20. No time to be wasted while waiting for teacher's help.
Independent work to be encouraged. Knitting and other suitable work
to be at hand.
This excellent and sensible paper of suggestions means an offer of
freedom on the part of the Board; it remains, therefore, but to accept
and adopt its conditions. A practical difficulty, however, at once
arises from the fact that, after a long period of bondage to many
"Regulations," it is difficult for the teaching profession in general to
realise that independent judgment is now expected of them, indeed is
required, though this is a phase temporary and evanescent, which will
quickly adjust itself.
For lack of time and space we must here pass over the important question
of the relation of the domestic arts to the general school curriculum,
as well as the proportion of time to be allotted as between needlework
and the other domestic arts, and dwell for a moment on the relative
qualifications of our teachers in different sections of the whole
subject taken at its widest, for these qualifications reflect the
existing demands of the public. Taking England, for example--how do we
stand with other countries in this respect? Speaking generally, and as
one who, though not professionally a teacher, has for many years had a
hand in the training of teachers, and who has given much time and
thought to the comparative study, both theoretical and practical, of
needlework and dressmaking, it seems to me that, as to sewing, we are as
good, if not in some ways better than our neighbours, though we have
been apt to regard the perfection of our stitches as an end in itself,
which decidedly vitiates our conclusion. We also appear to have much to
learn, or at least to practise, in respect of suitability of materials,
needles, and threads to each other, and of the style of work to the
purpose required. As to "cut" and "the hang of the thing," and the root
difference between an "ill-cut" and a "well-cut" garment, I fear we make
a bad third with France and Austria; but with our newly acquired freedom
we can and we must change all that: the public begin to demand it.
In the first place, we must clear our minds of the indefinite cloud of
detail in which they have been so long submerged; or, to change the
metaphor, whereas hitherto we have too often not been able to see the
wood for the trees, we must now learn clearly to distinguish between
"principles" and "methods," which in practice are over frequently
confused: then, quite easily and naturally, the teacher will derive
resulting details from the few definite principles which are the "basis
alike of the simplest garment and the most artistic handicraft," and
"the principles once understood, in one instance, the pupils will be
able to make wider applications for themselves."
It is important here to emphasise that some elementary knowledge of
hygiene, physiology, and anatomy is necessary for the intelligent
appreciation of the requirements of the body as to clothing, and of its
alterations in shape when muscles are tense or relaxed. By a reliable
system of drafting from direct measurement, such as one of those in use
in the Ecoles Professionelles of Paris, a shaped bodice can be produced
fitting the arms and figure easily and gracefully, and from this pattern
can be deduced further patterns of other garments, whether tight, loose,
or semi-fitting, which hang from the shoulder or the waist.
When the theory of drafting has been learned, and the shapes and
proportions of a pattern and its derivatives are understood, "moulage"
or modelling on the figure in muslin, should be attempted; though, be
it remembered, "moulage" should not be regarded as a substitute for
drafting, but as its necessary accompaniment, for it affords opportunity
for eye training, and for learning how and where at certain points the
material should be stretched or held easily on the figure. The pupil is
thus prepared to handle the pattern intelligently when cut out in
material.
I have seen it objected that only awkward and wooden lines can be
obtained from drafting on paper because of its rigidity, and because the
pattern is built up upon a framework of straight lines at right angles
to each other. The objector cannot have understood that the rectangular
construction lines have no connection with the outlines of the pattern,
except as affording _points d'appui_, which are found by direct
measurement. These construction lines stand for the warp and woof, or
"thread" of the material to be used for the garment. Stress must be also
laid on the fact that the grace or angularity of the pattern outline
actually depend upon the eye training and perception of curves derived
from drawing lessons, which must, for this as well as other reasons,
form a part of the scheme of instruction.