,textiles and ,clothing ,,by ,,kate ,,heintz ,,watson ,,graduate ,,armour ,,institute ,,of ,,technology ,,formerly ,,instructor ,,in ,,domestic ,,art ,,lewis ,,institute ,,lecturer ,,university ,,of ,,chicago ,illustration3 ,american ,school of ,home ,economics seal ,,chicago ,,american ,,school ,,of ,,home ,,economics #aijg ,,copyright #aijf1 #aijg1 ,,by ,,home ,,economics ,,association ,,the ,,library ,,of ,,home ,,economics ,a ,,complete ,,home-,,study ,,course ,,on ,,the ,,new ,,profession ,,of ,,home-,,making ,,and ,,art ,,of ,,right ,,living2 ,,the ,,practical ,,application ,,of ,,the ,,most ,,recent ,,advances ,,in ,,the ,,arts ,,and ,,sciences ,,to ,,home ,,and ,,health ,,prepared ,,by ,,teachers ,,of ,,recognized ,,authority ,,for ,,home-,,makers1 ,,mothers1 ,,teachers1 ,,physicians1 ,,nurses1 ,,dietitians1 ,,professional ,,house ,,managers1 ,,and ,,all ,,interested ,,in ,,home1 ,,health1 ,,economy ,,and ,,children ,,twelve ,,volumes ,,nearly ,,three ,,thousand ,,pages1 ,,one ,,thousand ,,illustrations ,,tested ,,by ,,use ,,in ,,correspondence ,,instruction ,,revised ,,and ,,supplemented ,illustration3 ,american ,school of ,home ,economics seal ,,chicago ,,american ,,school ,,of ,,home ,,economics #aijg ,copyright1 #aijg by ,home ,economics ,association ,entered at ,stationers' ,hall1 ,london ,all ,rights ,reserved4 ,,authors ,,isabel ,,bevier1 ,ph4 ,m4 ,professor of ,household ,science1 ,university of ,illinois4 ,author ,u4 ,s4 ,government ,bulletins1 ,development of ,the ,home ,economics ,movement in ,america1 etc4 ,,alice ,,peloubet ,,norton1 ,m4 ,a4 ,assistant ,professor of ,home ,economics1 ,school of ,eduction1 ,university of ,chicago2 ,director of the ,chautauqua ,school of ,domestic ,science4 ,s4 ,,maria ,,elliott ,instructor in ,home ,economics1 ,simmons ,college2 ,formerly ,instructor ,school of ,housekeeping1 ,boston4 ,,anna ,,barrows ,director ,chautauqua ,school of ,cookery2 ,lecturer ,teachers' ,college1 ,columbia ,university1 and ,simmons ,college2 formerly ,editor ,american ,kitchen ,magazine2 ,author ,home ,science ,cook ,book4 ,,alfred ,,cleveland ,,cotton1 ,a4 ,m41 ,m4 ,d4 ,professor ,diseases of ,children1 ,rush ,medical ,college1 ,university of ,chicago2 ,visiting ,physician ,presbyterian ,hospital1 ,chicago2 ,author of ,diseases of ,children4 ,,bertha ,m4 ,,terrill1 ,a4 ,b4 ,professor in ,home ,economics in ,hartford ,school of ,pedagogy2 ,author of ,u4 ,s4 ,government ,bulletins4 ,,kate ,,heintz ,,watson ,formerly ,instructor in ,domestic ,economy1 ,lewis ,institute2 ,lecturer ,university of ,chicago4 ,,marion ,,foster ,,washburne ,editor ,the ,mothers' ,magazine2 ,lecturer ,chicago ,froebel ,association2 ,author ,everyday ,essays1 ,family ,secrets1 etc4 ,,margaret ,e4 ,,dodd ,graduate ,massachusetts ,institute of ,technology2 ,teacher of ,science1 ,woodard ,institute4 ,,amy ,,elizabeth ,,pope ,with the ,panama ,canal ,commission2 ,formerly ,instructor in ,practical and ,theoretical ,nursing1 ,training ,school for ,nurses1 ,presbyterian ,hospital1 ,new ,york ,city4 ,,maurice ,,le ,,bosquet1 ,s4 ,b4 ,director ,american ,school of ,home ,economics2 ,member ,american ,public ,health ,association and ,american ,chemical ,society4 ,,contributors ,,and ,,editors ,,ellen ,h4 ,,richards ,author ,cost of ,food1 ,cost of ,living1 ,cost of ,shelter1 ,food ,materials and ,their ,adulteration1 etc41 etc42 ,chairman ,lake ,placid ,conference on ,home ,economics4 ,,mary ,,hinman ,,abel ,author of ,u4 ,s4 ,government ,bulletins1 ,practical ,sanitary and ,economic ,cooking1 ,sale ,food1 etc4 ,,thomas ,d4 ,,wood1 ,m4 ,d4 ,professor of ,physical ,education1 ,columbia ,university4 ,h4 ,m4 ,,lufkin1 ,m4 ,d4 ,professor of ,physical ,diagnosis and ,clinical ,medicine1 ,university of ,minnesota4 ,,otto ,,folin1 ,ph4 ,d4 ,special ,investigator1 ,mc,lean ,hospital1 ,waverly1 ,mass4 ,t4 ,,mitchell ,,prudden1 ,m4 ,d41 ,,ll4 ,d4 ,author ,dust and ,its ,dangers1 ,the ,story of the ,bacteria1 ,drinking ,water and ,ice ,supplies1 etc4 ,,frank ,,chouteau ,,brown ,architect1 ,boston1 ,mass42 ,author of ,the ,five ,orders of ,architecture1 ,letters and ,lettering4 ,,mrs4 ,,melvil ,,dewey ,secretary ,lake ,placid ,conference on ,home ,economics4 ,,helen ,,louise ,,johnson ,professor of ,home ,economics1 ,james ,millikan ,university1 ,decatur4 ,,frank ,w4 ,,allin1 ,m4 ,d4 ,instructor ,rush ,medical ,college1 ,university of ,chicago4 ,,managing ,,editor ,,maurice ,,le ,,bosquet1 ,s4 ,b4 ,director ,american ,school of ,home ,economics4 ,,board ,,of ,,trustees ,,of ,,the ,,american ,,school ,,of ,,home ,,economics ,,mrs4 ,,arthur ,,courtenay ,,neville ,president of the ,board4 ,,miss ,,maria ,,parloa ,founder of the first ,cooking ,school in ,boston2 ,author of ,home ,economics1 ,young ,housekeeper1 ,u4 ,s4 ,government ,bulletins1 etc4 ,,mrs4 ,,mary ,,hinman ,,abel ,co-worker in the ,new ,england ,kitchen1 and the ,rumford ,food ,laboratory2 ,author of ,u4 ,s4 ,government ,bulletins1 ,practical ,sanitary and ,economic ,cooking1 etc4 ,,miss ,,alice ,,ravenhill ,special ,commissioner sent by the ,british ,government to report on the ,schools of ,home ,economics in the ,united ,states2 ,fellow of the ,royal ,sanitary ,institute1 ,london4 ,,mrs4 ,,ellen ,m4 ,,henrotin ,honorary ,president ,general ,federation of ,woman's ,clubs4 ,,mrs4 ,,frederic ,w4 ,,schoff ,president ,national ,congress of ,mothers4 ,,mrs4 ,,linda ,,hull ,,larned ,past ,president ,national ,household ,economics ,association2 ,author of ,hostess of ,to-day4 ,,mrs4 ,,walter ,mc,n,a,b ,,miller ,chairman of the ,pure ,food ,committee of the ,general ,federation of ,woman's ,clubs4 ,,mrs4 ,j4 ,a4 ,,kimberly ,vice ,president of ,national ,household ,economics ,association4 ,,mrs4 ,,john ,,hoodless ,government ,superintendent of ,domestic ,science for the province of ,ontario2 ,founder ,ontario ,normal ,school of ,domestic ,science1 now the ,mac,donald ,institute4 ,illustration3 ,,dress ,,making ,,in ,,mexico ,,contents ,primitive ,methods #c ,weaving #ad ,fibers #bi ,cotton #bi ,wool #cg ,flax #dc ,silk #ec ,modern ,methods #ei ,weaving #fi ,weaves #gb ,bleaching and ,dyeing #gh ,printing #ha ,finishing #hc ,cotton ,goods #he ,linens #hf ,woolens and ,worsteds #hh ,silks #ij ,names of ,fabrics #id ,bibliography on ,textiles #ajc ,hand ,sewing #ajg ,ornamental ,stitches #aad ,hems #abc ,tucks and ,seams #abh ,plackets #ace ,sewing on ,bands #ach ,fastenings #ada ,patching #adi ,darning #aee ,mitering ,embroidery1 ,joining ,lace #aeh ,machine ,sewing #afb ,dressmaking #afg ,patterns #aga ,making ,seven-,gored ,skirt #agb ,making ,shirt ,waists #ahb ,lined ,waist #ahf ,sleeves #aid ,collars #aih ,seamless ,yokes #bjj ,pressing #bja ,construction and ,ornament in ,dress #bjc ,ornament of ,textiles #bab ,color #bad ,children's ,clothes #baf ,care of ,clothing #bai ,cleaning #bba ,repairing #bbe ,bibliography on ,sewing and ,dressmaking #bbi ,references3 ,history of ,costume2 ,ornament and ,design #bcd ,program for ,supplemental ,study #bcf ,index #bda ,illustration3 ,,the ,,thread ,,of ,,life ,spinning with the ,distaff and ,spindle4 ,from a ,painting4 ,,textiles ,,and ,,clothing ,sidenote3 ,origin of ,textile ,arts ,spinning and weaving are among the earliest arts4 ,in the twisting of fibers1 hairs1 grasses1 and sinews by rolling them between the thumb and fingers1 palms of the hands1 or palms and naked thigh1 we have the original of the spinning wheel and the steam-driven cotton spindle2 in the roughest plaiting we have the first hint of the finest woven cloth4 ,the need of securing things or otherwise strengthening them then led to binding1 fastening1 and sewing4 ,the wattle-work hut with its roof of interlaced boughs1 the skins sewn by fine needles with entrails or sinews1 the matted twigs1 grasses1 and rushes are all the crude beginnings of an art which tells of the settled life of to-day4 ,sidenote3 ,primitive ,methods ,nothing is definitely known of the origin of these arts2 all is conjecture4 ,they doubtless had their beginning long before mention is made of them in history1 but these crafts--spinning and weaving--modified and complicated by inventions and1 in modern times transferred largely from man to machine1 were distinctively woman's employment4 ,the very primitive type of spinning1 where no spindle was used1 was to fasten the strands of goats' hair or wool to a stone which was twirled round until the yarn was sufficiently twisted when it was wound upon the stone and the process repeated over and over4 ,illustration3 ,,italian ,,woman ,,spinning ,,flax ,spindle and ,distaff4 ,from ,hull ,house ,museum4 7,in ,this ,series of ,pictures the ,spinners and ,weavers ,are in ,native ,costume47 ,illustration3 ,,russian ,,spinning ,flax ,held on ,frame1 ,leaving ,both ,hands ,free to ,manage the ,thread and ,spindle4 ,from ,hull ,house ,museum4 ,sidenote3 ,spinning with the ,spindle ,the next method of twisting yarn was with the spindle1 a straight stick eight to twelve inches long on which the thread was wound after twisting4 ,at first it had a cleft or split in the top in which the thread was fixed2 later a hook of bone was added to the upper end4 ,the spindle is yet used by the ,north ,american ,indians1 the ,italians1 and in the ,orient4 ,the bunch of wool or flax fibers is held in the left hand2 with the right hand the fibers are drawn out several inches and the end fastened securely in the slit or hook on the top of the spindle4 ,a whirling motion is given to the spindle on the thigh or any convenient part of the body2 the spindle is then dropped1 twisting the yarn1 which is wound on the upper part of the spindle4 ,another bunch of fibers is drawn out1 the spindle is given another twirl1 the yarn is wound on the spindle1 and so on4 ,sidenote3 ,spindle ,whorl ,a spindle containing a quantity of yarn was found to rotate more easily1 steadily and continue longer than an empty one1 hence the next improvement was the addition of a whorl at the bottom of the spindle4 ,these whorls are discs of wood1 stone1 clay1 or metal which keep the spindle steady and promote its rotation4 ,the process in effect is precisely the same as the spinning done by our grandmothers1 only the spinning wheel did the twisting and reduced the time required for the operation4 ,illustration3 ,,spinning ,,with ,,crude ,,wheel ,,and ,,distaff ,distaff ,thrust ,into the ,belt4 ,illustration3 ,,gossip ,,in ,,the ,,olden ,,times ,illustration3 ,,colonial ,,wool ,,wheel ,the ,large ,wheel ,revolved by ,hand ,thus ,turning the ,spindle and ,twisting the ,yarn1 ,which ,is ,then ,wound on the ,spindle2 ,intermittent in ,action4 ,illustration3 ,,colonial ,,flax ,,wheel ,worked by a ,foot ,treddle2 ,distaff on the ,frame of the ,wheel2 ,fliers on the ,spindle1 ,continuous in ,action2 ,capacity ,seven ,times ,that of ,hand ,spindle4 ,illustration3 ,,dutch ,,wheel ,spinner ,sits in ,front of the ,wheel ,spinning ,flax at ,hull ,house4 ,sidenote3 ,distaff ,later the distaff was used for holding the bunch of wool1 flax1 or other fibers4 ,it was a short stick on one end of which was loosely wound the raw material4 ,the other end of the distaff was held in the hand1 under the arm or thrust in the girdle of the spinner4 ,when held thus1 one hand was left free for drawing out the fibers4 ,illustration3 ,graphic ,diagram ,showing ,time ,during which ,different ,methods of ,spinning ,has ,been ,used4 ,sidenote3 ,wheel ,spinning ,on the small spinning wheel the distaff was placed in the end of the wheel bench in front of the fillers2 this left both hands free to manage the spindle and to draw out the threads of the fibers4 ,illustration3 ,,syrian ,,spinning ,spinner ,sits on the ,floor1 ,wheel ,turned by a ,crank2 ,spindle ,held in ,place by ,two ,mutton ,joints ,which ,contain ,enough ,oil for ,lubrication4 ,at ,hull ,house4 ,the flax spinning wheel1 worked by means of a treadle1 was invented in the early part of the sixteenth century and was a great improvement upon the distaff and spindle4 ,this it will be seen was a comparatively modern invention4 ,the rude wheel used by the natives of ,japan and ,india may have been the progenitor of the ,european wheel1 as about this time intercourse between the ,east and ,europe increased4 ,these wheels were used for spinning flax1 wool1 and afterwards cotton1 until ,hargreaves' invention superseded it4 ,,weaving ,someone has said that weaving is the climax of textile industry4 ,it is an art practiced by all savage tribes and doubtless was known before the dawn of history4 ,the art is but a development of mat-making and basketry1 using threads formed or made by spinning in place of coarser filaments4 ,illustration3 ,,pueblo ,,woman ,,working ,,heddle ,,in ,,weaving ,a ,,belt ,illustration3 ,a ,,navajo ,,belt ,,weaver ,illustration3 ,,zuni ,,woman ,,weaving ,,ceremonial ,,belt ,illustration3 ,,primitive ,,heddles ,sidenote3 ,the ,heddle ,in the beginning of the art the warp threads were stretched between convenient objects on the ground or from horizontal supports4 ,at first the woof or filling threads were woven back and forth between the warp threads as in darning4 ,an improvement was the device called the heald or heddle1 by means of which alternate warp threads could be drawn away from the others1 making an opening through which the filling thread could be passed quickly4 ,one form of the heddle was simply a straight stick having loops of cord or sinew through which certain of the warp threads were run4 ,another form was a slotted frame having openings or eyes in the slats4 ,this was carved from one piece of wood or other material or made from many4 ,alternate warp threads passed through the eyes and the slots4 ,by raising or lowering the heddle frame1 an opening was formed through which the filling thread1 wound on a rude shuttle1 was thrown4 ,the next movement of the heddle frame crossed the threads over the filling and made a new opening for the return of the shuttle4 ,at first the filling thread was wound on a stick making a primitive bobbin4 ,later the shuttle to hold the bobbin was devised4 ,illustration3 ,,navajo ,,loom ,one on the ,earliest ,types of ,looms4 ,at ,hull ,house4 ,illustration3 ,,simple ,,colonial ,,loom ,sidenote3 ,the ,reed ,before the reed was invented1 the filling threads were drawn evenly into place by means of a rude comb and driven home by sword-shaped piece of wood or batten4 ,the reed accomplished all this at one time4 ,illustration3 ,a ,,japanese ,,loom4 ,illustration3 ,a ,,four ,,harness ,,hand ,,loom ,weaving ,linen in the ,mountains of ,virginia4 7,photograph by ,c4 ,r4 ,dodge74 ,illustration3 ,,typical ,,colonial ,,hand ,,loom ,two ,harnesses in ,use2 ,weaving ,wool at ,hull ,house4 ,illustration3 ,,diagram ,,of ,a ,,hand ,,loom ,a--,warp ,beam2 ,b--,cloth ,beam2 ,,dd--,lees ,rods2 ,h--,harness2 ,t--,treddle4 ,sidenote3 ,definition of a ,loom ,it is probable that the ,european looms were derived from those of ,india as they seem to be made on the same principle4 ,from crude beginnings1 the hand loom of our grandmothers' time developed4 ,a loom has been defined as a mechanism which affects the following necessary movements3 #a4 ,the lifting of the healds to form an opening1 or shed1 or race for the shuttle to pass through4 #b4 ,the throwing of the weft or filling by means of a shuttle4 #c4 ,the beating up of the weft left in the shed by the shuttle to the cloth already formed4 ,this thread may be adjusted by means of the batten1 needle1 comb1 or any separate device like the reed4 #d #e4 ,the winding up or taking up of the cloth as it is woven and the letting off of the warp as the cloth is taken up4 ,illustration3 ,,swedish ,,hand ,,loom ,norwegian ,woman ,weaving ,linen at ,hull ,house4 ,illustration3 ,,diagram ,,of ,,the ,,working ,,parts ,,of ,a ,,loom4 ,s--,shuttle for carrying the woof2 ,r--,reed for beating up the woof2 ,h--,frame holding heddles1 with pullies 7,p7 making the harness2 ,t--,treddles for moving the harness4 ,sidenote3 ,colonial ,loom ,no essential changes have been made since our grandmothers made cloth a hundred years ago4 ,the harnesses move part of the warp now up1 now down1 and the shuttle carries the weft from side to side to be driven home by the reeds to the woven cloth4 ,our grandmothers did all the work with swift movements of hands and feet4 ,the modern weaver has her loom harnessed to the electric dynamo and moves her fingers only to keep the threads in order4 ,if she wishes to weave a pattern in the cloth1 no longer does she pick up threads of warp now here1 now there1 according to the designs4 ,it is all worked out for her on the loom4 ,each thread with almost human intelligence settles automatically into its appointed place1 and the weaver is only a machine tender4 ,illustration3 ,,fly ,,shuttle ,,hand ,,loom4 ,the ,pulling of the ,reed ,automatically ,throws the ,shuttle ,back and ,forth and ,works the ,harness1 ,making a ,shed at the ,proper ,time4 ,sidenote3 ,primitive ,fabrics ,no textiles of primitive people were ever woven in pieces or bolts of yards and yards in length to be cut into garments4 ,the cloth was made of the size and shape to serve the particular purpose for which it was designed4 ,the mat1 robe1 or blanket had tribal outlines and proportions and was made according to the materials and the use of common forms that prevailed among the tribes4 ,the designs were always conventional and sometimes monotonous4 ,the decoration never interfered with its use4 ,the first beauty of the savage woman was uniformity which belonged to the texture and shape of the product4 ,the uniformity in textile1 basketry1 or pottery1 after acquiring a family trait1 was never lost sight of4 ,their designs were suggested by the natural objects with which they were familiar4 ,illustration3 ,,picking ,,cotton4 ,from ,department of ,agriculture ,bulletin1 ,the ,cotton ,plant4 ,,fibers ,both the animal and vegetable kingdoms furnish the materials for clothing as well as for all the textiles used in the home4 ,the fleece of sheep1 the hair of the goat and camel1 silk1 furs1 and skins are the chief animal products4 ,the principal vegetable fibers are cotton1 flax1 ramie1 jute1 and hemp4 ,sidenote3 ,chief ,fibers ,cotton linen1 wool1 and silk have heretofore formed the foundation of all textiles and are the principal fibers used for clothing materials4 ,ramie or ,china grass and pineapple fibers are sometimes used as adulterants in the manufacture of silk4 ,when woven alone1 they give soft silky textiles of great strength and beauty4 ,,cotton ,illustration3 ,,production ,,of ,,cotton ,cotton is now our chief vegetable fiber1 the yearly crop being over six billion pounds1 of which the ,united ,states raises three-fourths4 ,texas is the largest producer1 followed by ,georgia1 ,alabama1 and ,mississippi4 ,the remainder of the world supply comes chiefly from ,india1 ,egypt1 ,russia1 and ,brazil4 ,the ,hindoos were the first ancient people to make extensive use of the cotton fiber4 ,not until the invention of the cotton gin by ,eli ,whitney in #agid did the cotton begin to reach its present importance4 ,only four or five pounds of the fiber could be separated by hand from the seed by a week's labor4 ,the modern saw gins turn out over five thousand pounds daily4 ,sidenote3 ,native ,home ,cotton is the white downy covering of the seed of several special of cotton of cotton plant4 ,it is a native of many parts of the world1 being found by ,columbus growing in the ,west ,indies and on the main land1 by ,cortez in ,mexico1 and ,pizarro in ,peru4 ,illustration3 ,,cotton ,,fiber ,,attached ,,to ,,seed ,sidenote3 ,sea ,island ,cotton ,the value of cotton depends upon the strength1 and evenness of the fiber4 ,in ordinary cotton the individual fiber is about an inch in length4 ,the sea island cotton grown chiefly on the islands off the coast of ,georgia1 ,carolina1 and ,florida is the most valuable variety1 having a fine fiber1 one and one-half to two inches in length4 ,some of the ,egyptian cotton belongs to this species4 ,sea island cotton is used chiefly for fine laces1 thread and knit goods and for the finest lawns and muslins4 ,sidenote3 ,upland ,cotton ,the short fiber or upland cotton is the most common and useful variety4 ,it is grown in ,georgia1 ,north and ,south ,carolina and ,alabama4 ,texas cotton is similar to upland1 but sometimes is harsh with shorter fiber4 ,gulf cotton occupies a position between upland and sea island cotton4 ,illustration3 ,,upland ,,cotton ,,plant ,,with ,,fully ,,developed ,,boles ,from ,bulletin ,no4 #ca1 ,georgia ,experiment ,station4 ,illustration3 ,,cotton ,,bole ,,fully ,,developed ,from ,year ,book of the ,department of ,agriculture1 #aijc4 ,illustration3 ,,bole ,,opened1 ,,cotton ,,ready ,,for ,,picking ,year ,book of #aijc4 ,the ,brazilian and ,peruvian cotton yields a long staple and is sometimes used to adulterate silk and other fibers4 ,some varieties of this cotton are harsh and wooly and are prized for use in mixing with wool4 ,sidenote3 ,nankin ,cotton ,the ,nankin cotton grown in ,china and ,india and in the southwestern part of ,louisiana is characterized by its yellow color4 ,it is used in weaving cloth of various kinds in the fireside industries which have become popular in the ,united ,states and ,england4 ,illustration3 ,,cotton ,,fibers ,a ,a--,unripe ,fibers2 ,b ,b--,half-ripe ,fibers2 ,c ,c--,ripe ,fibers4 ,sidenote3 ,spinning ,qualities ,very fine yarn can be spun from cotton because of the spiral character of the fibers4 ,this twist of the fibers is peculiar to cotton1 being present in no other animal or vegetable fiber4 ,on account of this twist1 cotton cloths are much more elastic in character than those woven from linen1 the fibers of which are stiff and straight4 ,after the removal of the seed1 no other fiber is so free from impurities--#e per cent is the loss sustained by cleaning and bleaching4 ,in its natural condition1 cotton will not dye readily because of a waxy substance on the surface of the fibers4 ,this must be removed by washing4 ,sidenote3 ,picking and ,ginning ,cotton should be picked only when it is fully ripe when the pods are fully burst and the fibers expanded4 ,the unripe fiber is glassy1 does not attain its full strength and resists the dye4 ,after picking1 the cotton is sent to the ginning factory to have the seed removed4 ,it is then pressed into bales by hydraulic presses1 five hundred pounds being the standard bale in the ,united ,states4 ,illustration3 ,,cotton ,,bales ,sidenote3 ,physical ,characteristics ,purified bleached cotton is nearly pure cellulose4 ,it resists the action of alkalis well1 but is harmed by hot1 strong acids1 or if acid is allowed to dry on the fabric4 ,it is not harmed by high temperature1 and so may be ironed with a hot iron4 ,illustration3 ,,wool ,,fiber ,,and ,,substitutes #a4 ,south ,american ,wool2 #b4 ,noil from the ,same2 #c4 ,tangled ,waste2 #d4 ,waste ,combed ,out2 #e4 ,lap ,waste2 #f4 ,shoddy4 ,,wool ,sidenote3 ,character of ,fiber ,wool is the most important animal fiber4 ,strictly speaking the name applies only to the hairy covering of sheep1 but the hair of certain goats and of camels is generally classified under the same terms4 ,the wool fiber is distinguished by its scale-like surface which gives it its felting and spinning properties4 ,hair as distinguished from wool has little or no scaly structure being in general a smooth filament with no felting properties and spinning only with great difficulty4 ,fur is the undergrowth found on most fur-bearing animals and has in a modified way the scaly structure and felting properties of wool4 ,illustration3 ,,microscopic ,,appearance ,,of ,,wool ,,fibers ,sidenote3 ,value for ,clothing ,the great value of wool as a fiber lies in the fact that it is strong1 elastic1 soft1 very susceptible to dye stuffs and being woven1 furnishes a great number of air spaces1 rendering clothing made from it very warm and light4 ,sidenote3 ,quality of ,wool ,climate1 breed1 and food influence the quality of the wool4 ,where the pasturage is barren and rocky1 the wool is apt to be coarse4 ,illustration3 ,,merino ,,rams ,the ,variety of ,sheep ,giving the ,finest ,wool4 ,sidenote3 ,varieties of ,sheep ,there are supposed to be about thirty distinct varieties of sheep1 nearly half of which are natives of ,asia1 one-third of ,africa1 and only four coming from ,europe1 and two from ,america4 ,wool is divided into two general classes--long and short staple1 according to the average length of fiber4 ,the long fiber wool is commonly carded1 combed and spun into worsted yarn4 ,the short fiber is usually carded and spun into woolen yarn4 ,the short fiber obtained in combing long staple wool is called noil4 ,it is used for woolens4 ,sidenote3 ,goat ,wools ,alpaca1 ,vicuna and ,llama wools are obtained from animals which are native to the mountains of ,peru and ,chile4 ,the ,angora goat1 originally from ,asia ,minor1 furnishes the mohair of commerce4 ,this fiber does not resemble the hairs of common goats in any respect4 ,it is a very beautiful fiber of silky luster1 which constitutes its chief value4 ,illustration3 ,,angora ,,goats ,sidenote3 ,fur ,the fur of beavers and rabbits can be and is used in manufacture1 either spun into yarn or made into felt4 ,the fibers of both animals enter largely into the manufacture of felt hats4 ,sidenote3 ,sorting ,wool ,the fleece of sheep after being sheared is divided into different parts or sorted1 according to the quality of the wool1 the best wool coming from the sides of the animal4 ,illustration3 ,,wool ,,fibers a--,medium ,wool2 b--,camel's ,hair2 c--,diseased ,fiber2 d--,merino ,wool2 e--,mohair4 ,sidenote3 ,scouring ,wool ,as it comes from the sheep1 the wool contains many substances besides the wool fiber which must be removed before dyeing or spinning4 ,this cleansing is called scouring4 ,before scouring1 the wool is usually dusted by machines to remove all loose dirt4 ,the scouring must be done by the mildest means possible in order to preserve the natural fluffiness and brilliancy of the fiber4 ,the chief impurity is the wool grease or yolk which is secreted by the skin glands to lubricate the fiber and prevent it from matting4 ,illustration3 ,,one ,,method ,,of ,,wool ,,sorting #a--,the ,best ,grade2 #b--,lowest ,grade2 #c--;,fair2 #d--,medium ,grade4 ,sidenote3 ,scouring ,agents ,in the scouring of wool1 soap is the principal agent4 ,soft soap made from caustic potash is generally used as it is less harmful than ordinary hard soda soap4 ,potassium carbonate--pearl ash--is often used in connection with the soap4 ,if the water for scouring is hard1 it is softened with pearl ash4 ,the temperature of wash water is never allowed to go above #abj ,f4 ,the scoured wool weighs from a little over a half to one-third or less of the weight of the fleece4 ,sidenote3 ,hydroscopic ,moisture ,wool has the remarkable property of absorbing up to #cj per cent or more of its weight of water and yet not feel perceptibly damp to the touch4 ,this is called hydroscopic moisture4 ,to this property wool owes its superiority as a textile for underclothing4 ,illustration3 ,,wool ,,sorting ,the thoroughly cleansed fiber is made up chiefly of the chemical substance keratin1 being similar in composition to horn and feathers4 ,in burning it gives off a characteristic disagreeable odor4 ,it is a substance very weakly acid in its nature1 for which reason it combines readily with many dyes4 ,wool resists the action of acids very well1 but is much harmed by the alkalis1 being dissolved completely by a warm solution of caustic soda4 ,high temperature harms wool4 ,,flax ,next to wool and cotton1 flax is used most largely in our textile manufactures4 ,the linen fiber consists of the bast cells of certain species of flax grown in ,europe1 ,africa1 and the ,united ,states4 ,all bast fibers are obtained near the outer surface of the plant stems4 ,the pith and woody tissues are of no value4 ,the flax plant is an annual and to obtain the best fibers it must be gathered before it is fully ripe4 ,to obtain seed from which the best quality of linseed oil can be made it is usually necessary to sacrifice the quality of the fibers to some extent4 ,illustration3 ,,flax ,sidenote3 ,treatment of ,flax ,unlike cotton1 flax is contaminated by impurities from which it must be freed before it can be woven into cloth4 ,the first process to which the freshly pulled flax is submitted is that of rippling or the removal of the seed capsules4 ,retting1 next in order1 is the most important operation4 ,this is done to remove the substances which bind the bast fibers to each other and to remove the fiber from the central woody portion of the stem4 ,this consists of steeping the stalks in water4 ,illustration3 ,a ,,field ,,of ,,flax ,,in ,,minnesota ,the ,flax ,must ,be ,pulled ,up by the ,roots to ,give ,fibres with ,tapered ,ends4 7,photograph of ,c4 ,r4 ,dodge74 ,sidenote3 ,retting 7#a7 ,cold water retting1 either running or stagnant water4 7#b7 ,dew retting4 7#c7 ,warm water retting4 ,illustration3 ,,retting ,,tank ,a--,inlet2 ,b--,undisturbed ,water2 ,c--,bundles of ,flax4 ,cold water retting in running water is practiced in ,belgium4 ,retting in stagnant water is the method usually employed in ,ireland and ,russia4 ,the retting in stagnant water is more rapidly done1 but there is danger of over-retting on account of the organic matter retained in the water which favors fermentation4 ,in this case the fiber is weakened4 ,illustration3 ,,retting ,,flax ,,in ,,the ,,river ,,lys1 ,,belgium ,from the ,government ,bulletin1 ,flax for ,seed and ,fiber4 ,in dew retting1 the flax is spread on the field and exposed to the action of the weather for several weeks without any previous steeping4 ,this method of retting is practiced in ,germany and ,russia4 ,warm water retting and chemical retting have met with limited success4 ,when the retting is complete1 the flax is set up in sheaves to dry4 ,the next operations consist of breaking1 scutching1 and hackling and are now done by machinery4 ,illustration3 ,,fibers ,,of ,,flax ,breaking removes the woody center from the retted and dried flax by being passed through a series of fluted rollers4 ,the particles of woody matter adhering to the fibers are detached by scutching4 ,sidenote3 ,hackling ,hackling or combing still further separates the fibers into their finest filaments--line and tow4 ,the flax line is the long and valuable fiber2 the tow1 the short coarse tangled fiber which is spun and used for weaving coarse linen4 ,illustration3 ,,flax ,a1 ,unthrashed ,straw2 ,b1 ,retted2 ,c1 ,cleaned or ,scutched2 ,d1 ,hackled or ,dressed4 7,photograph of ,c4 ,r4 ,dodge74 ,illustration3 ,,hackling ,,flax ,,by ,,hand ,the ,tow ,is ,seen at the ,left and a ,bunch of ,flax line on the ,bench4 7,photograph of ,c4 ,r4 ,dodge1 ,special ,agent ,u4 ,s4 ,department of ,agriculture47 ,sidenote3 ,characteristics of ,linen ,when freed from all impurities the chief physical characteristics of flax are its snowy whiteness1 silky luster and great tenacity4 ,the individual fibers may be from ten to twelve inches in length2 they are much greater in diameter than cotton4 ,it is less pliant and elastic than cotton and bleaches and dyes less readily4 ,linen cloth is a better conductor of heat than cotton and clothing made from it is cooler4 ,when pure1 it is1 like cotton1 nearly pure cellulose4 ,sidenote3 ,ramie ,besides the linen1 there is a great number of bast fibers fit for textile purposes1 some superior1 some inferior4 ,india alone has over three hundred plants that are fiber yielding4 ,one-third of these furnish useful fibers for cordage and fabrics4 ,the next in importance to linen is ramie or rhea1 