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HE best-dressed women in the world have their clothes made for them, on lines that are suited to their type, and in colors and materials that emphasize their good points and minimize their weak ones.

Women of wealth and fashion go to Paris for their clothes. The woman of moderate means can not go to Paris nor can she have her clothes made for her. The only way that she can be really well dressed is to make her clothes herself. She too can exercise her taste and discrimination in choosing the correct fashion, the new material, the charming color, the line that will make her look young, slender and elegant. And like the woman who wears French dresses, she can have clothes that are cut to fit her figure, that are not too long in the shoulder, too big under the arms, too low in the waist, or too short at the elbow.

OMEN are so well trained in economics nowadays they will readily understand that in making their own clothes they pay for the bare materials and nothing else, and so effect a tremendous saving which is further increased by the fact that they can buy a better quality of fabric that will lengthen the life of their clothes.

With the present simple styles dressmaking was never as easy as it is now. Compared to the elaborate trimmings of the "awful Eighties" and even the whalebone and crinolines of later date, the extreme simplicity of the dresses of to-day has reduced the work of dressmaking to its lowest possible terms. Trimming is so often in the form of effective but bold, easily executed embroidery, braiding, etc., for which you get the newest French designs in, the special Butterick publication on this subject. , and the  illustrate the latest French way of using the new trimmings and the little finishing touches that give a dress a Parisian look.

The object of this book is to enable a woman to make her clothes with the same perfection of finish, the same attention to detail that she would receive in the atelier of a French dressmaker or in the workrooms of a Fifth Avenue establishment.

The success of a dress depends on four things: style, material, construction and finish.

HE first is line or style. This you get from Butterick Patterns, which give you French fashions adapted to the needs of well-dressed American women. It does not give you conspicuous, ephemeral extremes. For example, when the French mannikins wore dresses which reached just below the knees at the same time that certain American manufacturers of ready-made clothes were making the very long lead-pencil skirt, Butterick Patterns kept to the smart conservative length of skirt used by the best-dressed Parisians and New York women. You can absolutely rely on the styles given you in Butterick Patterns.

An interesting collection of the latest Paris and New York fashions appears each month in and, and at the beginning of each season in. You get every phase of the new fashions including the Parisian conception of the French modes as sketched from the models of Worth,

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6 Paquin, Poiret, Doucet, etc., to the simple practical versions prepared for American women.

ECOND, the materials and colors which change every season stamp a dress with its year mark. The new materials which are suitable for your dress, blouse, suit, etc., are given on the Butterick Pattern envelope. This information is also given every month in the and every season in, where you see the actual colors and color combinations on the color pages.

N THE third place, your dress must be cut and put together and finished with professional skill and precision.

THE DELTOR, the very wonderful complement of the Butterick Pattern, shows you in pictures how to cut the garment and put it together and tells you how it should be finished. The Deltor shows you in its Illustrated Layouts exactly how to place each size of each version of the pattern on material of every suitable width. The Layouts show how the pieces of the pattern can be laid out so as to use the least possible amount of material to give the right style effect. If it is necessary to fold the material the Layouts show where to fold it so that it will cut without waste. With the Deltor it is possible to give what is known as "trick-lays"—that is, layouts planned by expert cutters, which save an eighth, a quarter or half a yard of material over the layout that a woman could plan for herself. With an inexpensive material these "trick-lays" save the price of a pattern, while with expensive material the saving amounts to two, four, six dollars or even more. With the saving made possible by the Deltor the pattern itself costs nothing.

The Layouts give the correct position for each piece of the pattern in relation to the selvedge so that it will be cut on the right grain of the fabric. If a garment is cut on the wrong grain it will have a bad style effect.

The Illustrated Layouts save the woman the work of planning the cutting of her material. She simply copies in five minutes a layout that is the result of several hours' work on the part of an expert. It saves her time and gives her the benefit of an expert cutter's knowledge of grains and cutting lines.

The Butterick Illustrated Instructions are a series of pictures which show you how to cut and put your dress together step by step. For example, in making a skirt the first picture will show you just how to put the pieces together, match the notches and just where to baste the seams. Another picture shows you how to make the inside belt down to the last hook. Still another puts the skirt on the belt for you. There is no possibility of misunderstanding. You don't have to read directions—you simply follow the pictures. The Butterick Pattern is the only pattern in the world that has this remarkable picture guide. It isn't necessary to know anything about dressmaking when you have the Deltor. A beginner can drape the most elaborate skirt or put together a tailored coat as expertly as a dressmaker or a tailor, for the simple reason that highly skilled professionals show her each step in the illustrations. They show you how to make clothes by pictures in the same easy, absorbing way that a movie tells you the story of the play.

N THE fourth place, your dress must have the correct finishing touches which are so characteristic of the French gown. All women dread the "home-made look." It is always traceable to one of two things. Either a woman does not know how to finish her dress smartly or she is unwilling to spend the proper time in doing so. You can not get something for nothing. You can get the equivalent of a French dress by substituting your own work for the price that you would pay a French dressmaker if you supply yourself with the same information possessed by the French dressmaker. The Deltor will tell you just what kind of finish to use at every point and will show you how these finishes are done. This book will give you every possible phase of finishing every type of garment. It is given in a simple, fully illustrated form that a beginner can follow without the slightest difficulty. But nevertheless it represents the methods used by the great French dressmaking houses, the best English tailors and the fashionable Fifth Avenue establishments. For that reason it will be invaluable to the madame who is ambitious for the success of her business and to the home dressmaker who can not afford to go to the madame.

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RESSMAKING, like any other form of work, will srivc Ihe host results when it is done with the best equipment. "Best" does not mean the most expensive. A three-dollar pine table of the right height and size for sewing and cutting is a better table for dressmaking than a fifty-dollar mahogany sewing-table just big enough to hold your scissors and work-basket.

THE, SEWING-ROOM. Every woman who sews or who has sewing done at home should have a light, well-equipped sewing-room. It need not be large, but it should have a good light by day and the artificial light should be properly placed and shaded. The floor should be covered by a clean sheet or linen drugged—sometimes called a cram-cloth. This covering keeps light-colored material from becoming soiled, and also enables you to leave the sewing-room in perfect order at the end of the day, for all the scraps and threads can be picked up in the cloth.

The room should be furnished with comfortable, straight chairs and a table large

enough to lay out a skirt or coat for cutting and sewing. If it is a regular sewing-table, you can keep your shears, pins, etc., in the drawer. (Ill. 1.) The table should have a smooth, hard, even surface and should be of comfortable height, so you can sit at it with your feet under it as you would sit at a writing-table. Never sew with your work on your lap. It makes you sit in a fatiguing position, strains your eyes and back, and stretches and crumples your work. Lay your sewing on the table, letting the table support its weight.

A big chest of drawers is useful, one drawer for buttons, boxes, hooks and eyes, etc., another for patterns and a third for left-over pieces of materials. Keep all pieces of material as long as the garment is in use, in ease you wish to mend or alter it. There should be hooks on the wall, coat and skirt hangers, and a silkoline curtain to draw over dresses, etc., that are left hanging overnight.

SHEARS AND SCISSORS. Dressmaking shears should be about nine or ten inches long. Never use scissors for cutting. The shears should be kept well sharpened, so that they will cut a clean, even edge and not fret and chew the material. The best shears for

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8 dressmaking are known as the "bent" shears. (Ill. 1.) They are bent in this way so as to raise the material as little as possible in cutting and so prevent the under layer from slipping in cutting two thicknesses of material. Do not buy a heap, poor pair. Good steel will last for many years. Do not use your shears for cutting threads, etc. You will need a pair of scissors and also a pair of buttonhole scissors.

WEIGHTS. When your material is laid out smoothly on the table for cutting, it should be held in place by four round iron weights weighing one or two pounds. (Ill. 1.) You can get them at the stationer's. Or you can use the same sort of weights you use for your kitchen scales.

PINS, NEEDLES, ET CETERA. Clean, unbent pins are important. Small pins are better than large, and fine steel pins should be used on silk or any material that will mark. Never push a pin through a fabric. Use the points only and take up as little of the material as possible.

You will need a thimble that fits correctly, needles of all sizes, basting cotton, different colored cottons for marking tailors' tacks, tailors' chalk, a yard-stick, emery for polishing needles, and a tape-measure. Learn to use your tape-measure accurately, for one of the points of fine dressmaking is the difference between an eighth of an inch and a quarter, a quarter of an inch and three-eighths.

