. This gives a model in miniature (see Fig. 82). 
 
 Fig. 81. Pupil's drawing fror 
 of models.
 
 SIXTH YEAR'S SEWING. 
 
 109 
 
 Then take the thinnest kind of manilla paper to represent the 
 dress material, and pin it over the dress lining in the same manner 
 as the tissue paper was arranged on the small model. Use the manilla 
 paper for a pattern from which to cut the dress material. 
 
 In cutting the dress 
 goods, be careful to have the 
 corresponding pieces for the 
 two sides of the waist correct. 
 If both are cut together, the 
 cloth must be folded so that 
 the right sides lie together. 
 Single width cloth can be 
 cut more economically if not 
 folded. If one piece is cut 
 first, it should be laid either 
 right side on the right side, 
 or wrong side on the wrong 
 side, of the cloth from which 
 the other is to be cut. Show 
 on the blackboard the proper 
 position of the right sleeve 
 to the left sleeve when cut 
 correctly. -Be very exact in 
 cutting curves. 
 
 After the dress material 
 is cut, the pieces should be 
 laid on the corresponding 
 
 pieces of the lining, and the two smoothly basted together I in. from 
 the edge, with stitches from i in. to ij in. long. The seams should 
 then be basted with short basting stitche"s of \ in., always beginning 
 at the notches made at the waist line. 
 
 Fig. 8a. Paper dress made by a pupil.
 
 IIO PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 To prepare a plain round skirt for sewing to the waist or band : 
 Divide the skirt and waist or band into corresponding halves by 
 cross-stitches of a colored thread, which show readily against the cloth. 
 Turn the top edge until the skirt is the desired length. Gather the 
 skirt on the right side, making the stitches \ in. long and spaces ^ in. 
 long for gathering the back breadth ; gathering stitches \ in. long and 
 spaces \ in. for the side breadths ; for the front breadth even stitches 
 and spaces of -| in. 
 
 To sew a skirt to the waist or band : 
 
 Pin the centres of the waist and skirt firmly together ; hold the skirt 
 and gathers toward the sewer, take one gather on each stitch, and 
 sew firmly with strong thread. Sew the gathers of the back breadth 
 into a space 4^ in. long. The gathers of the front breadth sew into a 
 space 9 in. long. The side breadths should be sewed between these 
 measures. If the figure requires more fulness at the sides than this 
 gives, the gathers can be spread a little from the front and back. This 
 description is for a skirt made from four widths of gingham. 
 
 PATTERN OF ONE-HALF OF GORED SKIRT (Fig. 83). 
 
 This pattern consists of three pieces, viz. front, back, and side 
 gore, which is one-half the skirt. Quantity of material 24 in. wide 
 needed for a skirt, 4 yds. 
 
 HALF OF FRONT BREADTH. 
 
 1. Draw on the blackboard an oblong n in. x 36. in., having the shorter 
 
 lines horizontal and the left vertical a dotted line, to show where 
 the cloth or paper is doubled. 
 
 2. From the left upper corner, measure horizontally to the right 
 
 2^ in., 3|- in., ?| in., and 9 in., marking the points respectively 
 A, B, C, and D.
 
 1 1 1 
 
 o y. 
 
 i
 
 II2 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 3. Half-way between A and B draw downward a dotted vertical 3^ in. 
 
 long, and mark the lower end E. Connect points A, E, and B, E, 
 by straight lines ; this gives the V which is folded over or cut, to 
 fit the skirt to the waist. 
 
 4. From the lower right corner, measure up on the right vertical \ in. 
 
 and mark the point G. Connect the points D and G by a 
 straight line for a seam. Mark one notch on the centre of this 
 line, to show the edges which must be joined together in 
 sewing. 
 
 5. On the line connecting D-G, mark the point F, 6 in. below D, 
 
 and connect C and F by a straight line for the slope on 
 the hip. 
 
 6. Draw a straight line from the lower left corner to G ; this line 
 
 slopes the lower edge of the front breadth, making it even with 
 the straight edge of the side gore. 
 
 SIDE GORE. 
 
 1. Draw on the blackboard an oblong 24 in. x 36 in., making the 
 
 shorter lines horizontal. 
 