and ,china grass4 ,china grass comes from a different plant but is about the same as ramie4 ,the staple is longer and finer than linen4 ,the great strength of yarn made from it is due to length of the staple4 ,the variety and great value of the ramie fibers has long been recognized1 but difficulties attending the separation and degumming of the fibers have prevented its employment in the manufactures to any great extent4 ,the native ,chinese split and scrape the plant stems1 steeping them in water4 ,the common retting process used for flax is not effective on account of the large amount of gummy matter1 and although easy to bleach it is difficult to dye in full bright shades without injuring the luster of the fibers4 ,sidenote3 ,jute and ,hemp ,jute and hemp belong to the lower order of bast fibers4 ,the fiber is large and is unfit for any but the coarsest kind of fabrics4 ,jute is mainly cultivated in ,bengal4 ,the fiber is separated from the plant by retting1 beating1 etc4 ,illustration3 ,,jute ,,growing ,,in ,,louisiana4 ,from ,culture of ,hemp and ,jute1 ,report of ,u4 ,s4 ,department of ,agriculture4 ,illustration3 ,,drying ,,hemp ,,in ,,kentucky ,from ,culture of ,hemp and ,jute4 ,sidenote3 ,olona ,olona1 the textile fiber of ,hawaii1 is found to have promising qualities4 ,this plant resembles ramie and belongs to the nettle family also1 but it is without the troublesome resin of the ramie4 ,the fiber is fine1 light1 strong1 and durable4 ,the ,philippines are rich in fiber producing plants4 ,the manila hemp is the most prominent1 of which coarse cloth is woven1 besides the valuable cordage4 ,the sisal hemp1 pineapple1 yucca1 and a number of fiber plants growing in the southern part of the ,united ,states are worthy of note4 ,these fiber industries are conducted in a rude way1 the fiber being cleaned by hand1 except the pineapple4 ,,silk ,the silk fiber is the most perfect as well as the most beautiful of all fibers4 ,it is nearly faultless1 fine and continuous1 often measuring from #ajjj to #djjj feet long1 without a scale1 joint1 or a blemish1 though not of the same diameter or fineness throughout its entire length1 as it becomes finer as the interior of the cocoon is approached4 ,silk differs from all other vegetable or animal fibers by being devoid of all cellular structure4 ,sidenote3 ,where ,produced ,southern ,europe leads in the silk worm culture--,italy1 southern ,france1 and ,turkey1 with ,china and ,india4 ,several species of moths1 natives of ,india1 ,china1 and ,japan1 produce the wild silk4 ,the most important of the wild silks are the ,tussah4 ,silk plush and the coarser varieties of buff colored fabrics are made of this silk4 ,while manufacturers do not favor the wild silk1 the coarse uneven weave and softness make it a favorite with artists and it is being used for interior decoration as well as for clothing4 ,sidenote3 ,silk ,worm ,the silk of commerce begins with an egg no bigger than a mustard seed1 out of which comes a diminutive caterpillar1 which is kept in a frame and fed upon mulberry leaves4 ,when the caterpillars are full grown1 they climb upon twigs placed for them and begin to spin or make the cocoon4 ,the silk comes from two little orifices in the head in the form of a glutinous gum which hardens into a fine elastic fiber4 ,with a motion of the head somewhat like the figure eight1 the silk worm throws this thread around the body from head to tail until at last it is entirely enveloped4 ,the body grows smaller and the thread grows finer until at last it has spun out most of the substance of the body and the task is done4 ,if left to itself1 when the time came1 the moth would eat its way out of the cocoon and ruin the fiber4 ,a few of the best cocoons are saved for a new supply of caterpillars2 the remainder are baked at a low heat which destroys the worm but preserves the silk4 ,this now becomes the cocoon of commerce4 ,sidenote3 ,reeling ,silk ,next the cocoons go to the reelers who wind the filaments into the silk yarn that makes the raw material of our mills4 ,the cocoons are thrown into warm water mixed with soap in order to dissolve the gum4 ,the outer or coarser covering is brushed off down to the real silk and the end of the thread found4 ,four or five cocoons are wound together1 the sticky fibers clinging to each other as they pass through the various guides and are wound as a single thread on the reels4 ,the silk is dried and tied into hanks or skeins4 ,as the thread unwinds from the cocoon1 it becomes smaller1 so other threads must be added4 ,illustration3 ,,silk3--,,caterpillar1 ,,cocoon1 ,,chrysalis1 ,,moth ,sidenote3 ,organize and ,tram ,at the mill the raw silk goes to the throwster who twists the silk threads ready for the loom4 ,these threads are of two kinds--organize or warp and tram or filling4 ,the warp runs the long way of woven fabric or parallel with the selvage and it must be strong1 elastic1 and not easily parted by rubbing4 ,to prepare the warp1 two threads of raw silk are slightly twisted4 ,twist is always put into yarn of any kind to increase its strength4 ,these threads are united and twisted together and this makes a strong thread capable of withstanding any reasonable strain in the loom and it will not roughen4 ,for the woof or tram which is carried across the woven cloth on the shuttle1 the thread should be as loose and fluffy as possible4 ,several threads are put together1 subjected to only a very slight twist--just enough to hold the threads together so they will lie evenly in the finished fabric4 ,sidenote3 ,boiling ,off ,after the yarn leaves the spinners it is again run off on reels to be taken to the dye house4 ,first the yarn is boiled off in soapy water to remove the remaining gum4 ,now the silk takes on its luster4 ,before it was dull like cotton4 ,the silk is now finer and harder and is known as souple4 ,sidenote3 ,loading ,silk ,the silk fiber has a remarkable property of absorbing certain metallic salts1 still retaining much of its luster4 ,this process is known as loading or weighting1 and gives increased body and weight to the silk4 ,silk without weighting is known as pure dye1 of which there is little made1 as such goods take too much silk4 ,illustration3 ,,reeling ,,silk ,for the weighting of white or light colored silk goods1 tin crystals 7stanous chloride7 are used and for dark shades and black1 iron salts and tannin4 ,by this means the original weight of the fiber may be increased three or four hundred per cent4 ,this result is not attained1 however1 except through the weakening of the fiber4 ,sidenote3 ,action of ,common ,salt ,common salt has a very curious action on weighted silk4 ,it slowly weakens the fiber4 ,a silk dress may be ruined by being splashed with salt water at the seashore4 ,most often holes appear after a dress comes back from the cleaners2 these he may not be to blame for1 as salt is abundant in nearly all the bodily secretions1--tears1 perspiration1 urine4 ,sidenote3 ,artificial ,silk ,artificial silk is made by dissolving cellulose obtained from cotton4 ,it is lacking in strength and water spoils all kinds manufactured at present4 ,sidenote3 ,characteristics of ,silk ,silk1 like wool1 has the property of absorbing considerable moisture without becoming perceptibly damp4 ,like wool and all the animal fibers1 it is harmed by alkalis4 ,the important physical properties of silk are its beautiful luster1 strength1 elasticity and the readiness with which it takes dyes4 ,silk combines well with other fibers1 animal and vegetable4 ,sidenote3 ,value of ,raw ,fibers ,a comparison of the relative value of textile fibers may be seen from the following approximate prices3 ,cotton--4#jg to 4#ad per pound2 loss in cleaning and bleaching #e per cent4 ,flax--4#ab to 4#cj per pound2 loss in cleaning and bleaching about #bj per cent4 ,wool--4#ae to 4#cj per pound2 loss in scouring #bj to #fj per cent4 ,raw ,silk--#g4jj to #aj4jj per pound2 loss in boiling off about #cj per cent which is made up and much more by loading4 ,,modern ,,methods ,all the complex processes and machinery of the textile industry are but developments of the old-time methods of the home4 ,brief outlines only will be given here for the processes are most intricate in detail4 ,,spinning ,the spinning of cotton yarn 7thread7 is typical of all the fibers4 ,the stages may be divided into-- #a4 ,opening and picking4 #b4 ,carding4 #c4 ,combing4 #d4 ,drawing4 #e4 ,spinning4 ,sidenote3 ,picking and ,carding ,the picking and carding have for their object the removal of all foreign substances with as little damage to the fiber as possible4 ,the foreign substances in cotton are sand1 dirt1 pieces of leaves1 seed1 husk1 etc41 which have become mixed with the fiber during the process of growing1 ginning and transportation4 ,sidenote3 ,cleaning ,the cotton bales are opened and thrown into the automatic feeder which carries up a layer of cotton on a spiked apron from which it is removed by a rapidly revolving doffer underneath which is a screen which catches some of the dirt4 ,it is next fed between rolls in front of a rapidly revolving blunt-edged knife which throws out more of the dirt through a screen4 ,there is a suction of air through the screen which helps remove the foreign substances4 ,the cotton passes through several of such machines1 being formed into a soft web or lap which is wound into a roll4 ,sidenote3 ,carding ,the carding machine further cleans the fibers and lays them in a general parallel position4 ,from this machine the web is formed into sliver1 a loose rope of cotton fiber about two inches in diameter4 ,this is received in circular cans4 ,illustration3 ,,cotton ,,opener ,,and ,,picker ,the cotton from the bale is thrown into ,a1 carried by the spiked aprons ,b and ,c1 evened by ,e1 removed from the apron by ,f 7some of the dirt falls through the screen into box ,g7 is beaten by the revolving knife1 ,n ,p1 more dirt being removed through screen ,n1 then goes through the flue ,c to the next machine4 ,sidenote3 ,combing ,the combing is omitted for short fiber cotton1 but is used in worsted spinning and with long staple cotton to remove the short fibers4 ,cotton to be used for making yarn suitable for hosiery1 underwear1 sewing thread1 lace1 and for very fine cotton fabrics is carded4 ,in drawing1 from six to sixteen slivers are run together and the fibers drawn out in several stages until the soft rope is about an eighth of an inch in diameter1 called roving4 ,this tends to get rid of any unevenness and makes the fibers all parallel4 ,from this machine the roving is wound on a bobbin ready for the spinning frame4 ,illustration3 ,,cotton ,,card ,the roll of webbing ,a is beaten and transferred to the cylinder ,h ,h1 carded by the spiked belt ,e1 removed by the doffer and formed into a sliver which runs into the can ,m4 ,sidenote3 ,spinning ,the spinning frame may have a hundred spindles or more1 each one of which is drawing out its supply of roving to the required size of yarn and giving it the twist necessary to bind the fibers together4 ,the yarn to be used for the warp is given a harder twist so that it may be strong enough to stand the strain in weaving4 ,the yarn for filling is usually left soft4 ,illustration3 ,,cotton ,,comb1 ,,used ,,for ,,long ,,staple ,illustration3 ,,receiving ,,the ,,sliver ,,at ,,the ,,back ,,of ,,the ,,drawing ,,frame4 ,illustration3 ,,drawing ,,frame ,drawing the ,roving ,finer4 ,illustration3 ,a ,,fly ,,spinning ,,frame ,the ,spools of ,roving ,above ,are ,being ,drawn ,out1 ,given the ,twist by the ,fliers1 and ,wound on ,bobbins ,below4 ,illustration3 ,,mule ,,drawing ,,and ,,spinning ,,frame ,always used for wool4 ,part of the machine moves away from the frame1 thus drawing out the thread1 which is then twisted4 ,illustration3 ,,modern ,,ring ,,spinning ,,frame ,,for ,,cotton4 ,,sixty-,,eight ,,spindles ,gives the ,largest ,production4 ,illustration3 ,a ,,plain ,,power ,,loom ,,weaving ,,linen ,the yarn for warp is now usually given a coating or sizing of starch and gums so that the thread may not become unwound and break during weaving4 ,the process of spinning is much the same for flax and for wool1 although somewhat differently constructed machines must be used4 ,flax is usually spun wet4 ,,weaving ,sidenote3 ,modern ,loom ,the modern power driven loom is a wonderful piece of machinery4 ,the principle of its operation is essentially the same as the hand loom1 but it is almost perfectly automatic in its action1 a man or woman being able to tend from ten to fifteen looms weaving plain cotton goods4 ,sidenote3 ,warping ,the yarn coming from the spinning frame is sometimes dyed before weaving4 ,the warp is formed by winding as many threads as the width of the fabric is to contain on a slowly revolving drum1 called a beam1 in the same relative position in which they are to appear in the finished cloth4 ,from its position on the beam at the back of the loom1 each thread is brought through its particular loop or eye with the heddle1 then passes through its own slot in the reed1 and down to the roller or cloth beam that is to take up the woven cloth4 ,this is called drawing in the warp4 ,if there is a piece of cloth coming from the loom1 the work is very simple1 for the ends of the new warp are tied to the ends remaining from the warp that has been woven out4 ,the shuttle with its bobbin1 containing the yarn of the filling1 is much the same as is used in the hand looms1 except for form and size1 which varies according to the requirements and size of the warp being used4 ,at first only one shuttle was used1 but in #agfj ,robert ,kay invented a mechanism by which several shuttles containing different grades or colors of yarn might be used4 ,each throw of the shuttle across the width of the goods is called a pick4 ,sidenote3 ,the ,harness ,in making a cloth with plain weave1 that is1 with every thread interlacing with every other1 as in darning1 only two harnesses are required1 but the modern loom may have up to about twenty-four harnesses so that an infinite variety of weaves may be obtained4 ,various cams and levers move the harness frame and so raise or lower the threads required for the design4 ,sidenote3 ,jacquard ,loom ,the ,jacquard loom is arranged on a different principle4 ,in this loom1 all kinds of fancy weaves may be obtained as in table linen1 tapestries and carpets4 ,each warp thread is supplied with a separate hook and by means of perforated card the desired threads are raised or depressed at each throw of the shuttle4 ,the cards are worked out by the designer4 ,a set of a thousand or more cards may be required to produce the desired design4 ,jacquard looms are sometimes to be seen at fairs and expositions weaving handkerchiefs with some picture design4 ,illustration3 ,,jacquard ,,hand ,,loom ,weaving ,ingrain ,carpet at ,hull ,house4 ,,weaves ,the great variety of weaves found in the textiles of to-day are modifications of a few fundamental weaves invented in the earliest times4 ,the chief fundamental weaves are3 7#a7 ,plain weave4 7#b7 ,twills4 7#c7 ,sateen4 ,to which may be added the derivatives-- 7#d7 ,rib weave4 7#e7 ,basket weave4 ,illustration3 ,,diagram ,,of ,,fancy ,,knit ,,goods ,these do not include the many fancy weaves1 too numerous to classify1 and the open work weaves1 made in the ,leno loom1 in which some of the threads are crossed4 ,knit goods are made by the interlooping of a single thread1 by hand or on circular knitting machines and lace by an analogous process1 using several systems of threads4 ,felt is made up of matted fibers of fur and wool and has no thread structure4 ,illustration3 ,,weave ,,diagrams ,sidenote3 ,plain ,weave ,the plain weave is the most common1 nearly all light weight goods being thus woven4 ,in plain weaving1 each thread of both warp and filling passes alternately over and under the threads at right angles4 ,this makes a comparatively open cloth1 requiring the smallest amount of yarn for the surface covered4 ,this weave is used in nearly all cotton goods1 as in muslins1 sheetings1 calicoes1 ginghams1 and thin woolen goods4 ,even in the plain weave variety is obtained by having some of the threads larger than others1 either in warp or filling or both1 thus producing stripes and checked effects4 ,illustration3 ,,sections ,,of ,,weaves a--,plain weave2 b--,prunella twill2 c--,cassimere twill2 d--,swansdown twill4 ,sidenote3 ,twills ,after the plain weave the twill is the most common1 being much used for dress goods1 suitings1 etc41 as well as some of the thicker cottons4 ,in this weave the intersections of the threads produce characteristic lines diagonally across the fabric1 most often at an angle of #de4 ,the twill may be hardly visible or very pronounced4 ,the simplest twills are the so-called doeskin and prunella4 ,in the doeskin the filling threads pass over one and under two of the warp threads and in the prunella twill over two and under one4 ,the most common twill is the cassimere twill in which both the warp and filling run over two and under two of the threads at right angles4 ,illustration3 ,,diagram ,,of ,,rib ,,and ,,basket ,,weave ,,and ,,double ,,cloth ,sidenote3 ,uneven ,twills ,a twill made by running both warp and filling under one and over three threads is called a swansdown twill and the reverse is known as the crow weave4 ,in these the diagonal twilled effect is much more marked4 ,various twills are often combined with each other and with plain weave1 making a great variety of texture4 ,numerous uneven twills are made1 two over and three under1 etc41 etc4 ,sidenote3 ,sateen ,weave ,in the sateen weave1 nearly all of either the warp or the filling threads are on the surface1 the object being to produce a smooth surface fabric like sateen4 ,with this weave it is possible to use a cotton warp and silk filling1 having most of the silk appear on the surface of the fabric4 ,illustration3 ,,textile ,,design ,a--,on cross-section paper2 ,b--,graphic diagram4 ,sidenote3 ,rib and ,basket ,weaves ,the rib and basket weaves are derivatives of the plain weave1 two or more threads replacing the single strand4 ,in the rib weave1 either the warp or the filling threads run double or more1 thus making a corded effect4 ,in the basket weave1 both warp and filling are run double or treble1 giving a coarse texture4 ,this weave is sometimes called the panama weave4 ,sidenote3 ,double ,cloth ,in the thicker fabrics like men's suitings and overcoatings1 there may be a double series of warp threads1 only one series appearing on the face of the goods1 and in the still thicker fabrics1 there may be a double set of both warp and filling threads1 making double cloth1 the two sides of which may be entirely different in color and design4 ,sidenote3 ,velvet ,in weaving plush1 velvet and velveteen1 loops are made in the filling or warp threads which are afterwards cut1 producing the pile4 ,,bleaching1 ,,dyeing1 ,,printing1 ,,finishing ,when the cloth comes from the loom it is by no means ready for the market4 ,nearly all kinds are washed and pressed and in some classes of goods the finishing process is very elaborate4 ,,bleaching ,,and ,,dyeing ,the fiber may be dyed in a loose or unspun state1 as is customary with wool2 after it has been spun and is in the form of yarn1 as in the case of silk and linen2 and when it has been woven to form cloth1 as is most commonly the case with cotton4 ,sidenote3 ,madder ,bleach ,the bleaching of cotton involves a number of steps1 the most thorough process being called the madder bleach1 in which the cloth is 7#a7 wet out1 7#b7 boiled with lime water1 7#c7 rinsed1 7#d7 treated with acid1 7#e7 rinsed1 7#f7 boiled with soap and alkali1 7#g7 rinsed1 7#h7 treated with bleaching powder solution1 7#i7 rinsed1 7#aj7 treated with acid1 7#aa7 finally rinsed again4 ,all this is done by machines and hundreds of yards go through the process at a time4 ,the product is a pure white cloth suitable for dyeing light shades and for white goods4 ,when cloth is to be dyed a dark shade the treatment is less elaborate4 ,sidenote3 ,singeing and ,shearing ,if the cloth is to be printed for calicoes1 before bleaching it is singed by passing through gas flames or over a red hot plate and then sheared in a shearing machine constructed somewhat on the principle of the lawn mower1 the cloth being run close to the rapidly revolving knives4 ,although cotton is usually dyed in the piece1 it may be dyed in the form of yarn1 as for ginghams1 and sometimes before being woven1 in the loose state4 ,sidenote3 ,mordant ,colors ,cotton is more difficult to dye than wool or silk4 ,although there are now what are called direct cotton colors1 the usual process is to first treat the cotton goods with a mordant--various salts of aluminum1 chromium1 iron1 tin and copper1 fixing these on the fiber by means of tannin or alkali4 ,the mordanted cloth is then entered into the dye bath and boiled for an hour or longer1 until the desired shade is obtained or the dye bath exhausted4 ,the salts of aluminum are used as mordants for the lighter shades1 the salts of chromium for the medium shades1 and iron for the dark shades4 ,in general1 chromium mordants give the fastest dyes4 ,sidenote3 ,aniline ,dyes ,the discovery of the so-called aniline dyes has greatly increased the variety of colors available4 ,although some of the first aniline dyes to be made were not fast to washing or to light and they thus received a bad reputation1 they are now to be obtained which compare favorably in fastness with the natural dye stuffs such as cochineal1 madder1 etc41 provided sufficient time and care are given to dyeing4 ,the chief trouble is that in the endeavor to furnish cheap goods1 processes are hurried and results are unsatisfactory4 ,sidenote3 ,home ,dyeing ,home dyeing is practically confined to the use of direct aniline colors4 ,these are put up in small quantities and sold in many places4 ,directions for their use are given on the packages4 ,the chief precautions are to have the goods perfectly clean and thoroughly wet before entering into the dye bath 7this is by no means as easy as one might think71 and to keep the goods in motion while dyeing so as to prevent unevenness of shade4 ,wool and silk dyes cannot be used for cotton and linen1 nor the reverse4 ,of course cloth already colored cannot be dyed a lighter shade of the same color and the original shade must be very light to enable one to change the color1 say from red to blue1 etc4 ,the original color always modifies that of the dye somewhat and it is best to experiment first with a small portion of the dye and cloth4 ,rather dark shades are apt to be most successful4 ,sidenote3 ,natural ,dyestuffs ,indigo for blue1 madder for ,turkey red1 logwood with fustic for black1 cutch or gambia for browns on cotton are about all the natural dyestuffs which are used to any extent commercially at the present time4 ,the artificial product alizerin1 the active principle of madder1 has about superseded the natural dyestuff1 and artificial indigo is gaining on the natural product4 ,linen is bleached and dyed in much the same manner as cotton1 although the process is more difficult4 ,the process of bleaching weakens linen more than cotton4 ,sidenote3 ,dyeing ,woolen and ,silk ,woolen and silk may be dyed directly with a great variety of dyes without the addition of a mordant1 although they are often mordanted4 ,both must be well washed or scoured before dyeing4 ,when white or delicate shades on woolen or silk are desired they are bleached4 ,the bleaching is usually done with sulphurous acid gas1 the cloth or yarn being exposed in a damp condition to the fumes of burning sulphur4 ,were it not for the expense1 hydrogen peroxide would be the ideal bleaching agent for the animal fibers4 ,,printing ,a great variety of colored designs are produced on the loom by using different colored warp and filling yarns and different weaves1 but in all these the designs are easily made only in somewhat rectangular patterns4 ,sidenote3 ,block and ,machine ,printing ,print goods have doubtless evolved from the decoration of fabrics with the brush4 ,block printing was first used1 the design being engraved in relief on blocks of wood4 ,these are dipped in the colored paste1 spread thinly1 and applied to successive portions of the cloth by hand4 ,these blocks are now replaced in the printing machine by engraved copper rolls1 the design being such that it is repeated once or a number of times in each revolution of the cylinder4 ,there is a printing roll for each color of the design4 ,sometimes both the background and the design are printed on the cloth1 but the more common process is for the design only to be printed on the cloth which may be dyed afterwards4 ,in the paste of the printed design there is some chemical which prevents the portions printed from taking the dye1 consequently these remain white or a different color4 ,this is called the resist process4 ,another process is to first dye the cloth and then print on some chemical which1 when the calico is steamed1 discharges the color4 ,this is called the discharge process4 ,sometimes this weakens the goods in the places where the color has been discharged4 ,sidenote3 ,fixing the ,print ,the color paste used for printing contains both the dye and the mordant4 ,after the calico has been printed it is steamed to develop and fix the color1 washed1 sometimes very slightly bleached1 to clear the whites1 and usually given a sizing of starch or gum1 and then pressed and dried by passing over slowly revolving1 steam-heated drums4 ,in general print goods are not so fast to washing and to light as those that have been dyed in the regular way1 although the better grades are reasonably fast4 ,prints are sometimes made in imitation of the more costly gingham or other goods in which the color design is made in the weaving4 ,it is easy to detect the imitation as the design of printed fabrics does not penetrate to the back of the cloth4 ,sidenote3 ,warp ,printing ,sometimes the warps are printed before the cloth is woven1 thus giving very pretty indefinite designs1 especially in silk4 ,,finishing ,sidenote3 ,burling and ,mending ,the finishing of woolen and worsted goods has much to do with their appearance4 ,no cloth comes from the loom in a perfect condition1 therefore inspection is the first process4 ,loose threads and knots are carefully cut off by the burler and imperfections in the weaving rectified by the menders4 ,the goods may now be singed and sheared4 ,sidenote3 ,fulling ,sidenote3 ,flocks ,woolens1 and sometimes worsteds1 are next fulled or felted by being run round and round in a machine while moistened with soap4 ,the friction of the cloth on itself produces some heat which1 with the moisture and soap1 causes the goods to shrink in length and width while increasing in thickness4 ,during this process1 flocks are often added1 especially for smooth finished woolen goods4 ,these flocks are fine fibers of wool obtained from the shearing machine or made by cutting up old woolen cloth4 ,they are felted with the fibers of the goods and add weight and firmness4 ,sidenote3 ,raising the ,nap ,after the fulling1 the goods is washed to remove the soap1 dyed1 if desired1 and often speck dyed with a special dye which colors the bits of burs1 remaining in the cloth1 but not the wool4 ,the next process is the gigging which raises the nap4 ,the cloth is run close to rapidly revolving teazels and also may be run through a napping machine4 ,it may be sheared again and then steamed and pressed4 ,this is but a brief outline2 there are generally more processes4 ,woolen cloth coming from the loom may be so treated in the finishing room as to produce fabrics entirely different in appearance4 ,one of the chief objects of the finishing is to give to the cloth as fine an appearance as possible to attract the buyer4 ,much of the fine finish disappears through wear1 especially with inferior goods made from poor materials4 ,the wearing quality of the goods is primarily dependent upon the strength and quality of the fibers of which it is made1 so that the yarn of the filling and the warp should be examined when selecting materials4 ,in general hard twisted yarn will give the better wearing cloth4 ,,fabrics ,the present day shops offer such a great variety of fabrics that only a few of the most important can be mentioned here4 ,,cotton ,,goods ,cotton is cool and heavy1 is a non-conductor of heat1 crushes easily1 but like all vegetable fibers it may be laundered without injury to the fibers4 ,cotton does not take the darker dyes as well as animal fibers and for this reason it does not combine satisfactorily with wool4 ,as an adulterant it wears shabby and loses its brightness4 ,it is only when cotton does not pretend to be anything else that it is our most useful and durable textile4 ,the readiness with which cotton takes the lighter dyes and improved methods of ginning1 spinning1 and weaving have made cotton goods superior to any other for summer use4 ,sidenote3 ,muslin ,muslin1 calico1 and gingham must always head the list of cotton goods4 ,muslin is coarse and fine1 bleached1 unbleached1 and half bleached1 twilled or plain weave4 ,under the head of muslin brought to a high degree of perfection in weave and finish will be found dimity1 mull1 ,indian lawn1 organdie1 ,swiss1 and ,madras1 and a host of others equally beautiful4 ,madras muslin has a thin transparent ground with a heavily raised pattern woven of a soft1 thick thread unlike the ground work4 ,waste is used for the pattern4 ,organdie muslin is soft1 opaque1 white1 or colored1 with raised dots of pattern and plain weave4 ,dimity has a fine cord running with the selvage4 ,gingham is a smooth1 close cotton usually woven in checks or stripes4 ,the yarn is dyed before being woven1 making the cloth alike on both sides1 and the weave is either plain or twilled4 ,ginghams are also woven of silk and cotton mixed or of silk and ramie4 ,cretonne1 chintz1 dress linings1 crape1 velveteen1 and lace are made of cotton4 ,flannelette1 which is woven to imitate flannel1 is soft and light and is preferred by many who find woolen irritating4 ,it does not shrink as woolen does and is made in beautiful1 soft colors and the best grades do not fade4 ,for nightdresses1 underwear1 and sheets1 during cold weather this inexpensive fabric is unequaled4 ,among the heavier cotton fabrics may be mentioned denim and ticking which are now printed in beautiful designs and colors and used for interior decoration as well as for clothing and bedding4 ,the great variety of fibers1 the many different ways of preparing each for manufacture1 the differences in the preparatory processes in spinning1 weaving1 or in any of the later processes of finishing produce the varied appearance of the finished product in cotton as in other fabrics4 ,,linens ,linen is one of the oldest textiles2 it was used by the early ,egyptians for the priests' garments and for the wrappings of mummies4 ,many housekeepers think that there is no material for sheets and pillow cases comparable to linen1 but it is not an ideal dressing for beds1 for in spite of its heavier body1 it wrinkles and musses much more readily than good cotton4 ,for table service1 however1 for the toilet1 and for minor ornamental purposes linen has no equal4 ,its smoothness of texture1 its brilliancy which laundering increases1 its wearing qualities1 its exquisite freshness1 make it the one fabric fit for the table4 ,sidenote3 ,table ,linen ,table linen is woven plain and figured1 checked and diapered4 ,in the figured or damask cloth the patterns stand out distinctly4 ,this is due to the play of light and shade on the