' DOMESTIC ART 
 
 IN 
 
 WOMAN'S EDUCATION- 
 
 FOR THE USE OF THOSE 
 
 STUDYING THE METHOD OF TEACHING DOMESTIC ART AND 
 ITS PLACE IN THE SCHOOL CURRICULUM 
 
 BY 
 
 ANNA M. COOLEY, B.S. 
 
 ASSISTANT PROFESSOR OF DOMESTIC ART IN THE TEACHERS 
 COLLEGE, COLUMBIA UNIVERSITY 
 
 NEW YORK 
 
 CHARLES SCRIBNER'S SONS 
 1912 
 
Cx 
 
 COPYRIGHT, 1911, BY 
 CHARLES SCRIBNER'S SONS 
 
TO MY GRANDMOTHER 
 ANNA MARIA COOLEY 
 
 271686 
 
PREFACE 
 
 THE permanency of Domestic Art as a feature in 
 the education of woman is assured. It is so vital an 
 expression of her nature that any curriculum which 
 does not include training for the home sphere ignores 
 the very centre about which her life revolves. Many 
 of the home talents are innate and develop naturally, 
 but many lie dormant because untrained. When 
 woman begins to preside over her own home, she 
 soon discovers her limitation if she has not had the 
 advantages of training along the lines of household 
 arts and economics. This book is not an argument 
 for the introduction of Domestic Art, for that is un- 
 necessary, but it is hoped that it may be of value to 
 those who do not see its relationship to other ele- 
 mentary school subjects nor the place it may occupy 
 in high schools, colleges, or trade schools. 
 
 Domestic Art has suffered because many have 
 tried to teach it who were not fully prepared to do 
 so, and who have failed to see the vital relationships 
 and the thought content involved. The subject has 
 
 Vll 
 
Ylll PREFACE 
 
 been so poorly presented in some places that it has 
 naturally lost favor, but this is not because it lacks 
 content. It is hoped that this little book may be of 
 assistance to those who, knowing the practical tech- 
 nique of Domestic Art, may seek for more light on 
 methods of presentation of subjects and planning of 
 courses of study in various types of schools. It is 
 also hoped that it may offer suggestion of the content 
 which is involved in the study of Domestic Art. 
 
 The author wishes to express her thanks to the 
 students in her classes who have kindly permitted 
 the use of some of their class plans, illustrative of 
 courses of study suggested for different kinds of 
 schools, and to her friend and teacher, Mary Schenck 
 Woolman, for her enthusiasm and inspiration which 
 
 prompted this work. 
 
 ANNA M. COOLEY. 
 
 January, 1911. 
 
CONTENTS 
 
 PART I. SOME PROBLEMS CONFRONTING 
 
 THOSE INTERESTED IN TEACHING 
 
 DOMESTIC ART 
 
 CHAPTER PAGE 
 
 I. THE FIELD OF DOMESTIC ART 3 
 
 II. THE RELATION OF DOMESTIC ART TO EDUCATION 10 
 
 III. THE NECESSITY FOR STUDY OF THE PUPIL. . 20 
 
 IV. PROBLEMS CONNECTED WITH THE PRESENTATION 
 
 OF DOMESTIC-ART SUBJECTS 34 
 
 V. THE STUDY INVOLVED IN PLANNING A DOMES- 
 TIC-ART LESSON OR SERIES OF LESSONS . 57 
 
 VI. THE ECONOMICS OF DOMESTIC ART .... 87 
 
 VII. How TO KEEP IN TOUCH WITH PROGRESS IN THE 
 
 DOMESTIC- ART FIELD . 100 
 
 PART II. DOMESTIC ART IN THE ELEMENTARY 
 SCHOOL 
 
 VIII. DIVISION OF SUBJECT-MATTER FOR THE ELE- 
 MENTARY SCHOOL 1 08 
 
X CONTENTS 
 
 CHAPTER PAGE 
 
 IX. THE FACTORS INVOLVED IN PLANNING A COURSE 
 OF DOMESTIC-ART WORK FOR THE ELE- 
 MENTARY SCHOOL 122 
 
 (a) Course of study for Grades 1-4, showing 
 
 use of many lines of hand-work of which 
 domestic art is but one phase. 
 
 (b) Course of study for New York Elementary 
 
 School, Grades 1-8, showing use of 
 domestic-art work. 
 
 (c) Course of study showing use of textile 
 
 phase of industry as one line of industrial 
 thought for Grades 1-8. 
 
 (d) Course of study in domestic art for Ele- 
 
 mentary School, Grades 7, 8, 9, with 
 emphasis on the vocational aspect of the 
 work. 
 
 (e) Course of study in domestic art for Ele- 
 
 mentary Schools, Grades 5, 6, 7, 8. 
 
 PART III. THE RELATION OF DOMESTIC ART 
 TO SECONDARY EDUCATION 
 
 X. CAN DOMESTIC ART CONTRIBUTE TO THE GEN- 
 ERAL AIMS OF SECONDARY EDUCATION? . 175 
 
 XL THE SELECTION AND PLANNING OF WORK FOR 
 
 THE SECONDARY SCHOOLS 187 
 
 (a) Part of Household Arts Course for Secon- 
 
 dary School of Classical type. 
 
 (b) Domestic-Art Course for Manual Training 
 
 High School. 
 
 (c) Domestic-Art Course of Study for Manual 
 
 Training High School. 
 
 (d) Dressmakers' Course in Technical High 
 
 School. 
 
CONTENTS XI 
 
 PART IV. DOMESTIC ART IN HIGHER 
 EDUCATION 
 
 CHAPTER PAGE 
 
 XII. DOMESTIC ART AS A PART OF COLLEGE TRAINING 
 
 FOR WOMEN 246 
 
 XIII. DOMESTIC ART IN OTHER HIGHER INSTITUTIONS 
 
 OF LEARNING 261 
 
 A SELECTED BIBLIOGRAPHY OF BOOKS HELPFUL 
 IN THE STUDY OF THE VARIOUS PHASES OF 
 DOMESTIC ART . 269 
 
DOMESTIC ART 
 
 IN 
 
 WOMAN'S EDUCATION 
 
PART I 
 
 SOME PROBLEMS CONFRONTING THOSE 
 
 INTERESTED IN TEACHING 
 
 DOMESTIC ART 
 
 CHAPTER I 
 THE FIELD OF DOMESTIC ART 
 
 THE term domestic art as applied to part of 
 woman's education has been in use for about twenty 
 confusion of years. During the past five or six years 
 terminology. a confusion of terminology has arisen, 
 
 and throughout the West the term domestic science 
 is used to designate all the arts centring about the 
 home. In another section of our country, especially 
 the Middle West, household arts is used synony- 
 mously with domestic science, so that naturally one 
 often hears the questions, "What is domestic art?" 
 "What is domestic science or domestic economy?" 
 
 3 
 
4 DOMESTIC ART 
 
 and : cV 1\Tlat : is meant by household arts ? " The last 
 title is probably the one which should be made the 
 general term to include all the arts and sciences 
 which centre about home-making. This seems large 
 enough to include all of the following subjects, which 
 may be classified thus: 
 
 Domestic 
 Science. 
 
 Physics and chemistry. 
 Physiology and hygiene*, 
 Chemistry of foods and dietetics. 
 Cooking and serving of meals. 
 Bacteriology and biology. 
 Laundering. 
 
 Economics and sociology. 
 History of foods, preparation, and 
 manufacture. 
 
 Household 
 Manage- 
 ment. 
 
 Home nursing and invalid cookery. 
 
 Keeping household accounts, of 
 food, shelter, and clothing, etc. 
 
 Domestic service. 
 
 Household sanitation and decora- 
 tion. 
 
 Institutional and home shopping. 
 
 Repairing and renovating. 
 
 History of home, sociology, eco- 
 nomics, and business law. 
 
THE FIELD OF DOMESTIC ART 
 
 Domestic 
 Art. 
 
 Art, especially design in relation 
 to the home, its furnishings, and 
 dress. 
 
 Sewing, dressmaking, millinery, 
 embroidery, crocheting, and knit- 
 ting. 
 
 Study of textiles, their history, 
 manufacture, and properties in 
 relation to use. 
 
 Repairing and care of clothing. 
 
 Physiology and hygiene of clothing. 
 
 History of architecture and dress. 
 
 Economics and sociology. 
 
 This broad outline is perhaps suggestive of what 
 the work of this field of household arts may mean, 
 woman's It i s a ll woman's realm, and there is no 
 generauy d weii reason wn 7 woman should not run her 
 organized. household on scientific and artistic prin- 
 ciples. In the business world one finds that man is 
 ever ready to try and adopt any new method of keep- 
 ing books, filing, or cataloguing, and is constantly on 
 the lookout for new developments of science which 
 will send him ahead of his competitors. He would 
 not expect success without system, organization, 
 knowledge, and principles upon which to base his 
 planning. If woman is to be trained to run her 
 
6 DOMESTIC ART 
 
 household scientifically and artistically, to know the 
 meaning of the true home-life, and the study of family 
 and the child, teachers must certainly be well trained 
 to introduce this subject into the school curriculum, 
 so that when the mothers of the coming generations 
 rear their children it will be on a foundation which 
 will tend toward their development into truly good 
 citizens physically and morally strong. 
 
 The subject-matter included under any one of 
 these heads involves so many subjects that it is not 
 the attempt of this book to describe them all rather, 
 attention will be centred (for discussion of subject- 
 matter) about the field of domestic art, as one phase 
 of the household arts, although the suggestions for 
 methods of teaching, planning of courses of study, 
 relation to general education, may be as truly appli- 
 cable to the fields of domestic science and household 
 management. 
 
 One generally hears the term " domestic art " in use 
 
 in relation to sewing in either the elementary or high 
 
 school. This is a very narrow usage of 
 
 Common use 
 
 of domestic the term when one considers all the sub- 
 jects above outlined and the underlying 
 ideals and content which such subjects imply. 
 The ethical, social, and aesthetic values are often lost 
 
THE FIELD OF DOMESTIC ART 7 
 
 sight of and the material or utilitarian side made the 
 main issue. Not but that this should be strongly 
 emphasized, but the field may be so much broader 
 and the results so much more satisfactory, in relation 
 to both work and child, if teachers are trained with 
 a view to including the cultural and educational 
 foundations of this great field of work. 
 
 A closer analysis of subject-matter 
 
 Closer analysis f ' 
 
 of domestic art may be advisable before discussing the 
 relation of this field of work to general 
 education, or to trade and industrial life: 
 
 1. Hand Sewing. The direct application of 
 stitches to articles of interest to the pupils. 
 
 2. Machine Sewing. The use of foot-power and 
 electric-power machines, the latter especially in 
 schools of trade type, in garment-making, dressmak- 
 ing, and other articles. 
 
 3. Drafting of Patterns. Some form of simple rule 
 drafting or system drafting, pattern modelling, and 
 use of bought patterns. 
 
 4. Millinery. The making, designing, and trim- 
 ming of hats of various styles for all seasons. 
 
 5. Embroidery. The use of stitches in decoration 
 of garments, household articles or other furnishings. 
 
 6. Crocheting and Knitting. The making of simple 
 articles forming foundation for more advanced work. 
 
8 DOMESTIC ART 
 
 7. Repairing and Care of Clothing. Patching, 
 darning, remaking; economy in relation to planning 
 for one's wardrobe or for family wardrobe; adapta- 
 tion of garment to use. 
 
 8. Textiles. This may include the study of the 
 textile arts of weaving, netting; properties of textiles 
 in relation to use ; history of the evolution and manu- 
 facture of textile industries; dyeing and cleansing; 
 study of widths, prices, and qualities of materials, as 
 well as adaptation to use. 
 
 9. Hygiene in relation to dress and furnishings. 
 
 10. Art in relation to design and color for use in 
 the home and for dress ; arrangement of interiors of 
 houses; suitability of line and color in relation to 
 dress; study of general principles of design. 
 
 11. Woman's Relation to the Social Field. Discus- 
 sion of sweatshop labor; leagues for social betterment, 
 as Consumers' and Municipal League; bargains; 
 ethics of shopping; development of social conscious- 
 ness; training in accuracy, neatness, foresight, and 
 responsibility. 
 
 12. History. Industrial history; history of archi- 
 tecture; history of costume; development of house- 
 hold art, and history of handicraft. 
 
 13. Economics and Simple Business Law. Ec- 
 onomics of the home, relation of expenditure to in- 
 come. Household management, especially in rela- 
 tion to purchase and care of clothing and furnishings. 
 
THE FIELD OF DOMESTIC ART 9 
 
 Household arts, of which this domestic art is a part, 
 has been happily defined as, "a comprehensive term 
 which includes the scientific study of all matters and 
 means which will contribute to the happiest, health- 
 iest, and most efficient family life." 
 
 REFERENCE FOR STUDY 
 "History of Home Economics Movement," Bevier and Usher. 
 
CHAPTER II 
 
 THE RELATION OF DOMESTIC ART TO 
 EDUCATION 
 
 IN order to see the relation of industrial work to 
 education, it is necessary for us to consider, in a few 
 industrial statements, the meaning of education 
 
 rof IduL as it: is now generally accepted. The 
 tion - following words seem to sum up the 
 
 situation: "The 'education of the individual is the 
 process of adjustment to or participation in the world 
 of social relationships and in the fund of social ex- 
 perience, the ideals and methods which those relation^ 
 ships conserve." We have, therefore, the little child 
 in our midst, the little child who is to be brought to 
 a realization of his own self and place in the world 
 and to see his relation to the progress of events. All 
 the culture of the race is his " spiritual possession" 
 and the unknown land through which he is to be 
 guided, in order that he may become an efficient 
 individual. 
 
 10 
 
RELATION OF DOMESTIC ART TO EDUCATION II 
 
 There are two points for us to keep before us, in 
 considering the relation of industrial work to edu- 
 cation : 
 
 1. How can it help to interpret the child's social 
 relationship ? 
 
 2. Can industrial work help him to trace the 
 progress of events which have led to present civiliza- 
 tion and help him to become intellectually, emotion- 
 ally, and volitionally adjusted? 
 
 People have been slow to realize that hand-work 
 has been a potent factor in the spiritual and mental 
 development of nations. There is a longing in every 
 soul for expression. There are many useless people 
 in the world to-day because of lack of training in the 
 industrial arts. The individual must be given a 
 chance to express and the mind allowed to react to 
 the ideas and impressions received, in order that 
 through use there may be the necessary brain devel- 
 opment and adjustment to new conditions. 
 
 From time immemorial man has worked with his 
 hands, and his time and attention have been utilized 
 
 Hand-work as 1 R the production of things both USe- 
 old as man. ful and omamenta L "Necessity " very 
 
 often was the " mother of invention, " and the need 
 for food, shelter, and clothing led to the gradual de- 
 
12 DOMESTIC ART 
 
 velopment of industries, from the simple hand-work 
 to the elaborate products of the factory system of 
 to-day. 
 
 Whether, then, through necessity or simply because 
 of joy in expression through the hands, the world is 
 to-day a rich treasure-house stored with the wonder- 
 ful products which man has created. The instinct 
 for production is not dead, but will last as long as 
 man, for to create is a divine and God-given instinct. 
 
 Froebel, in his study of the child, realized that his 
 natural activity could be utilized and turned into 
 channels which would lead to his gradual physical, 
 moral, and intellectual development. He believed 
 this should be of the head, heart, and hand. For 
 that purpose he introduced the gifts, occupations, 
 songs, and plays, and allowed the child to invent and 
 create. Joy and happiness in work were the results. 
 
 For some time kindergarten training was a pre- 
 carious feature in education, but now that this branch 
 has been incorporated in the public 
 
 Froebel real- 
 ized the value school systems and colleges, and finds 
 
 of hand-work. ... , . 
 
 a place even in university work, it seems 
 an assured fact that children are to receive some of 
 their early training in the kindergarten. Here their 
 crude ideas are worked out through the materials 
 
RELATION OF DOMESTIC ART TO EDUCATION 13 
 
 offered, and the child improves in his ability to ex- 
 press himself with his hands for expression is neces- 
 sary if images are to be clear. This hand-work 
 satisfies the early craving of the child for play and 
 the practical, and the gifts and occupations become 
 playthings in his hands, but, unknown to him, things 
 of educational value. 
 
 When the child leaves the kindergarten and passes 
 to the grade school, too often the change is a very 
 abrupt one. There is a lack of the old-time freedom, 
 and an absence of the play materials. Children 
 then begin to lose interest, and the attention is often 
 forced rather than spontaneous, and teaching ceases 
 to be as effective. 
 
 As a help in alleviating this difficulty, hand-work, 
 as one of the mediums of expression, has been intro- 
 Theintroduc- duced into many of the grade schools, 
 tionof hand- sometimes in correlation with other sub- 
 
 work into 
 
 schools. jects, but more often simply in an occu- 
 
 pational way. Hand-work as manual training is most 
 effective when taught in relation to the other work of 
 the grade, so that there is unity and a harmonious 
 development. By manual training is meant not 
 simply work which is spontaneously interesting and 
 keeps the child alert and active, but work which is 
 
14 , DOMESTIC ART 
 
 educationally effective. This effectiveness is in the 
 hands of the teacher, and will be worked out by her 
 if she understands the theory back of real manual 
 training and the true relationship to industrial life. 
 
 It is not that hand-work is to be introduced as a 
 study which is a unity in itself, but with other studies 
 which go to make up the curriculum, so that it may 
 help to vitalize the rest and bring the child directly in 
 contact with the world and the reality of things. The 
 constructive activities may be made the centre of all 
 studies and radiate into all life, beginning primarily 
 with the home, which is nearest akin to the life and 
 interests of the young child. Through the different 
 lines of hand-work the child becomes acquainted with 
 the materials and processes which have made social 
 life what it is, because it has contributed to culture 
 a share of the scientific, literary, aesthetic, institu- 
 tional, and religious inheritance of the child. 
 
 In tracing the elements in the curricula of various 
 ages, one notices that they are the result of the domi- 
 Hand-work nan t social tendencies. The seventeenth 
 Stou^T* centur y saw a change in the character of 
 WOTk - society, and the introduction of the ver- 
 
 nacular and the realistic subjects into education. The 
 eighteenth and nineteenth centuries were characterized 
 
RELATION OF DOMESTIC ART TO EDUCATION 15 
 
 by the prominence of the scientific element. The 
 twentieth century is particularly the era of economic 
 advancement, and we may hope to see the industrial 
 element becoming more and more a feature of mod- 
 ern education. This revolution in economic changes 
 has caused a shifting of population and brought 
 about changes in habits of living. People living a 
 nomadic life are, in their family group, economically 
 sufficient unto themselves. When society developed 
 and people grouped themselves in towns and villages 
 the neighborhood produced nearly all that was 
 necessary for life. The industrial occupations were 
 centred especially in the home, where all the processes 
 of development were seen and participated in, from 
 the raising of the wool and flax to the spinning, dye- 
 ing, and weaving of the cloth, and the production of 
 all the necessities of life. This work was partici- 
 pated in by all the members of the household. 
 
 Since the industrial revolution and the rapid ex- 
 pansion of the factory system the elements in the 
 curriculum have not kept pace accordingly. While 
 this change brings so much that is good, it also 
 almost eliminates much that was of value in the 
 old neighborhood system. Should not our modern 
 curriculum respond and, if possible, try to make 
 
1 6 DOMESTIC ART 
 
 amends to the child for the lack of some of the old- 
 time family training, where the child was taught to 
 do in the home, and to be responsible, and to feel 
 that he had an economic share in production? 
 
 Should not the training which is given the children 
 in the upper grades be planned to prepare them for 
 Direct bearing a society which is industrial, as ninety- 
 
 wo^on^tral- fiv6 P el C6nt d n0t P aSS int hi S her 
 
 ing for life. schools ? Is not hand-work for the little 
 people if directly connected, first with home inter- 
 ests and then with the evolution of the social in- 
 dustrial interests, a step in the right direction, 
 keeping in mind what the future development must 
 be? Can we not, through making these construc- 
 tive activities a part of our curriculum, acquaint 
 the child with the things which make for true 
 culture and liberal education, as well as give him 
 an introduction to industrial life? Let us teach 
 him the wisdom of foresight which is so essential 
 to success, to be a responsible being with obliga- 
 tions toward his fellowmen; let us acquaint him 
 with their needs and conditions, that his sympathies 
 may become broadened and a deeper reverence for 
 man and God may result. If acquaintance with 
 industrial work can help to contribute some of these 
 
RELATION OF DOMESTIC ART TO EDUCATION 17 
 
 things, it is surely a vital part of education, in fact, 
 the very core of a liberal education. 
 
 There is, however, often danger of the teacher of 
 constructive work overestimating the importance of 
 Danger of ner ^ ne f activity. There must be 
 ta^taSdf*" balance in a11 things, and the industrial 
 hand-work. work, or later domestic art as a part 
 of industrial work, should conform to the other 
 studies and the relative amount of time be allowed 
 for it. Household arts, of which domestic art 
 is one phase, stand out pre-eminently in the 
 field of industrial work as a part of education 
 for woman. There are so many reasons why 
 this is true. The girl becomes interested in life 
 because she is dealing with things pertaining to 
 every-day life; she sees connections, if the teacher 
 will aid, in the study of history, geography, arith- 
 metic, etc., and this unity helps in memory. She 
 begins to feel useful because she can do or make 
 things for others, and here begins the development 
 Domestic art f social consciousness which is so im- 
 girnn^ry- 116 P ortant a fa c tor in the development of a 
 day life. t^y educated person. This study leads 
 
 a girl to see her ability along certain lines of work, 
 and often ultimately, among certain classes, to a 
 
1 8 DOMESTIC ART 
 
 selection of desirable work for life. A connection is 
 made between life and technical work If properly 
 taught, domestic art should have a higLl) moral ef- 
 fect. It makes for perfect sanity and mental health, 
 it develops the will and power of inhibition which is 
 the root of self-control in morals; it makes for firm- 
 ness and force of character. A product which is 
 correctly and neatly finished certainly fosters this. 
 It must be clean, simple, accurate this accuracy, of 
 course, after a child has passed the age of about 
 nine years. 
 
 Girls learn to understand the value of a well-made 
 article. This affects supply and demand, as woman 
 is the greatest consumer, and will also affect the 
 salary of the wage-earner. Good articles will be in 
 demand. Domestic art also gives an understanding 
 of materials, which will be of economic value in the 
 home, and will also regulate the materials put upon 
 the market. There is certainly created a greater 
 respect for labor. While learning through this natu- 
 ral method of doing, the observation, judgment, and 
 imagination of the girl are all receiving training. A 
 vital connection is being made with the home, for 
 this new interest finds expression there and opportu- 
 nity for further cultivation. Girls value most highly 
 
RELATION OF DOMESTIC ART TO EDUCATION 19 
 
 the ability to utilize things which they have, and 
 are interested in making home comfortable and 
 pleasant through decoration and the ability to do 
 which this new art makes possible. There is an 
 ever-increasing pleasure in correct color combina- 
 tions and restful effects, and increased enjoyment of 
 the beauties of nature. As the girl advances in the 
 work she also learns how to plan her wardrobe eco- 
 nomically, how to purchase wisely, and how to make 
 her own clothes so that they will be adapted to her 
 use and personality. This may lead her into trade 
 work as a means of livelihood, for the opportunities 
 are many which this field of domestic art affords. 
 There is no stronger argument for this work than 
 this, that it should make her a more truly capable 
 woman, one sympathetically awake to the difficul- 
 ties of others, able and ready to lend her trained 
 hand, and responsible to bear her share of the bur- 
 den of life. 
 
 REFERENCES FOR STUDY 
 
 "The Child and the Curriculum," Dewey. 
 
 "Education of Man," Froebel. 
 
 "The Meaning of Education," Butler. 
 
 "School and Society," Dewey. 
 
 "The Place of Industries in Elementary Education," K. Dopp. 
 
CHAPTER III 
 
 ^ . -.-***' 
 
 THE NECESSITY FOR STUDY OF THE PUPIL 
 
 ONE may be very familiar with the technique of 
 
 domestic art and have intimate knowledge of the 
 
 underlying thought content, may know 
 
 Knowledge of 
 
 child nature how to present all of these . thoughts, 
 
 important. 
 
 and yet fail as a teacher of domestic art 
 because of lack of understanding of the different 
 periods of childhood and girlhood. It is equally 
 as important as technique of subject-matter to 
 know the intricacies of working of the mind with 
 which the teacher must deal and the effect various 
 kinds of work may have on the pupil at different 
 periods. A study of the many expressions of the 
 self-activity of the child is a basis for planning the 
 curriculum either of general studies or of domestic 
 art in relation to them. 
 
 "The Case is of Child. It is his present powers 
 which are to assert themselves; his present capacities 
 which are to be exercised; his present attitudes 
 which are to be realized. But save as the teacher 
 
THE NECESSITY FOR STUDY OF THE PUPIL 21 
 
 knows, knows wisely and thoroughly the race experi- 
 ence which is embodied in that thing we call curri- 
 culum, the teacher knows neither what the present 
 power, capacity, or attitude is, nor yet how it is to 
 be asserted, exercised, and realized. " 
 
 The problem before us in planning hand-work for 
 children, is one which should centre directly in the 
 work should child. We should begin with him and 
 
 ontatoestfof end with him * n OUT consideration, and 
 the child. p} an our W0 rk with his growth and de- 
 velopment in view. The teacher must select the 
 right stimuli for those impulses which are to be 
 employed and must know the aim and direction of 
 movement in planning there must be a basis for ac- 
 tion. The experience of the teacher therefore must 
 interpret the mind of the child and lead on to some 
 definite aim. 
 
 It is not the accumulation of knowledge which we 
 hope to heap upon him in our planning, or direct 
 information in relation to concrete things, but to 
 bring him to a realization of his relation to life. It 
 has been said that "knowledge is not valuable, but 
 knowledge as a function in life is indispensable." 
 
 The little child loves to do, to act, to express what 
 he sees in a constructive way. He first learns to 
 
22 DOMESTIC ART 
 
 construct through play in making believe. He loves 
 to see results quickly and to make wholes rather 
 Love of ex- than parts of things. At this period he 
 
 construction of CarCS m re for the aCtUal P roducts than 
 
 the little child, f or fa e processes by which they are made . 
 Both are necessary for complete education. He wishes 
 to imitate all phases of adult activity, but as play, not 
 as work. There are, though, occasional periods when 
 the child likes to feel that he is working, even though 
 it is in a play way, as helping mother to dust, clean, 
 or sew. The real work attitude comes later in the 
 child's life and must be kept in mind in planning 
 courses in hand-work. But play as well as work is 
 necessary in the development of mind and most of 
 early development comes through play in games, etc. 
 Aristotle and Plato would have us realize the value 
 in play, and Froebel's philosophy is based upon the 
 development of the child through his activity in play, 
 games, and occupations. Later he must learn to 
 work in order to become truly socialized and be 
 taught to see that products of work have an economic 
 value. 
 
 The child loves also to investigate, to explore 
 and this may later lead him to science. He under- 
 stands things and the lives of those about him, 
 
THE NECESSITY FOR STUDY OF THE PUPIL 23 
 
 in so far as he realizes his ability to do and sees 
 
 his relation to the lives of others. He finds himself 
 
 in the midst of a complex world. Per- 
 
 Love of ex- 
 ploration and haps to him it may not appear so, for 
 
 investigation. . . . . . . . 
 
 he is directly concerned with the con- 
 crete world which lies nearest to and just about him. 
 His interests centre in the home, the people and 
 animals there, the personal attachments and love 
 and sympathy of those about him. Therefore the 
 early activities in school in order to connect with 
 the home and be vitalized should centre there also. 
 He loves best the things which he understands best. 
 The teacher must guard against the impulse in 
 children to do things at random and must direct 
 the impulse into paths where real value may be the 
 result. 
 
 The child likes also to talk about his work; the 
 mind must react and express itself if it has been 
 Avenues of ex- impressed. The teacher of hand-work 
 
 ?he young ' mUSt Utiliz6 this instinct and hel P the 
 
 child. children to see relation between the 
 
 thought expressed in words and the act as con- 
 structed. A chance for additional expression is 
 through the medium of pencil or crayon. Hand- 
 work, then, should mean for the child interpretation 
 
24 DOMESTIC AET 
 
 of this social life through the mediums of form, 
 color, and materials. 
 
 Because of the above natural instincts of little 
 children, we must, in planning our work, utilize them 
 to best advantage in order to make hand-work a 
 vital part in education. 
 
 Owing to the reasons given above, the constructive 
 
 work of the later kindergarten and first grade should 
 
 be related to the child's home life. 
 
 Early grade 
 
 work to relate This will necessarily vary with locality 
 
 to home life. 
 
 and environment. The central thought 
 of mother, family, household activities may be the 
 starting-point for nearly all. If the children under 
 consideration are those in a small village, the inter- 
 ests following the home would be those of village 
 life, construction in relation to the farm and agri- 
 cultural life, the village blacksmith, store, church, 
 etc. By the time he reaches the second or third 
 grade and his own surroundings have in a degree 
 been interpreted, he may be introduced to the lives 
 of other little children and primitive people and their 
 methods of securing food, shelter, and clothing, 
 which have come to him so easily. In later years, 
 after comparisons have been drawn, he may be 
 led from the knowledge of rural life to that of the 
 
industrial life of city, state, and national affairs, in 
 order that he may understand something of their 
 complexity and his relation to it. By the time the 
 high school period is reached, the relation of trade 
 and industry may be understood and the child have 
 some knowledge of the relationships existing in them 
 and of the obligation resting upon him to share in 
 the activity. 
 
 If the locality of the city child is the starting-point 
 
 in planning, the construction of things in relation 
 
 to home interests may again be the 
 
 Locality and J 
 
 environment centre, and the radiation from them into 
 
 affect the 
 
 course of the field of interests nearest akin to the 
 life of rich or poor child. The compari- 
 son of present life as the child knows it with that of 
 more primitive people, the different stages of hunting, 
 fishing, and agricultural development, in some locali- 
 ties must necessarily be postponed a little later than 
 the second grade, until the children are ready for it. 
 There can be no hard and fast rules in relation to the 
 general course of study or particular relation of hand- 
 work to it. 
 
 The real spirit of work or construction as work 
 does not begin until about the twelfth year of the 
 child's life. Then the industrial work may be closely 
 
26 DOMESTIC ART 
 
 related to the particular trade or industry of a lo- 
 cality. With the young children one must keep in 
 Main aim with mm d the idea that finished products of 
 the young ne technique are not the end and aim 
 
 child is train- 
 ing, in view. It is the child's development 
 
 Results ex- 
 pected to be first and foremost and one must expect 
 
 rather crude results. Owing to the physi- 
 cal growth and peculiar nervous development of chil- 
 dren, a large variety of materials for constructive work 
 should be used, and only those which excite to broad 
 action in which no details of perfection are required. 
 In the use of these materials and processes there 
 must be adjustment to the mental and physical 
 capacities of the child. 
 
 As Dr. Dewey says, the school should represent to 
 the child the real life of society. It should be a 
 miniature community because an individual can 
 have no life apart from society and he can realize 
 his aims best by making them accord with the desires 
 of society in general. The work of education in the 
 school, therefore, whether through hand-work or 
 otherwise, is to help the child to see his relation to 
 the whole. All the possessions of the race are to be 
 bestowed upon the individual so that he may carry 
 
THE NECESSITY FOR STUDY OF THE PUPIL 27 
 
 them forward with the additional thought and prog- 
 ress of his times. Here, also, he is to glance ahead 
 into the future and to learn to take his place among 
 the men of real life. Here he must learn justice, 
 order, and co-operation; he must develop inde- 
 pendence of action which shall later become leader- 
 ship. 
 
 Because the child is a social being and the school 
 is to be made his little world, attention should be 
 value of group given to group work. Through it the 
 
 child. respect and adapt himself to various 
 
 interests and natures and to work for a common 
 good or whole. "The mere absorption of facts or 
 truths is so expressly individual an affair, that it 
 tends very naturally to selfishness. When children 
 are engaged in active work, helping others, it sets 
 free the powers of the one who gives and is an in- 
 centive to the one helped." While the individual 
 parts mean much to each child as his contribution 
 or help toward the whole, it is the whole result 
 which is of value to the little community because 
 of the co-operative spirit expended in bringing them 
 together. This combination of interests has been 
 happily called orchestration, and surely it reaches 
 
28 DOMESTIC ART 
 
 that where the work is the expression of joy, and 
 good will and sweet harmony are the result. 
 
 If, then, through group work and individual con- 
 structive work the child is made to feel that he is 
 really a part of society in his little world, and is given 
 an insight into the culture of the race possessions and 
 industrial development and a foresight as he works 
 with others, surely this work may be said to con- 
 tribute its share in the vital education of the child. 
 
 The task before the teacher is one of great respon- 
 sibility. We are to make this hand-work one means 
 of developing the child in the fullest possible manner. 
 
 During the early grades, the child is not able to 
 make the fine adjustments which are required for 
 fine sewing one expects crude results, but by trie 
 time the fifth grade is reached the teacher should 
 demand more accurate work and greater neatness. 
 Very often teachers neglect to do so and the result 
 is that slovenly habits of action are formed. 
 
 It is during the period from eight to fourteen 
 
 years of age that the teacher of domes- 
 close contact J 
 
 between tic art has an unusual opportunity, be- 
 
 teacher and . 
 
 girl a factor in cause of her close contact with the 
 girls, to help develop their social con- 
 sciousness and is able to suggest opportunities of 
 
THE NECESSITY FOR STUDY OF THE PUPIL 29 
 
 thinking about and helping others in a practical way. 
 It is during this period too that supplementary talks 
 on clothing, hygiene, appropriateness of dress are of 
 particular value and make much impression. It is 
 the period when the inner life of the girl is con- 
 cealed from others and is so often fraught with 
 many dangers. The teacher of domestic art has 
 many responsibilities here, for comparatively few 
 girls pass beyond the elementary school education, 
 so that the time is limited in which much must be 
 accomplished if the teacher would be of the greatest 
 possible aid. 
 
 As the girl enters upon the age of adolescence, the 
 teacher should understand this period of girlhood 
 Physical an ^ not only adapt her work to it, but 
 
 ihTperiodif g make the most of the ex P ressions of this 
 adolescence. period of development. It is the time of 
 
 abrupt bodily transitions, the girl is restless, is grow- 
 ing rapidly and needs plenty of rest, and exercise, 
 proper food and clothing. The teacher of domes- 
 tic art should be alive to these things, and the girl 
 should not be overtaxed nervously nor the eyesight 
 strained. It is often . possible for the domestic-art 
 teacher to discover defects of eyesight that may not 
 have been noticed by any one else. Because of the 
 
30 DOMESTIC ART 
 
 intimacy of relationship between teacher and pupils, 
 the hopes, ambitions, needs of the girls are expressed 
 to the teacher, so that opportunity is afforded to 
 guide them perhaps in choosing their life work. As- 
 sistance may often be given which will affect the 
 whole life trend of the girl, for this is the period of 
 intense ambition for her own life, either in respect to 
 marriage, self-support, or even socially in the school 
 or community. It is the age of interest in manual 
 training, when the development of the muscles gives 
 strength for the control and use of tools. The most 
 important service the domestic-art teacher can render 
 during this period is to instruct the girls in the im- 
 portance of proper clothing and food as the foun- 
 dations of good health. This aspect of the work 
 also emphasizes the principles of domestic science. 
 During this adolescent period, the domestic-art 
 teacher should be conscious of the mental changes 
 Mental f ner pupils. She will be aware of a cer- 
 
 changes. ta j n j ncrease Q f v jg Or o f m ind an( J O peil- 
 
 mindedness as it were. It is the time of the develop- 
 ment of the reason and judgment and should not be 
 hampered by too much memorizing. There is every 
 opportunity for developing judgment in the domestic- 
 art work and the teacher may soon learn whether 
 
THE NECESSITY FOR STUDY OF THE PUPIL 31 
 
 the service is of the lips or based on individual grasp 
 of the problem. Girls are often lazy and are content 
 to accept subject-matter which is given to them 
 without question, whereas a boy would wish to 
 know "the why." Generally the girl is alert, bright, 
 and interested in things and the teacher should 
 utilize this interest in organized activity. This is the 
 period when girls are apt to worry over their prob- 
 lems and to have little patience with the minute, 
 exact, methodical. It is also the period of certain 
 emotional development, and consequently it often 
 happens that the young teacher with a happy, 
 spontaneous nature is more apt to be successful 
 v with girls of high school age than an older person 
 perhaps better trained and more experienced in 
 technique. This is the period of storm and stress, 
 of excitements, ambitions, hopes religious doubts 
 and introspections, sex impulses, and the adoration 
 of teachers and friends. All these impulses must be 
 understood by the domestic-art teacher if she will 
 deal wisely with the girls under her care. It is the 
 period of great responsiveness to all stimuli whether 
 right or wrong, the period of development of self- 
 conceit and superior airs, and that welcomes new, 
 radical, or even revolutionary thoughts. There can 
 
32 DOMESTIC ART 
 
 be no more important field than this for the domestic- 
 art teacher, and comparatively few teachers plan 
 with foresight to make the lessons with the girls of 
 this age really tell. It is the time when true impres- 
 sions can be made and a responsibility and social 
 conscience awakened that will have a lasting value. 
 The close contact of the domestic-art teacher makes 
 it possible for her to give instruction which will 
 train for character and the development of intelli- 
 gent and independent women who will be the back- 
 bone and safeguard of our nation. 
 