 2. From the upper left corner, measure horizontally to the right 
 
 3 in., 4l in., and 15 in., marking the points respectively A, B, 
 and C. 
 
 3. Half-way between A and B draw downward a dotted vertical 3| in. 
 
 long and mark the lower end D. 
 
 4. Connect the points A-D and B-D by straight lines ; this gives 
 
 the V by which the skirt is fitted to the waist in this gore. 
 
 5. From the lower right corner, measure up on the right vertical i^ in. 
 
 and mark the point E.. Connect E and C by a straight line for 
 the slope of the side gore. In the centre of this line mark 
 two notches, and one notch in the centre of the left vertical 
 line.
 
 SIXTH YEAR 'S SEWING. ! { 3 
 
 6, From the lower left corner draw a straight line to the point E. This 
 line slopes the lower edge of the side gore, making it even with 
 the straight edge of the back breadth. 
 
 BACK BREADTH. 
 
 1. Draw on the blackboard an oblong 9 in. x 36 in., the shorter lines 
 
 horizontal, and the right vertical dotted, to show where the cloth 
 is doubled. 
 
 2. Mark two notches in the centre of the left vertical, to correspond 
 
 with the notches in the side gore. 
 
 In putting the breadths together, several points must be carefully 
 observed. 
 
 1. Baste together a straight and gored edge according as they are 
 
 notched, an edge having one notch to an edge having one 
 notch, an edge having two notches to an edge having two 
 notches. 
 
 2. Always hold the gored edge to the person in basting or sewing. 
 
 3. In order to keep the gored edges always toward the person in 
 
 working, two scams on one side of the skirt should be com- 
 menced at the top, the top edges being exactly even ; the seams 
 opposite must be commenced at the bottom, and the lower edges 
 can be measured and arranged from 'the side already done. 
 
 The even hanging of the skirt depends upon the careful observation 
 of these points. 
 
 Cut evenly the lower edge of the skirt. Make all seams of equal 
 length, turn the upper edge until the skirt is the desired length. 
 Sew a bias facing 4 in. wide to the lower edge of the skirt, 
 and gather (as a round skirt) the upper edge of the back breadth 
 and the side gores to the V. Oversew to the band or waist, as
 
 114 
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 a round skirt, being careful to fasten the gathering threads when 
 the oversewing is finished. 
 
 4. From the middle of the top of the back breadth cut down 9 in. for 
 a placket. The front breadth and part of the side gores are fitted 
 to the band by basting the V to fit the figure. 
 
 Since the first edition was printed the following slight additions have 
 been made to the white cloth sampler. In the broad hem, in the middle 
 strip, are made two loops and two eyelets. Loops are of two kinds : flat 
 loops used instead of an eye with a hook ; and round loops used 
 with a button in place of a buttonhole. A flat loop is made by bringing 
 the thread up from the under side of the work and carrying it back 
 again \ of an inch away in a straight line, in any direction in which it 
 is desired the loop shall slant when finished. Pull the thread so that 
 it will lie easily on the cloth and make three other stitches over this in 
 the same holes. Then fasten the thread at each end, on the under side, 
 so that these stitches may not Iposen, bring the needle up at the left end 
 and make a succession of embroidery edge stitches over these stitches just 
 made, being careful not to catch through to the cloth. When finished, 
 put the needle through to the wrong side, keeping the loop flat, and 
 fasten the thread. A round loop is made in a similar manner. The 
 needle is brought up from the under side and put back at nearly the 
 same place, leaving a loose sticch \ or | in. long, according to the desired 
 size of loop. Make three more of these stitches, exactly the same length, 
 and proceed as in a flat loop, first pinning the middle of this loop to the 
 cloth, in order to make the embroidery edge stitches more easily and 
 evenly. Use 40 cotton and 8 needle for making loops on the sampler. 
 An eyelet is used to run a lacing through and sometimes in place of an 
 eye, with a hook. An eyelet must first be pierced with a stiletto, breaking 
 as few threads in the cloth as possible ; then oversewing stitches are made 
 close together, around the edges of the hole. Use 8 needle and 40 cotton.
 
 SIXTH YEAR'S SKIVING. j,^ 
 
 When making eyelets in soft woollens, or in any material that ravels 
 easily, it is better first to overcast the edges with fine silk or cotton. 
 The edge of the eyelet when finished should feel like a piece of fine twine. 
 