The needle must be in proportion to the thread and to the texture of the material on which it is to be used. It should be just large enough for the thread to slip through the eye easily and heavy enough not to bend when it is put through the material.

Complete information concerning irons and articles for pressing will be found in Chapter 32 "Pressing."

THE SEWING-MACHINE should be of a good, reliable make. You will get full directions with it, and in using it be careful to observe the correct tension, length of stitch, etc. Tucking, gathering, hemming, binding, etc., can be done on a machine.

THE DRESS-FORM. It is necessary in dressmaking at home to have a perfect duplicate of your own figure on which you can try your clothes as you make them.

Buy a dress-form one size smaller than your bust measure. (Ill. 2.) If you have a thirty-six-inch bust, buy a thirty-four-inch dress-form. The stand should be on casters so that you can move it around and turn it easily. It is not necessary for you to have a wire skirt frame. Buy a waist-lining pattern reaching down to about the hips, buying it by your bust measure. (Chapter 2, pages 10 and 11.)

Cut the lining from unbleached muslin or natural-colored linen or duck. The material should be of a firm, strong quality so that it will not stretch and it should be thoroughly shrunken before it is used. In cutting the lining out, cut one sleeve.

Put the lining together according to the Illustrated Instructions given with the pattern, making the closing at the center front.

The lining should be tried on directly over your corset so as to get as close a duplicate of your figure as possible. In using the finished dress-form remember that it represents your figure without lingerie. Dress the form in the lingerie that you usually wear.

Make the necessary alterations at the outlet seams, fitting the lining very carefully.

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Rh THE LINING—The coat is now ready for the lining. Place the coat on the table with the shoulder seams open and baste the lining back to the inside of the coat with the underarm edges along the underarm seams.

Baste the lining front to the inside of the coat. Turn under the underarm edges and baste them over the back. Turn under the front edge and baste it over the facing, allowing a little ease in width. Turn under the bottom of the lining and place it one-half an inch from the bottom of the coat, basting the lining to position one-half an inch from the edge. After the lining has been basted in position stitch the shoulder seams of the coat and press the seams open. (Chapter 32.) Turn to the outside of the coat and baste the shoulder seams to the canvas.

THE COLLAR—The under section of the collar for a coat should be of under-oollar cloth which can be purchased at any tailors' trimmings store, and comes in gray, brown, blue and black at about twelve or fifteen cents a collar. In purchasing this cloth any store of this kind has a form for a notched collar which they lay on the material and cut just the amount required for the collar. This piece of material must be sponged. (Chapter 6.)

Cut the under collar like the pattern. Join the back edges and press the seam open. After pressing, trim off the edges of the under collar three-eighths of an inch. Baste a piece of canvas (cut bias) over the collar and baste along the crease roll. The stand of the collar, which is the part near the neck up as far as the crease roll, should be held together with rows of machine stitching, making the rows one-eighth of an inch apart. (Chapter 12, page 59.) The turnover part of the collar is held together by padding stitches (Chapter 12, page 59), using the same method as in making the lapel. Press the collar into shape, stretching the bottom of the stand from three-eighths to one-half an inch and the outer edge about one-quarter of an inch.

Fold the collar along the crease roll, canvas side up. and press it into shape. Trim off the edges of the canvas all around to within one-eighth of an inch inside of the edges of the under collar. The collar can now be basted to the coat. Baste the neck edge of the collar to the neck edge of the coat three-eighths of an inch from the edge and overhand the collar in place with fine overhand stitches. (Chapter 16, page 82.) Then turn to the inside and catch-stitch the neck edge of the coat to the collar. The upper end of the tape along the crease roll of the lapel which extends over the neck edge should be sewed to the collar inside the crease roll. This presents the roll line at the neck from stretching.

The top of the facing should be turned in and slip-stitched along the top of the lapel and along the outline at the bottom of the collar.

The over-collar should now be basted over the collar along the crease roll and about one-half inch from the outer edge, making sure that there is plenty of size in the over collar when the collar is rolled back. Turn under the edges of the over collar except the neck edges between the shoulder seams even with the edges of the under collar and baste. Fell the outer edges of the under collar to the collar. Slip-stitch the lower edge of the collar along the top of the facing. Baste the shoulder edge of the lining back to the seam of the coat. Turn under the shoulder edge of the lining front and baste it over the lining back. Turn under the neck edge and baste it over the collar edge.

The buttonholes are made with eyelets. (Chapter 24, page 113.)

POCKETS—Directions for making different types of pockets used on boys' and mens' clothes are given in Chapter 22.

BATHROBES, HOUSE JACKETS. UNDERGARMENTS OF ALL KINDS, SLEEPING GARMENTS, ETC.—In making any of these garments follow the Deltor or Illustrated Instructions given with the pattern. Each of these types of garments should be finished according to the style and the purpose for which it is to be used. In all these garments for boys and men it is important that every detail of the work be done neatly and accurately and according to the directions given with the pattern.

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164 extending it to the notches in the lower edge of the fly pieces, including in the seam the seams of the fly pieces below the notches. Press this seam open and baste over it, flat on the inside, a piece of tape or a bias strip. Stitch from the outside a row on each side of the seam. Turn the end of the tape over and hem neatly down at the end of the fly stitching. On the outside, at the end of the fly opening, make a strong stay-stitch or bar, to keep it from tearing out.

THE TOP EDGE of the trousers is turned over a seam, and a strip of lining stitched to it, then basted down in a faced hem. A band, with the buttonholes worked in it with stout thread or twist, is basted over this faced hem, and from the right side stitched through both facing and band at the lower edge and the ends. A strong tack thread should catch the band and the facing between the buttonholes.

THE LOWER EDGE of each trousers leg is hemmed by hand with invisible stitches.

BLOUSES or the coats of suits vary considerably in style. It is best to rely on the Deltor or Illustrated Instructions for making and finishing.

A STRICTLY TAILORED COAT for a man or boy is made in very much the same way as a strictly tailored coat for women except that the effect is even more tailored. The best tailors in New York give a well-tailored and mannish look to a coat by the methods given below.

For this style of coat it is very important to know how to baste in the canvas, face the front of the coat and put in the lining before joining the shoulder seam. Not until this has been done should the collar be basted to the coat. These are the fine points of tailoring and should be followed closely in coat-making.

THE CANVAS IN THE COAT FRONT. In basting the canvas to the front of the coat, the canvas should not be basted from the canvas side, but the coat should be placed over the canvas and the two basted together from the outside of the coat. This is done to prevent making the canvas too short which would cause the coat to pucker.

THE CANVAS AND CLOTH IN THE LAPEL OF THE COAT ARE HELD TOGETHER by padding stitches. The method of making these padding stitches is shown in Chapter 12, page 59. Hold the lapel over the hand with the canvas side up and start the padding stitches a little back of the crease roll at the neck and gradually taper them to the crease roll at the front of the coat. The stitches are then worked outward to the edge of the lapel. The canvas in the front of the coat and the lapel is then trimmed off three-eighths of an inch from the edge.

TO PREVENT THE FRONT EDGES OF THE COAT AND LAPEL FROM STRETCHING use a narrow linen or cotton tape which has been thoroughly shrunken, placing it along the front edge of the coat and the lapel. (Page 60, Illustration 102.) Place the tape a good three-eighths of an inch from the edge, so that later when sewing on the facing the tape will not be caught in the facing sewing. Also sew a tape one-eighth of an inch in in back of the crease roll of the lapel, starting the tape about an inch from the front edge of the coat and extending it one inch above the neck edge. When a soft roll in the lapel is desired the tape along the crease roll is omitted. When the tape has been sewed on carefully the fronts are pressed and the lapels pressed back.

THE FACING—The method of putting on the facing is the same as for the ladies' coat. (Chapter 12, page 61.) Turn up the hem at the bottom of the coat and turn in the bottom of the facing even with the coat and baste. Baste the back edge of the facing to the canvas and catch-stitch it. Fell the lower edge to position.

THE SEAMS—When using a material which ravels easily the seams should be overcast if the coat is lined. (Chapter 16, page 82.) If the coat has a half or full skeleton lining the seams should be bound. (Chapter 17, page 88.) The back edge of the facing and the hem at bottom of the coat should also be bound.