 There will probably be many discouragements for 
 the teacher during this period. It will be necessary 
 to have faith and to await results which may be long 
 in appearing. Mr. Stanley Hall says that at this 
 period the soul is so sensitized that nothing is lost. 
 It is the period of insight and receptivity and the 
 harvest will surely come the mental life is becoming 
 organized and permanently fixed and there is a power 
 of apprehension and appreciation which is far beyond 
 the ability of the girl of this period to express. 
 
 It is a big problem and one of great responsibility 
 for the teacher of domestic art to know when and 
 where to help to strengthen, to direct or inhibit the 
 various impulses of this critical period of womanhood. 
 
THE NECESSITY FOR STUDY OF THE PUPIL 33 
 
 REFERENCES FOR STUDY 
 
 "The Child and the Curriculum," Dewey. 
 "The Educative Process," Bagley. 
 "Notes on Child Study," Thorndike. 
 "Adolescence," G. S. Hall. 
 "The Meaning of Education," Butler. 
 "School and Society," Dewey. 
 
CHAPTER IV 
 
 PROBLEMS CONNECTED WITH THE PRESENTA- 
 TATION OF DOMESTIC-ART SUBJECTS 
 
 IT has been said that teachers are born, not made. 
 Not every one who understands the technical work 
 of the field of domestic art is able to present it- 
 even in some cases after much training. Neverthe- 
 less a conscientious study of the child or person to 
 be taught and an intelligent understanding of the 
 best methods of presentation of that subject-matter 
 can but produce decidedly better results. As we 
 have noted, the mass of subject-matter which we call 
 domestic art is so very broad that it is not possible 
 to present all the phases of it to the children in the 
 elementary or high schools. Special discussions of 
 curricula for various types of schools will follow, in 
 other chapters, but it is the purpose of this to sug- 
 gest the best way to present different phases of the 
 domestic-art work and to leave the selection of 
 subjects for later discussion. One must keep con- 
 stantly in mind the person or child to be taught, 
 
 34 
 
PRESENTATION OF SUBJECTS 35 
 
 and the subject-matter and method should be that 
 which will be of most value ethically, practically, 
 and intellectually to the pupil. 
 
 The writer has visited many domestic-art classes 
 
 and has found poorer presentation of the subjects 
 
 than in almost any other field of work. 
 
 Individual 
 
 versus class Very often the teacher is not prepared 
 and suggests to the class that they "go 
 on with their work." This means that the teacher 
 will often pass among her pupils and instruct indi- 
 vidually, but gives no ^nought or time to class dis- 
 cussions, in which the uncertain things are niade 
 plain and a real thought content developed. Class 
 discussion previous to beginning work is an economy 
 of time. It enables the pupils to begin together and 
 many of them to proceed without much help from 
 the teacher. This is of much assistance if the class 
 numbers forty or fifty, for then it is a physical impos- 
 sibility for the teacher to direct each worker. When 
 it so happens that the pupils are working on under- 
 garments or dresses, individual instruction is neces- 
 sary and the classes are usually smaller, but even then 
 there should be supplementary talks, or questions in 
 connection with the work, of vital importance to all 
 and that will give the work a real thought content. 
 
36 DOMESTIC ART 
 
 No teacher of domestic art, or any subject in fact, 
 should approach her class without some definite plan 
 The teacher's of action in mind. Much time is wasted 
 
 preparation. j n this fldd Qf teaching because of lack 
 
 of clearly defined ideas on the part of the teacher, 
 and lessons are conducted in a haphazard way 
 which could have been brought to the point had 
 time been given to thoughtful preparation. A 
 special chapter will be devoted to the subject of 
 lesson planning and the thought involved in correct 
 presentation of this subject. 
 
 Every detail of preparation in the way of materials 
 for illustration should be arranged before the hour 
 for the lesson arrives. The failure to have at hand 
 a demonstration model or tools may often mar the 
 effect of an otherwise good lesson. 
 
 There are many children % who see things with 
 their eyes only and to whom a spoken word in rela- 
 niustration tion to direction means very little. For 
 of lessons. guch the actual demonstration on the 
 
 frame or cloth is of greatest value. It is not neces- 
 sary to have a regular store frame a piece of un- 
 bleached muslin attached to the blackboard frame 
 with thumb tacks will answer every purpose. A 
 large darning needle and red or black Germantown 
 
PRESENTATION OF SUBJECTS 37 
 
 yarn complete the outfit. The stitches should be 
 large enough for all to see without difficulty. The 
 blackboard is also a valuable adjunct and should 
 supplement the demonstration frame. The teacher 
 of domestic art should be ready to illustrate as she 
 talks and to represent the stitches with needle in 
 position if it is a sewing lesson, or to outline the 
 points made in discussion of other subjects. Lessons 
 may also be illustrated by pictures, when talks on 
 textile and household art subjects are given, and by 
 collections of other exhibits when materials, etc., 
 may have been discussed. Trips to museums sup- 
 plement these as another avenue of illustration. It is 
 always well to have illustrations of completed articles 
 in which the stitch or lesson to be taught is plainly 
 emphasized so that additional application for use 
 may be really seen as well as discussed in class. 
 Every complete domestic-art laboratory should have 
 some cases for illustrations, not only of completed 
 articles that have been made in class, but for studies 
 of ethnological subjects in connection with the field 
 of domestic art. Basketry, pottery, weaving, primi- 
 tive spindles and looms, laces, embroideries, study 
 of historic costume, all help to illustrate the talks 
 and interest the pupils in this field of work. An 
 
38 DOMESTIC ART 
 
 industrial exhibit is also of great value, showing 
 the processes of thread-making, needles, buttons, 
 and preparation of all the raw textile fibres. Some 
 of these may be obtained from the United States 
 Government, and there are also certain textile manu- 
 facturers that are willing to furnish well-mounted 
 boxes of specimens for a small consideration. Col- 
 lections of materials, laces, muslins, etc., with their 
 respective values, names, and prices, will also be 
 found of great assistance. 
 
 The domestic-art teacher should be constantly on 
 the lookout for pictures and clippings which will 
 assist her in illustration. These may be mounted, 
 filed, catalogued, and kept for reference, and are 
 almost invaluable. The current magazines furnish 
 much material. Inexpensive pictures are often found 
 relating to subjects in this field and may be framed 
 and hung in the laboratory if a special room is 
 devoted to this work. The bulletin-board is of much 
 value in this connection for clippings and pictures; 
 mottoes and suggestions may be mounted tempora- 
 rily there. This may all be in charge of the stu- 
 dents from week to week, for change and filing. 
 
 The relation of the textile field to the elementary 
 or high school curriculum will be shown later in 
 
PRESENTATION OF SUBJECTS 39 
 
 discussing courses of study, but certain hints for 
 presentation may be given here. There are so 
 suggestions many phases of this work that the op- 
 for the presen- portun i ty j s almost limitless. Weaving 
 
 tation of tex- ' 
 
 tile work. ma y b e given on small looms as individ- 
 ual problems in the lower grades of the elementary 
 school and is often begun in the kindergarten. 
 Dyeing of materials may be done in this connection. 
 In the fourth or fifth grades weaving may be given on 
 individual looms and the results joined, forming a 
 rug or textile of value in house-furnishing problems. 
 Later in high school, or even before, opportunity 
 may be given for co-operative problems on the 
 colonial type of loom. Weaving is often "overdone," 
 especially in the lower grades. As one line of indus- 
 trial study it is of interest and value, but little chil- 
 dren need variety of work and the subjects are so 
 numerous and can with foresight be so grouped as 
 to develop thought in relation to the various fields of 
 industry that there is no excuse for confining the 
 work to this one subject. The reason is apparently 
 lack of willingness on the part of the teacher to 
 exert herself or an absence of originality in her 
 scheme of work. Charts will be found of much 
 value in teaching textile work. These may represent 
 
40 DOMESTIC ART 
 
 many phases of textile study and may be made by 
 every child in the class and the discussions given as 
 class lessons. Comparison of the four leading tex- 
 tiles makes an interesting study. Such charts may be 
 used as early as the third grade, and supplementary 
 talks make them of great value. These may show 
 the four samples pasted on a card with the names 
 written above each. Samples of yarn may be pasted 
 below the cloth for comparison. 
 
 Children are interested in cutting out paper dolls 
 from magazines. A picture of a girl or boy may be 
 mounted on the chart or card, and lists of the four 
 textiles in which she is presumably dressed written 
 in the four corners of the card. Opposite each gar- 
 ment named may be pasted a sample. These will 
 show the complete outfit of the child. The children 
 should be free to select their samples from boxes of 
 scraps arranged by the teacher in convenient places. 
 Charts illustrating the problem of dress and its cost 
 are also helpful. A teacher with ingenuity may 
 insert any variety of these problems. The field is 
 rich for showing the processes of modern manufact- 
 ure, the properties, dyeing, cleansing, and shrinking 
 of materials. 
 
 Books of textile samples will be found of much 
 
PRESENTATION OF SUBJECTS 4 1 
 
 help in either elementary or high school. The teacher 
 may supply books for each textile and plan the clas- 
 sification. The samples, with widths and prices, may 
 be mounted by the children as contributed. 
 
 In connection with history and geography the 
 interest in textile work will be much increased by 
 study and presentation by the children of informal 
 lectures on the evolution of the various industries 
 connected with clothing and shelter. If these are 
 supplemented with a stereopticon, the interest of the 
 little lecturers knows no bounds. 
 
 Of late years there has been much discussion in 
 
 normal domestic-art circles as to the use of drafting 
 
 in elementary and high schools. The 
 
 The use of 
 
 drafting and simple drafting of shirtwaist, kimono, 
 
 patterns. . . rj 
 
 and small petticoat is often given in 
 the elementary school, and very often in the high 
 school one finds quite elaborate systems being used. 
 The writer believes that there is a certain value 
 in it all, but as a rule it is very slight. The be- 
 ginning of this line of work and thought may be 
 as early as the fourth or fifth grade of the elementary 
 school, where free-hand cutting of paper dolls' 
 clothes gives an insight in a simple way into the 
 relation between line and figure. This is of great 
 
42 DOMESTIC ART 
 
 value to the child. The work is free, never stereo- 
 typed, and these small paper garments may be basted 
 together or real material made into garments using 
 the paper patterns. There is so much to be crowded 
 info the domestic-art work of the elementary school 
 that the writer believes it much better in nearly 
 every locality and under varying conditions for the 
 use of commercial patterns to be taught in the 
 upper grades rather than any form of drafting. If 
 girls can be taught to cut out garments easily and 
 correctly and make simple alterations of patterns, 
 much has been gained. In the ordinary high school, 
 either manual training, or classical, where some 
 domestic-art work is given, some simple drafting and 
 pattern modelling in crinoline is advisable. The 
 simple modelling should precede the drafting, so that 
 the lines of the pattern in relation to figure may be 
 learned. With these relationships in mind, drafting 
 will be quite intelligible and enables the girl to put 
 it to practical use later. If this work is combined 
 the student will have an excellent idea of the mak- 
 ing of real patterns and be able to originate and 
 plan for simple gowns in crinoline as a pattern, 
 thus learning an additional method and one which is 
 more full and natural. 
 
PRESENTATION OF SUBJECTS 43 
 
 In technical and trade schools it is often advisable 
 that the students study some regular system of 
 drafting and have quite a good deal of experience in 
 making patterns by both of the above methods. 
 This work should be more advanced than that 
 given in the other types of secondary schools men- 
 tioned. 
 
 The greatest error in the teaching of drafting is 
 
 the stereotyped dictation method by which it is 
 
 often presented. This may not be an 
 
 Errors in 
 
 teaching draft- error where older students with limited 
 
 ing of patterns. .. , , 
 
 time and familiar with such work are 
 receiving instruction, but in either elementary or 
 secondary schools where the training of the girls is 
 being considered and drafting is being presented for 
 the first time this method of approach is certainly 
 wrong. The children may actually work it out as 
 they would a puzzle, but there is no real connection 
 of line with the idea of human form and the girls 
 are not being taught to think for themselves. This 
 criticism is especially true of high school teaching. 
 It is possible, however, by a simple developmental 
 method to make the girls think, and to have them 
 understand before they begin to draft the necessity 
 of certain lines, the relation of one line to another, 
 
44 DOMESTIC ART 
 
 their relation to the human form, and the possibili- 
 ties of change to suit the different figures and styles. 
 The value of crinoline modelling as a prerequisite 
 will be seen. Even unbleached muslin may be used 
 in this connection to advantage, and the modelling 
 done on one another in class. This method of 
 presentation may be accomplished by questioning 
 on the part of the teacher, who must be alert and 
 skilful in order to present her lesson successfully in 
 this way. There is no comparison as far as results 
 are concerned, for the girls gain a thorough mastery 
 of the subject because it is the result of their own 
 thought and can be used later instead of filed in 
 note-books. 
 
 It is often a debatable question whether machine 
 work should be given to girls between ten and fifteen 
 Machine work vears f a g e - This the writer feels must 
 m schools. be left t() the Decision of the teacher of 
 
 each group. If the teacher of domestic art knows 
 that the girls in her classes in the elementary school 
 are so conditioned that they must go to work 
 often before the work of the grades is finished, she 
 will feel the necessity of introducing machine work 
 early in order that this knowledge, which is of so 
 much help, may be gained before the girl leaves 
 
PRESENTATION OF SUBJECTS 45 
 
 school. The teacher must be the judge as to whether 
 there is any physical reason why a girl should not 
 run the machine. As 'a rule, the short period de- 
 voted to this kind of work is quite harmless and the 
 girls thoroughly enjoy it. In trade schools where 
 the girls may be more closely confined at this kind of 
 work, the teacher should be more careful and watch- 
 ful. As a rule, the high school is the place where the 
 use of machines should be begun, but in many 
 localities it is necessary to begin it as early as the 
 sixth grade. If the girls of a certain school in a cer- 
 tain locality cannot remain after fourteen years of 
 age, this work should be included as one of the 
 domestic-art subjects of value for the school in this 
 locality and should be considered by the domestic- 
 art teacher as subject-matter for her consideration 
 and selection. 
 
 Machine work should be begun on simple articles 
 which will give practice in straight stitching, and use 
 of the simple attachments, before more advanced 
 garment-making is done. Aprons, bags, cases of 
 various kinds, covers, pillow-cases, etc., are all 
 simple and offer opportunity for practice. 
 
 The writer has noticed much time wasted in 
 classes doing machine work. This is nearly always 
 
46 DOMESTIC ART 
 
 due to lack of thought and good management on the 
 part of the teacher. She should plan carefully to 
 have the machines always in use and so arrange 
 that some of the class are sewing by hand in prepara- 
 tion for machine work while others are at the 
 machines. An exchange can be made as occasion 
 arises, and in this way no time is lost. 
 
 There is a difference of opinion between teachers 
 as to the advisability of using single- or double- 
 thread machines with beginners. The writer finds 
 the single thread of value during the early process of 
 learning because it is easily ripped, but difficult to 
 handle because of the necessity for stitching on the 
 right side of the garment. As it is not possible to 
 have two sets of machines, the writer believes that a 
 light-running double-thread machine will prove the 
 most satisfactory in the long run. 
 
 Millinery and embroidery are subjects which may 
 be taught in either the elementary or high school 
 Miiimery and an d may be continued in trade or 
 embroidery. technical schools or classes. The work 
 given in the grades must be quite elementary in 
 character. The children may buy their own frames 
 or hats to be trimmed, or even prepare them from 
 braided raffia. Simple lessons in bow-making may 
 
PRESENTATION OF SUBJECTS 4? 
 
 also be given. The domestic-art teacher of each 
 school, however, must decide whether there is time 
 to include millinery in her course and whether it 
 will be of value to her group of girls to have it, 
 rather than some other line of domestic-art work. 
 Expert millinery and trimming should not be ex- 
 pected from young girls. Even in trade and tech- 
 nical schools the trimming is an art which may be 
 demonstrated by an expert trimmer, but it seldom 
 happens that girls under twenty are proficient in 
 this line or have learned the fundamental technique 
 which would enable them to be good trimmers. 
 This branch of the work requires experts where 
 the work is done for trade purposes; it seems 
 almost innate and can seldom be taught. 
 
 The high school work in millinery may include the 
 making and covering of all kinds of hats; frame- 
 making, trimming, and renovating. The lessons 
 should be illustrated by blackboard drawings, pict- 
 ures from magazines, and demonstrations. Visits 
 to shops are of value in this connection for study of 
 styles. The type of school will determine how much 
 of this work should be given and whether this or 
 some other domestic-art subject is of greatest value 
 to the girl in the limited time allowed. 
 
48 DOMESTIC ART 
 
 Simple embroidery may also be given in the 
 grades. In the lower grades this may be in the 
 use of overcasting, blanket stitch, and others, as a 
 means of decoration on coarse burlap pillows, table 
 covers, etc.; or in the upper grades, outline, cross, 
 chain, Kensington, darning, satin stitch may all be 
 applied on articles which will be of interest to the 
 pupils. Design work given by the art instructor 
 should be closely in touch here, as well as in high 
 school, where more advanced embroidery may be 
 given if time permits and it seems of most worth 
 to the group of girls considered. There is always 
 interest in this class of work, and it may be presented 
 all along the way either as supplementary work or 
 to introduce variety into the course. Needlebook 
 covers, pin-cushions, tray covers, table scarfs, pil- 
 low tops, embroidery of table linen and towels, are 
 simply the beginning of a long list. In high school- 
 lingerie hats, shirtwaists, collars, ties, stocks, gradu- 
 ating gowns, may be ornamented with simple em- 
 broidery. The demonstration frame will be found 
 of use in illustrating the various stitches. It is well 
 for the teacher to collect samples of embroidery and 
 to have as many articles as possible showing the 
 application. 
 
PRESENTATION OF SUBJECTS 49 
 
 It is not necessary to wait until pupils are of high 
 
 school age before introducing problems in furnishing 
 
 and decoration. As early as the first 
 
 Problems in 
 
 household grade, it is possible to begin with simple 
 
 furnishings. 
 
 suggestions in the relation of line to 
 space, color combinations, wall coverings, etc., ap- 
 plied to the fitting up of small houses or rooms 
 made from soap-boxes, if nothing else is available. 
 
 A very interesting problem is one in which the 
 whole elementary school may have a share. A room 
 should be chosen, if available, and furnished by the 
 different grades. Rugs may be made by some 
 co-operatively couch cover, window curtains sim- 
 ple hangings, pillows, table covers, and baskets, etc., 
 may be added by different classes. If space allows 
 and a suite of rooms can be furnished and actually 
 used by instructors or others, it will be of inestimable 
 value. 
 
 In many towns or cities by co-operating with large 
 departmental stores or even smaller ones it may be 
 possible to secure loan exhibits of furniture, hang- 
 ings, or house furnishings which if well arranged Is' 
 will be of great value to the pupils. In some schools 
 simple lessons in upholstery may be given with 
 excellent results. Talks on hygienic furnishing 
 
50 DOMESTIC ART 
 
 should accompany the working out of all these 
 problems. Charts illustrating interiors make an 
 interesting variation of domestic-art work. Chairs, 
 tables, etc., may be cut from catalogues and ar- 
 ranged on cardboards. Color schemes of interiors 
 may be furnished and plans made for the wall, floor, 
 and covering of ceiling. With older girls in high 
 school it is possible to sketch interiors and to color 
 them with water-colors. It is often possible to secure 
 drummers' sample designs for furniture, when some- 
 what old-fashioned, and these may be utilized in the 
 chart work. The furniture houses are quite willing 
 to dispose of them. A model suite of rooms is of 
 great assistance in a high school, but it is to be 
 hoped that all the interiors of the high school class- 
 rooms, halls, and offices may be as attractive as 
 possible. The proper placing of pictures, casts, and 
 plants cannot help having an effect on the general 
 atmosphere of the school. Loan exhibits of pictures, 
 school work, etc., are also of help. The high school 
 course in house furnishing may be made very inter- 
 esting by interspersing the talks with hand-work, 
 either the making of charts and color schemes as sug- 
 gested or the weaving and embroidering of pillows, 
 covers, or other house furnishings. The importance 
 
PRESENTATION OF SUBJECTS 51 
 
 of the simplicity of furnishing, the planning with 
 
 reference to use, adaptability, and economy of time, 
 
 energy, and money, the true home atmosphere and 
 
 the relation of furnishing to it should all be brought 
 
 out in the talks or discussions. Books and pictures 
 
 will be found of much help in a course of this kind. 
 
 Lessons in design should go hand in hand with 
 
 domestic-art work, and all teachers of domestic art 
 
 should have a good course in design be- 
 
 Design as part 
 
 of domestic yond whatever study of art and drawing 
 general education may have provided. 
 If there is an art instructor in the school, the do- 
 mestic-art teacher should have her co-operation 
 and the two work together in order that unity of 
 action may be the result. Designs for all the 
 domestic-art problems may be worked out in this 
 way. Paper dolls and their coloring, dressing, sim- 
 ple interiors all may come under the direction of 
 the art supervisor and in the elementary as well as 
 high school should go hand in hand with domestic- 
 art problems and the two be worked out in harmony. 
 The interest in the art work is much more keen when 
 this definite relationship is seen and understood. 
 
 One of the most important subjects for growing 
 girls is a knowledge and close acquaintance with the 
 
52 DOMESTIC ART 
 
 laws governing health. The influence of proper 
 food and clothing on health cannot be overesti- 
 mated. It is part of the domestic-art 
 
 Repairing and 
 
 hygiene of teacher' s privilege to give talks as sup- 
 
 clothing as 
 
 part of this plementary work while teaching the 
 
 field of work. -, . P . , , c . 
 
 technique of sewing, or to have definite 
 periods devoted to the discussion of this subject. 
 This work should be given in a very simple way in 
 the elementary school, but in the secondary schools 
 tests in relation to materials, their strength, warmth, 
 texture, shrinkage, and cleanliness, may be worked 
 out in the laboratory and be of particular value. 
 The talks for either elementary or secondary work 
 should cover such subjects as the following : The 
 care of the body, cleanliness and use of underwear, 
 the brushing of garments, care of the feet, proper 
 footwear, dressing of the hair, proper hats, the 
 storage of clothing, etc.; many of these may be 
 illustrated by demonstrations. 
 
 The question of how and when to teach repairing 
 is a much disputed one. As a rule, in many schools 
 the subject is disliked by the girls and there is a loss 
 of interest when repair lessons are announced. This 
 lack of interest need not necessarily follow, and the 
 success of such work will depend on the ingenuity, 
 
PRESENTATION OF SUBJECTS 53 
 
 skill, and tact of the teacher. Perhaps a clever way 
 to present the repair work is between problems of 
 greater interest just before Christmas gifts or some 
 other application of vital importance. Simple patch- 
 ing, darning of stockings, and darning of simple 
 rents in woollen or linen materials may be given in 
 the fifth, sixth, seventh, or eighth grades. If pos- 
 sible it is best to begin repair at once on the stocking 
 or garment, but' if such things are not available 
 scraps of stockinet or cashmere must suffice. By 
 canvassing among the teachers of a school or impress- 
 ing the children with the necessity of bringing the 
 necessary stockings from home it is quite possible to 
 have a direct application of the repairing. Repair- 
 ing which necessitates a knowledge of the construc- 
 tion of garments is a part of high school work, and 
 rebinding of skirts, replacing worn collars or cuffs, 
 patching, replacing parts of worn sleeves, are too dif- 
 ficult to be given to children of elementary school age, 
 for they require good judgment, skill, and technical 
 knowledge of garment -making for proper execution. 
 The yearly festivals are always of interest to the 
 Christmas children, and the more nearly it is pos- 
 sible for the domestic-art teacher to re- 
 late her work to their life interests, the more effective 
 
54 DOMESTIC ART 
 
 will be the results. Simple Christmas gifts may be 
 prepared by children of every grade. They should 
 be simple, appropriate, artistic, and adapted to the 
 use of the little giver. The time devoted to the mak- 
 ing of these may be a part of the regular sewing pro- 
 gramme each year, or it may be given as extra work 
 for those who finish ahead of their class-mates. 
 
 The Christmas season is often a happy time for 
 informal exhibits of the work of the children; the 
 parents may be invited, and a real social feature 
 made of this part of the work. The annual exhibit 
 may be more formal, but the Christmas party may 
 show the progress of the fall term of work and be 
 an incentive to many of the children. The rooms 
 and blackboards may be decorated by the children, 
 and the domestic-art laboratory may become a centre 
 of school interest and spirit". If a special room is not 
 set aside for this work, then the principal of the school 
 may be willing to designate a certain room or space 
 for this particular feature of the life of the school. 
 
 "A place for everything and everything in its 
 place" is a very good general rule 
 
 Care of sup- 
 
 plies saves with which to start. The work bags or 
 boxes of the children should be care- 
 fully labelled and kept in a conveniently located 
 
PRESENTATION OF SUBJECTS 55 
 
 place, if possible. Extra supplies and materials 
 should be so classified and labelled that they may be 
 found with ease. A system of noting when supplies 
 are low will guard against a general skirmishing 
 about at the eleventh hour for a particular kind of 
 machine needle or a certain number of thread, and 
 the consequent loss of time involved. 
 
 If the teacher has a special room for her work, 
 she should have the supplies most often used and 
 such materials as she may need for demonstration 
 conveniently at hand. If as supervisor she must 
 travel from room to room in the school, a box for her 
 use may be kept in each room, or one supplied with 
 the few things she is most likely to need carried from 
 class to class. The demonstration cloth mentioned 
 above will be found an almost indispensable addi- 
 tion to this box for the quick demonstration of the 
 method of making stitches. This cloth may be 
 mounted in the frames for such purpose or easily 
 adjusted with thumb tacks to the wooden frame of 
 a wall map and the height so regulated for the use 
 of children as well as teacher. In demonstrating on 
 this cloth the stitches should be very large so the 
 children at the back of the room may have no diffi- 
 culty in seeing. This is of help, for the teacher is 
 
56 DOMESTIC ART 
 
 spared the necessity of giving so much individual 
 attention later and time is thus saved for other more 
 important work. 
 
 REFERENCES FOR STUDY 
 
 "Textiles and Clothing," Watson. 
 
 "How We are Clothed," Chamberlain. 
 
 "A Sewing Course," Woolman. 
 
 "Occupations for Little Fingers," Sage and Cooley. 
 
 "School Needlework," Hapgood. 
 
 "Domestic Art Review," February and April, 1909. 
 
CHAPTER V 
 
 THE STUDY INVOLVED IN PLANNING A 
 
 DOMESTIC-ART LESSON OR SERIES 
 
 OF LESSONS 
 
 FROM previous discussion, we have discovered that 
 it is absolutely essential for the teacher of domestic 
 art to know thoroughly her technical subjects. It 
 is also quite as important for her to understand the 
 child or pupil before her, and it is again as truly 
 necessary that she should have some definite plan 
 of action in mind when she brings that subject- 
 matter to the pupils, in order that the best results 
 may be obtained with the greatest economy of time. 
 
 Much discussion might be given to the best method 
 of presenting the domestic-art subjects, but they are 
 so varied, as well as the conditions governing them, 
 that it must be left to the individual teacher to 
 present the type of lesson which is best adapted to 
 the needs of her pupils, their environment, aims, 
 etc., as well as the subject under consideration. It 
 may be best to enumerate the various types, and 
 
 57 
 
58 DOMESTIC ART 
 
 illustrate later the inductive-deductive form most 
 often used, although not exclusively, in teaching 
 domestic art in the elementary and secondary 
 schools. 
 
 The use of the lecture method is well known. It 
 is dangerous if used entirely with young people, 
 
 1. The lecture because the thinking is so often done by 
 method. tne i ec t ur er and there is no self-activity 
 on the part of the student; he does not think and 
 learn through the thinking process. It is unsafe to 
 leave it as lecture without further discussion and 
 illustration. The demonstration method may be a 
 part of the lecture method and is simply a better 
 kind of lecture, for it helps to furnish illustrations 
 which make for stronger impressions. 
 
 Text-books should be used as a side issue, or for 
 supplementary reading or study, never as an end in 
 
 2. The text- themselves. They may be used as a 
 book method. Star ti n g_p i n t for introducing a subject, 
 or as a supplement to the lesson presented. Before 
 using the text-book, the instructor should be sure 
 that the child understands the questions, and then 
 he should be left to work out the answers for him- 
 self. There is danger in this kind of work, for the 
 pupil may do too much memorizing and fail to get 
 
PLANNING A DOMESTIC-ART LESSON 59 
 
 the full meaning, unless the teacher supplements 
 this with other methods of study. 
 
 The drill lessor is of value because it leads to 
 certain definite motor and intellectual habits. A 
 
 3. The drill rea ^ drill, although a repetition, need not 
 lesson. ke monotonous, for plenty of opportu- 
 nity may be given for application. Facts should be 
 presented in drill as we wish them recalled, the use 
 of stitches, etc. Perfect work is the result of drill, 
 and much will depend on the previous method of 
 association of ideas, as the work is gone over from 
 the old point of view. The physical as well as 
 mental side of drill lessons should be of interest to 
 teachers of domestic art. Habits are formed by 
 trial and success method, by imitation, and through 
 new ideas told the child. We learn most through 
 imitation and this method is not to be despised. 
 The teacher must consider too, in this type of lesson, 
 the pleasurable element, for it is of importance if 
 good habits are to be formed. 
 
 The aim of the review lesson is to recall old 
 habits that have been formed by drill lessons, or by 
 
 4. Review reasoning, but to recall them perhaps 
 
 from new view-points. This broadens 
 the outlook. From these new stand-points it is 
 
60 DOMESTIC ART 
 
 possible to apply the knowledge gained to new situ- 
 ations. 
 
 By deductive method is meant that way of pre- 
 senting a lesson, which gives first, the rule to be 
 5. Thededuc- learned, illustrates this rule, and then 
 
 tive method. expects the pupils to make direct ap _ 
 
 plication. The procedure is from a general state- 
 ment to a particular application until proficiency is 
 gained. Care must be taken in presenting any sub- 
 ject by this method that the class is ready for the 
 step or abstract statement when it is presented. 
 Variations of the rule cause thought and lead to a 
 better understanding, but the discussions of the class 
 should illustrate why they fall under different heads. 
 By the inductive method is meant the general pro- 
 cedure through reasoning from individual notions to 
 e. The indue- generalizations. The reader is referred 
 tive method. to Dr McMurray's book on "The 
 Method of the Recitation," where the five formal 
 steps are discussed at length. By the first step of 
 preparation is meant the clearing of the ground, as 
 it were, for the new truth to be presented. It is the 
 conversation or questioning which leads to the point 
 of contact between the ideas which are the child's, 
 and the new thought to be presented. The teacher 
 
PLANNING A DOMESTIC-ART LESSON 6 1 
 
 is discovering what is the apperceptive mass of the 
 pupil before her and how far back she must begin in 
 order to make the new truth plain. There may be 
 many avenues of approach in preparing to present 
 the new lesson. New facts are not introduced in 
 this step, but old experiences recalled, which prepare 
 the pupil's mind for the new experiences to follow. 
 Between this and the second step of presentation 
 there must be close connection. The questions must 
 be clear, interesting, and definite, and such as will 
 arouse thought. They must follow, too, in close 
 sequence. There must be a definite aim in mind 
 for presentation, an aim for the child as well as for 
 the teacher, whose aim is naturally broader but 
 includes that of the child. The child's aim should 
 be made plain, so that he starts out with a definite 
 plan in mind. The more realistic the teacher can 
 make this the better. The teacher must keep in 
 mind also the doctrine of interest and make the sub- 
 ject vital and arousing. The illustrative material 
 will naturally depend on the subject and age of the 
 child, but should be varied so as to appeal to as many 
 senses as possible. The aim of the lesson to be 
 presented should be constantly in the teacher's mind, 
 and she should not be swerved from this purpose 
 
62 DOMESTIC ART 
 
 unless it seems wise in developing her subject to 
 change. This may be due to a discovery that her 
 class is not quite ready for the new thought. The 
 teacher should be quick, alert, and ready to adapt 
 herself to any change in method of procedure when 
 necessary. The main or " pivotal questions" in the 
 new lesson should be firmly in mind, so that should 
 there be a digression it may be possible to return 
 easily to the course of procedure. 
 
 Comparison need not necessarily be made in each 
 lesson, although given as the third formal step. 
 Generalizations are comparatively few and very 
 often may not be made until after a series of lessons 
 on a given subject have been presented. By gen- 
 eralization is meant the review by comparison of 
 individual facts, and by picking out the common 
 essential characteristics, the formation of a general 
 notion in relation to a particular set of ideas. This 
 generalization should be given by the pupil in his 
 own words and then supplemented or rounded by 
 the teacher and text-book. This rounds up the 
 sequence of thought, whether it be in a lesson or 
 at the end of a series. The application comes as a 
 test when the new generalization or concept gained 
 is to be used. This, too, may come at the end of a 
 
. PLANNING A DOMESTIC-ART LESSON 63 
 
 lesson, and often not until the end of a series, or 
 longer period of study. In domestic-art lessons the 
 step of application of principles consumes much time. 
 The inductive method is often objected to because 
 it is too slow. Then, too, it cannot always be ap- 
 plied effectively to all subjects. It is, however, one 
 of the most useful methods of approach in teaching 
 domestic-art subjects and is used with much success 
 in combination with the deductive approach. 
 General prin- There are certain general principles 
 methodic of metn d> however, for the domestic- 
 bear m mind. ar t teacher to bear in mind in planning 
 her lessons. 
 
 1. Every good lesson should be planned to begin 
 with what is in the child's mind, and proceed to the 
 unknown, that is, there should be some preparation 
 for the second step through use of the old ideas. 
 The psychologist calls this general principle the law 
 of apperception. 
 
 2. There should be two definite aims. First, the 
 teacher's, a general topic to be taught, which means 
 that the teacher knows much more about her subject 
 than she will present to the class, but she selects that 
 part of her knowledge which she wishes to present 
 to the children and adapts it to their needs. The 
 teacher has also for her aim the developing of right 
 
64 DOMESTIC ART 
 
 habits, intellectual, motor, and moral, the cultivation 
 of the child's reason, and the training of his powers 
 of appreciation. So we may say her aims are: con- 
 crete or practical, ethical, and social. Second, the 
 pupil's aim must be definite, clear, and concrete. If 
 the teacher would hold the interest and attention of 
 her class, she should make the problem or aim as 
 attractive as possible. 
 