horizontal and vertical lines4 ,in some lights the pattern is scarcely noticeable4 ,when buying a cloth1 let it be between the observer and the light1 for in this position the pattern will show to the best advantage4 ,there is a certain amount of shade on all horizontal lines or of shadow cast by them1 while the vertical lines are illuminated1 thus although the warp and woof threads are of the same color1 the pattern seems to stand out from the background4 ,linen should not be adulterated4 ,it should be for use and not for show1 for use brightens and whitens it4 ,linen adulterated with cotton becomes fuzzy through wear because of the much shorter cotton fibers4 ,the tendency can often be seen by rolling the goods between the thumb and fingers4 ,crash of different widths and quality furnishes tea towels1 huck1 damask and other weaves come in various widths and may be purchased by the yard4 ,russia crash is best for kitchen towels4 ,,woolens ,,and ,,worsteds ,sidenote3 ,standard ,goods ,the many grades of wool with the great variety of weaves and finish make an almost infinite variety of woolen and worsted fabrics4 ,new goods are constantly being put upon the market1 or old goods with new names4 ,standard goods1 such as serges1 cashmere1 ,henrietta cloth1 and covert cloth1 are always to be found in the shops4 ,these are all twilled goods4 ,the serges are woven of combed wool and are harsh1 tough1 springy1 worsted fabrics of medium and heavy weight1 with a distinct twill1 rather smooth surface1 and plainer back4 ,there are also loosely woven serges4 ,cashmere and ,henrietta cloth have a fine1 irregular twill--the finest made4 ,they are woven with silk1 wool1 and cotton warp1 but the latter gives an inferior textile4 ,sidenote3 ,tweeds ,tweeds and homespuns are names given to coarse cloth of which the wool is spun by hand and woven on hand looms4 ,these goods vary according to the locality in which they are made4 ,the wool is mixed without regard to color1 the yarn being spun and twisted in the most primitive manner1 giving the cloth an uneven1 unfinished appearance4 ,these are among the best wearing cloths on the market and are especially suitable for suits that will receive hard wear4 ,scotland and ,ireland are famous for their tweeds and homespuns and what are known as the cottage industries have been recently revived in those countries as the products of their hand looms have become deservedly popular abroad4 ,sidenote3 ,harris ,tweeds ,the ,harris ,tweeds1 made on the ,island of ,lewis and ,harris1 north of ,scotland1 are in the old style by the crofters4 ,after weaving the goods are waulked--milled or felted--with the bare feet1 accompanied by singing the waulking song and beating time with the feet4 ,the dyeing is done in pots in the old-fashioned way and until recently the dyestuffs were obtained from mosses1 lichens1 heather1 broom1 and other plants4 ,now1 however1 some of the best aniline dyes are being used4 ,a peculiar characteristic of the ,harris tweed is the peat smoke smell caused by the fabric being woven in the crofters' cottages1 where there is always a strong odor of peat reek from the peat which is burned for fuel4 ,the ordinary so-called ,harris tweeds sold in this country are made on the southern border of ,scotland1 in factories1 and are but imitations of the real ,harris tweeds4 ,the light colored tweeds--natural color of wool--come from the island of ,st4 ,kilda4 ,this island stands out in mid ocean1 barren and wild1 devoid of plants or shrubs of any kind for making dyes4 ,the crofters content themselves without dyestuffs4 ,the industry is maintained by nobility to help the islanders and the fabrics are fashionable and high priced4 ,covert cloth is a twilled woven cloth of great beauty and durability4 ,it is rather heavy1 of hard finish and is used for jackets and winter suits4 ,to this list of woolen goods may be added the crape cloth with crinkled1 rough surface1 nun's veiling1 flannel which is woven in a variety of ways1 broadcloth1 wool canvas1 and poplins4 ,this list includes only a few of the fabrics manufactured1 but these are always to be found on the market1 are always good in color and are the best of all wool textiles for wear4 ,sidenote3 ,mohair ,sidenote3 ,alpaca ,mohair is a material made from the hair of the angora goat1 woven with silk1 wool1 worsted1 or cotton warp4 ,it is a dust-shedding material1 does not shrink1 and bears hard wear well4 ,alpaca1 on account of its softness1 elasticity1 and exemption from shaggy defects1 combines admirably with cotton in the manufacture of fine goods1 which attains almost the glossy brightness of silk4 ,the yarn is used for weaving alpaca linings and light coatings for warm climates4 ,,silks ,many silks can be washed without injury to the fibers1 but they cannot be boiled without destroying the luster4 ,silks may be had in various widths and endless variety of weaves4 ,many are reversible4 ,sidenote3 ,loading ,silk ,silks are adulterated with cotton and ramie fibers4 ,the chemicals used in loading or dynamiting to give the weight lost by cleaning or removing the gum from the raw silk give to the cheaper grades the stiff1 harsh feeling and cause the splitting and cracking of the silk1 hence the quality of the fiber should be considered when selecting a silk1 not the weight4 ,taffeta is often heavily loaded4 ,foulard and surah are twilled silks4 ,corded silks are woven with a cord running from selvage to selvage4 ,to this class belong the grosgrains1 ,ottoman1 faille ,francaise--a silk resembling grosgrain1 but softer and brighter4 ,irish poplins and bengalines have wool for the filling instead of silk4 ,sidenote3 ,wash ,silks ,great improvement has been made in the manufacture of wash silks4 ,they are fine in color and have a glossy surface4 ,pongee is a beautiful1 durable silk in different shades of natural color4 ,it is woven in different widths4 ,this silk is especially valuable for underwear4 ,the first cost is greater1 but it outwears muslin or linen4 ,it is also used for children's garments and for outside wraps4 ,for many purposes1 no better textile can be found4 ,crepe de ,chine is an incomparable textile possessing as much softness as strength4 ,it is always supple1 never creases1 launders well1 and comes in the most beautiful soft shades as well as in black and dark colors4 ,satin is distinguished by its glossy1 lustrous surface1 obtained in the weaving4 ,sidenote3 ,piled ,fabrics ,piled fabrics are rich1 thick materials made of silk1 wool1 mohair1 and cotton1 comprising the velvets1 velveteens1 plushes1 corduroys1 and wilton and velvet carpets4 ,the soft1 raised pile is first woven in loops--,brussels carpet is a good example--and the loops are cut4 ,the back of the goods is plain4 ,sidenote3 ,velvet ,velvet has always and justly been regarded as the most beautiful of textiles4 ,no matter how fashions change in regard to other materials1 velvet never loses its vogue4 ,for robes and cloaks1 for mantles and jackets1 for hats and bonnets1 for trimming and decoration1 velvet has been popular for a greater period than the life of any living mortal1 but never before has it been so cheap1 so varied and so beautiful as it is now4 ,one can in the passing throng of pedestrians on any crowded street see the use and abuse of this noble material4 ,there is scarcely an article of dress into whose composition it does not enter and it is worn upon all occasions4 ,many things have brought about this result4 ,the tendency of fashion is towards the decorative and picturesque and in these qualities velvet excels all other fabrics4 ,silk waste and thread are cheaper than ever before so that velvet costs much less than formerly4 ,the men behind the looms have evolved more designs and novelties in the making of velvet than has ever been known and colors beautiful in themselves are seemingly enhanced when applied to velvet4 ,sidenote3 ,velveteen ,all that has been said in favor of velvet applies equally as well to the best velveteen1--in fact it is a textile of even greater value and beauty than velvet4 ,the best grades are not cheap1 but they wear better than silk velvet1 are fine and silky1 excellent in color and sheen1 launder well1 and do not press-mark as does silk velvet4 ,velveteen takes the dye so beautifully and finishes so well that it has taken rank with our best standard fabrics4 ,it is made entirely of cotton4 ,it varies in width but is always wider than velvet4 ,sidenote3 ,widths of ,fabrics ,a knowledge of the various widths of textiles is important in buying4 ,transparent fabrics are usually wider than heavier goods made of the same fiber4 ,muslin is wider than calico or ordinary print1 and thin silk fabrics such as mull and chiffon are wider than velvet4 ,in wool dress goods various distinct widths are known as single--thirty and thirty-six inches--double fold 7forty-five and fifty-four inches71 etc4 ,silk1 velvet1 and velveteen are single width4 ,the velvet ranges from eighteen to twenty-four inches in width and velveteen twenty-seven4 ,bodice linings vary from thirty-five to thirty-eight inches2 skirt linings come in both single and double fold4 ,household linen including bedding varies in width from one yard to two and one-fourth and two and one-half yards for sheeting and from thirty-eight to fifty-four inches for pillow case muslin4 ,table linen is woven in both square and circular cloths of various sizes1 and napkins vary in width from the small sizes to a yard square4 ,no fixed widths can be given for any textile as width often changes with the weave4 ,,names ,,of ,,fabrics ,textiles usually take their names from the country1 city1 port1 or province from whence they originated2 from the names of the makers2 and methods of weaving1 dyeing1 ornamentation1 etc4 ,the fixing of localities1 methods1 etc41 is oftentimes guesswork4 ,the textiles of to-day bearing the same name as those of the middle ages have nothing in common4 ,buckram was originally made in and called from ,bokkara4 ,in the middle ages it was costly1 fine1 and beautiful1 used for church vestments1 veils for covering lecterns1 cathedral flags1 and in the #afth century for the lining of velvet gowns4 ,the coarse1 heavy1 plain-woven linen or cotton material known as buckram today is used for stiffening1 etc4 ,sidenote3 ,fustian ,fustian1 a kind of corduroy or velveteen1 was originally woven at ,fustat on the ,nile4 ,the warp was stout linen1 the woof of cotton so twilled and cut that it gave a low thick pile4 ,chaucer's knight in the fourteenth century wore fustian4 ,in the fifteenth century ,naples was famous for the weaving of fustians4 ,a cloth made in ,france at a town called ,mustrevilliers was known as mustyrd devells4 ,sidenote3 ,damask ,china is supposed to be the first country to weave patterned silks4 ,india1 ,persia1 ,syria1 and ,byzantine ,greece followed4 ,those were known as diaspron or diaper1 a name given them at ,constantinople4 ,in the twelfth century1 the city of ,damascus1 long famed for her beautiful textiles1 outstripped all other places for beauty of design and gave the ,damascen or damask1 so we have in modern times all fabrics whether of silk1 cotton1 wool1 or linen1 curiously woven and designed1 known as damask1 and diaper1 which means pattern1 is almost forgotten1 or only a part of the elaborate design on damask4 ,bandekin1 a costly cloth1 took its name from ,bagdad4 ,dorneck an inferior damask woven of silk1 wool1 linen1 thread and gold1 was made in ,flanders at the city of ,dorneck4 ,sidenote3 ,muslin ,from the ,asiatic city ,mosul came the muslin used then as it is now throughout the world4 ,so skilled were its weavers that the threads were of hair-like fineness4 ,this was known as the invisible muslin1 the weaving of which has become a lost art4 ,to this beautiful cloth were given many fanciful and poetic names4 ,it was woven with strips of gold and silver4 ,sidenote3 ,calico ,calico derives its name from the city of ,calicut in ,india4 ,the city is scarcely known to-day2 it was the first ,indian city visited by ,europeans4 ,in the thirteenth century ,arras was famous for its areste or tapestry1 the noblest of the weaving arts2 in it there is nothing mechanical4 ,mechanical weaving repeats the pattern on the cloth within comparatively narrow limits and the number of colors is in most cases limited to four or five4 ,silks and cottons are distinguished through their colors and shades4 ,tarsus was a purple silk4 ,other cities gave their name to various shades1 according as they were dyed at ,antioch1 ,alexandria1 or at ,naples4 ,watered or moire silk takes its name from the finish4 ,from canabis1 the ,latin name for hemp or flax1 we have the word canvas to mean any texture woven of hempen thread4 ,to this list of fabrics might be added many others of cotton1 linen1 wool1 and silk with new names1 closely resembling the old materials1 having greater or less merit4 ,the following lists of fabrics and terms may be helpful for reference3 ,art linen--,with round1 hard twisted threads4 ,albert cloth--,named for ,england's prince1 is a reversible all-wool material each side of different colors and so finished that no lining is required4 ,it is used chiefly for overcoats and better known as golf cloth1 plaid back1 etc4 ,armure--,a cloth woven in miniature imitation of feudal metal armor plates1 heraldic devices1 diamonds1 birdseye1 and seeded effects4 ,astrakhan--,a woolen or silk material with a long and closely curled pile in imitation of the fur from which it is named4 ,backed-cloth worsteds or other fabrics which are woven with an extra layer of warp or other filling underneath the face1 usually for increased weight and bulk4 ,batiste--,the ,french word for lawn1 fine white cotton or linen fabric4 ,sometimes printed4 ,batting or padding1 cotton or wool prepared in sheets for quilting or interlining4 ,beaver--,similar to ,kersey1 but with a longer nap1 soft1 thick nap inside4 ,bedford cord--,a closely woven woolen or cotton cloth having a raised corded surface similar to pique1 used for women's suits4 ,bonde--,a loosely woven fabric with a curly1 hairy surface1 usually made with a jersey or stockinet body4 ,bourette--,an effect of weaving produced by fancy yarns showing in lumps at intervals over the face of the cloth2 used for women's and children's suits4 ,beverteen--,a heavy cotton cloth used for men's hunting garments4 ,broadcloth--,a fine woolen cloth with a glossy finished surface1 the better grades being woven with a twilled back4 ,it takes its name from its width4 ,it is used for men's and women's wear4 ,buckram--,a coarse1 heavy1 plain-woven linen or cotton material used for stiffening4 ,buckskin--,a stout doe skin with a more defined twill4 ,butternut--,the coarse brown twilled homespun cloth woven of wool prior to the ,civil ,war--colored brown with dye from the butternut or walnut tree2 used for men's wear and for decorative purposes4 ,cambric--,fine white linen1 also made in cotton in imitation4 ,camel's hair--,a beautiful1 soft1 silky fabric1 usually woven like cheviot of hair of camel and goat4 ,canvas--,a linen1 cotton1 silk1 or wool cloth of different weaves and widths1 used for many purposes--clothing1 as a background for embroidery1 hangings1 spreads1 etc4 ,canton flannel--,a stout1 twilled cotton cloth with a nap on one or both sides1 used for clothing and decorative purposes4 ,cassimere--,a general term for all-wool fabrics woven either plain or twilled1 coarse or fine1 of woolen yarn4 ,the pattern is always woven plain and distinct and the cloth is never napped4 ,castor ,beaver--,a heavy1 milled1 face-finished1 all-wool cloth lighter in weight than ordinary beaver4 ,chinchilla--,a thick1 heavy1 double woven fabric with a long napped surface curled up into little tufs in imitation of chinchilla fur2 used for coats4 ,clan ,tartan--,the plaids of the various highland clans of ,scotland4 ,clay--,a name given to serges1 worsteds1 and diagonals woven after a process of ,j4 ,p4 ,clay of ,haddersfield1 ,england4 ,coating--,those woolen and worsted fabrics most especially adapted to men's dress and overcoats4 ,corduroy--,a thick cotton pile material1 corded or ribbed on the surface2 used for men's1 women's and children's wear4 ,corkscrew-worsted goods--,so-called from its fancied resemblance to the twists of the corkscrew4 ,cotton worsted--,all cotton or part cotton worsted-wove cloth4 ,cottonade--,stout cotton cloth in imitation of woolen or worsted2 used for men's trousers4 ,covert--,a twill-woven cloth sometimes with full face1 sometimes sheared to imitate whipcord4 ,crape cloth--,a stout worsted fabric with surface in imitation of silk crape1 used for dress coats4 ,crash--,a strong1 course linen cloth of different widths1 used for towels1 suits1 table linen1 hangings1 bed spreads2 in fact1 there is no end to the uses to which this textile can be adapted4 ,cravenette--,cloths treated and finished before weaving by an improved process which renders them rainproof4 ,a secret process owned by the ,cravenette ,company and by ,priestly ,company of ,england and the ,united ,states4 ,crepe--,a light weight silk1 silk and wool1 or all wool or cotton cloth of irregular weave4 ,diagonal--,a worsted cloth with prominent diagonal ridges4 ,doeskin--,a compact twilled woolen1 soft and pliable4 ,drap ,d',alma--,a fine1 close1 flat-ribbed1 twilled fabric of wool or silk and wool1 finished on but one side4 ,drap ,d',ete--,a fine1 light worsted fabric woven in longitudinal cords4 ,drilling--,general term for various cotton stuffs used for lining men's wear1 and general purposes4 ,empress cloth--,a heavy dress goods with napped or corded surface1 named for the ,empress ,eugenia2 sometimes called ,electrol cloth or ,beretz4 ,etamine--,a light woolen cloth similar to batiste and nun's cloth1 used for women's and children's wear4 ,faille ,francaise--,a soft1 lustrous silk of wider cord than grosgrain1 but narrower than ottoman4 ,farmer ,satin--,a lining of cotton chain or warp and wool filling1 finished with a high lustre1 also called ,italian cloth4 ,flannel--,a soft1 light weight woolen fabric of which the yarn is but lightly twisted1 plain weave or twilled2 used for clothing etc4 ,flannelette--,a half cotton or all cotton flannel-like fabric4 ,frieze--,a thick1 shaggy1 heavy nap woolen overcoat cloth4 ,gingham was first manufactured in ,gonghamp in ,france and was known as ,madras gingham4 ,seersucker gingham was originally a thin linen fabric made in the ,east ,indies4 ,zephyr gingham is a soft fine variety of ,scotch and ,french ginghams1 are superior qualities1 heavier in weight4 ,fur ,beaver--,a long napped cloth imitation fur4 ,grass cloth--,a fine1 smooth1 linen woven in checks of blue and white1 red and white1 etc41 used for dish towels2 also a thin dress material of ramie and cotton1 etc4 ,grenadine--,a thick silk gauze1 either plain with a solid design or pattern upon it or combined in stripes with other weaves1 as satin1 moire1 etc4 ,grosgrain--,a close-woven1 finely ribbed or corded silk with but little lustre4 ,haircloth--,a cloth woven of horse hair1 from which it takes its name1 for weft with cotton or linen warp2 used for facings1 linings1 furniture cover1 etc4 ,holland--,a stout1 plain-wove1 unbleached1 linen cloth used for linings1 window shades1 etc4 ,homespun--,a cloth woven on hand looms or made in imitation of such cloth for both men's and women's wear4 ,hop-sacking--,a plain woven canvas dress fabric of wool4 ,huchaback--,a corruption of huckster-back1 meaning originally pedler's ware--,toweling made of all linen1 linen and cotton1 cotton and wool1 either by the yard or as separate towels2 the part wool huck always separate towels4 ,irish linen--,full bleached1 fine1 plain woven linen used for shirts1 collars1 cuffs1 etc41 of different widths4 ,jersey cloth--,woolen stockinette4 ,kaikai--,a thin ,japanese silk4 ,kersey--,a heavy1 closely woven cloth with a smooth face and glossy finish4 ,kerseymere--,a fine1 twilled1 woolen cloth of peculiar texture1 one thread of warp and two of wool being always above4 ,khaki--,a light1 yellow-brown colored cotton cloth used for army service in hot countries4 ,ladies' cloth--,a fine1 wide1 wool flannel1 slightly napped1 similar to broadcloth4 ,lusterine--,a thin1 twilled1 cotton lining finished with high lustre in imitation of silk4 ,marseilles--,a sort of figured pique1 used for women's and children's clothes and for men's coats4 ,matelasse--,a silk and wool or all wool brocade1 usually for coats4 ,melton--,a stout woolen cloth1 fulled1 sheared1 and finished without a nap2 like ,kersey1 but without a gloss4 ,merino--,a thin woolen fabric made of the fine wool of the marion sheep1 generally used for women's and children's wear1 vestings1 and underclothing4 ,mohair--,a shiny fabric of great durability1 made from the wool of the ,angora goat2 used for both men's and women's clothing4 ,moire--,the water effect produced on silk1 moreen1 and like fabrics4 ,the finest watered silks are known as ,moire ,antique4 ,moreen is a woolen or mixed fabric to which the same process has been applied4 ,moleskin--,a medium heavy twilled cotton cloth1 napped inside2 used for men's wear and ornamental purposes4 ,muslin--,a cotton fabric of various classes and names2 bleached and unbleached1 half bleached1 cambric1 book muslin1 long cloth1 mull1 organdie1 lawns1 etc42 used for all purposes4 ,nankeen--,a peculiar fabric of a pale dull yellow or orange color1 woven out of the fibrous tissue which lies between the outer and sap-wood of a tree or shrub that grows in the ,east ,indies and especially in ,china4 ,the name is derived from the city of ,nankin4 ,an imitation is made out of cotton1 colored with ,annato4 ,the genuine nankeen is never more than eighteen or twenty inches wide and is used for light summer clothing4 ,overcoating--,fabrics woven especially for overcoats--covert1 kersey1 melton1 beaver1 frieze1 vicuna1 whipcord1 cheviot1 chinchilla1 etc41 made of both wool and worsted4 ,pique--,a heavy cotton cloth having a surface that is corded or having a raised lozenge pattern2 used for women's and children's suits1 men's vests1 etc4 ,prunella--,lasting cloth4 ,sateen--,a close twilled cotton fabric1 soft and glossy1 used for lining4 ,satin--,a silk fabric having a high lustre on its face4 ,satinet--,a cheap clothing material similar to cassimere1 made with a cotton warp and a filling of short1 inferior1 shoddy wool which is mixed with enough long wool to enable it to be spun and woven in a way to bring that filling to the surface of the cloth2 afterwards fulled1 sheared1 and the pattern printed on the face4 ,serge--,a lining of cotton or linen warp and a wool or mohair filling1 woven three-leaf twill4 ,serge--,a fine1 diagonal1 twilled1 worsted--both all worsted and with a worsted warp and woolen filling2 used for men's and women's suits4 ,shetlands--,very shaggy overcoatings1 named from the ,shetland pony1 the coat of which it is supposed to imitate in appearance4 ,shoddy--,waste thrown off in spinning--shredded rags1 and bits of cloth manipulated into new cloth4 ,sicilian--,a mohair fabric4 ,silesia--,a light1 close-woven1 fine twilled cotton fabric used for dress linings1 etc4 ,stockinet--,a plain1 elastic texture made on a knitting frame1 used for underwear1 etc4 ,surah--,a twilled silk similar to serge2 first made in ,surat1 ,india4 ,tricot--,a double-twill cloth having both a warp and filling effect4 ,tweed--,much like homespun in appearance1 both being either twilled or plain4 ,they are made from rough worsted yarn spun at home4 ,in tweed the yarn is harder twisted1 giving a more distinct twill4 ,it is generally more compact1 less rough1 and better finished than homespun4 ,uniform cloth--,cloth suitable for uniforms1 usually a stout1 fulled1 woolen cloth1 similar to kersey4 ,venetian--,a cloth milled and cropped bare in finish4 ,vicuna--,a soft twilled cloth similar to cheviot1 made of the ,andes vicuna1 hence its name4 ,whipcord--,a worsted cloth having a small1 prominent twill4 ,yacht cloth--,a flannel heavier than ordinary serge or flannel4 99 99 99 99 99 ,cord--,the general term is applied to any fabric in which the lines run in the same direction as the selvage4 ,count--,in spinning1 the number given to any thread or yarn1 except silk1 to indicate its relative fineness1 based on the number of yards required to weigh one pound4 ,felt--,a cloth of wool1 hair1 fur1 etc41 not woven1 but felted together2 used for hats1 slippers1 boot tops1 etc4 ,flock--,finely divided woolen waste used in finishing cheap woolens4 ,kemps--,fibers or hair like structure that sometimes come in wool1 always in goat hair4 ,they do not take the dye4 ,mercerized--,a term applied to cotton fabrics of which the yarn is chemically treated with a strong solution of caustic soda1 giving the appearance of silk1 more or less permanent2 named after ,mercer1 discoverer of the process4 ,mill ends--,trade term referring to short lengths1 seconds1 damaged pieces1 etc41 of cloth1 embroideries1 etc41 that accumulate in mills and shops and are usually sold at a nominal price4 ,narrow cloth--,trade term for fabrics less than #bi inches wide4 ,wider cloths are called broad cloths4 ,oil-boiled--,trade term for colors so treated to insure permanence4 ,oiled silk--,the plain silk boiled in oil4 ,silk boiled in oil and dried1 becoming translucent and waterproof2 used as a perspiration guard4 ,pepper-and-salt--,a black and white or grayish mixture1 effected in weaving4 ,rubber cloth--,usually cotton sheeting or drilling with a coating of rubber on one side2 used as a protective cloth for various purposes4 ,shepherd check--,tiny checks1 usually black and white4 ,twilled--,woven in such a manner as to produce lines or ribs diagonally or across the surface of the fabric4 ,woolens--,name of fabrics or carded wool1 usually soft woven4 ,worsteds--,fabrics made of combed wool1 usually hard woven4 ,the combing is the process of arranging the fibers of wool1 mohair1 cotton1 linen1 into a parallel condition1 preparatory to spinning into a smooth1 even and regular yarn4 ,the perfected application of the combing principle4 ,,bibliography ,,on ,,textiles ,historical and ,art ,arts and ,crafts ,essays #a4jj ,morris1 ,crane1 et al4 ,postage 4#aj ,colonial ,days in ,old ,new ,england #a4be ,alice ,morse ,earle4 ,postage 4#ab ,the ,primitive ,family #a4be ,starcke4 ,postage 4#ab ,man ,before ,metals #a4ge ,joly4 ,postage 4#ad ,origin of ,inventions #a4ej ,mason4 ,postage 4#af ,woman's ,share in ,primitive ,culture #a4ge ,mason4 ,postage 4#af ,textiles--,the ,lesser ,arts #a4jj ,william ,morris4 ,postage 4#aj ,industrial ,evolution of the ,united ,states #a4be ,carroll ,d4 ,wright4 ,postage 4#af ,technical ,books ,through a special arrangement with the ,american ,school of ,correspondence we are able to lend or sell to our students some of their textile books1 which are technical though simple4 ,price #ej cents per part1 postage #d;c4 ,textile ,chemistry and ,dyeing4 #d ,parts4 ,part ,i4 ,textile ,fibers4 ,part ,,ii4 ,bleaching4 ,part ,,iii4 ,mordants and ,natural ,dyes4 ,part ,,vi4 ,artificial ,dyestuffs4 ,cotton ,fiber4 ,cotton ,spinning4 #e parts4 ,weaving4 #c ,parts4 ,textile ,design4 #e ,parts4 ,woolen and ,worsted ,spinning4 #d parts4 ,woolen and ,worsted ,finishing4 #d parts4 ,textile ,fibers #c4ej ,mathews4 ,postage 4#af ,textile ,fabrics 4#ij ,rock4 ,postage 4#jh ,dyeing of ,textile ,fabrics #a4ge ,hummell4 ,postage 4#ab ,bleaching and ,calico ,printing #d4jj ,duerr4 ,postage 4#ad ,note4--,books may be ordered through the ,school or may be borrowed by members for one week4 ,send postage with request4 ,u4 ,s4 ,government ,publication ,free of the ,department of ,agriculture1 ,washington1 ,d4 ,c43 ,flax for ,seed and ,fiber1 ,farmers' ,bulletin ,no4 #bg4 ,cotton ,seed and ,its ,products1 ,farmers' ,bulletin ,no4 #cf4 ,raising ,sheep1 ,farmers' ,bulletin ,no4 #if4 ,the ,angora ,goat1 ,farmers' ,bulletin ,no4 #acg4 ,silk ,worm ,culture1 ,farmers' ,bulletin ,no4 #afe4 ,essential ,steps in ,securing an ,early ,crop of ,cotton1 ,farmers' ,bulletin ,no4 #bag4 ,the ,cotton ,seed ,industry1 ,reprint ,no4 #bci4 ,the ,hemp ,industry in ,u4 ,s41 ,reprint ,no4 #bed4 ,improvement of ,cotton by ,seed ,selection1 ,reprint ,no4 #bgi4 ,the ,growing of ,long-,staple ,upland ,cotton1 ,reprint ,no4 #cad4 ,principal ,commercial ,plant ,fibers1 ,reprint ,no4 #cba4 ,for sale by the ,superintendent of ,documents1 ,washington1 ,d4 ,c4 ,send coin or money order1--stamps not accepted3 ,sheep and ,wool1 ,report ,no4 #ff1 ,office of the ,secretary4 ,price #e;c4 ,the ,cotton ,plant3 ,its ,history1 ,botany1 ,chemistry1 ,enemies1 and ,uses4 ,bulletin ,no4 #cc4 ,office of ,experiment ,stations4 ,price #fj;c4 ,cotton ,culture in ,egypt4 ,bulletin ,no4 #db4 ,price #e;c4 ,,office ,,of ,,fiber ,,investigations4 ,uncultivated ,bast ,fibers4 ,report ,no4 #f4 ,price #aj;c4 ,cultivation of ,ramie4 ,report ,no4 #g4 ,price #aj;c4 ,culture of ,hemp and ,jute4 ,report ,no4 #h4 ,price #aj;c4 ,flax ,culture for ,seed and ,fiber4 ,report ,no4 #aj4 ,price #aj;c4 ,,test ,,questions ,the following questions constitute the written recitation which the regular members of the ,a4 ,s4 ,h4 ,e4 answer in writing and send in for the correction and comment of the instructor4 ,they are intended to emphasize and fix in the memory the most important points in the lesson4 ,,textiles ,,and ,,clothing ,,part ,i ,,read ,,carefully4 ,place your name and address on the first sheet of the test4 ,use a light grade of paper and write on one side of the sheet only4 ,leave space between the answers for the notes of the instructor4 ,answer every question fully4 ,read the lesson paper a number of times before attempting to answer the question4 #a4 ,give a brief outline of the craft of spinning1 primitive and modern4 #b4 ,outline the same for weaving4 #c4 ,describe the hand loom4 #d4 ,describe the cotton fiber4 ,what kinds are there8 #e4 ,who invented the cotton gin and how did this invention affect the cotton industry8 #f4 ,give the chief characteristics of wool4 ,name the wool and fur bearing animals4 ,how does wool differ from hair8 #g4 ,trace briefly the preparation of wool from the fleece to the finished product4 #h4 ,describe flax and outline the method for the preparation of the fibers4 ,what is the name of the manufactured product of flax8 #i4 ,name some other bast fibers and their products8 #aj4 ,how do the textile fibers compare in the raw state in condition and price8 #aa4 ,give a brief description of silk from the egg to the woven cloth4 #ab4 7a7 ,what is the chief constituent of the vegetable fibers8 7b7 ,how does their affinity for dyestuffs compare with wool and silk8 7c7 ,how do the alkalies affect wool8 #ac4 ,describe the principal weaves and give examples of each4 #ad4 7a7 ,how are cotton and flax bleached8 7b7 ,what is a mordant8 7c7 ,how should material be prepared for dyeing8 7d7 ,state what you know about old time methods of dyeing4 #ae4 ,how are print goods made8 ,name some printed fabrics4 #af4 ,define woolens and worsteds4 #ag4 ,describe the finishing of woolen and worsted cloths4 #ah4 ,what is noil2 shoddy2 felt2 flocks8 #ai4 ,with what dress goods have you had experience1 and with what results8 #bj4 ,what factors determine the use of fabrics8 #ba4 ,of what value is the study of textiles8 ,what have you gained by the study of this lesson8 ,note4--,after completing the test sign your full name4 ,illustration3 ,,embroidered ,,initials ,w and ,l--,sewed on initials2 ,b--,satin stitch in wreath of feather stitches2 ,c--,outline and seed work2 ,d--,chain and ,french knots2 ,h--,cross stitch2 ,l--,chain2 ,h--,at the right1 and the cross