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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
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+status under the laws that apply to them.
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #52051 (https://www.gutenberg.org/ebooks/52051)
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-The Project Gutenberg EBook of The American Girl's Handy Book, by 
-Lina Beard and Adelia B. Beard
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: The American Girl's Handy Book
-       How to Amuse Youself and Others
-
-Author: Lina Beard
-        Adelia B. Beard
-
-Release Date: May 12, 2016 [EBook #52051]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE AMERICAN GIRL'S HANDY BOOK ***
-
-
-
-
-Produced by Chris Curnow, Emmy and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive)
-
-
-
-
-
-
-[Transcriber's Note: Bold text is surrounded by =equal signs= and italic
-text is surrounded by _underscores_.]
-
-
-
-A COMPANION VOLUME
-
-TO
-
-The American Girl’s Handy Book.
-
-[Illustration:
-
-What to do and How to do it
-
-THE AMERICAN BOYS HANDY BOOK.
-
-BY
-
-D.C. Beard.
-
-New-York
-
-Charles Scribner’s Sons.]
-
-    _NEW EDITION._
-
-    1 Vol. Cloth. Price, $2.00.
-
-    WITH NUMEROUS ILLUSTRATIONS FROM
-    DRAWINGS BY THE AUTHOR.
-
-
-
-
-How to Amuse Yourself and Others
-
-THE AMERICAN GIRLS HANDY BOOK.
-
-    BY
-
-    Lina Beard
-    and
-    Adelia B. Beard
-
-    NEW YORK
-
-    Charles
-    Scribner’s
-    Sons
-
-    1893
-
-
-
-
-    COPYRIGHT BY
-    CHARLES SCRIBNER’S SONS
-    1887
-
-
-
-
-PREFACE.
-
-
-“I DO wish some one would write a book like that for girls,” is the
-remark we have frequently heard when a new book of sports for boys
-has made its appearance; but it was not until the publication of the
-“American Boy’s Handy Book” that it occurred to us to write a book for
-the American boy’s neglected sisters, which should be equally original
-and practical.
-
-In the “Girl’s Handy Book,” which it has been our endeavor to make
-peculiarly American, we have sought to introduce original and novel
-ideas, and by their aid to open new avenues of enterprise and enjoyment.
-
-One of our objects is to impress upon the minds of the girls the fact
-that they all possess talent and ability to achieve more than they
-suppose possible, and we would encourage a belief in the truth of
-the remark said to have been made by a famous Frenchman: “When you
-Americans undertake anything you never stop to ascertain if it be
-possible, you simply _do it_.”
-
-We desire also to help awaken the inventive faculty, usually
-uncultivated in girls, and, by giving detailed methods of new work and
-amusements, to put them on the road which they can travel and explore
-alone.
-
-We know well the feeling of hopelessness which accompanies vague
-directions, and, to make our explanations plain and lucid, we have
-ourselves, with very few exceptions, made all of the articles, played
-the games, and solved the problems described.
-
-The materials employed in the construction of the various articles are
-within easy reach of all, and the outlay, in most cases, little or
-nothing.
-
-We scarcely deem it necessary to point out the fact that in supplying
-healthy, sensible work and amusement for leisure hours, employment is
-given whose whole tendency is to refine the tastes and ambitions of our
-American girls.
-
-A few of our chapters are taken from articles which were written by
-us for, and published by, the _Youth’s Companion_, _St. Nicholas_,
-_Harper’s Young People_, _Golden Days_, and _Wide Awake_.
-
-
-
-
-CONTENTS.
-
-
-                                                                    PAGE
-  PREFACE                                                            iii
-
-  SPRING
-
-  CHAPTER I.
-  FIRST OF APRIL                                                       3
-    First of April Party, 5; Mirror Tableau, 6; Noah’s Ark
-      Peep-show, 8; The Supper, 10.
-
-
-  CHAPTER II.
-  WILD FLOWERS AND THEIR PRESERVATION                                 13
-    Transplanting Wild Flowers, 14; Cut Wild Flowers, 15;
-      Sending Flowers by Mail, 15; Preserved Flowers, 16;
-      Pressed Flowers and Leaves, 18; Leaves and Ferns for
-      Decoration, 19; Color of Flowers Changed, 19: Natural
-      Wax Flowers, 20; To Freshen Cut Flowers, 20; Crystallized
-      Flowers, 21; How to Preserve the Perfume of Flowers, 21;
-      Spring Flowers in Winter, 23; The Four-leaved Clover, 23;
-      Several Methods of Preserving Flowers, 24.
-
-  CHAPTER III.
-  THE WALKING CLUB                                                    27
-    Rules to be Observed, 31.
-
-  CHAPTER IV.
-  EASTER                                                              33
-    Easter Customs in Other Lands, 33; Easter Egg Games, 36;
-      Easter Egg Dolls, 39; Humpty Dumpty, 42; Miss Rolly-poly,
-      45; Mandolin, 47; Maple-wax Easter Eggs, 49; Bonbon Box,
-      49; Easter Cards, 50; Little Quakeress, 52.
-
-  CHAPTER V.
-  HOW TO MAKE A LAWN-TENNIS NET                                       55
-    Rules for Lawn-Tennis, 63.
-
-  CHAPTER VI.
-  MAY-DAY                                                             71
-    May-day Sports, 72; How to Make May-baskets, 74; May-day
-      Combat, 75; The May-pole, 77; May-pole Dance, 79.
-
-
-  SUMMER.
-
-  CHAPTER VII.
-  MIDSUMMER EVE                                                       83
-    The New Fern-leaf Game, 85; Fortune-telling: The Plaintain
-      Test, 86; Fortune’s Wheel, 88.
-
-  CHAPTER VIII.
-  SEA-SIDE COTTAGE DECORATION                                         91
-    Window Decorations, 92; Row-boat Book-shelves, 95; Crab-net
-      Work-basket, 96; Hat-rack, 98; Marine Screen, 99;
-      Horseshoe-crab Bag, 102; Sea-urchin Vase and Candlestick,
-      102; How to Dry Starfish and to Polish Shells, 104.
-
-  CHAPTER IX.
-  A GIRL’S FOURTH OF JULY                                            105
-    Interior Decoration, 107; In-door Illumination, 108;
-      Out-of-door Decoration, 109; Fireworks, 111; Parachute,
-      112; Thunderbolts, 112; Whirls, and Winged Fancies, 113;
-      Pin-wheels, 114; Bombs, 115; Declaration of Independence,
-      117; Toss, 118; Fourth of July Jackstraws, 119;
-      Progressive Mining, 119.
-
-  CHAPTER X.
-  PRINTING FROM NATURE’S TYPES                                       123
-    Impression Album, 123; Winter Landscape, 127.
-
-  CHAPTER XI.
-  PICNICS, BURGOOS, AND CORN-ROASTS                                  131
-    A Burgoo, 132; Burgoo Stew, 133; A Corn-roast, 134.
-
-  CHAPTER XII.
-  BOTANY AS APPLIED TO ART                                           139
-    The Peony Leaf, 140; A Bunch of Turnips, 142; Plant
-      Cross-section Designs, 144; Flower Sprays, 146; Changing
-      the Color, 146; Burs, 147; The Water-Lily, 148.
-
-  CHAPTER XIII.
-  DOOR-STEP PARTY AND QUIET GAMES FOR HOT WEATHER                    151
-    Five Minutes’ Conversation, 153; Blind Man’s Singing-school,
-      155; A Game of Noted Men, 155; What Will you Take to the
-      Picnic? 156; Assumed Characters, 157; Shadow Verbs, 157.
-
-  CHAPTER XIV.
-  HOW TO MAKE A HAMMOCK                                              159
-    Materials, 161; Barrel Hammock, 165.
-
-  CHAPTER XV.
-  (For Little Girls.)
-  CORN-HUSK AND FLOWER DOLLS                                         169
-
-  CHAPTER XVI.
-  HOW TO MAKE A FAN                                                  177
-    Butterfly Fan, 178; Mikado Fan, 180; Daisy Fan, 182;
-      Cardboard Fan, 183.
-
-
-  AUTUMN.
-
-  CHAPTER XVII.
-  ALL-HALLOW-EVE                                                     187
-    Halloween Parties, 189; Melted Lead, 190; Nutshell Boats,
-      192; “Three Luggies,” 193; Roasting Nuts, 193; Kaling,
-      194; The Magic Mirror, 194; Three Tin Cups, 195; The
-      Ring Cake, 195; Bobbing for Apples, 196; The Ghostly
-      Fire, 197; The Fairy’s Gifts, 198.
-
-  CHAPTER XVIII.
-  NATURE’S FALL DECORATIONS AND HOW TO USE THEM                      201
-    Fresh Autumn Wild Flowers, 202; Buckeye Portière, 204;
-      Panel of Fall Decorations, 205; Louis Quinze Screen,
-      206; A Panel of Field Corn, 209; Ornamental Gourds,
-      210; Gourd-Dippers and Bowls, 211; Vases, 212; Small
-      Decorations, 214; Brackets, 214.
-
-  CHAPTER XIX.
-  NUTTING-PARTIES                                                    217
-    “Little Brown Squirrel,” 218; Rules for Nutting-Parties,
-      221.
-
-  CHAPTER XX.
-  HOW TO MAKE A TELEPHONE                                            224
-
-  CHAPTER XXI.
-  HOW TO DRAW                                                        229
-
-  CHAPTER XXII.
-  HOW TO PAINT IN WATER-COLORS                                       238
-    Materials for Water-Color Painting, 238; Flowers, 239;
-      Landscapes, 241; Painting from Notes, 244.
-
-  CHAPTER XXIII.
-  HOW TO PAINT IN OIL-COLORS                                         249
-    Materials, 249; Mediums, 251; Canvas, 251; The Light,
-      252; Setting the Palette, 253.
-
-  CHAPTER XXIV.
-  HOW TO MODEL IN CLAY AND WAX                                       257
-    Materials, 259; How to Manage Clay, 260; Hints for
-      Modelling a Head, 262; How to Model in Wax, 263;
-      Modelling-wax, 263.
-
-  CHAPTER XXV.
-  HOW TO MAKE PLASTER CASTS                                          267
-
-  CHAPTER XXVI.
-  CHINA PAINTING                                                     272
-    List of Materials, 272; A Monochrome Painting, 278; Tinting,
-      278; New Method of Decorating China, 279; Tracing, 280;
-      Mottled Grounds, 281; Snow Landscape, 281; How to Paint
-      a Head on China, 284; How to Paint a Carp, Sea-weed,
-      and Fish-net, on China, 287; Foliage on China made with
-      a Sponge, 289; Mixing Colors, 289; Royal Worcester Ware,
-      290.
-
-  CHAPTER XXVII.
-  A CHAPTER ON FRAMES                                                295
-    Marine Picture Frame, 296; Decorated Frame, 297; Frame
-      Covered with Tin-foil, 298; Cork Frame, 299.
-
-  CHAPTER XXVIII.
-  THANKSGIVING                                                       302
-    Impromptu Burlesque Tableaux, 304; Landing of the Pilgrims,
-      305; First Harvest, 307; Devastation by the Indians, 308;
-      The Revolution, 309; Slavery, 310; Rebellion, 310; Peace
-      and Plenty, 310; The Game of the Headless Turkey, 312;
-      A Suggestion, 313.
-
-
-  WINTER.
-
-  CHAPTER XXIX.
-  CHRISTMAS FESTIVITIES AND HOME-MADE CHRISTMAS GIFTS                317
-    Julklapp, 319; Polish Custom, 320; The Bran Pie, 321; The
-      Blind Man’s Stocking, 321; Home-made Christmas Gifts,
-      322.
-
-  CHAPTER XXX.
-  AMUSEMENTS AND GAMES FOR THE CHRISTMAS HOLIDAYS                    334
-    New Game of Bubble Bowling, 335; Biographical Nonsense,
-      339; Comic Historic Tableaux, 341; Living Christmas
-      Cards, 342.
-
-  CHAPTER XXXI.
-  NEW YEAR’S AND A LEAP YEAR PARTY                                   347
-    Pantomime of an Enchanted Girl, 348.
-
-  CHAPTER XXXII.
-  HOME GYMNASIUM                                                     353
-    Course of Exercises, 356.
-
-  CHAPTER XXXIII.
-  A DECORATIVE LANGUAGE                                              364
-    The Field and the Points of Heraldry, 366; Divisions, 367;
-      Colors, 369; How to Make a Design in Decorative Language,
-      371; Book-plates, 377; Floral Vocabulary, 377.
-
-  CHAPTER XXXIV.
