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256 And make thee Europe's Nightingale of Song;

So that all present speech to thine shall seem

The note of meaner birds, and every tongue

Confess its barbarism when compared with thine.

This shalt thou owe to him thou didst so wrong,

Thy Tuscan bard, the banished Ghibelline.

Woe! woe! the veil of coming centuries

Is rent,—a thousand years which yet supine

Lie like the ocean waves ere winds arise,

Heaving in dark and sullen undulation,

Float from Eternity into these eyes;

The storms yet sleep, the clouds still keep their station,

The unborn Earthquake yet is in the womb,

The bloody Chaos yet expects Creation,

But all things are disposing for thy doom;

The Elements await but for the Word,

"Let there be darkness!" and thou grow'st a tomb!

Yes! thou, so beautiful, shalt feel the sword,

Thou, Italy! so fair that Paradise,

Revived in thee, blooms forth to man restored:

Ah! must the sons of Adam lose it twice?

Thou, Italy! whose ever golden fields,

Ploughed by the sunbeams solely, would suffice

For the world's granary; thou, whose sky Heaven gilds

With brighter stars, and robes with deeper blue;


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CANTO II.] Thou, in whose pleasant places Summer builds

Her palace, in whose cradle Empire grew,

And formed the Eternal City's ornaments

From spoils of Kings whom freemen overthrew;

Birthplace of heroes, sanctuary of Saints,

Where earthly first, then heavenly glory made

Her home; thou, all which fondest Fancy paints,

And finds her prior vision but portrayed

In feeble colours, when the eye—from the Alp

Of horrid snow, and rock, and shaggy shade

Of desert-loving pine, whose emerald scalp

Nods to the storm—dilates and dotes o'er thee,

And wistfully implores, as 'twere, for help

To see thy sunny fields, my Italy,

Nearer and nearer yet, and dearer still

The more approached, and dearest were they free,

Thou—Thou must wither to each tyrant's will:

The Goth hath been,—the German, Frank, and Hun

Are yet to come,—and on the imperial hill

Ruin, already proud of the deeds done

By the old barbarians, there awaits the new,

Throned on the Palatine, while lost and won

Rome at her feet lies bleeding; and the hue

Of human sacrifice and Roman slaughter

Troubles the clotted air, of late so blue,

And deepens into red the saffron water

Of Tiber, thick with dead; the helpless priest,

And still more helpless nor less holy daughter,

Vowed to their God, have shrieking fled, and ceased

Their ministry: the nations take their prey,

Iberian, Almain, Lombard, and the beast

And bird, wolf, vulture, more humane than they

Are; these but gorge the flesh, and lap the gore

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


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258 Of the departed, and then go their way;

But those, the human savages, explore

All paths of torture, and insatiate yet,

With Ugolino hunger prowl for more.

Nine moons shall rise o'er scenes like this and set;

The chiefless army of the dead, which late

Beneath the traitor Prince's banner met,

Hath left its leader's ashes at the gate;

Had but the royal Rebel lived, perchance

Thou hadst been spared, but his involved thy fate.

Oh! Rome, the Spoiler or the spoil of France,

From Brennus to the Bourbon, never, never

Shall foreign standard to thy walls advance,

But Tiber shall become a mournful river.

Oh! when the strangers pass the Alps and Po,

Crush them, ye Rocks! Floods whelm them, and for ever!

Why sleep the idle Avalanches so,

To topple on the lonely pilgrim's head?

Why doth Eridanus but overflow

The peasant's harvest from his turbid bed?

Were not each barbarous horde a nobler prey?


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CANTO II.] Over Cambyses' host the desert spread

Her sandy ocean, and the Sea-waves' sway

Rolled over Pharaoh and his thousands,—why,

Mountains and waters, do ye not as they?

And you, ye Men! Romans, who dare not die,

Sons of the conquerors who overthrew

Those who overthrew proud Xerxes, where yet lie

The dead whose tomb Oblivion never knew,

Are the Alps weaker than Thermopylæ?

Their passes more alluring to the view

Of an invader? is it they, or ye,

That to each host the mountain-gate unbar,

And leave the march in peace, the passage free?

Why, Nature's self detains the Victor's car,

And makes your land impregnable, if earth

Could be so; but alone she will not war,

Yet aids the warrior worthy of his birth

In a soil where the mothers bring forth men:

Not so with those whose souls are little worth;

For them no fortress can avail,—the den

Of the poor reptile which preserves its sting

Is more secure than walls of adamant, when

The hearts of those within are quivering.

Are ye not brave? Yes, yet the Ausonian soil

Hath hearts, and hands, and arms, and hosts to bring

Against Oppression; but how vain the toil,

While still Division sows the seeds of woe

And weakness, till the Stranger reaps the spoil.


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260 Oh! my own beauteous land! so long laid low,

So long the grave of thy own children's hopes,

When there is but required a single blow

To break the chain, yet—yet the Avenger stops,

And Doubt and Discord step 'twixt thine and thee,

And join their strength to that which with thee copes;

What is there wanting then to set thee free,

And show thy beauty in its fullest light?

To make the Alps impassable; and we,

Her Sons, may do this with one deedUnite.


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 Thursday, 14th July 1791, the second anniversary of the taking of the Bastille, was celebrated by eighty of Priestley's friends in Birmingham by a dinner at an hotel in Temple Row, and in spite of the plainest symptoms of an intended riot. "Church and King," "Down with Dissenters," were heard everywhere. These cries exasperated the mob to such an extent that they smashed the windows of the hotel, and burnt the chapels and houses of the dissenters. The full hatred of the mob was directed against Priestley, who, with his wife and family, narrowly escaped with their lives, leaving his valuable library, philosophical instruments, furniture, and the manuscripts of works which had cost him years of labour a prey to the flames.

Several persons were arrested for this disgraceful riot, and three were executed.

The riots may be looked at from two standpoints: either as a struggle to preserve the privileges of the Church of England, or as a rebellion of an excited contingent of the population enraged by the party spirit of the times. Meetings had been organised which were declared by some to be dangerous to the peace of the country. The spirit of democracy had spread in England, and those in favour of the French Revolution entertained the idea of over-turning the Constitution of the Empire. Inflammatory pamphlets had been issued and circulated in Great Britain in favour of upholding the doctrine of the Revolution.


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 Priestley's New and Old Meeting Houses were burnt to the ground. News of this was conveyed to Priestley at Fair Hill, who thought it so improbable that he should be molested that he hardly credited the story. He was at last prevailed upon to leave the house, but having no apprehension with regard to his property, neither collected any of his manuscripts nor took anything with him. Detachments of the rioters now proceeded to Priestley's residence; they attacked the building with great violence, destroying pictures, furniture, etc., including a valuable library. It was hoped the laboratory would escape the attention of the crowd, as it was situated at some distance from the house, but this was not so; it was broken into, much valuable apparatus being ruined, and the building destroyed.

On the following morning various parties of the rebels entered the town and paraded the streets armed with bludgeons, vociferating "Church and King," words which the peaceful inhabitants chalked on the doors and shutters of their houses to aid security. The Earl of Aylesford, who had done his best to quell the disturbance, went to the ruins of Priestley's house and addressed the mob. He brought them into the town and tried to persuade them to disperse, but both his efforts and those of the magistrates were useless to stop the revolt.

During the day several residences were attacked and burnt, and in consequence additional constables were


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Mr. Tetlow, a little later, entered his office he found Flossie and Freddie standing by one of the windows, looking out on the other children marching to their classrooms. They had cried a little, but had stopped now.

"I am very sorry to have to punish you two twins," said the principal, "but I had given strict orders that no one was to play with that water. Why did you do it?"

"Because," answered Flossie.

"Danny Rugg told us to," added Freddie. "He said it was a new kind of faucet."

"Now be careful," warned Mr. Tetlow. Often before he had heard pupils say that someone else told them to break certain rules. "Are you sure about this?" he asked.

"Yes, sir," said Freddie, eagerly. "Danny told us to do it."

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122 "But didn't you know it was forbidden?"

"No, sir," answered Flossie.

"Why, I spoke of it in all the rooms."

"We wasn't here yesterday or the day before," said Flossie. "Freddie was sick."

Mr. Tetlow began to understand.

"I will look this up," he said, "and if I find"

He was interrupted by a boy from one of the higher classes coming in with a note from his teacher. She wanted a new box of chalk.

"When you go back, George," said the principal to the boy, as he gave him what the teacher had sent for, "go to Miss Hegan's class, and have her send Danny Rugg to me. Flossie and Freddie say he told them to spray water with one of the new faucets."

"Yes, sir, he did!" exclaimed George. "I heard him, but I didn't think they would do it. He did tell them."

At this unexpected information Mr. Tetlow was much surprised.

"If that is the case, Danny is the one to be punished," he said. "I am sorry, Flossie and Freddie, that I suspected you. You may go

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Rh back to your class, and I will write your teacher a note, saying you may go out half an hour ahead of the others to make up for coming to my office. But, after this, no matter whether anyone tells you or not, don't spray the water."

"No, sir, we won't!" exclaimed the Bobbsey twins, now happy again.

Danny Rugg was punished by being kept in after school for several days, and Mr. Tetlow sent home a note to his father, explaining what a mean trick the bully had played.

"I wish I had heard Danny telling you that—just to get you in trouble," said Bert, when he was told of what had happened. "I'd have fixed him."

"Oh, don't get into any more fights," begged Nan.

Bert did not come to blows with Danny over this latest trouble, but he did tell the bully, very plainly, what he thought of him, and said if Danny ever did a thing like that again that he would not get off so easily.

"Oh, I'm not afraid of you," sneered Danny.

Lessons and fun made up many school days

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124 for the Bobbsey twins. And, as the Fall went on, lessons grew a little harder. Even Freddie and Flossie, young as they were, had little tasks to do that kept them busy. But they liked their school and the teacher, and many were the queer stories they brought home of the happenings in the classroom.

It was now toward the end of October, and the weather was getting cooler, though during the day it was still very warm at times. The twins, as did their friends, looked forward to the coming of Winter and the Christmas holidays.