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The Moths of the British Isles/Chapter 13

The members of this sub-family of Arctiidæ occurring in the British Isles are not numerous; we can only muster some fifteen species, and although a few are not uncommon, several are exceedingly local.

The moths of the genus Lithosia, when resting, fold their drab or buff-coloured wings down closely along the body, and they then have a very elongate and stiff appearance which probably gave rise to their English name "Footmen." Most of them are very inactive, or even torpid during the daytime. They repose on the branches and leaves of trees and bushes, or among heather and other low herbage, and often fall to the ground when disturbed. At dusk they become active and then fly pretty briskly.

The caterpillars are very hairy, the hairs arising in tufts from warts (tubercles) are usually short, but in some species are of moderate length. The majority hatch from the egg in the late summer, and do not complete their growth until the following year, about May or June. Some of them are known to be more or less active through the winter. In a state of nature most of the caterpillars feed on lichens growing on trees, bushes, rocks, or on the ground, but many kinds in confinement will thrive on a diet of lettuce or even withered leaves.

In all cases the chrysalids are enclosed in silken cocoons, and these are spun up among the lichens, in crevices of bark, or other suitable crannies.

When newly emerged from the chrysalis this moth is black on all the wings, but it soon loses its early velvety sheen and becomes sooty in appearance; the last rings are orange, but all the rest of the body is black; the thorax also is black, but the part nearest the head, termed the collar, is red, hence the common English name Red-neck moth given to it by Harris (1778). Haworth called it the "Black Footman."

The caterpillar is greyish, more or less freckled with ochreous; three lines along the back, the central one whitish, the others black and interrupted; the hairs arising from reddish warts are brown or greyish brown. Head black. It feeds from July to October on lichens, chiefly those growing on fir and oak, but also on beech, and on old palings. Chrysalis, glossy dark red-brown in a tight-fitting cocoon of silk mixed with the hairs of the caterpillar; spun up among the lichen. The moth is shown on Plate 92, Figs. 5, 6, and the caterpillar and chrysalis on Plate 93.

The moth is on the wing in June and July; in forward seasons as early as the end of May. On a sunny afternoon it may be seen careering around trees, generally pretty high up. When resting the moths sit about on the trees or on the herbage under them. In some years it occurs in large numbers, but it is not usually very abundant, and sometimes even in its best localities only a few specimens will be seen during the season. It frequents woods, especially the larger ones, throughout the southern half of England up to Norfolk on the east, and Hereford on the west. In the northern counties it is rare, and is not common in Scotland or Ireland.

Abroad, its range is through Central and Northern Europe, except the extreme north, to Dalmatia, Altai, and Amurland.

This delicate little moth has the semi-transparent fore wings pale greyish, faintly tinged with brown; crossed by irregular brownish lines; the hind wings are paler, shaded with a darker tint on the outer margins. Occasionally all the wings have a smoky tinge. The moth is shown on Plate 95, Figs. 3, 6, and the caterpillar and chrysalis on Plate 94, Fig. 2.

The caterpillar is greyish, with a broad whitish or yellowish stripe along the back, divided down the centre and edged by blackish lines; a velvety black mark on ring seven; raised warts and hairs dark greyish. Head black, shining; face yellowish. It may be found in April and May, after hibernation, on rocks, stone walls, especially those formed of loose cobbles or shale, trees, bushes, and even gate posts. I have beaten them from an old hawthorn hedge bordering a damp meadow in Middlesex, and collected them in numbers from the hollows of field boundary walls in North Devon. They feed on the tiny lichen that grows in such places as those indicated. The green, or yellowish-green chrysalis, is enclosed in a rather loose muslin-like silken cocoon, and is not difficult to obtain, especially from walls. It appears to be pretty generally distributed throughout England and Wales, except perhaps the midland and eastern counties; it occurs in the east and west of Scotland. In Ireland it is common, and often abundant, locally.

Distribution: Northern and Central Europe.

As indicated by the English name given to it by Haworth, the wings of this moth are rounder in outline than those of the Muslin, also named by Haworth. In general colour it agrees with that species, but it differs in having a larger central dot, and the cross lines are represented by blackish dots which, however, are not always well defined (Plate 95, Figs. 1, 4).

The caterpillar, as described by Buckler, is deep reddish-grey, thickly covered with hairs which are of two kinds; the majority are pale brown with black points and slightly feathered, others are longer, black, and densely feathered with soft pale-brown plumage. Head black and shining. It feeds in August and, after hibernation, in May on lichens and mosses growing on the ground in marshes and fens. It is known to eat Peltigera canina, and the mosses Hypnum sericeum, and Weissia serrata. Although occurring, in July and August, in marshy places in several parts of Southern England and Wales, it is especially common in fen land. In such localities as Wicken, for example, it flies at early dusk in hundreds all over the fen on favourable nights, but if there happens to be a breeze the moths will not leave their retreat among the herbage. Later on in the night, if on the wing, they readily assemble around a brightly burning lamp, and are satisfied to sit on the herbage illuminated by its rays. In Northern England it is known to be not uncommon in some districts of Yorkshire, and it probably occurs in other counties also. There appears to be only a single record each from Ireland and Scotland.

The fore wings of this pretty little moth are ochreous yellow tinged with pink; the front and hind margins are bright pink, in some cases approaching vermillion; the markings are bluish black; hind wings rather paler. It varies in the amount of black markings, which are sometimes almost absent, and in colour ranges from yellow to orange. (Plate 95, Figs. 2, 5.)

The caterpillar is dark drab covered above with blackish, mouse-coloured plumed hairs; on rings one and eleven the plumose hairs are replaced by short simple ones; the hairs of the side tufts are plain. Head brown, the cheeks outlined in black (adapted from Hellins). Lichens growing upon the stems and branches of trees supply this caterpillar with food, and it seems to nibble on all favourable opportunities throughout the winter. It hatches from the egg in August, and is full grown in May. Boden, writing in September, 1896 (The Entomologist) noted that some caterpillars had then attained the perfect state, while others were still feeding, and he adds that the caterpillars actually attacked and ate up the moths. Although there seems to be few records from the Midlands, this species appears to be widely distributed over England as far north as Yorkshire. In Ireland it has been recorded from Claring Bridge and East Galway. The moth is out in July. It is a wood-loving insect, but is also found on heaths, and even in lanes and the borders of fields when plenty of trees occur in such places. It may occasionally be beaten out of trees and bushes in the day time but it is on the wing at dusk, and although it is a high flier, specimens come within reach now and then. Light and sugar both attract it. The species ranges through Central and Northern Europe, and in Asia to Japan.

Varies in colour from yellowish buff to creamy white, the colour on the margins always deeper; the rows of black spots on the fore wings are usually well defined, but sometimes those of the two central series are very faint, or quite absent, whilst an unusual number appear in the outer marginal series, Occasionally black scales appear on the veins, connecting the spots, and forming the figures more or less distinctly; such forms are known as var. signata, Borkh. The moth appears in June and July. (Plate 95, Figs. 7, 9.)

When resting, the moth hangs from a blade of grass, or leaf of some plant; it then has a very transparent appearance. Barrett suggests that this gave rise to the English name it now bears, and by which it was known to Haworth and entomologists of his time.

Buckler and Hellins describe the caterpillar as blackish-brown above, and dark-reddish grey or purplish grey on the sides; a series of yellow spots along the middle of the back, then a white and yellow interrupted line, followed by a light yellow stripe under the spiracles; raised spots blackish, some white; hairs blackish brown. Head black.

It feeds, in the sunshine, on the black and yellow lichens growing in the haunts of the species, which are edges of cliffs and rough stony places near the sea, and also on hillsides. The species occurs, perhaps, more abundantly on the Kentish and Sussex coast than inland, but it is certainly not confined to the cliffs at Dover and Folkestone in Kent, or at Ventnor, Isle of Wight. Among inland localities for it are Box Hill, Ranmore, Reigate, and other places on the Surrey hills. It has also been recorded from the Cotswolds in Gloucestershire; the Isle of Man; St. Davids, South Wales; Aberdeenshire, Sutherlandshire, and the Tweed, Tay, Clyde, and Argyll districts in Scotland. For Ireland, Kane gives Mayo; "Ardrahan, County Galway, and west through the Burren of Clare, widely spread."

Fore wings pale creamy white, the margins yellowish: a black dot near the costa, and another below near the inner margin; hind wings suffused with blackish grey. Rarely the fore wings are yellow with a whitish central shade, and the hind wings are yellowish. (Plate 95, Figs. 8, 10.)