 A round waist may be fitted with one dart at each side of the front, 
 one seam in the back ; the waist may be fitted without the under arm 
 piece, making one less seam. When a waist is cut this way, it is called 
 a French waist. 
 
 Fitting a round waist to a form : 
 
 When fitting a lining to the left side of the form for a round waist, 
 pin the hem to the centre of the front, as described on page 106, from 
 the fold of the hem, at the fullest part of the chest, measure horizontally 
 to the left 3| in., place a pin vertically at this point for the top of the 
 dart ; from the folded edge of the hem at the waist line measure 3j in. 
 horizontally to the left ; here place a pin vertically. The line between 
 these two pins will be the fold of the dart ; below the bust, the fulness 
 for the dart is held firmly between the thumb and first finger of the left 
 hand, while pinning it with the right. Beginning at the top of the dart, 
 draw the fulness until the lining is perfectly smooth ; pin the dart to fit 
 the form. 
 
 At the waist line the width of the dart should measure I inch or 
 more, according to the fulness of the chest or bust.
 
 APPENDIX A. 
 
 THE following papers, prepared by the pupils, are added to show the 
 relation of drawing and language to needlework ; demonstrating a lesson 
 in this way makes the work educational as well as practical. 
 
 o 
 
 THIRD YEAR'S SEWING. 
 A Stitched-in Patch. 
 
 I first cut the worn or torn place out square. 
 
 The four edges are made true by a drawn thread. 
 
 Then I make the bias cuts, which are small cuts 
 
 | in. in each corner, and crease the edges to 
 mark for a line of stitching. Then I 
 mark the lengthwise of my cloth and 
 patch by a pin or a crease. I lay the patch on the 
 under side, and baste the edges even, first taking a 
 few stitches out on the patch ; and 
 when one side is finished, I sew a 
 
 few stitches out on the other side of patch, as before. 
 
 This is to make the corners square. I then cut the 
 
 thread, and turn to the width of my cloth, and begin 
 
 out on the patch. Then I sew the sides, as I 
 
 117
 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 did before, until I have the four 
 sides sewed, and overcast the raw 
 edges. 
 
 My first diagram represents the 
 torn or worri place. 
 
 My second diagram represents the 
 torn or worn place cut out square ; the dotted lines show where it is creased. 
 My third diagram represents the patch basted on to the garment. 
 My fourth diagram represents the patch stitched in, and the edges 
 overcast. 
 
 My fifth diagram represents the patch finished. 
 
 MARY STEVERMAN 
 
 W. H. Lincoln School. (Age 12 years). 
 
 SECOND YEAR'S SEWING. 
 
 For oversewing we put the two edges together, and baste -j 1 ^ in. 
 from the top. We use No. 2. basting line. We begin at the right 
 hand, and sew to the left. 
 
 We commence oversewing by taking a stitch on the right-hand end ; 
 draw the thread all but | in., put that ^ in. on the top, and go on 
 
 sewing over it three stitches. If the 
 end of the thread is now seen, cut 
 it off. 
 
 Joining. 
 
 To join a new thread, we go back 
 three stitches, then take a stitch and 
 pull the thread through, leaving ^ in. ; put that on the top with the other 
 end ; sew over it four stitches. If the end is seen, cut it off ; when we are 
 through, we sew back two stitches. 
 
 W. H. Lincoln School. 
 
 AGNES BROWN 
 
 (Age 10 years).
 
 APPENDIX. 
 
 Fig. i. 
 
 THIRD YEAR'S SEWING. 
 How I sew on a Wristband. 
 
 In preparing a piece of cloth to sew to a band, I find the middle, 
 
 and mark it with a cross-stitch. Fig. I represents my cloth. I 
 
 find the middle of the band, and mark it with a 
 
 small line of basting stitches like Fig. 2. I 
 
 make a line of running stitches for gathering. Now 
 I draw these gathers into as 
 small a space as possible, and wind 
 the thread around a pin, and stroke my gathers ; 
 when this is done, I pin the ends of the gathered 
 
 piece J in. from the ends of the band, like Fig. 3, 
 
 and baste it to the band ^ in. below the gathering 
 
 thread, fastening the ends securely by three over- 
 sewing stitches down to the gather- 
 ing thread, now holding the gathers 
 toward me, take one back-stitch on 
 Fig. 4. every gather, take out the bastings, turn the band 
 
 up from the gathers, baste and oversew the ends of the band ; baste 
 
 and hem the other edge of the band to the gathers, take one stitch in 
 
 each gather. Fig. 4 shows band finished. 
 