 3. In selecting and adapting the subject-matter to 
 be taught, the teacher will bear in mind the age of her 
 pupils, their previous training, and the subject itself. 
 
 4. Every good lesson plan should contain certain 
 pivotal questions to be used in the lesson. These 
 should be logical, hold the attention of the class, 
 and control the reasoning powers of the pupils. 
 
 5. The teacher should have in mind definite illus- 
 trative material the kind, how it is to be used and 
 where introduced to make the lesson effective. This 
 material will help to centre the attention and gain 
 the interest of the class. 
 
 6. The teacher in planning should keep in mind 
 the self -activity of the child. This is to be exercised 
 by him in thinking out his questions and answers 
 in thinking out his applications and in giving phys- 
 ical expression by doing. 
 
 7. There should be in nearly every lesson a sum- 
 mary or review of the main points covered in the 
 lesson. This should be short, concrete, and quickly 
 
PLANNING A DOMESTIC-ART LESSON 65 
 
 accomplished, focussing as it were the thought of 
 the hour. 
 
 8. Whenever possible there should be some appli- 
 cation of the lesson to broader fields. 
 
 We have discussed the main points for the do- 
 mestic-art teacher to keep in mind while planning, 
 but how is this actually to be done? 
 
 Young 
 
 teachers Until one becomes quite experienced it 
 
 should write 
 
 out their is wise to write out each lesson quite 
 
 fully. It will more than repay those 
 who make the effort. Planning in this way is a 
 benefit, for it enables the teacher to know if she 
 has accomplished all she had in mind. The actual 
 lesson may be compared with the plan step by step, 
 and the points of discord noted. Very often the 
 teacher will discover that she has improved on her 
 plan. The self-criticism of a young teacher is 
 bound to count as an element in her success. If the 
 teacher must present the same lesson to several sec- 
 tions of a class, it would be wise to try different 
 methods of approach in presenting the same lesson 
 and compare the results. 
 
 Before planning the lesson of the day, the domestic- 
 art teacher must have clearly in mind, if possible, 
 the plan of action for the year. This will be dis- 
 
66 DOMESTIC ART 
 
 cussed under courses of study for elementary and 
 secondary schools. This yearly course will be made 
 
 outline of U P ^ a num ker of problems to be pre- 
 senesofies- sented. A problem may need from one 
 
 sons to pre- 
 cede the daily to ten lessons, or more, for its com- 
 pletion, and for each one of these day 
 lessons a definite plan should be prepared. Before 
 planning for each day it is well for the teacher to 
 make a general scheme, which will give a bird's- 
 eye view, as it were, of the lessons given to the 
 accomplishment of that problem, or to plan the 
 series of lessons so that she may be sure to group all 
 the material to be presented about that series of 
 lessons. By this method it is easy for her to dis- 
 tribute the supplementary material throughout the 
 series, and to keep constantly in mind the results 
 to be accomplished. It is well, too, for the teacher 
 to know what materials are to be used, the amount 
 and cost per child, as well as the illustrative materi- 
 als, books, and supplementary talks. 
 
 The following scheme for the series of lessons, 
 covering in a general way the work to be accom- 
 plished, may be suggestive, as well as the daily 
 lesson plans which follow. They will serve to 
 illustrate the points made above. 
 
PLANNING A DOMESTIC-ART LESSON 
 
 6 7 
 
 STUDENT PLAN 
 
 OUTLINE FOR SERIES OF LESSONS 
 
 Subject. Cooking apron. 
 
 School. Elementary School, New York. Grade. yth. 
 
 Age. ii to 15 years. Average age, 13 years. 
 
 Number of Lessons. Nine approximately i hour each. 
 
 Teachers' Aims. 
 
 (Ethical). To develop self-reliance arising from con- 
 sciousness of ability to do. 
 (Social). To emphasize the importance of cleanliness 
 
 and economy. 
 (Concrete). To compass the steps necessary in the 
 
 planning and making of a cooking apron. 
 Pupils' Aim. 
 To cut and make a cooking apron neatly by machine. 
 
 Finished apron. 
 
 Samples of material suitable for aprons. 
 Samples of bleached and unbleached 
 material. 
 
 f Hems. 
 
 Stitching. 
 
 Illustrative { Samples showing j Gathering. 
 
 Buttonholes. 
 Sewed-on buttons. 
 
 Materials 
 
 To be used 
 
 Demonstration frame. 
 
 Chalk. 
 
 Blackboard. 
 
 Scissors. 
 Pencils. 
 Thread. 
 
 Sewing boxes containing 
 
 Tape measure. 
 Needles. 
 Thimbles. 
 Pins. 
 
 Apron lawn for the aprons. 
 Buttons. 
 
68 
 
 DOMESTIC ART 
 
 Use. 
 
 I. Discussion of choice of material accord- Suitability. 
 ing to Durability. 
 
 , Cost. 
 II. Economical cutting. 
 
 III. Bleaching of materials. 
 
 IV. Making of apron. 
 Subject- (a) Laying hems. 
 
 Matter 1 (&) Basting. 
 
 (c) Stitching. 
 
 (d) Gathering. 
 
 (e) Stroking of gathers. 
 (/) Making buttonholes. 
 (g) Sewing on buttons. 
 
 V. Kinds of aprons. 
 
 VI. Textile talks on cotton manufacture. 
 Cost per child, 25 cents. 
 
 NOTE. This subject-matter to be presented during course of lessons. Not in order 
 given, but this ground to be covered as seems best in daily development of plans. 
 
 ELEMENTARY SCHOOL 
 
 DAILY PLAN. LESSON I 
 Grade VII. 
 
 Subject. Cooking apron. 
 
 Teachers' Aim. To have pupils gain an intelligent and 
 economical use of material through the planning and cutting 
 of a cooking apron. 
 
 Pupils 1 Aim. To cut the apron. 
 
 SUBJECT-MATTER* 
 
 METHOD 
 
 NOTE. Step of preparation. This 
 shows the method of questioning and of 
 preparation for the new facts to be pre- 
 sented. It is introductory and leads to new 
 work. 
 
 Introduction. As you know, I have been visit- 
 
 ing, several days, in your school- 
 room. I want to speak of some- 
 
 * This subject-matter column should show the material which the teacher has in mind 
 on this subject as best fitted for the children in this particular class. This is the first 
 lesson only on this subject and shows only the subject-matter for the first lesson. 
 
PLANNING A DOMESTIC-ART LESSON 
 
 69 
 
 Reference to neatness of desks. 
 
 The kitchen another place where 
 neatness is necessary. 
 
 Cooking apron. 
 
 To help keep the work and 
 clothes of the wearer clean, 
 f Color. " 
 
 Material. 
 
 Aprons differ in | Style of making. 
 Durability. 
 Cost, 
 according to their use. 
 
 Materials suitable for cooking 
 aprons lawn, cambric, gingham, 
 and calico, etc. 
 
 An apron worn by a person 
 cooking should always be clean. 
 
 White or light colors are the 
 most desirable for cooking aprons. 
 
 thing I have noticed while there 
 and that is the neatness of your 
 desks. 
 
 I was glad to see it because I 
 felt that girls who had formed the 
 habit of keeping their desks neat 
 would be quite likely to be neat 
 about other things, so I hoped 
 your work in sewing would be as 
 neat as your desks. 
 
 Neatness is desirable in many 
 places. It is very necessary in 
 the kitchen. 
 
 When in the kitchen we not 
 only want to keep the kitchen neat, 
 but want to keep ourselves neat 
 also. 
 
 What could we make in the sew- 
 ing class which would help to keep 
 us neat when at work in the cook- 
 ing class? 
 
 Why are aprons worn ? 
 Are all aprons alike? 
 How do they differ? 
 
 Of what materials may cooking 
 aprons be made? 
 
 In what condition should the 
 cooking apron always be ? 
 
 Do you think light or dark 
 colors would be best to use for 
 cooking aprons? 
 
7 
 
 DOMESTIC ART 
 
 Advantages 
 
 (1) They show when soiled, 
 therefore are not as apt to be worn 
 after they become soiled. 
 
 (2) As white soils easily the 
 wearer will be more careful about 
 her work. 
 
 (3) White is more cheerful and 
 looks better than a dark color. 
 
 Cooking aprons to be made of 
 apron lawn, which is 40 inches 
 wide and costs n cents per yard. 
 
 Other suitable materials, for 
 aprons, to be collected and width 
 and price noted. 
 
 A pattern is not necessary for a 
 cooking apron when the maker has 
 a model, or a clear idea of the 
 kind of apron desired. 
 
 Why ? What are the advantages 
 of white and light colors ? 
 
 length of 
 
 Size of the apron 
 
 f Apron. 
 Bib. 
 Belt. 
 [ Straps. 
 Width of apron and bib. 
 Width of belt and straps 2 
 inches. 
 
 Size of f Wide, 2 inches, 
 hems I Narrow, | inch. 
 
 Measures taken of person for 
 whom apron is being made. 
 
 Length of skirt. 
 
 Length of strap from waist, over 
 the shoulder, and across the back. 
 
 Size of waist. 
 
 I have apron lawn for you to 
 use for your aprons, but I would 
 like to have you bring some sam- 
 ples next Friday of materials either 
 white or colored which you think 
 would be suitable for aprons. 
 
 Find out the cost and width of 
 the material you select. 
 
 NOTE. Beginning of the presentation of 
 the new work, the aim being to cut the 
 apron. Notice method of developing ideas 
 in relation to cutting. 
 
 Let us see how many things we 
 must think about in cutting out 
 an apron. 
 
 Is it necessary to have a pattern 
 for a cooking apron ? 
 
 After the material is selected 
 what is the first thing that must 
 be decided upon? 
 
 How may this be determined? 
 (Children to take each other's 
 measures. Each child to write 
 down her own measures.) 
 
PLANNING A DOMESTIC-ART LESSON 
 
 Cut with the warp threads run- 
 ning lengthwise of the pieces. 
 
 For strength. 
 
 Two widths will be needed. 
 
 Avoid a seam in the centre of 
 the front by dividing one width 
 lengthwise through the centre and 
 sewing one-half width on each 
 side of the whole width. 
 
 Two pieces for belt. 
 Two pieces for straps. 
 One piece for bib. 
 
 Waist measure taken loosely, 
 i inch allowed for lap and inch 
 for finishing. 
 
 Which way of the material will 
 the pieces be cut? 
 
 Why? 
 
 Will one width be sufficient for 
 the skirt of the apron? How 
 many will be needed? 
 
 Would a seam be desirable in 
 the centre of the front ? 
 
 How may this be avoided ? 
 
 What other pieces will be 
 needed ? 
 
 How wil1 the size of the belt be 
 determined? 
 
 How can we cut the pieces re- 
 quired from the material we have 
 to the best advantage? 
 
 \ A 
 1 
 8* 
 
 V 
 
 3 
 
 
 Centre 
 Width 
 
 Side Width 
 
 i 
 > 
 
 \ 
 
 c 
 
 
 | 
 
 
 
 
 Side Width 
 
 i 
 
 : 
 
 \ 
 \ 
 
 c 
 
 4* 
 / 
 
 2 
 / 
 
 Shoulder Strap 
 
 Shoulder Strap 
 
 , 
 
 Belt 
 
 (Use the board for illustrating, ask children to suggest ways of 
 arranging the parts.) 
 
72 DOMESTIC ART 
 
 Begin at the straight end of the Where will you begin to cut? 
 
 cloth. 
 
 Pieces to be measured, marked 
 with pins, creased, and cut on 
 crease. 
 
 Compare and discuss different 
 ways of arrangement if the class 
 has suggested them, if not give 
 only one drawing. 
 
 Directions for work. 
 Give each child a piece of lawn 
 2 yards long. 
 Pass scissors. 
 
 Work- 
 Measuring and cutting of pieces. 
 
 Strip for belt. 
 
 Two strips to go over the 
 shoulder. 
 
 Some material can be measured 
 and torn, but this lawn does not 
 tear satisfactorily so we will meas- 
 ure it carefully, mark with pins, 
 crease, and then cut on the fold. 
 
 I would like to have you cut 
 your aprons out to-day, but when 
 you measure and crease a line I 
 want to see it each time before it is 
 cut. 
 
 This is a statement of aim of work for 
 the day. 
 
 (1) On one side of cloth meas- 
 ure a 6j" strip the entire length of 
 the cloth. 
 
 Mark with pins or pencil dots. 
 Crease on places marked. 
 After I have seen it, cut on the 
 crease. 
 
 (2) Measure a 2" strip off the 
 6" strip in the same manner. 
 
 (3) Fold the 4^" strip cross-wise 
 through the centre, be sure to fold 
 the edges together evenly, crease 
 and cut as before. 
 
 (4) Fold and pin these three 
 strips together. 
 
 (5) From the straight end of the 
 cloth measure 27" on both edges 
 and in the centre, fold on marks 
 and crease, before cutting on the 
 crease see that material is evenly 
 folded and cut across goods along 
 the even edge. 
 
PLANNING A DOMESTIC-ART LESSON 73 
 
 Middle width and piece to be (6) Cut on the fold; this gives 
 
 divided. two pieces the same size, zfx 
 
 33*"- 
 
 Side pieces. (7) Fold one of them length- 
 
 wise through the centre, crease, 
 and cut. 
 
 (8) Pin these two pieces to the 
 largest piece you have. 
 
 (9) You have one piece left. 
 How long is it ? 
 
 Bib. (id) Measure a piece 9" long 
 
 and 8" wide, fold, crease and cut. 
 Round corners slightly at lower 
 edge. 
 
 (n) Fold the small piece that 
 is left and put it in your sewing- 
 box. 
 
 (12) Fold your work and pin 
 your name on it. 
 
 Work put away. Put things away in your sewing- 
 
 Scissors collected by one child. boxes. 
 
 As soon as your work is put 
 away sit down and face this way. 
 
 Summary of points brought out How many think they could cut 
 
 in the lesson. an apron out at home like the one 
 
 we have just cut ? 
 
 Suppose you were going to 
 make one for some one at home, 
 who can tell me how to begin it ? 
 
 What would you do next? 
 
74 DOMESTIC ART 
 
 STUDENT PLAN 
 OUTLINE FOR SERIES OF LESSONS 
 
 Subject. Weaving rug. 
 
 School. Elementary. 
 
 Grade. III. 
 
 Number of Children. 22. 
 
 Age.S-q. 
 
 Number of Lessons. 5. 
 
 Teachers' Aims. 
 
 (a) Practical; weaving rug with pattern. 
 
 (fy Ethical; habits of accurate thinking and doing, per- 
 severance, and patience. 
 
 (c) Social; relation of rug- weaving to home and school, 
 adaptation of material used. 
 
 Pupils' Aim. Weaving rug. 
 
 Materials. 22 pieces cardboard, belt punch, 44 balls jute 
 (several colors), paper, No. 19 tapestry needles, scissors, 
 thimbles. 
 
 Cost per Child. 5 cents. 
 
 Illustrative Material. Blackboard, small pieces of canvas 
 showing selvage and warp and woof, large cardboard with 
 bright- colored jute for demonstration, rug on small cardboard 
 partly woven, finished rug. 
 
 Outline of Subject-Matter. 
 
 (1) Weaving rug. Planning size, arranging holes for warp 
 thread, threading needles, making knot, putting in warp 
 thread, weaving woof threads (darning, shuttle, heddle, batten) , 
 selvage, joining threads, making simple and pleasing stripe for 
 pattern, removing from card, fringing. 
 
 (2) Accuracy of thought, skill. 
 
 (3) Jute, cultivation, manufacture, use, adaptation. 
 
PLANNING A DOMESTIC-ART LESSON 
 
 75 
 
 DAILY PLAN. LESSON 2 
 
 Subject. Weaving rug. 
 School. Elementary. 
 Grade. 3d. 
 
 Teachers' Aim. Have pupils put in pattern of two stripes 
 and begin weaving centre of rug. 
 Pupils' Aim. To weave part of rug. 
 
 SUBJECT-MATTER 
 
 Drew woof threads too tight, so 
 made width of rug uneven. Didn't 
 tighten up the woof enough to 
 make good, firm, solid material. 
 
 In weaving, the jute was passed 
 under and over the first time across, 
 and over and under coming back. 
 
 Join well in toward centre, 
 never on selvage. Leave ends 
 about i" long on wrong side. See 
 Lesson i. 
 
 METHOD 
 
 Every one looks happy and eager 
 to work this afternoon. I'm glad, 
 for we have a great deal to do and 
 we'll want to do it well. You've 
 heard the old saying, "What's 
 worth doing at all, is worth doing 
 well." I'm sure we all feel that it 
 is worth while to weave a small 
 rug for the doll's house and so it is 
 worth weaving well. 
 
 Let us think for just a second 
 what troubled us in our weaving 
 last week. William, can you tell 
 us? 
 
 We'll try to overcome those faults 
 to-day and keep the woof threads 
 loose enough to make rug even; 
 also push the woof thread well up 
 to the end every time. 
 
 Just how did we put in the woof 
 threads? 
 
 Who remembers how we piece 
 the thread? 
 
7 6 
 
 DOMESTIC ART 
 
 Demonstration on blackboard 
 and large cardboard, illustrating 
 method of going over and under 
 the alternate threads and of piec- 
 ing the woof by lapping near the 
 middle of woven material. 
 
 Demonstrate with bright color. 
 
 Pass rugs, jute, scissors. 
 Work begins. 
 
 Woven two stripes and begun 
 on centre, keeping width even and 
 woof well battened. 
 
 Over and under alternate 
 threads, careful joining of thread, 
 width of rug, close firm mesh. 
 
 I expect every child to put in 
 two narrow stripes and begin 
 weaving centre of rug. Every 
 pupil ought to have a good rug. 
 
 Stripe is to be of different color. 
 Begin near centre under same warp 
 thread with first color. Weave in 
 two or three threads across for nar- 
 row stripe and six or seven for 
 wide one with few threads of brown 
 between. 
 
 On last row of stripe leave off 
 where you began. Cut thread 
 with long end, leaving it on wrong 
 side of rug. 
 
 Tell the class, Lulu, what they 
 are expected to do in the next half 
 hour. How many think they can 
 do it, and do it well? Good! 
 we'll be first-class weavers. 
 
 Those who have done what I 
 asked them to do, hold up rug, 
 please. We've done very well 
 this afternoon. 
 
 What are the things we need to 
 keep in mind to be good weavers? 
 
 Collect. 
 
PLANNING A DOMESTIC-ART LESSON 77 
 
 STUDENT PLAN 
 OUTLINE FOR SERIES OF LESSONS 
 
 Subject. Making a petticoat. 
 School. Public. Grade. 8th. 
 Age of Children. 14. 
 Number of Lessons. 12. 
 
 Teachers' Aim. To teach the girl to make a neat, useful 
 petticoat for herself by machine, to give her an understanding 
 of the varying conditions under which ready-made underwear 
 is made, and the girl's responsibility as a consumer. 
 Pupils' Aim. To make a petticoat for herself. 
 Materials. 
 (a) Actual (for each girl): 
 
 Cambric, 2 lengths. 
 
 Ruffling, 34 yards. 
 
 Button. 
 
 Thread, No. 50 and No. 80. 
 
 Needles. 
 
 Scissors. 
 
 Thimble. 
 
 Tape measure. 
 
 Pins. 
 
 Emery. 
 (6) Illustrative: 
 
 Paper. 
 
 Demonstration cloth. 
 
 Pictures of factory life, sweat-shop labor. 
 
 Work of the Consumers' League in bettering con- 
 ditions. 
 
 Plackets of various kinds. 
 
 Finished skirts. 
 
78 DOMESTIC ART 
 
 Subject-Matter. 
 
 Points covered in making the petticoat: 
 
 (1) Cutting of the skirt from two lengths of material. 
 
 (2) Pinning and basting seams. 
 
 (3) Making French seams. 
 
 (4) Putting in the straight placket. 
 
 (5) Preparation of the top of the skirt for the band (sloping, 
 gathering). 
 
 (6) Fitting the skirt to the band. 
 
 (7) Putting on the band. 
 
 (8) Preparation of the bottom of the skirt for the ruffle. 
 
 (a} Curving the bottom of the skirt (not necessary 
 
 when cutting from a pattern). 
 (6) Creasing and stitching the J-inch tuck. 
 (c) Division of skirt into quarters. 
 
 (9) Preparation of the ruffle: 
 
 (a) Cutting to desired width. 
 
 (b) Joining. 
 
 (c) Division into quarters. 
 
 (d) Gathering. 
 
 (10) Fastening of the ruffle to the skirt. 
 
 (u) Button-hole (practice, then make in the band). 
 (12) Sewing on the button. 
 
 DAILY PLAN. LESSON 8* 
 
 Subject. Making a petticoat by machine. 
 School. Public. Elementary. 
 .Grade 8th. 
 
 Length of lesson One hour. 
 
 Teachers' A im. To stroke the gathers of the ruffle. To baste 
 a parH)f the ruffle to the skirt, distributing the gathers properly. 
 *NOTE: The first seven plans are omitted; this is given as a type. 
 
PLANNING A DOMESTIC-ART LESSON 
 
 79 
 
 Pupils 1 Aim. To stroke the gathers of the ruffle. To baste 
 a part of the ruffle to the skirt, distributing the gathers properly. 
 
 SUBJECT-MATTER 
 
 To prepare the ruffle for gather- 
 ing, these steps were taken: 
 
 1. Cutting of the ruffle to the 
 desired width. 
 
 2. Joining of ruffle (French 
 seam). 
 
 3. Dividing of ruffle into quar- 
 ters. 
 
 An embroidery ruffle is prepared 
 in the same way. 
 
 In a cloth ruffle, the woof threads 
 extend the length of the ruffle and 
 the warp threads up and down 
 the same way as in the body of the 
 skirt. The material cuts to bet- 
 ter advantage in this way and the 
 ruffle looks better (falls into pret- 
 tier folds). 
 
 In making a cloth ruffle, a num- 
 ber of strips should be torn across 
 the material. 
 
 The depth of the strips = the 
 depth of the ruffle when finished + 
 the amount for tucks, hem, and 
 making. 
 
 METHOD 
 
 Tell me very briefly how you 
 prepared your ruffle for the gather- 
 ing simply name the steps. 
 
 Can you think of any other kind 
 of ruffle that would be prepared in 
 the same way ? 
 
 We seldom get ruffling already 
 prepared for us. If we wish to have 
 a cloth ruffle we must usually cut it 
 and make it. 
 
 How many of you have ever 
 made a cloth ruffle or have seen one 
 made ? Which set of threads ex- 
 tended the length of the ruffle? 
 Why? 
 
 (Teacher shows a cloth ruffle on 
 a skirt.) 
 
 (Teacher makes a diagram on 
 the board to illustrate the way in 
 which the strips are torn for the 
 ruffle.) 
 
 In measuring the depth of the 
 strips, for what would you have to 
 allow? 
 
8o 
 
 y 
 
 DOMESTIC ART 
 
 The number of strips needed de- 
 pends upon: 
 
 (1) The width of the material. 
 
 (2) The width of the skirt 
 around the bottom. 
 
 (3) The amount of fulness de- 
 sired (usually i \ times). 
 
 What would determine the num- 
 ber of strips needed? 
 
 After the strips are cut, they are 
 joined. 
 
 The hem and tucks are then put 
 in. The ruffle is quartered and 
 gathered. 
 
 (Teacher names the steps taken 
 in finishing a cloth ruffle.) 
 
 Before the ruffle is fastened to 
 the skirt, the gathers must be 
 stroked. It was not necessary to 
 stroke the gathers at the top of the 
 skirt, because there were two rows 
 of gathering. 
 
 /In the ruffle there is but one row 
 of gathering, therefore it is neces- 
 sary to stroke the gathers. 
 
 I shall show you to-day how to 
 stroke the gathers quickly. 
 
 Stroke gathers because it is a 
 help in getting them distributed 
 evenly. 
 
 (Teacher explains reason Tor 
 stroking gathers and demonstrates 
 the stroking.) 
 
 For fine materials, stroke the 
 gathers with a coarse needle. For 
 heavier materials, stroke the gath- 
 ers by drawing them between the 
 thumb and forefinger pressing 
 them. The gathering thread is 
 held firmly may be pinned to the 
 knee. 
 
 (To show the importance of 
 stroking gathers, teacher shows 
 two gathered pieces. In one, the 
 gathers will have been stroked; 
 in the other, not.) 
 
PLANNING A DOMESTIC-ART LESSON 
 
 8l 
 
 After the gathers are stroked, the 
 ruffle is ready to be fastened to the 
 skirt. 
 
 Divide the skirt into fourths cor- 
 responding to the division of the 
 ruffle. Mark the divisions with 
 several large stitches. 
 
 Since the ruffle was quartered 
 for the gathering, what should be 
 done to the skirt before attaching 
 the ruffle, in order to get the gathers 
 evenly distributed? 
 
 In pinning and basting the ruffle 
 to the skirt, the following points 
 should be considered: 
 
 (i) Wrong side of ruffle to 
 wrong side of skirt; (2) joining of 
 ruffle in the back, divisions placed 
 to correspond; (3) draw r up the 
 gathering thread and wind it 
 around a pin; (4) pin (pins ex- 
 tending at right angles to the 
 gathering thread), distributing the 
 gathers evenly, gathered side next 
 to the worker; (5) baste (being 
 careful not to disarrange the 
 gathers) J-inch seam. 
 
 I shall show you how to pin and 
 baste the ruffle to the skirt. 
 
 (Teacher demonstrates the pin- 
 ning and basting of the ruffle to 
 the skirt.) 
 
 Now you may stroke the gath- 
 ers of your ruffle, then fasten the 
 ruffle to the skirt. Every girl 
 should get at least one quarter of 
 her ruffle basted to-day. 
 
 Girls work for remainder of 
 hour, and after work is collected 
 there is a brief summary as sug- 
 gested by the question following 
 practical work. 
 
 Practical work. 
 
 What do you think we must be 
 most careful about in basting the 
 remainder of the ruffle in place ? 
 
82 DOMESTIC ART 
 
 Students of domestic art in training will find it 
 of great assistance to visit domestic-art classes for 
 observation and discussion. If this can be done in 
 groups, the discussions will prove of much greater 
 value. It is well to have, before visiting a class, a 
 pretty clear idea of the relation of domestic art to 
 other grade subjects, and to have discussed the value 
 of industrial lines of work, methods of presentation, 
 etc. The greater knowledge attained along these lines 
 before visiting, the greater will be the benefits derived, 
 and the eyes will be opened to many things before 
 unseen. There must be some basis for judgment of 
 the lesson observed. It is well, also, for students to 
 visit before there is much basis for judgment and 
 then later, when the thoughts have become better for- 
 mulated and arranged. The students' ideas should 
 not be moulded by the teacher, but liberated so they 
 will think and be free to observe for themselves. 
 
 The test for the judgment of a domestic-art les- 
 son is whether it is adapted to the physical and 
 psychical nature of the child or pupil. Again, an- 
 other test is, Has the environment been kept in mind ? 
 The theory of the student-teacher, or the idea of 
 how the thing is done, the plan of action, is often 
 very different from the actual practice. Experi- 
 
PLANNING A DOMESTIC-ART LESSON 83 
 
 ence or practice should enable a teacher to under- 
 stand herself, and then to formulate her own theory, 
 for it is only with experience that there comes a 
 clearing up of thought. This means that there is 
 control and appreciation of action and that the 
 teacher has reached the creative stage and under- 
 stands the reactions. 
 
 The following outline may be suggestive to those 
 not used to observing. It is wise to enter the name 
 of class, date, etc., with full particulars in the note- 
 book, under the following heads. The points may 
 be discussed later and much benefit derived from the 
 individual efforts made at observation. 
 
 OBSERVATION 
 
 (a) School. 
 
 (b) Grade. Number in class. 
 
 (c) Date, and name of teacher. 
 
 (d) Subject. 
 
 (e) Time allowed. 
 
 1. The Pupils 
 
 (a) Physical condition, general health, sight, hear- 
 ing, any defects. Are these considered in any way 
 by teacher, in her plans or instructions? 
 
 (b} Mental aspects. 
 
84 DOMESTIC ART 
 
 (1) Notice attention of children. How gained? 
 Lack of attention. Causes. 
 
 (2) Note differences between the alert and active 
 child-mind and slow or deficient child. Was class 
 sacrificed for backward children? Effects of home 
 training. 
 
 (3) Habit formations of the children, notice if 
 these conduce to economy of tim'e in class. 
 
 (4) Notice use made by teacher of other impulses, 
 or instincts of the child, as play, curiosity, jealousy, 
 wonder, sympathy, etc. 
 
 II. The Teacher 
 
 (a) Type of lesson observed? Reasons why? 
 
 (1) Aim? Was it accomplished? 
 
 (2) Was the method adapted to aim of lesson? 
 
 (3) State leading steps in the development of the 
 lesson. 
 
 (4) Were the questions of the teacher logical; 
 strong, or weak? 
 
 (5) What appeared to you to be the best thing ac- 
 complished by the lesson? 
 
 (6) Were the children taught to think about the 
 relation of the subject to any social problem ? If so, 
 what, and with what results? 
 
 (7) Was there any application of the lesson taught ? 
 If not, why? How might it have been done? 
 
 (8) Would you have presented the lesson in any 
 different way? 
 
PLANNING A DOMESTIC-ART LESSON 85 
 
 (b) Class management. 
 
 (1) Devices for securing attention. 
 
 (2) Skill and rapidity. Economy of time. 
 
 (3) Storage and distribution of materials. 
 
 (4) Ventilation, heating, and lighting. Order of 
 class-room. 
 
 (5) Class spirit. 
 
 (6) Devices for attending to routine matters. 
 
 (c) Personality of teacher. 
 
 (1) Appearance, manner. 
 
 (2) Peculiarities of habit. What effect, if any, do 
 these have on the class ? 
 
 (3) Did you notice any particular result of teacher's 
 influence ? 
 
 III. The Equipment 
 
 (a) General. 
 
 (b) Illustrative; devices for inexpensive equipment 
 and use. 
 
 (c) Storage of equipment, permanent or tem- 
 porary. 
 
 IV. The Curriculum 
 
 (a) Notice general curriculum of school. 
 
 (b) Notice curriculum in domestic art. Any at- 
 tempt at correlation. 
 
 (c) Read curriculum of grade under observation, 
 as well as previous work in domestic art. 
 
86 DOMESTIC ART 
 
 REFERENCES FOR STUDY 
 
 "The Method of the Recitation," McMurray. 
 "Teacher's College Record," January, 1903. 
 "Essentials of Method," De Garmo. 
 "The Educative Process," Bagley. 
 
CHAPTER VI 
 THE ECONOMICS OF DOMESTIC ART 
 
 THE cost of the introduction of industrial work 
 into the elementary school will vary according to 
 cost of domes- the ways and means adopted and the 
 eiemeltfry* 116 in g enuit y and versatility of those who 
 school. nave jt in charge. There need be no 
 
 special room for this work unless space is available. 
 It is always an incentive to the children, however, 
 to have a special place where this work may be 
 carried on, and is of great assistance to the teacher. 
 There she may collect pictures, looms, spinning 
 wheels, exhibits of many kinds which will aid her 
 in giving instruction and be constantly on exhibi- 
 tion for the children's use. The classes will go to 
 this room for the domestic-art work, especially the 
 upper grades. If machine work is given as part 
 of the course, it is almost necessary to have a special 
 room, although it is possible to have the machines 
 in the class-room. If the school is coeducational, 
 
 87 
 
88 DOMESTIC ART 
 
 this will necessitate certain changes, as the work 
 for the boys must be considered too. 
 
 In the lower grades the industrial work of which 
 the textile field is one phase may be carried on in 
 the class-room. The many possibilities in the w' '^ 
 range of material for selection make it possible 1 
 reduce the cost of this work to five cents per chi 
 per year of one hour a week. Many schools allo' 
 more than this. The cost of materials will deperd 
 too on the person in charge of the work. If left t 
 the individual grade teachers who know nothing 
 of this field of work, there is apt to be a greater 
 waste than if there is a well-trained ingenious super- 
 visor to control costs. Such supervisors will com- 
 mand salaries ranging from $1,200 to $2,500 and 
 in some instances in large school systems $3,000 
 and more. This is really an economy in the long 
 run, for the work will progress more smoothly, it 
 will be better planned, the children will be better 
 taught, with better results, and there will be a saving 
 in expenditure for materials. 
 
 The permanent equipment in the lower grades 
 may be very inexpensive. A general supply of 
 scissors, emeries, tape-measures, etc., may be taken 
 from room to room if it is not possible to have 
 
THE ECONOMICS OF DOMESTIC ART 89 
 
 enough for each grade. Thimbles may be brought 
 from home by the children and so the cost of perma- 
 nent equipment be reduced to almost nothing. The 
 same may be true of materials used. A teacher 
 v 10 is awake to the possibilities of odds and ends 
 at are thrown into the waste-basket will be able 
 reduce the cost greatly. If it is possible to have 
 v he equipment for each grade, it may be bought as 
 follows : 
 
 i dozen thimbles 25 
 
 i " emeries 40 
 
 i " scissors 3.00 
 
 i " tape measures 40 
 
 i " boxes for work 84 
 
 Permanent equipment for one dozen children $4.89 
 
 If it is not possible to afford the cloth-covered 
 boxes for the work, as itemized above, envelopes of 
 bogus paper may be made and decorated by the 
 children, or it may be possible to obtain from some 
 local shoe department store boxes of uniform size 
 and shape, for very little cost, and often for nothing. 
 Tools for other lines of hand-work besides the 
 sewing are scarcely necessary. Clay work may 
 require a simple woodwool, but one can manage 
 without it, or with an odd bit of wood sharpened to 
 
QO DOMESTIC ART 
 
 a point, which need cost nothing. For weaving 
 there are many simple looms on the market ranging 
 in price from 20 cents to $1.50, but it is far bet- 
 ter to have the children make their own looms of 
 cardboard or wood. Cardboard and paper work 
 in the lower grades need necessitate very little ex- 
 penditure for tools. The scissors used for the sew- 
 ing may be used, although it is better to have a 
 separate set for paper work. This set may be used 
 also for the other industrial work of the lower 
 grades. 
 
 In the. upper grades the cost of maintenance of 
 the work will vary. Some school boards allow as 
 much as twenty-five cents per year per child. This 
 will make possible a number of small applications 
 for stitches. If large articles or garments are made, 
 the parents are quite willing to pay for the cost, as 
 they realize the utilitarian value of the product. 
 The teacher should be careful, however, to have the 
 children make articles which will fit the needs of the 
 home. If a child is too poor to pay for the cost 
 of the article, the child may earn it by service in 
 school, or it may be made for sale and bought by 
 the teachers for exhibit or other purposes. Visitors 
 often ask for samples of the children's work, and 
 
THE ECONOMICS OF DOMESTIC ART 91 
 
 sales may be made in this way. It is almost a neces- 
 sity to have a special teacher in the upper grades, 
 and really an economy, although the work is often 
 conducted by the grade teacher. The equipment in 
 the way of tools may cost very little as outlined above, 
 and one set of tools may be used for all the classes ; 
 or each grade may have its own, which is of course 
 more desirable. The cost of furnishings for a simple 
 laboratory may be kept very low. The room should 
 be large enough to seat the children comfortably, 
 should be well lighted, the walls tastefully decorated, 
 and have convenient space for storing materials. 
 This room is almost a necessity where the school 
 is a local centre for work and the children of 
 the neighboring schools attend it for their exer- 
 cises in domestic art. This method is adopted in 
 smaller towns and cities in order to reduce the 
 cost. 
 