-  A FEW ITEMS ON OLD-FASHIONED NEEDLEWORK, WITH SOME NEW AND
-      ORIGINAL PATTERNS                                              380
-    Plain Sewing, 380; Button-holes, 383; How to Patch, to Sew
-      on a Button, and to Mend a Kid Glove, 386; Fancy Stitches,
-      387; Drawn Work, 389; Applique and Original Designs for
-      Portières, 391; Lace, 393; Ribbon Embroideries, 393.
-
-  CHAPTER XXXV.
-  SCRAP-BOOK AND HOME-MADE BOOK-COVERS                               395
-    Mother Goose Scrap-book, 395; Transformation Scrap-book,
-      398; An Album, 400; Home-made Book-cover, 401.
-
-  CHAPTER XXXVI.
-  A HEAP OF RUBBISH AND WHAT TO DO WITH IT                           403
-    The Mirror, 404; The Table, 406; Lantern, 408; A Music Roll,
-      410; Work-basket, 411; Key and Button-hook Rack and Paper
-      Weight, 412.
-
-  CHAPTER XXXVII.
-  HOW TO MAKE ATTRACTIVE BOOTHS AT A FAIR—A NEW KIND OF GRAB-BAG     413
-    The Tables, 413; Flowers for Decorations, 417; The Months,
-      420; The Five Senses, 421; Walls, 423; Grab-bags, 423;
-      The Lady of the Lake, 425; Fortune’s Wheel, 426;
-      Rag-balls, 427.
-
-  CHAPTER XXXVIII.
-  WINDOW DECORATION                                                  429
-    Oriental Window-shade, 430; Ribbon-curtain, 430; Drapery
-      of Very Small Scraps, 431; Painting Window-panes, 432;
-      Painting on Lawn, 434; To Imitate Stained Glass, 435;
-      Windows of Imitation Ground Glass, 436.
-
-  CHAPTER XXXIX.
-  FURNITURE, OLD AND NEW                                             438
-    The Bookcase, 439; The Chair, 441; The Bedstead, 444; A
-      Dressing-table, 444; Washstand, 446; A Hall Seat, 447;
-      Window Seat and Book-shelves, combined, 448.
-
-  CHAPTER XL.
-  SOMETHING ABOUT MANTLE-PIECES AND FIRE-PLACES                      451
-
-  CHAPTER XLI.
-  HOME-MADE CANDY                                                    458
-    Peanut Candy, Butter Scotch and Molasses Candy, 459; Walnut
-      and Fruit Glacé, 460; Marsh-mallow Paste, 460; Chocolate
-      Caramels, 461; Pop-corn Balls, 462.
-
-  CHAPTER XLII.
-  SAINT VALENTINE’S DAY                                              464
-    Valentine Party, 465.
-
-[Illustration: SPRING]
-
-[Illustration]
-
-
-
-
-The American Girl’s Handy Book.
-
-
-
-
-CHAPTER I.
-
-FIRST OF APRIL.
-
-
-THIS is the children’s own day, and no assumption of dignity on the
-part of their elders can deter them from exercising the privileges
-granted to them by acknowledged custom and precedent.
-
-“April fool! April fool!” cries my little nephew, as he dances with
-delight to see his aunt walk out of the room with a piece of white
-paper dangling from a hooked pin, attached to her dress.
-
-“April fool! April fool!” shout the children in the street, thus
-announcing the success of some practical joke.
-
-“April fool!” laughs everyone at the table, when some unfortunate bites
-into a brown, wholesome-looking cruller, only to find it a delusion and
-a snare, the coat of a cruller, but the inside of cotton.
-
-“April fool! April fool!” is what even the little sparrows seem
-to chirp, as with a “s-w-h-e-r-r” they sweep down from the tree
-and, frightening away the kitten, take forcible possession of her
-bone. What does all this mean? Why is the first day of April called
-“All-Fools-Day,” and when or where did the custom of the day originate?
-Who can tell? No one seems to know. Even the derivation of the word
-April does not appear to have been definitely settled, and this saucy
-month, with her mischievous tricks and pranks, her surprises and
-mysteries, fools and puzzles our wisest men.
-
-Through many centuries the observance of All-Fools-Day has descended to
-us. In many climes and many countries this day is chosen as the proper
-time for playing tricks on the unsuspecting.
-
-“Festum Fatuorum,” or “Fools’ Holiday,” is what it was called in
-England at the time of the arrival of the early Christians in that
-country.
-
-Easily caught like the mackerel, which are plentiful on the French
-coast in April and are said to be deficient in understanding, the April
-fool in France derives his name from that fish, and is called “Poisson
-d’Avril” or “April Fish,” and again, “Silly Mackerel.” From the cuckoo,
-a bird that does not know enough to build its own nest, the appellation
-of “gowk” is taken, and is given to the foolish one in Scotland who
-allows himself to be duped on this day.
-
-In India at the festival called Huli Festival held on the last day of
-March, the natives make merry at the expense of their friends, just as
-we do, and their fool is called “Huli Fool.”
-
-So in the East and in the West, in the North and in the South,
-in the oldest nation as well as the youngest, is this ridiculous
-custom observed, and, as if to make it still more ridiculous, no one
-apparently knows why.
-
-Now, girls, since this holiday has descended to us from so far back
-that its origin appears lost in the dim twilight of past ages, there
-surely must be some reason for its existence, and that reason may be,
-that “a little nonsense now and then is relished by the wisest men,”
-and is therefore wholesome as an occasional diet. So why not help
-to perpetuate it; not with rude, practical jokes, but with comical
-surprises, and absurd, but unembarrassing, situations. Much harmless
-fun can be derived from the privileges of this day, devoted as it is to
-nonsense, and we introduce the April Fool Party as an excellent means
-of concentrating the fun, and furnishing plenty of merriment to the
-young folks who are bent on having a good time.
-
-
-=First of April Party.=
-
-I remember, when quite a little girl, I was granted the privilege
-of celebrating my birthday, which came on the 1st of April, with a
-candy-pull, and a few days previous to the event I started joyfully
-off to invite my friends. The invitations were laughingly given and
-accepted, and it did not occur to me that I would be suspected of
-playing a joke, although the party was to be on April-Fools-Day. It
-seems, however, that my good intentions were doubted, and the children
-were undecided whether to come or not. I had begun to suspect that a
-joke was to be played on me by their all remaining away, before they
-finally arrived in a body, having taken the precaution of coming in
-that way, so that if the party were a hoax they would all be fooled
-together.
-
-I relate this incident that warning may be taken from my experience,
-and that it may be understood how important it is to make the guests
-invited to your First of April party realize that the invitations are
-given in good faith, and that your friends are expected to be on hand
-at the appointed time.
-
-It is well, in giving a party of this kind, to have the whole programme
-laid out beforehand, so that everything may go smoothly and nothing be
-forgotten.
-
-The few methods of April fooling given here need not constitute the
-whole entertainment; the list may be added to by the young hostess, who
-will, no doubt, have many ideas of her own to carry out. We will head
-our list with the
-
-
-=Mirror Tableau.=
-
-This novel tableau is made ready in the following manner:
-
-In a door-way, or bay-window draped with full curtains, place a large
-mirror. Instead of having the curtains suspended from the usual
-pole, it is best to stretch a wire across the space and slip the
-curtain-rings upon that, as they will slide more readily on the wire;
-and when it is time to draw back the drapery it should be done quickly.
-A table placed before the curtains will serve as a barricade, keeping
-the too curious from taking a peep at the hidden mysteries before they
-are ready to be revealed.
-
-At the time selected, remove the table, and request all those desiring
-to see the tableau to arrange themselves in front of the curtain, and
-to remain perfectly quiet, as any movement will disturb those taking
-part.
-
-If the front rows of the audience can be induced to kneel or sit upon
-the floor, those in the rear can obtain a better view, and it will, at
-the same time, make the group more effective. When perfect quiet is
-obtained, give the signal to your assistant, who must stand opposite to
-you at the side of the curtain, and with her help quickly draw aside
-the draperies, thus disclosing the tableau of a group of young people,
-motionless, gazing into the mirror with eager and expectant eyes. For
-an instant the audience will be held spell-bound, scarcely realizing
-that they themselves are forming the pretty tableau.
-
-“We are April Fools,” written with soap on the mirror near the top,
-as shown in the illustration, tells what character the actors are
-assuming, and gives a name to the tableau.
-
-[Illustration: The Mirror Tableau.]
-
-During the interval which should be allowed to intervene before
-introducing the next thing on the programme, the guests will find
-amusement in the many harmless practical jokes which are awaiting the
-unwary in all manner of places.
-
-For instance, some boy will print APRIL FOOL in large white letters
-on his own back, by simply resting for a moment in a convenient chair
-upon whose snowy tidy the dreaded words have previously been printed
-backwards with white chalk. On the dark woolly surface of the coat,
-the white letters will be perfectly transferred, and the boy, little
-knowing what he has done, or the cause of the merriment, will join in
-the general laughter his appearance creates.
-
-A treacherous divan can be provided by removing the top of a low, flat
-packing-box, and putting in its place brown wrapping-paper, tacking
-it down around the edges of the box. With a piece of drapery thrown
-over it, entirely concealing the box, and sofa pillows placed upon it,
-leaning against the wall, the divan looks exceedingly comfortable and
-inviting. But woe unto the person who mistakes appearances for reality,
-for to attempt to sit upon this seeming substantial couch is but to
-break through and sit upon the floor instead.
-
-The box used for the divan should not be more than twelve inches high,
-so that the fall will be only funny, not dangerous.
-
-The next diversion may be a
-
-
-=Noah’s Ark Peep-show.=
-
-Make the peep-show of a box about two and a half feet long and one
-foot and a half high. Remove the top and both of the end-pieces (Fig.
-1). Cut from pasteboard a slide to exactly fit the box, and place it
-in the middle, thus cutting off the view from either end, as shown in
-Fig. 1. Make a curtain in two pieces, and tack them around the upper
-edge of the box, letting them meet at each end. Stout pieces of twine,
-stretched across the openings at the ends of the box, will serve to
-attach the drapery at these points.
-
-[Illustration: Noah’s Ark Peep-show.]
-
-Almost any kind of material will answer for this purpose, provided it
-is not too thin and is of some bright hue, for the peep-show should be
-made to look as gay as possible. Place the box upon a high stand, and
-so arrange it that a strong light will shine down into it, making the
-interior, from end to end, perfectly light.
-
-From a list, previously prepared, of the animals supposed to be on
-exhibition, read the first two, and invite two persons, a girl and a
-boy, for instance, to look into the peep-show. We will suppose that
-the first animals on the list are the raven and the dove. Inform your
-would-be audience that you have two of Noah’s special pets to show
-them; that from the girls’ point of view will be seen a raven, and
-from the boys’, a dove. When taking their places at the box, one at
-each end, the two spectators must part the curtain, and, putting their
-faces between, hold the drapery together under their chins. This is to
-keep the remainder of the company from obtaining a glimpse into the
-wonderful show before their turns arrive.
-
-When all is ready, and the two wondering faces are hidden between the
-folds of the peep-show curtains, with the words, “Behold the pretty
-dove, and the mischievous raven,” remove the slide, and expose to the
-astonished gaze of each spectator a companion’s familiar face at the
-opposite end of the box. Of course, upon retiring from the show, its
-secret must be kept, otherwise the joke will be spoiled for those whose
-turns are yet to come.
-
-Before the next two take their station at the box, replace the slide
-and pretend to rearrange the show, to divert the suspicion that the box
-is empty.
-
-
-=The Supper=
-
-can be made the means of perpetrating many practical jokes. The shams
-must be so intermingled with the real delicacies that one can never be
-sure what the consequences may be of partaking too rashly of even the
-most tempting-looking morsel.
-
-Small blocks of wood covered with batter and browned in the oven are
-excellent imitations of cakes. Dainty confectionery, in crimped papers,
-can be made of small radishes covered with icing of different colors.
-Button-moulds coated with chocolate will readily be mistaken for candy.
-
-If a small pasteboard pill-box is first filled with flour, and the
-top then covered with tissue-paper pasted down around the edges, it
-will look, when iced, like a delicate little cake, and will cause much
-merriment when anyone bites into it; for the moment the paper cover is
-broken the flour will fly in every direction. The fertile brain of
-girls, on mischief bent, will suggest many more frauds of this kind,
-and enough surprises may be prepared to make the supper as merry as
-anything else on the evening’s programme.
-
-Before leaving this subject, once more let the caution be given to keep
-the jokes entirely harmless. It is only poor fun that can be obtained
-at the expense of injuring others, or by running the slightest risk of
-hurting them in any way.
-
-The spirit of mischief must be kept within bounds even on All-Fools-Day.
-
-[Illustration: APRIL FOOL]
-
-[Illustration: Gathering Wild Flowers.]
-
-
-
-
-CHAPTER II.