stitch ,h are made over canvas and the canvas threads drawn4 ,,textiles ,,and ,,clothing ,,part ,,ii ,,hand ,,sewing ,good sewing1 good pressing1 well finished ends and corners1 lightness of touch which holds the work without apparently touching it1 thus giving to the finished garment a fresh look--all these are important considerations4 ,sidenote3 ,kinds of ,sewing ,the sewing done on wool1 silk1 and dresses of all kinds differs from that on underwear and white work4 ,muslin underwear requires frequent washing and ironing1 hence the first essential is durability2 close1 small stitches1 all raw edges carefully turned and stitched securely4 ,seams that are to come close to the body should lie perfectly flat4 ,a round seam would wear out sooner by coming into frequent contact with the washboard and iron1 besides irritating the skin4 ,in dressmaking1 unless the stitching is used for ornamental purposes1 it should never show on the outside4 ,periods of beautiful and dignified costume have been periods of fine needlework--one art leading to and helping on the production of the other4 ,sidenote3 ,plain ,stitches ,stitches may be divided into plain and ornamental4 ,the plain stitches are the 7#a7 basting1 7#b7 running1 7#c7 the running and back stitch1 7#d7 half back stitch1 7#e7 back stitch1 7#f7 overhand or whipping stitch1 7#g7 overcast1 7#h7 hemming1 and 7#i7 blind or slip stitch4 ,sidenote3 ,ornamental ,stitches ,the ornamental stitches most frequently used are 7#a7 outline1 7#b7 chain1 7#c7 cat or herringbone1 7#d7 blanket or loop1 7#e7 feather1 coral or briar1 7#f7 hemstitching1 7#g7 ,french knots1 7#h7 button hole1 and 7#i7 cross stitch4 ,excepting the cross stitch1 these are all variations of the plain and button hole stitches4 ,the plain stitches may be used for ornamental purposes4 ,the basting stitch is known as ,queen ,anne darned work4 ,the back stitch1 known as seed work1 is used in embroidering letters and monograms4 ,the overhand stitch is used as an ornamental stitch for joining selvages and in hemming4 ,the chain stitch1 besides being ornamental1 makes one of the best darning stitches1 reproducing the stitch in knitting4 ,the cat stitch is also useful in binding down open seams for flannel hems1 patching1 etc4 ,sidenote3 ,basting 7#a7 ,basting proper is used only in the preparation of work to hold the stuff and lining1 or any two or more parts of the work together while it is being stitched1 none being left in the finished garment4 ,it is also used as a guide for sewing1 feather stitching1 etc4 ,sidenote3 ,tacking ,the slanting basting stitch or tacking is used in dressmaking for holding linings4 ,the needle is pointed towards the worker4 ,even basting is used for holding several thicknesses of cloth and if the garment is to be fitted1 the stitches should be placed rather close4 ,uneven basting is used for hems and seams to be machine stitched4 ,several short stitches with one long one are used to baste crape and wiry fabrics1 for this method holds them better than stitches of equal length4 ,illustration3 ,,basting ,,stitches a--,even2 b--,uneven2 c--,for wiry fabrics2 d--,tacking2 e--,overcasting2 f--,double or tailor overcasting4 ,sidenote3 ,fastening the ,thread ,all basting should be fastened at start with a knot or knot and back stitch and finished with two or three back stitches4 ,the length of thread may be broken or cut from the spool1 but should always be cut from the work4 ,breaking weakens the fastening and biting off soils delicate work with the moisture from the breath1 to say nothing of the injury to the teeth4 ,basting for large work should usually be done with the goods lying flat on the sewing table4 ,sidenote3 ,drawing ,basting ,threads ,for ordinary work1 basting threads should be cut every few inches and drawn out4 ,in velvet1 every alternate stitch should be cut and drawn out on the right side with the pile of the goods4 ,in the basting for velvet where the slanting stitch is used1 only one end of the stitch touches the line of the seam--the rest is on the outside of the seam4 ,silk thread should be used to baste velvet and gauze2 the thread should be used for basting4 ,illustration3 ,,position ,,of ,,the ,,hands ,,in ,,running ,sidenote3 ,running ,stitch 7#b7 ,running is closely related to basting4 ,it is not used for any seams that have to bear great strain1 but for joining seams in this material1 gathering1 tucking1 making cords1 etc4 ,the stitches are usually of equal length on both sides4 ,take one stitch in the seam and hold the goods between the thumb and first finger of each hand1 as shown in the illustration1 with the back of the thimble on the eye of the needle4 ,then1 with as free wrist motion as possible1 run or shake the needle through the material4 ,the motion of the hand should come from the elbow joint4 ,gathering1 gauging1 casing1 etc41 are used for drawing up the fullness of skirts1 ruffles1 flounces1 etc41 into a given space4 ,the running stitch is used for these4 ,sidenote3 ,gathering ,for gathering1 the cloth is held in the same manner as for running4 ,the needle1 ordinarily1 need not be taken out of the work1 the stitches being pushed back over the eye as they are made2 but for running long skirt seams in delicate material which would crinkle at the line of sewing and roughen the seam1 the needle should be drawn through and the line of sewing smoothed on the thread at each needleful of stitches4 ,sidenote3 ,stroking ,never use a double thread for gathering1 as it is apt to knot1 but put in two lines of gathering threads--one a full one-eighth of an inch below the other--and slip the stitches along the needle as described above4 ,this method is a saving of time in the end4 ,when the gathering threads are in1 remove the needle1 place a pin vertically close to the last stitch1 and wind the thread around it a few times in the form of a figure eight4 ,use a coarse needle for stroking4 ,hold the work between the thumb and fingers of the left hand with the thumb on the gathering threads4 ,to place the gathers1 put the point of the needle under the lower gathering thread and press the plait or gather under the thumb1 drawing the needle down1 or simply pressing on the needle4 ,care must be taken not to scratch or tear the material4 ,continue entirely across the gathers1 putting the needle under each stitch and holding the plait firmly between the thumb and finger3 turn the material and stroke the upper edge of the gathers4 ,sidenote3 ,gauging ,the gauging stitch is usually longer on the face than on the back1 draws the material up into distinct plaits1 making it easy to dispose of the fullness neatly1 regularly and securely by overhanding the top edge of each plait to the bottom edge of the band4 ,the right side of the skirt and the right side of the belt are placed against each other and each gather oversewed to the belt4 ,the space into which the material is to be gathered determines the length of the long stitch4 ,the succeeding rows of stitches should be directly under those of the first4 ,sidenote3 ,running and ,back ,stitch 7#c7 ,the running and back stitch is made by taking a few running stitches1 drawing out the needle and making a back stitch over the last running stitch to strengthen the seam4 ,care must be taken not to hold the side next the worker too full and not to miss the under material1 but to take the stitches even on both sides4 ,sidenote3 ,half ,back ,stitch 7#d7 ,the half-back stitch is made by taking one stitch and placing the needle half way back1 then bringing it out twice the length of the stitch and placing the needle half way back each time from where the last stitch ended4 ,the appearance on the right side will be of regular space as in the running stitch4 ,sidenote3 ,back ,stitch 7#e7 ,the back stitch is made by placing the needle back to the last stitch1 bringing it out once the length of the last stitch1 then placing the needle back into the last stitch1 and so on1 making the stitches follow each other without any space between4 ,this is used in all places that are to bear great strain4 ,illustration3 ,,plain ,,stitches a--,running2 b--,running and back2 c--,half back2 d--,back stitch4 ,sidenote3 ,whipping ,stitch 7#f7 ,overhanding1 oversewing1 whipping1 top sewing are one and the same--small stitches taken over edges1 to join folded edges or selvages1 for sewing bands on gathers1 sewing lace and insertion1 and for sewing carpet strips together4 ,the pieces for an overhand seam should be pinned carefully1 placing the pins at right angles to the edge4 ,the folded edges or selvages are placed together1 the right side of the goods being in4 ,do not use a knot to begin sewing1 but leave the knot end of the thread and sew it in with the first stitches1 carrying the thread on top of the seam4 ,to finish off the seam1 overhand back over the last few stitches4 ,sidenote3 ,position in ,overhanding ,in sewing this seam1 the goods should be held between the thumb and first finger of the left hand parallel with the chest1 not over the end of finger4 ,point the needle towards the left shoulder1 thus giving a slanting stitch4 ,care should be taken not to pucker or draw the seam4 ,when the seam is finished1 it should be opened and pressed flat4 ,sidenote3 ,overcasting 7#g7 ,overcasting is a slanting stitch used to keep raw edges from ravelling4 ,this stitch1 like oversewing1 may be worked from right to left or from left to right4 ,the hem stitch and blind or slip stitch will be considered under hems4 ,,ornamental ,,stitches ,never use a knot in any embroidery1 but start by running a few stitches along the line which is to be covered4 ,sidenote3 ,outline ,stitch 7#a7 ,the outline stitch is the simplest of all embroidery stitches4 ,take a long stitch on the surface1 with the needle pointing towards the chest in the line to be covered1 and a short back stitch on the under side of the material4 ,the effect of the under or wrong side of the material is exactly that of an ordinary back stitch4 ,the beauty of this stitch depends upon its regularity and in always keeping the thread on the same side of the needle4 ,illustration3 ,,ornamental ,,stitches a--,outline2 b--,chain2 c--,cat2 c'--,catch2 d--,single ,feather2 e--,double ,feather2 f--,tripple ,feather2 g--,modified ,feather2 h--,double ,feather with ,knots2 i--,french ,knots and ,outline2 j--,herring ,bone2 k--,fancy ,feather2 l--,cat ,stitch with ,french ,knots4 ,sidenote3 ,chain ,stitch 7#b7 ,the chain stitch when perfectly done should look like the stitch made by a single-thread machine4 ,this stitch is made by taking the thread toward the worker1 and before the needle is drawn out of the cloth the thread is held by the thumb under the point of the needle1 as in a buttonhole1 making a loop4 ,the needle is inserted in the last loop for the next stitch4 ,the chain stitch is used in modern embroidery as an outline and for darning1 but in old embroidery1 the outline and chain stitches were used for filling as well4 ,they are found in ,persian1 ,indian1 and ,italian ,renaissance work4 ,like the feather stitch1 the chain stitch is worked towards the worker4 ,sidenote3 ,cat ,stitch 7#c7 ,the cat stitch or herringbone stitch is an alternate slanting back stitch1 the needle being placed first to the right and then to the left4 ,this stitch must be worked evenly to be effective4 ,it is used to finish flannel seams and hems1 fasten down linings1 opened seams1 and canvas facings and featherbone1 in millinery--in fact1 this stitch is one of the most useful in sewing4 ,the catch stitch is a variation of the cat stitch4 ,instead of pointing the needle towards the chest1 the stitch is taken parallel with the chest4 ,it is used for about the same purposes as the cat stitch4 ,as with the outline stitch1 the cat stitch is worked from the worker4 ,sidenote3 ,loop ,stitch 7#d7 ,blanket or loop stitch1 used to ornament the edge of blankets1 etc41 and for finishing the edge of stockinet or web material1 is worked from left to right1 the edge of the material being held towards the worker4 ,start with three or four running stitches along the edge so the line of stitching will cover them4 ,insert the needle the desired width from the edge1 draw it towards you down over the thread1 being careful not to draw the thread too tightly over the edge of the flannel4 ,fasten the thread by taking running stitches under the last blanket stitch on the wrong side4 ,illustration3 ,,hem ,,stitching a--,position of ,needle2 a'--,finished ,hem ,stitch2 b--,ladder ,stitch2 c--,example of ,drawn ,work ,finished with ,loop and ,cat ,stitches4 ,sidenote3 ,feather ,stitch 7#e7 ,single1 double1 and triple feather or coral stitches may be made very ornamental and are used in all kinds of sewing and on all materials4 ,they are always made towards the worker1 the stitches being taken alternately to the right and left of the line of the design4 ,the thread should always be carried under the needle as in a buttonhole stitch4 ,the design may be varied by taking the stitches diagonally or straight1 by making them close or separated1 etc4 ,sidenote3 ,hem ,stitch 7#f7 ,hemstitching is used for ornament in making hems and tucks4 ,the first step in hemstitching is the drawing of threads4 ,rubbing the cloth along the line of threads to be drawn will make the drawing easier if the cloth is sized4 ,after the threads are drawn1 the hem is turned and basted even with the lowest edge of the drawn space4 ,insert the needle into the edge of the hem and material1 taking up a cluster of threads bring the thread under the needle to form a buttonhole stitch or make a simple stitch in the edge of the fold4 ,the number of threads drawn and the number in a cluster must be determined by the coarseness or fineness of the material1 the greater number being drawn and taken in fine material4 ,there are several methods of hemstitching1 but the results are about the same4 ,illustration3 ,,embroidery ,,stitches ,eyelet ,embroidery1 ,embroidery ,button ,hole1 ,flat ,satin ,stitch4 ,sidenote3 ,french ,knots 7#g7 ,french knots are used in connection with other stitches for borders enclosed in outline and chain stitches1 in initials1 centers of flowers1 and as a filling-in stitch4 ,the simplest method is of taking a small back stitch1 bringing the thread from the eye of the needle under the point from right to left and drawing the needle perpendicularly from the cloth4 ,place the needle back of the knot and bring the point out in the place where the next knot is to be made4 ,the size of the thread will determine the size of the knot4 ,sidenote3 ,embroidery ,buttonhole 7#h7 ,the embroidery buttonhole stitch has many possibilities and many variations4 ,it is worked from left to right instead of from right to left as in a buttonhole4 ,the thread from the work is carried under the point of the needle from left to right1 just the reverse of the buttonhole4 ,this stitch is used on flannel and in embroidery of all kinds2 it may be padded or worked flat and the stitches may be taken a distance apart or near together4 ,sidenote3 ,cross ,stitch 7#i7 ,the cross stitch is worked on linen1 scrim1 canvas1 or any open-meshed material4 ,if done on a flat1 smooth surface1 it will be necessary to work over canvas1 afterwards drawing out the canvas threads4 ,the canvas should be well basted on the material1 the warp threads of the canvas lying perfectly straight on a line with the warp threads of the material on which the pattern is worked4 ,the stitches should always run the same way4 ,if the first ground stitches are made from left to right1 from bottom towards the top1 the cross stitches should be made from right to left from the top towards the bottom4 ,all the ground stitches run one way and the cross stitches in the opposite way4 ,this stitch is used for marking table linen1 underwear1 and embroidery designs4 ,when marking linen and unlined work1 make the under side very neat by running the thread under the stitches already made1 instead of taking a long stitch when beginning in another part of the letter or design4 ,sidenote3 ,satin ,stitch 7#aj7 ,the satin stitch is an over and over stitch and is used on materials of all kinds for marking linen1 etc4 ,the padding is the first step and should be done in long even stitches placed closely and over one another in the center4 ,the size and proportions of the figure or letters determine the size of the thread4 ,fine thread gives the best results4 ,the outline should be run twice2 this keeps the edge firm4 ,an even darning or basting stitches1 chain stitches or outline stitch may be used if the space is not too small4 ,the padding may be worked in an embroidery hoop to keep it smooth and even4 ,scallops may be padded in the same way or worked flat4 ,illustration3 ,,embroidery ,,button ,,hole ,,and ,,blanket ,,stitches ,scallops ,outlined and ,padded4 ,in large figures the stitches are laid closely and exactly parallel the entire length of the form4 ,they may be straight across or at an angle1 but the one slant must be maintained throughout4 ,in small curved figures1 the stitches may be placed more closely at the inner edge and spread slightly at the outer edge4 ,in flat work where the leaf or petal is large1 two or three stitches taken in the cloth1 back of the face stitch1 holds them even and prevents misplacement in laundering4 7,all embroidery should be ironed on the wrong side47 ,illustration3 ,,arrow ,,head1 ,,double ,,arrow ,,head ,,and ,,crow',s ,,foot4 ,sidenote3 ,eyelet ,embroidery ,eyelet embroidery is a simple over and over stitch forming a smooth1 round edge4 ,like satin stitch1 all outlines are run with an even darning stitch1 except the very small eyelet holes1 made with a stiletto4 ,long or oval openings must be cut through the center4 ,sidenote3 ,shadow ,embroidery ,shadow embroidery is worked on the wrong side of thin material1 using the cat stitch4 ,the outline of the design only shows on the right side1 the body of the design being seen dimly through the material4 ,sidenote3 ,arrow ,heads ,the arrow head and crow's foot are ornamental fastenings used in fine tailoring as endings for seams1 tucks1 plaits1 and at corners4 ,they are made as shown in the illustration4 ,mercerized cotton1 linen1 or any of the embroidery silks can be used for these stitches1 in all sizes and colors1 or they can be worked with ordinary thread1 cotton or linen1 sewing silk1 or twist4 ,cotton thread wears better than linen4 ,,hems ,sidenote3 ,folding ,hems ,a hem is a fold of goods twice folded to protect a raw edge4 ,the first turn or fold of the hem is the most important4 ,it should be straight and even1 folded to a thread1 for upon it depends the beauty of the hem4 ,the hem should always be turned towards the worker and creased firmly1 but never pleated along the fold4 ,first crease the narrow fold1 then crease the second fold the desired width1 marking by a measure and baste not too near the edge4 ,the first fold along the woof threads should be at least one-fourth of an inch in width1 as the woof threads give or stretch more than the warp threads2 otherwise it will not lie flat4 ,sidenote3 ,sewing ,hems ,in sewing the hem1 the needle should take up only the edge to be hemmed down and just enough to hold on the cloth or lining4 ,in white work the stitches should be fine1 showing as little as possible4 ,sidenote3 ,bias ,hem ,all bias and curved edges should have the first fold basted4 ,in cloth or silk this first basting thread should match the material and not be taken out4 ,sidenote3 ,faced hem ,a facing or faced hem is also used as a protection to the edge of a garment4 ,a true bias or fitted facing should be used for a facing if the edges of the garment are curved4 ,an extension hem is one in which the whole width of the hem is used4 ,illustration3 ,,hemming a--,shows method of cutting to do away with a clumsey corner4 ,sidenote3 ,slip-,stitching ,slip-stitching or invisible hemming is done on silk1 wool1 and thick material4 ,the hem is pressed with an iron1 a stitch as fine as possible is taken on the surface of the cloth and the needle slipped under and through the first fold1 drawing the thread lightly4 ,the needle and thread used in this stitch must be very fine4 ,illustration3 ,,mitered ,,corners ,method of ,folding and ,cutting4 ,illustration3 ,,rolled ,,hem ,,and ,,whipped ,,gathers a--,rolled ,hem ,gathered2 b--,whipped ,roll2 c--,double ,whipped2 d--,roll ,hemmed2 e--,gathers ,sewed to ,band4 ,sidenote3 ,rolled ,hem ,rolled hem and whipped gathers are made with the wrong side of the material next the worker4 ,make a tiny roll of the edge towards the worker1 using the left thumb and index finger1 rolling an inch at a time 7and no more7 before hemming4 ,make fine1 even stitches in the roll and goods4 ,keep the hem perfectly round1 firm and not too large4 ,this hem is adapted only to fine material and the edge across the warp is the more easily rolled4 ,sidenote3 ,whipped ,gathers ,to gather1 whip the rolled hem without hemming1 making overcasting stitches towards you1 even and not too fine4 ,use coarser thread than for hemming4 ,this gathering thread is used to hold down the edge as well as for drawing up the gathers and it not to be taken out1 as is the ordinary gathering thread4 ,it should not catch in the roll4 ,have the thread the length of the plain space to which it is to be sewed and regulate the gathers as you do the gathering4 ,after the edge is rolled1 whipped and gathered1 it is sewed to the garment by the little scallops or raised parts made by the whipping4 ,this is used only for making ruffles or gathering on very fine hand work4 ,sidenote3 ,french ,hem ,the ,french hem is used for table linen4 ,fold as in an ordinary hem1 then fold the hem back on the right side and overhand the edge formed1 taking fine stitches4 ,press the hem flat from the right side4 ,sidenote3 ,flannel ,hems ,flannel hems should not be twice folded1 for there will be a ridge instead of a flat surface after the garment has been laundered1 owing to the felting properties of the wool4 ,hems on flannel should not be stitched by hand or machine1 but cat stitched on the wrong side and finished on the right side with any ornamental stitch4 ,hems in infants' clothing may be turned on the right side and made ornamental by feather stitching4 ,no selvage should ever be used on a hem4 ,the selvage is more closely woven and will draw or pucker in laundrying4 ,,tucks ,tucks are folds made on thin material for ornament1 to shorten or to provide for lengthening a garment4 ,if done by hand1 a card measure is preferable to a tape measure for marking the space and width of the tucks4 ,the folds should be creased to a thread1 basted and sewed with a running stitch showing but little on the face1 or stitched on the machine4 ,fine thread should be used4 ,,seams ,a seam is the line of sewing that joins material2 it may be plain or ornamental4 ,the most important are the overhand1 felled1 ,french1 slot1 lapped1 flannel1 and beaded4 ,the overhand seam is described under the overhand stitch4 ,sidenote3 ,felled ,seam ,a fell is a seam hemmed down to the goods to protect the raw edge4 ,it is usually made in night dresses1 drawers1 corset covers1 etc4 ,baste with the piece farthest from the worker extended one-eighth of an inch beyond the other and sewed with the grain of the goods1 beginning at the widest part of any bias4 ,press the seam with the nail on the right side1 turn the wide edge down flat to cover the raw edge and line of sewing1 and hem flat either by hand or machine4 ,care should be taken to keep the seam flat on the right as well as on the wrong side4 ,if the felling is done with the machine hemmer1 the wide edge must be on the opposite side4 ,the seam may be basted with both edges even if preferred1 cutting off one edge after stitching4 ,illustration3 ,,seams a--,full2 b--,french ,screen4 ,illustration3 ,,beaded ,,and ,,taped ,,seams ,a--,tape basted on one edge1 and the other edge turned and stitched2 ,b--,beading whipped to the folded edges2 a--,stitched hem2 b--,hem finished with feather stitching4 ,sidenote3 ,french ,seam ,a ,french seam is sewed twice--first on the right side as near the raw edge as possible4 ,cut off all frayed edges1 turn the material by folding on the seam or line of sewing1 so the seam is folded inside and the second sewing is on the wrong side below the raw edges4 ,this is not a good seam for underwear worn next the body1 as it leaves a ridge on the wrong side1 but it is useful for skirts of thin material1 etc4 ,it is more easily made than a fell4 ,sidenote3 ,beaded ,seam ,beaded seams used for fine white work have a line of beading overhanded between gores1 hems1 or gathers4 ,the hem along the seam should be folded on the right side1 leaving a perfectly flat surface to iron on the wrong side1 and finished with an ornamental stitch covering the hem4 ,sidenote3 ,slot ,seams ,the slot seam1 used in cloth dresses and jackets1 requires exact basting with silk or very fine thread with small1 even stitches4 ,if a coarse thread is used1 the material will be badly marked4 ,after basting1 press the seam open as if it had been stitched1 and baste the strap or under strip of the dress material 7which has been cut perfectly straight and even7 over the wrong side of the seam1 having the center of the seam on the center of the strap4 ,stitch any width desired beyond the center through the three thicknesses4 ,this will hold the seam in position4 ,now remove the bastings from the seam and the slot effect is complete4 ,if desired1 there may be a double row of stitching1 an extra row on the edge of the fold or plait4 ,these seams may be finished at the bottom with arrow heads or stitched designs4 ,the lines of machine stitching should not end without some ornament to appear to hold the plait4 ,illustration3 ,,slot ,,seam ,,finished ,,with ,,arrow ,,head ,illustration3 ,,flannel ,,seams ,,and ,,hems ,finished with various ,ornamental ,stitches4 ,sidenote3 ,lapped ,seam ,in the lapped seam the edges are folded each within the other or one over the other so that both sides are alike4 ,if made of heavy material1 the raw edges are left unturned2 in muslin or linen the edges are inturned1 lapped1 basted and the hem stitched on both edges or hemmed down on both sides by hand4 ,illustration3 ,,plackets ,a--,made by folding a wide hem over a narrow one2 ,b--,tape faced sewing for the purpose of a gusset4 ,method of folding the tape shown4 ,sidenote3 ,flannel ,seams ,flannel seams should be stitched1 opened and pressed flat1 either on the right or wrong side of the garment4 ,if on the right side1 taffeta ribbon should be basted over the seam1 so that the raw edges of flannel will not show1 and cat stitched or buttonhole stitched on both sides of the ribbon1 or any fancy stitch--not too long--may be used4 ,this is the ,dorothy seam4 ,for the seam on the wrong side1 the edges should be cat stitched with fine thread4 ,any ornamental stitch may be used on the right side of the seam4 ,always press flannel seams and hems before finishing4 ,flannel should never be hem stitched4 ,,plackets ,a placket is an opening in a garment allowing it to be put on4 ,the simplest placket is made by cutting a slit and folding a wide hem over a narrow one turned on the face of the goods2 this makes a pleat below the vent4 ,there should be a double line of stitching across the bottom of the hem to strengthen the placket4 ,sidenote3 ,tape ,faced ,placket ,the tape faced placket is stronger and may be used in children's drawers1 etc41 in place of a gusset to strengthen the end of the opening4 ,a single piece of tape folded back as for a loop is stitched along all edges1 making an opening without a lap4 ,this offers as much resistance as a gusset and is more quickly done4 ,illustration3 ,,faced ,,placket ,a--,wrong side1 opened1 showing tape2 ,b--,right side showing on-set piece2 aa and bb the same ends of the tape2 #a-b method of folding and cutting end of on-set piece4 ,sidenote3 ,faced ,placket ,in a third kind of placket1 the opening is faced with a continuous piece of tape on both sides and finished with a piece of material on the outside4 ,see illustration4 ,this makes a strong and simple placket4 ,when a tape cannot be used1 a hem or facing may be made on the under side of the opening and a facing on the upper side1 over which the on-set piece is stitched4 ,the on-set piece and facing may be cut from one piece1 but the fitting is more troublesome4 ,in figured goods1 the piece set on should match the pattern exactly4 ,illustration3 ,,skirt ,,placket ,,with ,,lap ,a simple placket for underwear is made from a single strip of the goods put on like an extension hem4 ,on drawers it may be turned in at the buttonhole end1 but not stitched down except at the band4 ,the placket of a skirt should have an underlap extending well below the opening4 ,,sewing ,,on ,,bands ,sidenote3 ,gathering ,divide the top of unhemmed edge of the garment in halves and mark with a cross stitch1 notch or pin4 ,gather from the placket to the middle of the front gore1 if a skirt1 apron1 or dress4 ,take a new thread and gather the remainder4 ,put in a second gathering thread one-eighth to one-fourth of an inch below the first4 ,two gathering threads are better than one and they should be longer than the length of space to be gathered4 ,stroke or lay the gathers above and below the threads4 ,divide the band and pin the middle to the center of the garment1 placing the right side of the band on the wrong side of the garment4 ,pin in the middle and at each end1 secure the gathering threads by winding around the pin1 adjust the gathers1 and baste between the gathering threads4 ,stitch just below the line of basting4 ,fold the band over on the right side1 press1 baste over the line of stitching1 press again1 then stitch on the right side after having turned in both ends and over-sewed4 ,turn the top of the band over on the right side one-eighth or one-fourth of an inch and stitch securely4 ,this upper fold keeps the edge from wearing and stretching and is a stay for children's skirts and drawers where button holes are used and serves as a finish for the top of the band4 ,illustration3 ,,finishes a--,bias ,facing2 b--,band on ,gathers2 c--,corded edge4 ,for flannel1 pleating or gathers may be used to put fullness into a band4 ,two rows of gathering threads should be used and the stitches should not be too fine4 ,the band should be made of cotton or at least lined with it to avoid clumsiness and prevent shrinking4 ,ruffles are set in hems1 etc41 in the same manner4 ,illustration3 ,,draw ,,tape ,,finish ,,for ,,under ,,skirt ,sidenote3 ,drawing ,tapes ,in finishing the top of an underskirt1 many like to dispense with the placket and fitted band4 ,this may be done by using drawing tapes at the back4 ,the upper edge is faced with a piece of material which should be bias in front to accommodate it to the curve1 but may be straight across the back4 ,work a button hole at each side of the back1 insert a tape through one button hole and draw it over an inch beyond the opposite one and fasten securely by two lines of stitching across the tape4 ,a second tape is put through the other button hole and fastened in the same way4 ,by pulling the tape on each side the fullness may be adjusted4 ,sidenote3 ,bias ,facings ,all facings around curves1 such as arm holes and neck1 should be a true bias which is cut by holding the warp threads diagonally across the woof threads4 ,these strips for facings1 pipings1 ruffles1 etc41 should be cut exactly even in width4 ,all bands1 ruffles1 etc41 of serge1 twilled1 or diagonal materials should be cut across the twill and not