The caterpillar is velvety blackish grey; warts thickly set with densely feathered blackish hairs. Feeds in April and May, after hibernation, on lichens growing among heather. In confinement it will, according to Buckler, eat heather and fresh or withered leaves of sallow.

Fairly well distributed over England. It appears to be absent from Ireland, but in Scotland it is known to occur in the Clyde, Solway, and Moray districts, and has been recorded from Aberdeenshire. In the South of England it affects heaths and the more open woods; sometimes not uncommon in such places. The moth, in June, may be disturbed from bushes, or put up from the heather as one walks through. As the sun goes down it may often be seen on the wing, but later in the evening is its chief time of activity. In Lancashire and Cheshire it is found on the mosses, and Cannock Chase in Staffordshire is a noted locality for it. Still obtained in Chippenham fen, but Barrett states that it is now supposed to be extinct in the fens of Wicken, Yaxley, and Burwell, in all of which it used to abound.

The sexes of this species are very different in appearance. The fore wings of the male are grey tinged with yellowish, except on the outer fourth; the basal fourth is yellow. The female is larger and yellow in colour; each fore wing has two black spots, sometimes unusually large, sometimes mere dots, and more rarely absent altogether. (Plate 95, Figs. 11, 12.)

Caterpillar blackish with four wavy yellow lines along the back, the spaces between the lines powdered and freckled with yellow giving a grey appearance; raised spots on the back red, those on the sides greyish; a black cross on rings three, seven, and eleven; hairs grey mixed with black. Head black and glossy. It feeds, after hibernation, in May and June, on lichens, preferring those upon oak trees. In the breeding cage it is apt to eat its companions, especially when many are crowded into a small receptacle. (Plate 94, Fig. 3.)

The moth emerges in July, and during that month, and sometimes in August, it may be seen on tree trunks; but it more often reposes on the branches, from which it may be dislodged by jarring the boughs with a stick, when it drops rather than flies towards the ground, but generally manages to arrest its downward course by catching hold of a spray of bracken or some other plant and there awaits capture. Night is the usual time of flight, but it is on the wing at dusk. It is partial to "sugar" and has been known to visit flowers.

This species has been recorded from a large number of localities in England extending from the Scilly Isles to the Scottish border. From the circumstances connected with many of such captures one is led to suspect that the insect has migratory habits. In England the most favoured locality is the New Forest in Hampshire, where it abounds in some seasons, but is quite scarce in others. It occurs, more or less regularly, in the larger woods in Dorset, extending into Devon; also in Sussex ranging into Kent, but is only occasionally common in either of these counties. Generally considered to be uncommon in the eastern counties, but has been reported to occur in large numbers at Aldeburgh in Suffolk. The localities given in Kane's catalogue of the Lepidoptera of Ireland are Killarney, Timoleague, Co. Cork, Curraghmore (abundant), Lismore, Borris, Co. Carlow, and Clonbrock. To these may be added Dublin, and Nenagh, Co. Tipperary.

Distribution: Central Europe, Southern Sweden, Livonia, Dalmatia, Armenia, Amurland, Corea, and Japan.

Fore wings, ochreous grey, tinged with yellow on the basal half of the front margins; hind wings paler, becoming greyer on the outer area; fringes of all the wings yellow. The male is fairly constant in colour, but the female sometimes has a distinct yellow stripe on the front margin of the fore wings extending to the fringes (var. ochreola, Hübn.); more rarely in the New Forest (?), and in the Isle of Purbeck a form occurs with the fore wings orange buff, and the hind wings only slightly tinged with grey (var. unicolor, Bankes). (Plate 97, Figs. 1-3.)

Caterpillar, greyish, or greenish grey, freckled with darker, hairs grey inclining to brownish; a broad creamy or yellowish stripe, edged with black and traversed by a dark central line along the back. Head blackish and glossy. From August to June on lichens growing on stems and branches of yew, oak, and beech.

A local species, and although recorded now and then from several other parts of the country, and once from Killarney in Ireland, seems to be pretty much confined to the counties of Surrey, Sussex, Hants, Dorset, and Devon. The moth, which is out in July, rests during the day upon the boughs and among the foliage of oak, beech, and yew, the latter especially in the Dorking district of Surrey.

Distribution: Central Europe, Southern Scandinavia, Livonia, Northern Italy, Roumelia, and Russia.

Haworth's English name for this moth was the "Dun Footman." In its typical form the fore wings are pale greyish with a yellowish front edging; the latter most distinct towards the base; the hind wings are whitish ochreous more or less suffused with grey. The pale form, var. flava, Haw. = stramineola, Doubl. at one time considered a distinct species (the Straw-coloured Footman of Haworth), has pale straw-coloured fore wings and white ochreous hind wings. (Plate 97, Figs. 4, 5.)

Caterpillar, sooty brown, with a darker line down the middle of the back and an interrupted yellow or orange line or stripe on each side of it; dark brown hairs arising from dark warts; head glossy black (described from a skin). It may be looked for in the spring months on the lichens affecting alders and sallows growing in fens and marshy places. (Plate 98, Fig. 2.)

The moth is abundant in the Cambridge and Norfolk fens, and is common in boggy places in the New Forest, but it probably occurs in all suitable places throughout England and Wales. It does not seem to have been observed in Ireland, but has been recorded from Moray in Scotland. The yellow variety, which by the way is not known to occur abroad, is found, with the ordinary form, chiefly in the Norfolk fens and in the New Forest; but it is also to be obtained, though less frequently, in Surrey (Weybridge district), Berkshire (Reading district), and still more rarely elsewhere. It is out in July.

Distribution: Central Europe, South Russia, Ural, Altai, Amurland, Corea, Japan, and West Africa.

Fore wings, leaden grey with a yellow stripe terminating in a point at the tip of the wing; the hind wings are pale ochreous yellow. It appears in July, sometimes at the end of June.

Caterpillar, dark greyish covered with blackish hairs arising from black warts on the back, and yellowish hairs from similar coloured warts on the sides; three black or blackish lines on the back, and an orange stripe along the sides from the fourth to eleventh rings; head black. August to June. Generally supposed to feed, in a state of nature, on lichen growing on trees and bushes. It has been reared on the foliage of sallow, apple, and oak; also known to eat buckthorn, clematis, dogwood, etc. I have occasionally beaten it from old hedgerows, and have frequently seen it on trunks of poplar and ash upon which not much in the way of lichen could be seen. Such caterpillars, when taken, have almost invariably spun up soon afterwards. The moth is shown on Plate 97, Fig. 6, and the early stages on Plate 96, Fig. 2.

This species is perhaps the commonest and most generally distributed member of the genus in England. It becomes much less frequent in northern pasts of Lancashire, and in Yorkshire it is local, but recorded as common in the south-east of that county. It occurs in Scotland, whence it has been recorded from Clydesdale, Aberdeenshire, and Moray. Kane states that it is common near Galway, and also gives Castle Bellingham, Clogher Head (not rare), and Athlone as Irish localities.

Distributed over Europe, except the extreme north, Andalusia and Southern Italy; the range extending to Asia Minor and Armenia. In Amurland, Corea, and Japan, it is represented by coreana, Leech.

Very similar in appearance to the last species, the yellow stripe along the front edge of the fore wings, however, does not terminate in a point, but is continued through to the fringes; the hind wings are sometimes distinctly yellow, and with but little, if any, greyish shading on the front area. (Plate 97, Fig. 7.)

Caterpillar, brown or brownish grey above, and paler beneath; a white-edged black line along the middle of the back, and a row of orange spots, alternating with whitish ones, on each side of the line; the orange spots faint or absent on rings one to three; an interrupted yellow or orange stripe along the sides; the brownish warts are thickly studded with short greyish brown hairs. Head black and glossy (described from a skin). From August to June. The most usual food is probably lichens on trees, but it is said to eat moss, knot-grass, clover, and the flowers of bird's-foot trefoil, etc. (Plate 96, Fig. 3.)

The moth is out in July and part of August, and may be disturbed in the daytime from its resting-place among heather and low herbage. It is on the wing in the dusk of the evening, and when the weather is favourable, flies freely. As it has a weakness for sweets, it should be looked for at night, by the aid of a lantern, on the flowers of knapweed and thistle. It chiefly affects heaths, but it is also found in woods, and on sandhills by the sea, as in Norfolk. A local species, but usually to be more or less frequently met with in all the eastern and southern counties, and in some of the midland. Rare in Wales, Cheshire, Lancashire, and York. Only doubtfully recorded from Scotland. In Ireland it is widely distributed, and, according to Kane, not uncommon where it occurs.