 NELLIE E. JOHNSON 
 
 Heath School, Drookllne, April 18, 1893. (Age 14 years).
 
 APPENDIX B. 
 
 CIRCULAR TO H.M. INSPECTORS. 
 
 The Lords of the Committee of the Privy Council have issued the 
 following circular to H.M. inspectors: 
 
 [Circular 282.] 
 
 " EDUCATION DEPARTMENT, 
 
 " 5th April, 1889. 
 
 " Sir, My Lords find that in the children's needlework, which has been examined 
 by the Directress of Needlework at this Department, there were many instances of the 
 materials having been prepared and fixed before they were distributed to the children. 
 The table of exercises, in the Instructions to Her Majesty's Inspectors, distinctly prescribes 
 that, except in and below Standard I., no fixing or preparation of pieces is allowable, and 
 you should impress this rule upon the teachers. The children must themselves fold hems, 
 draw threads for stitching, make bands, place tapes, fix buttons in position, cut button- 
 holes, cut holes before patching, place patches, trace patterns, etc. It is the desire of 
 my Lords- that the needlework instruction in public elementary schools should be of a 
 practical nature, and suitable to the wants of the children in after-life ; it is therefore 
 essential that children should know how to set about a given exercise in order to produce 
 a certain result their aptitude in fixing a patch the right side and way of the material 
 is equal in importance to the neatness and regularity of the stitches. The correct fixing 
 and preparation of the test specimens (by the children) must be taken into account in 
 assessing the value of the needlework of a school ; and, in cases where assistance is gi* T en 
 in such fixing or preparation, the teachers should be warned that any repetition of it at 
 future examinations will be regarded as equally unfair with assistance in other parts of the 
 examination. I am, sir, your obedient servant, 
 
 "P. CUMIN. 
 
 "To 
 
 "H.M. INSPECTOR OF SCHOOLS."
 
 NEEDLEWORK. 
 
 Progressive Lessons in the Art and Practice of 
 
 Needlework for Use in Schools. By CATHERINE F. JOHNSON, Teacher 
 of Sewing in Public Schools, Brookline, Mass. Cloth. Illustrated. 
 134 pages. 
 
 This is a text-book which explains needlework from its rudiments, and 
 gives, with over one hundred illustrations, full directions for leading pupils 
 from the simpler steps of the art through six years of well-graded work. 
 
 The course of instruction outlined was planned for pupils in the 
 Lincoln School, Brookline, Mass., and has been improved from year to year, 
 until the results are so satisfactory as to warrant the author in yielding to 
 the public demands for its publication. 
 
 WHAT IS TAUGHT. 
 
 Plain and fancy sewing, drawing, designing, cutting by measurements, 
 fitting, all the arts of tailor and seamstress. 
 
 The subject is treated systematically and with an intelligent idea of the 
 needs of the pupils, resultant from long experience, thus placing sewing 
 on an equality with other branches of Industrial Training, in its practical 
 value in the schools, as an educational force. 
 
 The system has for its constant purpose 
 
 I. The training of the body to assume and keep correct position. 
 II. Training of the fingers to handle, properly the implements used. 
 
 III. Training of the eye to quick and accurate perceptions. 
 
 IV. Training to correct expression by requiring oral and written de- 
 
 scriptions of work done. 
 
 V. Training of taste, will, and judgment, so that neatness, decision, 
 perseverance, patience, promptness, thoroughness, and economy of 
 materials becomes second nature.
 
 This complete and systematic treatment of a comparatively new depart- 
 ment of Industrial Training will help teachers to secure for sewing a 
 recognition in every manual training course. While boys are learning 
 carpentry, metal-working, and printing, girls should have an opportunity 
 for perfecting themselves in one of the great domestic arts. This book 
 makes such a work both practical and pleasant. 
 