with it1 in order to have the ruffle hang well4 ,,fastenings ,the standard fastenings are buttons and button holes1 hooks and eyes or hand made loops1 lacings through rings and eyelet holes1 loops over buttons1 and fancy frogs1 clasps1 studs1 ball and socket1 notta-hooks1 etc4 ,sidenote3 ,making ,button ,holes ,button holes should be carefully measured and marked before cutting4 ,they should be a little longer than the diameter of the button for flat buttons and one and one-quarter the diameter for round buttons4 ,having decided upon the distance apart they are to be placed1 cut a marker from a piece of cardboard and measure off the space1 marking with pins1 ,french chalk1 pencil1 or thread4 ,the distance from the edge 7one-fourth inch71 as well as the length of the button hole may also be marked with the card4 ,the scissors should be sharp1 the hand must be steady1 and the cut should be made with one firm slash1 not with two or three jerks4 ,great care must be taken that each button hole is of the same length4 ,the goods should be cut to a thread1 for it is impossible to make a neat buttonhole if it is improperly cut4 ,in cutting a round end buttonhole for thick goods1 a punch may be used for the end1 after which the remainder of the buttonhole is cut directly on a line with the center of the circle4 ,the same marker may be used to mark the position for the buttons4 ,all markings for buttons and buttonholes1 or for hooks and eyes1 should be made at one time4 ,sidenote3 ,overcasting ,buttonholes ,after cutting1 the button holes are overcast4 ,this should always be done directly after cutting1 especially if the goods ravels easily1 otherwise it will be impossible to work a neat buttonhole4 ,overcasting should be done with very fine thread 7,no4 #aej for white goods71 split silk for wool and silk4 ,three overcast stitches on each side are sufficient for an ordinary size buttonhole4 ,a very good plan to follow in cutting a buttonhole in heavy material or material that frays easily is to chalk the position and length of the buttonhole1 then stitch a row of machine stitching each side of this mark1 the two rows being a little more than one-eighth of an inch apart4 ,this holds all the thicknesses together and the buttonhole may then be cut easily4 ,it also serves as a guide in working the buttonhole stitches4 ,illustration3 ,,buttons1 ,,button ,,holes1 ,,eyelets1 ,,loops ,the buttonholing is begun at the inner side of the slit4 ,always place the knot on the outside of the garment a short distance to the right of the buttonhole1 leaving a long stitch underneath which can be cut off when the buttonhole is finished4 ,a buttonhole should be completed with one thread if possible as it is difficult to mend the thread securely and neatly4 ,letter ,d for twist is usually employed4 ,sidenote3 ,making ,buttonholes ,insert the needle in the edge of the material and when half way through1 take the two threads at the eye of the needle1 bringing them towards you at the right and under the point of the needle1 and draw the thread from you1 making the purl or loop stitch directly on the edge of the buttonhole4 ,the stitches should be about the width of the needle apart to allow for the purl4 ,be careful to complete each stitch with a uniform movement so that the line will be perfectly straight and not wavy4 ,the stitches are placed more closely together in the rounded end of the buttonhole where the chief wear comes4 ,sidenote3 ,staying ,many workers1 particularly tailors1 always stay or bar around a buttonhole before working4 ,this may be done with several threads of twist or with a cord so that the worked edge of the buttonhole will be firm and distinct4 ,tailors usually use a cord as this makes the edges heavier4 ,it is always well to stay buttonholes in heavy material as it strengthens them very much and improves their appearance4 ,sidenote3 ,bar ,tack ,when the buttonhole has been worked all around1 the end is completed with a bar tack made by taking two or three stitches across the end of the buttonhole1 drawing the edges closer together4 ,this bar is covered with buttonhole stitches worked close together4 ,the thread is fastened securely on the wrong side4 ,sidenote3 ,large ,buttonholes ,after very large buttonholes are finished1 their straight edges should be closely basted together by an over and over stitch and then pressed under a damp cloth4 ,before they are dry1 a bodkin or stiletto should be pushed vigorously up through each eyelet until that opening becomes perfectly round and the stitches on its edges are regular and distinct4 ,when the basting is removed1 the buttonhole will be symmetrical in appearance4 ,buttonholes which are to bear a strain are cut in the direction of the pull1 but sometimes they are cut in the opposite direction1 as for a shirt waist4 ,such a buttonhole may be completed with a bar tack on each end4 ,sidenote3 ,sewing on ,buttons ,ordinary buttons should never be sewed down tightly1 but the thread should be loose so that it may be wound around at the end1 thus protecting the holding threads from wear4 ,the shank prevents the buttonhole from being crowded out of shape4 ,loose sewing can most easily be done by placing a pin or needle across the top of the button and sewing over it4 ,if a button is much concaved1 the pin may be placed underneath4 ,the pin is removed before winding4 ,in sewing on a four-hole button1 the stitches should be made symmetrically1 either parallel or crossed1 but not both4 ,if parallel or in a two-holed button the stitches should run in the line of the buttonhole4 ,the thread should always be fastened at the beginning and at the end of the work4 ,place the knot upon the outside of the garment where it may be cut off when the button is sewed securely4 ,the knot is sometimes placed under the button4 ,sidenote3 ,cloak ,buttons ,in sewing buttons on a cloak or coat an extra strip of canvas or silesia over the canvas interlining should be placed the entire length of the buttoning for strength4 ,this should be applied before the work on the garment is too far advanced and if cut sufficiently wide1 will allow any slight alteration4 ,the sewing should go through the canvas facing and stay1 but not through the under side or facing of the material4 ,in sewing buttons on bodices a tape should be sewed over the front basting for a stay4 ,if sufficient material has not been allowed for a lap1 this should be added1 as a lap is necessary under the opening of such buttonholes4 ,buttons may be sewed through lining having a small button on the wrong side4 ,this method prevents the cloth from tearing and makes an ornamental finish as well as a substantial one4 ,buttons which are supplied with wire shanks should be sewed down firmly as the shank already provided permits the buttons to set up well from the material4 ,they should be placed in such a position that the wire shank will run parallel with the buttonhole and not cross it4 ,sidenote3 ,hooks and ,eyes ,the position for hooks and eyes should be marked before sewing on4 ,the simplest1 though least desirable1 method of sewing-on these fastenings is to place the eye at the edge of the seam or facing and the hook sufficiently far back from the opposite side to give a lap4 ,a much preferable method is to baste a bias strip of crinoline along the positions to be occupied by the hooks and eyes2 this gives strength to the finish4 ,sufficient material should be allowed for folding over the shanks after the hooks and eyes have been sewed on1 or they may be covered with silk ribbon1 slipping the edge under the beak of each hook and then catstitched in position4 ,the hooks and eyes are sewed securely through the crinoline and one thickness1 but the stitches should not show on the outside4 ,over and over stitches are taken through the small rings in the line of the full and again on each bar of the eye and on the shank of the hook so that they may be held in position securely4 ,in many cases1 it is advisable to have an underlap of the material4 ,this should be slip-stitched in position on the garment after the eyes have been sewed in place4 ,illustration3 ,,hooks ,,and ,,eyes ,sewed on tape1 ,shanks covered with taffeta tape and with fold of the goods4 ,sidenote3 ,eyelets ,eyelet holes are made with a stiletto which forces the threads aside1 but does not cut them4 ,the edge is finished with over and over stitches placed closely together1 or with a buttonhole stitch making the purl on the outer edge of the stitches4 ,loops are made by buttonholing very closely over several foundation threads1 making the purl on the outside edge4 ,the needle may be run under the loop eye first if preferred4 ,,patching ,sidenote3 ,underset ,patch ,with the underset patch have the part to be patched pressed smooth1 baste the patch on the wrong side of the garment before cutting out the worn place4 7,if the garment or article to be mended is worn or faded and shrunken by laundering1 boil the piece in soap1 soda and water to fade the patch1 if of cotton or linen47 ,after basting1 cut away all the worn cloth1 making a square or oblong hole4 ,cut to a thread4 ,cut each corner1 diagonally1 one-eighth or one-quarter of an inch1 turn all four edges of the garment towards the wrong side4 ,begin at the center of one side and hem all around the square1 taking slanting even stitches1 not too close together4 ,remove the basting1 trim the edges of the patch1 press the patch on the wrong side and catch stitch to the garment4 ,this shows less on the right side and does not make a hard line as if the patch were turned back on the edge4 ,if the cloth has a pattern or stripe1 match it perfectly1 having the warp threads of both running the same way4 ,cut both hole and patch square4 ,an oval or round patch is unworkmanlike and does not wear well4 ,keep the corners square and hem down well4 ,the object of pressing is to keep both garment and patch flat and even4 ,flannel patches should be cat-stitched on the right side4 ,no flannel edges should ever be inturned4 ,illustration3 ,,underset ,,patch1 ,,right ,,side1 ,,edge ,,turned ,,and ,,hemmed ,,to ,,patch ,illustration3 ,,wrong ,,side ,,of ,,patch1 ,,cat ,,stitched ,illustration3 ,,wrong ,,side ,,of ,,patch ,,in ,,table ,,cloth--,,raw ,,edge ,,overcast ,sidenote3 ,onset ,patch ,the onset patch is used on lined garments and linings4 ,the patch should be rectangular and larger than the worn place4 ,fold the four edges on the wrong side of the patch1 place the patch with its wrong side on the right side of the garment directly over the center of the hole4 ,this will bring the folded edges of the patch between the two pieces of cloth and both right sides towards the worker4 ,do not baste1 but pin carefully4 ,after the garment has been folded back until there are two folded edges side by side1 overhand the seam with even slanting stitches4 ,see that the corners are well sewed1 that warp and woof threads run in the same direction1 that pattern and stripes match4 ,illustration3 ,,linen ,,patch2 ,,cross ,,stitch ,,initial ,illustration3 ,,right ,,side ,,of ,,flannel ,,patch ,edge cat stitched but not turned1 back cat stitched in the same way4 ,the worn part of the garment under the patch is cut away1 leaving one-fourth of an inch on the three sides4 ,cut the corners diagonally and turn back the edge quarter of an inch1 overcast and press4 ,if this patch is sewed on a lining1 the worn part is not cut away4 ,if this patch is used to repair skirts near the band1 only three sides are oversewed1 the upper edge should be gathered into the band4 ,a large patch is less conspicuous than a small one4 ,sidenote3 ,patch for ,trowsers ,an onset patch may be used for the seats of trousers by shaping the patch like the pieces on the seats of bicycle trousers and stitching on the machine4 ,heavy cloth will need no inturned edges4 ,the same precautions are necessary regarding warp and woof1 pattern1 etc4 ,,darning ,sidenote3 ,thread for ,darning ,darning is usually done with a running stitch1 with or without a piece of net or cloth underset4 ,thread for darning should be as near as possible the size of the threads in the garment4 ,whenever it can be done1 a warp thread of the garment should be used4 ,no sewing silk is fine enough to use without separating the thread and using one of the strands4 ,never use the thread as it is1 as it is too hard twisted4 ,cotton and linen thread of the finest quality1 untwisted1 should be used for darning stockings and underwear4 ,linen may be darned with linen or mercerized cotton4 ,cotton is preferable4 ,a long slender needle with a large eye should be used4 ,darning should never be commenced with a knot1 nor finished with a back stitch4 ,sidenote3 ,bias ,darn ,a bias or diagonal cut and a three-cornered tear are the most difficult to repair4 ,if the place is badly pulled and frayed1 a piece of the same material should be basted on the wrong side of the material and darned in even stitches4 ,always darning parallel with the warp threads and the woof threads4 ,in the diagonal tear1 as the threads are cut diagonally1 to prevent drawing apart1 the darning threads must cross each other4 ,the stitches around any darn should not end in a stiff even line2 this makes a hard edge which does not wear and is unsightly1 and uncomfortable if on underwear4 ,sidenote3 ,darning a ,three ,cornered ,tear ,the three-cornered tear may be darned in two ways4 ,begin by darning diagonally through the center1 darning back and forth towards the end of the tear until one-half has been finished2 then begin at the center and work in the opposite direction4 ,at the corner1 the stitches should form the shape of a fan4 ,the other method1 which is the stronger1 is done by darning a square in the angle1 first with the warp threads1 then with the woof threads and finishing each end across the tear4 ,stocking darning may be done on the right side4 ,begin by picking up the stitches and drawing the edges together4 ,this should always be done in any kind of stocking darning1 but not so close as to make a wrinkle4 ,illustration3 ,,stockinet ,,darning ,,over ,,net ,interlaced ,stitches and ,chain ,stitches4 ,in knees and heels of stockings1 or knitted underwear1 a piece of net large enough to extend beyond the thin part should be basted carefully2 then darn down the outer edges of the net and finally the hole or thin place4 ,this makes a strong1 neat piece of mending4 ,if the hole is large1 the net may be covered with the chain stitch1 thus imitating the knitting stitch4 ,this should be done on the right side of the garment4 ,if the hole is to be filled in with the interlaced stitches1 draw the edges together1 darn beyond the thin places lengthwise of the knitted garment1 making each line of stitches longer until the center of the hole is reached1 then decrease in the same manner1 making a diamond in shape4 ,darn across the hole in the same way1 taking up every alternate stitch as in weaving4 ,leave a tiny loop at the end of each row of darning1 so that the threads will not draw4 ,sidenote3 ,machine ,darning ,darning1 satisfactory for some purposes1 may be done quickly on a double thread sewing machine4 ,it is best done in an embroidery ring1 first drawing the edges together4 ,loosen the tension on the presser foot1 use fine thread with light tension4 ,sew back and forth1 first along the warp threads and then at right angles along the woof threads4 ,the machine will be sewing backwards part of the time1 but if the pressure is light1 there will be no difficulty4 ,for large holes1 paper may be placed underneath4 ,,mitering ,,embroidery ,,or ,,lace ,the mitering of lace or embroidery is often necessary in making collars and in finishing corners4 ,before applying1 plan carefully and select a scallop or portion of the embroidery which will produce the best effects when finished4 ,this can be accomplished by folding the embroidery over at various portions of the pattern until a suitable point is found4 ,fold over at right angles and mark along the line to be mitered4 ,the triangle may now be cut1 but an extra width must always be allowed for the seam1 as there is frequently a slight unevenness and one side may have to be held a little full or stretched to make a perfect match4 ,the mitered seam is over-sewed4 ,illustration3 ,,mitering ,,and ,,joining ,,embroidery ,a--,finished with a stitched seam2 ,b--,edge hemmed down and cloth cut away underneath2 ,c--,joined with lapped seam4 ,after the corner is properly made1 cut away the cloth of the embroidery1 allowing only enough for an inturned seam on the edge4 ,this seam may be stitched on the machine on both edges1 or oversewed to the goods1 or the embroidery may be securely sewed on the plain part1 after which the underlying cloth may be cut away4 ,this will make an almost perfect corner4 ,lace may be matched and mitered in a similar way4 ,,matching ,,and ,,joining ,,lace ,in joining lace1 avoid a seam if possible4 ,select portions of the design that will match1 placing one pattern of the same design over the other4 ,cut away a portion of the thick part of the pattern underneath and hem the edges and inner part of the design down with fine thread4 ,smyrna or ,torchon lace is more difficult to hem or join when very open or very fine4 ,a small1 felled seam is better than lapping and trying to match the pattern4 ,embroidery can be matched in the same way4 ,never let two heavy designs lap over each other4 ,the one on the wrong side should be cut out and the edge sewed securely to the upper part of the design4 ,illustration3 ,,insertion ,,with ,,mitred ,,corner1 ,,taped ,,and ,,faced2 ,,embroidery ,,rolled ,,whipped ,,and ,,gathered ,the plain material above the embroidery can be joined by a lapped seam1 turning first the right side and then the wrong side and hemming on both sides of the seam4 ,,machine ,,sewing ,the sewing machine has taken away much of the drudgery of home sewing1 but its use does not lessen the need of skill in hand work4 ,no machine can finish ends of belts1 collars1 sew on trimmings1 fastenings1 and like work and the finish has much to do with the general appearance of a garment4 ,sidenote3 ,types of ,machines ,all the prominent makes of sewing machines were invented in the decade following ,howe's patent in #ahdf4 ,the two chief types of machines are the lock stitch1 using double thread1 and the chain or loop stitch1 using a single thread4 ,whatever the make of machine it should be run in accordance with the rules accompanying it4 ,the worker should familiarize herself with the directions for setting and threading the needle1 winding the bobbin1 regulating the tension and the stitch and all other technicalities of the particular machine she has to operate4 ,agencies of the various machines usually have skilled workers to give instruction to beginners4 ,while it is not always an economy of time to use the attachments for hemming1 tucking1 etc41 unless much work is to be done1 it is worth while to know how to use them if desired4 ,as much or more skill is required for neat machine work as for hand sewing4 ,results will not be satisfactory without careful basting4 ,sidenote3 ,care of the ,machine ,the machine should be kept well oiled1 free from dust and gum and it should he run evenly4 ,in case it becomes gummed a drop of kerosene on the parts that have been oiled will cut the gum4 ,remove the shuttle and run the machine rapidly for a moment1 then wipe off all the kerosene and oil the machine carefully with good machine oil--only the best should be used4 ,a machine should always be wiped thoroughly before any work is placed upon it4 ,sidenote3 ,needles and ,thread ,as in hand sewing1 needles and thread should be selected with care4 ,a blunt or bent needle should never be used1 it should have a fine sharp point and the eye should be sufficiently large to carry the thread easily4 ,the needle and thread should be suitable for the material to be sewed4 ,glazed thread should never be used in a machine4 ,the best quality of thread and silk should be purchased but only enough for immediate use1 as it loses strength with age1 chiefly because of the action of the dyes and chemicals4 ,even white thread may become tender from the chemicals used in bleaching it4 ,sewing silk and cotton should be kept in a closed box to exclude the light and air4 ,for sewing cotton or linen the best cotton thread should be used4 ,woolen1 silk1 and velvet should be stitched with the best machine silk4 ,the thread should match the material in color4 ,cotton thread fades or loses its brightness when exposed to the light1 therefore for stitching that will show it is always better to use silk4 ,the thread on the bobbin should be wound evenly and carefully to insure an even stitch and the tension of both threads should be equal1 otherwise the stitch will not be perfect4 ,as a lock stitch machine requires two threads while in hand sewing only one is used1 the two need not be as coarse as the single thread4 ,for ordinary home sewing1 underwear1 thin gowns and the like1 ,no4 #gj to ,no4 #ajj will be found satisfactory4 ,finer thread may be used when the materials demand it1 but no coarser than ,no4 #ej should be used in the machine and this only with the coarsest material4 ,sidenote3 ,fastening ,threads ,much time may be saved in fastening the threads at the ends of tucks1 hems on sheets1 towels1 etc41 by careful manipulation of the machine4 ,for example1 on sheets begin to stitch along the hem at the selvage1 or if the end of the hem is over-sewed1 begin an inch from the edge and stitch the hem towards the selvage1 then lift the presser-foot so as to turn the work1 and retrace the bit of stitching1 continuing across the whole hem4 ,when the end is reached1 release the presser-foot1 turn the work1 and stitch back for an inch or more in the same line1 as was done at the beginning of the hem4 ,by this method the threads are fastened much more easily and quickly than by drawing them through on to the wrong side and tying or sewing them by hand and1 of course1 it is more satisfactory than the shop way of cutting them off short4 ,tucks or seams may be fastened in the same way4 ,if fine thread is used the double stitching at the ends is hardly noticeable4 ,sidenote3 ,bias ,side ,next ,feed ,when stitching a seam having one bias and one straight side1 let the bias side come next to the feed1 that is1 on the underside4 ,this is especially important in thin materials4 ,if the material is very sheer1 strips of soft paper--newspaper will answer for ordinary purposes--should be sewed in the seam4 ,this will insure a seam free from puckers and when finished the paper can be pulled away easily4 ,sidenote3 ,stitching ,gathers ,in sewing gathers on a band they should also come next the feed1 as it takes up the side next to it a little faster than the upper side4 ,when the bias1 or cross-way side of the seam1 or gathers are next to the feed the material runs along smoothly1 but if the straight side is towards it there is apt to be a pucker4 ,stitching can be done more easily on the right of the presser foot with the bulk of the material lying to the left4 ,the tendency of the feed or teeth is to crowd the work off the edge as well as forward and the stitching may be guided better on the right side4 ,all straight seams should be stretched to the full extent of their straight edge in stitching1 as the work passes under the presser foot4 ,when a large amount of machine sewing is to be done--such as household linen1 sheets1 pillow cases and underwear--it is a good plan to do all the basting and hand work first and keep the machine stitching for a rainy or a damp day1 as the thread is then less apt to break4 ,a current of air or a breeze from an open window on a dry day will often cause the thread to snap4 ,for the same reason the machine should never stand near the fire or radiator4 ,,textiles ,,and ,,clothing ,,part ,,ii ,,read ,,carefully4 ,this test consists of two parts1--answers to the questions and the making of models4 ,both should be sent to the ,school for inspection and correction4 ,all models should be made about #d by #f inches so that they may be put into the envelope provided without being folded4 ,two series of models are given2 either or both may be made4 #a4 ,what instruction have you ever had in sewing8 7b7 ,has the subject any educational value8 #b4 ,what are the common basting stitches1 and for what are they used8 #c4 ,can you make the running stitch properly8 ,how is it done8 #d4 ,for what purpose may the cat stitch be used8 #e4 ,hems and ,seams3 ,describe the different kinds for thick and thin materials1 including those for flannel and state when they should be used4 #f4 ,describe three kinds of plackets4 #g4 ,how are gathers made1 and how sewed into a band8 #h4 ,what can you say of fastenings8 #i4 ,with what sewing machine are you most familiar1 and what are its peculiarities8 #aj4 ,what stitches or methods described in this lesson are new to you8 ,note3 ,after completing the answers1 sign your full name4 ,,models1 ,,first ,,series ,i4 ,,stitches4 ,on a piece of cotton about #d by #f inches1 make with colored thread 7#a7 a line of even basting stitches1 7#b7 uneven basting stitches1 7#c7 tacking1 7#d7 running1 7#e7 back stitch1 7#f7 running and back1 7#g7 half back4 ,with embroidery silk make a row each of 7#a7 cat stitch1 7#b7 single feather1 7#c7 double feather1 7#d7 chain1 7#e7 rows of ,french knots with border of outline stitch4 ,make your initial in one corner1 using any stitch preferred4 ,overcast one long edge of the model1 double overcast the opposite side1 finish one end with plain loop or blanket stitch1 and the other end with some fancy loop stitch4 ,fasten all threads as described in the text4 ,,ii4 ,,seams ,,and ,,hems4 7a7 ,join two pieces of fine cotton with a ,french seam at the long edge1 about #b by #e inches1 with warp running lengthwise4 7b7 ,cut a piece of muslin on a true bias and attach the bias edge to a with a felled seam4 7c7 ,trim the model and hem all sides so that the finished model may measure #d by #f inches4 ,,iii4 ,,darning ,,and ,,patching4 7a7 ,in gingham or figures cotton1 make an underset patch of a square hole1 matching the goods4 7b7 ,darn a three-cornered tear4 ,,iv4 ,,fastenings4 ,the proper distance from the edge of folded goods make 7a7 button hole1 one end rounded and the other finished with a bar tack4 7b7 ,under it make a partly finished1 barred buttonhole4 7c7 ,below this make an eyelet hole1 7d7 below the eyelet hole a loop1 and sew on an eye4 ,on a second piece of folded goods opposite the first buttonhole1 7a7 sew a four-hole button1 corresponding in size to the buttonhole4 7b7 ,opposite the second buttonhole sew on a two-hole button2 7c7 below1 sew on two hooks corresponding in position to the loop and eye4 ,make the two parts of the model so that the corresponding fastenings will join4 ,v4 ,,apron4 ,using fine muslin1 make a doll's apron1 gathering into band at top4 ,above hem at the bottom1 make two clusters of tucks of three each4 ,,models4 ,,second ,,series4 ,,for ,,experienced ,,workers ,i4 ,,rolled ,,hem2 ,,hem ,,stitching4 ,make a doll's apron of fine muslin1 attach top to band with rolled1 whipped gathers4 ,make two clusters of tucks of three each at the bottom and hem stitch the bottom hem4 ,,ii4 ,,sleeve ,,placket4 ,make a taped sleeve placket as shown in the illustration4 ,,iii4 ,,make ,a ,,slot ,,seam1 using dress goods and finish with an arrow head4 7b7 ,make a large cloak buttonhole4 ,,iv4 ,,mitre ,,embroidery and finish as shown in the illustration4 7b7 ,match and join the same4 ,v4 ,,embroidery3 ,make something small and useful--a doily1 stock1 collar--illustrating some style of embroidery1 or make a model of the first series which will afford you the most new experience4 ,illustration3 ,,making ,,mexican ,,drawn-,,work ,,textiles ,,and ,,clothing ,,part ,,iii ,,dressmaking ,sidenote3 ,good ,tools ,necessary ,the greatest obstacle to home sewing of any kind is the failure to provide suitable materials with which to do the work4 ,to do good work--to make attractive gowns--the simple tools which the work requires must be provided4 ,first1 there should be needles and pins of the best quality and make4 ,they should be fine and well pointed4 ,the needle should be suitable to the material to be sewn and sufficiently large to carry the thread easily4 ,a blunt or bent needle should never be used4 ,long or milliner's needles are preferred by many for basting4 ,sidenote3 ,thread ,a good supply of thread should be kept on hand--not too great a quantity1 but the stock should be added to as it is used4 ,there should be both silk and colored cotton1 also twist for button holes1 loops and arrow heads and knitting silk to sew on and finish feather bone4 ,sidenote3 ,scissors ,two pairs of scissors are required--one with long1 sharp blades1 and a pair of medium sizes for snipping machine stitches4 ,among the other necessary articles are a tape measure1 cake of wax1 pencils or tailor's chalk1 tracing wheel1 emery1 lap board4 ,canvas1 scrim1 or any like material should be kept in the sewing room1 as these are invaluable for facings1 linings of collars1 cuffs1 etc4 ,hooks1 eyes1 buttons1 tape1 linings1 featherbone and shields are requisites not to be forgotten4 ,sidenote3 ,tapes ,tape is constantly needed4 ,linen tape is thinner and makes a neater finish for some purposes than cotton tape4 ,the bias tape or binding now kept by the larger stores is very useful for binding curved edges and for other purposes4 ,sidenote3 ,cutting ,table ,if a regular cutting table is not available1 the dining room table should be used4 ,skirts1 bodices1 ruffles1 and bias bands should be cut on firm1 even1 and large surfaces4 ,if cut upon the floor or bed and pressed on a coarse crash towel1 the garment will have the undesirable home-made look4 ,sidenote3 ,pressing ,board ,a good pressing board should be provided and if possible a sleeve board4 ,in the process of garment making of any kind too much stress cannot be laid upon constant and careful pressing4 ,the ironing board should have for its outside cover a finely woven1 perfectly smooth cloth1 tightly stretched1 free from wrinkles1 and securely tacked4 ,where there is gas1 a small1 portable stove should be kept near the sewing table with a medium-sized flat iron4 ,lacking gas1 one of the single burner oil stoves may be used4 ,an electric flat iron is especially convenient4 ,sidenote3 ,bust ,form ,a bust form is a great convenience in fitting and almost a necessity for one who does much home dressing4 ,these may be purchased at department stores4 ,some kinds are adjustable1 but it is always best to make a carefully fitted lining for it and pad out to the correct shape and size4 ,the pattern should be one that extends well over the hips and heavy unbleached muslin may be used4 ,after padding firmly1 the front opening should be oversewed4 ,special care should be taken with shoulders and neck and the neck band should be carefully adjusted on the figure4 ,illustration3 ,,padded ,,bust ,,form 7,from ,dressmaking ,up-to-,date1 ,butterick ,co47 ,a padded sleeve lining is also very useful in making sleeves4 ,dressmaking never should be begun until each needed article required for the work has been purchased4 ,the sewing room should be in order2 the machine well oiled and wiped before any work is undertaken4 ,sidenote3 ,skill and ,taste ,if the finished garment is to be perfect1 careful attention must be given to every detail of the cutting and making up4 ,to possess mechanical skill alone is not sufficient4 ,a successful garment depends not only upon the dexterity with which the worker manipulates