Thanksgiving, too, would be a time of rejoicing and of good things to eat, and this occasion was to be made more of than usual this time, for some boys and girls the Bobbseys had met in the country and at the seashore were to be invited to spend a few days in Lakeport.

But before this there was another event down on the program. This was to be a party for Flossie and Freddie, the occasion being their joint birthdays.

"And we're going to have candy!" cried

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text: Twilight Hours (1868)/The Old Astronomer


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Rh Freddie, when the arrangements were talked over.

"And ice cream"—added Flossie—"a whole freezer full; aren't we, mamma?"

"Well, I guess a small freezer full won't be any too much," said Mrs. Bobbsey, smiling. "But I hope none of you eat enough to make yourselves ill."

"We won't," promised Freddie and Flossie.

There were busy times in the home of the twins the next few days, for though Nan and Bert's birthdays were not to be observed, still they were to have their part in the jolly celebration.

Invitations were sent out, on little sheets of note paper, adorned with flowers, and in cute little envelopes. Flossie and Freddie took them to the post-office themselves.

"My! what a lot of mail!" exclaimed the clerk at the stamp window, as he saw the children dropping the invitations into the slot. "Uncle Sam will have to get some extra men to carry that around, I guess. What's it all about?"

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126 "We're going to have a party," said Flossie, proudly.

Just then Danny Rugg came into the postoffice.

"A party; eh?" he sneered. "I'm coming to it, I am; and I'm going to have two plates of ice cream."

"You are not!" cried Freddie. "My mamma wouldn't let a boy like you come to our party."

"'Specially not after what you did—telling us to play in the water," added Freddie. "You can't come!"

"Yes, I can," insisted Danny, just to tease the children.

For a moment Flossie and Freddie almost believed him, he seemed so much in earnest about it.

"You can't come—you haven't any invitation," said Flossie, suddenly.

"I'll take one of those you put in the box," went on the mean boy.

"He won't dare—will he?" and Freddie appealed to the mail clerk.

"I should say not!" said the man at the

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text:
Talk:Twilight Hours (1868)/The Old Astronomer

I have loved the stars too truly
A more commonly cited abridged version (the first four stanzas only) was anthologized in "Best Loved Poems of the American People", Hazel Felleman, ed. (Garden City Publishing Co., Garden City NY: 1936, pp. 613-614) That abridged version (with the incorrect title) seems first to have been printed in The Monthly Evening Sky Map, October 1920. (notes from old textinfo

See p. 69 of, published in 1868 which is the source of this copy.

The line there is published as "I have loved the stars too truly to be fearful of the night." --EncycloPetey (talk) 19:21, 3 January 2019 (UTC)

Many other sources give "too fondly" not "too truly." Did she perhaps change the wording. This is the best line of the poem! Someone set me straight!
 * No, she did not change the wording. The poem was published shortly after her death, so there is no possibility that she later changed it. --EncycloPetey (talk) 19:40, 26 January 2020 (UTC)

Not in TOC; duplicate pages
This poem is on pp. 68–71 of the volume shown in images. It is not listed in the Google Books Table of Contents for this edition, which goes directly from "COMRADES UNCHOSEN 63" to "SLEIGHING SONG 72".

The image also reproduces part of the front matter ("Memoir") twice.

--Thnidu (talk) 20:20, 24 February 2019 (UTC)

 * It's listed in the Contents on page xxxvi of the Google Books scan you linked to. Search the contents of the book for "Astronomer" to find it. --EncycloPetey (talk) 21:39, 24 February 2019 (UTC)


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Rh stamp window. "If he does Uncle Sam will be after him."

"Well, I'm coming to that party all the same!" insisted Danny, with a grin on his freckled face.

Flossie and Freddie were go worried about him that they told their mother, but she assured them that Danny would not come to spoil their fun.

Finally the afternoon and evening of the party arrived, for the little folks were to come just before supper, play some games, eat, and then stay until about nine o'clock.

Flossie and Freddie had been dressed in their prettiest clothes, and Nan and Bert also attired for the affair. The ice cream had come from the store, all packed in ice and salt, and Dinah had set it out on the back stoop, where it would be cooler.

Dinah was very busy that day. She hurried about here and there, helping Mrs. Bobbsey. Sam, her husband, also had plenty to do.

"I 'clar t' gracious goodness!" Dinah exclaimed, "I suah will get thin ef dish yeah keeps up! I ain't set down a minute dis

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128 blessed day. My feet'll drop off soon I 'spect."

"Will they, really, Dinah?" asked Freddie. "And can we watch 'em fall?"

"Bress yo' hearts, honeys!" exclaimed the colored cook, "I didn't mean it jest dat way. But suffin's suah gwine t' happen—I feels it in mah bones!"

And something was to happen, though not exactly what Dinah expected.

Finally all was in readiness for the guests. The good things to eat were in the kitchen, all but the ice cream, which, as I have said, was out on the back porch. Flossie and Freddie had gone to the front door nearly a dozen times to see if any of the guests were in sight. Snap, as a special favor, had been allowed to stay in the house that afternoon, for the twins were going to make him do tricks for their friends.

There came a ring at the door bell.

"Here they come! Here they come!" cried Flossie.

"Let me answer, too," cried Freddie, and they both hurried through the front hall to greet the first guest at their party.

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text: The Bobbsey Twins at School/Chapter 12

title: The Bobbsey Twins at School/Chapter 12


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, after the first guests had arrived, came the others. Nellie Parks, Grace Lavine, friends of Nan, and Willie Porter and his sister Sadie, came first, and Freddie and Flossie let them in, the Porter children being some of their best-liked playmates.

All the children wore their best clothes, and for a time they were a bit stiff and unnatural, standing shyly about in corners, against the walls, or sitting on chairs.

The boys seemed to all crowd together in one part of the room, and the girls in another. Flossie and Freddie, Nan and Bert, were so busy answering the door that they did not notice this at first.

But Aunt Sarah, their mother's sister, who had come over to help Mrs. Bobbsey, looking

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130 in the parlor and library, saw what the trouble was.

"My!" she cried, with a good-natured laugh, as she noticed how "stiff" the children were. "This will never do. You're not that way at school, I don't believe. Come, be lively. Mix up—play games. Pretend this is recess at school, and make as much noise as you like."

For a moment the boys and girls did not know what to think of this invitation. But just then Snap, the circus dog, came in the room, and, with a bark of welcome, he turned a somersault, and then marched around on his hind legs, carrying a broomstick like a gun—pretending he was a soldier. Bert had give it to him.

Then how the children laughed and clapped their hands! And Snap barked so loudly—for he liked applause—that there was noise enough for even jolly Aunt Sarah. After that there was no trouble. The boys and girls talked together and soon they were playing games, and having the best kind of fun.

For some of the games simple prizes had

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Rh been offered and it was quite exciting toward the end to see who would win. Flossie and Freddie thought they had never had such a good time in all their lives. Nan and Bert were enjoying themselves, too, with their friends, who were slightly older than those who had been asked for the younger Bobbsey twins.

"Going to Jerusalem," was one game that created lots of enjoyment. A number of chairs were placed in the centre of the room, and the boys and girls marched around them while Mrs. Bobbsey played the piano. But there was one less chair than there were players, so that when the music would suddenly stop, which was a signal for each one who could, to sit down, someone was sure to be left. Then this one had to stay out of the game.

Then a chair would be taken away, so as always to have one less than the number of players, and the game went on. It was great fun, scrambling to see who would get a seat, and not be left without one, and finally there was but one chair left, while Grace Lavine and

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132 John Blake marched about. Mrs. Bobbsey kept playing quite some time, as the two went around and around that one chair. Everyone was laughing, wondering who would get a seat and so win the game, when, all at once, Mrs. Bobbsey stopped the music. She had her back turned so it would be perfectly fair.

Grace and John made a rush for the one chair, but Grace got to it first, and so she won.

"Well, I'm glad you did, anyhow," said John, politely.

Other games were "peanut races" and "potato scrambles." In the first each player had a certain number of peanuts and they had to start at one end of the room, and lay the nuts at equal distances apart across to the other side, coming back each time to their pile of peanuts to get one.

Sometimes a boy would slip, he was in such a hurry, or a girl would drop her peanuts, and this made fun and confusion.

Nan won this race easily.

In the potato scramble several rows of potatoes were made across the room. Each player was given a large spoon, and whoever first

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Rh took up all his or her potatoes in the spoon, one at a time, and piled them up at the far end of the room, won the game. In this Charley Mason was successful, and won the prize—a pretty little pin for his tie.

The afternoon wore on, and, almost before the children realized it the hour for supper had arrived. They were not sorry, either, for they all had good appetites.

"Come into the dining room, children," invited Mrs. Bobbsey.

And Oh! such gasps of pleased surprise as were heard when the children saw what had been prepared for them! For Mr. and Mrs Bobbsey, while not going to any great expense, and not making the children's party too fanciful, had made it beautiful and simple.

The long table was set with dishes and pretty glasses. There were flowers in the centre, and at each end, and also blooms in vases about the room. Then, from the centre chandelier to the four corners of the table, were strings of green smilax in which had ben [sic] entwined carnations of various colors.

The lights were softly glowing on the pretty

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134 scene, and there were prettily shaded candles to add to the effect. But what caught the eyes of all the children more than anything else were two large cakes—one at either end of the table.

On each cake burned five candles, and on one cake was the name "Flossie," while the other was marked "Freddie." The names were in pink icing on top of the white frosting that covered the birthday cakes.

"Oh! Oh! Oh! "could be heard all about the room. "Isn't that too sweet for anything!"

"I guess they are sweet!" piped up Freddie in his shrill little voice, "'cause Dinah put lots of sugar in 'em; didn't you, Dinah?" and he looked at Dinah, who had thrust her laughing, black, good-natured face into the dining room door.

"Dat's what I did, honey! Dat's what I did!" she exclaimed. "If anybody's got a toofache he'd better not eat any ob dem cakes, 'cause dey suah am sweet."

How the children laughed at that!