 The following testimonials are from those whose positioi 
 enables them to speak with authority. 
 
 and experience 
 
 Professor John D. Runkle, MauacAutetts In- 
 stitute of Technology, and Chairman of Industrial 
 Committee of School Board, Brookline, Mass. : I 
 think it excellent in all respects. I might not 
 feel so certain of the method if I had not seen the 
 results in our own schools. Every part of the 
 book is the result of experience in the class-room. 
 It has not been hastily prepared, but has been an 
 actual outgrowth cf long experience. It is not a 
 large and portentious book; includes only so much 
 as can be carefully and thoroughly gone over dur- 
 ing the course. We need the book very much 
 in our schools, and I feel sure that it is needed 
 elsewhere. 
 
 Elizabeth H. Little, Teacher of Sewing, New 
 bury, Mass. : It is the best book I have seen on 
 the subject. I 'think the method of work is far 
 beyond the methods that I have seen used in 
 other cities. 
 
 Mary A. Spear, late Principal of Model School, 
 State Normal School, West Chester, Pa. : I have 
 read the manuscript carefully and from a teacher's 
 stand-point. I think the ideas there given could 
 be worked out and most satisfactory results ob- 
 tained by any one, even though she may have 
 
 had little or no experience in teaching sewing. 
 The method is a progressive one, the work 
 gradually and steadily becoming more and more 
 difficult. It contains plain and practical direc- 
 tions for doing various kinds of useful needle- 
 work, and also a few hints for ornamental work. 
 Teachers can scarcely fail to obtain good results 
 when they have such a book for a guide. It is 
 equally good for pupils, or for any one learning 
 to sew. 
 
 Louisa P. Hopkins, Board of Supervisors, 
 Boston, Mass.: It is more distinctly educational 
 than that of most of our cities. It begins with 
 first principles, and is gradually developed in con- 
 nection with language and drawing and close 
 observation of process and material with a careful 
 study of the latter. It concerns itself with the 
 elements of sewing, progressing by a natural order, 
 and therefore more educational than industrial 
 in motive. The general plan of the work and 
 progression is excellent, and the experience of 
 the author is a safe foundation for its precepts 
 and details of method. I have no doubt it will 
 meet a wide necessity, and be a very successful 
 book. 
 
 D. C. HEATH & CO., Publishers, 
 
 BOSTON. NEW YORK. CHICAGO. LONDON.
 
 12 Good Reasons 
 
 (selected from the many) why Johnson's Progressive 
 Lessons in Needlework is better adapted to school use 
 than any other book on the subject. 
 
 1 . The book is, as its title indicates, progressive. 
 
 2. The plan has been thoroughly tested and- has proved adequate to 
 
 the demands of the school-room. 
 
 3. The arrangement is such that the pupil must think for herself. 
 
 Instead of having cloth cut and fitted by the teacher she is 
 taught how to prepare and do her own work. 
 
 4. The educational value of the study is kept constantly in view, 
 
 together with the cultivation of habits of attention, accuracy, 
 and precision. 
 
 5. All direction are given in language clear, definite, and easilv 
 
 understood by a novice. 
 
 6. The practical side of needlework is especially emphasized. The 
 
 book aims to give instruction to those who have occasion "to 
 make and to mend." 
 
 7. The finger exercises are graded with a view to strengthening the 
 
 hands and thus assist greaaly in other departments of school 
 work writing, drawing, gymnastics, etc. 
 
 8. The work of sewing is carried along side by side with Drawing and 
 
 Language. See appendix containing papers prepared by pupils. 
 
 9. The illustrations are photographed from work actually done by 
 
 pupils. 
 
 10. Brookline's exhibit of needlework (prepared according to the 
 
 course outlined in this book) at the World's Fair was pro- 
 nounced by experts to be the best showing there. 
 
 11. The arrangement of the work is such that the expense per pupil 
 
 is very slight. 
 
 12. The book is cordially endorsed by such authorities as Prof. John 
 
 D. Runkle (iMass. Institute of Technology) ; Mrs. Louisa P. 
 Hopkins (Supervisor, Boston) ; Miss Mary A. Spear (recently- 
 principal of Model School, Westchester, Pa.), and many others. 
 