Gregson named and described this insect in 1860, and in the following year Guenée described it as L. molybdeola. It seems to be peculiar to England; and only occurs on the mosses of Lancashire and Cheshire. The fore wings are somewhat narrower and darker in colour than those of the Scarce Footman; and the hind wings are suffused, to a greater or lesser extent, with dark grey. Some entomologists maintain that this is probably only a small form of L. complana. According to Mr. Pierce it cannot be specifically separated from that species or from L. pygmæola by the genitalia, the usual test in such matters. Prout, however, has stated that Speyer, in 1867, pointed out structural differences, not only in the shape of the wings, but also in the size of the costal tuft of scales on the underside of the fore wings. It should be added that there does not seem to be any material difference between the caterpillar of complana and that of sericea. Anyway, the question of form or species may here be left open. The fact of the Northern, or Gregson's, Footman being an exclusive British production invests the insect with an importance greatly above that attaching to the majority of our moths. The moth is depicted on Plate 97, Fig. 8.

Ochreous white, sometimes tinged with greyish, or with yellowish; hind wings clouded with greyish on the front area. Female almost always smaller than the male. The fore wings vary a good deal in the matter of colour, the extremes being yellow and dark grey. (Plate 99, Figs. 3, 4.)

Buckler describes the caterpillar as brown on the back, with a central thick black line, and two dark brown lines; sides paler brown, with a dusty white line along the spiracles; the warts (tubercles) with short brown hairs, and the head black. August to June.

This extremely local little moth was unknown as an inhabitant of Britain until 1847, when it was described as L. pygmæola, by Doubleday in the Zoologist for that year, and noted as having been found among rushes on the coast of Kent. Two years later the insect was again referred to, and it was then stated to be confined to a "space of about four hundred yards in extent, on the coast of Deal." It then became known as the "Deal Footman." During the past seventy years or so large numbers have no doubt been removed from this locality, which is the only British one it was known to occur in. It is still to be found there, although said to be less common than formerly. In the Entomologist for September, 1912, this species was recorded as not uncommon on marram grass growing on the Norfolk coast.

Some present-day entomologists still incline to the opinion that the moth is a distinct species, and not a local race of lutarella, which is found throughout Central and Eastern Europe; ranging to South Scandinavia, Finland, and eastward to Siberia and Amurland. The var. pygmæola has been obtained in Holland.

Fore wings silky whitish grey with a yellowish streak along the front edge; the hind wings are whitish with a faint yellowish tinge. Some of the specimens are entirely whitish (var. lacteola, Boisd.). July and August, sometimes earlier. (Plate 99, Figs. 1, 2.)

Caterpillar greyish brown, with a black line along the back, and a series of irregular orange marks, representing stripes, on each side of it; these orange marks are outwardly edged with black; an orange line low down along the sides; warts greyish or brownish, each bearing a tuft of short pale hairs. Head blackish, shining, notched on the crown, and studded with pale bristles in front. Fed on lettuce from April 30, the date they were received from Mr. Walker of Torquay. They were then quite small, the largest not more than half an inch in length. They pupated in June, and the moths emerged in July, all fine specimens. (Plate 98, Fig. 1.)

In the open the caterpillar feeds upon the black lichens growing on rocks, etc., by the sea; also upon Dutch clover (Trifolium repens), kidney vetch (Anthyllis vulneraria), and bird's-foot trefoil (Lotus corniculatus).

This species was not known to occur in any part of the British Isles until August, 1861, when the late Mr. C. G. Barrett took four specimens on the Hill of Howth in Ireland (vide Ent. Annual, 1862, p. 106). A large number were subsequently captured or reared from caterpillars obtained in the same locality by others. Kane ("Cat. Lep. Ireland") remarks that the colony flourished at Howth for many years, but that the species seemingly perished in the severe winters of 1878 or 1879, and unless a specimen taken in 1890 was this species, has not since been seen there. The only other Irish locality from which it has been recorded (August, 1866) is on the coast near Waterford. Torquay, where the species was first observed in 1864 is now a noted locality, and it is said to occur in certain spots along the coast to Babbicombe. Other localities in Devon are Dartmouth, Torcross, and Bolt Head. Barrett found the species rarely in two places by the sea in South Pembrokeshire, and mentions Rye in Sussex, and Romney Marsh in Kent, as localities where specimens have occurred.

Mr. J. Walker informs me that the moths fly at dusk, and that they all seem to get active at almost the same moment, and settle again in the same way at the end of their first flight, which lasts about half an hour. After dark the rays of an acetylene lamp directed downwards into the bushes will attract them from their retreat. Occasionally they visit "sugar."

Abroad this is a southern species, but its range extends to Western Germany, the Tyrol, Switzerland, and South Hungary, as well as to England; also to Asia Minor.

This moth is orange yellow on the fore wings, and a paler shade of the same colour on the hind wings. Except that the tint is brighter in some specimens and darker in others, there is nothing to mention in the way of aberration. (Plate 99, Figs. 6, 7.)

The caterpillar is white on the back with five black stripes, the outer ones broader than the others; all these stripes are broken up by brownish patches, and they fail to show at all on the eighth ring, which, therefore, is conspicuously white; the sides are smoky grey marked with white on the second and third rings; the warts are reddish, bearing smoky grey hairs. It may be found from July to September on the lichens growing on the trunks of oak trees. The moth does not appear until the following May or June, when it may be beaten from branches. Not uncommon in the woods, chiefly oak, of Norfolk, Suffolk, Essex, Kent, Surrey, Hampshire, and Dorset; it also occurs in Cambridgeshire and Sussex. In Berkshire and Bucks it is fairly common, but seems to affect the beech woods in those counties. Recorded from Ireland by Birchall, who stated that it was abundant at Killarney.

The fore wings are pale grey suffused with pale reddish-brown except on the costal area: there are six black dots, two before the middle of the wing and placed above the inner margin, and four beyond the middle in an oblique series from the costa; the hind wings are pale brownish-grey, becoming somewhat darker towards the apex. (Plate 99, Fig. 5.)

Caterpillar velvety blackish-brown, marbled with reddish-grey; stripe along middle of the back, and a line on each side of it deep black; warts and hairs brown, the latter short but numerous; a pair of red spots on ring one, and another pair on ring twelve; beneath the spiracles is a fine reddish-grey line; under surface pinkish grey; head small and blackish (Buckler). So far it has escaped detection in its fenny home, but it has been reared from eggs laid by a captured female. Caterpillars obtained in this way seem to have thrived on a mixed diet of lichens, mosses, and withered leaves of bramble and sallow. August to May. Buckler states that the dark chestnut-brown pupa is enclosed in a double cocoon, the inner a webby one of greyish silk, and the outer one thinner and composed of white silk. The whole affair was formed in a curled-up bramble leaf. The caterpillar is figured on Plate 98, Fig. 5.

The moth is out in late July and through August. It has been obtained in a certain marshy locality in the New Forest, Hants, and also in some marshes at Sandwich, Kent. Its chief haunts are, however, in the fens of Norfolk, such as those on the river Bure, and Brundall fen on the Yare, but Horning and Ranworth are, perhaps, the headquarters of the species. It may be mentioned that when Stephens wrote about this insect in 1829 only two specimens had then occurred in Britain, and these had been found in a marsh at Horning floating upon the water in a ditch.

Distribution: Central Europe, Denmark, Sweden, Livonia, Dalmatia, Corsica and Sardinia, Amurland and Japan.


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Rh Be sure to have the neck and armhole exactly right. Stitch the seams through the bastings. If you can't remove them afterward, it doesn't matter in this case. Press the seams open. (Chapter 32.) It is not necessary to bind or overcast them. Run a strong basting around the armholes and neck to keep them from stretching, turning the neck edges under three-eighths of an inch.

Make up the single sleeve you cut with the rest of the lining, following the directions given with the pattern. Baste it into the lining and try it on to be sure that it is the right length and sets comfortably on the arm. Fit the sleeve as close to the arm as possible. Then rip the sleeve out. Stitch and press open the sleeve seams.

Stitch the fronts of the lining about an eighth of an inch back of each fold edge.