"All ready, now, children, sit down," said

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Rh Mrs. Bobbsey. "Your names are at your plates."

There was a little confusion getting them all seated, as those on one side of the table found that their name cards were on the other side. But Flossie and Freddie, and Nan and Bert, helped the guests to find their proper places and soon everyone was in his or her chair.

"Can't Snap sit with us, too?" asked Freddie, looking about for his pet, who had done all his tricks well that evening.

"No, dear," said Mrs. Bobbsey. "Snap is a good dog, but we don't want him in the dining room when we are eating. It gives him bad habits."

"Then can't I send him out some cakes?" asked Flossie, for Snap had almost as large a "sweet tooth" as the children themselves.

"Yes, as it is your birthday, I suppose you can give him some of your good things," said Mamma Bobbsey.

"Here, Dinah!" called Freddie to the cook, as he piled a plate full of cakes. "Please give these to Snap."

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136 "Land sakes goodness me alive!" cried Dinah. "Dat suah am queer. Feedin' a dog jest laik a human at a party. I can't bring mahself to it, nohow."

"I'll take 'em out to him," said her husband.

Then the feast began, and such a feast as it was! Mrs. Bobbsey, knowing how easily the delicate stomachs of children can be upset, had wisely selected the food and sweets, and she saw to it that no one ate too much, though she was gently suggestive about it instead of ordering.

"Don't eat too much," advised Freddie to some of the friends who sat near him. "We've got a lot of ice cream coming. Save room for that."

"That's so—I almost forgot," spoke Jimmie Black.

A little later Mrs. Bobbsey said to Dinah:

"I think you may bring in the cream now, and I will help you serve it."

"Yes, ma'am."

"Oh, goodie!" cried Freddie. "Ice cream's coming!" and he waved his spoon above his head.

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Rh "Freddie—Freddie!" said his mother, in gentle reproof.

Dinah went out on the back stoop, looked around and came running back to the dining room, where Mrs. Bobbsey was. Dinah's eyes were big with wonder and surprise.

"Mrs. Bobbsey! Mrs. Bobbsey!" she cried. "Suffin's done gone an' happened!"

"What is it?" asked Mamma Bobbsey, quickly. "Is anyone hurt?"

"No'm, but dat ice cream freezer hab jest gone and walked right off de back stoop, an' it ain't dere at all, nohow! De ice cream is all gone!"

The children looked at one another with pained surprise showing on their faces.

The ice cream was gone!

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text: The Bobbsey Twins at School/Chapter 13

title: The Bobbsey Twins at School/Chapter 13


text: Dictionary of National Biography, 1885-1900/Onslow, George (1731-1792)


text: Dictionary of National Biography, 1885-1900/Onslow, George (1731-1814)


text: Dictionary of National Biography, 1885-1900/Onslow, George (1784-1853)


text: Dictionary of National Biography, 1885-1900/Onslow, Richard (1528-1571)


text: Dictionary of National Biography, 1885-1900/Onslow, Richard (1601-1664)


text: Dictionary of National Biography, 1885-1900/Onslow, Richard (1654-1717)


text: Dictionary of National Biography, 1885-1900/Onslow, Richard (1741-1817)


text: Dictionary of National Biography, 1885-1900/Onwhyn, Thomas


text: Dictionary of National Biography, 1885-1900/Opicius, Johannes


text: Dictionary of National Biography, 1885-1900/Opie, Amelia


text: Dictionary of National Biography, 1885-1900/Opie, John


text: Dictionary of National Biography, 1885-1900/O'Quinn, Jeremiah


text: Dictionary of National Biography, 1885-1900/Oram, William


text: Dictionary of National Biography, 1885-1900/Orcheyerd, William


text: Dictionary of National Biography, 1885-1900/Ord, Craven


text: Dictionary of National Biography, 1885-1900/Ord, Harry St. George


text: Dictionary of National Biography, 1885-1900/Ord, John Walker


text: Dictionary of National Biography, 1885-1900/Ord, Robert


text: Dictionary of National Biography, 1885-1900/O'Reilly, John Boyle


text: Dictionary of National Biography, 1885-1900/O'Reilly, Myles William Patrick


text: Dictionary of National Biography, 1885-1900/O'Reilly, Philip MacHugh


text: Dictionary of National Biography, 1885-1900/Orem, William


text: Dictionary of National Biography, 1885-1900/Orford, Robert


text: Dictionary of National Biography, 1885-1900/Orger, Mary Ann


text: Dictionary of National Biography, 1885-1900/Orivalle, Hugh de


text: Dictionary of National Biography, 1885-1900/Orme, Daniel


text: Dictionary of National Biography, 1885-1900/Orme, Robert


text: Dictionary of National Biography, 1885-1900/Orme, William


text: Dictionary of National Biography, 1885-1900/Ormerod, Edward Latham


text: Dictionary of National Biography, 1885-1900/Ormerod, George (1785-1873)


text: Dictionary of National Biography, 1885-1900/Ormerod, George Wareing


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 THE ASCENT OF THE DENT BLANCHE.

and Biener did not return until past 5 a.m. on June 17, and we then set out at once for Zermatt, intending to cross the Col d'Hérens. But we did not proceed far before the attractions of the Dent Blanche were felt to be irresistible, and we turned aside up the steep lateral glacier which descends along its south-western face. The Dent Blanche is a mountain that is little known except to the climbing fraternity. It was, and is, reputed to be one of the most difficult mountains in the Alps. Many attempts were made to scale it before its ascent was accomplished. Even Leslie Stephen himself, fleetest of foot of the whole Alpine brotherhood, once upon a time returned discomfited from it. It was not climbed until 1862; but in that year Mr. T. S. Kennedy, with Mr. Wigram, and the guides Jean B. Croz and Kronig, managed to conquer it. They had a hard fight though before they gained


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XX] Sheba the son of Bichri: but the men of Judah clave unto their king, from Jordan even to Jerusalem.

And David came to his house at Jerusalem; and the king took the ten women his concubines, whom he had left to keep the house, and put them in ward, and fed them, but went not in unto them. So they were shut up unto the day of their death, living in widowhood.

Then said the king to Amasa, Assemble me the men of Judah within three days, and be thou here present. So Amasa went to assemble the men of Judah: but he tarried longer than the set time which he had appointed him. And David said to Abishai, Now shall Sheba the son of Bichri do us more harm than did Absalom: take thou thy lord's servants, and pursue after him, lest he get him fenced cities, and escape us. And there went out after him Joab's men, and the Cherethites, and the Pelethites, and all the mighty men: and they went out of Jerusalem, to pursue after Sheba the son of Bichri. When they were at the great stone which is in Gibeon, Amasa went before them. And Joab's garment that he nad put on was girded unto him, and upon it a girdle with a sword fastened upon his loins in the sheath thereof; and as he went forth it fell out. And Joab said to Amasa, Art thou in health, my brother? And Joab


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Rh pattern of the coat as a guide, letting it extend an inch or two below the waistline. (Ills. 103 and 104.) Slash the interlining at intervals along the bottom so that it will not bind the coat. Do not put the interlining together with ordinary seams, but tack it inside the coat, letting one seam edge of the interlining overlap the one next to it.

CUT FACINGS for the collar and fronts from the coat pattern following the instructions in the Deltor or Illustrated Instructions. The front facings must be cut to the shape of the front after the edges have been altered and taped. Lay the cloth on the fronts and over the lapel corners; pin it carefully in place, holding the front and lapel in to their proper shape; then cut it to the required width. It need extend only about three inches inside of the line that marks the center of the front. The collar facing, if of cloth, must be cut on the width or crosswise of the material and must not have a seam in the center of the back.

Fit the collar facing to the canvas collar and join it to the front facings, matching the notches on the collar and the front facings. Press the seams open and baste to the canvas collar and to the front of the coat, turning in the edges of the facing. (Ill. 105.)

COLLAR FACINGS of velvet are sometimes used, but instead of being applied directly over the interlining the edges of the velvet are turned under and catch-stitched to the under side of the cloth collar. If a velvet collar facing is used it should be made of a seamless bias strip of velvet. One-eighth of a yard of velvet cut on the bias is usually enough for a collar facing. All pressing and shaping of the collar must be done before putting on the velvet facing.

The shawl-collar facing is sometimes cut in one with the front facing. The collar proper is out and joined as just described, stitched to the body of the coat and pressed. The two facing sections are joined at the back and the seam pressed open. The facing is pinned in position. The outer edge of the facing is turned in even with the fold edge of the coat and basted. Baste the free edges of the facing in place, being careful to allow sufficient ease for the roll.

Fell the edges to position on the under side unless the neck is sometimes worn high in which case the felling stitches would show through. If the coat is to be worn high slip-stitch the edges.

THE COAT COLLAR WHICH IS NOT TAILORED. Cut the interlining like the pattern. The Deltor or Illustrated Instructions will tell you what kind of interlining is to be used. Trim off the seam allowance on the edges of the interlining which are not to be joined to the neck. Baste the interlining to the upper section of the collar. Turn the outer edge and ends of the collar over on the interlining and catch-stitch them. (Ill. 106). Turn under the edges of the under section of the collar one-eighth of an inch more than you turned under the edges of the upper section and baste to the upper section one-eighth inch from the edges. (Ill. 106). Catch the under section to the interlining about three-quarters of an inch in from the outer edges and also at the line where the collar rolls over. Fell the edges to position. (Ill. 106). Baste the collar flatly inside the neck edge of the coat and fell the coat to the collar.

Give the coat a careful pressing. (Chapter 32, page 154.)

THE SLEEVES. Baste the seams of the sleeves and try them on. If they need any alteration in size around the arm, make it at the seam

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Rh took Amasa by the beard with the right hand to kiss him. But Amasa took no heed to the sword that was in Joab's hand: so he smote him therewith in the fifth rib, and shed out his bowels to the ground, and struck him not again; and he died. So Joab and Abishai his brother pursued after Sheba the son of Bichri. And one of Joab's men stood by him, and said, He that favoureth Joab, and he that is for David, let him go after Joab. And Amasa wallowed in blood in the midst of the highway. And when the man saw that all the people stood still, he removed Amasa out of the highway into the field, and cast a cloth upon him, when he saw that every one that came by him stood still. When he was removed out of the highway, all the people went on after Joab, to pursue after Sheba the son of Bichri.

