This gives the line on which to place the row of machine-stitching, simulating the cuff; the stitching must be continued down the edge of the cuff on the fore-arm, to the bottom of the sleeve, and must be worked near the edge, to allow for the buttonholes.

Again press the bottom of the sleeve well, and work the buttonholes.

Cut the turning of the back seam of the sleeve slanting inwards towards the stitching (as shown in Diagram 2), and cut the turning of the back seam of the under-arm also slanting towards the stitching (as shown in Diagram 3).

Diagram 4. The back seam must be carefully pinned, tacked, and stitched, and should appear as shown in this diagram

Diagram 4. The back seam must be carefully pinned, tacked, and stitched, and should appear as shown in this diagram

N.B. - The turnings are cut in this way to enable the worker to join the back seam of the sleeve.

This seam must be carefully pinned, tacked, and stitched (it should be fixed lying flat on the table), or the elbow of the sleeve will not be in the correct position.

It should appear as in Diagram 4. Fasten off the stitching of the seam very firmly near the cuff, notch the turning, and press the seam open on a sleeve-board, and then bring the top of the button stand over the buttonhole side, and sew it down in this position, but do not take the stitches through to the right side.

Diagram 5. Turn in the lining at the cuff, but avoid covering the buttonholes

Diagram 5. Turn in the lining at the cuff, but avoid covering the buttonholes

Make the other sleeve in the same way, then tack and stitch both seams of the lining, just inside the "tailor tacking," so that the lining may be a trifle smaller than the serge. Notch and press the seams open - but do not damp them - and turn the lining right side out. Slip it over the wrong side of the sleeve, the seams of the serge and lining exactly corresponding, or the sleeve will not set. The lining will appear rather too tight for the sleeve, but when the sleeve is turned right side out it should no longer do so.

Turn in the lining at the cuff, covering the raw edge of the serge, and up the buttonhole side in a slanting direction - to avoid covering over the buttonholes - and fell it neatly all round (Diagram 5).

Line the second sleeve in the same way, and put them into the coat according to the instructions given in Vol. 2, page 1484, for the single-breasted coat. Sew the two buttons loosely, but firmly, on to the cuffs, to exactly correspond with the buttonholes.

Now that the coat is finished, mark the position for the buttons and simulated buttonholes which are to be placed as a trimming on the left-hand side of the skirt, as shown in the finished sketch, page 1717, Vol. 3. The pieces remaining over from the facing of the revers, etc., can be used to cover the button moulds.

The simulated buttonholes must be care-fully traced and worked (but not cut) in the same way as those on the pockets and revers were done, and care must be taken to make the "purl" edge of the stitches meet as closely as possible. The buttons must be sewn on securely over the end of the simulated hole, but it is not necessary to make a thin stem under any button which is used as an ornament only, and not passed through the hole.

The Practical Lessons in Dressmaking and Tailoring will be continued in the next part.

By Edith Nepean

By Edith Nepean

The Choice of Colour - Copying from Nature - An Embroidered Band for a White Hat-embroidered Chintz Flowers

All sorts of quaint and beautiful ideas are adopted for the embellishment of our millinery, but none are more becoming than that in which the artist with her embroidery needle plays a part.

But such artistic touches to the attire are costly items, unless they can be worked out at home, and then handed to the milliner to be used to the best advantage upon a picture hat or toque, as the occasion may demand.

There is little doubt that very often these original ideas and additions to the toilette emanate from the artistic Parisian modiste. A long price is asked for them in the Rue de la Paix, but clever fingers and an adaptable brain can work out such things at comparatively small cost, and a very beautiful hat trimming will be the result.

First there is choice of colour, for the hat which matches or tones with the gown, unless it be a black one, is always a necessity. For a grey gown a grey hat, which has a swathing of soft grey satin, on which roses are embroidered in exquisite tints of pink and dull flame colour, may easily become a thing of beauty.

As to the quantity of satin required, much must depend upon the size of the hat. We will, therefore, consider a band which could be swathed around a large picture hat of grey satin, or around a hat of soft chip or straw. For this purpose a yard and a quarter of satin, about 14 inches wide, will be found sufficient. The piece of satin which has been cut off may be useful to the milliner as a finish to the ends. The roses should be scattered carelessly over the satin - a stiff design must always be avoided.

If the embroideress can sketch, she may lightly outline the roses and their petals in Chinese white on to the satin, or, instead of having the design stamped, she may prefer to transfer a design herself. The chosen design of flowers should be traced on a piece faithfully by the embroideress and all appearance of stiffness avoided. If desired, a bead edging can be added as a finish of tracing paper, and this must be placed over a piece of flannel, pricking out all the lines with a needle. Place the pricked tracing on the satin, roll a long strip of flannel into a round shape like a long pincushion, as this is to be used as a pouncer. Powder some charcoal over the tracing paper, and rub it through the pricked holes; remove the paper, and with a pencil outline the markings of the charcoal. It is then ready to embroider. When it is a dark material powdered chalk instead of charcoal must be employed.