-
-WILD FLOWERS AND THEIR PRESERVATION.
-
-
-LONG before the first green leaves make their appearance, while the
-snows of winter still linger in the shaded nooks, and the branches are
-still bare, though blushing with the full, flowing sap that tinges
-their tips pink, yellow, and red—when the air is filled with a sweet
-freshness and delicate fragrance—it is charming in our rambles to find
-scattered here and there upon the hill-side, down among the roots of
-the great trees, or under the hedges delicate little wild flowers
-waving on their fragile stalks with the faintest passing breeze. They
-are so exquisitely beautiful with their tender hues and graceful
-shapes, that a longing comes to possess them.
-
-And why not keep them fresh at home? Plants live in the earth and
-require light, air, and moisture. All of these requirements can be
-and are fulfilled in thousands of homes where plants are kept, all
-over the world. But these are _wild flowers_. True, and they may need
-something to be found only in the wild woods. What, then, is it? Let us
-see. Earth, light, and air abound everywhere. Still, upon inspection
-we discover that the soil around our timid wild flowers is somewhat
-different from that to be found in our door-yards. But what is simpler
-than to take the earth up with the plant?
-
-Be careful in
-
-
-=Transplanting Wild Flowers=
-
-to dig well all around and under the roots, so that the earth
-surrounding and clinging to the plant may be taken up at the same time
-(Fig. 2). After covering the root and soil adhering to it with a layer
-of clay, mud, or damp earth (Fig. 3) set the root in a large leaf, and
-tie it up with string or a wisp of grass (Fig 4), in order to make sure
-the soil does not fall off the plant. Thus secured the specimens will
-keep nicely until you reach home; then plant them in a shady place and
-keep the ground moist. Beautiful little woodland gardens are made in
-this way, where within a few steps of the door a glimpse may be had of
-the fair forest flowers.
-
-[Illustration]
-
-Sweet-scented white violets, delicate little anemones, odd yellow
-violets, and quaint jack-in-the-pulpits, with many others, not
-forgetting the graceful ferns, are now growing in the shaded corner of
-the writer’s lawn, transplanted there from their home in the woods,
-where she found them one lovely spring morning, when out with a party
-of friends on a hunt for wild flowers.
-
-The day was perfect, filled with sunshine and the song of birds. All
-nature appeared glad and joyous, and the trees seemed veiled in the
-softest greens and pinks of budding leaves.
-
-It was a happy party that went wandering into the forest, straying here
-and there, and finding new treasures at nearly every step, stopping to
-gather a few of the violets that gave a purple tinge to the ground for
-yards around, then rambling on to the spot that was covered with the
-fragile anemone, each girl laden with the flowers she loved best. Some
-had taken them up roots and all, while others preferred the
-
-
-=Cut Wild Flowers.=
-
-For these it is best to use a tin box of convenient size and form
-shutting closely. The flowers must be fresh and not at all damp; in
-such a box they can be kept for days bright and unfading. They may also
-safely be sent to friends at a distance, though it is better, when
-
-
-=Sending Flowers by Mail,=
-
-if you wish to send a quantity, to pack them in a strong pad or wooden
-box. First lay down a piece of oiled paper of the proper size; spread
-a thin layer of damp paper on this; next a layer of flowers, then one
-of thin wet paper; and so on until the box is full. Over the last layer
-place a dry paper, and cover this with oiled paper or tin-foil; put the
-lid on the box and tie it down securely.
-
-By this method a larger number of flowers can be sent in a given space
-than when simply inclosed in a tin box.
-
-The writer has often sent daisies from New York to Cincinnati where
-they arrived as fresh as when first gathered.
-
-For the benefit of those who wish directions for sending flowers
-by mail, we give the following on authority of the _American
-Agriculturist_.
-
-    “The law passed some years since by Congress, allowing
-    packages of plants to be sent by mail, if not over
-    four pounds in weight, was a capital arrangement
-    for those who lived at a distance from railroad and
-    express offices, but it is so hampered with the various
-    constructions given by the Post Office Department,
-    that it is difficult to know what is required by the
-    officials. The law now is, we believe, as follows: A
-    package, weighing four pounds or less, can be sent at
-    the rate of two cents per four ounces, but the writing
-    of the words “roots” or “plants” makes a letter of
-    it, and is charged letter postage. Nothing should be
-    written except the address, and the package must not
-    be sealed, or contain any writing, and it must be so
-    fastened that the postmaster can examine the contents
-    if he wishes. The plants may, however, be numbered, and
-    their names sent by letter.”
-
-Now let us think of some way in which these lovely blossoms can be
-preserved.
-
-In Germany they excel in making decorations for rooms, dinner-tables,
-etc., of
-
-
-=Preserved Flowers.=
-
-Bright-colored flowers are best adapted to this method. White flowers
-are apt to turn yellow. Jack-in-the-pulpits, clover, roses, and daisies
-came out beautifully when the writer dried them, and why should not
-many other kinds do just as well? Try and see.
-
-Procure three or four quarts of fine sand; white scouring-sand is
-the best; wash it perfectly clean. This can be tested by pouring the
-water off until it looks quite clear; then dry the sand, by placing
-it in a clean tin in the oven. When it is dry—fully dry and cool—pour
-enough in a box to enable the flowers to stand by themselves, their
-stems embedded in the sand, which should be a mass of fine particles of
-uniform size.
-
-[Illustration: Preserved Flowers.]
-
-If the flowers are cut so that they all measure nearly the same length
-from the tip of the blossom to the end of the stem, they can more
-readily be covered with sand. The flowers must be fresh and entirely
-free from moisture. Place them stem downward in the sandy layer, and
-very gently and slowly pour in the sand a little at a time, until each
-leaf and petal is firmly held in place (Fig. 5); then fill the box with
-sand nearly two inches above the level of the flowers.
-
-It is very essential that every particle of the flower rest in the
-sand, and that in filling up, the smallest petal has not been bent or
-crumpled.
-
-Take care not to shake the box lest the flowers inside be injured. Set
-it in a warm, dry place, and let it stand at least two weeks.
-
-This manner of preserving flowers retains the color, while the shape
-of the leaves and petals remains unaltered. The flowers will keep for
-years.
-
-There are other ways also of preserving flowers.
-
-
-=Pressed Flowers and Leaves.=
-
-Although these are perfectly flat, they seldom fade and are very pretty
-and useful. Have ready a large book or a quantity of old newspapers and
-several weights. Use the newspapers for leaves and ferns—blotting-paper
-is best for the flowers. Both the flowers and leaves should be fresh
-and without moisture. Place them as nearly in their natural positions
-as possible in the book or papers, and press, allowing several
-thicknesses of paper between each layer. Remove the specimens to dry
-papers each day until perfectly dry.
-
-Some flowers must be immersed—all but the flower head—in boiling water
-for a few minutes, before pressing, to prevent them from turning black.
-Orchids are of this nature.
-
-If possible, it is well to obtain all parts of a plant, the roots as
-well as the seeds, for a more interesting collection can thus be made
-than from the flower and leaf alone.
-
-It is advisable to be provided with a blank book or, what is still
-better, pieces of stiff white paper of uniform size on which to mount
-the flowers or leaves when dried; also with a small bottle of mucilage
-and a brush for fastening them, and some narrow strips of court-plaster
-or gummed paper for the stems and thicker parts of the plants. The
-sooner they can be mounted the better. Place them carefully on the
-paper, writing beneath the locality and date of finding. Flowers and
-leaves thus prepared make beautiful herbariums. Should you desire
-
-
-=Leaves and Ferns for Decoration,=
-
-first press them nicely; then give them a coat of wax, by ironing them
-on both sides with a hot iron over which a piece of beeswax has first
-been rubbed. Cover the specimens completely with wax, as this renders
-them quite pliable, and they are no longer brittle nor easily broken.
-Sprays of small leaves can be pressed entire.
-
-To heighten the effect, use dry colors, rubbing them in, and selecting
-those corresponding with the color of the leaves when first gathered.
-
-The colors must be put on before the coating of wax. Ferns should be
-gathered when nearly full grown, and, after they are pressed, painted
-light green with oil-colors; in that case the beeswax is not used. The
-oil in the paint, like the wax, makes the specimens more substantial,
-and they look quite fresh and fair.
-
-Sometimes the late autumn frosts will bleach the ferns perfectly white;
-then are they even more delicate than before Nature changed their
-color. We have seen the
-
-
-=Color of Flowers Changed,=
-
-and it is a very pretty experiment, very simple, too. Immerse the
-flowers in ammonia, and you will be surprised to see white lilies
-change to a delicate yellow, pink roses turn a lovely light green,
-while dark-red sweet-peas assume blue and rich purple tints; and
-the change is so rapid it is almost like magic. Another interesting
-experiment is making
-
-
-=Natural Wax Flowers=
-
-by dipping the fresh buds and blossoms in paraffine just sufficiently
-hot to liquefy it; first the stems of the flowers; when these have
-cooled and hardened, then the flowers or sprays, holding them by the
-stalks and moving them gently. When they are completely covered the
-flowers are removed and lightly shaken, in order to throw off the
-superfluous wax. The flowers are then suspended until perfectly dry,
-when they are found hermetically sealed in a film of paraffine, while
-they still keep their beautiful coloring and natural forms, and for a
-while even their perfume. Now let us find what can be done
-
-
-=To Freshen Cut Flowers.=
-
-When the heat has made them wilt, clip the stems and set the flowers in
-cold water; in a few hours they will regain their freshness and beauty.
-
-Some flowers, however, must be differently treated, such as heliotrope
-and mignonette; these keep if placed _upon_ damp moss or cotton and set
-in a cold place at night.
-
-Rosebuds will retain their freshness for hours when not placed in
-water, if the ends of the stems are snipped off, and immediately tipped
-with melted sealing-wax; this excludes the air, and so keeps the
-flowers from drooping.
-
-If roses are wilted before they can be placed in water, cut off the
-ends of the stalks and immerse in very hot water for a minute or two,
-and they will regain their pristine freshness.
-
-Another way to keep flowers fresh is to put a pinch of nitrate of
-soda into the glass each time you change the water Nitrate of potash
-or saltpetre in a powder has nearly the same effect, or a drop of
-hartshorn.
-
-If plants are chilled by frost, shower them with cold water, and leave
-in a cool room; or set the pot in cold water and keep in a moderately
-cool place. Now one word about
-
-
-=Crystallized Flowers,=
-
-that sparkle and look so beautiful. They must first be dried in sand,
-then crystallized in the same way as dried grasses—the rougher the
-surface the better will it crystallize. Dissolve as much alum in
-boiling water as it will hold; when this is determined, pour it off and
-boil the solution down to one-half.
-
-Suspend the flowers by a net-work of string tied across the top of a
-pail into which they must hang; then pour into the pail the boiling
-alum water, which must completely cover the flowers, and leave it
-undisturbed twelve hours, or all night.
-
-The flowers should not touch each other or the sides of the bucket. Be
-careful in removing them the next morning, as the crystals are easily
-broken off.
-
-Flowers or sprays of grass may be beautifully frosted by dipping them
-in a solution of gum-arabic and sprinkling them with powdered isinglass.
-
-Flowers are not only very beautiful, but many of them possess a
-fragrance so sweet that we would fain learn how to keep the
-
-
-=Perfume of Flowers.=
-
-Rose-leaves are the most simply prepared. Take a covered jar, fill it
-with sweet-scented rose-leaves, and scatter through them some salt.
-Keep the jar closed tight, and when the petals have dried the “scent
-of the roses will cling to them still,” so that every time the jar is
-opened a delicious fragrance will fill the air. Or you can cover the
-rose-leaves with melted lard, and leave them for a day or two in some
-place at a temperature of about 140° F.; then cool it and knead the
-lard in alcohol. Pour off the alcohol in fancy glass bottles and use as
-handkerchief perfume.
-
-For varieties we find this method:
-
-    “The delicate odor of pinks and other flowers may be
-    obtained as follows: Get a glass funnel, with the
-    narrow end drawn to a point; in this place lumps of
-    ice with salt, by which a very low temperature is
-    produced. The funnel should be supported on an ordinary
-    retort-stand and placed near the flowering plants,
-    when water and the ethereal odor of the blossom will
-    be deposited on the exterior of the glass funnel, and
-    will trickle down to the point, from which it drops at
-    intervals into a glass vessel below. The scent thus
-    obtained is very perfect, but is apt to become sour in
-    a few days unless some pure alcohol is added. By this
-    process many odors may be procured for comparison and
-    study. To obtain the odor in perfection the blossom
-    must be in its prime.”
-
-Dry some sweet clover, and the fragrance will be sweet and pleasant.
-Fill a fancy bag of some thin sheer material with the clover, and you
-will find that you have imprisoned the fresh breath of summer.