And he went through all the tribes of Israel unto Abel, and to Beth-maachah, and all the Berites: and they were gathered together, and went also after him. And they came and besieged him in Abel of Beth-maachah, and they cast up a bank against the city, and it stood in the trench: and all the people that were with Joab battered the wall, to throw it down.

Then cried a wise woman out of the city. Hear, hear; say, I pray you, unto Joab, Come near hither,


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XX] that I may speak with thee. And when he was come near unto her, the woman said, Art thou Joab? And he answered, I am he. Then she said unto him. Hear the words of thine handmaid. And he answered, I do hear. Then she spake, saying, They were wont to speak in old time, saying, They shall surely ask counsel at Abel: and so they ended the matter. I am one of them that are peaceable and faithful in Israel: thou seekest to destroy a city and a mother in Israel: why wilt thou swallow up the inheritance of the Lord? And Joab answered and said, Far be it, far be it from me, that I should swallow up or destroy. The matter is not so: but a man of mount Ephraim, Sheba the son of Bichri by name, hath lifted up his hand against the king, even against David: deliver him only, and I will depart from the city. And the woman said unto Joab, Behold, his head shall be thrown to thee over the wall. Then the woman went unto all the people in her wisdom. And they cut off the head of Sheba the son of Bichri, and cast it out to Joab. And he blew a trumpet, and they retired from the city, every man to his tent. And Joab returned to Jerusalem unto the king.

Now Joab was over all the host of Israel: and Benaiah the son of Jehoiada was over the Cherethites and over the Pelethites: and Adoram was over the


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62 marked by outlet perforations. A bias strip of interlining, or whatever is used in the fronts, should be basted into the wrist just above the turning line of the hem part, and the cloth turned over and catch-stitched to it. (Ill. 107.)

If a vent or opening is provided at the outer seam of the sleeve, the extension on the upper part is turned under for a hem; and the lower part, neatly faced with the lining, forms an underlap. This opening may be closed by buttons used as a decoration or by buttons and buttonholes. Finish the edge to match the edges of the coat. If stitching at cuff depth is desired, it must be made before closing the outside seam.

THE CUFF. Cut the interlining like the cuff pattern, of the same interlining material as used in the collar. Trim off the seam allowance of the upper edge and ends. Baste the interlining to the upper section of the cuff, turn the cuff edge over the interlining and catch-stitch them. (Ill. 108.) Turn under the outer edge and ends of the under section of the cuff one-eighth of an inch more than the upper section. Baste the under section to the upper section with its edge one-eighth of an inch from the edges of the outer section and fell the edges to position. (Ill. 108.) Put the cuff on the sleeve following the instructions given in the Deltor or Illustrated Instructions.

Baste the sleeves into the armholes. Try the coat on to see if the sleeve sets nicely. Then stitch it.

THE BUTTONS. When sewing on the buttons sew them through the coat and canvas interlining but not through the facing. (Chapter 24, page 115.)

THE LINING is the final step of coat-making; the outside must be entirely finished, the pockets put in, and all the ornamental stitching done before beginning on the lining. Silk, satin, crêpe de Chine and foulard are unquestionably the only satisfactory linings for a coat. Only the greatest necessity for economy warrants using a silk substitute as coat lining. The lining may match coat in color or a fancy silk or satin may be used accordingly to the style.

Cut the lining from the same pattern as the coat, allowing for any alterations which have been made in fitting.

Cut the lining of the fronts to extend to the front facings only, and cut the back pieces each one-half an inch wider than the pattern to allow for a small plait in the center back. Leave good seams, as the lining must be quite easy in width as well as length. (Ill. 100.) If it is tight it will draw the outside of the coat and make wrinkles.

Baste a small plait at the center back to avoid any possibility of tightness. With the back piece of the lining basted in the coat, the two outer edges will be raw. Catch these raw edges flat with a loose basting-stitch to the inside seams of the coat over which they lie. Now take the next piece of the lining and baste it through the center to the corresponding piece of the coat, then turn under the edge toward the back and baste it down like a hem over the raw edge of the back piece, notching the edges of both seams at the waistline and immediately above and below it, so they will fit the curves of the coat.

Repeat this method with each piece of the lining. Turn it up at the bottom, allowing a little of the cloth to show (Ill. 109) but do not let the lining draw.

After all the edges are turned under and basted over the preceding pieces and over the raw edges of the facings in front, and over the edges of the collar at the neck, they are neatly felled down to the cloth. (Ill. 109.) Be careful not to catch through to the outside.

The lining of the sleeves is cut like the outside and the seams are stitched and pressed open. If the sleeves are to be interlined, the interlining should be tacked to the sleeve lining. It is used on the upper part of the sleeve only, and should stop three inches below

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Rh the upper edge and three inches above the wrist edge. (Ill. 110.) The lining is slipped inside the sleeve and hemmed down at the hand and on the small opening at the back of the wrist if there is an opening allowed in the sleeve pattern. It is then drawn up in place and basted through the cloth of the sleeve about five inches from the top. Draw up the sleeve lining, turn in the raw edge, and baste it to the coat lining all around the arm-hole and fell it in place.

THE HALF-LINED COAT. Top coats, storm coats, motor coats, etc., should only be lined to about twenty-five or twenty-six inches from the neck. (Ill. 111.) You need a lining in the upper part to cover the interlining and to make the coat slip on and off easily. There is no real need for a lining in the lower part and it wears out so quickly, from rubbing against your skirt, that it is really better not to use it.

THE SEAM EDGES. When a coat is lined to the waist only, the seam edges in the lower part of the coat must be finished neatly. (Chapter 17.) Heavy materials like wool, velvet and army cloth are really self-finished, for they are so closely woven that they will not fray and can be left raw quite satisfactorily.

Tweed, cheviot, mixtures, etc., will fray and must be bound. The seams should be bound with ribbon seam-binding, the color of the coat. Seam-binding comes in different widths and you can get it wide enough for even a heavy coating. Put the seam-binding on by hand with an easy running stitch, sewing it neatly and evenly. (Ill. 154, page 88.)

The seam-binding should run up well above the line of the lower edge of the lining.

AN UNLINED COAT

An unlined coat needs interlining to prevent its breaking on the figure. The interlining for the front of the coat should be cut and put in according to the Deltor or Illustrated Instructions. The interlining in the front of the coat should be covered with a facing of the coat material. The part of the interlining left exposed back of the facing should be covered neatly with a lining.

In cloth or linen the raw edges of the interlining and facing of the side fronts should be bound together. In silk they may both be turned under three-eighths of an inch, facing each other, and stitched. In either case, these edges should be left loose from the coat; they should lie against it, but

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64 should not be caught or stitched to it for the stitches would be objectionable on the right side of the coat.

A YOKE-SHAPED PIECE OF LINING MATERIAL must be used in the back of the coat. It should be six inches deep at the center, and run straight across the shoulders. Turn under its lower edge three-eighths of an inch and stitch it in a narrow hem. Then baste it to the back of the coat at the shoulders and neck, leading its lower edge free.

The shoulder edges of the back yokes should be turned under, and then basted and felled carefully over the shoulder edges of the front lining.

In silk the coat should be finished with French seams. (Page 86.) In a coat of cloth the seams may be pressed open and the edges bound separately with silk seam-binding (Page 88). or they may be bound together, turned to one side, and stitched down flat to the coat. If they are pressed open, they need not be stitched again unless you prefer to stitch them on both sides of the seam. In heavy wash materials the seams can be handled in the same way, using a cotton seam-binding instead of silk. Be sure the binding is shrunken. It should be the same color as the coat. Or, on a linen, cotton repp, etc., you can use the flat-stitched seam. (Chapter 17. page 87.)

The lower edge of the coat should be turned under according to the Dehor or Illustrated Instructions, weighted with lead weights at the seams (Ill. 102), and its raw edge either hemmed or bound.

If the coat is made of fur cloth the entire coat should be lined with cambric before the interlining is put in. This cambric re-enforces and strengthen the rather loose weave of the fur cloth. It is also used in fur coats if the pelts are tender and perishable.

The principles and general rules for making coats for girls and children are exactly the same as for coals for ladies and misses. They are applied to the simpler form of coat used for girls and children.

CAPES are made by the same general principles and rules that are followed in making coats. The effect of a cape is softer than a coat, and in applying the principles keep the idea in mind that the cape should be as soft as required by the design of the cape. It is best to follow the instructions given in the Deltor or Illustrated Instructions with each Butterick cape pattern.

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HE PATTERN. Buy these patterns by the measure given on the envelope. This is the only measure necessary to consider in buying these patterns. When a design is cut in fewer sizes than usual it is because the garment is of a type which is more or less easy in fit, that is, it should not tit as closely as a dress. Never buy a pattern smaller than your measure.

In buying romper patterns buy them by the bust measure if the child is large or small for its age. Chapter 2 gives instructions for measuring ladies, misses, girls and children.

Many figures vary in the length of the waist, skirt and arm. Before cutting your material measure the figure at these places (Chapter 3, pages 19–23) and compare your measures with those of the pattern (Chapter 3, pages 19–23.) If the pattern is long or short for you, alter it as explained in Chapter 3. The proper place to alter each pattern is given in the Deltor on the pattern envelope.

MATERIALS. Read Chapter 5, page 32 on shrinking materials before cutting your material.

CUTTING. If you are not thoroughly familiar with Butterick patterns read Chapter 2. Lay your pattern on the material following the layout given in the Deltor for your size, width of material and the view of the pattern that you are going to use. If no Deltor is given with the pattern follow the cutting instructions on the pattern envelope.

After cutting out the garment mark all the working perforations with tailors' tacks. (Chapter 16. page 83).) The best way to mark the notches is to take two or three stitches in basting cotton for each notch, or the notches may be clipped, in which case do not make them any deeper than is necessary to see them distinctly.