 136 pp. Square 8vo. Over 100 illustrations. Introduction price, 
 Cloth, 90 cents. Boards, 60 cents. 
 
 D. C. HEATH & CO., Publishers 
 
 BOSTON NEW YORK CHICAGO
 
 NEEDLEWORK. 
 
 HOME TESTinONY. 
 
 THE author of PROGRESSIVE NEEDLEWORK is teacher of sewing in 
 the public schools of Brookline, Mass. From the Superintendent, 
 Committee, and Teachers we have recently received the following 
 testimony to the value of this method. 
 
 From SAMUEL T. DUTTON, Supt. of Schools, Brookline, Mass. 
 PROGRESSIVE LESSONS IN NEEDLEWORK. 
 
 1 . The book contains work for six years. And, as its name implies, is a thoroughly 
 progressive course. " From the easy to the cl'fficult," is a ruling principle throughout. 
 If children in the kindergarten and primary schools have worked designs with the 
 needle upon perforated cards, they find it an easy step to the first exercises of this 
 course. In case they have had no such training the initiatory steps are so simple that 
 no great difficulty is experienced. 
 
 2. The Course recognizes hygienic principles. 
 
 Much attention is given to positions at the desk, finger exercises to promote 
 flexibility and strength and variety of muscular effort in the various exercises. 
 
 3. It aims to secure mental training as well as manual skill. The perception of 
 color and form, the exercise of taste in designing and the training of the judgment in 
 all creative work are incidental features of the method. 
 
 4. It provides for the co-ordination of needlework with other branches of study. 
 Drawing of design and pattern, language through written exercises, arithmetic in con- 
 nection with measurement and estimates, geography in learning the sources of 
 material used, history in considering the clothing of other people, chemistry as re- 
 .lated to dyes, etc. these are instances of co-ordination suggested. 
 
 5. The plan and its execution are so displayed in the book as to engage the interest 
 and approbation of all thoughtful teachers. It is no longer an experiment, 'and all 
 who have seen its practical working pronounce it unexcelled as a scheme of educa- 
 tional needlework. _ (Jan. 20, 1894.) 
 
 From Prof. J. D. RUNKLE, Industrial Committee, School Board, Brookline . 
 
 It is excellent in every respect. It is the result of long experience in the class-room. 
 I have seen the results of its method. We need the book itself very much in our 
 schools, and I am sure it is needed elsewhere. 
 
 From RUTH E. LANDER, Head Ass't, Wm. H. Lincoln School, Brookline, Mass. 
 
 This method of teaching sewing was introduced into the schools of Brookline four 
 years ago. During this time it has become a part of the school curriculum. By its 
 method the pupil has attained a mental training equalled in no other department, as 
 a lesson in sewing includes one in English, Drawing, and careful measurement.
 
 NEEDLEWORK. 
 
 Teachers in the regular class-rooms find the ability of pupils to grasp other problems 
 increased by the training received in the sewing class. Many graduates of the schools 
 are now filling responsible positions where fine needlework is required. 
 
 From HATTIE F. PAUL, Assistant, Sewall School, Brookline, Mass. 
 
 I found when I first gave the finger exercises given in " Progressive Lessons in 
 Needlework" that the children's hands were so weak that they could with difficulty 
 take the position, and after two or three repetitions their hands were so tired that they 
 shook them in the air. At the end of two weeks they were able to repeat a movement 
 seven or eight times without fatigue, also they had gained such control over their 
 muscles that when I suggested a new position of the fingers they took the position 
 much more quickly. After the first week I did not notice any child shaking his 
 hand or holding it in the other hand on account of fatigue. 
 
 How did the children like these exercises ? They enjoyed them almost as much as 
 Emilie Poul'.sson's " Finger Plays." They were as still as mice every child intent 
 upon the movement his attention fixed his mind training the delicate muscles 
 to obey the slightest direction. 
 
 I would not care if my children did not sew at all, if at the end of the year they 
 shall have acquired such a suppleness of the fingers, that they are able to make all 
 the movements required in sewing. 
 
 It is easier to teach the right position of the hand, than it is to correct the wrong 
 positions which they will surely take if allowed to go to work too quickly, though it 
 may take time. 
 