-
-[Illustration]
-
-[Illustration]
-
-Old-time lavender can be prepared in the same way.
-
-Our thoughts so far have been for the flowers in their season. But did
-it ever occur to you that it is possible to have
-
-
-=Spring Flowers in Winter?=
-
-If you search in the woods during December you may find, tucked away
-in sheltered spots, little woodland plants which, when taken up and
-carefully transplanted in a flower-pot and set in a sunny window, will
-soon begin to grow, sending up tender stems, and in about three weeks
-will blossom. The little fairy-like flowers seem even more beautiful
-coming in the cold wintry weather.
-
-Fruit-tree twigs and sprays from flowering shrubs will blossom when
-the ground is white with snow, if cut from trees about the first of
-February, placed in well-heated water in a warm room, and the water
-changed every day for some that is almost but not quite hot.
-
-The twigs being kept warm will blossom in a few weeks.
-
-It is quite a pretty idea to take up and plant in a little flower-pot
-
-
-=The Four-leaved Clover.=
-
-Very frequently you may find a tuft bearing only the mystic number,
-and should it happen to have a five- or six-leaved clover in with the
-others, they will add to the luck.
-
-If you possess one of these charmed plants, it is said “good luck” will
-always be near at hand.
-
-Besides the foregoing directions for the preservation of flowers,
-plants, etc., there are numerous other methods, which, although not
-experimentally verified by the writer, are no doubt as worthy of a
-place here as any of the former.
-
-The following recipes have been culled from various old papers, books,
-etc.
-
-
-=Some Old-fashioned Methods of Preserving Flowers.=
-
-The first of these ways is more properly intended for botanical
-collections, and is often resorted to by collectors of rare blossoms.
-It consists in placing
-
-
-=Flowers in Alcohol,=
-
-and possesses the great advantage of preserving the flowers for years,
-and keeping their most delicate fibres uninjured. They make invaluable
-specimens to sketch from, and though their beauty may be somewhat
-impaired by loss of color, their outlines remain perfect.
-
-Place the flowers in a wide-mouthed bottle, fill it to the top with
-alcohol, cork it tightly, and cover the cork with plaster-of-Paris or
-melted beeswax, thus hermetically sealing it. Do not use sealing-wax,
-as experience has taught us that the fumes of the alcohol soften the
-wax, and not only spoil the neat appearance of the bottle, but allow
-the spirits to evaporate.
-
-Another way is to
-
-
-=Bottle Flowers.=
-
-Carefully seal the ends of the stems with sealing-wax, place them in
-an empty bottle—both flowers and bottle must be perfectly dry—cork the
-bottle, and hermetically seal it with either sealing-wax or beeswax.
-
-The next method has greater possibilities of beauty, and consequently
-the reader will be more interested in learning
-
-
-=How to Preserve a Vaseful of Flowers for a Year.=
-
-Take home your basket of wild flowers, “nodding violets,” cowslips,
-bright-eyed anemones, and all the lovely offerings of the woods, and
-before arranging them in the vase, carefully seal the stem of each
-flower. Place a glass shade over the vase; be careful that flowers,
-vase, and shade are perfectly dry; then fill up the groove in the
-wood, in which the shade stands, with melted wax. By covering the wax
-with chenille it can be perfectly hidden.
-
-Flowers kept in this way will last for a twelvemonth.
-
-The flowers preserved in an empty bottle may be taken out, the wax cut
-from the stems, and, if arranged in a bouquet, will last as long as
-perfectly fresh flowers.
-
-Those in the alcohol lose their color after being immersed for a time,
-and will not last when removed from the alcohol.
-
-In following any of these directions be careful not to tie the flowers.
-No string must be used. The flower stems must be loose and separate
-from each other.
-
-A florist of much experience in preserving bouquets for an indefinite
-period gives this recipe for
-
-
-=Keeping Bouquets Fresh a Long Time.=
-
-When you receive a bouquet sprinkle it lightly with fresh water, then
-put it into a vessel containing some soapsuds; this will take the place
-of the roots and keep the flowers bright as new. Take the bouquet out
-of the suds every morning, and lay it sideways, the stems entering
-first, in clean water; keep it there a minute or two, then take it out,
-and sprinkle the flowers lightly by the hand with water; replace it in
-the soapsuds, and it will bloom as fresh as when first gathered.
-
-The soapsuds need changing every three or four days. By observing these
-rules a bouquet can be kept bright and beautiful for at least a month,
-and will last longer in a very passable state. From another source we
-learn how
-
-
-=To Keep Flowers or Fruit a whole Year perfectly Fresh.=
-
-Mix one pound of nitre with two pounds of sal ammoniac and three pounds
-of clean common sand; then in dry weather take fruit of any sort which
-is not fully ripe, allowing the stalks to remain, and put them one by
-one into an open glass until it is quite full; cover the glass with
-oiled cloth, closely tied down. Put the glass three or four inches down
-in the earth in a dry cellar, and surround it on all sides to the depth
-of three or four inches with the above mixture. The fruit will thus be
-preserved quite fresh all the year round.
-
-In giving the following recipe for the manufacture of rose-water, it
-may be as well to state that the original verse is given, not for its
-merit as such, but simply because it is the form in which the recipe
-reached the writer.
-
-
-=Rose-water.=
-
-    “When the bushes of roses are full,
-      As most of them are about June,
-    ’Tis high time to gather, or pull
-      The leaves of the flowers. As soon
-    As you’ve picked all you need for the time,
-      To each _quart of water_ unite
-    A _peck of the leaves_, which, if prime—
-      And they will be, if pulled off aright—
-    May be _placed in a still_ near at hand,
-      On a _very slow fire_. When done,
-    Bottle off, and permit it to _stand
-      For three days_ ere you cork down each one.”
-
-[Illustration]
-
-
-
-
-CHAPTER III.
-
-THE WALKING CLUB.
-
-
-A SOUND of girlish voices is suddenly heard in the quiet village
-streets, as our Walking Club, issuing from the house of one of its
-members, starts off on the first tramp of the season. The gay chatter
-and bubbling laughter blend with the twittering and chirping of the
-birds fluttering among the budding trees, and all these merry sounds
-seem in perfect harmony with the youthful gladness of the bright
-morning.
-
-There is a subtle power and exhilaration in the spring sunshine that
-stimulates the blood, and sends it tingling through our veins, as
-with light-springing steps we quickly leave the village behind us
-and penetrate into the outlying country, stopping now and then to
-secure a branch of the downy pussy willow or brilliant red blossoms
-of the maple, and again to admire a distant view where the trees
-seem enveloped in a hazy mist of delicate color; on we go, exploring
-sequestered spots or entering deep into the woods in search of early
-wild flowers.
-
-[Illustration: The Walking Club.]
-
-Although possibly timid as individuals, as a club we are brave enough;
-for a party of fourteen or sixteen girls, including our merry little
-chaperon, may go, with impunity, where it would not be so pleasant for
-one to venture alone.
-
-Once a week all through that delightful spring the club might have been
-seen, now upon a road leading in this direction, now in that. And,
-often as we stepped aside to allow a carriage to pass, its occupants
-would lean forward smiling, and waving their hands in greeting; for
-the moment, perhaps, feeling in sympathy with the vigorous young life
-that preferred this mode of locomotion to being carried about on the
-downiest cushions of the easiest of carriages. A ride which accorded
-with the unconventional mood of our club was not despised however, for,
-urged on by the girls, our little matron would make bold to accost some
-countryman driving a vehicle sufficiently large, and persuade him,
-in the terms of the country, to “give us a lift.” Jolting about in a
-springless wagon or hay-cart was not in the least enervating, and we
-experienced no indolent wish to continue our journey on wheels when
-forced by diverging roads to leave our equipage. It was not until the
-ever-increasing heat of the sun, and our own languid disinclination to
-much exertion, warned us that the mildness of spring had passed, that
-we concluded to disband for the summer. In the fall we again fell into
-rank, and came home from our walks laden with the gorgeous trophies of
-autumn, as we had once carried in triumph the tasselled branches and
-dainty flowers of spring.
-
-We continued our tramps into the early winter, when the frosty
-crispness of the air made it very bracing, and the brisk exercise
-of walking brought the healthy color to cheek and lip of the young
-pedestrians.
-
-Such a club as this, which at the same time promotes health, good
-spirits, and sociability, is one that most girls will enjoy and derive
-benefit from.
-
-A closer acquaintance with Nature, which these walks afford, is not
-the least of their benefits, and to her true lover, Nature has many
-delightful surprises and secrets to reveal; and as has been said, even
-for those who cannot read her deeper meanings she has a language which
-calls attention to her more outward forms of beauty, and which one may
-study until gradually, with slowly opening eyes, is seen more and more
-of the exquisite perfection of her work, that long ago might have been
-seen had one but chosen to look.
-
-As a society, the Walking Club is one of the most informal.
-
-No officers are needed, although a secretary may sometimes be found
-useful when any word is to be sent to absent members.
-
-The membership of the club should be large enough to insure the
-attendance of at least twelve or fourteen on each walk; for in this
-case, as I have said, safety lies in numbers. At a place of meeting
-previously appointed, the members should assemble, and, before starting
-on their walk, the route to be taken should be decided by vote; a
-decision on this point will be more quickly arrived at if a chairman be
-appointed to keep order.
-
-The first walk should not be too long. Three miles is a good walk to
-start with; a mile and a half out and the same home again. Gradually
-the distance can be lengthened, and the club be able to take a ten-mile
-walk without feeling fatigue.
-
-[Illustration]
-
-[Illustration: TO MAKE THE EXERCISE OF WALKING HEALTHFUL, AND THEREFORE
-THE MORE ENJOYABLE, THESE RULES SHOULD BE OBSERVED.
-
-    _1st. Carry the body erect on the hips, the shoulders
-    thrown back, the chest raised, and the head square on
-    the shoulders._
-
-    _2d. Breathe through the nose while walking rapidly,
-    otherwise the mouth will become dry and the breath
-    short._
-
-    _3d. Wear loosely fitting clothes that will permit
-    a free motion of the limbs, and shoes with broad,
-    moderately thick, soles and low, broad heels. In all
-    cases a girl’s skirts should be supported from the
-    shoulders, and in walking any distance it is absolutely
-    necessary for comfort that there should be no weight
-    upon the hips._]
-
-[Illustration]
-
-
-
-
-CHAPTER IV.
-
-EASTER.
-
-
-EVERYWHERE the children are playing with eggs; eggs colored in every
-hue—mottled, striped, and gilded; real eggs and imitation ones; sugar,
-glass, and wooden eggs; for this is Easter-tide, and not only in
-America, but in many far-away countries, where the habits and customs
-are very different from ours, does Easter bring to the children the
-highly prized, gayly-colored eggs.
-
-How nice it would be if we could take a peep into these foreign
-countries, and discover what else Easter brings the little ones besides
-the pretty eggs, and also how the people of such widely differing
-nations keep this happy festival common to all.
-
-If we could look into England now, we should find that the ceremonies
-there begin on Palm Sunday (the last Sunday before Easter), and on that
-day many people go a-palming, only they do not, of course, find palm,
-but gather instead branches of willow, which they stick into their
-hats and button-holes. On Good-Friday we might see, on almost every
-breakfast-table, those hot spicy cakes with a cross stamped on the
-face, known to many of us as well as to our English cousins, as “hot
-cross buns.” We should feel very much at home looking into the churches
-on Easter Sunday, for we should find them beautifully decorated with
-flowers, and hear the Easter anthems chanted as we might in our own
-country. I do not think we can see in America, though, the ceremony
-which, on Easter Monday, is performed by the charity school-children
-in England. Were we among the spectators who, with shouts and merry
-laughter, crowd around to watch this performance, we should see the
-children take their places, with their backs against the outside of
-the church, and then join hands until a circle is formed around the
-building, thus completing what is called “clipping the church.”
-
-It would be great fun to see the Easter celebration in Russia, which
-includes many peculiar customs, and where the children receive presents
-as we do at Christmas, besides more eggs than any of us ever thought
-of possessing; some of the eggs being beautifully made of glass or
-porcelain, and filled with sugar-plums or small presents. How amusing
-it would be to watch the people, following a custom always observed on
-Easter Monday in this queer land, as they go about kissing relations,
-friends, and acquaintances, wherever they happen to meet them.
-
-If we were really in this great, cold, furry country, we might go with
-the children to make their Easter visits, and, on entering a house,
-hear the greeting, “Jesus Christ is risen,” and the answer, “Yes, he is
-risen;” then after kissing the inmates and exchanging eggs with them,
-go to visit elsewhere.
-
-All this would seem very strange to American eyes; and it would be a
-strange sight too, if we could look into the cities of Spain and see
-the people in the streets shooting at stuffed figures of Judas Iscariot.