PUTTING THE GARMENT TOGETHER. The Deltor or Illustrated Instructions will show you with pictures exactly how to put the garment together.

Try the garment on and if any slight alteration is necessary, make it at the place provided for alterations in the pattern. Baste in the alteration, try the garment on again and stitch the seams.

The materials suitable for each class of garment in this chapter, and the correct finish for each garment are given below:

ATERIALS. The materials most used for house dresses are gingham, chambray, cotton poplin, madras, seersucker, linen-finished cotton materials and striped cottons.

THE FINISH FOR HOUSE DRESSES must be suitable for hard wear and frequent laundering. The seams may be finished with flat-stitched seams (Chapter 17, page 87) or with French seams (page 86).

Armholes should be finished with flat stitched seams (page 87) or overcast (page 82). The finish of the edges and the trimming of house dresses change from lime to time as new ideas are introduced. The Deltor gives the newest finish for this type of garment.

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66 ATERALS. Crêpe de Chine, Georgette crêpe, lace, wash silk, wash satin, silk mull, silk and cotton crêpe de Chine. cotton voile, dotted swiss, wool batiste, wool albatross and challis, are the materials most used for negligees or Kimonos. Corduroy is used for warm wrappers.

The choice of the materials depends on the dressiness of the negligee, etc.. the use it is to be put to or the need of the woman who is to wear it. Tea gowns in dainty materials and attractive colors are used by many women for tea, luncheon, and dinner at home with their intimate friends.

SEAMS. For all materials except corduroy French seams are used (Chapter 17. page 86). For corduroy use flat-stitched seams (Chapter 17. page 87) unless the Wrapper, etc., is lined. In that case use plain seams and press them open.

The nicest corduroy negligees are lined with a thin silk. China silk makes the best lining.

In a more elegant negligee of crêpe de Chine, Georgette crêpe or silk mull, the seams may he machine hemstitched. (Chapter 25, page 118.)

THE EDGE FINISH AND TRIMMING will be found in the Deltor. The styles, trimmings and finish change constantly and the newest ideas suitable for each design are given in the Deltor.

ATERIALS. The materials must used for bathrobes are blanket robing, blankets, eidor-down, flannel, flannelet and corduroy for warm bathrobes. When warmth is not essential terry cloth makes a very satisfactory bathrobe.

THE SEAMS. In heavy materials such as blanket cloth, blankets and eider-down, if the fabric does not fray, seam edges may be turned to one side and stitched again ¼ or ⅜ of an inch from the seam stitching. The edges are then cut off close to this stitching. If the material does fray trim the seam edges down to ⅜ of an inch width and bind the edges separately with lining material. Turn both edges to one side and stitch them through the garment along the inner edge of the binding.

In flannelet French seams (page 86) may be used.

Flat-stitched seams (page 87) nay be used in any of the materials mentioned.

The lower edge and armholes are finished like the other seams except where French seams are used. In that case use a regular hem at the lower edge of the bathrobe.

In joining the collar to the neck if the material is bulky stitch the under section of the collar to the neck with the seam toward the wrong side of the robe. Clip the seam to prevent its drawing the neck and turn it up. Cut off the seam allowance on the neck edge at the outside section of the collar and find it. Baste and stitch it to the neck of the bathrode over the first sewing, stitching along the inner edge of the binding.

THE EDGE FINISH AND TRIMMING will be found in the Deltor.

ATERIALS. Gingham, chambray, percale, madras, seersucker, linen-finished cottons, flowered sateen and cretonnes are the material most used for aprons.

THE FINISH of aprons like the finish of house dresses must be made to stand hard wear and frequent laundering. In bungalow aprons use flat-stitched seams (page 87). French seams (page 86) may also be used for bungalow aprons and other aprons.

THE EDGE FINISH OR TRIMMING will be found in the Deltor. Now that modern conveniences have made it possible for so many women to do their own housework there is more interest in aprons and new ideas in trimmings are introduced each season. The Deltor gives the newest and most attractive finish for each design.

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Rh

HE same general principles and rules followed in making waists (Chapter 7) skirts (Chapter 9) and bloomers (Chapter 14, page 69) are used in making bathing-suits.

MATERIALS. The materials most used for bathing-suits are surf satin, taffeta, surf cloth, brilliantine, or jersey cloth.

HE MATERIALS most used are gingham. chambray, cotton poplin, galatea, seer-sucker, linen and linen-finished cottons.

SEAMS for rompers must be finished to stand hard wear and constant laundering. If the effect of the romper is at all soft use French swims (Chapter 17. page 87). For little straight rompers or the body of a two-piece romper where a tailored effect is desired use flat-stitched seams. (Chapter 17, page 87).

Another way of giving a tailored effect to rompers is to cut the seams to about ¼ of an inch width and press them open. Baste lawn seam binding flat to the inside of the body to completely cover the seam, stitch along the edges of the seam binding to give the effect of a tailored seam from the outside.

Armholes may be finished as flat-stitched seams, (Chapter 17, page 87) overcast (Chapter 16, page 82), or bound with lawn seam binding.

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NDERWEAR is the easiest type of sewing. There is practically no fitting to be done and the construction is of the simplest possible kind. It is a very good idea, therefore, for a beginner to start with an underwear garment before she undertakes a blouse or dress.

PATTERNS—Buy your pattern by the measures given on the pattern envelope. No other measure need be considered in purchasing these patterns. It is very important that these measures be correct. The right way to take your measures and instructions for buying patterns are given in Chapter 2, pages 10–12.

Before cutting your material read the instructions in the Deltor or pattern envelope for altering the length of the pattern if necessary. If you are of average size and height it is probable that no change will be needed, but if you are shorter or taller than the average it is advisable to adjust the length of the pattern before cutting your material.

To make any alteration that is necessary read Chapter 3, pages 19–23. You should also read Chapter 2 on "Butterick Patterns."

MATERIALS. The materials most used for nightgowns, camisoles, corset-covers, petticoats, drawers and combinations are batiste, nainsook, long-cloth and cross-bar. These are practical materials, and the plain or flowered batistes, cross-bars and nain-sooks are also very dainty. Many women like cotton crêpe for it is easy to launder, and it is used in the plain or flowered crêpes or the crêpes with bird designs. Muslin and cambric are used for garments that are to have hard wear. The French use cotton voile in dainty colors. For fine underwear the best materials are handkerchief linen, crêpe de Chine, wash silk and wash satin, silk mull, especially with a gauze stripe, silk muslin, and the occasional net and Georgette crêpe for camisoles and petticoats. The Oriental silks, both the Chinese and Japanese, are used for a good many things, especially for pajamas, while outing flannel is used for both pajamas and nightgowns. Pajamas are also made of any of the silk or cotton materials mentioned.

Italian silks and silk jersey are nice for knickers, which are also made of sateen, satin, China silk and crêpe de Chine when they are worn under dresses in place of petticoats. These knickers are more comfortable than a petticoat under a narrow skirt, and may be worn under any skirt of a good weight wool material or under any silk or satin skirt which has a drop skirt. For this purpose it is better to make them in a longer length. Dark colors are practical, especially for the street, but flesh color and white are very dainty. If they are used instead of drawers they should be made in a shorter length, and in either the silk or cotton materials they should be white or flesh-color.

Princess slips are made of crêpe de Chine, Georgette, wash satin, Japanese silk, sateen, batiste, cotton voile and silk mull.

Bloomers for gymnasium suits are made of serge, khaki, sateen, cotton poplin and brilliantine in dark colors.

CUTTING. Lay the pattern on the material, following the layout for your size, view and width of material given in the Deltor or following the cutting instructions given on the pattern envelope. Mark the notches with two or three stitches taken in basting cotton, or clip them. In the latter case only cut them deep enough so that you can see them easily. Mark all the working perforations with tailors' tacks. (Chapter 16, page 85.)

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Rh PUTTING THE GARMENT TOGETHER. Put the garment together and baste it, following the Deltor for putting together or the Illustrated Instructions. Try the garment on and if necessary make any slight alteration.

Although there is a particular daintiness and charm about hand-made underwear, much fine and beautiful work may be done on the machine. The saving of time is so great that when a number of pieces are to be made this method is usually given the preference. A few of the smaller pieces—a corset cover, chemise or a pair of drawers—can easily be made by hand, but the amount of work on gowns, petticoats or combination garments inclines one toward the machine method.

One must understand something of the mechanism of the machine. It must be kept clean and well oiled. The number of the thread, the size of the needle, the length of the stitch, and the adjustment of the tension must be adapted to the material. No. 80 cotton is the best for white work, except for tucks and hems and all outside stitching on very sheer and fine materials, when No. 100 or No. 120 may be used. Every make of machine has a table giving the sizes of needles that should be used with certain number threads, which it is wise to follow. Remember that a sewing cotton requires a looser tension than silk.

The hemming and tucking attachments are great time-savers, but many women prefer to gather ruffles, puffs, etc., by hand and stroke them.

N MAKING underwear it is important that there should be no raw edges. This not only makes it neater and daintier, but it makes it stronger and better able to stand frequent laundering. It is washing that wears out underwear more than the actual use.

SEAMS. In sheer materials it is necessary to make the seams as invisible as possible. French seams are best on this account (Chapter 17, page 86). In fact, French seams are used on all underwear, whether it is sheer or not, because they show the least. These seams should be made as narrow as possible. In materials like batiste, silk muslin, net and Georgette the seams may be joined with a narrow lace seaming. The method that is used for this seam is shown in Illustration 307, Chapter 27, page 133.

In all underwear, seams should be as narrow as possible. In materials like thin silk, net, Georgette, silk muslin and batiste the seam edges may be cut very narrow, rolled and whipped together. The method is the same as in Ill. 152, page 87, only both edges are rolled instead of one.