the actual tools of her craft1 but upon all her faculties and her power of applying them4 ,she must have a comprehension of the laws of beauty in dress1 construction1 ornament1 color1 selection1 economy4 ,the artisan knows the technical part only1 and looks upon each dress--each piece of lace and velvet--as so much material to be snipped and cut and sewed1 copying from the fashion plate1 making gown after gown alike4 ,the artist1 on the other hand1 makes the gown to suit the individual wearer1 considering each dress no matter how simple--and the simpler1 the more artistic--as a creation designed to suit the woman for whom it was planned4 ,people who study economy from principle will never adopt anything extreme in weave1 or color1 or make4 ,these extreme fashions are never lasting2 they are too conspicuous and are vulgarized by bad copies1 while a thing which is known to be good and beautiful once will remain so for all time4 ,those who are beginners in the art of dressmaking should select plain designs until skill is acquired4 ,the making up and finishing of new fabrics and new or untried methods are problems that often dismay even the most experienced dressmaker4 ,,patterns ,sidenote3 ,selection of ,patterns ,the makers of good and reliable patterns are many4 ,always buy patterns of firms that make proportion of figure as well as fashion a study4 ,these patterns state length of skirt1 waist and hip measure and quantity of material required in all widths4 ,buy a skirt pattern with correct hip size1 as it is much more difficult to change this than to alter the dimensions of a waist4 ,adjust the pattern to the figure for which the garment is to be cut and see that it is right in all of its proportions4 ,always follow the notches indicated in the seams of the pattern1 and thus avoid putting wrong pieces together4 ,be sure that the pattern is placed correctly upon the material with the straight grain or warp threads of the goods running directly on a line with the straight perforations indicated in the pattern4 ,lay the entire pattern upon the cloth4 ,this gives an idea just where every piece is to come out4 ,sidenote3 ,what the ,pattern ,gives ,all patterns give one-half of the bodice and the skirt1 from center of back to center of front4 ,the plain waist pattern consists of back1 curved side piece1 under arm piece 7sometimes these two pieces are in one7 front1 upper and under sleeve1 collar or neck band4 ,some patterns allow for seams--others do not4 ,skirt patterns give only one-half of the front gore4 ,the seam edges of front gore are marked by one notch near the waist line4 ,the front or straight edge of the first side gore has one notch1 and two on the back edge of side gore4 ,all the gores may be distinguished from the edges of the back gores by the lesser number of notches4 ,this is true of all skirt patterns4 ,if the patterns are studied carefully1 all skirt cutting becomes very easy4 ,the object of goring a garment is to take out unnecessary fullness at the top2 reducing the weight1 making the garment less clumsy1 and giving a nicety of finish which could not be done in heavy material if all the goods were left to fit into a band4 ,skirts may be lined or unlined1 gored or full4 ,,seven-,,gored ,,skirt ,the style may vary with the fashion1 but a well-fitting skirt should hang even around the bottom edge1 should fit easily around the hips without being strained or defining the figure too closely1 or ride up when sitting1 should flare slightly from hips to the bottom of the skirt1 should not fall in between the feet1 the back should fall well behind the figure4 ,for heavy goods1 as little material as possible consistent with the prevailing style should be used4 ,,plan ,,of ,,skirt ,,making ,shortening or lengthening of pattern if necessary4 ,placing of goods4 ,pinning on of pattern so there is no waste4 ,cutting4 ,removing and care of patterns4 ,pinning1 basting1 or tacking of skirt to lining4 ,joining of seams1 fitting4 ,stitching4 ,pressing4 ,finishing of seams and placket hole4 ,making and putting on waist-band4 ,marking length and finishing the bottom4 ,fastenings1 loops1 braids1 hooks and eyes4 ,sidenote3 ,lengthening or ,shortening ,patterns ,to lengthen or shorten a skirt pattern1 measure the figure and regulate the length of the patterns by making a fold in each gore two-thirds of the way from the top of the pattern if too long4 ,this is for the simplest skirt pattern4 ,the shape of the skirt may require two folds1 one two-thirds from the top and a small fold near the bottom to preserve the outline4 ,if too short pin the pattern on the material1 cut around the top of gore and on each side two-thirds of the distance from the top of gore4 ,unpin and draw the pattern down to the bottom and cut the required length4 ,except for wash material1 do not turn a gored skirt up at the bottom to form a wide hem1 as the fullness made by turning is hard to dispose of neatly and the right curve at the bottom of the skirt may be lost4 ,another way to lengthen the pattern is to cut it in two1 two-thirds the distance from the top4 ,see that all pleats or tucks are exactly the same width and at the exact distance from the top or bottom of the gore1 also that all seams are of the right length4 ,a shorter skirt must be proportionately narrower4 ,sidenote3 ,testing ,patterns ,it is well to test the skirt and waist patterns by using inexpensive materials1 such as calico1 gingham1 or cheap lining4 ,cut1 baste1 fit1 and make this as carefully as if it were the best cloth or silk4 ,if the skirt and waist are satisfactory1 the pattern will do duty for several seasons4 ,the plain waist pattern is the foundation for any waist and many changes can be made easily with a well-fitting skirt and plain waist pattern as a basis4 ,sidenote3 ,cloth ,patterns ,as paper patterns soon wear out1 after a waist and skirt have been perfectly fitted1 it is a good plan to cut an exact pattern of cambric1 both skirt and waist1 tracing seams and notching the parts4 ,this will enable the home dressmaker to cut and make all ordinary dresses with little trouble and with but one trying on4 ,it is always well to try on once1 as materials differ in texture and a slight change may be necessary4 ,illustration3 ,,placing ,,patterns ,at the left1 on plain or symmetrical designs2 at the right1 on figured or napped goods4 a--,half of front gore2 b--,second gore2 c--,third gore2 d--,back gore2 e--,front waist2 f--,under arm piece2 g--,side back2 h--,back2 i--,outside sleeve2 j--,under sleeve2 c' d'--,piecing of gores c1 d4 ,sidenote3 ,placing ,patterns ,if the material is plain1 has no nap1 or if the design is perfectly symmetrical1 the gores may be alternated1 the top of one gore coming opposite the bottom of the next4 ,the half pattern of the front gore is always laid on a lengthwise fold of the goods4 ,if the goods is wide1 the other gores may be cut double with the cloth folded lengthwise4 ,with narrow goods1 the cloth may be folded end to end after the middle gore has been cut out1 and the other gores cut double4 ,care should be taken that the line of holes in the middle of the gores runs exactly in a line with the warp of the material1 i4 e41 parallel to the selvage4 ,if the goods has a figure1 the design should run upwards4 ,any nap should run downward1 except with velvet or velveteen1 in which it should run upwards4 ,with such goods1 the gores if cut double must be placed on a lengthwise fold1 with the lengths running the same way4 ,if the goods is narrow1 the gores may have to be cut single1 reversing the pattern 7turning it over7 so that both pieces may not be for the same side4 ,sidenote3 ,pinning ,patterns ,pin the middle of the pattern to the goods and smooth towards each end1 pinning securely at top and bottom4 ,avoid too many pins and pin carefully1 otherwise the pattern will be displaced4 ,sidenote3 ,cutting ,out ,after the pattern is securely pinned1 cut out the gores1 using long1 sharp shears4 ,care should be taken not to lift the material from the table1 not to have jagged1 uneven edges1 as both time and material will be wasted in straightening them4 ,open the shears as wide as possible1 taking a long sweep of the material1 and do not allow the points of the shears to come together4 ,mark all notches with basting thread1 tailor's chalk1 or notch the goods if it does not ravel4 ,the back gores should be cut in the same way4 ,they are usually wider than the front gores and may require piecing1 which should be done along the warp threads4 ,now remove the pattern1 pin carefully all pieces together and fold as little as possible4 ,the trinity--pin1 baste1 press--should be written in large letters in every sewing room1 for much of the beauty of the gown depends upon these three4 ,sidenote3 ,joining the ,skirt ,to join the skirt1 pin the side gores to the front gores1 beginning at the top1 with pins running across the seams1 then begin at the top of the skirt and baste downward1 allowing all unevenness to come out at the bottom4 ,baste straight and evenly1 taking one stitch at a time4 ,several stitches should never be taken at once on thick or piled goods1 as the side next to the sewer is apt to be fuller in that case4 ,when all seams are basted1 try on the skirt and make all changes necessary before stitching4 ,both the outside skirt and any under or drop skirt should be fitted as carefully as a waist4 ,sidenote3 ,lined ,skirt ,if the skirt is to be lined the lining should be made and fitted first1 then ripped and the outside carefully basted on the lining1 being well stretched over the lining1 care being taken to have the warp of the outside and the lining run the same way4 ,this will prevent the lining from drawing the goods4 ,sidenote3 ,stitching ,skirts ,a stitch of medium length should be used on all seams whether white goods or cloth4 ,if the stitch is too long1 the seam will gap and will show the thread2 if too short1 the seam is apt to draw4 ,the line of stitching must be absolutely parallel inside or outside of the basting or the curve will be ruined4 ,use silk or the best cotton for stitching skirts and be sure that the needle is not too coarse4 ,sidenote3 ,finishing ,seams ,after stitching1 all bastings along the seams should be taken out by cutting the thread in several places4 ,never pull a basting the length of the skirt4 ,the seams should be opened and pressed according to directions4 ,the seams may be finished with a taffeta binding1 overcast1 stitched flat or notched1 as the case demands4 ,sidenote3 ,stiffening ,if stiffening is used at the bottom of a lined skirt it should be fitted to each lining gore separately and securely stitched4 ,a light weight canvas should be stitched to a heavy cloth skirt at the bottom1 if several rows of stitching or braid are to finish the bottom of the skirt4 ,sidenote3 ,placket ,the placket may be finished before the two back gores are pinned to the front1 if preferred4 ,if done before joining the gores the placket can be pressed better and the front is not so liable to be crushed4 ,on the left side of the skirt sew an underlap of sufficient length to extend well below the end of the opening4 ,face the right side of the opening with a piece of the goods1 or tape not too wide1 hem or cat-stitch to the skirt1 and finish with hooks and eyes1 loops1 or any fastening that will secure the placket4 ,sidenote3 ,putting on ,band ,the skirt is now ready for the band1 which should be narrow4 ,always cut parallel with the selvage and the length of the underlap longer than the waist measure1 allowing for turning at the ends4 ,the band should never be thick and clumsy and not too tight4 ,try on the skirt and fit the band carefully1 marking the seam with pins1 a line of basting1 or chalk4 ,hold the skirt easy on the band and baste with small stitches1 then stitch on the machine4 ,if the skirt is too tight around the hips the plaits will fall apart at the back4 ,if the skirt is stretched on the band the seams will not fall in a straight line4 ,after the band is securely stitched and finished with hooks and eyes adjust the length by turning under at the bottom and pinning1 after which baste all around and try on again to make sure that the length is correct4 ,sidenote3 ,finishing the ,bottom ,a gored outside garment should be finished with a true bias or a fitted facing1 carefully stitched on4 ,it is possible to finish the bottom of a simple house dress or thin skirt with a hem if the fullness made by turning is disposed of in gathers or fine pleats4 ,a bias facing1 however1 is always preferable4 ,if of heavy or lined goods the finish should be velveteen or braid the same color as the skirt4 ,these bindings come in different widths and grades4 ,braids should always be shrunken by wetting and drying thoroughly2 one wetting is not enough4 ,velveteen should be applied loosely1 so as not to shrink or draw after it becomes damp on the skirt4 ,sidenote3 ,applying ,velveteen ,binding ,the right side of the velveteen should be carefully basted with small1 even stitches to the edge of the facing4 ,it may be hemmed to the facing or machine stitched just inside the basting1 which need not be removed4 ,it is then turned1 allowing a very narrow portion to show below the edge1 and basted with close stitches1 pressed1 hemmed down to the facing by hand1 or cat stitched without turning the edge4 ,be careful not to let the stitches show on the right side1 nor let the binding twist or pucker4 ,the joining of the velveteen should be near the seam in the back4 ,another method is to cut off the bottom edge of the skirt a quarter of an inch from the turning line2 apply the wrong side of the velveteen to the right side of the skirt1 baste carefully close to the edge and stitch on the machine through velveteen1 cloth1 and lining 7or facing7 just inside the basting which is left in4 ,the bottom of the raw edge is turned up1 basted close to the edge allowing the velveteen to show a very little4 ,the upper edge of the velveteen is secured as before by turning and hemming or catstitched without turning4 ,the illustration shows this method of applying the velveteen which is first stitched to the lining and turned with the edge4 ,this makes a firm1 rather stiff finish4 ,sidenote3 ,braid ,braid is stitched on to the bottom of a skirt with a narrow edge showing1 or it may be applied like the velveteen1 with a doubled edge at the bottom4 ,the doubled edge will wear better4 ,sidenote3 ,finish of ,wash ,skirts ,skirts that are to be washed and therefore which are very likely to shrink must be finished at the bottom with a wide hem--at least six inches--the fullness made by turning being disposed of carefully in pleats or gathers4 ,illustration3 ,,applying ,,velveteen ,,binding ,if desired1 the bias seam down the back of the skirt may have a narrow woven tape or selvage of thin goods stitched in with the seam4 ,this strengthens the seam and prevents dragging4 ,the skirt when finished should always be longer in front than in the back4 ,all cloth dresses demand every detail of finish to make them complete and able to stand hard usage1 but simple house dresses and thin summer dresses do not require such careful finish4 ,,shirt ,,waists ,sidenote3 ,trace ,seams ,in planning a waist the same rules should be observed in placing patterns1 etc41 as described for skirts1 except that the lines and seams should be traced with a tracing wheel or marked carefully4 ,in making a waist of any kind care must be taken to cut all the pieces the proper way of the material4 ,sidenote3 ,baste ,lavishly ,the difficulty of putting garments together after they have been cut properly is due to undue haste1 lack of care in details and insufficient pressing4 ,the apparently simple act of basting is really of primal importance1 particularly in the making of a waist4 ,one need never be afraid of basting too much or too carefully4 ,economize cloth and time in cutting1 but use basting lavishly4 ,sidenote3 ,altering ,waist ,patterns ,the waist pattern may be made shorter by laying folds across both back and front4 ,the fold across the back should be two inches above the waist line and across the front two inches below the arm's eye 7in the back74 ,securely pin or baste the folds in the pattern4 ,if the pattern is of nearly the correct size it may be only necessary to make the waist shorter and smaller4 ,the neck and arm's eye will seldom need altering4 ,the sleeves may be shortened in the same way by laying folds in the pattern1 above and below the elbow4 ,,plan ,,for ,,making ,a ,,shirt ,,waist ,after the waist is cut1 remove and care for the patterns4 ,make the sleeves1 cuffs and collar band first4 ,make box plait on right or left side as liked by the wearer and hem on the other side or face4 ,baste shoulders and under-arm seams4 ,try on the waist1 making all changes necessary by enlarging or taking up seams4 ,pin for neck band and mark for seams4 ,fit sleeves and mark places for seams4 ,arrange fullness and place tape at back of waist line4 ,sidenote3 ,making ,plain ,sleeve ,if the pattern is for a plain1 one-seam sleeve with the cuff opening at the end of the seam1 hem each side of the opening one or two inches from the bottom1 gather the bottom between the notches1 lay the gathers1 baste the right side of the sleeve band or cuff to the wrong side of the sleeve1 stitch and press1 fold in a hem on all edges of the cuff1 fold the cuff over on the wrong side of the sleeve1 baste1 oversew the ends of the cuff1 press and stitch the cuff close to all edges4 ,after thus attaching the cuff1 baste and stitch the long seam of the sleeve and gather at the top between notches4 ,the cuff is usually cut in the direction of the warp of the goods4 ,the sleeve described is the simplest that can be made4 ,if the sleeve is to open at the back and finished with a tape1 with a placket1 strap or fancy lap1 the seam in the sleeve is stitched first and the cuff afterward adjusted4 ,illustration3 ,,plain ,,sleeve ,,with ,,cuff1 ,,showing ,,general ,,methods ,,of ,,sewing ,,on ,,bands ,the box plait is made if desired and the under arm and shoulder seams basted when the shirt waist is ready to try on4 ,make any change in the seams necessary4 ,the neck band is put on in the same way as the cuffs1 sleeves sewed in1 fullness arranged at the back and a tape placed at the waist line4 ,three hooks or other fastenings should always be placed at the back to attach to corresponding fastenings in the skirt band4 ,the bottom edge of the waist may be finished by overcasting4 ,sidenote3 ,bottom ,finish ,if it is desired to have the fullness cut away at the waist line in front1 determine the length1 allowing sufficient for a blouse1 gather the waist at the bottom and sew the fullness on to a band4 ,sometimes this band is carried entirely around the waist4 ,sidenote3 ,fit of ,collar ,the fit of the collar or neck band is very important in any kind of a waist4 ,both the front and the back may be cut higher than the pattern1 as it is easy to cut off in adjusting and more goods cannot be added4 ,to the unskilled the simplest garment is sufficiently difficult4 ,it is wiser to make two or three perfectly plain garments before attempting to make an elaborate one4 ,after the pattern has been tested1 fitted and all necessary changes made1 cut a pattern from the fitted waist of cambric or cheap new muslin and mark or trace all seams4 7,never use old1 worn-out sheets from which to cut a pattern47 ,after this permanent pattern has been made1 do not change a single line4 ,sidenote3 ,tucked ,waist ,sidenote3 ,full ,busted ,waist ,if a plaited or tucked waist is to be made1 all plaiting and tucking should be done first1 after which the same order of making is to be followed for a plain waist4 ,no waist should draw or strain across the bust4 ,this is especially important in tucked or pleated waists4 ,to guard against this tendency1 a graduated tuck can be pinned on either side of the front1 beginning with nothing at the shoulders and widening at the waist line4 ,this is done before the pattern is cut and will allow for especially full bust4 ,the fold should be on a thread of the goods4 ,,lined ,,waists ,the plain1 closely fitted1 lined waist1 with the curved back and side forms is the most difficult to make and requires the greatest nicety in handling from beginning to finish4 ,illustration3 ,,typical ,,bodice ,,patterns 7a7 ,front4 7b7 ,under ,arm ,piece4 7c7 ,side of ,back4 7d7 ,back4 7e7 ,collar4 7f7 ,outside ,sleeve4 7g7 ,inside ,sleeve4 ,the pattern for a bodice of this kind should be of such a shape that in each part the woof threads will go as straight around the waist as possible4 ,this makes the warp threads perpendicular and will give almost a perfect bias on the current seams in the back4 ,do not cut the side forms out of any piece that is big enough1 without regard to the warp and woof threads4 ,if this is done1 the threads in each will run differently and all ways but the right one4 ,in a well-designed pattern the back forms should be nearly as wide at the arm's eye as they are at the waist line4 ,the swell of bust and shoulders should be accommodated by the back and front forms4 ,when material is to be cut on the bias be careful to have a true bias 7the diagonal of a square7 around the waist and up the front and back seams4 ,,plan ,,for ,,making ,,fitted1 ,,lined ,,waist4 ,pin pattern to lining1 cut out trace seams4 ,baste all seams on traced lines4 ,try on lining4 ,make changes4 ,rip lining1 baste on outside and cut by fitted lining4 ,baste seams and try on4 ,make changes if necessary4 ,mark the turn for hem down the front1 face and mark for fastenings4 ,stitch and finish seams4 ,put on featherbone4 ,put on collar2 sew in sleeves4 ,finish4 ,sidenote3 ,finish ,lining ,first ,in making a lined waist1 the lining is cut1 basted1 and fitted before the outside is cut4 ,after fitting1 the lining is ripped apart and the outside cut by it4 ,for all firm1 heavy materials the lining should be slightly fuller than the outside1 that is1 the dress goods should be well stretched over the lining1 just as in a lined skirt1 and basted closely and evenly1 the warp and the woof threads of the outside and lining corresponding4 ,in laying the pattern for cutting the lining1 just as much attention should be paid to the direction of the threads as in cutting a striped or figured goods4 ,sidenote3 ,marking ,seams ,all seams should be traced on the lining with the tracing wheel1 with a slow backward and forward movement1 making the perforations clear and distinct4 ,soft spongy goods that cannot be traced may be marked with a line of basting1 tailor's chalk or by taking stitches with a pin along the line to be marked and twisting them in the goods4 ,this will make holes that can be seen1 but the twisting does not harm the goods4 ,always trace or mark the waist line1 as this is the starting point from which to pin or baste4 ,bodice seams should never be begun at the top or bottom1 but at the marks or notches that show the waist line1 working towards the top and bottom4 ,after the lining is cut out1 the seams should be basted exactly along the traced lines1 with seams out1 when it is ready to be tried on4 ,sidenote3 ,making ,changes in ,straight ,seams ,if the pattern has been cut or drafted by the correct bust measure1 the back seams should never be changed4 ,if possible1 make all changes required by letting out or taking in on the straight under-arm seams1 leaving the curved ones and the darts untouched4 ,sidenote3 ,pinning and ,basting ,pins should be used plentifully while the fitting is being done1 but they should be replaced with regular basting as soon as they are removed4 ,do not be afraid of taking up fullness in the lining by darts crosswise at the top of the corset or where the fullness naturally falls in front or back4 ,such darts should be basted1 stitched and pressed flat4 ,if the lining is too short1 it may be lengthened by letting out the shoulder seams4 ,sidenote3 ,outside ,cut by ,lining ,after the lining is fitted1 it is ripped apart1 the outside cut1 basted to it and the seams are basted1 beginning at the waist line4 ,never use a long thread in basting and always use short1 even stitches1 especially where any curved seams are to be stitched on the machine4 ,this rule must be followed invariably if puckering is to be avoided4 ,illustration3 ,,waist ,,lining ,,basted1 ,,seams ,,out ,sidenote3 ,shoulder ,seams ,the pattern at the shoulder seams should be shorter in front than at the back4 ,in joining this seam1 pin the two portions so that the ends of the seam meet exactly at the neck and arm's eye4 ,in basting1 stretch the front piece to fit the back1 holding it in or puckering it if need be4 ,pressing will banish the pucker and give an easy seam that will hug the curve of the shoulder1 as in a man's coat4 ,sidenote3 ,fitting ,when the waist is on the figure1 pull it well down to the waist line1 pin the front linings together beginning with the neck1 then lift the waist a little in front to give fullness and pin to the waist line4 ,mark for the hem down the front1 finish the edge with a well-fitted facing under which is a thin bias strip of canvas interlining for buttons or hooks and eyes4 ,marks showing the position of fastenings should be made at this time4 ,sidenote3 ,fitting of ,neck and ,sleeves ,the neck and arm's eye should be fitted by making slashes in the curve--never cut around the curve4 ,for the collar or neck band have a true bias of thin canvas or crinoline and draw it around the neck and pin with the ends out1 towards the worker4 7,never lap any edges of waist1 belt or collar when fitting47 ,mark on the waist where the lower edge of the neck band touches4 ,draw the sleeve on the arm1 pin and mark where it sets right1 seeing that the elbow fullness is in the right place and that it does not twist at the hand4 ,as in the lining1 all changes necessary in fitting should1 if possible1 be made in the straight seams1 as it is difficult to preserve the proper lines of the curved ones4 ,the shoulder seams should be the last one to be basted4 ,after all faults are remedied1 the seams are carefully stitched along the line or basting1 the bastings removed1 the seams pressed and finished4 ,the last seam to be stitched securely should be the one at the shoulder4 ,by leaving this open1 all fullness can be smoothed upwards and any trimming can be let into the seam4 ,illustration3 ,,back ,,of ,,waist1 ,,well ,,matched ,sidenote3 ,boning ,sew in featherbone by cat stitching to the seam1 first finishing the ends by button-holing4 ,all seams should be stretched well when sewing on bones of any kind4 ,curved seams should be notched every one or two inches at the curve and bound or overcast4 ,this allows them to lie flat4 ,sidenote3 ,draped ,waist ,in a draped waist the lining is made separate and not stitched into any seam of the outside except at the shoulder4 ,in fitting the outside the back is pinned on to the lining firmly1 then the front and finally at the underarm seams4 ,the seams are then basted1 the waist tried on again1 alterations made1 if necessary1 seams stitched and the bottom finished with the lining1 as desired4 ,three eyes or other fastenings should always be sewed at the seams in the waist line at the back to secure the skirt to the waist1 thus preventing it from sinking below the waist line4 ,sidenote3 ,finish of ,bottom of ,waist ,the finish of the lower edge of the waist is often a problem4 ,if the waist is to be worn under the skirt1 just how to finish or whether to finish it at all is a question4 ,the first step is to trim the edges evenly4 ,a line of stitching and simple overcast will show less through a close-fitting skirt of light weight material4 ,when binding is used1 it should lie perfectly flat1 twice stitched and pressed well4 ,if the waist is to be worn outside the skirt1 a narrow bias strip of canvas should be basted on the wrong side1 the waist turned up over this as directed for sleeve and collar finish4 ,over this a bias facing of silk may be hemmed or cat-stitched4 ,sidenote3 ,fitting ,irregularity of ,figure ,in spite of careful measuring and all care in cutting1 the waist may not fit1 owing to some deformity or peculiarity of the figure4 ,such figures require especially careful fitting and the hollow place should be filled out with wadding4 ,this needs to be done with the greatest care and nicety4 ,illustration3 ,,making ,,bias ,,strips ,,for ,,facings ,avoid too frequent fittings4 ,the bias portions of the bodice are liable to stretch out of shape and too much handling of the waist takes away the freshness4 ,this is one reason why it is advisable to make the sleeves and collar first in order that the whole waist may be fitted at once and all alterations made to fit both sides4 ,a perfect figure is the exception rather than the rule and the side that is not developed should be well fitted1 whether sleeve or bodice4 ,,coat ,,or ,,tight ,,fitting ,,sleeves ,sidenote3 ,altering ,patterns ,if it is necessary to lengthen the sleeve1 say two inches1 cut the pattern at right angles to the lines indicated by the dots1 above and below the elbow4 ,the slashing should be done exactly at the same distance apart in the upper and under portions of the sleeve in order to retain the proper shape and size of the top and bottom4 ,separate the parts1 allowing one inch above and one inch below the elbow4 ,to shorten the sleeve1 lap the slashed part or lay a fold in the pattern instead of slashing4 ,in either case1 care should be taken that the fold or lap is of even width all the way across1 so that the original shape of the sleeve will not be lost4 ,sidenote3 ,placing of ,patterns ,too much care cannot be taken in arranging the pattern of the sleeve according to the thread of the goods4 ,especially is this the case in the two-piece or coat sleeve4 ,generally the top part of the outside seam and the lower part of the same side should be placed at the edge or fold of the goods1 so that the two run in the same straight line4 ,in all cases1 the foundation sleeve or lining should be cut and fitted before the outer portion is adjusted4 ,ample time should be given to the fitting and basting of the sleeve4 ,the set of the sleeve is very often unsatisfactory because the cutting and original basting was done in a careless manner4 ,remember that greater care is required in sleeve making than in any part of the garment4 ,each sleeve is complete in itself and one must not deviate from the other in size1 arrangement or ornament1 or general appearance4 ,they should be cut1 basted and fitted alike and if the arms differ in size or length the sleeves must be so adjusted as to conceal the inequality4 ,the sleeves should be made at the same time and before the cuffs1 then the cuffs1 puffs1 or whatever special trimming is to be applied to them should be put on both sleeves at the same time4 ,if the second sleeve is not made or trimmed until after the first is finished1 it will be much more difficult to secure exactly the same effect4 ,if it is impossible to complete both sleeves at one time1 make the sleeves one day and the cuffs or trimming the next day4 ,in making the coat sleeves the general methods are the same1 but each season brings out new styles which the maker will have to understand before proper making and finishing can be acquired4 ,always master the simple and standard patterns and the minor changes dictated by fashion--new fancies and effects--will not be difficult to acquire after a little experience has been gained4 ,the lining for both sleeves should be fitted and the outside cut by them4 ,sidenote3 ,joining the ,parts ,after economical