-
-A passing glance at Ireland on Easter morning would show us the people
-making haste to be out at sunrise to see the sun dance in a pool or
-pail of clear water.
-
-It would be worth while to give more than a passing glance into Germany
-at this season, for in this country, where the children’s happiness is
-so much thought of and so well provided for, Easter Monday is looked
-upon as a grand holiday, and all the young people appear in their gala
-costumes ready for any fun or frolic that may be going on. It is a
-pretty sight when the little peasant-girls, in their quaint gowns and
-odd little caps, dance on the green with the boys, whose costumes are
-equally as picturesque; and it is also entertaining to watch them as
-they play various games with their many-colored eggs.
-
-In Germany, too, we should find that the children believe as sincerely
-in the Easter hare as they do in Santa Claus in our country; and the
-saying, that “the hares lay the Easter eggs,” is never doubted by the
-little ones.
-
-After visiting in imagination all these foreign countries to see their
-Easter celebrations, it may prove interesting to turn our eyes toward
-home, for, since our country is so large—as large almost as all Europe
-put together—perhaps some of our little citizens who have never been in
-Washington do not know how, in the capital of the United States, the
-children hold high carnival on Easter Monday, nor how the grounds of
-the White House and also of the Capitol are given up to them on this
-day that they may frolic on the lawns and roll their eggs down the
-hills. It would be as novel a sight to some of us as any found abroad,
-to see several thousand children rolling and tossing their eggs, while
-shells of every hue cover the grass in all directions.
-
-The following newspaper item, cut from the _Evening Star_, Washington,
-D. C., April 27, 1886, shows how these rights of the little Americans
-are recognized and respected, and how unmolested they enjoy the
-privileges of Easter Monday.
-
-
-    “THE EASTER EGG-ROLLING.
-
-    “CHILDREN SHAKE HANDS WITH THE PRESIDENT.
-
-    “The crowd in the White House grounds greatly increased
-    yesterday afternoon, so that the grounds were literally
-    packed with children. The crowd was the largest and
-    best appearing that has collected there in many years.
-    The President and Colonel Lamont watched the children
-    for some time from the library window.
-
-    At the President’s reception at half-past one o’clock
-    hundreds of children gave up their sport temporarily
-    and thronged the East Room to shake hands with the
-    President.”
-
-
-=Easter Egg Games.=
-
-In the game they play at Washington, on the hills sloping from the
-White House, the child whose egg reaches the foot of the hill in an
-unbroken condition takes the one worsted in the journey down. Another
-game for two is played by knocking the eggs together; each child holds
-an egg firmly in his hand so that only the small end is visible, and
-then the two eggs are struck against each other until one is cracked,
-when the victorious player adds it to his stock, or devours it on the
-spot. I would not like to state the number of eggs eaten on these
-occasions, but there is a boy (_not a girl_) who once consumed fourteen
-and lived to tell the tale.
-
-Sometimes the egg which breaks another is called “the cock of one,”
-and when it has broken two it is “cock of two,” and so on. When an egg
-which is cock of one or more is broken, the number of trophies won by
-the victim is added to the score of the conquering egg and it becomes
-“cock of three” or more. Here is a game which comes from Germany, and
-although in that country it is played exclusively by boys, there is no
-reason why the girls should not participate in it as well. Two baskets
-are necessary for this game, one large and shallow filled with soft
-shavings, the other shallow also, but smaller, and filled with eggs.
-The plan of the game is that one player is to run a given distance,
-while another safely throws the eggs from one basket to the other, she
-who completes her task first being the winner. When the baskets are
-prepared, and the distance the eggs are to be thrown decided upon, the
-two contestants draw lots to determine who shall run and who shall
-throw. This settled, the player who throws takes the basket of eggs,
-and one after another quickly tosses them the length of the course and
-into the basket of shavings, which is placed on the ground at the end
-of the course opposite the thrower. In Germany this basket is held by
-an assistant, but anyone occupying that position might receive some
-severe blows from the hard eggs thrown by unpractised hands, and it
-answers the purpose just as well to place the basket on the ground.
-Meantime the other player runs the distance (decided beforehand) to an
-appointed goal, marks it as a proof of having touched it, and should
-she succeed in returning before all the eggs are thrown, the victory
-and prize are her reward; otherwise they belong to the thrower.
-
-The game finished, a prize is presented to the successful contestant.
-Should any of the eggs pitched by the thrower fail to light in the
-basket, they must be gathered up and thrown again before the runner
-returns, as the eggs must all be in the basket before the thrower wins
-the game.
-
-“Bunching eggs” comes from Ireland, and is played in very much the same
-manner as the game played with a slate and pencil, and known to all
-children as “tit, tat, toe, three in a row.” A pan or large dish filled
-with sand or sawdust is set upon a table, around which the children
-stand, each supplied with eggs; the eggs of each player must be all of
-one color, and unlike those of any other player. The object of the game
-is for each player to so place her eggs, standing them upright in the
-sand, or sawdust, as to bring five in a row touching each other.
-
-In turn each player puts down an egg, sometimes filling out a row for
-herself, at others cutting off the line of an opponent; and the one who
-first succeeds in obtaining the desired row sings out—
-
-    “The raven, chough, and crow,
-     Say five in a row.”
-
-Another pretty game from Ireland called “Touch” is played in the
-following manner:
-
-Six eggs of the different colors—green, red, black, blue, white, and
-gold are placed in a row in the sand used for the other game. One of
-the players is blindfolded and given a light wand or stick, with which
-she must touch one of the eggs, while at the same time she recites
-these lines:
-
-    Peggy, Patrick, Mike, and Meg,
-    See me touch my Easter egg;
-    Green, and red, and black, and blue,
-    Count for six, five, four, and two.
-    If I touch an egg of white,
-    A forfeit then will be your right;
-    If I touch an egg of gold,
-    It is mine to have and hold.
-
-As is told in the rhyme, the eggs each have a different value. Green
-counts six; red, five; black, four; and blue, two; and the gold egg is
-worth more than all put together, for when a player touches that, she
-wins the game and a forfeit of an egg from each of the other players.
-The white egg is worth less than nothing, since it not only has no
-value but whoever touches it with the wand must pay a forfeit.
-
-Each player is in turn blindfolded and makes her trial, keeping account
-of the value of the eggs she has touched. When the sum of twenty has
-been reached by anyone the game is ended, without the aid of the gold
-egg. The position of the eggs are changed after each trial, that the
-person about to touch them may not know where it is best to place her
-wand.
-
-
-=Easter Egg Dolls.=
-
-In some of the large confectionery stores in New York City may be found
-at Easter-tide quaint little Easter offerings, looking at first sight
-exactly like dolls’ heads surmounted by pretty little head-dresses. As
-dolls are not peculiarly appropriate gifts for Easter, one naturally
-examines them closer, to ascertain if there is anything about them
-significant of the day, and in so doing quickly discovers that the
-heads are not made of wax or china, as was at first supposed, but are
-simply egg-shells from which the eggs have been blown, leaving the
-shell perfect. Little faces are painted upon these shells, and the
-cunning caps or bonnets are made of tissue-paper.
-
-Now it is our purpose to teach the children who do not live in New York
-and have never seen these pretty toys, and also those who, having seen,
-cannot afford to purchase them, just how to make some of these little
-men and women, and how to fashion a variety of head-dresses not to be
-found in the stores.
-
-To begin with, select several nice large eggs, those of a pinkish
-yellow are preferable, being something of a flesh-tint. These eggs
-should be blown, or the shells emptied of their contents; to blow them
-make a small hole in each end of the shell, and, taking it gently
-between the thumb and forefinger, put one hole to the lips; then blow,
-not too hard, but steadily, until the egg has all run out of the other
-end.
-
-The face must be painted next, and to those who know nothing of drawing
-this will seem no easy task, until by carefully observing the following
-direction they will find that it is in the power of anyone to produce
-as pretty a face as could be wished for.
-
-[Illustration: =Patterns for Head-dresses.=]
-
-Among picture-cards, or in almost any juvenile book, may be found many
-pretty faces of a suitable size which can be transferred to the egg
-in this way. Lay a piece of tracing-paper over the head selected, and
-with a soft lead-pencil trace carefully all the lines indicating the
-features; then place the paper on the shell so that the pencil-marks
-are next to it, and with a hard pencil, or ivory knitting-needle, go
-over the lines again, thus transferring the soft pencil-marks to the
-shell. Touch up and strengthen the features with a fine paint-brush and
-india-ink. Anyone understanding painting may color the face in natural
-tints, but it looks very nicely done merely in outline.
-
-[Illustration: =The Nun.=]
-
-The simplest arrangement for holding the little head erect is a small
-pasteboard box turned upside down, and having a hole cut in the bottom
-just large enough to admit the small end of the shell; this will
-support the head nicely, and also form the shoulders.
-
-[Illustration: =The Old-fashioned Girl.=]
-
-Make the hair of raw cotton blackened with ink, and fasten it on the
-head with mucilage. When all of the foregoing directions have been
-carried out it is time to attend to the head-dresses, and we will
-begin with the quaint and old-fashioned poke-bonnet. Cut this bonnet
-from ordinary brown wrapping-paper after the pattern shown in diagram;
-sew together the ends of the “side of crown,” then sew the curved
-side (which is cut in slits as shown in pattern, and folded back as
-indicated by dotted line) to the smallest part of brim; fold in the
-strips marked on the straight “side of crown” and fasten on the “top of
-crown” with mucilage. The trimming for the bonnet consists of a fold
-and bow of colored tissue paper.
-
-[Illustration: =The Dude.=]
-
-Make the man’s hat of shiny black paper by the pattern in diagram, and
-fasten together in the same manner as the bonnet, rolling the sides of
-the brim when finished. Black and white tissue-paper folded to fit the
-head, as shown by the dotted lines in the pattern, forms the head-dress
-of the nun.
-
-By copying the head-dresses of different nations, an odd and curious
-assembly of these Easter-egg dolls can be formed; but that must
-be worked out at some future time, for we have yet to tell how to
-construct some Easter toys that cannot be found in any store. The
-
-
-=Humpty Dumpty=
-
-who “sat on a wall,” and the “Humpty Dumpty” who “had a great fall,”
-must have been like the one I am about to describe, made of an egg; for
-it is pretty certain that if he should fall, “all the king’s horses and
-all the king’s men couldn’t put” this “Humpty Dumpty together again”
-any more than they could the other.
-
-[Illustration: Diagram of Humpty Dumpty.]
-
-The diagram shows the frame of this little fellow and how it is joined
-together. A large egg should be chosen; and when the contents have been
-blown from the shell, four holes must be pricked in it for the arms and
-legs to pass through, as shown in the diagram. These limbs are made
-of rather fine bonnet-wire, the piece used for the arms being about
-eight inches long. The hand is made by bending up one end of the wire
-as in diagram, and with softened beeswax covering the loop thus formed.
-When one hand has been finished off in this way, the other end of the
-wire, still straight, should be passed through one of the holes near
-the small end of the shell and out through the one opposite, then bent
-up into a hand and arm in the same manner as described.
-
-[Illustration: =Humpty Dumpty.=]
-
-The wire for the legs and feet must be ten inches long. The diagram
-shows how it is bent to form the feet. On this frame, wax can easily be
-modelled to look like a foot; a coating of red paint will add to the
-appearance, as red boots look well with the costume to be worn. The
-wire for the legs should be bent in a curve in the middle (see diagram)
-before it is passed through the shell. Again, as with the hands, one
-foot must be finished and the legs fastened on before the other foot
-can be made.
-
-The figure of Humpty Dumpty being thus prepared, his face must be
-painted; water-colors are the best for this purpose. The jollier the
-expression of his face, the funnier the little man will look.
-
-Patterns for trousers, jacket, and hat are shown in the diagrams. The
-trousers should be cut from white cotton cloth two and a half inches
-long and six inches wide. A slit an inch and a half long, cut in the
-middle, separates the legs of the trousers, which must, of course,
-be sewed up. Dotted lines at top and bottom show where a gathering
-thread should be run, the bottom gathers forming ruffles around the
-ankles. White should also be used for the jacket, cutting it three and
-a half inches long and five inches wide. The shape of the jacket may
-be seen in the diagram, dotted lines showing where the sleeves are to
-be gathered around the wrist. Collar and pockets of red—the patterns
-of which are given—finish the little garment. A white hat four inches
-around the brim and two inches high is decorated with a band of red,
-which should be sewed on the edge and turned up.
-
-When dressing Humpty Dumpty, fasten his garments on to his body here
-and there with glue, which will hold them securely in place. The hat
-also should be glued to his head, as it is difficult otherwise to keep
-it on.