In all materials that suggest daintiness machine hemstitching may be used for the seams and for trimming. (Chapter 25, page 118.) In the heavier cottons and silks where a tailored finish is desired flat fell seams (Chapter 17, page 87) are used. They should be made as narrow as the material will permit. Flat-stitched seams (Chapter 17, page 87) are the strongest seams for underwear and are often used for drawers, especially for children's drawers and for pajamas. They are always used for the pajamas when a mannish tailored effect is desired. A fell seam is used to piece the material in cutting unusually wide garments such as drawers, etc.

The edges may be hemmed (Chapter 18, page 91) faced (Chapter 19, page 94) or trimmed in the various ways suggested in this chapter.

For bloomers, both French seams and flat-stitched seams are used. A strong flat seam is especially good for gymnasium wear. It may be made by stitching the seam and pressing it open flat. The curved part of the front and back should be slashed half-way to the stitching every little way, so that the seam will be perfectly flat and will not draw.

Trim off the corners of the slashes to give a curved edge (Ill. 112) and finish the edges of the seam with a narrow ribbon binding or with a bias binding of sateen or percaline the shade of the material. Use flat-stitched seams in piecing.

BINDING THE SEAM. The seams of bloomers may be bound with ribbon binding sewed on by hand with a running-stitch or stitched on. Or the seams may be bound with sateen or percaline cut in bias strips an inch wide. Baste the bias binding on the right side of the seam edges, turn it over the raw seam edge turning in the raw edge, and baste on the under side, keeping the turned edges even on both sides of the seam. Stitch

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Rh the victory; a furious wind and driving snow, added to the natural difficulties, nearly turned the scale against them.

Mr. Kennedy started from Abricolla between 2 and 3 on July 18, 1862, and ascending the glacier that is mentioned in the opening paragraph, went towards the point marked 3912 metres upon the map; then turned to the left (that is, to the north), and completed the ascent by the southern ridge,—that which overhangs the western side of the Schönbühl glacier.

Mr. Kennedy described his expedition in a very interesting paper in the Alpine Journal. His account bore the impress of truth; but unbelievers said that it was impossible to have told (in weather such as was experienced) whether the summit had actually been attained, and sometimes roundly asserted that the mountain, as the saying is, yet remained virgin.

I did not share these doubts, although they influenced me to make the ascent. I thought it might be possible to find an easier route than that taken by Mr. Kennedy, and that if we succeeded in discovering one we should be able at once to refute his traducers, and to vaunt our superior wisdom. Actuated by these elevated motives, I halted my little army at the foot of the glacier, and inquired, "Which is best for us to do?—to ascend the Dent Blanche, or to cross to Zermatt?" They answered, with befitting solemnity, "We think Dent Blanche is best."

From the chalets of Abricolla the south-west face of the Dent Blanche is regarded almost exactly in profile. From thence it is seen that the angle of the face scarcely exceeds thirty degrees, and after observing this I concluded that the face would, in all probability, give an easier path to the summit than the crest of the very jagged ridge which was followed by Mr. Kennedy.

We zigzagged up the glacier along the foot of the face, and looked for a way on to it. We looked for some time in vain, for a mighty bergschrund effectually prevented approach, and, like a fortress' moat, protected the wall from assault. We went up and


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70 close to the inner edge of the binding. This type of binding is more serviceable than ribbon binding for a garment that is to receive hard wear.

TAPING SEAMS. If the bloomers are used for gymnasium the strain on the seams will be very great. They can be reenforced with firm black linen or cotton tape about ⅜ of an inch wide. Baste this tape directly at the center of the seam on the inside of the garment and stitch through the tape, seam and garment close to each seam edge. (Ill. 113.) This will give the effect of a tailored seam from the outside as shown in Illustration 114. Be sure the tape is in one continuous piece from waistline in front to the waistline in back and from the lower edge of one leg to the lower edge of the other.

TRIMMINGS. The daintiest and at the same time the most effective trimming for lingerie is hand-embroidery. It is used on all the most beautiful French underwear, and is very lovely to look at, and yet adds very little to the cost of the garment. It is the only trimming that does not wear out, and it never requires mending. For every-day wear the simple scallops and eyelets which can be used in place of beading are very satisfactory. More elaborate designs can be used on finer lingerie for evening wear, etc. One can get very beautiful effects by combining hand-embroidery with lace. All the best designs of different kinds of embroideries suitable for underwear are to be had in Butterick transfers which are illustrated in Needle-Art.

Tucking made either by hand or by machine is used on all types of underwear. It may be either plain or fancy tucking. (Chapter 20, page 97.)

OUBLE bands of net or Georgette are hemstitched to underwear of silk or batiste to finish the edges and to form a finish and also a casing for a ribbon. They are also set in garments below the hems, and have ribbon run through them. Satin bands are used on garments of Georgette, net, silk muslin, etc.

OVELTY braids, particularly rickrack, are stitched to the edges of garments. They form a beading as well as a finish for the edge, since the points are only caught on one side of the braid.

EDALLIONS of silk, Georgette and net, many of them embroidered, are set in garments of a contrasting material.

ARROW crocheted edges, often forming a beading, are used on many of the better class of undergarments in all materials, even satin. Needle-Art gives these edges both in crochet and tatting.

ROSS overcasting and double overcasting (Chapter 25, page 124) such as are used as a trimming in waists and dresses are also used as a trimming on underwear of Georgette, batiste, nainsook and silk muslin.

HAPED hems and facings are used at the edges of garments of all materials. They may be made of either the material of the undergarment or of contrasting material, and are either set in with machine hemstitching ( Chapter 25, page 118) or else are feather-stitched in place (page 126). These hems and facings may be shaped at either the inner or outer edge. Rows of narrow bias bands of the same material or of contrasting material are used around necks and at the lower edges of flounces. They are very pretty in fine striped or checked material on a plain material and are stitched on by machine or hemstitched.

RAWN-WORK and hemstitching are very lovely on handkerchief linen, batiste and voile, and are used a good deal on the better class of French underwear. They are very dainty.

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Rh ET FLATTINGS are used at the edges of garments of Georgette, silk, silk muslin and batiste.

IBBON and satin plaitings are used on garments of Georgette, net, thin silk and batiste.

ITTLE colored flowers usually made of satin, Georgette or ribbon are used on finer underwear, especially at the top of flounces. Rosettes are also used on fine underwear. Many silk garments are finished with bandings and cordings of the underwear materials. Edges are often finished with nicot and sometimes have several rows of machine-stitching above the edge, either straight, scalloped or in points.

ACE is used on almost all underwear. It is usually a machine lace, though on the finer underwear certain real laces are used, such as Valenciennes, Irish, filet and Binche. The different ways in which you can use lace as a trimming are given in Chapter 27, pages 134–136.

UFFLES are frequently used for trimming on petticoats and drawers when full styles are in fashion. (See Chapter 27, pages 132–133.)

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ATERNITY clothes have two objects: One is to make your condition unnoticeable, the other is to give you every physical advantage possible. If your clothes make you feel conspicuous and awkward you will shrink from going out and will suffer from lack of exercise and legitimate amusement which would keep you in a happy, contented frame of mind. Under such conditions you would be likely to become morbid, and your depression might seriously affect the physical condition of your child and his character and disposition. If you keep happy and contented yourself you stand a better chance of having a happy, sunny, normal child.

Your clothes must be the right weight so that they will not tire or strain you. They must he the right size so that they give your figure proper support without compressing it or retarding its development.

Clothes that are designed solely for maternity wear are apt to look the part, and call attention to a woman's condition. At this time you do not want to be conspicuous in any way. You want to look as much like other women as possible so that there will be nothing to draw notice to you. It is much better to choose current styles that can be adapted to maternity wear and use them in preference to the special maternity clothes. Your things will be prettier and smarter and of more use to you later. The slight alterations that you make for maternity use can be changed back to normal lines after the baby is born.

You should avoid anything that is extreme or bizarre or that will enlarge your figure unnecessarily. Skirts with plaits, long soft tunics, or soft fulness are admirable, for they give you the size you need at the waist. You should not use a skirt that is extremely narrow. It might become too small for you before the baby is born. If you select such a style it is advisable to add sufficient width to it in cutting.

SKIRTS—A skirt can be adapted to maternity use by allowing extra length at the top in front. The allowance should be three inches deep at the center front and slope to nothing to the hip. As your skirt grows shorter across the front you will let out this allowance to keep it even at the bottom. A skirt that is short across the front and pokes out calls immediate attention to your condition. Until you need this extra allowance it can be turned under and its inside edge covered with seam binding.

THE INSIDE BELT of skirts and dresses should be of elastic webbing. New belts should be put in from time to time so that the belt will always be easy. It should never compress the figure. The point of the elastic webbing is not to allow the belt to stretch to your new proportions; it is to allow for the transient changes in the figure, the temporary inflations that come and go during the day.

WAISTS AND BLOUSES—In selecting waists either for separate blouses or as part of dresses, choose soft styles that do not fit the figure too closely. Long overblouses when in style are very good, because they have plenty of size at the waistline. Surplice waists, especially when they are made with sashes, adapt themselves to your changing figure with the tying of the sash. Waists with soft fulness when they are used as part of a dress made with a soft skirt should be joined to the skirt before either the waist or the top of the skirt is gathered. A casing should be placed at the waistline and the fulness of both the waist and skirt drawn in with the same drawstring. (Chapter 23, page 111.)

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Rh WAIST LININGS—It is better not to make dresses and waists with waist linings which would have to be altered from time to time. Instead you should wear a brassiere that supports you figure and keeps it neat and trim. A brassiere should not be worn at all snug, for it must not compress the figure or prevent its development. Surplice brassieres are excellent, for they adjust themselves each time they are put on. Or you can use the fitted brassiere with under-arm seams laced with elastic cord which can be let out when necessary.

COATS, CAPES, SUITS—For the street a long coat or a cape is usually better than a suit. For some seasons suit styles are excellent for maternity wear. The coat should not be close fitting. It should have plenty of width at the waistline, and if necessary it should be cut with extra width allowed on the front edge of each front so that it will not become too small.