cutting1 trace the seams carefully1 and baste the outside to the lining1 basting both uppers before the under sections4 ,join the under and upper parts by pinning and basting1 the outside seam first1 beginning in the middle of the sleeve and working toward each end4 ,the outside seams should be begun at the notch at the elbow1 working toward each end4 ,where the sleeve calls for gathering the fullness should be distributed between the notches and the two portions of the sleeve should be secured at this point1 before or after basting the upper or lower portions of each sleeve4 ,illustration3 ,,finishing ,,of ,,seams ,notched at ,curves and ,bound or ,overcast4 ,stitch the seams just outside the basting1 then remove the line of basting along the seam and press4 ,trim off all rough edges4 ,the inside seam is opened and notched at the bend of the elbow and an inch or two above and below and bound with silk binding ribbon or evenly overcast with twist or mercerized cotton4 ,sidenote3 ,adding ,cuffs ,if an elaborate cuff or trimming is to be added to the sleeve1 whether full or plain1 it should be made separately and blind stitched to the faced sleeve4 ,in case the sleeve is gathered the fullness can be put into a narrow band1 the exact size of the cuff1 the cuff then sewed on the band4 ,sidenote3 ,putting in ,sleeves ,in putting the sleeve in the armhole1 be sure that both seams are at the same point1 that both have the same amount of fullness at the top1 and that the plaits or gathers are equally distributed from front to back4 ,the sleeve should be held next to the worker and should lie easy from seam to seam at the under arm4 ,baste with close1 even stitches or back stitch with coarse cotton or twist the same color as the waist4 ,stitch in the sleeves on this line of basting1 keeping the armholes curved while the stitching is being done4 ,trim off edges and finish with binding or close overcasting4 ,the most careful binding is clumsy compared to the overcast finish4 ,turn the seam toward the shoulder and hem to the lining over the shoulders4 ,this will do away with the stand-up look that sleeves sometimes have4 ,sidenote3 ,finish at ,wrist ,for the sleeve finished plainly around the wrist1 a piece of bias crinoline should be fitted at the hand4 ,to do this1 turn the sleeve right side out and slip the crinoline in the sleeve over the left hand and adjust by moving the fingers until the crinoline shapes itself to the sleeve perfectly1 then pin and baste at the top and bottom4 ,in this way the crinoline will be neither too short nor too loose and all wrinkling will be prevented4 ,turn the sleeve inside out and cut off the crinoline one-fourth of an inch from the edge1 keeping a perfectly true edge1 turn the sleeve over the crinoline1 baste the outside part of the sleeve and cat-stitch to the crinoline1 then cat-stitch the crinoline to the lining4 ,remove the lower basting and press4 ,a bias strip of silk sufficiently wide to cover the crinoline is hemmed at the lower edge and to the sleeve lining just above the interlining4 ,whenever it is possible to do so use the cat-stitch4 ,it is a neat finish1 easily and quickly done1 takes less time than hemming1 besides being less bulky4 ,if the bottom of a coat sleeve is to be left open at the back or slashed1 an interfacing of light weight canvas will be necessary4 ,turn the outside portion of the sleeve over the canvas1 care being taken to turn all corners at the slash1 and curves1 press and stitch1 face after the stitching is done4 ,it may be stitched better if the back seam is left open4 ,sidenote3 ,pressing ,sleeves ,in the coat sleeve both seams are curved and should be pressed on a curved board4 ,a rocking chair inverted1 with the rocker covered with soft cloth1 makes a good board on which to press the curved seams of a sleeve4 ,,collars ,the shaped1 standing collar is worn with waists of all kinds and is always a popular neck finish4 ,in a close-fitting collar made of heavy material an interlining of canvas or crinoline is necessary4 ,the interlining should be cut one-fourth of an inch smaller all around if the collar is to be blind stitched to the waist4 ,if it is to be sewed to the neck1 in a seam1 the lining should be the same size as the collar at the neck4 ,baste this interlining to the collar material1 cut out the corners of the material1 and hem the extended portion to the interlining4 ,the interlining should always be cut bias1 whether the outside is bias or straight4 ,hem the collar lining to the collar4 ,sidenote3 ,putting on ,collars ,to sew the collar to the neck of the garment1 first pin1 beginning at the back seam and baste towards the end4 ,the lining may be left free at the lower edge and felled over the neck edge after the collar has been stitched to the garment1 or the lining may be stitched in the seam1 the seam pressed open and a bias facing of silk or light weight material hemmed on over the seam4 ,the beauty of collars and cuffs depends largely upon the exact turning of corners and finish of ends4 ,these should never be left bulky or clumsy4 ,if preferred1 the lining and outside of collar may be seamed and turned4 ,place the right sides of outside and lining together1 the interlining next to the lining1 stitch around both ends and top of collar1 then turn and press4 ,these rules may be followed in making sailor or any lined collars4 ,collars made of all over embroidery should be faced with tape on the wrong side before the trimming is applied to cover the edge of ruffle or lace4 ,the plain or shirt waist pattern will do duty for many garments--corset cover1 night dress1 dressing jacket1 etc4 ,the upper part of the waist will answer for yoke pattern of different shapes4 ,,seamless ,,yokes ,sidenote3 ,pattern for ,yoke ,to make a pattern for a seamless yoke baste together the shoulder seams of the fitted waist pattern1 place the upper part of the pattern on cambric or stiff paper1 with the front of waist on straight edge or fold of paper1 trace the shape of the neck yoke any desired depth below the neck line4 ,the lower edge can be cut in any shape1 the neck either high or low1 round or square4 ,this perfectly fitted yoke pattern can be used for a foundation for lace1 velvet1 ribbon1 net1 or any thin material4 ,the circular yoke made of lace and ribbon or bias strips can be made to open in front or back4 ,the strips of inserting and ribbon should be basted on the paper pattern and joined by fancy stitches or over sewed4 ,the parts next the neck will need to be held fuller than the outside curve of the inserting4 ,all yokes to be worn under the gown should be made on a well-fitted lining4 ,never trust to pinning1 basting1 or hooking the yoke to the waist4 ,the finish of collar1 cuffs1 girdle and placket are hallmarks of good dressmaking4 ,well finished ends and corners1 the careful adjustment of fastenings1 shields carefully fitted to the arm's eye and caught smoothly to the lining--all these are little things that count for more than money spent in expensive ornament4 ,,pressing ,sidenote3 ,pressing ,board ,the success of the finish of every garment depends upon the pressing1 whether the material be heavy or light1 cotton or wool4 ,garments are always pressed on the wrong side1 when being made4 ,the iron used should neither be too hot nor too heavy and the work should be done on a perfectly smooth1 well-covered board4 ,for pressing black or dark cloth1 the cover of the board should be dark and free from lint1 while a perfectly clean light cover should be substituted when white or light goods are to be pressed4 ,sidenote3 ,placing the ,iron ,the whole face of an iron should never be put down on a seam or any part of a waist1 but the side or point should be used1 care being taken not to stretch a curved seam4 ,a small rolling pin1 a broom stick1 a chair rocker1 or any rounded stick well covered can be used for pressing curved seams or sleeves4 ,this lessens the danger of marking the seams on the right side4 ,these are only makeshifts2 a regular half round sleeve bound should be obtained if much work is to be done4 ,in pressing1 the iron should never be shoved or pushed1 as in ironing4 ,only heavy materials require great strength4 ,it is possible to press too much as well as too little4 ,whatever the material1 pressing is work that requires to be done carefully and slowly4 ,allow the iron to touch only the center of the seam1 the edges of the seam will not then be outlined upon the goods4 ,piled goods require infinite care4 ,uncut velvet1 crape1 etc41 should never be pressed with the iron flat on the seam4 ,the seam should be opened carefully and over the rounded surface of the board1 covered with very soft cotton flannel into which the pile can sink without being flattened4 ,run the iron with the pile1 or the iron may be placed on the side or flat end and the seams drawn slowly along the edge of the iron the same way the pile runs--only the edge of the iron touching the edge of the seam4 ,corded seams should be pressed in the same way to avoid flattening the cord4 ,sidenote3 ,wet ,pressing ,very heavy cloths and chinchilla should have a small stream of water carried along the seam1 followed by the iron2 or the seam may be dampened by a soft cloth--very wet4 ,this is the wet pressing used by tailors1 which is adapted to the requirements of materials used by them1 such as serge1 tweeds1 etc4 ,pressing on the right side under a damp cloth is apt to give marks if the cloth gets too dry or if the iron is too hot1 but is necessary on finished wool garments4 ,silk scorches easily and should be pressed very carefully with a cool iron1 light in weight4 ,some light colors fade or change in pressing4 ,try a piece of the goods before pressing the garment4 ,if the color does not come back when cold or when exposed to the light1 do not use a hot iron on the garment4 ,,construction ,,and ,,ornament ,,for ,,dress ,sidenote3 ,principles of ,ornament ,many of the principles governing architecture and art apply equally as well to art in dress4 ,both in architecture and dress1 construction should be decorated--decoration should never be purposely constructed4 ,it is by the ornament of a building that one can judge more truly of the creative power which the artist has brought to bear upon his work4 ,the general proportion may be good1 the mouldings accurate1 but the instant ornament is attempted1 the architect or the dressmaker reveals how much of an artist he is4 ,to put ornament in the right place--where it serves a purpose--is indeed difficult2 to render that ornament at the same time an added beauty and an expression of the desired unity is far more difficult4 ,sidenote3 ,purpose of ,ornament ,all decoration should be planned to enrich--not to assert4 ,all jewelry or ornament should form a note in the general harmony of color--a decorative touch to add beauty and to be subordinated to the object decorated4 ,it should serve the purpose of seeming to strengthen the whole or to protect the parts receiving most wear4 ,ornament is everywhere attempted4 ,we see ornament at every turn--good and bad alike--in our homes1 on clothes1 linen1 and kitchen utensils4 ,carlyle tells us that ,the first want of barbarous man is decoration4 ,we have no record of when this need was felt first4 ,primitive man after supplying his actual needs1 seemed to develop a longing for the beautiful1 so he ornamented his own body1 scratched rude patterns on his tools and weapons and gradually developed the artistic sense4 ,this love of ornament dates back to the beginnings of the human race and there are no records of a race or a period devoid of it4 ,sidenote3 ,errors in ,ornamentation ,we see gowns totally lacking in good results because too much has been attempted4 ,the wearer has not considered the effect as a whole1 but has gratified her liking for a multiplicity of ornaments and color which1 perhaps would be good in themselves1 if applied separately1 but which becomes an incongruous mixture when brought together on one garment4 ,garments which seem to have required great effort in the making and which appear complex in construction should be avoided1 for the effect is not pleasing4 ,the gown should set off the wearer1 not the wearer the gown4 ,to avoid committing errors against good taste it is essential first to consider the use of any garment and see if it answers the purpose for which it was designed4 ,if any part appears meaningless1 this is a sure indication that it is wanting in grace and beauty4 ,the ornament should harmonize with the materials1 use1 and construction of the object to which it is applied4 ,the color must be massed with effect and detailed with care4 ,sidenote3 ,embroidery ,there can be no ornamentation equal to that which is worked into the material1 such as embroidery4 ,the design should be appropriate in form and color and always conventional4 ,flowers are used most frequently for embroidery and passementerie and the simple1 single flowers are the most effective1 such as the daisy1 the wild rose1 and the flowers of the lily family4 ,these simple flowers are the best because they radiate from a central point1 have strong forms and decided proportions1 can be most fully expressed in a few stitches requiring the fewest shades of color1 and are admirably adapted for amateur workers4 ,sidenote3 ,flowers as ,ornament ,old ,indian stuffs1 jewelry1 and enamels are rich in suggestions of conventionalized flowers4 ,the simple1 single flowers are repeated constantly1 the daisy appearing to be the favorite in these beautiful ornaments4 ,the most beautiful of all conventional flower work1 jewel studded1 is found in samples of work of the fifteenth century4 ,they simply suggest the forms of nature4 ,the repetition of the same flower in all its aspects is more pleasing and less tiresome to the eye than a variety of flowers or figures4 ,sidenote3 ,geometrical ,designs ,we find upon analysis that the simple forms are the basis of all decorative art work4 ,geometrical designs and arabesques are the most difficult1 requiring the most exacting and careful work4 ,narrow bands1 braided1 outlined1 or chain-stitched in simple designs are effective1 easily done1 and wear well4 ,braids and any of these stitches may be combined1 making durable and effective trimming for sleeves and neck4 ,these simple designs are also appropriate for children's frocks4 ,the ,french knots are ornamental and durable4 ,all embroidery and passementerie should be rich1 close1 and continuous4 ,it should not be cut up into pieces and sewed on where it does not serve1 or appear to serve1 a purpose4 ,illustration3 ,,passementerie ,,of ,,good ,,design ,illustration3 ,,poor ,,design1 ,,weak ,,connection ,sidenote3 ,passementerie ,there is very little passementerie that is at all suitable for forming edges1 as it is not sufficiently substantial1 but when it can be found firm and of the right shade it is one of the most beautiful ornaments to edge neck and sleeves4 ,it may be allowed to extend beyond the dress material1 so that the flesh tints may show through the design1 thus gradually softening the outline4 ,often a narrow passementerie can be found with one strong edge and a good border can be made by joining the two4 ,this cannot be done where the pattern is united by a band running through the center of the ornament4 ,illustration3 ,,joining ,,narrow ,,passementerie ,,to ,,form ,a ,,border ,sidenote3 ,bands ,a band of velvet or cloth embroidered in outline stitch and ,french knots of same shade as the garment is a satisfactory edge4 ,except for yokes1 the knots should always be held together with the outline edge4 ,the rich silk braids and passementeries are made of silk wound or woven over cotton and should be used only on dresses which are not intended for hard wear4 ,such trimmings are1 of course1 inappropriate on serges and homespuns and soon become shabby if given much rough service4 ,sidenote3 ,use of ,laces ,laces1 like all trimmings1 have defined limits within which they should be used1 though they are often worn indiscriminately4 ,machine made laces1 often good in make and design1 are now very common1 but the best machine-made laces are not cheap in price4 ,sidenote3 ,design of ,lace ,handsome lace should be applied rather plainly1 as the pattern is often lost in the gathers4 ,fine laces are out of harmony with heavy or coarse materials4 ,when lace is desired for flounces that with running patterns which neither advance nor retreat1 except in the folds which may be made1 will be found most pleasing4 ,distinct objects1 such as baskets1 crowns1 vases1 etc41 which suggest weight1 are unsuitable patterns for so light a fabric as lace4 ,sidenote3 ,placing of ,decorations ,attention to details is essential in the placing of these decorations1 as in the selection or making of them4 ,the worker should take into consideration the shape and size of the bands or pieces of trimming and should note carefully the chief characteristics of the design and above all the junction of leaves1 flowers1 arabesques1 especially in the finishing of the corners of collars and cuffs4 ,sidenote3 ,simplicity and ,harmony ,those at all skillful with the use of the needle can attain the most beautiful and artistic results if right laws in color and design are adhered to1 even by the use of the simplest stitches1 for the beauty of dress lies not so much in the richness and variety of material used as upon simplicity and harmony--a fact too often disregarded4 ,sidenote3 ,the ,bow ,perhaps no ornament is more abused than the bow4 ,in order not to appear intrusive1 ribbons require the most delicate handling4 ,the only excuse for a ribbon as an ornament is when it makes a pretense of tying4 ,when used as a sash where folds or gathers are confined1 the tone of the ribbon should1 in general1 vary scarcely from that of the dress4 ,sidenote3 ,fitness of ,place ,whatever the ornament used1 whether embroidered band1 a ribbon1 a cord that laces1 a diamond pin1 or a jeweled buckle1 though it may possess great intrinsic value and beauty1 it cannot be considered of real worth as an ornament unless it fulfills the most important condition--fitness of place4 ,although the art of dress admits of innumerable variations1 like all other arts it is subject to the three rules of beauty--order1 proportion and harmony4 ,ornaments are appropriate on the hems or edges of garments where it serves the purpose of strengthening and protecting the parts most worn1 and not simply where fancy or fashion dictates4 ,sidenote3 ,natural ,centers ,the natural fastenings and fold centers should be along the axis or center of the body4 ,any jewelry1 buckle1 brooch1 or ornament used to fasten1 secure1 or strengthen these centers or to hold bands of embroidery1 collar1 or folds together should be sufficiently strong to serve the purpose4 ,there must be a reason for position and the purpose of its use must be apparent to satisfy the eye4 ,the eye is unconsciously and irresistibly drawn to these natural centers and demands some object there on which to rest--some substance from which the fold emanate--some reason for their detention4 ,if this ornament at the throat or waist fastening collar or holding folds by a girdle or clasp is omitted1 the eye is disappointed4 ,this does not mean that the ornament1 jewel1 passementerie1 or embroidery should always be placed in the axis or central line of the figure--this may be carried too far4 ,slight irregularities often give an effect to hat or gown that is charming4 ,illustration3 ,,passementerie ,,covering ,,facing ,sidenote3 ,trimming ,remember that trimming is not intended to cover up1 but to beautify and strengthen4 ,when1 for economy's sake1 it is used to cover worn places or other defects1 it must be selected and applied with great care or it will loudly proclaim its mission4 ,sidenote3 ,unity in ,dress ,trimming should mean something--whether jewelry or passementerie4 ,bands that bind nothing1 straps1 bows1 buckles1 or pins that confine nothing offend the taste4 ,a girdle should seem1 even if it does not1 to belt in fullness2 it has no use on a close-fitting1 plain waist4 ,no draperies should be invisibly held2 supply some apparent means of confining the gathers4 ,to preserve the lines of the figure there should be unity in the dress4 ,a tight-fitting skirt below a gathered waist or a full1 gathered skirt below a plain waist gives the appearance of two portions of the body instead of the oneness desired4 ,the figure should never be cut across1 either above or below the waist-line with contrasting colors1 different shades of the same color1 or bands of different texture4 ,below the waist-line the figure should suggest the elements of strength and these horizontal bands cut the lines of the figure at an angle of opposition1 destroying the rhythm and grace of the lines4 ,much experience is required in placing horizontal lines of ornament on a skirt effectively4 ,in general1 rows of tucks or ornament should diminish in width from the bottom towards the top4 ,the plain spaces should be greater than those ornamented4 ,when ornament gives absolute evenness of space division in skirt or waist the effect is apt to be monotonous and unsatisfactory4 ,the natural places of support for garments are the neck1 shoulders and waist4 ,ornamentation which emanates from these centers or when used for borders1 if appropriate in design1 is usually successful4 ,,ornament ,,of ,,textiles ,in addition to ornament added to garment1 the ornament in the textile itself must be considered4 ,sidenote3 ,appropriate ,designs ,textiles may be beautiful in weave1 but spoiled by the design4 ,quite as important as intrinsic beauty is appropriateness of pattern4 ,how often do we see woven on our curtains1 carpets1 and garment materials fans1 bunches of roses tied with ribbons--bows with long1 fluttering ends--landscapes1 snow scenes1 etc4 ,nothing is beautiful out of its place4 ,a fan suggests coolness and grace of motion1 but woven in our textiles it gives the same impression as a butterfly mounted on a pin--something perverted1 imprisoned1 or robbed of its natural use4 ,nothing is or ever can be beautiful without use--without harmony4 ,decorations on textiles are not to tell stories4 ,there is a difference between landscape painting and using landscapes as a motive for decorating textiles or pottery4 ,in one case the aim is to annihilate surface by producing the impression of distance2 in the other1 the object is to glorify the surface only4 ,sidenote3 ,advantage of ,plain ,material ,for the woman of limited income it is wiser to select plain material of good texture and weave4 ,such material is never conspicuous1 can be made over1 and is always restful and may be interesting4 ,any good textile must impress itself upon the mind by its suggestiveness and beauty of color4 ,there is a difference between what may be called artistic and decorative embellishment of textiles4 ,each has its place in the world of beauty1 but one is the poetry1 the other the prose of the art4 ,sidenote3 ,stripes ,there is a dignity and restfulness in plain material which is never obtained by varied patterns4 ,when a stripe is used to vary the material1 the style of the textile is changed1 elongated if the stripe is vertical1 and widening if it is horizontal4 ,if the main stripe is cut at right angles with a second stripe1 the textile appears more complicated and repose is lost4 ,the same is true of checks1 but no pattern is more distracting than large plaids1 especially when used for waists1 because the regularity of the design renders very conspicuous any inequalities in the shoulders or bust1 and the great variety of colors detracts from the dignity of the dress4 ,with small checks and narrow1 self-colored stripes the effect is different1 causing the texture to appear only shaded and not destroying the unity4 ,sidenote3 ,conventionalized ,designs ,on garment fabrics the ornamentation should be flat1 without shadow or relief4 ,the pattern must enhance and not mar the figure4 ,if flowers1 foliage1 or other natural objects are used for the designs1 they should be conventionalized--not direct copies of nature4 ,a figured textile requires more careful planning than plain material4 ,it may be beautiful when used properly1 but it will appear hideous if distorted in the making4 ,a conventional fleur-de-lis pattern1 or a long dash which appears and disappears when used in long1 graceful folds1 adds to the apparent height4 ,these same figures wrongly used spread out awkwardly or become distorted4 ,sidenote3 ,size of ,design ,the size of the design should be regulated by the material--small patterns being used for close1 thick fabrics and larger designs1 with more delicate colors1 for thin material of open texture4 ,thick1 heavy fabrics require rich1 warm colors and the pattern likewise should be rich and decorative4 ,velvets1 velveteens1 and heavy cloths for dresses are beautiful in themselves and should not be marred by patterns or trimmings4 ,spirals or curved lines running crosswise on textiles distort the natural curves of the figure by making seeming undulations where none should be and accentuating the prominence of hips and bust4 ,such patterns should not be used in folds4 ,,color ,sidenote3 ,texture and ,color ,much is to be considered in choosing colors and it is folly to suggest a particular shade for a person without taking into account texture of the textile4 ,though the color may be good1 the weave may destroy what might otherwise have been a success4 ,not only must color in itself be studied1 but quality of color in textiles as well4 ,a shade of red1 for example1 in dull silk or lusterless material may be most unbecoming for a woman of a certain type1 while it may be worn successfully if made in rich velvet or glossy silk4 ,some women maintain that they cannot wear green1 but nearly all can dress becomingly in this color if the shade and texture is selected carefully4 ,the same may be said of other colors for the many variations should be taken into consideration4 ,the average woman in selecting materials for gowns or house furnishings is apt to be influenced too much by details1 as she would judge the merits of a fine piece of needlework1 hence the value of good1 broad color schemes fails to appeal to her4 ,the chenille curtain1 perhaps1 suits her because it is full of complex decoration4 ,sidenote3 ,harmony ,not ,contrast ,after having determined the prevailing color of a costume1 the details should be in harmony1 rather than in contrast with it4 ,different tones of one color are more satisfactory than striking contrasts1 and even strong patches of light and shade of the same color should be avoided1 as well as patches of crude and vivid color4 ,the pleasing contrasts found in nature cease to be happy when attempted in textiles4 ,use few colors1 avoid bright shades except in small quantities4 ,all bright colors should be placed near the face1 rather than on or near the bottom of skirts or the edge of sleeves4 ,avoid strong contrasts2 the brighter the color and the greater the contrast with other colors1 the louder and cruder will be the effect4 ,no color harmony is of a high order unless it involve indescribable tints4 ,,children',s ,,clothes ,sidenote3 ,infants' ,clothing ,plainness1 purity1 softness of texture rather than elaborate ornament should be the main consideration for infants' clothes4 ,the finest and softest of ,french and ,scotch flannels1 ,french linen1 dimity1 nainsook1 and ,india silk are always dainty and they should be made up very simply with little trimming1 but that of the finest4 ,hems and seams should be small and neatly done with1 perhaps1 the daintiest beading inset by hand and feather stitched4 ,hemstitching is always beautiful1 but makes a weak spot which is apt to give out in the constant laundering necessary for children's clothes4 ,the skirt and shirt made in one piece1 with sleeves to slip into the little outside garment1 both to open down the back so that all may be slipped on at the same time without worry to either nurse or baby1 will be found a great convenience4 ,sidenote3 ,stockinet ,undergarments ,stockinet or webbing1 all wool1 partly wool1 or all cotton1 is preferred by many to the plain cloth4 ,the cotton is non-shrinkable1 easily made1 and finished4 ,this garment fabric has reached such a high degree of perfection that for infants and children of larger growth nothing better can be desired for shirts1 skirts1 drawers1 and tights4 ,it may be had in either light or heavy weight1 is easily laundered and elastic1 having all the qualities desired in undergarments4 ,garments made of this material in the manner described give perfect freedom for all organs1 besides evenness of covering for the body and lightness of weight--all important considerations in infants' and children's clothing4 ,there should be the same simplicity in construction and material in the garments of children of larger growth4 ,the design should be smaller1 more realistic and the color brighter than for grown people4 ,sidenote3 ,children's ,dresses ,for children's dresses1 the pretty ginghams in small checks1 chambray1 dimity1 serge1 flannels1 cashmere are appropriate and serviceable4 ,in making up these simple materials nothing better can be suggested than the plain1 straight waist1 fitting easily1 to which a full skirt is fastened4 ,the sleeves may be of any fashion to add variety4 ,such a frock is simple and dignified and has a certain archaic beauty and quaintness that the huge1 ugly collars and like ornament can never give4 ,with the plain body the grace of the childish form is not lost4 ,the body may be short or long1 with the trimming at the bottom or edge of the skirt4 ,the gathers fall in long lines or folds1 no element of opposition destroying the rhythm and grace of the figure contour1 when the trimming is placed at the bottom of the frock instead of several bands dividing the skirt4 ,the waist should always be wider in front than in the back4 ,the discomfort and injury caused by ill fitting garments1 graded according to age instead of according to size1 thus restricting the expansion of the chest and the play of the lungs1 cannot be estimated4 ,with the proper kind of frock a child can indulge in any game without becoming in the least disordered4 ,dresses for little girls may have drawers made of the same material1 thus permitting them the same freedom as the boys4 ,the life of the child is play4 ,unfortunate is the child whose clothing is too good to play in4 ,of course there should be frocks for gala occasions4 ,children are sensitive to color and receive much innocent enjoyment from being prettily dressed4 ,a child may be made unhappy and timid by ugly clothes1 but plainness need not mean ugliness4 ,there are many artistic and simple patterns now being put on the market and many of the ready-made frocks found in the best shops are satisfactory4 ,,care ,,of ,,clothing ,ruskin says1 ,clothes carefully cared for and rightly worn1 show a balance of mind and self respect4 ,sidenote3 ,little ,attentions ,the freshness of gown or wrap may be preserved by the little attentions bestowed upon it each time it is worn1 which take but a few minutes and mean so much in all departments of dress4 ,by carefully brushing and shaking into folds1 removing all spots1 hanging right side out1 picking and pulling straight flowers1 bows1 and ribbons as soon as removed1 adding buttons and taking up dropped stitches when needed1--all these little attentions if given promptly will keep a wardrobe fresh and in good order4 ,new braid on the bottom of skirts1 sponging and pressing1 little alterations and addition of new