-
-
-=Miss Rolly-poly.=
-
-[Illustration: =Miss Rolly-poly.=]
-
-Little Miss Rolly-poly, who decidedly refuses to lie down, always
-regaining an upright posture, no matter in what position she is placed,
-is made in the following manner: After the contents have been blown
-from the shell, the hole of the small end is enlarged gradually until
-it is about a half-inch in diameter; the shell is then placed in an
-upright position (a box with a hole cut in it just large enough to hold
-the egg firmly makes a good stand) and melted sealing-wax is poured in;
-on top of this melted lead is poured, all the while care being taken to
-keep
-
-the shell perfectly steady, that the weight may fall exactly in
-the centre and make a perfect balance. A small quantity of lead is
-sufficient for the purpose, as the shell is so very light.
-
-[Illustration: =Diagram of Miss Rolly-poly.=]
-
-Miss Rolly-poly requires no limbs; when her babyish face is painted
-she is ready for her costume. The dress is simply made of a strip of
-colored cloth, and is two inches long and seven inches wide. The white
-apron is fastened to the dress as shown in the diagram. Sleeves are
-made of pieces of the dress, material about one inch long and one and a
-half inch wide. They are rolled up and fastened with needle and thread,
-then sewed on to the dress in the position shown in the diagram.
-Pockets are made for the apron, and the ends of the sleeves tucked in
-them, which makes it appear as though the hands were hidden in the
-pockets. The cap, made of the same material, or of a color harmonizing
-with the dress, is four inches round the brim and one inch high; it is
-sewed together at the two ends, and gathered into a pompon on top, as
-is shown by the dotted lines in the diagram. A little glue should also
-be used to fasten this dolly’s dress and cap on.
-
-
-=Mandolin.=
-
-[Illustration]
-
-A pretty little toy mandolin is made of the lengthwise half of an
-egg-shell. To separate the shell in this way it is necessary to pierce
-holes with a needle along the line where the division is to be made,
-which will cause it to break evenly; or the egg may be boiled hard
-and then cut in half with a very sharp knife. Fig. 6 is cut from
-stiff paper, and the strings drawn with pen and ink; then the shell
-is fastened to it on the opposite side by pasting a narrow strip of
-white tissue paper over the edges of the shell and frame, joining them
-together. The top of the handle is bent down a little and a narrow
-ribbon tied to it. To make the mandolin still more complete, paint the
-handle mahogany color, with a fine needle stitch on strings of yellow
-silk, and paint the egg-shell into pumpkin-like divisions of yellow and
-mahogany.
-
-[Illustration: =The Mandolin.=]
-
-
-=The Owl.=
-
-[Illustration: Wing.]
-
-[Illustration: Diagram of Owl.]
-
-To turn a hen’s egg into an owl has not before, I imagine, been thought
-possible; yet it is easy enough, and requires but a very short time to
-accomplish the transformation, when one knows just how to go to work.
-No incubator is needed to hatch this bird, as only the shell is used,
-the contents having been disposed of in the manner before described. We
-commence the formation of the little owl by making two holes near the
-large end of the shell in the position shown in diagram.
-
-[Illustration: Owl Complete.]
-
-By looking at the next diagram the manner of making the feet and legs
-may be seen. A short piece of wire is bent in the shape given, and is
-wrapped on to a longer wire with strong thread, thus forming three
-toes, which are quite enough for a bird that will never walk. One foot
-made, the wire is passed through the shell, having first been bent
-into a curve, as in the description of Humpty Dumpty. When the last
-foot has been fastened on, the wire should be pushed back into the
-shell, allowing but little of the legs to show. The wings are cut by
-the pattern given, and are painted to resemble feathers as much as
-possible. Brown is the best color to use. By the diagram may be seen
-how the head and body are painted.
-
-
-=Maple-wax Easter Eggs.=
-
-Empty the egg-shell of its contents and open a place at the small end
-the size of a silver dime. Stand it in an upright position with the
-largest opening on top, and leave it while you prepare the maple-wax,
-or candy. Mix enough water with some maple sugar to dissolve it, and
-set on the fire to cook; when it will harden in cold water it is done.
-Carefully fill the egg-shell with the hot maple-wax, and keeping it
-in an upright position, set it on the ice to cool. When the wax is
-perfectly cold and hard, paste an artificial daisy over the opening in
-the shell. Maple-wax is the nicest kind of candy, and done up in this
-way will remain firm and hard for a long while; and therefore these
-maple-wax eggs make excellent Easter gifts to send away to one’s friend
-at a distance. The best way to pack them is to wrap them in cotton and
-then put them in a tin baking-powder box, filling up the interstices
-with cotton to keep them from knocking about.
-
-The box, of course, must be wrapped in paper and tied securely with a
-string. Packed like this, they may travel safely all over the United
-States. The writer sent several the distance of over seven hundred
-miles, and they arrived at their destination in as perfect condition as
-when they left her hands.
-
-
-=Bonbon Box.=
-
-Select a box two or three inches high—a round one is best—which has a
-lid that covers the entire box. Cut some straw or hay in pieces long
-enough to reach from the top to the edge, and glue it on the sides of
-the lid, covering them completely. Prepare as many halves of egg-shells
-as will cover the top, allowing a space one inch wide around the edge.
-Glue the shells down, and fill up the spaces between with straw. Near
-the edge, on the opposite sides, glue a loop of narrow white ribbon;
-these loops are to lift it with. Then glue straw on all the uncovered
-parts of the lid, making it a little thicker and higher at the edges.
-When the box is finished it resembles a nest of eggs, and makes an
-appropriate and acceptable Easter gift.
-
-
-=Easter Cards.=
-
-It is a very pretty custom, that of sending Easter cards, altogether
-too pretty to be allowed to lapse into disuse, as many customs which
-are merely the expression of sentiment are apt to do in this busy,
-practical country of ours. One experiences a great deal of pleasure
-in selecting from the stock of beautiful cards found in the stores
-just before Easter those that seem suitable for one’s friends, but
-more pleasure will be derived from home-made Easter cards, both to the
-sender and recipient; for it is true that into everything we make we
-put a part of ourselves, and into many a home-made article is woven
-loving thoughts which make the gift priceless, although the materials
-of which it is composed may have cost little or nothing.
-
-[Illustration]
-
-Several years ago the writer was visiting a friend in the country
-twenty miles from the nearest town where Easter cards could be
-purchased, but when Easter approached we sent off our cards, just the
-same, and I am sure our friends were as pleased with them, and more
-pleased, than if they had been of the most expensive kind. This is how
-we made them:
-
-[Illustration: Pattern for the Chicken.]
-
-It was an early spring, and the woods were filled with wild-flowers,
-anemones and violets mostly; these we gathered, and arranging them in
-small bunches, stuck the stems through little slits cut in cards or
-pieces of heavy paper, as they are sometimes fastened in books when
-pressed. Underneath the bouquet we wrote the name of the person for
-whom it was intended, with some friendly message appropriate to the
-season, and signed our own names; then we carefully folded each in
-writing paper, taking pains not to crumple the flowers, and enclosing
-them in envelopes, sent them to their destination through the mail.
-Any kind of flowers can be used for these Easter cards, and instead
-of putting the stems through slits in the card, they may be tied to
-them with narrow ribbon. A card to be sent only a short distance should
-be put in a box just deep enough to leave room for the flowers, and
-fastened in some way to keep it from moving about; in this way it will
-reach its destination sweet and fresh.
-
-To those who can paint their Easter cards we have no suggestions to
-offer, for they have an unlimited supply of designs at their command,
-and with their power of decoration, may turn almost anything into an
-Easter card, from a piece of satin ribbon, upon which they sketchily
-paint a spray of flowers, to an elaborate picture. A few suggestions
-are here given which our younger readers may like to carry out, as the
-cards we describe are easily made, and adapted to amuse the children.
-
-“Stepping through the White House” the first card is called, and it
-represents a little chicken breaking through its shell. The pattern of
-the chicken is given in the diagrams. Fig. 7, the head and neck, is cut
-from yellow flannel; Figs. 8, 9, and 10, the main part and fragments of
-shell, are of white paper, and Fig. 11, the feet, of black paper. These
-are pasted to a tinted card, as shown in illustration. The eye and bill
-are made black with ink or paint.
-
-
-=Little Quakeress.=
-
-[Illustration: The Little Quakeress.]
-
-Half an egg-shell, with the face and hair painted on it, forms the
-head. The cap is made of white tissue paper cut in four strips; one,
-for the crown, is six and a half inches long, and a little over one
-and a half wide; another, for the brim, is four and a half inches long
-and one inch wide; while the strings are each three and a half inches
-long, and one and a half wide. The crown is plaited in the centre, the
-brim folded lengthwise through the middle, and sewed to the crown. The
-strings are fastened on either side of the cap, and crossed in front;
-then the cap is pasted on the head, the surplus paper folded back, and
-the whole glued on a card. The ends of the strings are also fastened to
-the card, forming a Quaker kerchief.
-
-[Illustration]
-
-[Illustration]
-
-[Illustration: Lawn-Tennis with Our Own Net.]
-
-
-
-
-CHAPTER V.
-
-HOW TO MAKE A LAWN-TENNIS NET.
-
-
-LET us see; it was that old medical gentleman, Galen the Greek, who
-first wrote upon tennis, speaking of the sport as healthy exercise, was
-it not? Well, girls, it really does not matter much to us whether he
-was the first to write it up and the Greeks the first to play it, or
-whether the game originated in France in the fifteenth century, as some
-claim. What _we_ want to know is, can we all learn to play tennis? Does
-it cost much? What kind of gowns and shoes must we wear? And is it an
-enjoyable game?
-
-There is no doubt, we think, of its being a right royal pastime, as it
-has been called both the “king of games” and the “game of kings;” the
-latter because it was enjoyed by princes and nobles—so much enjoyed,
-that in both England and France edicts were published forbidding the
-common people to play it.
-
-Girls, do you wonder if they always had the choice of courts, and so
-never took part in the fun of spinning the racket in the air while
-the adversary called out “rough” or “smooth;” or whether they played
-as we do, taking their defeats pleasantly and wearing their honors
-gracefully, while always doing their very best?
-
-They must have played well, for it is said that Louis XI., Henry II.,
-and Charles IX., were experts, and that Henry VIII. of England was
-extremely fond of the sport.
-
-We can easily learn to play this most popular and exhilarating of
-games. But we must be suitably clothed in order to thoroughly enjoy it
-and receive all the benefit the recreation brings to both mind and body.
-
-Flannel seems to be the best material for a tennis suit—it is so soft
-and yielding, and so well adapted for a defence against either cold
-or heat. Then, make your tennis gown of flannel; the skirt in plaits,
-without drapery; the postilion basque of Jersey cloth, soft and
-elastic, matching the skirt in color.
-
-Sew the skirt of your gown on a sleeveless waist, made of lining or
-muslin. The Jersey will fit nicely over this, and you can play better
-and feel far more comfortable than when the weight is allowed to drag
-on the hips. For it is nonsense to attempt to take part in any athletic
-game unless you can have perfect freedom of action; in short, you
-should be so dressed as to be utterly unconscious of your clothing.
-
-[Illustration: An Old Game.]
-
-Either crochet a Tam O’Shanter hat or make one of the dress material,
-as these are not so apt to fall off while running as a straw hat.
-“Last, but not least,” come the shoes. Of course, rubber-soled shoes
-are the best. But if these are not to be had, remove the heels from an
-old pair of ordinary shoes, and they will do very well; heels roughen
-and cut the courts.
-
-The actual cost of a lawn-tennis set need only be the price of the
-rackets and balls, and rope and cord necessary when you learn
-
-
-=How to Make a Lawn-Tennis Net,=
-
-which is not difficult.
-
-First procure two pieces of cotton rope, three-sixteenths of an inch
-in size, each thirty-four feet long, costing about twenty-five cents
-apiece. Then one and a half pound of hammock twine or macrimé cord, No.
-24, which will not cost more than fifty cents. Next, two lengths of
-cotton rope for guy-ropes, each five feet, price, both included, ten
-cents; making the total amount $1.10 for a strong, firm, tennis net
-which will prove serviceable and last many a season.
-
-[Illustration: Stake.]
-
-[Illustration: Peg.]
-
-[Illustration: Runner.]
-
-[Illustration: Runner and Guy-rope.]
-
-[Illustration: The Fid.]