MATERIALS AND COLORS—It is advisable to choose materials that are as light in weight as possible especially for coats and street dresses. As far as possible wear the light-weight silks and satins even in Winter in your dresses. Get the necessary warmth from your underwear and your wraps. Coats and wraps of course must be warm for cold weather, but you can choose materials that are warm and light.

Do not choose loud or light colors for maternity use. The quiet colors are less noticeable and the dark colors make you look small. Avoid anything with large figures or conspicuous stripes, checks or plaids. In Summer you will want to wear white and light colors during hot weather, because they are cooler than dark colors, but in other seasons the dark colors are more practical for the street. Use light colors for the house.

CORSETS—As soon as you find that you need them get the best maternity corsets that you can afford. The muscles of the abdomen require additional support at this time and if you wear poor corsets or go without corsets altogether you run the risk of getting permanently out of shape and perhaps losing your figure altogether even after the baby is born. If you keep well corseted the chances are that your figure will come back to its original lines.

With your corsets you must wear hose supporters. A round garter is very dangerous, for it checks the circulation and might induce varicose veins.

SHOES—Your shoes should have flat, rather low heels so that you will not run the risk of turning your ankles and getting a fall. In wet or slippery weather be sure to wear rubbers. If you fall or wrench yourself you might bring on a miscarriage.

LINGERIE AND UNDERWEAR—For maternity wear you mil probably need lingerie at least two sizes larger than the underwear you ordinarily use. Instead of petticoats it is advisable to wear princess slips, for the weight rests on the shoulders instead of at the waistline. If you use combination drawers and corset cover you must allow extra length in the lower part in cutting them. Slash the pattern just below the hip and separate the pieces about three inches before you cut your material. In your envelope chemises you will need extra length at the end of the tab. Make a three-inch allowance on the tab in cutting. Nightgowns should open down the front.

In Winter wear wool or part wool union suits, and many doctors advise long sleeves and drawers that come to the ankle. It is very important to keep the body an even warmth. If you take cold at this time it is likely to go to the kidneys and cause trouble later.

You should place yourself under the care of a good physician as soon as possible and follow his advice in regard to exercises, diet, etc. Under normal conditions a certain amount of exercise is very desirable. It keeps you in good general condition.

You ought never to lift heavy things, or reach up for anything that might strain you. Violent exercises of course are taboo.

LL baby clothes should be white, and as fine and dainty as possible. Pale shades of baby pink and blue can he used for ribbons on dresses and caps, for linings in lingerie caps and for the linings of Summer coats of batiste, handkerchief linen and crêpe de Chine.

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74 Pale pink and blue are also used for baby jackets, sweaters and bootees, and for afghans, blankets, shawls, etc. But the actual dresses, slips, caps and coats, petticoats, etc., are always white.

The layette given below is absolutely complete and large enough to keep a baby fresh and dainty if one can have constant laundry work done. It is, however, the smallest possible layette that is safe to start with, and if possible it would be desirable to enlarge it especially in the matter of diapers, bands and shirts. With as small a layette as this you might be tempted to put on a band or shirt twice without washing them first, or put on a diaper that had not dried entirely. A little baby must be kept absolutely clean, warm and dry. You must have: 4 abdominal bands, soft flannel strips unhemmed. 4 knitted bands with shoulder straps 4 shirts size 2, wool and cotton, or wool and silk, not all wool 4 dozen diapers 4 flannel petticoats or 4 barriecoats 4 cotton or lawn petticoats 6 simple slips of thin cambric or nainsook 2 dresses 2 wrappers 3 pairs of bootees 4 pairs of stockings, silk and wool or cotton and wool 4 nightslips, or nightgowns of flannel 1 coat and cap, and 1 veil 2 cashmere sacks 2 blankets 1 bath apron 1 rubber sheet 6 soft towels 3 knitted wash-cloths 6 piqué bibs

The baby's basket should contain:

An old, soft clean shawl or blanket to receive the baby at birth 4 dozen safety-pins, different sizes A roll of sterile gauze Squares of old linen to be thrown away after using Absorbent cotton 2 ounces of boracic acid 4-ounce bottle of olive-oil or sweet-oil Talcum powder Hot-water bag with flannel cover Infants' soft hair-brush; jar of vaseline; small pair of scissors Cake of Castile soap

You will need a bath thermometer, bath scales and an enamel tub. Tubs are quite expensive unless you get a tin one and enamel it white inside and pink or blue outside.

BANDS—The flannel bands are worn to protect the navel-cord dressing until the baby is six weeks old. If they are tight they will prevent digestion and cause hernia. They must be smooth and firm, but not tight. You can make the flannel bands with raw edges or turn the edges on the right side and catstitch them. (Ill. 115.)

When the baby is six weeks old he begins to wear the knitted bands with shoulder-straps. They protect him from cold and colic. The tabs at the front and back are pinned to the diapers to keep them in place.

SHIRTS—If you buy the baby shifts, get the second size, for they outgrow the first size almost immediately. It is much less expensive to make them yourself from fine white flannel. Every stitch should be made by hand with great care in finishing all of the seams, hems and turnings as flatly as possible, as otherwise they are likely to make the child uncomfortable. The shoulder and underarm seams should be pressed open, after stitching, and both seam edges catstitched on the inside of the garment.

Double turned hems are frequently dispensed

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Rh Ill. 117. Flannel Skirt in Princess Style, Closing on the Shoulders with on the front and lower edges of shirts. In some cases the flannel is turned only once and a loose buttonhole or crochet-stitch in soft Saxony wool or silk floss is made over the edge. This finish is shown in Ill. 116.

DIAPERS—There are three kinds of diapers—bird's-eye linen, cotton diaper cloth and stockinet. They are twice as long as they are wide and are finished with narrow hems at each end. You will need three pieces of the diaper cloth, eighteen, twenty and twenty-four inches wide. If you like, you can buy the diapers ready made, sterilized and ready to use.

Ill. 118. Hemmed Placket

PETTICOATS—An infants' petticoat is finished according to the material of which it is made. The princess petticoat is the best style for this baby, for it is the easiest to put on, the weight hangs from the shoulders, it keeps the body an even warmth and it is loose at the waistline. (Ill. 117.) Some women prefer a petticoat gathered to a band or body, but the princess style is safer and is used at the best baby hospitals.

FLANNEL PETTICOATS should be made of fine flannel. The seams should be stitched and finished as shown in Illustrations 138 or 139 on page 83. The underarm seams are finished in the regulation manner with catch-stitching or feather-stitching.

The bottom of the skirt may lie embroidered, scalloped or trimmed with feather-stitching, or the hem can be finished as shown in Illustrations 173 and 174 on page 92.

The princess petticoat is fastened on one or both shoulders by ribbons or buttonholes. The neck and armhole edges may be bound with ribbon or tape or finished with a scalloped edge worked in white embroidery silk. (Ill. 117.) If the petticoat is to be embroidered don't cut out the neck and armhole but mark the outline of the pattern with a colored

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76 thread. The design can be stamped along the outline and cut out after the embroidery is finished.

The petticoat joined to a body is shown in illustrations 119 and 120.

The petticoat is finished in French seams. The upper edge is gathered with fine stitches and joined to the body after the placket has been hemmed with a very narrow hem on one side, and one three-quarters of an inch wide on the other (Ill. 118). Lap the wide hem over the narrow (Ill. 118), and tack firmly at the bottom of the placket with two rows of machine stitching, preferably running slanting (Ill. 118).

The body is either cut single of flannel or cambric and faced at the neck and armhole after the shoulder and underarm are joined in a French seam (Ill. 119), or cut of two layers of cambric, one serving as the lining (Ill. 120).

If a single body is used the seam joining the body and skirt is made toward the inside. A bias strip of cambric is placed next to the petticoat in the same seam, which is then stitched, turned over and hemmed to the body (Ill. 119).

If made double, stitch the under-arm seams of both outside and lining; place the right sides of the material together and stitch all except the lower edge and shoulder seams. Clip the curved edges, turn the body right side out and crease along the sewing line. It may be stitched again on the outside to strengthen the edges and hold the seams in position. The top of the petticoat is gathered and basted to the lining with the seam toward the inside (Ill. 120). Turn this seam up on the body; turn in the edge of the outside piece and stitch it over the gathers, covering all previous stitchings (Ill. 120). The shoulders are stitched in a fell seam. (Chapter 17, page 86.)

A BARRIECOAT OR PINNING BLANKET is an open front petticoat made of flannel and sometimes used in place of a flannel petticoat. Its ends can be turned up and pinned to keep the baby's feet warm. Hospitals and doctors do not approve of it, for it prevents the baby from kicking and strengthening its legs. The front and lower edges are turned in hems and feather-stitched on the outside. (See Ill. 121.)

The body is cut from fine cambric, and though the edges may be bound or faced, it is better to make the body double. Join the shoulder edges of both the outside and inside, and press the seams open. Lay the two body portions evenly together, with the shoulder seams of both toward the outside. Stitch a seam around the upper edge and across the part of the lower edge not sewed to the skirt. The ends are left open until the tape is inserted. The body is stitched where it is sewed to the skirt after the skirt is joined to it. After they are stitched, the two body parts are turned to bring the seam edges inside. The edges at the pointed ends are turned in and the end of the piece of tape is slipped into each opening. Gather the skirt and join it to the body as shown in Illustration 121. Baste around the armhole about one inch from the edge to keep the two portions evenly together. Clip the raw edges and turn one in a seam's width and baste it; then turn the other edge in and baste it to the first. Stitch or overhand the two folded edges together to finish the armhole. The edges of the body portion should be basted and then feather-stitched. Baste about an inch each side of the perforations that indicate the opening to be made at the right side. Cut through the perforations and bind the opening with soft ribbon or silk tape. If preferred, the skirt may be mounted on a straight band, made double, instead of on the shaped body. The straight band can be lapped and pinned.

WHITE PETTICOATS—Here again the princess style is the best though the petticoat gathered to a band or body is also used. White petticoats are made of batiste or nainsook

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Rh or cambric, and are trimmed with tucks (Chapter 20), feather-stitching (Chapter 25), French knots, or with ruffles edged with lace or with ruffles of embroidery (Chapter 27) or a deep hem (Chapter 18).