 The special room is also an incentive to work. 
 Children will often visit it at odd periods for com- 
 pletion of back work, or because of interest in the 
 exhibits and a desire to study. It should be a cen- 
 tre for such information as the teacher of domestic 
 art has to give. There should be low chairs for 
 sewing, work tables, a cutting table, machines, 
 
92 DOMESTIC ART 
 
 blackboard, etc. This special room may often be 
 used for other purposes, as the sewing classes may 
 not occupy it during all the periods. On that 
 account it is wise to have folding tables which may 
 be removed when it is necessary to clear the floor 
 space. Tables hinged and attached to the walls 
 may be let down and be out of the way when it is 
 necessary to remove them. The following is a list 
 with cost of a simple, inexpensive laboratory equip- 
 ment for grade school use for twenty-four pupils: 
 
 2 dozen chairs $24.00 
 
 8 work tables 16.00 
 
 2 cutting tables (kitchen tables stained) . 6 . oo 
 
 4 sewing machines 100.00 
 
 Teacher's desk 10.00 
 
 " chair 3.00 
 
 i demonstration cloth and needle .... .50 
 
 i dozen waist forms 6.00 
 
 1 gas stove i . 50 
 
 2 flatirons -7 2 
 
 i mirror 2.00 
 
 Total cost $169.72 
 
 Good work may be done with the inexpensive 
 equipment. Elaborate furnishings do not tend to 
 increase the output or quality of the work. Addi- 
 tional facilities contribute to ease and convenience 
 
THE ECONOMICS OF DOMESTIC ART 93 
 
 of the worker and especially the teacher. A more 
 
 expensive equipment is added below for upper 
 grade use: 
 
 2 dozen chairs $36. oo 
 
 i dozen work tables 36.00 
 
 6 cutting tables . 60 . oo 
 
 6 sewing machines 180.00 
 
 i exhibit case 30.00 
 
 i teacher's desk 15 .00 
 
 i " chair 3.00 
 
 i mirror 20.00 
 
 i gas stove 3-o 
 
 6 flatirons 3 . oo 
 
 i screen 6.00 
 
 i demonstration frame 2.00 
 
 i bulletin board 3-oo 
 
 i roll case for storing pupils' work accom- 
 modating 4 classes 75 .00 
 
 6 waist forms 3 . oo 
 
 i ironing board i . 50 
 
 Total cost $476.50 
 
 The cost of the laboratory equipment for the high 
 school need be little more than that of the special 
 cost in high room for upper grade work. The addi- 
 tional expense will probably be for the 
 necessary articles for drafting and garment-making, 
 such as yard-sticks, skirt forms, etc. 
 
94 DOMESTIC ART 
 
 The cost of the temporary equipment for both 
 elementary and high school will depend somewhat 
 on the method of purchase of materials. Materials 
 bought at wholesale in large quantities may be 
 obtained at great reduction. The care and use of 
 the temporary equipment will also regulate the 
 cost. 
 
 The cost of equipment in other types of schools 
 will vary according to aim, number of pupils to be 
 accommodated, and the elaborateness of outfit. 
 The equipment need not necessarily be expensive. 
 The following lists of cost of articles will furnish 
 suggestions for those interested in both expensive 
 and inexpensive equipment: 
 
 Bias cutter and marker $5.00 
 
 Boxes sewing cloth - covered 8x14x24, 
 
 per hundred 18.00 
 
 i8xi6jx4f, per hundred 45 .00 
 
 6jx4jx3, per hundred 8.00 
 
 Bulletin boards, each 3.00 to 5.00 
 
 Chairs 
 
 Bent wood, with cane seat, each ... 1.25 
 
 Kitchen chairs (to be stained), each . . .50 
 
 Willow (for office use), each 5-oo 
 
 Desk chairs (revolving, bent wood), each 3.50 
 
 " (with arms), each .... 5.00 to 12.00 
 
 Laboratory chair (better class) each . . 3 . oo to 5 . oo 
 
THE ECONOMICS OF DOMESTIC ART 95 
 
 Cases 
 
 Bookcases, each 10.00 to 50.00 
 
 Storage for work for 50, each . . . . 30.00 to 75.00 
 
 Exhibit cases gowns and hats, each . . 50.00 to 100.00 
 Exhibit cases flat, according to size and 
 
 finish 25. oo to 75.00 
 
 Exhibit cases sliding glass doors, accord- 
 ing to size and finish 25. oo to 75.00 
 
 Ironing cabinets zinc top (for ironing 
 
 outfit made to order) 15 .00 
 
 Desks 
 
 Flat top well finished, with side drawers 25.00 
 
 Flat top table without side drawers . . 12.00 
 
 Roll-top desks for office use, each . . . 10.00 to 75.00 
 Dress forms 
 
 Full length, each 3.00 to 8.00 
 
 Waist length, each .50 to 4.00 
 
 Demonstration frames (made to order), each i . oo to 5 . oo 
 
 Emeries, per dozen 25 to .50 
 
 Embroidery rings, per dozen 75 
 
 " holders (Priscilla), per dozen . 2.50 
 Files 
 
 Letter files (for office use), each . . . . 20.00 to 50.00 
 
 Card boxes and cataloguing schemes, each i . oo to 50 . oo 
 
 Gas stoves, each i . 50 to 5 . oo 
 
 Irons, according to style and weight, each . .36 to i.oo 
 
 Electric irons, 4 lb., nickel, each . . 3.75 
 
 " " 6 " " " . . 5.75 
 
 ft U I2 U U g QQ 
 
 Mirrors 
 
 Hand-mirrors, each 75 to 3.00 
 
 Triple folding wall-mirrors (millinery 
 
 purpose), according to size . . . . 5.00 to 25.00 
 
96 DOMESTIC ART 
 
 Triple folding dressmaking-mirror, each 30.00 to 75.00 
 
 Flat wall-mirrors, oak frames, according 
 
 to size . 2. 50 to 25.00 
 
 Machines 
 
 Single- and double-thread, each . . . 20.00 to 60.00 
 
 With motor attachment, each . . . . 60.00 to 70.00 
 
 Pedestals (for fitting), each 4.00 to 10.00 
 
 Pinking machine, each 5-oo 
 
 Plaiting machine, each 12.00 
 
 Rollers (paper) 
 
 Jumbo rollers, stand, each 5 . oo 
 
 Drafting-paper (per roll), each .... 5.00 
 Rugs (for office use), according to size and 
 
 quality 20.00 to 50.00 
 
 Rattan couch, each 15.00 
 
 Stools, 24-inch cane-seat, per dozen . . . 13 . oo 
 
 24-inch wooden-seat, per dozen .... 7 . oo 
 
 Screens, triple-folding, each 5 . oo to 20 . oo 
 
 Seatings, class-room, a seat 2 . oo to 4 . oo 
 
 Skirt-markers, each lo.ooto 25-00 
 
 Sleeve forms (per set 2), each 4.00 
 
 Scissors 
 
 Straight cutting, per dozen 3 . oo to 6 . oo 
 
 " shears, per dozen 5.00 to 10.00 
 
 Button-hole, per dozen 4 . 80 to 6 . oo 
 
 Tables 
 
 For conference purposes, each .... 20.00 to 200.00 
 
 Ironing ready-made, each i . 50 to 5 . oo 
 
 Ironing, made to order with wood top, 
 4x2 ft., according to size and finish, 
 
 each lo.ooto 15.00 
 
 Kitchen tables, 5 ft, each 2.00 to 3.00 
 
 Folding sewing tables, each . . . . . i . oo to 3 . oo 
 
THE ECONOMICS OF DOMESTIC ART 97 
 
 Drafting tables made to order 7 ft. long 
 by 3 ft. wide by 2 ft. 8 in. high, white 
 
 wood top, oak base, each 15.00 to 18.00 
 
 Drafting tables, removable tops and horses 
 
 for support, each lo.ooto 12.00 
 
 Sewing-tables made to order, oak, 6 ft. 
 
 long by 2 ft. 4 in. high, each . . . . 13.50 
 
 Tape measures, reversible, per dozen ... . 40 to .60 
 
 Tracing wheels, per dozen i . oo to 4 . oo 
 
 Thimbles, German silver, by gross ... 3 . 90 
 
 Wire-cutters, side-cutting, per dozen . . . 4 . oo to 6 . oo 
 
 Waist- and coat-hangers, per dozen . . . .36 to i.oo 
 
 Yard-sticks, per dozen i . 50 to 3 . oo 
 
 Illustrative material is rather difficult to collect. 
 
 The teacher of domestic art must be alert and seize 
 
 every available opportunity for getting 
 
 illustrative it. Many articles may be easily ob- 
 
 material. ... 
 
 tamed while travelling and through 
 interesting in the work the people one meets. 
 Expositions furnish opportunity for securing mate- 
 rial which will often be sold for little after the expo- 
 sition is over. Large manufactories sometimes 
 make boxes for sale illustrating the steps in the 
 manufacture of various materials such as thread, 
 needles, scissors, buttons, cotton, woollen, linen, or 
 silk materials. These will often be made to order, 
 but cost considerably more. The illustrative boxes 
 
9& DOMESTIC ART 
 
 range in price from $2.50 to $10.00 each. Through 
 correspondence with large museums an exchange or 
 purchase of articles may be made. Very often, too, 
 it is possible to have models made similar to those 
 seen in the museums, which are often copies of 
 originals. The domestic-art teachers should always 
 be on the lookout for pictures and clippings from 
 newspapers and magazines. These may be filed 
 for reference and often prove of great value. 
 
 The salaries of teachers of domestic art vary 
 
 according to locality and the demands made. 
 
 Teachers in the elementary school re- 
 
 Salaries. 
 
 ceive from $600 to $1,200 for upper 
 grade work. This demand is most often for a 
 teacher who can combine the teaching of sewing 
 and cooking. When the system is a large one the 
 demand is for separate teachers for each specialty. 
 Supervisors of domestic art in the elementary school 
 receive from $800 to $3,000, and sometimes more 
 if the system is a large one. The duties vary 
 with locality and conditions. Often the domestic- 
 art supervisor directs the industrial work of the 
 lower grades which is taught by the grade teacher, 
 and does the actual teaching in the upper grades. 
 Again the duties may be supervision of all the grades. 
 
THE ECONOMICS OF DOMESTIC ART 99 
 
 In other localities the domestic-art teacher does not 
 control the industrial work of the lower grades; it 
 may be under the direction of the manual training 
 or arts supervisor. The ideal condition is super- 
 vision only of the upper grade work for girls in 
 either cooking or sewing or both. This is quite 
 enough for any one person to do well. 
 
 The salaries of teachers in high schools range 
 from $900 to $2,000, according to kind of work and 
 length of service. Directors of departments in high 
 schools receive from $1,500 to $2,000. 
 
 In trade schools teachers receive from $800 to 
 $1,200, directors of departments from $1,200 to 
 $1,800, and school directors from $2,000 to $3,000. 
 
 In higher institutions, colleges for women, State 
 agricultural colleges, and normal schools, the 
 salaries vary from $1,200 to $3,500, according to 
 responsibility. 
 
CHAPTER VII 
 
 HOW TO KEEP IN TOUCH WITH PROGRESS IN THE 
 DOMESTIC-ART FIELD 
 
 THE writer has often been asked if domestic art 
 can be studied by correspondence. The answer has 
 always been, "No, not to advantage." It may 
 often happen, however, that a teacher has been 
 forced into this field of work, or is not quite ready 
 to go to a normal school for study, and in the mean 
 time may wish to come in touch with some of the 
 subjects. There are many lines of work in this 
 field, and the teacher of domestic art, if she is to do 
 the best kind of work, should know something about 
 psychology, the history of education, and the theory 
 and method of presenting this subject, as well as the 
 more technical work of sewing, dressmaking, and 
 millinery. A selected bibliography of these subjects 
 will be added later; much help and information may 
 also be gained from current magazines, reports of 
 associations, etc., all of which will help the teacher 
 in the field to keep in touch with the latest ideas 
 and movements. 
 
 100 
 
PROGRESS IN THE DOMESTIC-AR^ TIET^D; : '<r&l, 
 ASSOCIATIONS AND THEIR REPORTS 
 
 The annual reports of the following associations 
 are of particular help and can be had by becoming 
 a member of the associations, or by buying them 
 from the secretaries of these associations: 
 
 (1) National Education Association. Member- 
 ship $2.00. Irwin Shepherd, Winona, Wis. Gen- 
 eral educational papers of the annual meetings are 
 published in this report. All are of help, the reports 
 of the sections on trade and industrial work espe- 
 cially. 
 
 (2) Lake Placid Conference on Home Economics, 
 Lake Placid Club, Essex County, N. Y. Annual 
 report of papers read at yearly meeting, also of the 
 teachers' section, a mid- winter conference. These 
 are of particular value to teachers of domestic art 
 and science. (This conference ceased with the or- 
 ganization of the American Home Economics Asso- 
 ciation in January, 1909. Back reports are of much 
 help.) 
 
 (3) American Home Economics Association, mem- 
 bership $2.00; includes journal published bimonthly, 
 Teachers College, New York. Of interest to all 
 classes of workers in the field of home economics. 
 
 (4) Public Education Association of New York, 
 105 East Twenty-second Street, Room 520. 
 
I02/; DOMESTIC ART 
 
 (5) Society for the Promotion of Industrial Edu- 
 cation. Literature may be obtained from Mr. 
 Jas. C. Monaghan, Secretary, 546 Fifth Avenue, 
 New York City. 
 
 (6) Eastern Manual Training Teachers' Asso- 
 ciation. 
 
 (7) Western Manual Training and Drawing 
 Teachers' Association. 
 
 (8) Consumers' League. Reports of national and 
 New York City Leagues may be obtained on appli- 
 cation at office, 105 East Twenty-second Street, 
 New York City. The aim of this league is to im- 
 prove conditions of working women and children 
 as to hours, wages, etc. 
 
 (9) Woman's Municipal League of New York, 
 19 East Twenty-sixth Street. Bulletin 50 cents per 
 year. A society interested in civic improvements. 
 
 OTHER PUBLICATIONS 
 
 I. Magazines: 
 
 (1) "Teachers College Record." $1.00 per year. 
 Address " Teachers College Record," Columbia 
 University, New York. Devoted to discussion of 
 educational problems. 
 
 (2) " Elementary School Teacher." Published by 
 University of Chicago Press, Chicago. $1.50. De- 
 voted to discussion of all phases of work of the ele- 
 mentary school. 
 
PROGRESS IN THE DOMESTIC-ART FIELD 103 
 
 / j) 
 
 (3) "Manual Training Magazine." $1.50. Pub- 
 lished bimonthly by Manual Arts Press, Peoria, 
 111. Devoted to discussion of industrial-arts subjects. 
 
 (4) "The Survey/' formerly "Charities and the 
 Commons." $2.00 per year. Published by Charity 
 Organization Society, Twenty-second Street and 
 Fourth Avenue, New York City. Deals with prob- 
 lems relating to the education and improvement of 
 the poor. All interested in philanthropic work and 
 social advancement will find this of great value. 
 
 (5) "The Craftsman." $3.00 per year. Pub- 
 lished by Gustav Stickley, 41 West Thirty-fourth 
 Street, New York City. Of help along art lines. 
 Many suggestions for interior decoration and design. 
 
 (6) "The School Arts Book." $1.50 per year. 
 Published by Davis Press, Worcester, Mass. A 
 practical magazine for the elementary and high 
 school, with many suggestions for applied design, 
 and many articles of value to the domestic-art 
 teacher. 
 
 (7) "The House Beautiful." $1.75 per year. 
 Suggestive for those interested in the crafts and 
 interior decoration. 
 
 (8) " The Ladies' Home Journal." $1.50 per year. 
 Published by Curtis Publishing Company, Phila- 
 delphia. 
 
 (9) "The Woman's Home Companion." $1.25 
 per year. Many suggestions in art needlework, sew- 
 
104 DOMESTIC ART 
 
 ing, and dressmaking. Published by Crowell Pub- 
 lishing Company, New York City. 
 
 (9) " Good Housekeeping." $1.50 per year. Pub- 
 lished by Phelps Publishing Company, Springfield, 
 Mass. Articles of interest in relation to dress and 
 good housekeeping generally. 
 
 (10) "The Outlook." $3.00 per year. 287 
 Fourth Avenue, New York City. 
 
 (n) "The Educational Review." $3.00 per year. 
 Published by Educational Review Company, Colum- 
 bia University, New York City. Devoted to discus- 
 sion of topics of general interest in educational field. 
 
 II. Government Reports: 
 
 United States Department of Agriculture: 
 
 (1) "Farmer's Bulletins." Free distribution with 
 some exceptions. Address, Division of Publications. 
 Washington, D. C. Of great value to students of 
 domestic art and science. Many papers on wool, 
 silk, cotton, sheep, etc., of value in study of textiles. 
 
 (2) "Annual Reports of the Department of Agri- 
 culture." Division of Publications, Washington, 
 D. C. Textile crops and experiments are treated in 
 these reports, as well as other agricultural reports. 
 
 (3) " Reports of the Smithsonian Institute," Wash- 
 ington, D. C. The reports on ethnological subjects 
 of value in study of primitive life, industries, and 
 textiles. 
 
PROGRESS IN THE DOMESTIC- ART FIELD 105 
 
 (4) "Reports of the Commissioner of Education," 
 Department of the Interior, Washington, D. C. 
 These are issued every few years, and are of great 
 value to students of education in general, or of 
 particular fields. 
 
 (5) "Reports of the United States Commissioner 
 of Labor," Washington, D. C. Of value to those 
 interested in problems of economics, the wage- 
 earner, etc. Some of the back numbers are of great 
 interest and value, especially on technical and 
 industrial education. 
 
 III. Foreign Publications: 
 
 "Reports' of Dr. M. Sadler for the English Gov- 
 ernment." Volumes X and XI are devoted to his 
 Study of American Education. Volume IX, German 
 Education. May be obtained from G. Seiler, 
 1228 Amsterdam Avenue, New York City. Price 
 80 cents each. Of value to those wishing to study 
 the system of schools of the United States com- 
 paratively. 
 
 "Report by Alice Ravenhill on the Teaching of 
 Domestic Science in the United States." Commis- 
 sioner for Board of Education of Great Britain, 1905, 
 374 pages, price 75 cents. 
 
 IV. Publications of the American School of Home 
 Economics: M. Le Bosquet, Director, 610 West 
 Sixty-ninth Street, Chicago. Correspondence courses 
 
106 DOMESTIC ART 
 
 for home-makers, teachers, social workers, and for 
 institutional managers. Special text-books and 
 library facilities. 
 
 V. Books: 
 
 A small selected bibliography will be added at the 
 close. To keep in touch with new publications, 
 consult lists of new books added to respective public 
 libraries. Send to the leading book-publishing con- 
 cerns for their monthly lists of new publications, 
 especially along educational lines. Notice the adver- 
 tisements of new books in the back of the current 
 educational magazines suggested above. 
 
 VI. Publications of some of the textile schools 
 and associations are of value in study of textiles. 
 
 "National Association of Wool Manufacturers' 
 Quarterly Magazine," devoted to the interests of 
 the National Wool Industry. Office, 683 Atlantic 
 Avenue, Boston, Mass. 
 
 The New England Cotton Manufacturers' Associa- 
 tion, International Trust Building, 45 Milk Street, 
 Boston, Mass. 
 
 Draper Company. " Cotton Chats." Published 
 by Secretary, Hopedale, Mass. 
 
 Lowell School publications. 
 
 VII. Catalogues of new schools, giving domestic 
 art and science subjects, may be suggestive, or those 
 
PROGRESS IN THE DOMESTIC-ART FIELD 107 
 
 of old schools of note, that are constantly adding 
 new subjects of interest along these lines. 
 
 Another means of keeping in touch with progress 
 in this field is by attending the annual meetings of 
 the educational associations mentioned. Much in- 
 spiration may be gained in this way. School exhibits 
 are also of great help, and the educational divisions 
 of State fairs or expositions furnish many sugges- 
 tions. The teacher of domestic art must be alert and 
 alive to all progress of events about her. Clubs of 
 teachers interested in domestic-art subjects may 
 meet for discussion and much benefit be derived if 
 the meetings are conducted seriously and systemat- 
 ically. 
 
PART II 
 
 DOMESTIC ART IN THE LEMENTARY 
 SCHOOL 
 
 CHAPTER VIII 
 
 DIVISION OF SUBJECT-MATTER FOR THE ELE- 
 MENTARY SCHOOL 
 
 SOME line of domestic-art work may be presented 
 in every grade of the elementary school. As it is 
 constructive generally placed in the school curricu- 
 W ieninneari ^ um ^ means sewing and its allied sub- 
 every grade, jects, or often sewing alone in the 
 fifth, sixth, seventh, and eighth years of the graded 
 school. 
 
 Some constructive work of an industrial nature is 
 now generally given in all grades of the elementary 
 school. Arguments for its introduction have already 
 been given. Froebel in the kindergarten has pre- 
 sented theories that may well be advanced along 
 
 higher lines of education. Hand-work and doing 
 
 1 08 
 
DIVISION OF SUBJECT-MATTER 109 
 
 are the keystones of the kindergarten work. The 
 paper-cutting, pasting, sewing, clay, all the various 
 occupations are avenues for self-expression as well 
 as the gifts, songs, and games which furnish further 
 opportunity for doing and thinking, or the self- 
 activity of the child. 
 
 When the child enters the kindergarten and begins 
 his school career, he faces the accumulation of the 
 knowledge of the world. All this is his inheritance 
 to which he has a right. The work of education is 
 to bring the child to his rightful possession of this 
 inheritance, and the work of the school to plan it 
 in such a way that the school as one institution 
 of society may do its share in bringing about this 
 education. The kindergarten is the first stepping- 
 stone and through its various lines of work games, 
 songs, stories, gifts, and occupations opens to the 
 mind of the child in a simple way some of the won- 
 ders of nature and of this complex world. The 
 point of contact is the home and the teacher leads 
 from this to the world of thought and action about 
 the child. Most of the interpretations are through 
 doing, and gradually the child is led to a compre- 
 hension of some of life's complexities. One may 
 say that domestic art almost begins in the kinder- 
 
110 DOMESTIC ART 
 
 garten in a most simple way. Sewing and use of 
 the needle is one of its occupations. Furnishing of 
 a doll's house with paper furniture, rugs, curtains, 
 etc., is often undertaken, and simple talks in the 
 morning circle on textiles, as wool, silk, linen, and 
 cotton, often introduce the child to this field of 
 thought. Paper and rag weaving also furnish 
 another occupation and so we may trace the begin- 
 nings of domestic art from early to higher education. 
 Here, it is hand- work and only one of the many 
 kinds presented to little children who need change 
 and variety. The transition from kindergarten to 
 early grade work is often fraught with danger 
 because the transition to more formal work is not 
 more gradual. Hand-work and domestic art as one 
 branch of it should still continue and advance with 
 the child, offering new interests and difficulties and 
 helping to lead him to an interpretation of some 
 of the many wonders in the industrial world about 
 him. 
 
 Hand-work in the elementary school has been 
 presented in many different ways. There have been 
 almost as many approaches as there are districts 
 or localities for its introduction. Hand-work as 
 the term is now generally used in the elementary 
 
DIVISION OF SUBJECT-MATTER in 
 
 schoOiS means the various lines of hand-work as in- 
 troduced in the first four grades of the elementary 
 
 school. From the fifth grade up, the 
 ods of ap- hand-work subjects are called specifi- 
 
 ca % cooking, sewing, etc., for the girls, 
 
 work for the an j O fa er }i nes o f work, as wood-work- 
 
 lower grades. 
 
 ing, wood-carving, etc., for the boys. 
 All of these subjects are of an industrial or house- 
 hold arts nature. 
 
 The industrial work of the lower grades may in- 
 
 clude many lines of domestic-art thought, but should 
 
 not be confined to these subjects. The 
 
 Industrial 
 
 work in lower ideals of the school or the plan of the 
 
 curriculum of each grade will determine 
 domestic-art i arge i y wna t and how much the teacher 
 
 branches. J 
 
 can present. In the presentation of 
 certain lines of thought, the media of clay and wood 
 may more fitly be expressive than some line of do- 
 mestic art, as sewing, weaving, or spinning. Hand- 
 work as it is now given in the schools is approached 
 from several points of view. Some claim that the so- 
 called neighborhood approach is the only way, and 
 work along lines which make the child's immediate 
 needs and interests the centre or basis for planning. 
 Others claim that the organization of hand-work in 
 
112 DOMESTIC ART 
 
 the lower grades should be planned along the lines 
 of social or racial development, and beginning with 
 the study of the activities of primitive people trace 
 their advancement through the different eras of 
 civilization, pastoral, agricultural, handicraft, and 
 factory eras. Another thought is that the child 
 should become acquainted with the essential proc- 
 esses of manufacture in the principal fields of modern 
 industry and that this industrial knowledge may be 
 presented partly through work with the hands, but 
 not entirely so. This curriculum should be worked 
 out by the grade teacher or head of the school so 
 that there may be as much unity of thought as pos- 
 sible and much saving of time. With the develop- 
 ment of this thought may come a simplified cur- 
 riculum. With the present stress put on vocational 
 training, the domestic-art phases of vocational work 
 for girls in the upper grades would be based on this 
 lower grade study of the essential processes of the 
 leading fields of industry. The girls would thus 
 have a knowledge of the textile field of industry and 
 the processes in the industries of spinning, weaving, 
 knitting, garment-construction, and sewing. 
 
 In some schools the hand-work is apparently 
 introduced in a hit-or-miss sort of manner, simply 
 
DIVISION OF SUBJECT-MATTER 113 
 
 because it is hand-work or something for the chil- 
 dren to do and it is required by the controlling 
 board. This is the "fad" so often 
 
 Hand- work 
 
 may be a mere objected to and rightly. This aimless 
 hand-work may be better than none and 
 undoubtedly is where it has a certain utilitarian value, 
 but there is scarcely any excuse for its being when it 
 is possible to present it in such a way as to connect 
 the thought of the development of industries with 
 it, whether the approach be from the neighbor- 
 hood point of view or along certain lines of primi- 
 tive life and industries. In the first four grades of 
 the elementary school many lines of industrial 
 thought may be given, to which the domestic-art 
 branches contribute quite a number. Little chil- 
 dren need change and variety, and the boys and girls 
 may be taught together during these early years. 
 There is every opportunity for originality and ver- 
 satility as the teacher works out her course of study. 
 This often falls to the domestic-art supervisor, but 
 more often to the supervisor of manual training. 
 The course of study should be worked out in con- 
 nection with the general curriculum and in con- 
 sultation with the grade teachers and head of the 
 school. With more ideal organization the develop- 
 
114 DOMESTIC ART 
 
 ment of industrial thought may be a part of the 
 work of the regular grade teacher and the constructive 
 hand- work phases of the work be given by her also. 
 The following outline may be suggestive of the 
 many lines of work from which choice may be made 
 in carrying out one's plans. If, for instance, the first- 
 grade children are to have home life and its sur- 
 rounding occupations for the central thought, many 
 of the various lines might be used. In planning and 
 furnishing a doll's house in a simple way, painting, 
 papering of the soap boxes, simple furniture, sewing 
 of curtains, bedding, etc., give opportunity for expres- 
 sion along many different lines. A study of primitive 
 Esquimaux life, on the other hand, might require clay, 
 for making the animals and dogs, men, etc., wood 
 for the sleds, and simple sewing for the garments 
 representing fur. At the same time there may be 
 begun the study of the modern industrial processes. 
 These lines of work give to these little people an 
 introduction to the great fields of industry of wood, 
 clay, food, and textiles. Metal is too difficult for 
 use in the lower grades. The approach which shall 
 be followed must be decided by each school and 
 worked out along lines most in keeping with the 
 ideals of that school. Each teacher must choose the 
 
DIVISION OF SUBJECT-MATTER 115 
 
 lines of work best adapted to help in presenting the 
 new ideas to the children and those fitted to be of 
 value in developing the child. This last, however, 
 is more largely a question of method than of se- 
 lection of subject-matter. 
 
 WORK FOR LOWER GRADES 
 
 Painting Coarse sewing 
 
 Drawing Dyeing, weaving 
 
 Paper cutting and folding Clay modelling 
 
 Pasting Cardboard 
 
 Simple woodwork Use of sand table 
 
 Stencilling and block printing Cooking 
 
 Selections should be made from these and adapted 
 to the children in carrying out the general thought of 
 the grade and in the planning of the course of study 
 for the lower grades. 
 
 These general lines of work include the domestic- 
 art subjects, which may be outlined more in detail 
 as follows: 
 
 DOMESTIC-ART SUBJECTS FOR THE ELEMENTARY 
 SCHOOL 
 
 The following subjects for all grades of the ele- 
 mentary school may be considered for selection in 
 the planning of work, regulated by age, grade, needs 
 
Il6 DOMESTIC ART 
 
 of locality, cost, ideals, relation to school study, 
 needs of home and schools, etc. : 
 
 (1) Articles of many varieties may be made by 
 the use of the following stitches: Basting, running, 
 stitching, back-stitching, overhanding, hemming, 
 blanket stitch, simple embroidery stitches, as Ken- 
 sington, cross, chain stitch, feather stitch, hemstitch, 
 couching, French knots, etc. 
 
 (2) Seams plain seam, French, and flat fell. 
 
 (3) Patching hemmed, overhanded, flannel; and 
 Darning stocking darning, damask, and cashmere. 
 
 (4) Button-holes, plackets, putting on bands. 
 
 (5) Simple embroidery: use of stitches chain, 
 catch, Kensington, feather, etc.; initials embroid- 
 ered, applique; couching, etc. 
 
 (6) Textile work : weaving, study of materials, evo- 
 lution of textile industry, properties, uses, dyeing, etc. 
 
 (7) Cost of clothing : cost of dresses and trimming ; 
 regulation of cost. 
 
 (8) Care of clothing, repairing, cleansing ; color of 
 clothing; hygiene. 
 
 (9) Household art: decoration, furnishing of 
 rooms, color- work, design. 
 
 (10) Simple garment-making (under certain con- 
 ditions). 
 
 (n) Co-operation with grade work in history, 
 arithmetic, English, art, geography, etc., wherever it 
 can be done with service. 
 
DIVISION OF SUBJECT-MATTER 117 
 
 DISTRIBUTION OF DOMESTIC-ART SUBJECT-MATTER 
 
 FOR SELECTION AS PART OF THE ABOVE 
 
 WORK FOR LOWER GRADES 
 
 Grades i and 2 
 
 (1) Making of simple articles, in keeping with 
 underlying ideals of the school and grade. Blanket 
 stitch on canvas, running, basting (applied to 
 articles) . 
 
 (2) Simple textile study, including dyeing, weav- 
 ing, and simple comparison of textiles. ' 
 
 (3) Care of clothing. 
 
 (4) Furnishing of doll's house. 
 
 (5) Christmas gifts. 
 
 Grade 3 
 
 (1) Making of simple articles in keeping with 
 underlying ideals, using following stitches: Blanket, 
 cross, running, basting, chain, and stitching stitch. 
 
 (2) Continuation of textile study simple evolu- 
 tion of spinning and weaving. Comparison of 
 textiles. 
 
 (3) Care of clothing. 
 
 (4) Designing of letters and other designs, accord- 
 ing to articles selected. 
 
 (5) Christmas gifts. 
 
Il8 DOMESTIC ART 
 
 Grade 4 
 
 (1) Making of simple articles in keeping with 
 underlying ideals, using following stitches: Hem- 
 ming, couching, overhanding, two runs and back- 
 stitch, in addition to stitches in Grade 3. 
 
 (2) Designs made for articles ; color-work; design- 
 ing pillows and table-spreads for applique. 
 
 (3) Doll dressing; free cutting of patterns. 
 
 (4) Christmas gifts. 
 
 (5) Simple crocheting and upholstery. 
 
 Crude work along all these lines should be ex- 
 pected from young children, but the teacher should 
 not be surprised if occasionally she receives unex- 
 pected results. An occasional child will contribute 
 something far beyond those of average ability, but 
 under no circumstance's should the children be 
 forced to do fine or accurate work. 
 
 By the time the fifth grade is reached greater 
 accuracy should be expected and demanded along 
 any line of hand- work pursued. If it is not de- 
 manded at this time, the pupils will form slovenly 
 habits of action which are not likely to be corrected 
 later. At this point the hand-work may be divided, 
 the girls receiving instruction in sewing and cooking 
 and the allied subjects, and the boys in woodwork, 
 metal, etc. If the plan is to introduce vocational 
 work in the seventh, eighth, and ninth grades, then 
 
DIVISION OF SUBJECT-MATTER 1 19 
 
 the first six years may be planned with this idea in 
 view. Plans for courses of study in the grades will 
 be discussed in another chapter on the factors 
 involved in planning a course of study. 
 
 DISTRIBUTION OF DOMESTIC-ART SUBJECT-MATTER 
 
 FOR SELECTION FOR THE FIFTH, SIXTH, 
 
 SEVENTH, AND EIGHTH GRADES 
 
 Grade 5 
 
 (1) Making of simple articles, using stitches pre- 
 viously learned as review, and in addition: cross 
 stitch, feather stitch, and Kensington stitch. 
 
 (2) Designs for articles made. 
 
 (3) Doll dressing (costumes of particular study or 
 for modern garment-construction). 
 
 (4) Textile study ; weaving of rugs as co-operative 
 work, in order to learn parts of loom. 
 
 (5) Christmas gifts. 
 
 (6) Simple embroidery. 
 
 Grade 6 
 
 (i) Making of articles, using stitches learned in 
 grades below, and in addition: French seam, placket, 
 and putting on band, button-holes, and stocking- 
 darning. 
 
120 DOMESTIC ART 
 
 (2) Textile study comparative study of wool, 
 cotton, silk, and flax, applied to purchase, use, etc., 
 of articles made. 
 
 (3) Designing for articles. 
 
 (4) Clothing best and most healthful kinds. 
 
 (5) Christmas gifts. 
 
 (6) Simple embroidery. 
 
 (7) Biography of textile inventors Eli Whitney, 
 Arkwright, Crompton, etc. 
 
 (8) Simple machine-work (where circumstances 
 would necessitate the child's leaving school at end 
 of elementary school course). 
 
 (9) Simple knitting. 
 
 Grade 7 
 
 (1) Making of articles using work of other grades 
 in review, and in addition: button-holes, herring- 
 bone and feather stitch. 
 
 (2) Simple embroidery. 
 
 (3) Christmas gifts. 
 
 (4) Textile study: discussion of early industries 
 and evolution of their manufacture. 
 
 (5) Economical buying and cutting of materials. 
 
 (6) Design in relation to things made. 
 
 (7) Simple machine-work (where circumstances 
 would necessitate the child's leaving school at end of 
 elementary school course). 
 
 (8) Crocheting of articles. 
 
DIVISION OF SUBJECT-MATTER 12 1 
 
 Grade 8 
 
 (1) Making of articles, using stitches previously 
 learned. 
 
 (2) Repairing, patching, and cleansing of garments. 
 
 (3) Making simple garments. 
 
 (4) Simple embroidery: towels and table linen- 
 initials, hemstitching doilies. 
 
 (5) Textile study: quality, width, cost of materials. 
 
 (6) Study in color and design applied. 
 
 (7) Christmas gifts. 
 
 (8) The home furnishings, order, beauty. 
 
 (9) Discussion of the relation of the girl to factory 
 life, sweatshop labor. Consumers 7 League, etc. 
 Development of social consciousness. 
 
 The subject-matter suggested for Grades 6, 7, and 
 8 may be too advanced for some localities and not 
 sufficiently so for others. This should be adjusted 
 to suit needs and would also depend on how many 
 years may be devoted to domestic-art study. 
 
 REFERENCES FOR STUDY 
 
 "A Sewing Course," Woolman. 1910 edition. 
 
 "Teachers College Records." November, 1901; Janu- 
 ary, 1906; September, 1906; January, 1907; May, 1907. 
 
 Courses of Study of Public School Systems. 
 
 "The Place of Industries in Elementary Education," K. E. 
 Dopp. 
 
 "The School and Industrial Life," James Earl Russell, 
 "Educational Review," December, 1909. 
 