-
-The other materials necessary are all home-made. These consist of two
-stakes, each five feet long (Fig. 12). Any kind of a strong pole, when
-sharpened at one end and a notch cut at the other, will answer the
-purpose. Four pegs, each one foot long (Fig. 13). These may be easily
-made of old broomsticks. Four runners (Fig. 14), each five inches long,
-one and a quarter wide, and about half an inch thick, with holes bored
-near each end large enough to allow the guy-rope (Fig. 15) to pass
-through. A fid or mesh-stick of any kind of wood (Fig. 16), about a
-foot or ten inches long, with circumference measuring three inches. A
-hammock-needle (Fig. 17), nine or ten inches long and one wide, which
-may be bought for ten cents, or whittled out of a piece of ash or
-hickory by some kind brother. Tassels are not necessary, though it is
-much better to have them, as they make the top line of the net more
-distinct and add to its appearance. Make about forty bright-colored
-tassels of worsted, or bits of flannel cut in very narrow strips, three
-inches long, allowing ten or twelve strips to each tassel. Commence
-your tennis net by first threading the needle; take it in the left
-hand, and use the thumb to hold the end of the cord in place while
-looping it over the tongue (see Fig. 18); pass the cord down under the
-needle to the opposite side, and catch it over the tongue. Repeat this
-until the needle is full.
-
-[Illustration: Hammock-needle.]
-
-[Illustration: Fig 19]
-
-[Illustration: Fig 20]
-
-[Illustration: Needle Threaded.]
-
-[Illustration: Knots.]
-
-Next, take a piece of rope thirty-four feet long, and make a long loop
-in one end, tying the knot so that it can readily be untied again.
-Throw the loop over some convenient hook or door-knob (Fig. 19) with
-the knot at the knob or hook. Tie the cord on the needle to the loop,
-place the fid or mesh-stick under the cord close to the loop (Fig. 20),
-with the thumb on the cord to hold it in place (Fig. 25), while you
-pass the needle around the mesh-stick, and, with its point toward you,
-pass it through the loop from the top, bringing it over the mesh-stick.
-This will make the first half of the knot (Fig. 21). Pull this tight,
-holding it in place with the thumb while you throw the cord over your
-hand, which forms the loop as seen in Fig. 22. Then pass the needle
-from under through the loop, pulling it tight to fasten the knot. Hold
-it in place with the thumb, and repeat these movements for the next
-knot. Fig. 23 shows a number of these knots finished. A in Fig. 23 is a
-knot before it is drawn tight; B in Figs. 21, 22, 23 is the string that
-runs to the needle, C is the rope, and D is the mesh-stick. About two
-hundred and sixty-four of these knots or meshes will make the net the
-regular length, thirty-three feet.
-
-[Illustration: Fig 24]
-
-In knitting across, the meshes will accumulate on the fid; shove them
-off to the left, a few at a time, to make space for others. When the
-desired number of meshes are finished to form the first row, shove them
-all off the fid, as shown in Fig. 24.
-
-Begin the next row by again placing the fid under the cord (Fig. 24).
-Take up the first mesh, drawing it close to the mesh-stick, hold it
-in place with the thumb while throwing the cord over your hand, pass
-the needle on the left-hand side of the mesh from under through the
-loop (Fig. 25); pull this tight, and you will have tied the common
-knitting-knot. Repeat this with all the loops until the row is finished.
-
-When it becomes necessary to thread or fill the needle, tie the ends
-of the cord with the knot shown in Fig. 26, which, when properly
-tightened, cannot slip. Wrap each end of the cord from the knot
-securely to the main cord with strong thread, to give the net a neat
-appearance.
-
-Continue netting until the net is three feet wide. Then untie the rope,
-and spread the net by sliding the knots apart, and fasten the second
-rope to the bottom of the net by tying the rope securely to the first
-mesh with the cord on the needle; then carry the rope and cord to the
-next mesh, hold the rope, cord, and mesh firmly in place, and throw the
-cord over your hand, passing the needle down through the mesh under
-the rope and cord out through the loop (Fig. 27). Pull this tight,
-and continue in like manner, knitting each successive mesh to the
-rope until the net is all fastened on. Turn back the end of the rope
-and wrap it down neatly with strong string (Fig. 28). In the same way
-secure the other end, and also the ends of the first or top rope.
-
-[Illustration: Fig. 25.]
-
-[Illustration: Fig. 26.]
-
-This completes the lawn-tennis net proper. The bright tassels can now
-be tied at intervals along the top of the net, and four pieces of twine
-fastened on each end of the net at equal distances apart. These are for
-tying the net to the poles (Fig. 29).
-
-[Illustration: Fig. 17]
-
-[Illustration: Fig. 18]
-
-To erect the lawn-tennis net, plant the two poles firmly in the ground
-a little over thirty-three feet apart, tie the net to the poles, then
-drive in the pegs, two to each pole, about five feet from the pole
-(Fig. 30); slide a runner on each end of the two guy-ropes by first
-threading the rope through one of the holes in the runner, then pass
-the rope over the side down through the other hole and fasten it with
-a knot (Fig. 15). Next tie around the notch in the top of the poles the
-guy-ropes, with runners attached, and slip each loop made by the runner
-over each peg (Fig. 31), allowing the rope to fall in the groove A near
-the top of the peg; tighten the rope by pushing up the runners. The
-stakes are thus held in position by ropes running out to the pegs in
-the ground (Fig. 30).
-
-[Illustration: Fig 27]
-
-[Illustration: Fig. 30.—The Home-Made Net.]
-
-Now we understand how to make and erect a lawn-tennis net; but what
-shall we do about the court? Of course, that must be all ready before
-we can set up the net. We must now learn how to lay out a
-
-
-=Lawn-Tennis Court.=
-
-The best ground for this is turf, though it may be of asphalt, or earth
-mixed with fine gravel; sometimes wood is used.
-
-The diagram on page 64 (Fig. 32) shows the construction of a
-lawn-tennis court for two, three, or four-handed games.
-
-Lay out the court with a hundred-foot measuring-tape, by marking the
-lines with whitewash, chalk, paint, or plaster-of-Paris.
-
-First the side line, seventy-eight feet, AB. This gives you one side
-of your court. Then the base line, thirty-six feet, AC, which, with
-their parallel lines CD and DB, form the boundaries of a court for
-four-handed games. Now lay off the side lines of the single court,
-EG and FH, which are parallel to the others and four and a half feet
-inside of them. Divide the court across the centre by the net, fastened
-to the poles O and P. The lines EF and GH are called base lines.
-Twenty-one feet from the net, mark the service lines, MN and TV. Then
-make the central longitudinal line, IJ, and the court is complete.
-
-[Illustration: Fig. 31]
-
-Now everything is prepared for the game. Hold your racket firmly, and
-try to keep the ball flying over the net, back and forth, as often as
-possible.
-
-For the guidance of those who have had no opportunity of learning to
-play lawn-tennis the following rules are given, as adopted by the
-United States National Lawn-Tennis Association.
-
-First, however, we would say that it is not necessary always to have an
-umpire or a referee, as spoken of in the
-
-
-=Rules for Lawn-Tennis.=
-
-THE GAME.
-
-1. The choice of sides, and the right to serve in the first game, shall
-be decided by toss; provided that, if the winner of the toss choose the
-right to serve, the other player shall have choice of sides, and _vice
-versa_. If one player choose the court, the other may elect not to
-serve.
-
-2. The players shall stand on opposite sides of the net; the player who
-first delivers the ball shall be called the _server_, and the other the
-_striker-out_.
-
-[Illustration: Fig. 32
-
-LAWN-TENNIS COURT.]
-
-3. At the end of the first game the striker-out shall become server,
-and the server shall become striker-out; and so on, alternately, in all
-the subsequent games of the set, or series of sets.
-
-4. The server shall serve with one foot on the base line, and with
-the other foot behind that line, but not necessarily upon the ground.
-He shall deliver the service from the right to the left courts
-alternately, beginning from the right.
-
-5. The ball served must drop between the service line, half-court line,
-and side line of the court, diagonally opposite to that from which it
-was served.
-
-6. It is a _fault_ if the server fail to strike the ball, or if the
-ball served drop in the net, or beyond the service line, or out of
-court, or in the wrong court; or if the server do not stand as directed
-by law 4.
-
-7. A ball falling on a line is regarded as falling in the court bounded
-by that line.
-
-8. A fault cannot be taken.
-
-9. After a fault the server shall serve again from the same court from
-which he served that fault, unless it was a fault because he served
-from the wrong court.
-
-10. A fault cannot be claimed after the next service is delivered.
-
-11. The server shall not serve till the striker-out is ready. If the
-latter attempt to return the service he shall be deemed ready.
-
-12. A service or fault, delivered when the striker-out is not ready
-counts for nothing.
-
-13. The service shall not be _volleyed_, _i.e._, taken, before it has
-touched the ground.
-
-14. A ball is in play on leaving the server’s racket, except as
-provided for in law 6.
-
-15. It is a good return, although the ball touch the net; but a
-service, otherwise good, which touches the net, shall count for nothing.
-
-16. The server wins a stroke if the striker-out volley the service,
-or if he fail to return the service or the ball in play; or if he
-return the service or the ball in play so that it drops outside of his
-opponent’s court; or if he otherwise lose a stroke, as provided by law
-18.
-
-17. The striker-out wins a stroke if the server serve two consecutive
-faults; or if he fail to return the ball in play; or if he return the
-ball in play so that it drops outside of his opponent’s court; or if he
-otherwise lose a stroke as provided by law 18.
-
-18. Either player loses a stroke if he return the service or the ball
-in play so that it touches a post of the net; or if the ball touch him
-or anything that he wears or carries, except his racket in the act of
-striking; or if he touch the ball with his racket more than once; or if
-he touch the net or any of its supports while the ball is in play; or
-if he volley the ball before it has passed the net.
-
-19. In case any player is obstructed by any accident, the ball shall be
-considered a _let_.
-
-20. On either player winning his first stroke, the score is called
-15 for that player; on either player winning his second stroke, the
-score is called 30 for that player; on either player winning his third
-stroke, the score is called 40 for that player; and the fourth stroke
-won by either player is scored game for that player, except as below:
-If both players have won three strokes, the score is called _deuce_;
-and the next stroke won by either player is scored _advantage_ for that
-player. If the same player wins the next stroke, he wins the game; if
-he loses the next stroke the score returns to deuce; and so on, until
-one player wins the two strokes immediately following the score of
-deuce, when game is scored for that player.
-
-21. The player who first wins six games wins the set; except as
-follows: If both players win five games, the score is called _games
-all_; and the next game won by either player is scored _advantage game_
-for that player. If the same player wins the next game, he wins the
-set; if he loses the next game, the score returns to games all; and
-so on, until either player wins the two games immediately following
-the score of games all, when he wins the set. But individual clubs, at
-their own tournaments, may modify this rule at their discretion.
-
-22. The players shall change sides at the end of every set; but the
-umpire, on appeal from either player, before the toss for choice, may
-direct the players to change sides at the end of every game of each
-set, if, in his opinion, either side have a distinct advantage, owing
-to the sun, wind, or any other accidental cause; but if the appeal be
-made after the toss for choice, the umpire can only direct the players
-to change sides at the end of every game of the odd or deciding set.
-
-23. When a series of sets is played, the player who served in the last
-game of one set shall be striker-out in the first game of the next.
-
-24. The referee shall call the game after an interval of five minutes
-between sets, if either player so order.
-
-25. The above laws shall apply to the three-handed and four-handed
-games, except as below:
-
-26. In the three-handed game, the single player shall serve in every
-alternate game.
-
-27. In the four-handed game, the pair who have the right to serve in
-the first game shall decide which partner shall do so; and the opposing
-pair shall decide in like manner for the second game. The partner of
-the player who served in the first game shall serve in the third, and
-the partner of the player who served in the second game shall serve
-in the fourth; and the same order shall be maintained in all the
-subsequent games of the set.
-
-28. At the beginning of the next set, either partner of the pair which
-struck out in the last game of the last set may serve, and the same
-privilege is given to their opponents in the second game of the new set.
-
-29. The players shall take the service alternately throughout the
-game; a player cannot receive a service delivered to his partner;
-and the order of service and striking out once established shall not
-be altered, nor shall the striker-out change courts to receive the
-service, till the end of the set.
-
-30. It is a fault if the ball served does not drop between the service
-line, half-court line, and service side line of the court, diagonally
-opposite to that from which it was served.
-
-31. In matches, the decision of the umpire shall be final. Should there
-be two umpires, they shall divide the court between them, and the
-decision of each shall be final in his share of the court.
-
-
-ODDS.
-
-A _bisque_ is one point which can be taken by the receiver of the odds
-at any time in the set except as follows:
-
-(_a_) A bisque cannot be taken after a service is delivered.
-
-(_b_) The server may not take a bisque after a fault, but the
-striker-out may do so.
-
-One or more bisques may be given to increase or diminish other odds.
-
-_Half fifteen_ is one stroke given at the beginning of the second,
-fourth, and every subsequent alternate game of a set.