trimming to collar and cuffs1 will help to preserve the original freshness of the gown and cause the wearer to appear well dressed4 ,waists should be turned wrong side out when removed and allowed to air near a window4 ,shields should be cleansed with alcohol and water4 ,ribbons should be rolled up immediately when taken off and if treated in this way will last much longer and look much daintier4 ,clothing if moist and dusty and tossed into a dark corner of a closet or trunk can never appear fresh again1 and will betray the character of the wearer4 ,it is not the wearing of clothes which tells so sadly upon them1 but the manner in which they are cared for4 ,a few garments nicely made1 well fitted and properly cared for are far preferable to twice the number of inferior quality and make4 ,sidenote3 ,ruffled ,skirts ,skirts of thin material having ruffles around the bottom should be hung upside down by loops sewed under the ruffles at the seams4 ,by hanging in the opposite direction from which they fall when worn1 ruffles regain their freshness4 ,sidenote3 ,packing ,away ,clothing ,all clothing for the season should be put away in perfect order to be ready for any sudden emergency which may arise4 ,no clothing of any kind should be stored for the season without thorough cleaning and repairing where necessary4 ,garments that are outgrown should be disposed of1 instead of packing them away4 ,wool garments should be carefully brushed and hung in the sun to remove and destroy any eggs of moths which may be present4 ,they may be hung in tight cotton bags or packed in tight boxes with all openings posted over as a protection against moths4 ,tailors' boxes which come flat are not expensive and are useful for this4 ,they should be plainly labeled with their contents4 ,sidenote3 ,folding ,garments ,to fold1 lay all articles on the bed or table and fold on the seams if possible4 ,particular attention should be given to sleeves and collars4 ,coat lapels should be turned to lie flat1 collars turned up1 and the coat folded directly through the center seam4 ,skirts and coats with bias seams are not improved by hanging as the bias parts are apt to stretch out of shape4 ,sidenote3 ,remove ,pins ,no clothing should be put away for the night1 even1 without first removing all steel pins1 as the least dampness may cause rust spots4 ,sidenote3 ,hangers ,clothes forms and hangers are so inexpensive that every gown and coat should have its own4 ,skirts should be hung exactly on the form and no part of the band should be allowed to sag4 ,if fancy waists are put in drawers or boxes1 they should have the sleeves filled with tissue paper and the collars and bows should be pulled straight4 ,,cleaning ,large garments require the greatest care in handling and in order to be done successfully1 they should be sent to the professional cleaner4 ,sidenote3 ,fruit and ,wine ,stains ,all stains and spots should be removed as soon as possible4 ,fruit and wine stains may be removed by stretching the fabric over a vessel and pouring boiling water through the cloth from a height of a foot or two4 ,the water must be boiling4 ,sidenote3 ,ink ,stains ,ink stains can be taken out of clothing by dipping the cloth in milk1 squeezing the blackened milk into one dish and dipping immediately into clear milk until the stain has disappeared4 ,then finish by washing the cloth in warm water and in soapy water to remove the fat in the milk4 ,sidenote3 ,iron ,rust ,iron rust may be removed from linen and cotton by using lemon juice and salt4 ,wet the spot with the juice of a lemon1 cover with salt and lay in the sun1 repeating the operation until the stain is removed1 then rinse out the lemon and salt thoroughly4 ,this of course cannot be used on colored fabrics1 as it fades the color4 ,sidenote3 ,grease ,spots ,grease is one of the worst foes to garments and the greatest care is needed to remove such spots from delicate fabrics4 ,if not done at once1 the dust and grease together often prove ruinous4 ,when the color and fabric will not be injured by it1 warm water and soap is the best agent1 otherwise absorbents may be used4 ,french chalk or magnesia powdered1 placed upon the spot1 and allowed to remain for a time will often absorb the grease effectually4 ,if the first application is not effective1 brush off1 and apply again until the spot disappears4 ,where water can be used without injuring the cloth1 the chalk or magnesia can be made into a paste and spread over the spot4 ,when dry1 brush off with a soft brush4 ,in removing fresh grease spots1 blotting paper with a warm iron may often be used effectively4 ,if the heat changes the color of the cloth1 the iron should be held above the goods4 ,sidenote3 ,blood ,stains ,blood stains may be removed by making a paste of starch and applying it to the spot4 ,several applications may be necessary4 ,sidenote3 ,solvents ,sidenote3 ,cleaning ,garments ,sidenote3 ,soap and ,ammonia with ,gasoline ,only the best and purest benzine1 naphtha1 gasoline1 and turpentine should be used for cleaning garments4 ,for removing paints from coarse cloth1 pure turpentine is useful1 while for silks1 velvets and woolens1 benzine1 naphtha and gasoline are to be preferred4 ,the secret of success in the use of any of these cleansing agents lies in immersing the garments in large quantities of the liquid4 ,not less than a gallon should be used for a waist and two gallons will do the work far more satisfactorily4 ,an effort should be made to remove all the worst spots before immersing the whole garment4 ,those which have not disappeared should then be marked with white thread1 colored thread may leave a mark4 ,it is a good plan to enclose the spot with a line of basting4 ,soak the garment for some time in the liquid1 then soap all spots thoroughly and rub gently between the hands until they disappear4 ,finally wash and rinse the garment in clear liquid and hang in the open air until all odor has passed away4 ,soap may be used freely with gasoline with good effect4 ,some professional cleaners use a little of the strongest ammonia in their gasoline tanks4 ,the goods should be shaken well and all folds pulled out straight with the threads of the goods4 ,velveteen1 corduroy1 and like piled fabrics can be cleaned successfully if not too much worn1 but no amount of cleaning will restore the pile that is worn off4 ,if allowed to stand until the impurities have settled and the clear liquid poured into clean bottles1 it may be used for a number of times4 ,this should always be done in the open air4 ,chloroform may be used for cleaning the most delicate silks1 though this is rather expensive4 ,sidenote3 ,absorbing ,pad ,whenever any of these liquids are used to remove spots alone1 the spots should be placed upon a soft pad of several thicknesses of old cloth or blotting paper to absorb the surplus liquid and the spot should be rubbed from the outside towards the center4 ,a hole may be cut in very soft cloth or blotting paper and placed around the spot to absorb the solvent around the stain and prevent the dark ring being formed4 ,the cloth should be rubbed lightly and briskly until it is dry4 ,if the fabric is light colored1 a sponge or a soft piece of light cloth should be used1 while for dark fabrics1 the cloth used for rubbing the spot should also be dark and free from lint4 ,the rubbing should be done lightly so as not to wear or injure the texture of the fabric4 ,the blotting paper or cloth underneath should be changed frequently until the spot has entirely disappeared4 ,sidenote3 ,cleaning ,velvet ,velvet hats and bonnets1 after all trimming is removed1 may be cleaned by repeated dippings in benzine or gasoline4 ,the vessel used should be large enough to hold a sufficient quantity of the liquid to completely cover the hat4 ,of course all dust should be carefully brushed off and all folds ripped and loosened before putting the hat into the liquid4 ,the secret of success lies in having the article entirely free from dust and using a large quantity of the benzine or gasoline4 ,sidenote3 ,before ,sending to ,cleaners ,before sending out garments to be dyed or cleaned1 be sure that they are in good condition4 ,all worn places should be mended carefully and all buttons should be removed4 ,garments that are ripped should have all cut threads pulled out and be free from dust4 ,dust silk fabrics with a piece of clean flannel and woolen material with a brush or broom4 ,,repairing ,sidenote3 ,economical ,mending ,fabrics are so much cheaper and so much easier to obtain that patching has almost become one of the lost arts4 ,the twentieth century woman feels that her time is too valuable to be spent in mending the old clothes and that she can better afford to buy new4 ,however that may be1 no one disputes the utility of mending4 ,like so many other duties1 mending is half done when well begun4 ,a well made garment of good material should not be discarded when slightly worn1 for a patch well put in or a neat piece of darning detracts in no way from the value of a garment and may even be a work of art4 ,the children's clothes particularly should be kept in good order1 for they are made uncomfortable by wearing garments that are out of repair1 to say nothing of the demoralizing effect upon their characters4 ,sidenote3 ,laundering and ,repairs ,laundering is the great ally to tears and not only doubles the size of the hole1 but pulls the threads apart so that it is impossible to make the mended place neat and smooth1 therefore all clothing should be mended before washing4 ,stockings and woven underwear are much worn by the rubbing on the washboard and thin places going into the washing frequently come out as holes1 so that it is true economy of effort and time to run or darn the thin places before they are worn through4 ,it requires much less time and the garments last longer4 ,it is a good plan1 especially in knees of stockings and knitted underwear1 to baste a piece of fine net over a worn or broken place and darn over it4 7,see ,darning47 ,thread used for darning should be as near as possible the size of the threads in the garment4 ,darning cotton1 linen1 wool1 and silk of all shades can be bought1 so that the problem of matching is no longer a difficult one4 ,sidenote3 ,boys' ,trowsers ,in mending the knees of boys' trousers a round patch should never be used4 ,the seams should be ripped and the piece set in then1 if the seams are pressed well1 the patch will scarcely be noticeable4 ,sidenote3 ,sleeves ,when bodices are worn under the arm1 rip the seams and set in a new under arm piece4 ,a good plan for one whose dresses are apt to wear through quickly is to have the under arm pieces and the adjacent parts of the front made of two thicknesses of the goods2 then1 as the outside wears through1 the edges can be hemmed down or taken into the seam4 ,sidenote3 ,table ,cloths ,when table cloths begin to wear in the middle fold or along the edge of the table1 a few inches cut off one end and one side of the cloth will change the fold and the place where it falls over the table and give it a new lease of life4 ,if the hem is turned down once and cat stitched1 it will resemble the selvage more than a twice turned hem4 ,sidenote3 ,lengthening ,garments ,in repairing or lengthening garments that have become too short1 much can be done by adding to the bottom of the skirt and sleeves material of different texture4 ,a cloth or serge skirt may be lengthened by facing with velvet of the same shade1 covering the line of sewing with cord1 braid1 or passementerie of the same shade or black4 ,there should be an underfacing of light-weight crinoline to make the bottom of the skirt firm and to give strength4 ,the same facing and passementerie may be used at neck and sleeves4 ,sidenote3 ,extension ,hem and ,tucks ,thin gowns of lawn1 dimity1 etc41 can be lengthened with a faced or extension hem1 the line of sewing to be covered with feather stitch or any of the fancy stitches of white or colored thread4 ,if the lawn or dimity has a colored figure1 the embroidery silk or cotton may match this4 ,under skirts and drawers may be lengthened in the same way or rows of tucks may be added4 ,sidenote3 ,waist ,repairing ,in waist repairing1 the sewing silk should match the material4 ,set the patch into the seams when possible and trust to careful pressing4 ,if the material begins to wear near the end of the bones1 cut off the bones an inch and take in the dart or seam4 ,if the silk wears off around the hooks and eyes1 move them along ever so little4 ,make a virtue of worn out seams by taking them in and covering them with fancy stitching4 ,if the garment is lined1 the outside should be carefully basted to the lining before stitching to take in the seam4 ,it has been said that silk waists are serviceable as long as the upper parts of the sleeves remain good4 ,if garments have not been well cared for from the first and beyond a certain point1 making over is poor economy4 ,never attempt cleaning and making over old clothes unless the material is good enough to make it worth while to do the work well4 ,sidenote3 ,mending ,baskets ,the mending basket is an important adjunct of mending and should be well supplied with darning cotton of all colors and sizes1 good ,english tape1 black and white1 of different widths1 linen tape1 bias tape1 different kinds and sizes of needles1--sewing1 darning1 shoe1 carpet1 and tape needles4 ,sidenote3 ,use of ,tape ,for repairing bands and facings1 where buttons have been torn off by wringer or iron1 and for strengthening weak places1 tape is invaluable4 ,it saves the time required to turn in the edges of the cloth and is less clumsy and bungling4 ,sidenote3 ,use of ,judgment in ,mending ,the mender should use good judgment as to the amount of work to be applied to each garment4 ,she should substitute the machine needle whenever possible and not put tiny stitches by hand into half worn garments or in unseen places4 ,ripped tucks and bands can be sewed in a few minutes on the machine4 ,serviceable darning can be done on the machine4 ,before putting away freshly laundered clothes it is a good plan to take out the clothes already in the drawers and lay the ones washed last on the bottom1 thus all garments will wear alike1 each article in its regular turn4 ,,bibliography ,home and ,school ,sewing1 ,frances ,patton1 74#fj1 postage #f;c74 ,school ,needlework1 ,olive ,c4 ,hapgood1 74#ge1 postage #f;c74 ,sewing ,course for ,schools1 ,mary ,schenck ,woolman1 7#c4ej1 postage #bj;c74 ,progressive ,lessons in ,needlework1 ,catherine ,f4 ,johnson1 74#ij1 postage #h;c74 ,sewing and ,garment ,drafting1 ,margaret ,l4 ,blair1 7#a4be1 postage #aj;c74 ,manual of ,exercises in ,hand ,sewing1 ,margaret ,l4 ,blair1 7#a4be1 postage #aj;c74 ,dressmaking ,up to ,date1 ,butterick ,pub4 ,co41 74#be1 postage #h;c74 ,note3 ,the above books may be borrowed1 one at a time1 by members of the ,school4 ,send the postage given with request4 ,they may be purchased if desired4 ,,test ,,questions ,the following questions constitute the written recitation which the regular members of the ,a4 ,s4 ,h4 ,e4 answer in writing and send in for the correction and comment of the instructor4 ,they are intended to emphasize and fix in the memory the most important points in the lesson4 ,,textiles ,,and ,,clothing ,,part ,,iii ,,read ,,carefully4 ,to make this test of greatest value to you1 write fully from your personal standpoint and experience4 ,try as many methods given in the text as your time will allow so that you may ask for explanation if the descriptions are not clear to you4 ,methods are many2 if you do not agree with these given1 suggest better ones4 #a4 7a7 ,what are the requisites for good dressmaking8 7b7 ,how does dressmaking differ from white sewing in make1 finish1 and ornamentation8 #b4 ,from your point of view what do you consider a successful garment8 #c4 ,give methods of altering patterns4 #d4 ,give briefly the cutting and making of a wool garment from patterns3 7a7 waist1 7b7 sleeve1 7c7 skirt1 7d7 collar1 including methods of stitching1 pressing and finish1 stating how patterns should be placed on lining and outside materials4 #e4 ,how may pressing be done to give the best results8 ,what garments require little or no pressing1 and why8 #f4 7a7 ,state some of the principles and purposes of ornament4 7b7 ,what is your idea of ornament applied to garments8 7c7 ,give some errors in ornamentation not named in text4 #g4 ,cut from magazines illustrations showing your idea of good and faulty ornamentation in dress4 ,give reason for your opinion4 #h4 ,illustrate in some way1 either by picture1 drawing1 embroidery1 braid1 or stitching1 some design appropriate for ornament work on neck or sleeve4 #i4 ,where should ornament be placed1 and why8 #aj4 7a7 ,give your idea of appropriate design on textiles4 7b7 ,the advantage and disadvantage of plain materials4 #aa4 ,make a color card of silk1 wool1 paper or raffia showing colors that contrast4 7b7 ,colors that harmonize4 #ab4 ,what colors do you find satisfactory for your own wear1 and why8 #ac4 ,what materials are best suited for infants' garments8 7b7 ,what can you say in regard to children's clothing8 #ad4 ,what is your opinion of the care of clothing8 7b7 ,what experience have you had in cleaning 7a7 cotton1 7b7 wool1 7c7 linen1 7d7 silk1 7e7 velvet8 #ae4 ,do you consider it economy to repair garments8 ,can you suggest better methods than those given in the text8 #af4 ,if possible make some garment1 shirt waist1 skirt1 or simple dress while studying this lesson and describe in detail how you went about it1 the result1 time taken1 total cost4 ,tell why you selected the design1 the color1 the material4 #ag4 ,have you found the ready made garments satisfactory in underwear and dresses8 #ah4 ,tell of some of your failures in dressmaking and give the reasons for your lack of success4 #ai4 ,what methods1 new to you1 have you tried in connection with this lesson8 ,what questions have you to ask8 #bj4 ,can you add any suggestions that would be helpful to others in this work8 #ba4 ,wherein have the lessons been of practical value to you8 #bb4 ,for ,teachers4 ,draw up an outline for a course in sewing to combine two considerations3 7a7 adaptability to the child's interests and capacities1 7b7 orderly sequence in the technical part4 ,note3 ,after completing the answers1 sign your full name4 ,,references3 ,,ornament ,,and ,,design ,bachelder--,principles of ,design in ,america4 7#c4jj47 ,brown--,history of ,decorative ,art4 7#a4be47 ,carter1 ,mrs4 ,h4 ,j4--,historic ,ornament in ,color4 7#ae;c4 a sheet74 ,prang4 ,clifford--,period ,decoration4 7#c4jj47 ,crane--,claims of ,decorative ,art4 7,out of print47 ,crane--,line and ,form4 7#b4be47 ,daniels--,teaching of ,ornament4 7#a4ej47 ,day--,application of ,ornament4 7#a4be47 ,day--,nature in ,ornament4 7#d4jj47 ,day--,ornamental ,design4 7,out of print47 ,day--,planning of ,ornament4 7,out of print47 ,day--,decorative ,design of all ,ages4 7#j4dj47 ,day--,ornament and ,its ,application4 7#c4be47 ,day--,ornamental ,design1 ,anatomy of ,pattern1 ,planning of ,ornament4 7#c4jj47 ,day--,some ,principles of ,everyday ,art4 7,out of print47 ,glazier--,manual of ,historic ,ornament4 7,new edition in press47 ,hulme--,birth and ,development of ,ornament4 7,out of print47 ,jones--,grammar of ,ornament4 7#ah4jj47 ,prang--,art and ,ornament in ,egypt4 7#a4ej47 ,note--,the books out of print may be found in some public libraries4 ,,references3 ,,history ,,of ,,costume ,earle--,costume of ,colonial ,times4 7#a4be47 ,earle--,two ,centuries of ,costume in ,america1 #b vols4 7#b4ej each47 ,evans--,chapters on ,greek ,dress4 7,out of print47 ,fairholt--,costume of ,england1 #b vols4 7#a4ej each47 ,hill--,history of ,english ,dress4 7,out of print47 ,mc,clellan--,historic ,dress in ,america4 7#aj4jj47 ,planchet--,history in ,british ,costume4 7#a4ej47 ,quegly--,what ,dress ,makes of ,us4 7#a4be47 ,racinet--,costume4 7#b4jj47 ,rhead--,chats on ,costume4 7#a4ej47 ,schild--,old ,english ,peasant ,costume from ,boadicea to ,queen ,victoria4 7,out of print47 ,,supplementary ,,program ,,arranged ,,for ,,class ,,study ,,on ,,textiles ,,and ,,clothing ,,meeting ,i 7,study pages #a-ei7 ,,primitive ,,methods ,endeavor to obtain a ,colonial spinning-wheel in working order1 and get some one to operate it4 ,if possible1 obtain samples of weaving done on a hand loom4 ,examine a hand-loom if possible4 ,they may be seen at the manufacturers of rag and remade carpets4 ,references3 ,woman's ,share in ,primitive ,culture1 ,mason1 ,chapter ,,iii1 ,the ,weaver4 7#a4ge1 postage #af;c47 ,colonial ,days in ,old ,new ,england1 by ,earle4 7#a4be1 postage #ab;c47 ,,textile ,,fibres ,collect an exhibit of raw fibres and fibres in process of manufacture4 ,send to the ,u4 ,s4 ,department of ,agriculture1 ,department of ,botany1 ,washington1 ,d4 ,c41 for small samples2 to manufacturers of thread2 to friends in manufacturing towns4 ,test the various fibres by burning4 ,examine under a microscope with a small hand-glass1 if greater power cannot be obtained4 ,try warm acid--sulphuric1 hydrochloric1 or oxalic--on the fibres2 let the fibres dry4 ,also try a solution of caustic soda on the fibres4 ,references3 ,the ,textile ,fibres1 by ,matthews4 7#c4ej1 postage #af;c47 ,textile ,fibres and ,cotton ,fibre1 pamphlets of the ,american ,school of ,correspondence4 7#ej;c4 each1 postage #d;c4 each47 ,send for all the ,government ,bulletins mentioned in the ,bibliography1 page #ajd4 ,note that the free bulletins are obtained simply by addressing the ,department of ,agriculture1 ,washington1 ,d4 ,c41 but the sale bulletins only by sending coin or money order to the ,superintendent of ,documents1 ,washington1 ,d4 ,c4 ,,meeting ,,ii 7,study pages #ei-ajb7 ,,modern ,,methods ,visit a textile mill if possible1 after studying the text4 ,practice home dyeing4 ,read carefully the directions given by the manufacturers of the dyes4 ,see the booklet ,diamond ,dyes1 to be obtained at many drug stores1 or send for it to ,wells ,richardson1 ,burlington1 ,vermont4 ,references3 ,text-books of the ,american ,school of ,correspondence--especially ,textile ,chemistry and ,dyeing4 7,parts ,i1 ,,ii1 ,,iii1 and ,,iv1 postage #d;c4 each47 ,the ,dyeing of ,textile ,fabrics1 by ,hummell4 7#a4ge1 postage #ab;c47 ,bleaching and ,calico ,printing 7containing samples71 by ,duerr4 7#d4jj1 postage #ad;c47 ,,weaves ,,and ,,fabrics ,show as many different kinds of weaves as possible4 ,separate the threads and examine under a hand microscope4 ,get the local dry-goods or department store to co-operate with you in getting up an exhibit of samples of standard goods--cotton1 woolen1 worsted1 linen1 and silk4 ,label each sample with the width and price4 ,test some of the samples of wash goods for fastness to washing and light1 by washing in warm water and soap 7or boiling in the soap and water7 and expose to sunlight all day for three or four days4 ,keep a part of each sample for comparison4 7,select a composite set of answers to the ,test ,questions on ,part ,i and send to the ,school1 with report on the supplemental work done and ,meetings ,i and ,,ii47 ,,meeting ,,iii 7,study pages #ajg-abc7 ,,sewing3 ,,plain ,,stitches ,send to manufacturers for samples showing the process of manufacture of pins1 needles1 etc4 ,demonstrate different ways of making the same stitches2 discuss best methods4 ,,embroidery ,show how all the embroidery stitches are made4 ,get up an exhibit of all kinds of embroidery1 including ,oriental1 ,japanese1 old samplers1 etc4 ,have members make ,model ,i1 ,first ,series4 ,references3 ,home and ,school ,sewing1 by ,patton4 7#j4fj1 postage #f;c47 ,school ,needlework1 by ,hapgood4 7#j4ge1 postage #f;c47 ,manual of ,exercise in ,hand ,sewing1 by ,blair4 7#a4be1 postage #aj;c47 ,topic3 ,educational ,value of ,sewing in the ,public ,schools4 ,methods4 ,see ,a ,sewing ,course1 by ,mary ,s4 ,woolman1 ,introduction 7#c4ej1 postage #bj;c471 and ,the ,teaching of ,domestic ,science in the ,united ,states of ,america1 by ,alice ,ravenhill1 pages #i-aj1 #dc-df4 7#j4ge1 postage #ab;c47 ,,meeting ,,iv 7,study pages #abc-afe7 ,,hems1 ,,seams1 ,,fastenings1 ,,darning1 ,,patching ,have all members make models ,,ii1 ,,iii1 ,,iv1 and ,v4 ,previously assign members to furnish models or examples of all other hems1 seams1 fastenings1 patches1 darns1 etc41 illustrated or described in the text1 and as many more as possible4 ,,machine ,,sewing ,get the local sewing machine agent to give a demonstration of the workings of the attachments of the machine4 7,select models and answers to ,test ,questions on ,part ,,ii and send them to the ,school1 with a report of ,meetings ,,iii and ,,iv47 ,,meeting ,v 7,study pages #afg-bjj7 ,,dressmaking ,get the local dry-goods or department store to lend different kinds of dress forms4 ,show how patterns are altered to suit the figure4 7,see text and ,dressmaking ,up to ,date47 ,as many as possible cut out and begin making a simple shirt-waist or skirt4 ,show finished garment at next meeting1 giving accurate account of cost and time spent4 ,references3 ,dressmaking ,up to ,date1 ,the ,butterick ,co4 7#j4be1 postage #h;c47 ,sewing and ,garment ,drafting1 by ,margaret ,l4 ,blair4 7#a4be1 postage #ab;c47 ,,meeting ,,vi 7,study pages #bje-bbh7 ,,construction ,,and ,,ornament ,,in ,,dress2 ,,color ,collect illustrations showing good and faulty ornamentation4 ,procure samples of fabrics showing good and faulty ornamentation4 ,make a color card showing contrast and harmony of color4 7,see ,question #aa47 ,references3 ,see list on pages #bcd and #bce4 ,,children',s ,,clothing ,get up an exhibit of simple and satisfactory clothing for children1 including color1 material1 style and make4 ,discuss children's clothes in reference to laundering4 ,,care ,,and ,,repair ,,of ,,clothes ,show examples of successful repairing4 ,try some of the methods of cleaning4 7,see1 also ,chemistry of the ,household pages #gc-hd47 7,select answers to ,test ,questions on ,part ,,iii and send them to the ,school1 with report on ,meetings ,v and ,,vi47 ,,index ,adulteration of linen1 #hg ,alpaca1 #ij ,altering sleeve patterns1 #aid ,angora wool1 #ci ,aniline dyes1 #gi ,arrow heads1 #abc ,back stitch1 #aab ,basting1 #ajh ,bibliography1 #ajc1 #bbi ,bleaching1 #gh ,bobbin1 #ai ,boning waist1 #aib ,bow1 the1 #bjh ,burling1 #hc ,bust form1 #afh ,button holes1 #ada large1 #ade making1 #add ,buttons1 sewing on1 #ade ,carding1 #ei ,care of clothing1 #bai ,cassimere twills1 #gc1 #ge ,cat stitch1 #aaf ,catch stitch1 #aaf ,chain stitch1 #aaf ,checks1 #bac ,children's clothes1 #baf1 #bag ,cleaning1 #ei1 #bba ,collars1 #aih putting on1 #aii ,color in dress1 #bad ,colors1 mordant1 #gi ,combing1 #fj ,conventional designs1 #bac ,costumes1 references1 #bcd ,cotton1 #bi boles1 #cb fibers1 #cd ,cotton goods1 #he home of1 #cj ,nankin1 #cd sea island1 #cj upland1 #cj ,cross stitch1 #abj ,cuffs1 #aif ,cutting table1 #afh ,darning1 #aee on machine1 #aeh over net1 #aeg ,decorations1 placing1 #bjh ,distaff1 #ab ,double cloth1 #gg ,draped waist1 #aib ,drawing tapes1 #adj ,dressmaking1 #afg ,dyeing1 #gh home1 #hj ,dyes1 aniline1 #gi ,dyestuffs1 natural1 #hj ,embroidery1 #bjd as ornament1 #bjd eyelet1 #abb shadow1 #abc stitches1 #aad ,extension hem1 #bbg ,eyelet embroidery1 #abb ,eyelets1 #adi ,fabrics1 #he list of1 #if-ajb names of1 #id primitive1 #bg width of1 #ic ,facing1 bias1 #ada skirt1 #agi ,fastening the thread1 #aji ,fastenings1 #ada ,feather stitch1 #aah ,fibers1 #bi cotton1 #bi flax1 #dc silk1 #ec wool1 #cg ,finishes1 #aci ,finishing skirt1 #agi seams1 #aif waist1 #aib ,finishing1 woolens1 #hc ,fitting1 #agc1 #aic sleeves1 #aij waists1 #aij ,flax1 #dc fibers1 #dg hackling1 #dd1 #dg ,flocks1 #hc ,folding garments1 #bbj ,french hem1 #abg knots1 #aai seam1 #aca ,fulling1 #hc ,fur1 #dj ,gathering1 #aaa1 #ach ,gathers1 whipped1 #abg ,gauging1 #aab ,gigging1 #hc ,gingham1 #hf ,grease spots1 #abb ,hand sewing1 #ajg ,harmony in dress1 #bae ,harness1 the1 #gj ,heddle1 #ag ,hemp1 #ej ,hem stitch1 #aah ,hems1 #abc bias1 #abd faced1 #abd flannel1 #abg ,french1 #abg folding1 #abc ,hems1 rolled1 #abf ,herringbone stitch1 #aaf ,home dyeing1 #hj ,hook and eyes1 #adg ,hydroscopic moisture1 #db ,jacquard loom1 #gj ,joining lace1 #afj ,jute1 #ej ,knit goods1 #gb ,lace1 design of1 #bjh ,laces1 use of1 #bjg ,laundering1 #bbe ,lengthening garments1 #bbf ,linen1 #hf adulteration of1 #hg characteristics of1 #dg ,lining1 cutting1 #ahh ,loading silk1 #ef ,looms1 #ag ,colonial1 #ai1 #ba1 #bb development of1 #ai diagram of1 #bc fly shuttle1 #bf four harness1 hand1 #ba ,jacquard1 #gj ,japanese1 #bj modern1 #be1 #fi ,navajo1 #ah ,swedish hand1 #bd ,loop stitch1 #aaf ,madder bleach1 #gh ,machine darning1 #aeh sewing1 #afb ,mending1 #hc1 #bbe ,mitering embroidery1 #aeh ,modern methods1 #ei ,mohair1 #ij ,mordant colors1 #gi ,muslin1 #he ,nankin cotton1 #cd ,natural dyestuffs1 #hj ,olona1 #ec ,ornament1 #bjc embroidery as1 #bjd fitness of1 #bji flowers as1 #bje of textiles1 #bab ,ornamental stitches1 #ajh1 #aad ,ornamentation1 errors in1 #bjd ,outline stitch1 #aad ,overcasting1 #aad1 #adb ,oversewing1 #aac ,packing clothing1 #bbj ,passementerie1 #bjf ,patching1 #adi ,patterns1 #aga altering1 #agc cloth1 #agd lengthening1 #agc pinning1 #agf placing1 #agf selection of1 #aga testing1 #agd use of1 #agb ,picking1 #ei ,piled fabrics1 #ia ,plackets1 #ace faced1 #acg ,plaids1 #bac ,plain material1 #bab ,plush1 #gg ,pressing1 #bja board1 #afh1 #bja wet1 #bjb ,primitive methods1 #c ,printing1 #ha block1 #ha machine1 #ha warps1 #hb ,ramie1 #ej ,raw silk1 #ef ,reed1 #ai ,reeling silk1 #ed ,repairing1 #bbe ,retting flax1 #de ,roving1 #fa ,running stitch1 #aaj ,sateen weave1 #gi ,satin1 #ia stitch1 #aba ,scouring agents1 #da ,sea island cotton1 #cj ,seams1 #abh beaded1 #aca felled1 #abh flannel1 #ace ,french1 #aca lapped1 #acc slot1 #aca ,serges1 #hh ,seven-gored skirt1 #agb ,sewing1 hand1 #ajg machine1 #afb ,sewing machines1 #afb care of1 #afb types of1 #afb use of1 #afd ,shadow embroidery1 #abc ,sheep1 #ci ,shirt waists1 cutting1 #ahb plan for making1 #ahc ,shuttle1 #ai ,silk1 #ec artificial1 #eh boiling off1 #ef fiber1 #ec loading1 #ef1 #ij production1 #ec raw1 #ef twilled1 #ia ,silk1 wash1 #ia ,silk worm1 #ed ,silks1 #ij ,singeing1 #gh ,skirt1 #agb band1 #agi ,skirt binding1 #ahj braid1 #ahj making1 #agg placket1 #agh plan of making1 #agc stiffening1 #agh ,sleeve making1 #ahc patterns1 #aid ,sleeves1 cutting1 #aid1 #aie finish of1 #aig pressing1 #aih putting in1 #aig ,slip-stitching1 #abe ,slot seams1 #aca ,speck dye1 #hc ,spindle1 #f whorl1 #f ,spinning1 #c1 #ei primitive1 #c wheel1 #ab with spindle1 #f ,stains1 #bba ,stitches1 #ajg ornamental1 #ajh1 #aad plain1 #ajg ,stockinet undergarments1 #baf ,stripes1 #bac ,stroking gathers1 #aaa ,table linen1 #hg ,teazels1 #hc ,textile arts1 origin of1 #c ,textiles1 #he1 #bab design of1 #bab list of1 #if1 #ajb ornament of1 #bab weaves1 #gb ,texture1 #bad ,trimming1 #baj ,tweeds1 #hh ,harris1 #hi ,twills1 #gd ,cassimere1 #gc1 #ge uneven1 #ge ,tucked waist1 #ahe ,tucking1 #ajh ,tucks1 #abh ,unity in dress1 #baa ,upland cotton1 #cj ,velvet1 #ib weave of1 #gg ,velveteen1 #ib ,waists1 #ahe lined1 #ahf plan for making1 #ahg repairing1 #bbg tucked1 #ahe ,wash silk1 #ia ,warping1 #fi ,weave1 #gb diagrams1 #gc plain1 #gc basket1 #gf double cloth1 #gg rib1 #gf sateen1 #gf twill1 #gd velvet1 #gg ,weaving1 #ad1 #fi ,wet ,pressing1 #bjb ,wheel spinning1 #ab ,whipping stitch1 #aac ,whorl1 spindle1 #f ,widths of fabrics1 #ic ,wool1 #cg characteristics of1 #cg fiber1 #cf quality of1 #ch scouring1 #dj sorting1 #dj value for clothing1 #cg ,woolens1 #hh ,worsteds1 #hh ,yokes1 #bj