CHAPTER IX 
 
 THE FACTORS INVOLVED IN PLANNING A 
 
 COURSE OF DOMESTIC-ART WORK FOR 
 
 THE ELEMENTARY SCHOOL 
 
 BEFORE a teacher can decide what is the most 
 
 valuable and profitable domestic-art work for the 
 
 children in her charge, she must fully 
 
 The relation of 
 
 domestic-art comprehend what is meant by the many 
 
 subject-matter 
 
 to general ed- lines of thought which go to make up 
 that mass of subject-matter. Then, too, 
 she must understand the conditions or factors which 
 will most assuredly affect her selection of material. 
 The subject-matter of domestic art has been fully dis- 
 cussed in previous chapters. The child has a right to 
 his inheritance and the possessions of learning which 
 have come down to him from past ages, from the 
 fields of literary, religious, scientific, institutional, 
 and aesthetic learning. The institutions of the home, 
 church, state, school, and society must interpret 
 these riches to him and develop all sides of the 
 
 122 
 
THE FACTORS INVOLVED 123 
 
 child's nature. When we examine the many 
 branches to which he is heir, we discover that the 
 field of scientific and aesthetic learning, which may 
 be interpreted partly through doing, is not the least 
 part of his rightful inheritance, for the power to do 
 and act is surely the indication of a liberal educa- 
 tion. Domestic art is one phase of the "doing" 
 inheritance which comes to our girls and but a small 
 part of the full inheritance to which they have a 
 right. Teachers of this subject so often feel and 
 act as if domestic art were the whole curriculum 
 and do not see its relative importance. It must 
 be given its proper amount of time, but not to 
 the neglect of other studies, and in selecting the 
 best subjects from this field of work for her class, 
 the teacher must know not only what the possi- 
 bilities of subject-matter are, but must see their rela- 
 tion to the broad field of education and the factors 
 which will naturally affect the choice of material. As 
 subject-matter has previously been discussed, we may 
 turn to consider the factors involved in selection. 
 The teacher must know something of the physical 
 and psychological nature of the child be- 
 
 The child. 
 
 fore her. If she understands the physi- 
 cal nature, she will be careful to adapt her work to 
 
124 DOMESTIC ART 
 
 the physical development of the child. There will 
 be no demand for fine results where there is not 
 the development of the proper co-ordination of 
 muscles to make the fine adjustments. The defects 
 of eyesight and any physical troubles will be noted 
 and the work planned accordingly. In schools for 
 defectives, this would be a very important factor in 
 planning any course. The psychical nature must 
 also be considered; the laws governing interest, 
 memory, apperception, habits, etc., if understood, 
 will be a guide to the teacher in selecting, planning, 
 arranging, and presenting the course of study. 
 
 The environment and locality will most surely 
 affect and influence the planning of a course. Is it 
 Locality and ^ Y to suppose that work planned to be 
 
 environment. 
 
 in a district school will be appropriate or of most 
 value to children in a select private school or in the 
 Chinese or Italian quarter of a public school system 
 of a large city ? So each course must vary to meet 
 the needs of the children for whom it is intended. 
 The industries of the locality, the peculiar conditions 
 of the pupils, environment at home and at school, 
 all are factors in determining what the choice of 
 subject-matter is to be. Each locality with its par- 
 
THE FACTORS INVOLVED 12$ 
 
 ticular environment is a law unto itself and must 
 be handled so. 
 
 Not all schools are free to spend the requisite 
 
 amount for the introduction of domestic art or 
 
 science. Some teachers are privileged 
 
 Cost of the 
 
 work and time to expend twenty-five cents per child per 
 
 allowed for it. 
 
 year, and others are sometimes ham- 
 pered by an allowance of a few cents. If a teacher 
 is versatile and ingenious she will be able to get the 
 very best results with the money allowed. Some- 
 times the children may furnish certain materials, or 
 often they may be obtained by soliciting from dry- 
 goods houses odds and ends, samples of materials, 
 etc., all of which can be utilized in some way. The 
 money allowed by a board or system of education, if a 
 small amount, need not necessarily hamper the work. 
 Although the amount granted does necessarily enter 
 as a factor in the planning, and does sometimes 
 regulate the amount of time to be devoted to the 
 work, it need not be the means of producing a poor 
 course if the teacher be ingenious. It is far more 
 economical for a board to employ a well-trained, 
 ingenious woman than one who relies on a definite 
 sum of money in order to get certain results. Time 
 enters here as a factor in planning. The arrange- 
 
126 DOMESTIC ART 
 
 ment of the course of study will naturally be affected 
 by the number of minutes or hours per week to be 
 devoted to the subject and the cost regulated some- 
 what by this allowance. 
 
 The planning of the course of study is again 
 
 affected by the ideals of the head of the particular 
 
 school where the work is to be given. 
 
 Influence of 
 
 head of the Perhaps the teacher may not be given 
 
 school on 
 
 domestic-art the freedom to plan and correlate her 
 
 curriculum. , . , . f , -, 
 
 work with that of each grade, and again 
 unjust demands may be made by the head which may 
 not be in keeping with the right ideals for domestic- 
 art work. This problem must be handled tactfully by 
 the teacher, and she must plan so as to get the best 
 possible results under the particular conditions. 
 The teacher may believe that in the lower grades 
 the best approach for the hand-work is from the 
 neighborhood side, while the head of the school 
 may be deeply interested in industries or primitive 
 life. The teacher may wish the work of the upper 
 grades to prove of use in making girls better home- 
 makers, and the head may not feel the utilitarian 
 value. The aim of each particular elementary 
 school will surely differ, and the domestic art should 
 conform to the aims. The aim of some ele- 
 
THE FACTORS INVOLVED 127 
 
 mentary schools is to send their boys and girls on to 
 high school to continue their education, while others 
 realize that the children of their particular locality are 
 forced to labor when the elementary course is com- 
 pleted or even before, and must be given all the 
 possible help during that short period. When the 
 domestic-art teacher realizes the different aims, she 
 will plan her work so as to give to each group that 
 which will be of greatest value as each proceeds into 
 business or higher school work. This may often 
 mean the introduction, for instance, of machine-work 
 quite early in the grade school, perhaps in the 
 sixth or seventh year. 
 
 The introduction of vocational work into the 
 upper grades of the elementary school is one of the 
 vocational difficult problems which those dealing 
 
 tendencies ^1,1 r i , r 
 
 must be con- wl ^h the courses of study must face in 
 sidered. the near f uture The readjustment 
 
 must surely come, considering the large percent- 
 age of children who drop out of school at the close of 
 the elementary school and before, and those who 
 continue their high school training for a short 
 period only for one or two years. The plan pro- 
 posed by the City Club of New York for the read- 
 justment of the years of study in the New York 
 
128 DOMESTIC ART 
 
 public schools is a very interesting one and if ever 
 adopted will prove of interest to those studying the 
 development of education. The plan is to divide 
 the twelve years of study (eight elementary and four 
 high school years) into three parts: 
 
 (1) Six years of elementary school work. 
 
 (2) Three years of lower high school. 
 
 (3) Three years of upper high school. 
 
 The majority of children might then continue 
 through the ninth grade instead of leaving at the 
 end of the eighth, a gain of one year, the main reason 
 being to drop out at graduation from the eighth 
 grade. Few children have reached the compulsory 
 school age by the end of the sixth grade, so that the 
 temptation to drop out then would be slight. In 
 the lower high school or what would be the seventh, 
 eighth, or ninth grades would lie the opportunity for 
 the introduction of trade courses, the ninth grade 
 offering both trade courses for those who must drop 
 out and also regular high school subjects as at 
 present for those who will continue. This scheme 
 is worthy of study and has been tried with excellent 
 results in some parts of the Middle West. This 
 possible introduction of the vocational work as 
 
THE FACTORS INVOLVED 129 
 
 early as the seventh grade would mean the read- 
 justment of the domestic-art course of study, or those 
 trades centring in the needle. 
 
 The social aspect of work should also govern the 
 domestic-art teacher in her plans. She should know 
 The social the home needs and conditions of her 
 aspect. particular children and should see the 
 
 connection that it is possible to make with the 
 school. There is a big question of economy of time 
 right here. It is certainly not economical of the 
 pupil's time for a teacher to present those things, for 
 instance, which the child may be learning well at 
 home. Again, greater interest is taken if the prob- 
 lems to be made are of value in the home or fit 
 into the school needs of the children. The social 
 needs of the locality may afford opportunity for the 
 children to be of help and assistance to the hospitals, 
 asylums, etc., by furnishing certain work for these 
 institutions. In institutions of various types the 
 needs may be so great as to furnish occupation for 
 all the domestic-art pupils. These and other social 
 aspects should determine the teacher's plan of action. 
 
 The question arises very often, who is to direct 
 this work a trained specialist, or shall it be left to 
 the grade teacher to work out under the direction of 
 
130 DOMESTIC ART 
 
 the head of the school? The answer to this ques- 
 tion surely enters as a factor in the planning of the 
 hand-work for the lower grades and the 
 
 Who is to 
 
 direct the household-art work of the upper grades. 
 
 domestic art? . . 
 
 The trained specialist is needed to see 
 the breadth of the field and to make the proper 
 connections, but with training the grade teacher 
 may be able to give the industrial work of the 
 lower grades. 
 
 With these numerous factors before us as influ- 
 encing our plans and a good understanding of the 
 
 what shall be fi e ^ of subject-matter of domestic art, 
 presented? there should be no difficulty j n planning 
 
 a good course of study. The question so often 
 arises, what is the best thing to present, what shall I 
 give to my children? It is easily answered. One 
 cannot give all of the subject-matter as outlined, but 
 one can choose from it that which will be of the 
 greatest possible help to the group under one's care. 
 There is another thought for consideration in the 
 shall it be planning of the course of study shall 
 lOTMor* 10 that course be a mere formal presenting 
 problems with f number Jf problems or shall it 
 
 thought 
 
 content? have the thought content which is to 
 make it of greater value? 
 
THE FACTORS INVOLVED 131 
 
 There are two kinds of domestic-art teachers, 
 those who teach only sewing or its related subjects 
 and those who feel and present the thought content 
 in which this field is so very rich. The one teacher 
 is cut and dried the other type, ingenious, versatile, 
 quick, and alert. She can accomplish much with 
 little means because of the richness of this field of 
 thought which she knows. Her main aim is the 
 child, the good of the child or girl, to give that 
 which is of most value to her in this phase of her 
 education. This content of the thought side of the 
 work has already been discussed under the analysis 
 of the subject-matter. The following outlines may 
 be suggestive for domestic-art courses, and serve to 
 show the underlying thought content, the relation 
 to local conditions as well as the possible relation- 
 ship to other grade work. Outline II gives only the 
 domestic-art phase of the industrial work for the 
 lower grades. 
 
132 DOMESTIC ART 
 
 OUTLINE I 
 
 STUDENT PLAN 
 
 Course of Study for Grades 1-4, illustrating the use of 
 many lines of hand-work, of which sewing forms a part. 
 
 LOCAL CONDITIONS 
 
 Location. Rural school in northern New York. 
 
 Instruction. By grade teacher. 
 
 Time. Twenty minutes daily for class work, but children 
 will have spare time during session and outside of school 
 hours for completing work begun in class lesson. 
 
 Materials. The school board will furnish only drawing and 
 manila paper. It is not interested in hand- work and will 
 allow no appropriation for other materials. The people 
 of the district have given no attention to the subject, so the 
 teacher will have to interest the children sufficiently to have 
 them contribute a little money for materials which will need 
 to be bought, and to bring from home scraps of cloth, paper, 
 etc., as they are needed in the work. The people are farmers 
 and nearly every house will have abundance of pieces in the 
 store-room. Most of them will also give the children a few 
 cents at a time when they see them much interested. The 
 teacher herself may have to contribute. 
 
 Number. There will be about twenty children in the school. 
 
 Grouping. Grades i and 2 will work together. Grades 3 
 and 4 will work together. 
 
 AIM 
 
 To form taste for home life, to arouse the aesthetic faculty, 
 to broaden the outlook on life. 
 
THE FACTORS INVOLVED 133 
 
 SUBJECTS 
 
 Drawing. Usually on Tuesday and Thursday. Preceding 
 Christmas the days may be changed to accommodate the 
 kind of work being done. Paper furnished by school board, 
 colored crayons and pencils by the children. 
 Hand-work. Remaining three days. 
 Sand table. 
 
 Paper-folding, cutting, construction. 
 Simple sewing and weaving. 
 
 GRADES i AND 2 
 
 FURNISHING DOLL'S HOUSE 
 
 The greatest possible economy must be used, therefore 
 scraps of material which children can bring from home 
 without expense to family must be utilized. All the furni- 
 ture will be made from manila paper, the children varying 
 the style of chairs, etc., according to the rooms and their 
 original ideas. 
 
 Scissors, needles, thread, thimbles will be brought from 
 home. 
 
 SEPTEMBER 
 
 Drawing. Grasses and fall flowers attention given to 
 direction and character of growth. 
 
 Sand table. Lay out farm hills, meadows, fields, pasture, 
 orchard, pond or stream, sites for house, barns, etc., fences, 
 rail and wire (thread can be used for wire, twigs for rails and 
 posts) . 
 
 House. A good-sized box will be found either at the school 
 or among the farmers. Partitions can be put in by older 
 children or teacher. 
 
134 DOMESTIC ART 
 
 Plan rooms. Downstairs parlor, dining-room, kitchen; 
 upstairs two bedrooms. 
 
 Paint. Outside. 
 
 Inner walls. Kitchen paint why ? Other rooms paper. 
 Children can bring remnants of wall-paper from home. Dis- 
 cuss color, style, etc., most suitable to each room. Children 
 can select from papers brought. Use either entire pattern or 
 selections as best adapted to rooms. 
 
 Floors. Kitchen paint easily cleaned. Other rooms 
 stain. Paints and stain will probably have to be bought. 
 
 OCTOBER 
 
 Drawing. Fruits, vegetables, autumn leaves work for 
 pleasing arrangement. 
 
 Furnishing of House. Each child can make every article. 
 What are necessary may be given to the house, and the others 
 taken home. Those giving to the house may make a second 
 for themselves. 
 
 Kitchen. First, because most important room in farm- 
 house. Chairs, table, cupboard fold, cut, paste cut legs, 
 doors. Stove use black paper if possible; if not, mark for 
 lids and doors. Roll paper for pipe. 
 
 Dining-room. Chairs. Table. 
 
 NOVEMBER 
 
 Drawing. Vegetables, Thanksgiving subjects and illustra- 
 tions. Design borders for rugs. 
 
 Sideboard for dining-room. 
 
 Rugs. Weave square mat from kindergarten papers. Plan 
 rugs colors for different rooms, borders on ends, materials. 
 
 String small piece of cardboard with holes for kitchen rug. 
 
 Warp heavy thread or yarn. 
 
THE FACTORS INVOLVED 135 
 
 Woof rags. 
 
 Sand table. Story of Pilgrims sea, rocky shore, Plymouth 
 Rock, snow-covered land, forest, ship on sea, etc. 
 
 DECEMBER 
 
 Drawing. Christmas subjects and illustrations. 
 
 Rugs. Large for floors of all rooms except kitchen. 
 
 Looms. Four strips of wood tacks to hold warp threads. 
 Sticks and tacks can be found in any country home older 
 children can nail them. 
 
 Dining-room. Rags brought from home for this rug. 
 
 Parlor. Some children will have macrame cord at home, if 
 not, buy. Use for parlor rug. 
 
 Bedrooms. One of rags, one of cord. 
 
 String looms. Weave the rugs for the four rooms can be 
 divided among the children according to the suitableness of 
 the material they bring. 
 
 Christmas gifts. Sachet bag kindergarten weaving papers 
 cotton filling powder. 
 
 Calendars. Cardboard with holly design tiny calendar 
 pasted on tie with red ribbon. 
 
 Toy Christmas tree. Spool for standard, green tissue paper 
 for trunk and leaves. 
 
 School Christmas tree. Colored paper chains. 
 
 JANUARY 
 
 Drawing. Christmas scenes, stories, and gifts. Winter 
 games and sports. 
 
 Doll House. Bedrooms. bedsteads, chairs, washstands, 
 bureaus, one cradle. 
 
 Mattresses. Pillows heavy cotton cloth fill with cotton 
 batting running stitch. 
 
136 DOMESTIC ART 
 
 Talks on cotton plant and manufacture. 
 Sheets. Fine cotton run hems. 
 
 FEBRUARY 
 
 Drawing. Illustrate stories subjects relating to Lincoln 
 and Washington. 
 
 Doll House. (i) Pillow cases. Fine cotton run hems 
 care of mattress and pillows. 
 
 (2) Blankets. White flannel from home blanket stitch in 
 mercerized cotton or yarn as children may have. 
 
 Care of blankets. 
 
 (3) Wool. Growth, manufacture. 
 
 (4) Comfortable. Cheesecloth blanket stitch edges tie. 
 Valentines. Make simple valentines from drawing-paper 
 
 and colored paper for decoration. 
 
 MARCH 
 
 Drawing. Illustrated stories objects of the season, kites, 
 etc. 
 
 Doll House. Bureau scarfs and washstand covers fancy 
 muslins run hems. 
 
 Parlor. Chairs, table, couch. 
 
 Couch cover. cretonne, denim, canvas, etc., as children 
 may bring. Blanket stitch on edge. 
 
 Cushions. Bits of silk, denim, cretonne, etc. fill with 
 cotton running stitch. 
 
 APRIL 
 
 Drawing. Spring growths catkins, pussy-willows, etc. 
 Easter lilies, rabbits, etc. 
 
 Doll House. Window curtains for whole house fancy 
 muslin or net as children may wish. 
 
THE FACTORS INVOLVED 137 
 
 Table cloth and napkins. Linen from home run hems. 
 Use and care of. 
 Talks on flax and linen. 
 
 MAY 
 
 Drawing. Spring growths leaves, flowers. 
 Sewing for homes. Napkin ring canvas blanket stitch 
 edge. 
 
 Dust cloth cheesecloth turn baste run proper use of. 
 Hair receiver canvas blanket stitch edges. 
 
 JUNE 
 
 Drawing. Flowers. 
 
 Drawings of April, May, and June made on sheets of uni- 
 form size tie together children design cover. 
 Sewing. Dish towel turn baste, run care of. 
 
 GRADES 3 AND 4 
 
 FOREIGN HOMES: INDIAN, ESQUIMAU, JAPANESE, TROPICAL 
 SEPTEMBER, OCTOBER, NOVEMBER 
 
 Indian Life 
 
 Drawing. Plants with flowers or seeds. 
 
 Relative position and size of parts. 
 
 Autumn leaves, fruit, vegetables good arrangements. 
 
 Thanksgiving subjects and illustrations proportion and 
 grouping objects from Indian life. 
 
 Sand table. Indian village forest make wigwams 
 coarse canvas or bark decorate with juice from berries. 
 
 Bows and arrows feather arrows. 
 
 Dug-out canoe. 
 
 Birch-bark canoe. 
 
138 DOMESTIC ART 
 
 Snow-shoes. 
 Cradle-board. 
 Quiver. 
 Moccasins. 
 
 Make and dress Indian doll heavy cotton for body stitch 
 fill with sawdust trousers, coat, headpiece running stitch. 
 Weave Indian blanket yarn heddle. 
 
 DECEMBER-JANUARY 
 
 Tropical Home 
 
 Drawing. Christmas illustrations, games, gifts, stories. 
 Life in tropical homes. 
 
 Sand table. Palm trees green and brown tissue papers. 
 
 Huts sticks wattled with raffia or hay. 
 
 Weave mats of straw for roofs. 
 
 Raffia braided mat. 
 
 Hammock of cord. 
 
 Christmas gifts. Button bags denim, canvas, cretonne, as 
 children may have stitch sides, run hem at top may put on 
 design in chain stitch. 
 
 Picture frame^ cardboard with raffia wound over it. 
 
 Calendar similar to those in i and 2. 
 
 School Christmas tree bell forms marked, cut, strung, red 
 tissue paper. 
 
 Lanterns red paper. 
 
 FEBRUARY 
 
 Esquimau Home 
 
 Drawing. Winter subjects Lincoln, Washington Make 
 cover for a Lincoln- Washington book make a single valen- 
 tine. 
 
THE FACTORS INVOLVED 139 
 
 Sand table. Esquimau village rock-salt for snow. Dress 
 Esquimau doll in bits of fur sled of wood. 
 
 Sewing. Dust cloth turn, baste, cross-stitch proper use 
 of. 
 
 MARCH 
 
 Japanese Home 
 
 Drawing. Appropriate to season attention to grouping 
 Japanese objects lantern, parasol, fan, etc. 
 
 Sewing. Make kimono for doll seams, running, hems, 
 chain-stitch. 
 
 Iron-holder. Denim, cretonne, etc., as children may have. 
 Baste edge of each side fold and baste interlining. Baste 
 edges together. Blanket stitch edge. 
 
 APRIL, MAY, JUNE 
 
 Drawing. Spring growths. Easter cover for nature book. 
 Sewing. Hand towel linen turn, baste, run hems. Care 
 of. Talks on flax and linen. 
 Bean-bag heavy cloth stitch. 
 Textile charts. 
 Window racks and plant sticks. 
 
 COST OF MATERIALS NOT BROUGHT FROM HOME 
 
 Grades i and 2 
 
 Colored crayons (10 cents a package) $1.00 
 
 Paint and stain 50 
 
 Kindergarten weaving paper 20 
 
 Macrame cord .10 
 
 Sachet powder .25 
 
 Calendars . 10 
 
140 DOMESTIC ART 
 
 Cardboard calendars 05 
 
 Ribbon 10 
 
 Tissue-paper green .02 
 
 Paper for tree chains 05 
 
 Total $2.37 
 
 Per child 23$ 
 
 Grades 3 and 4 
 
 Colored crayons $1.00 
 
 Raffia 20 
 
 Cord .20 
 
 Calendars .10 
 
 Tissue paper 05 
 
 Valentine paper 10 
 
 Cardboard for calendars 05 
 
 Ribbon for calendars .10 
 
 Total $1.80 
 
 Per child 18 
 
 NOTE. The above plan of student's work illustrates what can be ac- 
 complished with little money. 
 
THE FACTORS INVOLVED 141 
 
 OUTLINE II 
 
 STUDENT PLAN 
 
 New York City Free Private Grade School. General course 
 parallel to public grade school. 
 
 Locality. Poor neighborhood most of the children go to 
 work at the end of the elementary school. 
 
 General A im. To connect with the home and neighborhood 
 to raise the standard of living. 
 
 SOME IDEAS WHICH CONTROL THE COURSE OF STUDY 
 Grade I (fifty minutes per week) 
 
 (1) Some underlying ideas. Home life and surrounding 
 occupations. 
 
 Fall. Farm life. Sand-table work. Houses, barns, sheds, 
 fences, wagons, farm-animals. Materials of many kinds 
 used. 
 
 Farm life. A link extending to grocery, bakery, dairy, meat- 
 market. 
 
 Winter. Study of a typical home of the neighborhood 
 (apartment). Drawing, block-building, furnishing a play- 
 house, activities of the home, dusting, cleaning, care of cloth- 
 ing. Care of play-house and some care of schoolroom fur- 
 nishings. 
 
 (2) Clothing and shelter. In relation to activities of home. 
 Emphasize care of clothing; materials of which clothing is 
 made: cotton, silk, flax, wool. Where comes from (very ele- 
 mentary discussion of relation between plant or animal and 
 finished product). 
 
142 DOMESTIC ART 
 
 (3) Some underlying ideas in carrying out following things 
 to be made. Crude results are expected. The aim-is to make 
 the child as creative' as possible through use of principles 
 taught. 
 
 (a) Paint cloths basting. 
 
 (b) Canvas work blanket and running stitch, napkin ring, 
 etc. 
 
 (c) Cord work. 
 
 (d) Making of simple articles for play-houses bedding, cur- 
 tains, table covers, etc. 
 
 (e) Farm life: 
 
 (1) Basket. 
 
 (2) Meal bag. 
 
 Grade II (JJfty minutes per week) 
 
 (1) Some underlying ideas. Home life and surrounding 
 occupations. Comparison with lives of primitive people. 
 
 Fall. Farm life as related to our fall activities in the home. 
 Farm visited, fruit gathered and preserved for winter. Fall 
 housekeeping problems. 
 
 Winter. In place of a play-house, a "real" room (rest- 
 room or living-room, third floor) to be partially furnished and 
 cared for. 
 
 Esquimau children's activities, those of early man and 
 American Indian, compared with our lives. 
 
 (2) Clothing and shelter. Comparison of clothing of primi- 
 tive and modern people; of what made; how; tools used; 
 names of materials bark cloth shown; practice in elemen- 
 tary spinning and weaving. Care of clothing at home. Prac- 
 tical work in simple household decoration. 
 
 (3) Some underlying ideas in carrying out things to be made. 
 To make the child creative through the use of ideas and prin- 
 ciples taught. 
 
THE FACTORS INVOLVED 143 
 
 (a) Paint cloths basting. 
 
 (b) Canvas needle-book. 
 
 (c) Pin-cushion. 
 
 (d) Christmas stockings. 
 
 (e) Iron-holder. 
 (/) Bean-bags. 
 
 (g) Fitting up sitting-room (co-operative work). 
 (h) Overshoe bags. 
 (i) Weaving. 
 
 Grade III (One hour forty minutes) 
 
 (1) Some underlying ideas. Study of neighborhood occupa- 
 tions. Comparison with some primitive people. 
 
 (a) Farm life. More intensive study. Dairy farm; truck- 
 garden; cultivation of fruits and cereals. 
 
 Large distribution centres milk-depots; beef storage house; 
 freight station; wholesale vegetable market. 
 
 (b) Comparison of modern agricultural and pastoral 
 methods with those of Eastern shepherd and Pueblo Indian. 
 
 (c) Beginnings of local history. 
 
 (2) Clothing and shelter, Relation of farm life to clothing. 
 Comparison with that of Eastern shepherd and Pueblo Indian. 
 How and where made. Simple processes of spinning and weav- 
 ing in advance of the second grade. Use of heddle and other 
 tools in evolution of these arts. Local history in relation to 
 arts of spinning and weaving and production of clothing. Care 
 of clothing. 
 
 (3) Some underlying ideas in making of following articles. 
 Relation of things made to home and school interests. Crea- 
 tive side of child nature to be developed; care in threading of 
 needles, position, thimble, knotting thread. 
 
 (a) Needle-book canvas. 
 
144 DOMESTIC ART 
 
 (b) Hand towels running. Emphasis on threading, knot- 
 ting, holding needle. 
 
 (c) Paint cloths. 
 
 (d) Pin-cushions canvas. 
 
 (e) Shoe bags. 
 
 (/) Paper dolls dressed. 
 
 (g) Textile chart: (i) Comparison of textiles, (2) adapta- 
 tion to use. 
 
 Grade IV (One hour forty minutes) 
 
 (1) Some underlying ideas. More definite study of New 
 York City as a whole. 
 
 Main study: Some of the causes which led to its prominence 
 and which tend to maintain it. 
 
 Some study of various nationalities represented here. 
 
 Some study of the commodities sent from other lands. 
 
 Stories of sea-faring people of long ago (in connection with 
 navigation). Norsemen, Phoenicians. 
 
 New York architecture buildings, bridges, streets. 
 
 Stories of Greece and Rome, suggested by a simple study of 
 political city organization. 
 
 Housework cooking, setting of table, care of rooms, care 
 of clothes. Basis is found in trying to make the child his 
 mother's " helper." 
 
 (2) Clothing and shelter. Study of Greek and Roman dress. 
 Arts of spinning and weaving as done in Greece and Rome; 
 materials used. 
 
 Commodities for clothing sent from other lands. Produc- 
 tion in New York where how. 
 
 (3) Some underlying ideas in making following articles. To 
 inspire child to be mother's helper in home. Special atten- 
 tion to proper use of tools in sewing; correct method of 
 hemming. 
 
THE FACTORS INVOLVED 145 
 
 (a) Paint cloths. 
 
 (6) Pinball (2 circles overhanded; initials in chain stitch). 
 
 (c) Hand-towels hemming. 
 
 (d) Christmas gifts, penwiper. 
 
 (e) Clothespin bag. 
 
 (/) Cover slips for home work. 
 
 (g) Cushion top design transferred painted couched. 
 
 (h) Stuffed animals for stitching stitch. 
 
 Grade V (one hour a week) 
 
 (1) Some underlying ideas. The dramatic development of 
 our country. 
 
 Discovery and Exploration. Present geographical knowl- 
 edge compared with that of people of the fifteenth century. 
 
 India, and the wonderful stories told about the East by 
 the Crusaders. 
 
 Period of Colonization. (Up to the time of the quarrel with 
 England.) 
 
 Typical colonies studied. New England, New Amsterdam, 
 Southern Colony. 
 
 Biography. Brave men who helped build our country. 
 
 Housework. Learning to be helpful at home, continued 
 from Grade IV. 
 
 (2) Clothing and shelter. How made beautiful fabrics 
 simple tools. Columbus bartered for cotton. Materials and 
 clothing in use in East. Herodotus's description of Indian 
 cotton. Early travellers' story of cotton as animal. Biogra- 
 phy: Eli Whitney, Arkwright, Hargreaves, Crompton, etc. 
 
 (3) Some underlying ideas in making following articles. Cre- 
 ativity on part of child centring about helpfulness in home. 
 More careful work required neatness, accuracy. Correct 
 position of body, tools, and work. Discussion of cost and 
 
146 DOMESTIC ART 
 
 kind of materials used. Economy in buying and cutting. 
 Care of materials and tools. 
 
 (a) Duster cross stitch. 
 
 (b) Pinball (design in Kensington stitch). 
 
 (c) Christmas gifts. 
 
 (d) Laundry bag (feather-stitch). 
 
 (e) Doll dressing simple notion of drafting and of gar- 
 ments in use. 
 
 (/) Furnishings for doll's bed. 
 
 Grade VI (one hour a week) 
 
 (1) Some underlying ideas. The development of the nation 
 to the time of the slavery troubles and the division of the 
 Union. 
 
 Modern and immediate life remains the key-note here as in 
 previous grades. The past is drawn upon to illumine the 
 present. Problems of transportation, industrial development, 
 and economic growth will be viewed from the stand-point of 
 the present. 
 
 Literature will deal largely with stories of heroism and 
 chivalry. History and literature will frequently, though not 
 always, supplement each other. The mythical element still 
 appeals to this age, and the myths and sagas of the Northland, 
 the German tale, will be treated as carefully as will the purely 
 biographical material. Lives of great men studied: George 
 Washington, Benjamin Franklin, Daniel Boone, Alexander 
 Hamilton, John Paul Jones, Thomas Jefferson. 
 
 Housework Girls. 
 
 Shopwork. Boys. 
 
 Geography of South America and Europe. 
 
 (2) Clothing and shelter. Districts located where clothing 
 materials are produced. Manufacture of clothing in South 
 
THE FACTORS INVOLVED 147 
 
 America and Europe at this period. Now where history of 
 it. Development of spinning and weaving. Economic rela- 
 tion in United States between production of materials North 
 and South. Their transportation, location of mills and fac- 
 tories. Cotton, time of slavery. Silk, wool, flax. 
 
 (3) Some underlying ideas in making following. Careful 
 work knowledge of home things helpfulness and use in 
 home, neatness, accuracy. Machine work started. Discus- 
 sion of simple machinery. Economic cutting, and buying of 
 materials. Care of tools. Patterns made for skirt. Collec- 
 tion of cotton and wool materials to be mounted in book for 
 use in grade. 
 
 (a) Cuffs (cooking costume). 
 
 (b) Needle-books. 
 
 (c) Christmas gifts. 
 
 (d) Darning. 
 
 (e) Ironing-board cover. (Machine work.) 
 (/) Cooking apron. (Machine work.) 
 
 (g) Skirt. (Machine work.) 
 
 Grade VII (one hour a week) 
 
 (1) Some underlying ideas. As in Grade VI. The develop- 
 ment of the nation is treated as a retrospect. The present 
 must be illumined. History is continued, up to the current 
 history, in the making. 
 
 Geography deals not so much with familiar conditions. 
 Asiatic and African lives are contrasted with our own. 
 
 (2) Clothing and shelter. Processes in manufacture and 
 making cloth. .Printing, dyeing, bleaching. Removal of 
 stains from clothing care of clothing. 
 
 (3) Some underlying ideas in making following. Home life 
 and interests of girl as centre. Social consciousness to be 
 
148 DOMESTIC ART 
 
 developed through making for others besides those in home. 
 Economy in buying and cutting. Use of patterns. Neat- 
 ness, accuracy. Collection of materials, silk, and flax, for 
 mounting in book. Hygiene of clothing dressing of a 
 baby. 
 
 (a) Broom cover. 
 
 (b) Crocheted slippers. 
 
 (c) Jelly bag. 
 
 (d) Pot lifter. 
 
 *(0) Combing towel. 
 (/) Baby wrappers. 
 Christmas gifts for those who have time to make them. 
 
 Grade VIII (one hour a week) 
 
 (1) Some underlying ideas. Main study: How other coun- 
 tries influence our development. 
 
 Civics furnish the point of departure for a study of Greece 
 and Rome. 
 
 Social and economic conditions of western Europe which 
 influence us most strongly. The development of guilds, trade 
 unions. 
 
 (2) Clothing. Discussions. Development of factory life 
 and conditions. Relation of old guilds to industries. Sweat- 
 shop labor, Consumers' League (continuation of idea of 
 development of social consciousness starting in yth grade). 
 Economy through care of clothing by repair, remaking, 
 etc. 
 
 (3) Some underlying ideas in making following articles. 
 Home life and personal interests of girl considered. Use of 
 patterns, care, and neatness in machine stitching. Economy 
 in buying and cutting. Collection of samples of lace edges 
 and insertions. Cutting lessons in paper (plaid). 
 
THE FACTORS INVOLVED 149 
 
 (a) Hemstitched towels (lettering). 
 
 (b) Patching begun. 
 
 (c) Christmas gifts. 
 
 (d) Remainder of patching. 
 
 (e) Drawers or petticoat. 
 (/) Shirtwaist. 
 
150 
 
 DOMESTIC ART 
 
 
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THE FACTORS INVOLVED 155 
 
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 Study of sweat-shop labor, 
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l68 DOMESTIC ART 
 
 OUTLINE V 
 
 STUDENT PLAN 
 
 COURSE OF STUDY FOR THE ELEMENTARY SCHOOLS 
 Fifth, Sixth, Seventh, and Eighth Grades 
 
 The city for which this course is planned is located in the 
 western part of the United States, in a beautiful valley, one 
 of the most fertile and prosperous farming districts of the 
 State. The city was first settled about fifty years ago, and 
 has at present a population of six to seven thousand inhabitants. 
 
 It contains three knitting factories, several stores, and three 
 or four respectable places of amusement, a public library, 
 several churches, etc. 
 
 The nationalities represented are Scandinavians, English, 
 and Americans. 
 
 The largest percentage of the population make their living 
 by farming, many of them living out on their farms in the 
 summer and moving into the city for the winter, so as to send 
 the children to school. 
 
 The public schools have two large central school buildings, 
 with eight smaller ones scattered through the city, some of 
 which contain only two rooms. The number of pupils en- 
 rolled is about 1,496, with an average number per teacher of 50. 
 
 The schools are very crowded and in great need of more 
 buildings, which will be put up as soon as financial circum- 
 stances will allow it. 
 
 A special supervisor for primary grades has been provided, 
 and excellent plans for constructive work, clay modelling, etc., 
 have been introduced with very good results. 
 
 Other manual training work has not yet been introduced, 
 / owing to the lack of funds; so this course of study for the 
 
THE FACTORS INVOLVED 169 
 
 upper grades has been planned with the end in view of making 
 as few expenses for the school as possible, and still giving the 
 girls a course of study which would be of value to them. 
 
 The work is to be given by the grade teacher, under the 
 direction of a domestic-art supervisor, and will have to be 
 given in the regular class-rooms until more buildings are put 
 up. 
 