Mark the waistline by a line of colored thread through the waistline perforations.

Place the lining on the dress-form, leaving the front edges open temporarily. Pad between the lining and the form with tissue-paper, cotton rags or wadding until it tits perfectly. Be careful in padding not to stretch or draw the lining or to let the padding get in bunches. Pack it until the front edges just meet and then pin them together. Then sew them with an overhand stitch. (Ill. 2.) If you have prominent or uneven hips or a round abdomen, place the wadding where it is needed. When you pad below the waistline, pin the wadding to the form so that it will not slip. When you have padded the front out to its right proportions, turn up the lining and cover the padding at the hips with a thin piece of lining material, tacking the covering to the dress-form.

Place a piece of lining material inside each armhole, turn in the armhole edges three-eighths of an inch and fell them to it. (Ill. 2.)

OR a figure that varies quite decidedly from the average it is better to use a special dress-form. Alter your pattern and make up the lining as described in the earlier part of this chapter. Send your finished lining to a firm that makes dress-forms and has a special form made from it, but a size smaller than your lining. When you get the form, put the lining on it and pad it as already described.

Or a woman of this type of figure can get an adjustable dress-form. Get it a size smaller, adjust it to represent your figure, cover it with your lining and pad it as directed here.

WOMAN who sews for a number of people will have to use an adjustable form with a fitted lining for each person she sews for. Mark these linings distinctly with the name of the person for whom it was made. The form will have to be adjusted and padded each time a lining is used.

In using a dress-form, the skirt can be put on the form and the form placed on the table. It is easier to work with in this position.

In fitting a coat the form should be dressed with the waist and skirt over which the coat will be worn.

THE SLEEVE-FORM. Take the finished sleeve of the lining and pad it firmly and evenly. Place a piece of lining material over the padding at the wrist, turn in the Waist edges three-eighths of an inch, and fell them to the piece of material. (Ill. 3.)

Slip a piece of lining material in the armhole of the sleeve. Turn in the edge of the under portion of the sleeve three-eighths of an inch and fell the fold edge to the lining material, (Ill. 3.) Pad the upper part of the sleeve until it looks as nearly as possible like the arm. Turn in the upper edge of the piece of lining three-eighths of an inch and fell it to the upper part of the sleeve. (Ill. 3.)

You can use the sleeve-form for either the right or left arm, and you will find it very useful for trimming or draping sleeves.

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UTTERICK PATTERNS are always in advance. They are the smartest in style, and give the prettiest versions of new fashions. They are the easiest to use and are fully guaranteed in every way. They are designed by a staff whose headquarters are in Paris and New York. This staff is in constant touch with the work of the most famous French dressmakers such as Worth, Doueet, Paul Poiret. Madame Paquin, Dteuillet, Chéruit, Agnes, Jeanne Lanvin, Jenny, Premet, Beer, Redfern and Martial et Armand. During the Paris season the Butterick staff attend the French races, the smart restaurants, the opera and the new plays where the newest fashions are shown, in order to adapt them immediately to American needs in the Butterick Pattern. The Paris social season is in the Spring, the London season in the early Summer, the Deauville and Biarritz seasons in Midsummer, the New York season from November until Lent, the Palm Beach season in January and early-February, and the Nice and Monte Carlo season in March. It is therefore possible for the Butterick staff to work directly at the sources of the fashions which would be impractical if all these seasons occurred at the same time.

More Butterick Patterns are sold in Paris than all other makes of French patterns. The smart Frenchwoman uses Butterick Patterns because she is in a position to compare them with the fashions of the Rue de la Paix and knows the Butterick Patterns give her the latest French styles.

WHAT THEY ARE. The Butterick Pattern gives you the actual shape of every new fashion and for every type of garment tor women, young girls, children, boys and babies, and for every kind of garment that a woman should undertake to make for the men in her family. The Butterick Patterns give the professional dressmaker patterns that she can not afford to make herself. If she is sufficiently expert to be able to draft a good pattern her time is worth several hundred times the small amount which she pays for the Butterick pattern. If she is not expert enough to make a pattern, the Butterick pattern made by the highest grade of professionals saves her the ruinously expensive mistakes that she would make if she attempted to cut her own patterns.

HOW TO BUY THE RIGHT SIZE. It is absolutely essential that you buy your pattern by the right size. In no other way can you be sure of securing the perfect lines of the original design. The right size will save you time because it means that there will be no unnecessary fitting. It will save your material. A size too large takes more material than you require while a size that is too small might make your dress unwearable. Insist on being measured each time you buy a pattern. New corsets or an unsuspected change of weight may have altered your bust, waist or hip measure. Before buying a pattern put on your best corsets and lace them properly. Wear a waist or dress that fits nicely. Never be measured in old corsets, over your coat, or in a clumsy dress or a negligee.

The bust measure only is used in buying waists, blouses, dresses, coats and underwear (except petticoats and drawers). Buy them all by the same bust measure. If you buy a thirty-six bust waist buy a thirty-six bust coat or chemise.

Don't buy a larger size for your coat or a smaller size for your underwear. A coat

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pattern makes allowance in the size of the waist or dress underneath; underwear patterns make the proper provision in size to allow for the fact that they are worn under a waist or dress.

A thirty-six inch bust pattern fits a figure which measures thirty-six inches in the bust. The pattern itself does not necessarily measure thirty-six inches. The proper amount of fulness is allowed in a blouse to give it the right softness on the figure. In a waist the right amount of size is allowed to give the correct style effect. A thirty-six inch bust soft blouse will be larger than a thirty-six inch bust close-fitted basque but both of them will fit correctly a woman who measures thirty-six inches at the bust.

In buying a pattern you can not rely on the size that you buy in ready-made clothes. With some manufacturers sizes run large and with others they run small, and do not furnish you a reliable guide in buying a pattern. Be measured.

The bust measure should be taken over the fullest part of the bust close up under the arms and straight across the back, with the tape-measure drawn easily but not snug. (Ills. 4 and 5.)

The waist measure should be taken at your normal waist-line with the tape-measure held snug but not tight.(Ills. 4 and 5.)

Skirt patterns, drawers and pettcoats should be bought by the hip measure taken seven inches below the normal waistline for women, and around the fullest part of the hip for misses and small women. The tape should be easy and not snug. (Ills. 4 and .5.)

The sleeve pattern should be bought by the arm measure taken easily around the arm just below the armhole. (Ill. 4.)

At the top of every pattern you will find instructions as to how to buy that particular pattern that is, whether it should be bought by the bust or hip measure, etc. Follow these instructions in buying your pattern. Skirt patterns should be bought by the hip measure. (Ills. 4 and 5.) If the waist is small in proportion to the hips, it is an easy matter to take in the skirt a little at the top. If the pattern is small for you at the waist—and this will happen only in rare cases— a slight allowance can be made for the necessary waist size when you cut out your material.

A skirt pattern should never be ordered with a hip measure smaller than that of the figure to be fitted. If a plaited skirt is too large or too small at the waist, the plaits should be made either deeper or shallower to fit the belt.

If the skirt is gathered at the top, the gathers simply need to be drawn a little closer or let out as much as

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12 needed. If the skirt is plain at the top and gored, each seam should be taken in so as to make the alteration as small as possible in each place, sloping it gradually to nothing at the hipline. Or the waist size can be increased as illustrated and explained in Chapter 5 "Altering Skirt Patterns." Page 28.

In a circular skirt with one or more darts, the waist size can be made smaller or larger by taking in or letting out the darts.

In a circular skirt without darts, if only a small reduction is required, it may often be eased into the belt. If the waist needs to be made very much smaller it may be necessary to make a small dart at each hip.

If the waistline needs to be made larger it can be done by raising the skirt a trifle on the belt all the way around. A very little will increase the waist size a good deal.

MISSES PATTERNS for dresses, blouses, coats and underwear, except drawers and petticoats, should be bought by the ageunless the girl is large or small for her age in which case the pattern should be bought by her bust measure. Skirt, drawers and petticoat patterns should also be bought by the age if the girl is of normal size. If she is large or small buy her drawers or petticoat patterns by her hip measure.

SMALL WOMEN'S PATTERNS for dresses. l)louses, coats and underwear, except drawers and petticoats, should be bought in bust measure. Skirt, drawers and petticoat patterns should be bought by hip measure.