SLIPS—Day slips are made of batiste, nainsook, lawn, fine cambric or cross-barred dimity trimmed simply with a little narrow lace at the neck and sleeves. Babies wear them in place of dresses most of the time, for under afghans and blankets a dress shows very little.

Night slips are made like the day slips but without the lace and are usually of fine cambric (Ill. 122). Many hospitals use a flannel nightgown which is worn in place of the nightslip and flannel petticoat.

A slip should be put together with narrow French seams. In the model shown in Ill. 122, the neck is finished with a bias binding. A narrow tape is run through the binding so that the neck can be drawn up to the right size when the slip is worn. Make an eyelet in the outside of the neck-binding just in front of the underlapping hem. Pass the ribbon through this opening so that it will meet the other end that comes from the opening of the overlapping hem (Ill. 122).

The neck and sleeves, which should be gathered into narrow-bands at the bottom, may be edged with a frill of lace. The back is cut down through the center to the depth given for the opening in the pattern instructions. Each edge of the opening is finished with a tiny hem. A plait is then made deep enough to bring the opening back one-half inch from the edge (Ill. 123). It is held in place by a slanting row of stitching at the end of the opening.

DRESSES—The baby will need a handsome dress for christening robe made of lawn, nainsook, batiste or handkerchief linen. The christening robe is generally made with a yoke and panel in front and this part of the dress can be of all-over tucking, or very fine embroidery. The simpler dresses are made of lawn, nainsook, dimity and batiste and are trimmed with smocking, hemstitching, featherstitching, French knots and tucks. Fine little dresses are made of batiste, fine nainsook and handkerchief linen usually with a small embroidered yoke and with an embroidered or lace-trimmed ruffle at the bottom.

A DAINTY YOKE may be made by over-handing together alternating rows of lace insertion and embroidery insertion.

Fine tucking rolled and whipped to lace insertion also makes a pretty yoke.

Narrow seaming or hemstitched beading may be used to join the yoke to the dress. The material on each side of the seaming should be rolled and whipped (Ill. 311, page 134), to the yoke on one side and the dress on the other. Or the seaming can be joined to the dress and yoke with tiny French seams.

The shoulder seams may be joined with the seaming in the same way, and the seaming may be used as a finish for the neck and sleeves. The material on the lower edge of the seaming should be joined to the neck and sleeve edges as described above. The material on the outer edge of the seaming should be cut away close to the seaming and a narrow French valenciennes lace whipped to the seaming to finish the neck and sleeves. This makes a dainty finish.

Baby clothes should be made entirely by hand and in the dresses the seams should be put together with narrow French seams or fine entre-deux. (Chapter 27, Ill. 307.) For

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78 special occasions the baby's dresses can be trimmed with shoulder bows and rosettes of blue, pink or corn color.

COATS—Even in Winter very little babies go out of doors when the temperature is 40 degrees or over. For Winter the coat should be of silk or wool Bedford cord, silk or wool cashmere, Henrietta or very fine corduroy. In these materials the coat is trimmed with stitched bands of taffeta, swan's down, embroidery or suitable lace. It should be lined with soft silk, China silk or fine sateen and for cold weather or a cold climate it will need an interlining of fine wool or fine silk or a soft flannel. These coats are always white.

If wool interlining is used the wool is picked away from the cheese-cloth around the seams to avoid bulkiness.

It should be cut without the seam and hem allowance. Instead of making the regular seam, draw the shoulder and underarm edges together with a loose overhand or ball-stitch, (page 147, Ill. 351) making them lie perfectly flat. (Ill. 124.) The outside of the coat is turned under at the bottom and catch-stitched to the interlining.

The Lining is cut like the outside and seamed in a regular seam, which is afterward pressed open. Place the seams toward the inside and baste the

lining to the coat. The lining at the bottom of the coat should be one-half inch shorter than the coat after its lower edge has been turned up. (Ill. 124.)

Place the lining in the sleeves; gather sleeve and lining separately at the top. Stitch the sleeve in the coat leaving the lining loose. (Ill. 125.) Later it is hemmed down over the stitching of the armhole.

The Collar is made unlined, with a facing of the lining material. It is stitched to the neck of the coat, and the lining of the coat hemmed against this stitching. If the coat has a cape it is sewed on like the collar.

For Summer very dainty coats are made of batiste, dotted swiss, handkerchief linen or crêpe de Chine over a lining of white, pale pink or pale blue China silk. They are trimmed with hand embroidery in small fine patterns and with lace.

Piqué and henrietta could also be used for Summer baby coats. The lower and front edges may be hemmed by hand or held in place by machine stitching on the outside. The same finish is carried out at the neck and wrist.

CAPS—For Winter the cap matches the coat in material and trimming, or if you prefer you can use lingerie caps over a padded silk lining of white, pale pink or pale blue China

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Rh silk. The cap-strings are always separate and are made of hemstitched lawn, batiste or handkerchief linen. They are pinned on with baby pins and changed every day. In Winter a baby will need a ready-made veil of fine knitted silk or Brussels net edged with satin ribbon.

THE KIMONO OR WRAPPER is a very practical garment and may be made of flannel, cashmere or any light-weight woolen material. A very pretty little garment may be made of French flannel, dotted or plain, with a shaped band of contrasting silk or flannel. (Ill. 126.)

The garment is collarless, and the neck and front edges, as well as the sleeves, are finished with shaped bands. The band is basted to the inside of the wrapper, along the neck and front edges. After it is stitched on, the band is rolled over on the outside of the wrapper and basted in such a manner that it extends a trifle beyond the joining seam. The other edge of the band is turned in and basted flat to the material (Ill. 126) and is held in position by a feather-stitch. When a straight band is used, one long edge is joined to the wrapper with the seam toward the outside; the other edge is then turned under and basted over the seam as shown in Illustration 127.

French knots and various fancy stitches, scallops or little trailing vines of embroidery can be used very effectively in the trimming of these wrappers. Silk or satin ribbon may be used for the straight band. Some of these kimono wrappers are lined throughout with soft India silk. The wrapper design mentioned above is perforated in the correct length for a house sack. This convenient little garment is made like the wrapper in every particular, except the length.

A dainty little sack is made of white cashmere lined with pale pink India silk. Both the outside and lining portions are cut exactly alike, the seams stitched and pressed open. The sack and lining are then basted together, with seams turned toward the inside. The sleeve portions are gathered separately at the top. Sew the outside material of the sleeve in at the armhole. Turn the raw edge of the sleeve lining under, gather it and hem to the armhole. A tiny turnover collar may be added with the same kind of finish. The edges of the sack may be turned in and secured with a row of feather-stitching, or they may be buttonholed together by a scalloped edge. The feather-stitching is given in Chapter 25, "Trimming Stitches."

LITTLE SHOES AND SLIPPERS made of a washable material are a pretty part of the layette. The piqué or other material is cut according to a slipper pattern, following the directions given on the pattern envelope. The sole and upper part of the shoe may be lined with flannel. The outside material and the flannel lining are seamed separately and the seams pressed open. They are then basted together with their edges even. The upper and lower edges of the slipper are bound with a bias seam binding. The upper part and the sole are overhanded together on the wrong side and the shoe is turned right side out. The ankle straps are then lined with cambric.

Work the buttonhole in the right-hand strap of one slipper and in the left-hand strap of the other. Flat bows run through tiny buckles, or rosettes of baby ribbon, can be used to trim the bootees.

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80 BLANKETS, AFGHANS, ETC.—The blanket should be 4.5 inches long and the width of the material. The handsomest blankets are made of double-faced eider-down, the edges bound with wide satin ribbon with the sewing line covered with French knots or feather-stitching. Blankets and afghans are always white, pink or blue, or white with pink or blue, or pink and blue together. The knitted afghans are made of wool. Two thicknesses of Shetland wool in pink or blue, or white with pink or blue, put together with a satin ribbon binding makes a dainty afghan for Summer. There are always new and charming ideas in afghans and the best ones with directions for making them will be found in Needle- Art. A very nice blanket can be made with two thicknesses of cheese-cloth with one thickness of cotton wadding between them. The edges are bound together with ribbon or scalloping and the three thicknesses are caught together with satin bows or knots of baby ribbon.

The baby will need little jackets, wrappers, sacks and bootees. You will find an excellent collection of them in the Butterick catalogue and publications and very exquisite French designs for embroidering them are given in Needle-Art. These things, however, should be left toward the last, for you are very apt to receive them as presents. They make interesting work for the last few weeks when you are more or less confined to the house and do not feel like doing other things.

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text: Dictionary of National Biography, 1885-1900/Otway, Thomas (1616-1693)


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O MAKE A KNOT, hold the threaded needle in the right hand. Take the end of the thread between the thumb and first finger of the left hand, stretching the thread tightly. Wind it around the top of the first finger, crossing it over the end held between the finger and thumb. Roll the first finger down the ball of the thumb about half an inch, carrying the thread with it, and with the second finger push the knot thus formed to the end of the thread. If a larger knot is required, wind the thread around the finger twice.

BASTINGS are temporary stitches used to hold two or more pieces of material together while putting in the permanent stitches. The thread should be smooth and rather fine. Careful basting is essential to successful sewing and dressmaking. There are four kinds of bastings.

EVEN BASTINGS start with a knot on the right side so that they may be easily removed. Pass the needle over and through the material, making the stitches and spaces the same length. To fasten the thread, take two stitches over the last one made. (Ill. 128.)

UNEVEN BASTINGS are made by the method just described for even bastings, except that the stitches and spaces are of unequal length. The stitches taken upon the needle are about a third shorter than the space covered by the thread. (Ill. 129.)

COMBINATION BASTINGS are used on seams where extra firmness is desired for close fitting. They are made by taking alternately, one long stitch and two short stitches. (Ill. 130.)

DIAGONAL BASTINGS are slanting stitches used in dressmaking and tailoring to secure the outside material to its lining, particularly where the lining

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text: Dictionary of National Biography, 1885-1900/Otway, Thomas (1652-1685)