 Machine sewing has been left out, partly on account of the 
 expense involved in getting machines and of finding room for 
 them, and also because two-thirds of the girls will continue 
 one or more years in one or the other of the high schools. 
 
 The material is to be purchased by the children; they are 
 not poor, and the parents will be perfectly willing and glad to 
 pay for it. 
 
 The aim of the course is to make the girls helpful at home 
 and in society, independent, and appreciative of good work, as 
 well as the many opportunities they have over those of their 
 parents. In the study of textiles, comparisons may be made 
 of the past and present conditions in the West with those of 
 large manufacturing centres in the East, and reasons shown 
 why the woollen mills in the West cannot successfully compete 
 with those in the East, and foreign lands, etc. 
 
 Whenever possible, the work in domestic art is to be cor- 
 related with drawing, nature study, arithmetic, history, and 
 geography. 
 
 Equipment, such as needles, thimbles, scissors, etc., will 
 be provided by the children, while illustrative material and a 
 few boxes for supplies and finished work will be provided by 
 the school. Most of the work should be kept for exhibition 
 to be given at the end of the year, especially for the first two 
 or three years. 
 
 For between work the children could make a second article, 
 and at the end of the year this could be disposed of in some 
 
170 DOMESTIC ART 
 
 way, and the money go to an equipment fund, which should 
 be kept until more buildings are put up, and rooms fitted 
 equipped for sewing. 
 
 The schools are in session thirty-four weeks of the year. 
 
 Grade V (Fifty Minutes per Week) 
 
 Some Underlying Ideas. 
 
 (1) Home life and surrounding occupations. The sheep in- 
 dustry. Indians and the early settlers. 
 
 (2) Clothing and shelter. Relation of farm life to clothing. 
 Comparison of early pioneer life with present time. A study 
 of wool, cotton, linen, silk making a chart. 
 
 (3) The underlying thought in making the following articles. 
 Care of clothing and furniture. Tools. Also care of what 
 belongs to others. School property. 
 
 HOURS COST 
 
 8 Work-basket. (For tools) $0.05 
 
 3 Canvas pin-cushion. (Basting and blanket 
 
 stitch) 0.05 
 
 3 Dust-cloth. (Basting and running) .... 0.03 
 8 Book-cover. (Stencilling with outline over- 
 handing) original design - I S 
 
 8 Laundry-bag. Basting, hemming, stitching 
 
 stitch) 0.25 
 
 4 Preparation of textile chart 0.02 
 
 34 $0.55 
 
 For between work initials may be made on the laundry-bag 
 in cross-stitch or outline. Design made in class. 
 
THE FACTORS INVOLVED 171 
 
 Grade VI (Fifty Minutes per Week) 
 
 Some Underlying Ideas. 
 
 (1) Study of the development of West. Problems in rela- 
 tion to transportation. Comparison of conditions in the East 
 and West. Comparison of prices of material with those in 
 early days (as much as a dollar was paid for a yard of calico). 
 
 (2) Clothing and shelter. Industrial resources. Processes 
 of wool and cotton before weaving. The suitability of these 
 fibres to clothing. Visits to knitting factories. Simple 
 machinery discussion. 
 
 (3) Underlying thought in making the following articles. 
 Helpfulness in the home. Cleanliness, neatness, accuracy. 
 Correct position. Simple drafting. 
 
 HOURS COST 
 
 3 Needle-case canvas. Blanket and cross stitch $o . 05 
 
 4 Jelly-bag. Hemming and overhanding. Tape o.io 
 
 9 Wash-cloth. Knitting 0.05 
 
 4 Darning. Stockinet 
 
 10 Short kimono. French seams. Facings . . 0.35 
 4 Dish-towel. Hemming o.io 
 
 34 $0.65 
 
 Grade VII (Fifty Minutes per Week) 
 
 Some Underlying Ideas. 
 
 (1) The development of the nation. Large industrial cen- 
 tres. How other countries influenced our development. 
 
 (2) Clothing and shelter. Weaving. Primitive methods 
 used by the Indians. Printing, dyeing. Study of silk and 
 linen. Properties. Suitability of materials for different uses. 
 
172 DOMESTIC ART 
 
 (3) Underlying thoughts in making the following articles. 
 Social consciousness through making for others besides those 
 at home. Economy in buying materials. Cleanliness, orderly 
 housekeeping. Original designs for weaving and table-cover. 
 The artistic side of decoration emphasized. 
 
 HOURS. COST. 
 7 Cooking apron. Gathering, band, button- 
 holes $0.25 
 
 10 Rug. Weaving 0.20 
 
 10 Table-cover. Applique 0.40 
 
 4 Patching. Overhand. Hemmed 
 
 3 Work-bag. Free construction o.io 
 
 34 $0.95 
 
 Collection of samples of materials, with price and width. 
 
 The rug is to be made in a certain number of squares of a 
 definite size. Each girl makes a design and the best one is 
 selected. The rug when finished is to be disposed of and the 
 money to be kept for equipment. 
 
 Grade VIII (Fifty Minutes per Week) 
 
 Some Underlying Ideas. 
 
 (1) European countries which influence our market. Com- 
 modities for clothing sent from other lands. 
 
 (2) Clothing and shelter. Development of factory life and 
 conditions. Economy through care of clothing by repair, re- 
 making, removal of spots, etc. 
 
 (3) Underlying thoughts in making the following articles. 
 Home life and personal interest of girl considered. Economy in 
 buying and cutting. Home decoration. Simple drafting for 
 
THE FACTORS INVOLVED 173 
 
 underwaist. Design for embroidery. Neatness in dress. 
 Choice of color. Collection of samples of lace edges and 
 insertion. 
 
 HOURS. COST. 
 
 6 Towel hemstitched $0.20 
 
 10 Underwaist simple design in eyelet .... 0.40 
 
 4 Repairing various kinds 
 
 4 Napkin o-3 
 
 10 Cushion-cover 0.50 
 
 34 $i-40 
 
 These outlines deal with the domestic-art work 
 as it is related to the present elementary school cur- 
 riculum. In the near future the writer believes it 
 will be necessary to so readjust the studies of the 
 elementary and high schools that there may be a 
 better relationship and continuity of study for those 
 who will go on to high school for a short period 
 only and a decided change of course of study for 
 the large percentage of children who leave school 
 at the end of the sixth or eighth grade. For those 
 who must leave at so young an age, a course of 
 study should be planned which will consider the 
 needs of those children who must join the large 
 army of wage-earners at the earliest possible moment. 
 They must be prepared for citizenship and social 
 living. The best which can possibly be given them 
 
174 DOMESTIC ART 
 
 in this short period should be theirs. The most 
 important phases of hygiene and knowledge of the 
 laws governing health can be given, they can receive 
 some kind of training in skill along some line of 
 useful vocation. In domestic-art work for girls this 
 would mean training in the trades centring about the 
 needle, and the spending of as much time as possi- 
 ble on the art, music, English, and mathematics 
 which bear a relationship to the special line .of 
 interest. Women of originality of thought and pur- 
 pose who have studied the field of industry open to 
 young wage-earners, as well as the field of general 
 education, should be chosen to plan and conduct 
 this work. It will be largely experimental for a while, 
 but must be so conducted until the results have 
 been studied. The work undertaken in Boston at 
 the North Bennett Street Industrial School is of this 
 experimental nature and the results are being watched 
 with much interest. Opportunity is there given in 
 the seventh and eighth grades for intensive industrial 
 work during half of each day. Outline IV is sug- 
 gestive of possibilities if the reconstruction of the 
 curriculum of the first six grades gives opportunity 
 for vocational work to follow in the seventh, eighth, 
 and ninth grades. 
 
PART III 
 
 THE RELATION OF DOMESTIC ART TO 
 SECONDARY EDUCATION 
 
 CHAPTER X 
 
 CAN DOMESTIC ART CONTRIBUTE TO THE GEN- 
 ERAL AIMS OF SECONDARY EDUCATION? 
 
 BEFORE it is possible to decide whether domestic 
 art can contribute to secondary education, one must 
 have an understanding of the general meaning and 
 aims of secondary school work. As the term is gener- 
 ally accepted it means the four years course of train- 
 ing which connects the elementary school with higher 
 schools. This may be in secondary schools of vari- 
 ous types both public and private. In the broader 
 sense, secondary education may mean all kinds of 
 courses of one, two, three, or more years, which 
 follow the work of the elementary school, evening 
 or day continuation classes in public schools or asso- 
 ciations which contribute to the advance of one's 
 education beyond the accomplishments of the eighth 
 
 175 
 
176 DOMESTIC ART 
 
 grade. This work may be literary, scientific, or 
 artistic, and of a practical or technical character. 
 
 "The education demanded by a democratic society 
 is, therefore, an education that prepares an indi- 
 vidual to overcome the inevitable diffi- 
 
 General aim 
 
 of secondary culties that stand in the way of his mate- 
 education. 
 
 rial and spiritual advancement." While 
 
 this defines education generally, it seems also to be 
 particularly apt in application to this field of work, 
 for it is during this period of education that youth 
 is so often brought face to face with the difficulties 
 of life, especially in relation to livelihood. Mr. 
 Hanus has outlined the general aims of secondary 
 education very fully. Life in order to be worth while 
 must show growth and an ever-increasing usefulness 
 in the world, so that the secondary education of to- 
 day must be a preparation for life which is to be one 
 of helpfulness and service, both to the individual and 
 to society. 
 
 As the life interests of individuals are so various, 
 secondary education should offer pos- 
 
 Pupils to be 
 
 " led to the sibilities of choice so that during that 
 
 discovery of 
 
 dominant period the pupil may discover the path 
 
 of life which his interests direct him to 
 
 follow. This thought of discovery of life purpose, 
 
GENERAL AIMS OF SECONDARY EDUCATION 177 
 
 which should be the key one, makes the planning of 
 work very difficult. This interest may lead the pupil 
 to self-support or to a life of study or invention which 
 may count for service to himself and others. Sec- 
 ondary education should so stimulate the pupil that 
 he will realize his duty and responsibility toward 
 society at large, and see that ultimately he must figure 
 in the making of the laws of his country and in the 
 fulfilment of duties of public trust in all fields of 
 work. Early encouragement to take part in the social 
 work of the community may be a guide to leadership 
 and an incentive to intelligent and helpful participa- 
 tion later in life. 
 
 The above definition of education calls attention 
 to the spiritual advancement of the individual. 
 Secondary school work should introduce the indi- 
 vidual to an appreciation of the beauties of the 
 " refined pleasures of life," those things in art, letters, 
 science, and religion which contribute to higher and 
 more spiritual living. Education which omits this 
 entirely deprives the individual of those inner re- 
 sources which count for so much when the practical 
 issues of life sometimes do not bear fruit. They are 
 the inward life and strength which often impel the 
 individual to greater things. Secondary work should 
 
178 DOMESTIC ART 
 
 so interest the pupil in this field of thought that he 
 will continue to be interested and to develop along 
 these lines as he proceeds in life. 
 
 Secondary education should not neglect the phys- 
 ical advancement. Opportunity should be given 
 physical the pupil for physical development and 
 
 advancement ... ir.ii i>e 
 
 of great intimate study of the laws governing life 
 
 importance. an( j ^ ^^ Th j & k now } e d ge i s the 
 
 most vital and important if the individual is to ac- 
 complish anything in the world. This period of ado- 
 lescence adds another difficulty which must be consid- 
 ered by those planning the secondary school courses. 
 
 These aims which contribute to the development 
 of the individual count also for the development of, 
 society and for the betterment of living. The func- 
 tion of secondary education has been given as "the 
 most widely available organized force for elevating, 
 refining, and unifying a democratic society." 
 
 All phases of work of secondary nature should 
 contribute to these general aims. If these aims are 
 analyzed more specifically, they are 
 
 (1) Those which relate the individual to society 
 and help him to take his place among his fellows. 
 
 (2) Those which give him the broader view of 
 life, of its accumulation of culture, or aesthetics. 
 
GENERAL AIMS OF SECONDARY EDUCATION 179 
 
 (3) Those which are practical and enable him to 
 select a vocation which will be his life interest or 
 means of livelihood. 
 
 In considering the field of domestic 
 
 Domestic art 
 
 in relation to art in relation to these aims, it is possi- 
 ble to find many lines of thought which 
 will contribute to their accomplishment. 
 
 A knowledge of domestic-art work will enable any 
 woman to be a better consumer, producer, and home- 
 maker in any community. It will enable her to buy 
 economically and wisely, to select with wisdom and 
 good taste the best and most appropriate clothing 
 and furnishings for her home, to manage it sys- 
 tematically for the good of all its members, and to 
 enter into the problems of social life intelligently. 
 Can all this be accomplished by means of domestic- 
 art work in secondary education? There are many 
 possibilities. The teacher's example will be one of 
 the most dominant factors. Her interest in life, in 
 society will be an impelling force. Talks and sug- 
 gestions in relation to woman's work, wages, sweat- 
 shop labor bargains, Consumers' League, open th'e 
 mind of the awakening girlish consciousness to a new 
 field of thought. Woman's relations to the better- 
 ment of conditions of the working-woman, of better 
 
180 DOMESTIC ART 
 
 laws, of economic relations, suggest to her fields 
 of work for the future. The teacher's direct inter- 
 est in and support of these in her own 
 
 Domestic art 
 
 in relation to town are factors which count for influ- 
 
 social life. 
 
 encmg the girl to participate in such 
 life-work. Talks from officials and others interested 
 in betterment, and in economic conditions, are an- 
 other avenue of possible connection. Visits to insti- 
 tutions, factories, or shops are often possible for 
 study the clothing, food, etc., of children and adults 
 in institutions, suggestions for betterment the pur- 
 chasing power of a dollar the best for the least 
 amount, all suggest ways of arousing interest which 
 may later lead to an active interest in the work of 
 social welfare. This may be as life-work or voca- 
 tion either for a means of livelihood or not. As a 
 means of livelihood the field offers many opportu- 
 nities for institutional buyers, philanthropic and wel- 
 fare workers in school systems, charities and better- 
 ment work of the large factories connected with the 
 textile industries, or in various other fields of work. 
 Secondary education should in this social connec- 
 tion aim to give the girls true knowledge of the 
 organization of the institutions and activities of gov- 
 ernment. Courses in history, civics, economics, and 
 
GENERAL AIMS OF SECONDARY EDUCATION 181 
 
 social studies all contribute. This is not the function 
 of domestic-art work, but the teacher of this subject 
 can relate her work intelligently to it and lend a 
 hearty co-operation in the general training for goo.d 
 citizenship. y 
 
 Vocational education has been defined as "that 
 which equips an individual for self-support. Self- 
 support may not necessarily mean a 
 
 Domestic art 
 
 in relation to wage-earning capacity, it might be 
 
 vocational aim. 
 
 home-making or work along the line of 
 one's dominant interest." Not all of our girls are 
 privileged to proceed to college and enter upon 
 courses of work which may lead later to their life 
 vocations in large fields of professional interest and 
 study. The secondary school should provide some 
 means of enabling the girl to find herself in relation 
 to her life-work as a vocation along other lines than 
 those of the higher professions. Courses in house- 
 hold arts, commercial and other business courses, 
 are needed in order that if the girl have ability in these 
 directions, she may discover it and her relationship 
 to them, that she may emerge into larger life and 
 under wise direction learn the source of her pleasures 
 or the life-work in which she will voluntarily engage. 
 Secondary education should acquaint the girl with 
 
182 DOMESTIC ART 
 
 the importance of the discovery of a vocation so that 
 she may begin her .life-work early. "The great 
 mass of human happiness will always arise out of 
 doing well the common things of life, and the happi- 
 ness of the individual will lie in that creative genius 
 which does to-day the same thing it did yesterday, 
 but does it better." 
 
 Secondary education for girls must offer courses 
 which deal with the common things of life, as well 
 as the literary and aesthetic work. The two should 
 go hand in hand and one supplement the other. 
 Vocations may be the direct .outgrowth of the house- 
 hold arts courses or may spring from the so-called 
 more cultural courses of the school. The aim of 
 either is for greater service and efficiency. 
 
 Courses in domestic art may lead directly into many 
 vocational fields. That of the home-maker is the 
 first and foremost in our consideration, for it is she 
 upon whom we depend for the growth and develop- 
 ment of the homes of the future and the rearing and 
 education of our children. There can be no greater 
 vocation, and any secondary school entirely fails in 
 its mission which neglects to give the girls an oppor- 
 tunity for studying it. Courses in dressmaking, 
 costume designing, or millinery may lead directly to 
 
GENERAL AIMS OF SECONDARY EDUCAT 
 
 life-work along these lines. The secondaf^^Mools, 
 according to their type, may only introduce c 
 more intensive study in these fields of work. These 
 intensive courses will prepare for direct application 
 in establishments of trade. They may not give a 
 full trade experience, but they do give the girl a 
 foundation for later training which will cause her to 
 rise rapidly as she gains in experience. 
 
 Courses in domestic art can contribute to the so- 
 called general culture work and thought of the 
 Dom-e-stic art school. The modern idea of culture is 
 
 thelMaUed much broader than that formerly in use, 
 cultural studies. an j the new social relationships and 
 
 civilization call for a change in adjustment of our 
 so-called cultural courses. The practical studies ap- 
 peal most thoroughly to many girls and it may be 
 that through these only can the introduction be 
 given to the more general cultural studies. For the 
 girls who do not intend to go to college, Latin and 
 Greek are a waste of time. It is far better for 
 these to study the more modern subjects which are 
 adapted to their needs: the history of industry and 
 commerce, politics and education, art and phi- 
 lanthropy, modern foreign languages, literature of the 
 mother-tongue, the elements of commercial training, 
 
1 84 DOMESTIC ART 
 
 fine arts and mechanic arts, economics and govern- 
 ment. This scope of programme offers difficulties 
 to those who must prepare the course of study for 
 the individual. General culture has been defined 
 as "the capacity to understand, appreciate, and 
 react on the resources and problems of modern 
 civilization." No one individual can choose all the 
 work offered, but should be taught to think about his 
 choices and do so under guidance. This direction of 
 choice will depend largely upon the tact and good 
 judgment of the teachers. Secondary education 
 should be a constant training in foresight and re- 
 sponsibility, these two great giants which make for 
 the formation of character and good citizenship. 
 
 Domestic art in this sense may be cultural in many 
 ways. The various courses in art, design, costume 
 and millinery designing, all have as their foundation 
 the general principles of design. Garment -making, 
 trimming, and decoration are truly studies in line 
 and space, balance, rhythm, and harmony of color. 
 A beautiful gown or hat is a true study in art and 
 requires artistic sense and feeling to produce it. The 
 study of fabrics, their manufacture, composition, 
 and adulteration opens up the whole field of science. 
 The dyeing, cleansing, and laundering of materials 
 
GENERAL AIMS OF SECONDARY EDUCATION 185 
 
 offer a practical application of chemistry and its 
 principles. The hygiene of clothing relates directly 
 to the studies in physiology, and some of the princi- 
 ples of physics and geometry are exemplified in the 
 drafting of garments and the use of machines. 
 
 History has a decided connection with the domes- 
 tic-art field. The history of industry is most interest- 
 ing and vital in relation to the evolution of textile 
 manufacture. The history of rugs, old textiles, and 
 costume are as interesting as studies of ancient Greek 
 or Roman life and may be connected with these. 
 Economics and sociology bear directly on many 
 phases of domestic-art work, and commercial geog- 
 raphy makes the study of fabrics of much more 
 value and interest to the pupil. 
 
 The possible so-called cultural relationships are 
 very many, but it depends entirely on the skill and 
 tact of the domestic-art teacher in her co-operation 
 with the other instructors to make these relation- 
 ships vital. 
 
 With these general aims for secondary education 
 in mind, and the possible scope of domestic-art 
 work as it contributes to the accomplishment of these 
 aims, it is possible to turn to the selection of material 
 for various types of secondary schools, according to 
 their needs. 
 
1 86 DOMESTIC ART 
 
 REFERENCES FOR STUDY 
 
 "A Modern School," Hanus. 
 
 " Secondary Education in a Democratic Community," 
 Hanus. Vol. XI "English Reports on Education." 
 
 " Report of Lake Placid Conference on Home Economics," 
 1908. 
 
 "The American High School," J. F. Brown. 
 
CHAPTER XI 
 
 THE SELECTION AND PLANNING OF WORK 
 FOR THE SECONDARY SCHOOLS 
 
 WITH the previous chapter in mind, we are ready 
 to turn to the selection and planning of work for 
 secondary schools. 
 
 We are at once confronted by the numerous factors 
 which must be considered in the planning of work. 
 They are somewhat similar to those affecting the ele- 
 mentary course and yet more difficult. Our primary 
 consideration is the girl our girl with all her aspira- 
 tions, hopes, and fears. She is very appealing at 
 this period, for she is so very human in the develop- 
 ing and unfolding of her nature. We are to guard 
 and guide her, and to watch her physical and psy- 
 chological development. The teacher of domestic 
 art has an unusual opportunity to help and protect 
 in her close association. She must be guarded 
 against too great physical and mental strain when 
 
 she is in need of rest and relaxation. Her ambitions 
 
 187 
 
1 88 DOMESTIC ART 
 
 are to be encouraged, her fears allayed, her hopes 
 renewed. The teacher should be wise in her selec- 
 tion of problems during the early high school years 
 and should bear distinctly in mind the peculiar 
 character of this period of mental and physical de- 
 velopment. The good of the girl is the ultimate goal, 
 and without health nothing can be accomplished. 
 
 The social ideals and life of the community should 
 
 be kept in mind in planning the work for this course, 
 
 for after all we are preparing the girl 
 
 Social life of 
 
 the commu- to take her place in the community and 
 to promote its welfare. The needs of 
 the home, of the school, and neighborhood institu- 
 tions should be considered. Problems may be intro- 
 duced into the course which may be of use and value 
 in those institutions and develop an interest in them. 
 Any connection which the domestic-art teacher can 
 make to arouse the social consciousness of the girl 
 and put her in touch with useful life will be of great 
 value to her. This added interest which is the only 
 true interest certainly touches life and enables the 
 girl to see her relationship to some of its problems. 
 Time and locality enter as factors in relation to 
 the planning of this work. The local school board 
 may be authorized to decide the number of hours 
 
WORK FOR SECONDARY SCHOOLS 189 
 
 per week which are to be devoted to the domestic- 
 art work. This ffiay handicap the teacher, for either 
 Time and to niuch or too little time may be al- 
 lowed and the proper balance be lost 
 between the academic and household arts studies. 
 The time should naturally be regulated by the aim 
 of the particular school and local conditions, but 
 very often those who are entrusted with the regula- 
 tion of time are not alive to the differences to be 
 kept in mind and do not understand the proper 
 relationships or aims of the various types of schools. 
 The course of study is always more or less influ- 
 enced by the particular locality or environment by 
 environment is meant all the peculiar local condi- 
 tions which affect planning. A private school, for 
 example, located in a suburb where there is oppor- 
 tunity for more or less outdoor life, may introduce 
 into its course problems of a different character from 
 those which may be of particular value in the city 
 school under other conditions. 
 The cost of the introduction of the work may be a 
 problem for consideration, but in the 
 
 Cost often 
 
 affects one's majority of secondary schools the pupils 
 
 supply most of their own materials. The 
 
 board of education or school often supplies the tern- 
 
DOMESTIC ART 
 
 porary equipment of needles, thread, etc., and nearly 
 always the permanent equipment of machines, tables, 
 and other articles of furniture. Parents are usu- 
 ally quite willing to supply the necessary materials, 
 for the garments produced have as a rule a utilitarian 
 value and are to the mother an economic saving of 
 time, labor, and money. In the case of the introduc- 
 tion of more technical or trade work, it is not possible 
 for the home to furnish the necessary supplies. The 
 work in order to be of most value must be of a 
 certain variety, and the materials used must be such 
 as will be worth while handling. The problem of 
 funds to meet the needs is a serious one, but is met 
 in many ways by the ingenuity of those in charge. 
 Shops and order work seem to be the best solu- 
 tion, but also have difficulties, for patrons wish well- 
 finished results, and often in the process of learning 
 many efforts must be made by some children before 
 a creditable piece of work is produced. These in- 
 ferior articles may be sold for little, perhaps just to 
 cover costs of materials and must often be sold at 
 a sacrifice. This makes the trade school course of 
 study a particular problem in itself in relation to cost, 
 and a trade school will always be an additional cost 
 to the management for materials on account of the 
 
WORK FOR SECONDARY SCHOOLS 191 
 
 unavoidable waste during the process of learning. 
 In many schools of classical and manual training type 
 students make articles for sale which are given to 
 the school, or take orders for household linen or 
 other articles for neighboring institutions. This 
 may or may not be an excellent plan according to 
 management, but often enables a school to purchase 
 the necessary permanent equipment of chairs, ta- 
 bles, machines, etc., when the local authorities may 
 not be able to do so. 
 
 Another factor to be considered is the final goal 
 of the secondary school. This will be more fully dis- 
 Aim of each cussed in considering the types of school. 
 
 to P b e e kept h rn 01 Is the course to prepare for college en- 
 mind - trance and will any credit be given for 
 
 it ? is a question which the domestic-art teacher faces 
 in the planning of her work. The selection of sub- 
 ject-matter will be influenced as well by what has 
 gone before as by that which is to follow. Have the 
 pupils had any domestic-art training in the grades, 
 what has been its scope, in what grades was it given, 
 will a lengthy review be necessary? The course 
 must be moulded accordingly to meet these con- 
 siderations, which must be kept in mind if the 
 course is to be well planned. Very often the do- 
 
192 DOMESTIC ART 
 
 mestic-art teacher discovers that the grade work has 
 been almost entirely forgotten because of its dis- 
 continuance during the seventh and eighth years of 
 study. 
 
 "When society enters distinctively into a new 
 phase of its evolution, there must be a new distri- 
 bution of educational values." The greatest diffi- 
 culty which the teacher of domestic art must face 
 is the differentiation of courses for various types of 
 secondary schools, for unless she understands the 
 aims and conditions which affect the various types 
 she is not apt to be wise in her selection of subject- 
 matter to meet those needs. As society has entered 
 this new phase of its evolution, the industrial era, one 
 finds such a variety of types of secondary schools that 
 it is difficult to distinguish and to differentiate the 
 work for the various kinds, because of the general 
 feeling of uncertainty as to the real goal of each 
 type. Unless the aims are understood the distri- 
 bution of values will lack balance and proportion. 
 The teacher of household arts must guard against 
 the temptation to think that her subject is the only 
 one in the curriculum for consideration. 
 
 It may be well to analyze somewhat briefly the 
 main aims of some of the types of secondary schools 
 
WORK FOR SECONDARY SCHOOLS 193 
 
 and to follow these with suggestive outlines for 
 courses of study under varying conditions. 
 
 The classical high school or the classical course 
 in high school seldom permits of very much work in 
 Domestic art household arts. As a rule the girls are 
 
 in a classical r ,-, i n ,1 ? 
 
 high school preparing for college and all the avail- 
 able time must be spent in working off 
 the necessary requirements. If the college entrance 
 board would accept certain "work in household arts, 
 it might be possible for a course to be arranged 
 which would not only have a classical bearing, but 
 be of great value to the girl in her development and 
 life in society. When household arts work is given 
 in the classical courses it is nearly always elective, 
 and not required, as it should be. Fortunately, how- 
 ever, girls feel instinctively the need of this work, and 
 their natural interest leads them to pursue it when- 
 ever it is possible for them to do so. The time at 
 most is very short. 
 
 The outline submitted for the classical type of 
 course is for two hundred and forty hours of work, 
 to be distributed as seems best in relation to the 
 other work of the school. As a part of a household 
 arts course the same amount of time should be 
 given to the so-called domestic science phases of the 
 
194 DOMESTIC ART 
 
 work. The work of the classical domestic-art course 
 should be interesting and offer variety. The girls 
 work as a rule on problems of personal interest and 
 the main aim of the work is training the girl for 
 usefulness in her home and in her relationships with 
 others. 
 
 COURSE IN DOMESTIC ART 
 
 PART OF HOUSEHOLD ARTS COURSE FOR SECONDARY SCHOOL OF 
 CLASSICAL TYPE 
 
 I. Factors governing the selection of this subject-matter 
 for a possible condition. 
 
 (1) Previous Training. Hand-sewing given in sixth and 
 seventh grades of elementary school. 
 
 (2) Secondary Course to count toward college entrance. 
 
 (3) Location of School. Suburb of Philadelphia. 
 
 (4) Girls. From homes of best middle class. Some go to 
 college, others to be prepared for home duties. 
 
 (5) Time. Two hundred and forty hours, to be distri- 
 buted as seems best in working out programme of all studies, 
 possibly three hours per week for two years. 
 
 (6) Cost. Pupils supply nearly all materials. 
 
 II. Course of study. Clothing, 
 (i) Problems. 
 
 (a) Underwear (three pieces). 
 
 (b) Shirtwaist gown or simple lingerie gown (one piece or 
 waist and skirt). 
 
WORK FOR SECONDARY SCHOOLS IQ5 
 
 (c) Making of lined gown. (i) Skirt drop skirt. (2) 
 Waist. 
 
 (d) Millinery. (i) Fall or winter hat. (2) Summer hat 
 straw or lingerie. 
 
 (e) Embroidery. (i) Table cover or pillow top. (2) 
 Lingerie hat or underwear (above mentioned), or Christmas 
 gift. 
 
 (2) Processes involved in working out above problems. 
 (a) Hand-sewing (review). 
 
 (6) Machine-sewing. 
 
 (c) Drafting with use of patterns. 
 
 (d) Fitting and hanging of garment. 
 
 (e) Designing for decoration and draft of patterns. 
 
 (f) Computations of costs. 
 
 (3) Thought Content to be developed while presenting above 
 problems. 
 
 (a) Textile study. Source of materials, properties, manu- 
 facture, design, and workmanship of textiles. 
 
 (b) Use and adaptation of commerical patterns and relation 
 to drafting. 
 
 (c) Hygiene in relation to wearing apparel. Sweatshop 
 labor. 
 
 (d) Study of relative values of hand and machine work. 
 
 (e) Suitability of apparel in relation to use and income. 
 Line and color to be adapted to wearer. Economics of the 
 purchase of materials, prices, widths, quality, etc., in rela- 
 tion to use and planning of the wardrobe. How to reduce 
 cost with good effect. 
 
 (/) Training for accuracy, neatness, foresight, and respon- 
 sibility. Development of social consciousness. 
 
 (4) Allied Subjects. 
 
196 DOMESTIC ART 
 
 (a) Art in specific design, color, adaptation of line to space 
 relation to human form. History of costume as expression 
 of social development; appropriateness of clothing and beauty. 
 
 (b) Physics. 
 
 (c) Commercial geography. 
 
 (d) Industrial history. 
 
 (e) Economics (simple form). 
 
 (/) Physiology (hygiene of clothing). 
 (g) Chemistry (dyeing of materials). 
 
 (5) Related Interests. To be developed while teaching above 
 problems. 
 
 (a) Visits to shops, factories, museums, and libraries. 
 
 (b) Use of books and current magazines as of value in above 
 study. 
 
 (c) Work of organizations, as Municipal League, Consum- 
 ers' League, Board of Health, Trades Unions (relation of 
 employer and employees). 
 
 (d) Sweatshop problems, duties, customs (imported gowns, 
 etc.). 
 
 III. Shelter and household management. 
 
 (1) Problems. 
 
 (a) Making of charts showing relation of cost of clothing 
 to income, also charts of color schemes for rooms and fur- 
 nishings. 
 
 (b) Making of furnishings. (i) Scarf for table or pillow. 
 (2) Curtains. (3) Weaving of cover. 
 
 (c) Keeping of accounts informal talks on house manage- 
 ment in relation to furnishings and clothing. 
 
 (d) Laundering of materials (cleansing, dyeing). 
 
 (2) Processes involved in working out the above problems. 
 
WORK FOR SECONDARY SCHOOLS 197 
 
 (a) Stencilling. 
 
 (b) Block printing. 
 
 (c) Hand-loom weaving. Co-operative work. 
 
 (d) Exhibits in school of rooms furnished. 
 
 (e) Trial of method of keeping personal accounts. 
 
 (f) Cleansing and dyeing of old materials. 
 
 (3) Thought Content to be developed while presenting above 
 problems. 
 
 (a) Artistic and beautiful furnishings of home; spirit of 
 home-making; ethical and social side; kind of home in rela- 
 tion to income. 
 
 (b) Management in relation to repairs of clothing, linen, 
 rugs, etc. Care of clothing and house furnishings. Launder- 
 ing of materials. 
 
 (c) Keeping accounts. Clothing and furnishings, their rela- 
 tion to income. 
 
 (d) Economy of time in relation to making and use of home 
 things. 
 
 (e) Business management. Simple business rules, and law 
 for women. 
 
 (4) Allied Subjects. 
 
 (a) Art study of design materials, color in relation to rooms. 
 
 (b) household sanitation in relation to furnishings. 
 
 (c) Chemistry color; cleansing of wood and materials; 
 dyeing, laundering. 
 
 (d) Economics (very simple). Law of supply and demand; 
 money fall of price. 
 
 (5) Related Interests. 
 
 (Same as above subject, (II) Course of Study. Clothing.) 
 
198 DOMESTIC ART 
 
 The domestic-art work in a manual training high 
 school course differs principally from the classical in 
 
 the amount of time given to the sub- 
 Manual 
 
 training high ject. The work is generally required, at 
 
 school course. . . 
 
 least a certain number of points of it, 
 and opportunity given for more elective work where 
 the girl is interested in a specialty and is contem- 
 plating more advanced training after leaving the 
 school. The main aim of such work is proficiency 
 which will enable the girl to run her household affairs 
 intelligently and well, or make it possible for her to 
 go into other schools or professional establishments 
 for further study along such lines. Many of the 
 domestic-art graduates of the manual departments of 
 high schools enter dressmaking or millinery estab- 
 lishments in ordej to become more proficient along 
 these lines, or continue into higher schools and later 
 teach this specialty. The aim of the manual train- 
 ing course, as the work has been planned in most 
 manual training schools, is to keep in mind the 
 development of the girl without especial emphasis 
 on the vocational aspect of the work. The aim of 
 the work is not to train for a trade, although very 
 often some of the students do specialize in such a 
 direction because of the interest awakened. The 
 
WORK FOR SECONDARY SCHOOLS 199 
 
 work generally offers variety, and the course for girls 
 permits of many phases of industrial arts, such as 
 metal work and clay modelling, as well as the 
 household arts work of cooking and sewing. The 
 possibilities for such courses have already been 
 enumerated and will be regulated by the local con- 
 ditions determining the formation of plans. 
 
 STUDENT PLAN, TEACHERS COLLEGE 
 
 DOMESTIC- ART COURSE FOR MANUAL TRAINING HIGH 
 SCHOOL 
 
 CONDITIONS 
 
 Size of City. From 90,000-100,000 inhabitants. 
 
 Nationalities. American, English, German, and Scandina- 
 vian. 
 
 Elementary Schools. Some hand-work is given in the ele- 
 mentary schools in this city, but children coming from outside 
 settlements and smaller cities may not have had any hand- 
 work at all. 
 
 Higher Institutions of Learning. A State university, a 
 high school, and several church high schools and colleges. 
 
 Further Description of Environment. The largest enterprises 
 of the State are agriculture, mining, and sheep industry, and 
 this city being the centre of attraction, a good deal of business 
 is carried on there. The city has several large department 
 stores, but no factories of great importance. Most of the 
 people have their own homes, and as a rule live under favor- 
 able circumstances. 
 
200 DOMESTIC ART 
 
 AIM OF THE SCHOOL 
 
 The aim of this manual training high school course in 
 domestic art is to offer to girls a practical education, in order 
 that they may discover and exercise their best powers, while 
 obtaining accurate information in many practical problems of 
 life. 
 
 The special aim of this course in domestic art is to prepare 
 the girls to be more efficient home-makers, and to be better 
 prepared to take their place in society; to cultivate an 
 appreciation of home, and to dignify housework by improving 
 the method of work as well as the articles made. 
 