JUVENILE PATTERNS should be bought by age unless the child is small or large for its age. In that ease order the girl's dresses, coat and underwear, except drawers, by the bust measure. The drawers should be ordered by the waist measure. The proper way of taking a child's measurements is shown in the Illustrations 6, 7 and 8.

BOYS' PATTERNS should be ordered by age. If a boy is large or small for his age order his blouse, suits and coat by his breast measure, his shirts by his neck measure, and his trousers by his waist measure. Illustrations 9 and 10 show the proper way of taking boys' measurements. The breast measure is taken around the body close under the arm with the tape drawn close but not tight. The measurement for an overcoat should be taken over the clothing the coat is to cover. The waist measure should be taken at the normal "waistline 'with the tape-measure held close but not tight.

HEAD MEASURE. In ordering hats for children order hat patterns by the age unless the head is large

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Author:Pierre Gassendi

Works

 * Exercitationes paradoxicae adversus aristoteleos, in quibus praecipua totius peripateticae doctrinae fundamenta excutiuntur, opiniones vero aut novae, aut ex vetustioribus obsoletae stabiliuntur, auctore Petro Gassendo. Grenoble: Pierre Verdier, 1624 [Book One]; Lyon: Laurent Anisson and Jean Baptiste Devenet, 1658 [Book Two].
 * Epistolica exercitatio, in qua principia philosophiae Roberti Flvddi medici reteguntur; et ad recentes illius libros, aduersus r.p.f. Marinvm Mersennvm ordinis minimorum Sancti Francisci de Paula scriptos, respondetur. Cum appendice aliquot obseruationum coelestium. Paris: Sebastian Cramoisy, 1630.
 * Parhelia, sive soles quatuor, qui circa verum apparuerunt Romæ, die xx. mensis Martij, anno 1629: et de eisdem Petri Gassendi ad Henricum Renerium epistola. Paris: Antoine Vitré, 1630.
 * Mercvrivs in sole visvs, et Venvs invisa Parisiis, anno 1631: pro voto, & admonitione Keppleri. Paris: Sebastian Cramoisy, 1632.
 * Viri illvstris Nicolai Clavdii Fabricii de Peiresc, senatoris aqvisextiensis vita. Paris: Sebastian Cramoisy, 1641.
 * De motu impresso a motore translato. Epistolæ duæ. In quibus aliquot præcipuæ tum de motu vniuersè, tum speciatim de motu terræattributo difficulatates explicantur. Paris: Louis de Heuqueville, 1642.
 * De apparente magnitvdine solis hvmilis et svblimis epistolae qvatvor: in qvibvs complvra physica, opticaque problemata proponuntur, & explicantur. Paris: Louis de Heuqueville, 1642.
 * Disquisitio metaphysica. seu, Dubitationes et instantiæ adversus Renati Cartesii Metaphysicam, & responsa. Amsterdam: Johann Blaev, 1644.
 * Oratio inavgvralis habita in Regio collegio die nouembris xxiii. Paris: Louis de Heuqueville, 1645.
 * De proportione, qva gravia decidentia accelerantvr epistolae tres: quibus ad totidem epistolas R.P. Petri Cazraei Societatis Iesv respondetur. Paris: Louis de Heuqueville, 1646.
 * De vita et moribus Epicuri libri octo. Lyons: Guillaume Barbier, 1647.
 * Institvtio astronomica, iuxta hypothesis tam vetervm, qvam Copernici, et Tychonis. Dictata à Petro Gassendo … Eivsdem oratio inauguralis iteratò edita. Paris: Louis de Heuqueville, 1647.
 * Syntagma philosophiae Epicuri cum refutationibus dogmatum quae contra fidem christianam ab eo asserta sunt. Lyon: Guillaume Barbier, 1649
 * Apologia in Io. Bap. Morini librum, cui titulus, Alae tellvris fractae: epistola IV. de Motu impresso a Motore translato. Vnà cum tribus Galilaei Epistolis de conciliatione … nune primùm M. Nevraei cura prodeunt. Lyon: Guillaume Barbier, 1649.
 * Animadversiones in decimum librum Diogenis Laertii: qui est De vita, moribus, placitisque Epicuri. Continent autem Placita, quas ille treis statuit Philosophiae parteis 3 I. Canonicam, …; - II. Physicam, …; - III. Ethicam, … Lyon: Guillaume Barbier, 1649.
 * Opera omnia… haetenus edita auctor ante obitum recensuit… posthuma vero, totius naturae explicationem complectentia, in lucem nunc primum prodeunt ex bibliotheca… Henrici-Ludovici-Haberti Mon-Morii… [Accessit Samuelis Sorberii praefatio, in qua de vita et moribus Petri Gassendi disseritur.] Lyon: Laurent Anisson and Jean Baptiste Devenet, 1658

Works about Gassendi

 * Vie de Gassendi by Samuel Sorbière.
 * Philosophy of Gassendi by George Sidney Brett.
 * Vie de Gassendi by Samuel Sorbière.
 * Philosophy of Gassendi by George Sidney Brett.

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Rh or small. In that case measure the head as shown in llustration 11.

MEN'S SHIRT PATTERNS should be bought by the neck measure. You fan get his neck measure from his collar, a comfortable shirt, or his own neck. If you buy his shirt patterns by his collar size find out whether he prefers his shirts ½ inch or ¼ of an inch smaller than his collar or the same size. All three sizes are correct, it is a matter of individual preference.

If you are measuring from a shirt that is comfortable, measure from the center of the buttonhole of the right end to the center of the buttonhole of the left end.

If you measure his bare neck, measure it where the neck band comes. Do it carefully and hold the tape-measure easy. Add ½ inch to his actual neck measure for his shirt size.

Butterick shirt patterns allow for all shrinkage of the silk and cotton materials. Wool materials should be shrunk before cutting.

Buy his nightshirt and pajama patterns by the same neck measure as you would a regular shirt. Don't buy a larger size; the night-shirt and pajamas patterns have the necessary allowance for an easier fit around the neck and through the body.

DOLLS' PATTERNS. When you measure a doll measure its length from the top of its head to the sole of its foot. (Ill. 12.)

HOW TO BUY YOUR MATERIALS. The effect of a dress depends very largely on choosing the material that is suitable for it. For example, you would never choose chiffon for a circular skirt on account of the fact that chiffon would stretch badly when cut on the bias, and that it is so soft that it would not give the flare at the bottom which is characteristic of the circular skirt.

You would not choose a stiff silk that would give the bouffant effect in a style period when fashions were soft and clinging. Nor would you use a soft, clinging silk when it is desirable to have the bouffant effect given by a stiff silk. A material that has had a great vogue and that has become passe should never be used for a new dress for it will give the dress an out-of-date appearance.

The same thing is true of colors. For certain staple materials like serge and gabardine, the accepted colors like black and navy blue are always worn, but for the most part it is necessary to inform yourself each season as to what is new and correct. This information is given each month in and every season in  Materials suitable for the pattern are also given on the back of the pattern envelope.

The quantities on the pattern envelope will tell you what width of material you can select. Never choose a material narrower than those given on the envelope. The widths given are the ones in which you can cut the garment without ugly piecings. Narrower widths are not given because they would be undesirable.

The pattern envelope will tell you exactly how much material you would need for any size and in every suitable width for the different views on the pattern envelope. For that reason you must always buy your pattern before you buy your material. If you buy your material first you will do it by guesswork and you will get either too much or too little. If it is too much you are wasting material and money. If you get too little, one of two disagreeable things might happen. You might not be able to get more material when you went back for it. or you might find that the amount you bought originally was a quarter of a yard too little for your sleeves, making it necessary to get three-quarters of a yard of new material, where a quarter of a yard more material in the first place would have answered if it had all been cut in one piece. Buy your pattern first and decide which view you will follow in making it up so that you can find out exactly what material you will require. It will take less material, for example, if you are going to make a dress with the short sleeve of one view instead of the long sleeve of another. The pattern gives the quantity for each view.

In planning the length of your skirt and before cutting your material, it is necessary to decide whether the lower edge is to be finished with a hem or facing. Butterick patterns

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14 for ladies' skirts do not allow for a hem and the quantities given on pattern envelope do not include enough material for a hem. In some cases a facing can be made from pieces that are left over. As a rule a skirt can be cut from less material if a facing is used but in some cases a hem is preferable while in other cases a facing is better.