 When we see the inability of the children to perform these simple exercises required 
 for correct position of the hand for holding the needle and thimble, does it not sug- 
 gest that we could use some exercises to advantage preparatory to pencil-holding, and 
 thus avoid the incorrect position which children take ? 
 
 Little children have very little power over the muscles of their fingers, and yet we 
 require a great deal of work from them. We give gymnastics to strengthen and de- 
 velop the muscles, and to counteract the inactivity of some parts or the over-work 
 of others. Some of the muscles of the fingers are in cramped positions by holding 
 the p-ncil too long, while many of the muscles are not used at all, and yet no system of 
 gymnastic has any exercises for the fingers, except perhaps, the very simple one of 
 opening and shutting the hand. 
 
 If before we give the child a pencil, a pair of scissors, or any tool which he uses, we 
 give him exercises to strengthen the hand, also exercises in handling small objects, 
 then teach him to hold these tools, we shall avoid incorrect positions of the hand, and 
 ret better work. 
 
 The " Occupations " and " Finger Plays " of the kindergarten lay a foundation for 
 this drill which is needed. If the primary teachers would carry on the work with the 
 kindergarten spirit to make it interesting, and a definite end in view to make it 
 valuable, the higher grade teachers would reap the results in better pen-holding, better 
 position of the hand in sewing, better pencil-holding in drawing, better work with the 
 scissors, and better results on paper. (Jan. 9, 1894.)
 
 NEEDLEWORK. 
 
 EXPERT EVIDENCE. 
 
 HARRIET S. SACKETT, Dept. of Domestic Art, Pratt Institute, Brooklyn. 
 It is decidedly the best book on the subject ever printed in English. It will be 
 most helpful and suggestive to teachers, and I shall take great pleasure in recom- 
 mending it and putting it on the list of books. (Oct. iS, 1893.) 
 
 From LOUISE HOWE, Supervisor of Primary Sewing, South End Industrial School, 
 
 Boston. 
 
 This book has been of great service to me. I have several copies, and keep 
 them in constant circulation, loaning them to the teachers in turn, to study at 
 home. It is especially valuable in this work, as the teachers are volunteers 
 and some have had little experience in teaching. The illustrations of darns 
 and pitches have b;en invaluable. Last week I followed the suggestions and 
 had two classes baste paper patches with great success. I am thoroughly 
 convinced that the sampler work is the best and most satisfactory for begin- 
 ners. Last winter after studying the work in the Lincoln School, Brookline, 
 I started every child in the school on a sampler. The results were very gratifying. 
 I have adopted a very simple form of sampler on unbleached cotton, with red thread ; 
 it comprises stitching, felling, hemming, over-sewing, over-casting, bisting, ruffle, 
 buttonholes, darn and patch, also name in outline. In all cases where the teachers have 
 taken to the work, the children have been much interested. I think almost all the 
 teachers approve of the system now, but at first many were skeptical. This year I 
 started two younger classes as an experiment, having them make a canvas sampler 
 according to the book. I have been so much pleased with the work that another 
 year I shall have more of these classes, giving preference to the younger children who 
 apply. They will make the cotton samplers when they finish the canvas. For public 
 school work I should thoroughly endorse the whole system, considering it a great 
 advance over the old methods. (Jan. 13, 1894.) 
 
 From J. C. GREENOUGH, Prin. Normal School, Westfleld, Mass. 
 It is an admirable book simple, direct and progressive. It is the book with 
 which to teach the subject. (March 8, 1894.) 
 
 From Mrs. EMMA EPLEY, Teacher of Sewing, Public Schools, Philadelphia, Pa. 
 
 I have been very much pleased with the book, and have found many helpful ideas 
 in it. (Sept. 23, 1893.) 
 
 From Miss MARY A. SPEAR, recently Principal of Model School, West Chester 
 
 State Normal School, Pa. 
 
 The careful study of Progressive Lessons will not only fit a girl to do such work 
 as will really present itself in her home life, but it will give such exercises for her 
 hands, eyes, and mind as will increase. her power to think, and to express thought. 
 It will help her to form habits ot order, exactness, and perseverance, and she will 
 be better fitted to do and to appreciate the value of perfect work wherever it is found.
 
 MUSIC. 
 
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 READING. 
 
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 DRA WING AND MANUAL TRAINING. 
 
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