 Throughout the course emphasis is to be placed upon 
 economy, suitability, and as far as possible, upon the culti- 
 vation of order, neatness, responsibility, and unselfishness 
 whenever there is a natural relationship. 
 
 The subject-matter is to be correlated with art, history, 
 geography, nature study, arithmetic, etc. 
 
 Twenty periods a week are to be devoted to academic studies 
 such as English, mathematics, science, history, language, 
 music, and elocution. By a wise selection of studies it would 
 be possible for those who intend to go on to college, to meet 
 the requirements. 
 
 Ten periods a week are given to domestic art, domestic 
 science, and drawing. Physical training will have to be given 
 outside of the ten periods, unless the hours can be arranged 
 differently. 
 
 The work is planned for one-hour-and-forty-minute periods, 
 which may seem long for the first year; but as a rule the first 
 year high school girls are not under fifteen years old and 
 would be able to stand it. 
 
 A good deal of garment and dress making have been ar- 
 ranged for in this course, for the reason that the parents are 
 
WORK FOR SECONDARY SCHOOLS 2CI 
 
 inclined to appreciate the utilitarian value of this subject more 
 than the educational; hence an attempt is made to meet the 
 approval of the parents as well as to fulfil the aim of the school. 
 Many mothers depend on and greatly appreciate the help the 
 daughters can give them during vacation periods, especially the 
 help with the family sewing. This is one of the reasons for 
 introducing children's clothing. 
 The school year is thirty-four weeks. 
 
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WORK FOR SECONDARY SCHOOLS 
 
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208 DOMESTIC ART 
 
 STUDENT PLAN, TEACHERS COLLEGE 
 
 DOMESTIC- ART COURSE OF STUDY FOR A MANUAL TRAINING 
 HIGH SCHOOL 
 
 This course of study in domestic art is plann d for a manual 
 training high school in a Western town of a population of about 
 sixty thousand. A large part of this population is made up of 
 Germans who are comfortably well-to-do and home-loving 
 people. The school, which is splendidly equipped in every 
 way, is located in the central part of the city directly across 
 the street from the classical high school and furnishes to the 
 students of this classical high school whatever manual work 
 they may elect to take as well as regular courses in the manual 
 arts which are arranged for its own students. 
 
 Most of the girls who attend the manual training high 
 school come from thrifty families with comfortable homes. 
 About three-fourths of these girls remain at home after gradu- 
 ation and many of them eventually marry and have homes of 
 their own. Of the remaining quarter, some go on to higher 
 education, usually technical, some wishing to become teachers 
 take normal courses, and others enter the trade or business 
 world. Domestic art is taught in the seventh and eighth 
 grades of the elementary school so that the girls on entering 
 high school have some knowledge of the different stitches and 
 their applications. 
 
 There are two teachers of domestic art in this high school. 
 The average number of girls in a class varies from ten to 
 fifteen, rarely exceeding fifteen. 
 
WORK FOR SECONDARY SCHOOLS 209 
 
 AIM OF COURSE IN DOMESTIC ART 
 
 To help the girls to grow into well-rounded women who 
 will be equipped to meet home and social problems in an 
 intelligent and practical manner. 
 
 To develop in the girls a higher appreciation and enjoyment 
 of beauty and harmony and to offer practical work which shall 
 aid them in attaining this harmony and beauty in their own 
 lives. 
 
2IO 
 
 DOMESTIC Airr 
 
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WORK FOR SECONDARY SCHOOLS 
 
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WORK FOR SECONDARY SCHOOLS 
 
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 ferent kinds of tears. Re- 
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 color. More healthful, sim- 
 
 pie furnishings. Dangers and 
 disadvantages of plush and 
 
 much upholstery. Furniture, 
 simple and comfortable. Wall 
 
 finishes. Rugs. Draperies. 
 "Bric-a-brac" inartistic pro- 
 ductions of present day. 
 
 Windows arid their treatment, 
 inside and outside effect. Pos- 
 
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 ings, etc., decorated at home. 
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 curtains. Cleansing of cur- 
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WORK FOR SECONDARY SCHOOLS 
 
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 taste. 
 
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222 DOMESTIC ART 
 
 Domestic-art work in the technical high school 
 
 courses should differ from the manual training in 
 
 'that it should offer not so great a variety 
 
 Technical 
 
 high school of hand-work for each student, but 
 
 work. . 
 
 allow opportunity for intensive work 
 along some particular line of interest, such as dress- 
 making, millinery, costume designing, etc., at the 
 same time allowing opportunity for some academic 
 work to be pursued. The plans for real technical 
 work in high schools seem to differ with leading 
 authorities. The Washington Irving High School 
 in New York offers some of the best technical high 
 school work for girls given in this country. As yet 
 the technical lines of specialization are not many in 
 number, but those offered lead the students into 
 many fields of work. Commercial courses and libra- 
 ry assistance, specialization in various fields of art 
 such as designing and sketching for wall papers, 
 textiles, stained glass, and cataloguing, dressmaking 
 and millinery, present a number of opportunities for 
 selection. 
 
 There are many fields for specialization in the 
 household arts work which have not as yet been 
 appreciated by controlling boards and which in the 
 future will give women an opportunity for means of 
 
WORK FOR SECONDARY SCHOOLS 223 
 
 livelihood. The technical courses offered in high 
 school may lead later to higher technical schools for 
 women. At present few are established. ' The House- 
 hold Arts School of Columbia University, Pratt In- 
 stitute in Brooklyn, and Simmons College in Boston 
 offer such opportunity for further study. 
 
 The technical high school course of study is gen- 
 erally three or four years in length, and about two- 
 thirds of the periods are devoted to the special tech- 
 nical line of interest. The academic studies will be 
 of most value in such a school when they are dis- 
 tinctly related to and correlated with' the lines of 
 thought of these special fields. The work of the 
 first year will naturally be the least specialized, for as 
 a rule the student must get her bearing and discover 
 her peculiar interest. Opportunity should be given, 
 however, in elective periods for those who have early 
 discovered their dominant line of interest. So-called 
 technical high school courses are often offered at 
 night, but sometimes fail to make the work as in- 
 tensive as that given in day courses, and offer no 
 academic studies in connection. Such courses would 
 better be called continuation courses, or home- 
 maker's courses, rather than technical high school 
 work. 
 
224 DOMESTIC ART 
 
 The following outline of one specialty dress- 
 making for the technical high school will give 
 some idea of the kind and degree of intensity of 
 work which should be offered in a technical course. 
 Similar courses along the lines of costume-designing, 
 commercial branches, designing for other special 
 fields, millinery, etc., should be offered. The aca- 
 demic work should be closely related and correlated 
 with the special line of interest. The following 
 course is planned for three years. It might extend 
 over four, or additional work be added, if the high 
 school course is of four years' duration. 
 
 COURSE OF STUDY IN DRESSMAKING FOR A 
 TECHNICAL HIGH SCHOOL 
 
 STUDENT PLAN, TEACHERS COLLEGE 
 
 I. CONDITIONS. 
 
 (1) Population. 200,000. 
 
 (2) Nationalities. (a) American, very largely. 
 
 (b) Foreign. Outside the original American stock the Ger- 
 man and Irish elements predominate. Of the 35,000 wage- 
 earners employed in manufacturing, over 30,000 are of Ameri- 
 can birth. 
 
 (3) Industries. (a) Importance. Occupies sixth place in 
 manufacturing in proportion to population in the United 
 States. The geographical centre of the workshop of the 
 United States. 
 
 (b) Articles manufactured and produced. Shoes, clothing, 
 
WORK FOR SECONDARY SCHOOLS 225 
 
 photographic supplies, canned goods, buttons, optical goods, 
 flour, fruit products, seeds, chairs, nursery stock, office and 
 telephone supplies, carriages, lithographing, machinery, etc. 
 
 (4) Labor. A high percentage of the labor is skilled and 
 commands a higher price than in most cities and demands a 
 higher order of intelligence because of the skill required and 
 the diversity of articles manufactured. Owing to this pre- 
 ponderance of skilled workmen the standard of intelligence 
 throughout the city is high, and there is a small percentage 
 of illiteracy and of foreign-born residents as compared to 
 other cities. 
 
 (5) Civic. (a) Spirit. The citizens possess to a high degree 
 a spirit of local pride and civic loyalty, which is manifest in 
 city improvements, parks, public buildings, etc., and also in 
 the schools. 
 
 (b) Residential section. It is so situated that it has become 
 one of the handsomest residence cities of America. There is 
 no special district devoted to manufacturing enterprises. The 
 factories are as scattered as their products are diversified. 
 Naturally, this scattering of families has tended to scatter the 
 workingmen of the city and prevented congestion of the houses 
 in any single section of the city. There are no slums as com- 
 pared to other cities and few large crowded tenement houses. 
 
 (c) Environment. It has many parks, and its suburban 
 sites and natural environment tend to make the life of the 
 workingman pleasant and healthful and have tended to ele- 
 vate the character of the workingman as a class. 
 
 (6) Educational. (a) Public institutions. There are thirty- 
 eight public schools and two high schools; also a number of 
 evening schools in the various parts of the city where they are 
 most needed. Factory schools have recently been started, but 
 so far instruction is only for boys. 
 
 (b) Private institutions. Eighteen parochial schools, a uni- 
 
226 DOMESTIC ART 
 
 versity, and theological seminary, (a) A Mechanics ' Institute 
 which trains boys and girls, and men and women, for useful 
 trades. 
 
 (c) Scope. These institutions give ample opportunity for 
 securing a common school and classical education. 
 
 (7) Industrial Training. The existing high schools give an 
 indispensable preparation for high professional study and still 
 more immediate preparation for business pursuits, but they 
 do next to nothing to fit their pupils for the fundamental in- 
 dustries. About thirty per cent of the number in the grades 
 go to the high school. There is, therefore, need of practical 
 instruction in the high schools so that, when the pupils leave 
 the school, they will not have to resort to other means to get 
 what they must know in order to go out into the business world 
 successfully. There is need of high school technical training 
 in this city. 
 
 II. AIMS. 
 
 (1) General. (a) To give a practical training in the high 
 school, which will produce practical results for girls, who in 
 the majority of cases are soon to be put to the necessity of 
 applying their learning to the practical affairs of life. 
 
 (b) To train the girls in the fundamentals and provide 
 special trade instruction commensurate with the demands of a 
 manufacturing city. 
 
 (c) To encourage girls to become self-supporting and to 
 lead useful, happy, dignified, and progressive lives. 
 
 (2) Specific. (a) Formation of right habits, (i) To en- 
 courage habits of honesty, neatness, attention, accuracy, love 
 of work, speed, promptness, economy of time and material. 
 (2) To develop reasoning, originality, invention, imagination, 
 and ability to express an idea in concrete form. (3) To incul- 
 cate politeness, kindliness, and pleasing manners. 
 
WORK FOR SECONDARY SCHOOLS 227 
 
 (b) Home management, (i) To encourage neatness and 
 orderliness in the home and promote a love for it. (2) To 
 teach economy in buying and the use of materials and a judi- 
 cious use of time. (3) To cultivate judgment and skill in the 
 use of tools and selection of materials. (4) To develop good 
 taste and promote a desire for beautiful, harmonious, simple, 
 and restful surroundings. (5) To lead to consideration of 
 physical conditions. 
 
 (c) A preparation for trade, (i) Care and use of utensils, 
 and skill in handling same. (2) Economy of time and mate- 
 rial. (3) Ability to make and interpret working drawings and 
 patterns. (4) Some knowledge of trade and every-day busi- 
 ness transactions. (5) Some practical information of the 
 names, use, fitness, etc., of the tools to be used in their trades, 
 and the materials handled. 
 
 DRESSMAKERS' COURSE FIRST YEAR 
 
 (Required Course) 
 
 Time. Five periods per week for one half year. Periods, 
 fifty minutes each. 
 
 NOTE. This course is preceded by an elementary school course of 
 four years, in which the leading fundamental principles and stitches used 
 in hand-sewing are given. There has been some garment-making by 
 hand, a little free pattern-cutting, and the use of patterns, but no drafting. 
 So far in the course machine-work has not been introduced. 
 
 I. PROBLEMS. 
 
 (i) Machine, (a) Work-bag. 
 
 (b) Apron. 
 
 (c) Underskirt. White muslin. 
 
 (d) Night-gown. 
 
 (e) Shirtwaist. Plain. 
 
228 DOMESTIC ART 
 
 (/) Between work, (i) Short skirt. (2) Corset-cover. 
 
 (g) Shirtwaist. Tucked. This problem is designed for the 
 girl who finishes the first five problems before the time of the 
 term expires. 
 
 II. PRINCIPLES AND PROCESSES INVOLVED. 
 
 (1) Care and use of machines, (a) Kinds, (i) Single- 
 thread. (2) Double-thread. 
 
 (&) Threading, treadling, oiling, parts, etc. 
 
 (2) Drafting. 
 
 (3) Cutting. 
 
 (4) Fitting. 
 
 (5) Stitching. 
 
 (6) Designing. 
 
 (7) Decoration, (a) Tucking. 
 
 (b) Ruffling, (i) Calculating fulness. (2) Joining, etc. 
 
 (c) Hemstitching. 
 
 (d) Lace and embroidery, (i) Mitering. (2) Curving. 
 (3) Joining. 
 
 <8) Seams, (a) French. 
 
 (b) Flat fell. 
 
 (c) Tailor. 
 
 (9) Hems. 
 
 (10) Facings, (a) Straight. 
 (b) Bias. 
 
 (n) Fastenings, (a) Buttons and button-holes. 
 
 (b) Tapes. 
 
 (c) Ribbons. 
 
 (12) Sleeve-making, (a) Finishing, (i) Tailor cuff. (2) 
 Placket. (3) Putting in, gathering, etc. 
 
 (13) Practice in using commercial patterns. XV 
 
 (14) Adaptation of patterns to figure. 
 
 (15) Study of form and line as applied to individual figures. 
 
WORK FOR SECONDARY SCHOOLS 229 
 
 III. RELATED SUBJECT-MATTER. 
 
 (i) Design, (a) Trimming of garments with lace and hand- 
 embroidery. - 
 
 (6) Space relation, (i) Study of line. (2) Breaking up 
 spaces to give long effects, short effects, etc. 
 
 (r) Proportion. 
 
 IV. THOUGHT CONTENT. 
 
 (1) Use of machines, (a) Economy of time. 
 
 (b) Strength of sewing. 
 
 (c) Value in trade. 
 
 (d) Beauty in fine stitching. 
 
 (e) Comparison of machine- and hand-sewing. 
 
 (2) Materials, (a) Suitability, (i) Fitness as to use. 
 (2) Wearing qualities. (3) Laundering qualities. 
 
 (b) Cost. 
 
 (c) Good taste, (i) In selection. (2) In decoration. 
 
 (d) Economy in use of materials. 
 
 (e) Combination of materials. 
 
 (3) Garment-making, (a) Choice of materials. 
 
 (b) Undergarments to correspond to outer garments. 
 
 (c) Estimate cost of complete garment and time required to 
 make each. 
 
 V. OUTSIDE INTERESTS, TALKS, EXCURSIONS, ETC. 
 
 NOTE. One period of fifty minutes each to be set aside each week 
 for talks, excursions, visits, etc. This time may be used for demon- 
 stration of some thought to be brought out in connection with garment - 
 making. Otherwise the time is to be spent in discussion of following 
 topics. These may be subdivided and extended over more than one 
 period at discretion of teacher. Each teacher to decide as to topics most 
 needed by her individual class. 
 
 (i) The keeping of accounts, (a) Advisability, use, etc. 
 (b) Each girl to be required to keep an account of her ex- 
 penditures for one month. 
 
230 DOMESTIC ART 
 
 (c) Lead girl to see where in her individual case the money 
 could have been more wisely spent. 
 
 (d) Economy of time as opposed to money. 
 
 (2) Problems dealing with the purchase of materials, (a) 
 Relations of consumer and dealer. 
 
 (b) Relative values, bargains, etc. 
 
 (c) Comparison of samples brought in by girls; use of 
 price lists; learn names and widths of materials. 
 
 (d) Some means of judging materials. 
 
 (e) Use of lists in shopping. 
 
 (/) Shopping etiquette; how to ask for what you wish. 
 
 (3) General appearance, (a) Good taste, (i) Color com- 
 binations. (2) Textile combinations. (3) Suitability of gar- 
 ment to occasion. 
 
 (b) Good and bad hair dressing, (i) Hair ribbons, orna- 
 ments, combs, etc. 
 
 (c) Ornamentation, (i) Use of cheap jewelry. (2) Cheap 
 laces, embroideries, etc. 
 
 (d) Shoes, (i) Well cleaned. (2) Heels in good condi- 
 tion. 
 
 (e) Gloves, (i) Clean, well-mended. 
 
 (4) Hygiene, (a) Care of the body. 
 
 (b) Hands, (i) Nails clean, well-shaped. (2) Necessity 
 for business woman to have good-looking hands. (3) Care 
 soaps, brushing, etc. 
 
 (c) Selection of garments that will launder easily. 
 
 (d) Frequent changes of underwear, (i) Necessity in shop- 
 work; use in this connection of knit, one-piece underwear. 
 
 (5) Excursions, etc. (a) Visits to neighboring stores in 
 relation to shopping, etc. 
 
 (b) Exhibit of undergarments in connection with making of 
 undergarments. 
 
WORK FOR SECONDARY SCHOOLS 231 
 
 DRESSMAKERS' COURSE SECOND YEAR 
 
 (Required Course) 
 
 Time. Fifteen periods per week throughout year. Periods, 
 fifty minutes each. 
 
 I. PROBLEMS. 
 
 (i) Construction, (a) Shirtwaist (cotton or linen, tucked). 
 
 (b) Kimono. 
 
 (c) Unlined cotton dress. 
 
 (d) Shirtwaist (fancy tucked, lace-trimmed). 
 
 (e) Silk petticoat. 
 
 (/) Plain tailored skirt. 
 
 fe) Gymnasium suit. 
 
 (h) Tight-fitting lined waist. 
 
 (1) Simple wool dress. 
 
 (2) Drafting, (a) Shirtwaists. 
 (6) Close-fitting waists. 
 
 (c) Sleeves. 
 
 (d) Collars and cuffs. 
 
 (e) Skirts, (i) Gored (seven, nine, eleven). (2) Circular 
 (plain and gored). (3) Plaited. 
 
 (3) Adaptation of bought patterns to fit individual needs. 
 
 II. PRINCIPLES AND PROCESSES INVOLVED. 
 
 (1) Drafting. 
 
 (2) Cutting. 
 
 (3) Tracing. 
 
 (4) Marking. 
 
 (5) Basting, (a) Running. 
 (b) Tailor. 
 
232 DOMESTIC ART 
 
 (6) Seams, (a) Kinds, (i) Welt. (2) Flat stitched. (3) 
 Strapped. (4) Lapped. (5) Slot. 
 
 (b} Finishing, (i) Overcast. (2) Bound. (3) Turned in. 
 
 (7) Boning. 
 
 (8) Pressing. 
 
 (9) Pockets. 
 
 (10) Making of button-holes, 
 (n) Sewing on hooks and eyes. 
 
 (12) Hanging skirts. 
 
 (13) Finishing skirts. 
 
 (14) Decorating, (a) Machine. (i) Hemstitching. (2) 
 Tucking. (3) Stitching. (4) Ruffling. 
 
 (b) Hand, (i) French embroidery. (2) Coarse stitches. 
 
 (c) Trimmings for gowns, (i) Smocking. (2) Cording. 
 (3) Plaiting. (4) Braiding. (5) Application of previously 
 learned stitches to collars, belts, cuffs, shirtwaists, etc. 
 
 (15) Study of line and form to fit individual figures. Adjust- 
 ing garments to variety of figures. Much practice in taking 
 measures. 
 
 III. RELATED SUBJECT-MATTER. 
 
 (1) Design, (a) Space relation. 
 
 (b) Proportion. 
 
 (c) Relative values. 
 
 (d) Color harmonies. 
 
 (e) Sketching, (i) Waists, gowns, and shirtwaists. . 
 
 (2) Commercial and industrial geography. 
 
 (3) Commercial and industrial history. 
 
 IV. THOUGHT CONTENT. 
 (i) Materials, (a) Cost. 
 
 (b) Economy in use and cutting. 
 
 (c) Good taste in selection. 
 
WORK FOR SECONDARY SCHOOLS 233 
 
 (d) Wearing qualities. 
 
 (e) Suitability to garment. 
 
 (2) Garments, (a) Appropriateness. 
 
 (b} Economy in planning a wardrobe. 
 
 (c) Combination of textiles. 
 
 (d) Combination of colors. 
 
 (e) Independence of draft and workmanship. 
 (/) Utilities and varieties of shirtwaists. 
 
 V. TEXTILE STUDY. 
 
 NOTE. Twenty lessons during the year to be given on textiles. If 
 possible, class to visit a silk or cotton or woollen mill in the vicinity of the 
 school. 
 
 Aim. To give a practical understanding of the various 
 textile fibres and the processes of their manufacture, that shall 
 lead to judgment and taste in selection as suited in wearing 
 quality, adaptability to use, permanence of color, and har- 
 mony of design to the particular use for which they are intended. 
 
 (1) Development and preparation of fibres, (a) Spinning. 
 
 (1) Early history. (2) Processes. (3) Comparison of old 
 and new methods. 
 
 (b) Weaving. (i) Movements. (2) Early forms. (3) 
 Looms. 
 
 (c) Weaves and kinds of cloths in which used, (i) Twill. 
 
 (2) Plain. (3) Rib. (4) Basket. (5) Satin. 
 
 (2) Cotton, (a) Distribution and production, influence on 
 cost, quality, etc. 
 
 (b) Steps of manufacture through milling. 
 
 (c) Products of milling. 
 
 (d) Seed products. 
 
 (e) Properties, (i) Wearing qualities. (2) Adaptations to 
 use. (3) As substitute in other textiles. 
 
 (/) Prices. 
 
234 DOMESTIC ART 
 
 (3) Flax, (a) Production. 
 (6) Processes. 
 
 (c) Properties. 
 
 (d) Adaptations to use. 
 
 (e) Materials made from flax. 
 (/) Wearing qualities. 
 
 (g) Price as compared with cotton. 
 
 (4) Silk, (a) Countries producing. 
 
 (b) Milling operations. 
 
 (c) Characteristics. 
 
 (d) Wearing qualities. 
 
 (e) 'Artificial silks. 
 
 (/) Mercerized materials. 
 
 (g) Price as compared with other textiles. 
 
 (5) Wool, (a) About the same as for other textiles. 
 
 (b) Cleansing properties, shrinkage, etc. 
 
 (c) Utility for warmth. 
 
 (d) Adulterations. 
 
 (6) Dyeing, (a) Effect upon fibres. 
 
 (b) Fast and fugitive colors. 
 
 (c) Chemicals used, mordants, etc. 
 
 DRESSMAKERS' COURSE THIRD YEAR 
 
 (Required Course) 
 
 Time. Fifteen periods per week throughout year. Periods, 
 fifty minutes each. 
 
 I. PROBLEMS. 
 
 (i) Pattern modelling and draping, (a) Tight-fitting lining. 
 
 (b) One-piece dress. 
 
 (c) Sleeves, collars, guimpes, and yokes. 
 
WORK FOR SECONDARY SCHOOLS 235 
 
 (2) Construction, (a) Hand-sewing, (i) Baby's under- 
 skirt; some hand-embroidery. (2) Baby's dress. 
 
 (b) Machine, (i) Silk or wool shirtwaist. (2) Princess tight- 
 fitting boned lining (of silk or material suitable for lining wool 
 gown). (3) One-piece wool dress (to be used over princess 
 lining). (4) Guimpe of silk, lace, and net, decorated with fancy 
 stitches. (5) Simple silk or wool dress to be used with guimpe. 
 (6) Linen suit (gored skirt and coat). (7) Inexpensive cotton 
 or wash dress. (8) Remodelling of an 'old gown. (9) Fresh- 
 ening of old waists, gowns, suits. (10) Graduation gown, 
 (ii) Between work (hand-made lingerie waist using tucks, 
 lace, and hand-embroidery). (12) Order work, (a) Lingerie 
 (b) Baby's garments and pillows (c) Shirtwaists and cotton 
 dresses. 
 
 II. PRINCIPLES AND PROCESSES INVOLVED. 
 
 (1) Largely review of principles and processes learned in 
 first two years of course. 
 
 (2) Skirts, (a) Lining, (i) Drop. (2) In one piece with 
 waist lining. 
 
 (b) Finishing, (i) Braid or velveteen. 
 
 (c) Fastenings, (i) Hooks and eyes. (2) Snaps. (3) 
 Buttons and button-holes. 
 
 (3) Coats, (a) Binding inside seams. 
 (b) Pressing. 
 
 (c} Pockets. 
 
 (4) Shop methods, (a) Tests in workmanship, (i) Stand- 
 ard set by factory and trade. 
 
 (b} Tests in speed. 
 (c} Piecework. 
 
 (d) Order- work. 
 
 (5) Practice in modelling gowns on figure. 
 
 (6) Adjusting garments to individuals. 
 
236 DOMESTIC ART 
 
 (7) Drafting waists to different measures. Taking measures 
 of members of class until familiar with draft and its applica- 
 tion to other garments. 
 
 (8) Study of design, color, proportion, etc., as related to 
 garment-making. 
 
 III. RELATED SUBJECT-MATTER. 
 
 (1) Design, (a) Costume. 
 
 (b) Decorative. 
 
 (c) Color harmony. 
 
 (2) Commercial and industrial history. 
 
 (3) History of costume. 
 
 (4) Commercial arithmetic. 
 
 (5) Drawing and sketching. 
 
 IV. THOUGHT CONTENT. 
 
 (1) Materials. ^ (a) Varieties; suitability for use in garments. 
 (b} Texture and wearing qualities. 
 
 (f) Color combinations. 
 
 (d) Suitability of material to individual. 
 
 (e) Cost, widths, etc. 
 
 (/) Care of garments, (i) Cleansing and taking out spots. 
 (2) Taking off shine and worn appearance. (3) Mending and 
 pressing. 
 
 (2) Preparation for trade, (a) Keeping of accounts. 
 
 (b) Estimating cost of garments, (i) Ability to do so 
 quickly. 
 
 (c) Estimating amount of time required to make certain 
 garments. 
 
 (d) Keeping time accounts. 
 
 (e) Business-like manners and ways of working. 
 (/) Independence of workmanship. 
 
WORK FOR SECONDARY SCHOOLS 237 
 
 DRESSMAKERS' COURSE THIRD YEAR 
 
 (Required Course) 
 HOUSEHOLD MANAGEMENT AND HOME FURNISHING 
 
 Time. One period per week throughout year. Periods, 
 fifty minutes each. 
 
 Aim. To improve the home conditions as far as possible 
 by discussions and practical demonstrations of the following 
 topics. 
 
 I. PROBLEMS. 
 
 (1) Economic aspect of study of the home, (a) Labor. 
 
 (1) Organized. (2) Systematic. (3) Regular times for doing 
 certain tasks. (4) Economy of time and energy by careful 
 planning. (5) Sharing of responsibilities. (6) Division of 
 labor. 
 
 (b) Home industries, (i) Ethical value. (2) Economic 
 value. 
 
 (c) Income, (i) Division according to value and necessity. 
 
 (2) Keeping of accounts. (3) Importance of wise spending. 
 (4) Relation of spender to community, to family, to quality of 
 commodity purchased, to condition of business. (5) Ele- 
 ments which regulate apportionment of income. (6) Use of 
 business methods in the home. (7) Some ideas of banking, 
 checking, drafts, etc. 
 
 (2) Furnishing of the home, (a) Fundamental principles of 
 good furnishing, (i) Effect of furnishings upon health, com- 
 fort, and development of family. (2) Artistic furnishings as 
 well as hygienic. (3) Choice of materials as to color, suita- 
 bility, design, wearing qualities. 
 
238 DOMESTIC ART 
 
 (&) Care of rooms, (i) Weekly sweeping and dusting best 
 methods. (2) Lighting. (3) Heat and ventilation. (4) 
 Sleeping-rooms. Bed furnishings and removal of soiled 
 clothes, etc. (5) Use of disinfectants and deodorants. 
 
 II. PROCESSES. 
 
 (1) Largely class discussions. 
 
 (2) Free use of charts. 
 
 (3) Let class plan ways of dividing income. 
 
 (4) Practice in keeping accounts. 
 
 (5) Some practice in making out checks, drafts, etc., with 
 relation to banking, trade, etc. 
 
 (6) Visit if possible a good model apartment. 
 
 (7) Plan good division of daily household tasks. 
 
 DRESSMAKERS' COURSE SECOND OR THIRD 
 YEAR 
 
 (Elective Course) 
 
 Time. Five periods per week throughout year. Periods, 
 fifty minutes each. 
 
 Prerequisite. -Dressmakers' course first year. 
 
 Aim. To enable girls to earn money at home making under- 
 garments for private trade. This course is for a girl who will 
 be needed at home part or all of the day, and yet have sufficient 
 time to enable her to help in the support of herself or family. 
 In most large cities there is ample opportunity for the employ- 
 ment of such girls, and need for their training. 
 
 I. PROBLEMS. 
 
 (i) Combination of hand- and machine- work, (a) Corset 
 cover, (i) Plain. (2) Lace-trimmed. 
 
WORK FOR SECONDARY SCHOOLS 239 
 
 (b) Chemise, (i) Hand-embroidered. 
 
 (c) Underdrawers. (i) Ruffle trimmed with machine-tucks 
 or hemstitching. (2) Ruffle of lace or embroidery. 
 
 (d) Combination drawers and corset- cover, (i) Tight-fit- 
 ting and very plain. 
 
 (e) Night-gowns, (i) Plain. (2) Lace-trimmed or hand- 
 embroidered. 
 
 (/) Underskirts, (i) Plain (ruffle of same material trimmed 
 with machine tucking). (2) Fancy (ruffle of embroidery with 
 heading of beading, or lace-trimmed). 
 
 (g) Kimonos and dressing- jackets, (i) Daintily trimmed 
 with- lace, etc. (2) This problem is for those finishing the first 
 six problems before the time of the term expires. 
 
 II. PRINCIPLES AND PROCESSES INVOLVED. 
 
 (1) Review of principles and processes as planned for first 
 year course. 
 
 (2) Extra stress laid on the finishing and decoration of 
 garments. 
 
 III. RELATED SUBJECT-MATTER. 
 (i) Same as for first-year course. 
 
 IV. THOUGHT CONTENT. 
 
 (1) Materials. 
 
 (a) Cost. 
 
 (b) Suitability as to use. 
 
 (c) Laundering and wearing qualities. 
 
 (d) Trimmings adapted to various qualities of materials. 
 
 (e) Fitness of decoration (hand) to material and garment. 
 
 (2) Garment-making. 
 
 (a) Various shapes and kinds. 
 
 (b) Suitability as to age and size. 
 
 (c) Economical use of cloth. 
 
240 DOMESTIC ART 
 
 (d) Estimation of cost. 
 (3) Suggestive exercises. 
 
 (a) Training in quickly estimating cost of a finished garment 
 with relation to trade. 
 
 (b) How to take orders for garments. 
 
 (c) Keeping of time accounts. 
 
 (d) Estimate cost of making garment as to time required. 
 
 (e) Quick drill in designing and suggesting ways of making 
 undergarments. 
 
 The trade schools for women in this country are 
 
 few and have a distinct aim. They have been until 
 
 recently under private management and 
 
 Domestic art 
 
 in trade largely experimental. The aim is to 
 
 schools. . 
 
 train the young wage-earner for a short 
 period in order that a certain amount of skill may be 
 developed before she enters a trade, and that she 
 may have an appreciation of the relationship of this 
 trade to other work of the world. This cuts short 
 the long apprenticeship period through which many 
 of the girls must pass if they enter the shop or factory 
 as soon as their working papers are obtained. The 
 girls in such a school are naturally young, poor, and 
 often in bad health. They cannot stay long in such 
 a school and the course is often accomplished at 
 great sacrifice. Such a school should aim to give 
 the girl a knowledge of the fundamental laws of 
 
WORK FOR SECONDARY SCHOOLS 241 
 
 health, all the technical skill and speed along the 
 line of some specialty which time will permit, and as 
 much of an outlook on the business and related 
 interests of that specialty as possible. The Man- 
 hattan Trade School for Girls in New York aims to 
 accomplish this purpose. At present there are but 
 four specialties offered hand-sewing and dress- 
 making, millinery, machine-operating, and pasting. 
 The course of study in such a school is necessarily 
 short, but leads directly to work. This school is 
 open to girls who have left the elementary school 
 because they are either graduated or have passed the 
 compulsory school age. The physical training is a 
 distinct part of the work of each day, as well as the 
 academic features of study which give the girls an 
 opportunity to learn to write a business letter, to 
 reply to an advertisement, or to gain some knowledge 
 of the origin and manufacture of the various textiles 
 handled. The art work is also closely related and 
 has a strong cultural value as well. 
 
 The Hebrew Technical School for Girls of New 
 York is a higher type of trade school and may be 
 placed in a distinct class between such work as that 
 offered in the Manhattan Trade School and that of 
 the technical high schools. This course differs from 
 
242 DOMESTIC ART 
 
 the above in that it takes mainly graduates from 
 the elementary school, while the Manhattan Trade 
 School admits girls who have obtained their working 
 papers whether they have completed all or only part 
 of the elementary school work. The consequence 
 is that one finds a higher type of scholarship in the 
 latter school. The course is only eighteen months 
 in length, but is continuous. The girls are given 
 much more instruction in academic work than in 
 the Manhattan Trade School and there is also train- 
 ing in housekeeping. About two-thirds of the time 
 is devoted to technical work including design. 
 Opportunity is given for election of the commercial 
 course, or work in manual training, which means 
 specialization in sewing and dressmaking. Oppor- 
 tunity is also given for some trade experience, as or- 
 ders for garments are executed by this department. 
 The graduates from this school enter business as 
 stenographers, and bookkeepers, or as dressmakers' 
 assistants. Some remain at home and a few go on 
 to higher schools. 
 
 The Boston Trade School for Girls is similar in 
 organization to the Manhattan Trade School and 
 offers an opportunity for the study of this phase of 
 domestic-art work. 
 
WORK FOR SECONDARY SCHOOLS 243 
 
 The catalogues of these schools will illustrate the 
 amount of time devoted to the special lines of interest 
 as well as to academic work. 
 
 The evening and day classes of the Young Women's 
 Christian Association, and the industrial classes of 
 church schools and settlements, as well as the 
 public evening high schools, all offer a certain 
 type of domestic-art work. Much of this may be 
 classed as of secondary nature in that it offers 
 opportunity for students to continue courses of study 
 along these lines while engaged in business pursuits. 
 These courses of study are most like the continua- 
 tion classes of the foreign schools, but as a rule do 
 not offer as good trade instruction as those abroad, 
 where the courses offered at night aim to supplement 
 the trade in which the workers are engaged. These 
 schools and settlements also offer courses in domes- 
 tic art which are not as highly specialized and may 
 be better termed home-making courses, in that the 
 aim is to offer such work as will make the girl more 
 efficient in her home. They are as a rule short in 
 length and offer instruction in dressmaking, milli- 
 nery, embroidery, and garment-making. 
 
 One difficulty which should be guarded against 
 by those in authority in these schools is the misin- 
 
244 DOMESTIC ART 
 
 terp relation of aims of courses by those entering. 
 The writer has known of young girls placed in the 
 home-making courses who really desired more tech- 
 nical instruction and who were disappointed because 
 at the completion of the course it was impossible to 
 find work as a milliner's or dressmaker's assistant. 
 The aims of courses should be distinctly stated, 
 and advanced as well as elementary work offered in 
 both the home-maker's and trade sections of the 
 domestic-art work. 
 