For a sheer material a hem should be used, if possible, as the seam joining a facing to the lower edge of a skirt will show through a transparent fabric. A hem is the best finish for the bottom of a plaited skirt as a seam in the lower edge would be bulky in the plaits.

If the lower edge of a skirt has an inward curve as is usually the case when a skirt is much narrower at the bottom than the top, it is better to use a bias or shaped facing as a hem would be tight at the upper part when turned up.

If a hem is desired, allowance for it must be made in buying the quantity of material and in cutting by the pattern, unless the skirt pattern is too long for you. If you are two or three inches below average height the pattern will be too long for you and the quantities given will allow you to use a hem.

THE USE OF PATTERNS. After you have bought your pattern take it home, open it and identify the different pieces by the diagram on the back of the envelope.

If the two sides of the pattern are exactly alike you will find that the pattern is for just half the garment and that each piece is to be cut double or twice.

A front gore pattern is cut double with its front edge on the fold of the goods.

If one side is different from the other a pattern will be given for each part that is different as in the case of a skirt which is draped on one side and not on the other.

The two side gores are either cut singly or from a double thickness of the material.

After you have identified each piece of the pattern decide which ones you are going to use and put the others back in the envelope. A waist, for example, will often have two sleeves, and you must choose before cutting which sleeve pattern you prefer. You must also decide whether you will use a body lining, a collar for the high neck, etc. Always put the pieces that you are not going to use out of the way so that you will not make the mistake of cutting out things you do not need, and wasting your material.

The Butterick Pattern has a unique service of the greatest value in the DELTOR with its ILLUSTRATED LAY-OUTS FOR CUTTING. These lay-outs show how to lay out for cutting every size in which the pattern is cut and on material of every width suitable for the garment. If there are two or three ways of making a garment from the pattern, the layouts cover each method of making the garment.

The purpose of these lay-outs is twofold. In the first place they are intended to show a woman the most economical way of cutting this garment correctly with the least possible waste of material. In the second place they show her how to place each piece of the pattern on the correct grain of the material. If any piece is cut on the Wrong grain it will look badly when the garment is worn. If a sleeve is cut on the wrong grain it will crawl around the arm and never stay in the right place. With the new Butterick Illustrated Layouts any woman can cut her garment just as an expert dressmaker or tailor would cut it. This question of the grain or thread of the material is very important.

All materials are finished at the outside edges with a woven border called a selvedge. (Ill. 13.) The material itself is woven with lengthwise or crosswise

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Rh threads. The lengthwise threads run parallel to the selvedge. (Ill. 13) Crosswise threads run from selvedge to selvedge.(Ill. 13.)

A LENGTHWISE FOLD is a fold made parallel to the selvedge. (Ill. 13.)

A CROSSWISE FOLD is a fold made straight across the material from selvedge to selvedge. (Ill. 13.)

A TRUE BIAS runs diagonally across the material at right angles to the lengthwise and crosswise threads. (Ill. 14.)

True Bias is obtained by spreading the material on the table and making a mark seven or eight inches from one corner on both the selvedge and the cut end. Lay a yardstick across the corner, touching both these marks, and draw a line. (Ill. 14.) Make as many marks on both edges as there are strips needed, marking them the required width. Then cut carefully, following the line and using sharp scissors.

When the material for the bias bands is alike on both sides, as in the case of corded silk, for instance, be careful to have the cut strips all on the same bias.

Sometimes, in cutting, if the material is very pliable, the edges will stretch, and in time the cutting line will deviate from the original mark. It is well, in cutting many strips, to lest the bias line occasionally, by laying the yardstick across the material, and cutting a new edge if the old one is not even.

Bias bands, folds, ruffles, facings, etc., must be cut on a true bias to give satisfactory results. For rounding corners or following curved lines, or making folds or ruffles hang gracefully, it is impossible to use successfully material that is cut on the straight of the weave. To maintain a perfect bias, the strips should be of equal width throughout their entire length.

TO JOIN BIAS STRIPS, lay the two diagonal ends together as shown in Illustration 15 and baste in a seam. (Ill. 15.) It will then be seen that when the joined strips are lapped back, the grain of both pieces runs correctly in the same direction. (Ill. 16.)

PERFORATIONS. Every piece of the pattern is marked with perforations and notches which have different meanings and different uses.

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text: Popular Science Monthly/Volume 67/July 1905/Present Monetary Problems


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48, Switzerland, Shakespeare, Garrick, Sheridan, Siddons, Roscius, and Cornelia from 1831 to 1841; and the Liverpool, Queen of the West, and Henry Clay in the period from 1841 to 1843, inclusive. Besides these, they built fifteen other ships, seven steamers, eight barques and brigs, thirty-nine steamboats, six ferry- and tow-boats, nineteen sloops and schooners, seven pilot boats, and four yachts.

Upon the death of Isaac Webb in 1840, his son William H. Webb, then only twenty-four years of age, continued the firm of Webb & Allen which built during the next ten years the packet ships Montezuma, Yorkshire, Havre, Fidelia, second Columbia, Sir Robert Peel, Splendid, Bavaria, Isaac Wright, Ivanhoe, Yorktown, London, Cruy Mannering, Albert Gallatin, Isaac Webb, and Vanguard. Their yard extended from the foot of Fifth to Seventh Street, East River.

Jacob A. Westervelt, born at Hackensack, New Jersey, in 1800, was the son of a ship-builder. He went to sea before the mast and upon his return served his apprenticeship with Christian Bergh, subsequently becoming a partner in the firm and retiring with an ample fortune in 1837. Mr. Westervelt then made an extensive trip through Europe, and after returning built two ships at Williamsburg. He formed the firm of Westervelt & Mackay and built a number of London and Havre packet ships, among which were the Ocean Queen, West Point, Toronto, Devonshire, and American Eagle. The front door of Mr. Westervelt's house in East Broadway was ornamented with a beautiful carved stone cap representing the stern of a packet ship. In later

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text: Popular Science Monthly/Volume 67/July 1905/The Vegetable Fibers of the Philippine Islands


text: Popular Science Monthly/Volume 67/July 1905/The Climate of the Central American Plateau


text: Popular Science Monthly/Volume 67/July 1905/The Science Problems of the Twentieth Century


text: Guatimala or the United Provinces of Central America in 1827-8/20


text: Popular Science Monthly/Volume 67/July 1905/Human and Other Forms of Consciousness


text: Popular Science Monthly/Volume 67/July 1905/The Preparation and Properties of Colloidal Mixtures


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16

Large double perforations are used in cutting. (Ill. 17.) They show you how to lay the pattern on the right grain of your material. These large double perforations form a straight line which is always placed lengthwise or crosswise on the material.

When they are laid on lengthwise they are parallel to the selvedge edges.

When they are laid on crosswise they run across the material from selvedge to selvedge.

Many women take a ruler and draw a straight line through these perforations for it makes it a little easier to see that the line is the same distance from the selvedge from end to end.

These large double perforations must be laid on a straight thread of the material so that the garment will set well and have the best effect when finished. If they are not placed exactly parallel to the selvedge or on a straight crosswise thread the garment will twist and look badly.

The large triple perforations are also used for cutting but they are always laid on the fold of the material, either a lengthwise or crosswise fold. (Ill. 18.)

Some skirts are cut with one bias edge on each gore. Others have two bias edges, depending on the design of the skirt. The perforations in the pattern will show you just how that particular skirt should be cut.

After you have pinned your pattern on the material it is advisable to take a ruler or tape and measure the cutting line to be sure that it is the same distance from the selvedge on each group of perforations.

Small double perforations are always used to mark the normal waistline in skirts, blouses, coats, etc. (Ill. 19.) In some cases they are also used to indicate special outlines at the neck, etc.

Large single perforations (Ill. 20.) and small single perforations (Ill. 21.) either alone or together are used for different purposes and their use is always shown in the Illustrated Instructions.

NOTCHES (Ill. 22.) are used at seam edges to show which edges should come together. Edges marked with notches are put together with the duplicate notches matching.

Pin the pattern in place with small pins placed as close together as necessary to hold the pattern firmly. Do not push the pins through the material recklessly, but take up as few threads as possible so as not to mark the material.

In cutting you must use sharp dressmaking shears and follow the edge of the pattern exactly. If you cut with small dull scissors you will get a jagged edge that you can not follow in basting. If you cut beyond the edge of the pattern you will change the size of the garment.

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text: Popular Science Monthly/Volume 67/July 1905/The Progress of Science