 Catalogues of Christian Associations and settle- 
 ments will illustrate the courses offered by these 
 organizations. 
 
 REFERENCES FOR STUDY 
 
 "Report of Lake Placid Conference on Home Economics," 
 1908. 
 
 " Catalogues of Type Schools and Settlements." 
 
 "Trade and Technical Education," Seventeenth Annual 
 Report of United States Commissioner of Labor, 1902. 
 
 "The Manhattan Trade School for Girls," Mary S. Wool- 
 man. Educational Review, Vol. XXX, September, 1905. 
 
 "Trade Schools. An Educational and Industrial Necessity," 
 Mary S. Woolman. The Social Education Quarterly, Vol. I, 
 March, 1907. 
 
 "Report of Massachusetts Commission on Industrial and 
 Technical Education," Boston, 1906. 
 
WORK FOR SECONDARY SCHOOLS 245 
 
 "Industrial Education. With Reference to the High 
 School," E. Davenport, University of Illinois. 
 
 " Education for Efficiency." Vol. XI, English Reports on 
 Education. Curriculum of Secondary Schools. Sandford. 
 
 "Our Children, Our Schools, and Our Industries." Report 
 1908, Andrew Draper, Commissioner of Education, Al- 
 bany, N. Y. 
 
 "Industrial Education and the Public Schools," George H. 
 Martin, Secretary Massachusetts Board of Education, 1908. 
 
 "The Making of a Girl's Trade School," Mary S. Wool- 
 man, 1910. 
 
PART IV 
 DOMESTIC ART IN HIGHER EDUCATION 
 
 CHAPTER XII 
 
 DOMESTIC ART AS A PART OF COLLEGE 
 TRAINING FOR WOMEN 
 
 HOUSEHOLD arts work as a part of college training 
 for women is being introduced in many of the West- 
 ern State and agricultural colleges. It is 
 
 Introduction ^ 
 
 of household gradually winning its way against the 
 
 arts in state . 
 
 andagricuit- old-time conservatism which made a 
 
 ural colleges. ,, r ^1111 
 
 college course for women exactly parallel 
 to that for men. The changes which have come about 
 in college courses for men are bound to affect those 
 for women and eventually relate the work more direct- 
 ly to the life which the woman will enter after leaving 
 college. The Eastern colleges for women are slow 
 to adopt such a course, but before many years they 
 will feel the necessity of offering what the students 
 
 will demand and of readjusting their courses of study 
 
 246 
 
DOMESTIC ART AS A PART OF COLLEGE TRAINING 247 
 
 so as to meet the needs of girls interested in the 
 home and its beautifying, organization, and improve- 
 ment. The majority of college women are far from 
 practical, and few see the real relationship of the 
 arts and sciences studied at college to the practical 
 affairs of life. The writer believes that college 
 women would marry earlier in life if their interests 
 were enlisted in the study of the problems directly 
 connected with home-making; there can be nothing 
 more interesting for the average normal woman. If 
 the well-trained, intelligent college women, the 
 leaders of affairs in the world's work for women, 
 would give their thoughts and energy to solving the 
 problems of domestic science, proper food, proper 
 clothing and shelter in fact, "right living" with 
 the least amount of expenditure of time, energy, and 
 money, the study would not only be interesting to 
 them, but benefit humanity more than years of study 
 of Greek and Latin classics, for it stands for economy 
 of health as well as economy of wealth. The college 
 woman is beginning to feel this and to make her 
 demands. It is only in very recent years that any 
 provision has been made in colleges for the women 
 who wished or were compelled to make teaching 
 their life-work. The women were filled with sub- 
 
248 DOMESTIC ART 
 
 ject-matter and graduated and expected to know 
 intuitively how to present all the college subjects. 
 Many college women go into the teaching field in 
 this way utterly unprepared to present their subjects 
 intelligently. The fact that many of the superior 
 ones feel their lack of proper preparation is evi- 
 denced by the statistics of normal training schools, 
 colleges slow where these women register for study 
 tho^who'must in education an( 3 methods of teaching, 
 seek livelihood. T ne college for women, of the past, has 
 made no provision for training women who must 
 seek some means of livelihood after graduation, 
 other than to point the way to the teaching field. 
 The world offers so many fields to college women of 
 to-day that the least the college can do is to open 
 up the possibilities and give some opportunities for 
 specialization. Surely by the time a woman reaches 
 college, her dominant interests should have been 
 developed or she should at least begin to take an 
 interest in what they are likely to be. 
 
 Household arts education is not very old. It 
 conservatism nas been a part of our educational 
 inTodultionof schools for only twenty years in some 
 household arts, places it is not yet incorporated as a 
 part of the general curriculum. That the colleges 
 
DOMESTIC ART AS A PART OF COLLEGE TRAINING 249 
 
 are slow to adopt it is due largely to the old-time 
 conservatism and lack of understanding of the real 
 meaning of " cultural" for it has been claimed that 
 the college courses must be cultural. Regarding 
 the proposed college course in home economics of 
 the Lake Placid Conference, Dr. Balliet said: "The 
 work mapped out has as high cultural value as the 
 best courses now given in college, if we must keep 
 on contrasting the ' cultural' and the ' practical,' as 
 if they were mutually hostile to each other. Some 
 day several thousand years to come when spec- 
 tacled professors shall study ' American antiquities,' 
 all these l common' ' practical' processes the ways 
 of cooking meals, manufacturing clothes, etc. will 
 be ' cultural' subjects on which learned courses of 
 lectures will be given, and which will be accepted 
 as proper subjects for theses for the degree of doctor 
 of philosophy. . . . Somehow, according to college 
 students, knowledge must have a certain age before 
 it becomes ' cultural.' When it is so far behind the 
 time that it ceases to be practical, then it becomes 
 cultural." 
 
 College authorities often have a singular method 
 of differentiating between the value of studies in the 
 curriculum. Mrs. Ellen Richards once said: "The 
 
250 DOMESTIC ART 
 
 housing of the poor is already allowed as a college 
 
 course. Why not the housing of college students? 
 
 We have condescended to study the 
 
 Importance of 
 
 the home as slums, it is time we studied ourselves." 
 [To this might be added not only the 
 study of ourselves in relation to shelter, but also 
 in regard to proper food and clothing, the admin- 
 istration of our homes and the care and nurture 
 of our children. There can be no more impor- 
 tant college subject than the home. It covers the 
 earth as far as fulness of subject-matter is con- 
 cerned, and all the arts and sciences may be applied 
 to home practices. In this age and era of educa- 
 tion, the practical must be reckoned with by all 
 who are planning courses. The home stands as 
 the very centre, in training for the upbuilding of 
 character or for good citizenship; and if this effi- 
 ciency is the aim of the education for women, then 
 the home subjects must be better represented in 
 our college courses. 
 
 There have been many difficulties which those 
 Difficulties interested in the introduction of house- 
 
 toSdu^r hold arts work into colle g es have had 
 household arts, to face. Perhaps the old-time conserv- 
 atism mentioned above has been the most diffi- 
 
DOMESTIC ART AS A PART OF COLLEGE TRAINING 251 
 
 cult. This will soon pass away when those inter- 
 ested in this field of work are able to present the 
 subjects in such a manner as to appeal to college 
 authorities. There may be objection at first to the 
 introduction of any practical work, but at least 
 some subject-matter may be presented in lecture 
 courses and an introduction given to this field. It 
 very often happens that high school girls preparing 
 for college have no opportunity for the study of house- 
 hold arts, since their courses of study must be gov- 
 erned to a great extent by the college entrance re- 
 quirements. A girl who fails to get this work in 
 high school naturally goes through college with no 
 knowledge of the practical affairs of the home, and 
 if she is at college away from home there is no 
 opportunity for her to come in touch with the prac- 
 tical things of life. The results are often truly 
 pitiable. The author has known a good many such 
 girls and they have made a strong appeal to her for 
 some knowledge of the practical. As one girl re- 
 marked, "If I only knew how to make my own 
 shirtwaists and summer dresses and trim my own 
 hats, what a saving it would mean to father! And 
 all I can cook is fudge." This came from a girl 
 of fine mind, a graduate of one of the Eastern col- 
 
252 DOMESTIC ART 
 
 leges for women, perfectly prepared in mathematics 
 and interested in her subject, but totally ignorant of 
 Meeting the home affairs. This girl is one of the mar- 
 
 affa'rs'of life ^8 ^P 6 ' What rCSultS arC likd y tO 
 
 is inevitable, follow ! She must meet the practical af- 
 fairs : they are inevitable. She will be obliged to learn 
 through sad experience in a more or less painful 
 way and at the sacrifice of her own health, time, 
 energy, and money, as well as that of her family. 
 She is only one of many such girls who must face 
 
 I* 
 
 the home problems.; The fact that colleges have not 
 recognized for credit the high school work in house- 
 hold science has greatly hindered the development 
 
 of this work in both college and high school. The 
 
 ~~^ 
 
 time is almost here when college entrance boards 
 will accept for credit certain courses given in house- 
 hold arts in the high school. The fact that it has 
 not been credited in the past is due to poor teaching 
 rather than to insufficient value in the subject- 
 matter. Some associations for college entrance are 
 showing interest by requesting the formulation of 
 possible schemes of work for credit. 
 
 Another difficulty has been the lack of properly 
 trained teachers to present this work. It is only 
 very recently that women with college degrees have 
 
DOMESTIC ART AS A PART OF COLLEGE TRAINING 253 
 
 become interested in the household arts work. 
 Many have previously considered it undignified 
 other an d have turned from it to other fields 
 
 difficulties. Q f teac hing. We must have our in- 
 structors in literature and the classics in order that 
 our girls may know this field of spiritual possession, 
 but we need strong women to take an interest in 
 the development of the home subjects as well. Each 
 year produces a few more and the time will surely 
 come when we shall have competent instruction for 
 college work in home economics. The field is very 
 broad and the opportunity very large for any one 
 who will prepare herself for this work. House- 
 keeping and home-making are certainly a profes- 
 sion, and intelligent, thoughtful preparation must be 
 demanded from those who are to present this sub- 
 ject to the next generation, for their health and hap- 
 piness are at stake. 
 
 Another difficulty is the readjustment of subject- 
 matter in order that this work may find a place. 
 This is easily managed when the authorities are 
 interested and face the value of this work. The 
 arrangement of periods, the opportunity for courses 
 in applied science instead of all pure science work, 
 the chance for elective courses, make possible the 
 
254 DOMESTIC ART 
 
 introduction, if there is a willingness to have it in 
 the curriculum. 
 
 There are many possibilities in relation to subject- 
 matter on both the artistic and scientific sides 
 of home management and study. In 
 
 Possibilities in 
 
 college courses relation to the domestic-art work there 
 
 for women. . 
 
 are many phases suitable for college. 
 The economic side of clothing and shelter offer 
 opportunities in connection with a general course in 
 college economics. Woman as spender what 
 should her knowledge be of materials, their manu- 
 facture; how to purchase and regulate her expend- 
 itures; how to judge of the wage and demands 
 made of the worker or seamstress? Should she 
 know and study the relative expenditure for gowns, 
 shoes, hats, gloves, as well as household furnish- 
 ing? Should she be taught to think of economy of 
 time, money, and energy in order that she may have 
 time to enter into philanthropic study and service? 
 
 The home as a sociological study offers opportunity 
 for courses in this field the family, the home-maker, 
 true and false standards of living, luxury, relation- 
 ship of members in the home, the true home spirit. 
 
 From an artistic point of view much of interest 
 can be offered the history of architecture, and of 
 
DOMESTIC ART AS A PART OF COLLEGE TRAINING 255 
 
 the various periods of decoration; history of tapes- 
 tries, and of other textiles; Ruskin and Morris and 
 their influence on art and its development ; the his- 
 tory of costume and evolution of dress. Work in 
 practical design should be offered in connection 
 with such a course. 
 
 Some practical work in the study of materials, 
 their composition and adulteration, will prove of 
 interest and value in college work. The standard- 
 izing of textiles may be brought about when women 
 have an intelligent understanding of their composi- 
 tion and can judge between values ; this will lead 
 naturally to a demand for proper labelling and 
 representation of their composition. Some practical 
 work in garment-making may well find a place in a 
 college course if the girls have had no high school 
 instruction in sewing. The work should be of value 
 and adapted to the needs and interests of the 
 students. 
 
 These arguments for the introduction of house- 
 hold arts work into the college have been made 
 because the home is the dominant interest in the 
 lives of most women. The writer has not lost sight 
 of the other college courses which the woman if 
 well educated should surely have those studies in 
 
256 DOMESTIC ART 
 
 literature and language which make for freedom of 
 spirit and help in developing the imagination and 
 world of thought and feeling. These should not be 
 neglected when a woman leaves college, but should 
 be the foundation for her later study and develop- 
 ment. The difficulty, however, in so many homes is 
 that the women are hampered by their so-called 
 home duties and have little or no time to soar into 
 the realms of literature or art. This is nearly always 
 due to a lack of understanding of relative values and 
 of economy of time in home management. House- 
 hold arts and economics should stand for simplicity 
 in material things so that there will be time for 
 other life-interests. If the college woman knows 
 nothing of household economics, how can she be free 
 from the dominance of things ? If she knows noth- 
 ing of the resources of modern science, how can she 
 apply them to her home and its improvement ? It is 
 only through such a scientific study that she can 
 make the ideal home of the future the home which 
 will surely be the solace of the nation. 
 
 The following scheme may be suggestive of some 
 of the possibilities for a college course for women. 
 This outline gives only the domestic-art phases of 
 a possible course in household arts. 
 
DOMESTIC ART AS A PART OF COLLEGE TRAINING 257 
 
 DOMESTIC ART AS PART OF A COURSE IN HOUSE- 
 HOLD ARTS, IN COLLEGES FOR WOMEN 
 
 Household 
 Arts 
 
 Domestic science 
 Domestic art 
 
 Food 
 
 Shelter 
 
 Clothing 
 
 Home management. 
 
 The courses following in domestic art are numbered I and II, 
 and could be given in the ist and 3d or 2d and 4th college 
 years, leaving the alternate years for work in domestic science. 
 
 COURSE I. CLOTHING AND DESIGN 
 
 Three Periods Weekly. One-hour Lecture. Two Hours Prac- 
 tical Work. Throughout the Year 
 
 I. CLOTHING 
 
 (i) Economics of spending. 
 
 (1) Woman as spender. 
 
 (2) Cost of clothing. 
 
 (a) Materials. Affected by adulterations, bargain sales, sec- 
 onds, out of season and style, sweatshop labor, quality, econ- 
 omy in selection. 
 
 (b} Making, (i) Dressmaker, seamstress, time, wage. 
 (2) Home-made by self hand-work on gowns. (3) Time for 
 various garments. (4) In harmony with means, occasion, and 
 personality style, comfort, beauty. (5) Color in relation to 
 dress. 
 
 (c) Care and cleansing of clothes. Repairing. (Chemistry 
 of cleansing and textiles related course.) 
 
 (3) Relation of cost of clothing to income. Proportion for 
 gowns, hats, coats, shoes, gloves, etc. Depending on life, 
 position, climate, etc. 
 
258 DOMESTIC ART 
 
 (ii) Hygiene in relation to clothing. 
 
 (i) Comparison of leading textile fibres. 
 
 (a) Chemically and microscopically. 
 
 (b) History, growth, manufacture, properties and qualities 
 as affecting health. 
 
 (c) In respect to suitability of clothing dependent on climate, 
 occupation, general health, etc. 
 
 (iii) Ethics of shopping. 
 
 (1) Consumers' League. 
 
 (2) Sweatshop labor. 
 
 (3) Co-operatives. 
 
 (4) Economy of time, energy, money, through system, and 
 consideration of others. 
 
 (iv) History of clothing, 
 (i) Evolution of dress. 
 
 (a) Relation to growth, education, and environment of differ- 
 ent periods. 
 
 II. DESIGN. (Practical work, two periods weekly, first 
 semester) 
 
 (1) Principles of design and combination of colors. 
 
 (2) Block printing, stencilling for scarfs, cushions, book- 
 covers, draperies, etc. 
 
 (3) Designs for simple hand-work on gowns. 
 
 (4) Drawing human figure. Proportions, draping, lines in 
 relation to figure, effects on appearance, showing art in lines 
 of dress, costume design. 
 
 III. CLOTHING. (Practical work two periods weekly, sec- 
 ond semester) 
 
 (i) Economy in ability to do. 
 
 (a) Making of shirtwaist and simple summer gowns such as 
 would appeal to college girls. 
 
DOMESTIC ART AS A PART OF COLLEGE TRAINING 259 
 
 COURSE II. SHELTER 
 (Two Periods per Week for One Year) 
 
 I. THE HOUSE 
 
 (i) The exterior. (History of architecture a related course.) 
 
 (1) Appearance, location, city, country, suburb. 
 
 (2) Rents. Proportion of rent to income, number of indi- 
 viduals, etc. 
 
 (a) Adaptation to needs, position, etc., of occupants. 
 
 (b) False standards. 
 
 (3) Municipal art. Municipal League. Woman in rela- 
 tion to civic affairs. (Social economics a related course.) 
 
 (ii). The interior. 
 
 (1) The home. 
 
 (a) Meaning, atmosphere, affected by social changes; effi- 
 ciency, happiness dependent on. 
 
 (b) The family, the home-maker, false standards; desire for 
 luxury. 
 
 (2) The decoration and furnishing. 
 
 (a) Economy, (i) Respect to beauty, comfort, and health; 
 position and needs of occupants. (2) Making most of existing 
 circumstances. Dealing with and planning for specific prob- 
 lems. (3) Least expenditure of time, energy, money. 
 
 (b) Specific rooms, (i) Bedrooms, living-rooms, dining- 
 room, etc. Ceilings, walls, floors, arrangement. (2) Decora- 
 tion and furnishing. Floor coverings, walls, draperies, lighting, 
 furniture, glass, pottery, tapestries, coloring, materials, quality, 
 amount, cost. 
 
 (3) Proportioning of household expenditures. Repairs. 
 New furnishing. 
 
260 DOMESTIC ART 
 
 II. HISTORY OF PERIODS OF DECORATION 
 
 (1) Handicraft movement. Ruskin and Morris in relation 
 to household art. 
 
 (2) History of tapestries and other textiles. 
 
 (3) History of silver, glass, etc. 
 
 III. EXCURSIONS 
 
 Stores, factories, museums, study of furniture, stained glass, 
 tapestry, etc. 
 
 REFERENCES FOR STUDY 
 
 "Report of Lake Placid Conference on Home Economics,'- 
 1907. 
 
CHAPTER XIII 
 
 DOMESTIC ART IN OTHER HIGHER INSTITU- 
 TIONS OF LEARNING 
 
 DOMESTIC ART may or may not be a phase of a 
 girl's general training in college, but it now forms a 
 decided part of the work open to women in other 
 higher institutions of learning. 
 
 It is offered in many of the state and agricultural 
 colleges as work of educational value open to women 
 in the general course and counts for credit toward 
 graduation. This is often designated as a home- 
 maker's course and presents work in the various 
 phases of domestic art as previously outlined. The 
 work is often required as part of the general course, 
 with opportunity for electives if there is particular 
 interest in this specialty. In other instances this 
 work is entirely elective. The courses offered are 
 generally of a practical nature garment and dress 
 making, millinery and embroidery, designing and 
 work in textiles. As yet little attention has been 
 
 paid to the economic and ethical phases of the 
 
 261 
 
262 DOMESTIC ART 
 
 work, although the artistic and scientific sides have 
 received some attention. These should be of par- 
 ticular interest in higher education and make woman 
 a wiser administrator of the funds which it will be 
 her duty to disburse as she carries on the business 
 of home-making. The courses offered in the State 
 and agricultural colleges should aim to give this 
 direction to the work. It is fatal to the cause for 
 students graduating from this general course in 
 the State college to go into this teaching field 
 without additional preparation. Many of these 
 State colleges have normal departments where 
 additional training may be had in the more strictly 
 educational phases of the work. Examples of the 
 State and agricultural colleges giving work in do- 
 mestic art are Ohio State University; University of 
 Illinois ; Ames Agricultural College, Ames, la ; Mich- 
 igan State Agricultural College; University of Ten- 
 nessee. 
 
 Home-maker's courses are offered in many of the 
 higher institutions besides the State and agricultural 
 college. They are open, as a rule, to girls with 
 and without previous high school training, and- may 
 be of an elementary or advanced nature. The work 
 offered covers practical courses in household man- 
 
DOMESTIC ART IN OTHER INSTITUTIONS 263 
 
 agement, care of children, home nursing, elementary 
 and advanced cookery for household use, garment- 
 making, dressmaking, millinery, costume design, 
 house sanitation, housewifery, and others. These, 
 studies group themselves about the shelter, nutri- 
 tion, and clothing of the family, and reach a large 
 class of girls who will probably marry early and 
 do not care for the more academic studies, but are 
 interested in the practical things of life. Such 
 courses cannot fail to produce better and more in- 
 telligent homekeepers. Domestic art offers such 
 students courses in dressmaking, garment-making, 
 millinery, and embroidery. Courses in costume 
 designing, color harmony, elementary design, and 
 house decoration, study in the fabrics for use both for 
 clothing and furnishings, and distinctive study in the 
 wise purchase of articles of clothing and furnishings. 
 The hygiene, cost, durability, repair, and selection 
 of materials are all closely allied in this economic 
 study. Examples of this type of course may be 
 found at the School of Household Arts, Teachers 
 College, Columbia University; Pratt Institute, Brook- 
 lyn; Stout Training School for Homemakers, Me- 
 nominee, Wis.; Drexel Institute, Philadelphia; Uni- 
 versity of Chicago, and others. 
 
264 DOMESTIC ART 
 
 Normal domestic-art training is offered in many of 
 our universities, colleges, and technical institutions. 
 In most of these the course is open to high school 
 graduates, although some require two years of work 
 in advance of the high school training. This, as a 
 rule, insures a better grade of teacher and the course 
 proves of greater value than when taken without 
 additional training or experience. It is very wise 
 for young students expecting ultimately to specialize 
 in domestic-art teaching to have some experience in 
 general teaching before undertaking the specialty. 
 As a rule they make much better teachers when they 
 possess some knowledge of general class-room man- 
 agement. A normal course in domestic art should of- 
 fer instruction in the following subjects which cannot 
 possibly receive just treatment in less than two years 
 of intensive study. A three years' course is advisable. 
 
 (1) History and principles of education. 
 
 (2) General and educational psychology. 
 
 (3) Theory of teaching domestic art, with oppor- 
 tunity for practical work in its various phases. 
 
 (4) Supervision and organization of work in vari- 
 ous types of schools. 
 
 (5) The study of textiles, their manufacture, eco- 
 nomic purchase, durability, properties, and use. 
 
DOMESTIC ART IN OTHER INSTITUTIONS 265 
 
 (6) Garment-making, to include the application 
 of all the hand-sewing stitches. 
 
 (7) Dressmaking, both elementary and advanced, 
 with facilities for practice. 
 
 (8) Millinery. 
 
 (9) Miscellaneous hand-work, such as crocheting, 
 knitting, and weaving. 
 
 (10) Elementary design and color harmony. Ad- 
 vanced work in design and color, with direct appli- 
 cation to costume and home furnishings. 
 
 (n) The home as a sociological study. Its spirit, 
 plans for its artistic study, both on the exterior and 
 interior. 
 
 (12) Economics of the home in relation to home 
 management, expenditures, purchase and repair of 
 household clothing and furnishings. 
 
 Such training prepares for the teaching of sewing 
 in elementary or high schools and supervisory work 
 in schools or higher institutions. Not all teachers, 
 however, who pursue such a course are fitted to do 
 supervisory work. Much will depend on the pre- 
 vious training and experience. The demand in the 
 teaching field of higher education is at present for 
 women who have college degrees as well as diplomas 
 for teaching the specialty. Such women must 
 possess strong personalities and have the power of 
 
266 DOMESTIC ART 
 
 initiative. The demand for this type of woman 
 cannot be met and the field is open to those who 
 will prepare themselves adequately for it. 
 
 With the development of trade school work in 
 this country will probably come a demand for 
 teachers and directors for such schools. In addi- 
 tion to the above outlined course, directors of trade 
 schools should be students of general economics 
 and sociology, as well as of the industrial conditions 
 of women and children. They should be college 
 women of the highest training with the spirit of 
 investigation and a willingness to probe the diffi- 
 culties in this particular field. So many of the 
 trades open to women group themselves about the 
 needle that it is preferable that the director be a 
 woman who knows well the domestic-art field of 
 work, although the future will see other lines of 
 trade for women .introduced in this type of school. 
 The teachers in trade schools should be women with 
 specific intensive knowledge of the kind of work to 
 be taught. The general course in domestic art as 
 outlined, with perhaps some omissions of the psy- 
 chology and 'history of education, will make a good 
 foundation for future intensive practical work in 
 trade, of some phase of domestic art, or may sup- 
 
DOMESTIC ART IN OTHER INSTITUTIONS 267 
 
 plement the practical work of years of experience 
 in trade. Normal training courses are given in 
 Teachers College, Columbia University; Drexel 
 Institute, Philadelphia; Mechanics' Institute, Roch- 
 ester; Stout Training School, Menominee, and 
 other institutions. 
 
 Household arts work in higher institutions is 
 beginning to offer opportunity to students to prepare 
 themselves for non-teaching positions. Courses are 
 open to those who wish to prepare for institutional 
 and household administration, dietetics, manage- 
 ment of laundries, social work, nursing, costume 
 design, house decoration, and other specific fields. 
 Domestic-art work enters as a phase of the prepara- 
 tion of institutional and household administrators 
 on the specific side of design, clothing, and textiles, 
 their economic purchase, care, use, properties, etc. 
 This phase of domestic-art work enters also into the 
 training of social workers, house decorators, and cos- 
 tume designers. 
 
 Examples of institutions offering such training' are: 
 Household Arts School, Columbia University; Sim- 
 mons College, Boston; Pratt Institute, Brooklyn, 
 and others. 
 
A SELECTED BIBLIOGRAPHY OF BOOKS 
 
 HELPFUL IN THE STUDY OF THE 
 
 VARIOUS PHASES OF DOMESTIC ART 
 
 EDUCATIONAL 
 
 (1) "The Method of the Recitation." McMurray. (Mac- 
 
 millan, 1904.) 
 
 (2) "The Educative Process." Bagley. (Macmillan, 1905.) 
 
 (3) "Principles of Teaching, Elements of Psychology." 
 
 Thorndike. (A. G. Seiler, New York, 1907.) 
 
 (4) "School and Society." Dewey. (Chicago University 
 
 Press, 1899.) 
 
 (5) "The Place of Industries in Elementary Education." 
 
 K. E. Dopp. (Chicago University Press.) 
 
 (6) "English Reports on Education." Sadler. (Vols. 10 and 
 
 n, American Education.) 
 
 (7) "The Making of Our Middle Schools." Brown. (Long- 
 
 mans, 1903.) 
 
 (8) "Youth. Its Education, Regimen, and Hygiene." G. S. 
 
 Hall. (Appleton, 1907.) 
 
 (9) "Teachers College Records." (Teachers College, New 
 
 York.) 
 
 (10) "The Child and the Curriculum." Dewey. (University 
 
 of Chicago Press.) 
 
 269 
 
270 DOMESTIC ART 
 
 (n) "Notes on Child Study." Thorndike. (Macmillan, 
 
 (12) " Report of Massachusetts Commission on Industrial 
 
 and Technical Education." (Boston, 1906.) 
 
 (13) "Trade and Technical Education." (Seventeenth Annual 
 
 Report of the United States Commissioner of Labor, 
 1902, Washington.) 
 
 (14) "The Manhattan Trade School for Girls." Mary S. 
 
 Woolman. (Educational Review, September, 1905, 
 vol. 30.) 
 
 (15) "Trade Schools An Educational and Industrial Neces- 
 
 sity." Mary S. Woolman. (The Social Education 
 Quarterly, vol. i, March, 1907.) 
 
 (16) "The American High School." J. F. Brown. (Mac- 
 
 millan, 1910.) 
 
 (17) "Beginnings in Industrial Education." Paul Hanus. 
 
 (Houghton Mifflin, 1908.) 
 
 (18) "The Making of a Girls' Trade School." Mary S. 
 
 Woolman. (Whitcomb and Barrows, Boston.) 
 
 SEWING AND DRESSMAKING 
 
 (1) "School Needlework." O. C. Hapgood, 1893 (Teachers' 
 
 Edition). (Ginn.) 
 
 (2) "A Sewing Course." Mary Schenck Woolman. (F. A. 
 
 Frenald, Buffalo, N. Y., 1908.) 
 
 (3) "Dressmaking Up to Date." (Butterick Publishing Com- 
 
 pany.) 
 
 (4) "The Complete Dressmaker." (Edited by C. E. Laugh- 
 
 lin, 1907.) 
 
 (5) "Dress Cutting, Drafting, and French Pattern Modelling." 
 
 M. Prince Brown. (Archibald Constable and Com- 
 pany, London.) 
 
BIBLIOGRAPHY 271 
 
 MISCELLANEOUS HAND-WORK 
 
 (1) "How to Make Baskets." Mary White. (Doubleday, 
 
 Page.) 
 
 (2) " Varied Occupations in String Work." Louise Walker. 
 
 (Macmillan, 1895.) 
 
 (3) "Occupations for Little Fingers." Sage and Cooley. 
 
 (Scribner, 1905.) 
 
 (4) "Embroidery." W. G. Townsend. (Truslon, London, 
 
 1899.) 
 
 (5) "Embroideries and Their Stitches." (Butterick Publish- 
 
 ing Company, New York.) 
 
 (6) "Practical Millinery." J. Ortner. (Whitaker, London, 
 
 1897.) 
 
 (7) "Columbia Book of the Use of Yarns." Wm. H. Horst- 
 
 man Company, Philadelphia.) 
 
 (8) "Woman's Library of Needlework." Ethel McKenna, 
 
 1903. 
 
 (9) "Lace." Goldenberg. (Brentano, 1904.) 
 
 HOUSEHOLD ART 
 
 (1) "Philosophy of Color." Clifford, 1904. 
 
 (2) "Color, Dress, and Needlework." Lucy Crane. (Mac- 
 
 millan.) 
 
 (3) "Suggestions for Instruction in Color." (Prang, 1893.) 
 
 (4) "Art in Needlework." L. F. Day. (Scribner, 1900.) 
 
 (5) "Household Art." Mrs. Candace Wheeler. (Harper, 
 
 1893-) 
 
 (6) " Some Principles of Every-Day Art." L. F. Day. (Scrib- 
 
 ner, 1900.) 
 
272 DOMESTIC ART 
 
 (7) " Household Art." Mrs. Candace Wheeler. (Harper, 
 
 1893-) 
 
 (8) "Plea for Handicraft." Crane. (The Philistine Maga- 
 
 zine, March, 1900.) 
 
 (9) "Colonial Furniture in America." Lockwood. (Scribner, 
 
 1901.) 
 
 (10) "History of English Furniture." Percy Macquoid. 
 
 (Putnam, 1904-6.) 
 (n) "History of Architecture." Hamlin. (Longmans, 1895.) 
 
 (12) "Houses in City and Country." H. Stone, 1903. 
 
 (13) "The Art of Right Living." Ellen H. Richards. 
 
 DRESS 
 
 (1) "Costumes of Colonial Times." Earle. (Scribner, 1894.) 
 
 (2) "Two Centuries of Dress in America." Earle. (Mac- 
 
 millan, 1903.) 
 
 (3) "What Dress Makes Us." Quigley. (Dutton, 1897.) 
 
 (4) "English Costume." Callthorp. (A. and C. Black, Lon- 
 
 don, 1906.) 
 
 (5) "The Human Body." Martin. (Holt, 1900.) 
 
 ECONOMIC AND SOCIOLOGICAL STUDIES 
 
 (1) "Principles of Economics." Fetter. (Century, 1904.) 
 
 (2) "The Woman Who Spends." Richardson. (Whitcomb, 
 
 1904.) 
 
 (3) "How to Keep Household Accounts." Haskins. (Har- 
 
 per, 1903.) 
 
 (4) "Home Economics." M. Parloa. (Century, 1898.) 
 
 (5) "Encyclopedia of Household Economy." E. Holt. (Mc- 
 
 Clure, Philadelphia.) 
 
BIBLIOGRAPHY 273 
 
 (6) " Economic Function of Women." Edward De vine. (Pub- 
 
 lished by American Academy of Political and Social 
 Science, No. 133, Philadelphia.) 
 
 (7) "Social Control." Ross. (Macmillan, 1901.) 
 
 (8) "Democracy and Social Ethics." Jane Addams. (Mac- 
 
 millan, 1902.) 
 
 (9) "The Level of Social Motion." Lowe. (Macmillan, 
 
 1902.) 
 
 (10) "New Basis of Civilization." Patten. (Macmillan, 
 
 1907.) 
 (IT) " Cost of Living." Ellen H. Richards. 
 
 (12) "Home Problems from a New Standpoint." Caroline 
 
 L. Hunt. 
 
 (13) "Vocations for the Trained Woman." (Women's Edu- 
 
 cational and Industrial Union, of Boston, 1910.) 
 
 STUDY OF TEXTILES 
 
 (1) "The Story of the Cotton Plant." F.Wilkinson. (Apple- 
 
 ton, 1899.) 
 
 (2) "Cotton Spinning." F. Marsden. (Macmillan, 1895.) 
 
 (3) "Woolen Spinning." Charles Vickerman. (Macmillan, 
 
 1894.) 
 
 (4) "Textile Fibres." Matthews. (Wiley, 1904.) 
 
 (5) "The Dyeing of Textile Fabrics." Hummel. (Cassell, 
 
 1893-) 
 
 (6) " Textiles and Clothing." Kate H. Watson. (American 
 
 School of Home Economics, Chicago.) 
 
 (7) "Woolen and Worsteds." McLaren. (Cassell, 1899.) 
 
 (8) "Linen How It Grows." (National Flax Fibre Com- 
 
 pany, 1900.) 
 
 (9) "Linen Trade Ancient and Modern." Warden. (Long- 
 
 mans, 1867.) 
 
274 DOMESTIC ART 
 
 (10) "Silk Culture in California." Carrie Williams. (Whit- 
 
 aker, 1902.) 
 (n) " Weaving and Designing." Ashenhurst. (Simpkins, 
 
 London, 1879.) 
 
 The following magazines give helpful suggestions for those 
 
 interested in domestic art: 
 
 "The School Arts Book." $1.50 per year. (Davis Press, 
 Worcester, Mass.) 
 
 "The Manual Training Magazine." $1.50 per year. (Man- 
 ual Arts Press, Peoria, 111.) 
 
 "The Ladies' Home Journal." $1.50 per year. (Curtis Pub- 
 lishing Company, Philadelphia.) 
 
 "The Good Housekeeping Magazine." $1.50 per year. 
 (Phelps Publishing Company, Springfield, Mass.) 
 
 "The Woman's Home Companion." $1.25 per year. (Cro- 
 well Publishing Company, New York.) 
 
 "The Delineator." $1.00 per year. (Butterick Publishing 
 Company, New York.) 
 
 "Harper's Bazar." $1.25 per year. (Harper & Bros., New 
 
 York.) 
 
 " L'Art de la Mode." $3.50 per year. (Morse, Broughton Co., 
 
 New York.) 
 
 "Elementary School Teacher." $1.50 er year. (University 
 of Chicago Press, Chicago.) 
 
 "Teachers College Record." $1.00 per year. (Teachers 
 College, Columbia University, New York.) 
 
 "Educational Review." $3.00 per year. (Educational Re- 
 view Company, Columbia University, New York.) 
 
 "The Survey," formerly " Charities and the Commons." $2.00 
 per year. (Charity Organization Society.) 
 
 "The Craftsman." $3.00 per year. (Gustav Stickley, 41 
 West Thirty-fourth Street, New York.) 
 
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 UNIVERSITY OF CALIFORNIA LIBRARY