-
-_Fifteen_ is one stroke given at the beginning of every game of a set.
-
-_Half thirty_ is one stroke given at the beginning of the first game,
-two strokes given at the beginning of the second game; and so on,
-alternately, in all the subsequent games of the set.
-
-_Thirty_ is two strokes given at the beginning of every game of a set.
-
-_Half forty_ is two strokes given at the beginning of the first game,
-three strokes given at the beginning of the second game; and so on,
-alternately, in all the subsequent games of the set.
-
-_Forty_ is three strokes given at the beginning of every game of a set.
-
-_Half court:_ The players may agree into which half court, right or
-left, the giver of the odds shall play; and the latter loses a stroke
-if the ball returned by him drops outside any of the lines which bound
-that half court.
-
-
-THE BALLS.
-
-The balls shall measure not less than 2-15/32 inches, nor more than 2½
-inches in diameter; and shall weigh not less than 1-15/16 oz., nor more
-than 2 oz.
-
-[Illustration]
-
-[Illustration: The May-Pole Dance.]
-
-
-
-
-CHAPTER VI.
-
-MAY-DAY.
-
-    Ho! the merrie first of Maie
-    Bryngs the daunce and blossoms gaie,
-    To make of lyfe a holiday.
-
-
-IN the merry heart of youth the old song still finds an echo, and this
-day, with its relics of pagan customs, celebrating, in the advent of
-spring, nature’s renewed fertility, is a festival full of fun for the
-children.
-
-Some of the ceremonies of May-day, handed down from generation to
-generation, were brought to America in old colonial days by the
-English, but owing, perhaps, to the stern puritanical training of most
-of the early settlers, the customs did not thrive here as in the mother
-country, and many of them have died out altogether.
-
-May-day is one of the many holidays still celebrated, that originated
-among the pagans ages ago, and it is said that the practice of
-choosing a May-queen and crowning her with flowers is a remnant of the
-ceremonies in honor of Flora, the goddess of flowers, which were held
-in Rome the last four days of April and the first of May.
-
-There was, at one time, a very pretty custom observed in Merrie
-England of fastening bunches of flowering shrubs and branches of
-sycamore and hawthorn upon the doors of those neighbors whose good
-lives and kindly habits were thus recognized by their friends.
-
-The maids and matrons of England formerly had a way of their own of
-observing the day. On the first of May they would all go trooping out
-with the earliest rays of the morning sun, to bathe their faces in the
-magic dew, which glistened upon the grass once a year only, and was
-supposed to render the features moistened with it beautiful for the
-next twelve months.
-
-When the writer was a wee little girl there lived next door to her home
-two old maiden ladies, who always kept a bottle of May-dew among their
-treasures. Although the ladies in question had long since passed that
-period when maidens are supposed to be lovely, superstitious persons
-might have found confirmation of a belief in the power of the dew, when
-they looked upon the sweet and kindly faces of these old maids. Faith
-in the fabled efficacy of May-dew will probably lose its last adherents
-when the two old ladies, very aged now, leave this world; but other
-pretty customs, from which all the superstitious elements seem to have
-departed, should not be allowed to die out, and we intend this chapter
-on May-day sports as a reminder that May-day is a holiday and should be
-fittingly celebrated by the older girls as well as the little children,
-who, in these times, seem to be the only ones to remember the day.
-
-
-=May-day Sports.=
-
-A May-day custom, and a very pretty one, still survives among the
-children in our New England States. It is that of hanging upon the
-door-knobs of friends and neighbors pretty spring-offerings in the
-shape of small baskets filled with flowers, wild ones, if they can be
-obtained; if not, the window-gardens at home are heavily taxed to
-supply the deficiency. When the dusky twilight approaches, it is time
-for the merry bands of young folks to start out on this lovely errand
-of going from house to house, leaving behind them the evidence of their
-flying visit in these sweetest of May-offerings. Silently approaching
-a door, they hang a May-basket upon the knob and, with a loud rap, or
-ring of the bell, scamper off, and flee as though for life.
-
-[Illustration: Fig. 33.]
-
-[Illustration: The Straw Basket.]
-
-These little Mayers are sometimes pursued, but few are ever caught,
-for the recipients of the baskets know that to capture a child, carry
-her into the house and treat her to sweetmeats, usually dear to the
-youthful palate, will not compensate the little prisoner for being held
-captive and thereby missing the fun going on among the other children.
-
-
-=How to Make May-baskets.=
-
-The dainty little baskets which are used by the Mayers are generally
-of home manufacture. They are made of almost any material, and in a
-variety of shapes. Some, constructed of card-board, are covered with
-crimped tissue-paper, or with gilt, silver, or colored paper. They are
-never large unless flowers are plentiful, and even in that case a small
-basket is prettier.
-
-Our first illustration represents a May-basket made of straws. Fig. 33
-shows the frame of this basket, for which three straws seven inches
-long are required; these are sewed together, two and one-half inches
-from the bottom, forming a tripod. For the sides eighteen straws are
-necessary, six on each side, of graduating lengths; the three top
-straws being five inches long and the lowest ones three and one-half
-inches. These are sewed to the frame, log-cabin fashion, one upon
-another.
-
-The bottom of the basket is made of a three-cornered piece of
-card-board cut to fit; three straws, two and one-half inches long, hold
-the base of the frame in position. A handle formed of three ribbons
-finishes off this May-basket very prettily; a ribbon is tied to each
-corner of the basket; the other ends meeting form a bow, as shown in
-the illustration.
-
-
-=Birch-bark Baskets=
-
-are quite appropriate for wild flowers, and one in the shape of a canoe
-can be made from a strip of bark six and one-half inches long and four
-inches wide. Fig. 34 gives the pattern of this basket. The dotted lines
-show where the ends are to be sewed together; a ribbon sewed to each
-end of the canoe serves for a handle.
-
-
-=Card-board Baskets,=
-
-cut after the pattern Fig. 35, can be covered with gilt, silver, or
-crimped tissue-paper as desired; paper lace or fringe is sometimes
-placed around the edges of baskets of this kind, as a border to rest
-the flowers upon. The card-board basket shown in illustration is joined
-together by button-hole stitching of colored-silk floss; slits are cut
-in two sides and a ribbon slipped through, the ends of which are tied
-in bow-knots to hold them in place.
-
-[Illustration: Fig 34. The Birch-bark Basket.]
-
-
-=May-day Combat.=
-
-This game, although suggested by the ceremonies which, according to
-Waldron, usher in the month of May in the Isle of Man, is entirely new
-and bids fair to become popular, as it combines the elements of beauty,
-sentiment and mirth.
-
-A number of young people separate into two parties, each having its
-queen; one the Queen of May, the other Queen of Winter. The May-queen
-and her attendants should be decked with flowers, Winter and her
-retinue being without decoration. Equipped with the appropriate
-implements of warfare between the two seasons, namely, a wreath of
-flowers for spring and a ball of raw cotton, or wool, representing
-snow, for winter, the contending forces draw up in opposing lines,
-the space between being about twelve feet. Each line is headed by its
-respective queen, who holds her missile in her hand.
-
-[Illustration: The Card-board Basket.]
-
-[Illustration: Fig. 35.]
-
-The game is commenced by the two queens simultaneously tossing the
-wreath and ball to someone in the opposite line, whose name is called
-as the missile is thrown. Should the person to whom it is thrown fail
-to catch it, she is made prisoner and must do battle on the other side,
-being released only when she succeeds in catching the missile belonging
-to her own party.
-
-When the wreath and ball are caught, they are instantly tossed back
-to the opposite rank, and so the game goes on. Hostilities must cease
-when prisoners are being taken or released, to be recommenced when both
-sides announce themselves ready.
-
-If either queen is captured she is ransomed by the return of all the
-prisoners taken on her side; should she have no prisoners to release,
-the game is ended.
-
-If the May-queen and her forces are defeated, they must strip off their
-floral decorations and give them to the victors, who, decked in these
-trophies, become the representatives of Spring, and the Queen of Winter
-is made Queen of May and is crowned by her vanquished and dethroned
-opponent. The former May-queen and her retinue, after offering their
-congratulations, must serve as attendants on the triumphant queen and
-do her bidding.
-
-When the May-queen proves victorious the programme is reversed, and
-Winter and her party become the subjects of May.
-
-
-=The May-pole.=
-
-An old writer, speaking of the May-games held in England, says, “Their
-cheefest jewell is their Maie-poole,” and to leave the May-pole out
-of our list of May-sports would indeed deprive the day of one of its
-most important and prettiest features. The appropriate place for the
-May-pole is, of course, out of doors; yet the climate in most of
-our Northern States is so changeable and uncertain it may be found
-necessary for comfort to hold the festivities in the house, and in
-that case the following directions for erecting the pole in a room of
-moderate dimensions will be found useful.
-
-
-=How to Erect a May-pole in the House.=
-
-A May-pole from ten to twelve feet high is as tall as the ceilings of
-most rooms will admit.
-
-The pole should be round, smooth, and about five inches in diameter at
-the base, growing gradually smaller toward the top.
-
-[Illustration: Fig. 36.]
-
-For its support a wooden box is necessary, the average size being three
-feet long, two feet wide, and one foot high. Remove the top of the
-box, and directly in the centre of it cut a hole large enough to admit
-the pole. Take two sticks, two inches wide, and long enough to fit
-lengthwise in the box, and two shorter ones fitting the box crosswise,
-and nail them securely in the position shown in Fig. 36, driving the
-nails from the outside of the box. Slip the pole through the hole which
-has been cut in the top, and then stand it in an upright position
-between the four sticks in the centre of the box (Fig. 37). Be sure
-that the pole stands perfectly straight; then, before nailing down the
-top, fill the box with sand, bricks, or stones, packing them tightly
-around the pole; this will give sufficient weight to prevent its
-tipping. Nail the top on, and cover the box with moss or green cloth,
-and bank it up with flowers.
-
-
-=How to Dress a May-pole.=
-
-In olden times the May-poles were painted in alternate stripes
-of yellow and black, but a white pole is prettier and shows the
-decorations to better advantage. Tack the ends of eight or ten
-variously colored ribbons, one and one-half inch wide, around the pole
-near the top. For a pole ten feet high the ribbons should be four yards
-long. Around where the ribbons are fastened on, suspend a wreath of
-flowers, as shown in Fig. 38. Decorate the extreme tip of the pole
-with gaily colored streamers, or small flags.
-
-
-=May-pole Dance.=
-
-An even number of persons are required for this dance; half the number
-take the end of a ribbon in the right hand and half in the left; they
-then stand facing alternately right and left. When the dance commences,
-each dancer facing the right passes under the ribbon held by the one
-opposite facing the left; she then allows the next person going to the
-left to pass under her ribbon, and so, tripping in and out, under and
-over, the ribbons are woven around the pole.
-
-After continuing for a while, according to the above directions, the
-dancers separate into two equal divisions, and each party, independent
-of the other, plaits a strip which hangs loosely from the pole.
-
-[Illustration: Fig. 37.]
-
-In performing this variation the two parties stand on either side of
-the pole, and all those facing the right pass on in that direction,
-going in and out as at first, until the last person going to the right
-has passed the last person going to the left in her division; then,
-transferring the ribbons to their other hands, they all turn and
-reverse the order. Thus they continue, going back and forth until the
-plait is about a foot in length, when another change is made by the
-two parties joining forces again; this time, all those facing the left
-proceed in that direction, passing under the ribbons of all the others
-who are going to the right, thus forming two circles, one within the
-other. After going twice around the pole in this order, the dancers
-composing the inner circle take the outside and the others pass beneath
-their ribbons, again circling the pole twice; then, after going through
-the first figure once more the dance may be ended, or the whole order
-may be reversed, and the ribbons, in that way, be unplaited again.
-
-[Illustration: Fig. 38.]
-
-An appropriate song, with words set to a dancing air, should be sung by
-those taking part in the May-pole dance.
-
-[Illustration]
-
-
-
-
-[Illustration: SUMMER]
-
-[Illustration]
-
-
-
-
-CHAPTER VII.
-
-MIDSUMMER EVE.
-
-
-IN the minds of most of us, midsummer is associated with dry, dusty
-roads, parched vegetation, the shrill cry of the locust,[A] the
-shriller notes of the mosquitoes, and the hum of myriads of other
-insects; but, girls, midsummer does not come at this time: astronomy
-fixes the date at June 21st, the longest day of the year, when the
-leaves are still glossy green with the fresh sap circulating through
-their veins, giving them that healthy, juicy look so refreshing to the
-eye, and the heat of the sun has not yet dried to a white powder the
-firm country roads over which we delight to wander.
-
-Ages ago the Pagans used to celebrate the day with rejoicing, because
-old Sol’s bright face had broken loose from the clouds of winter, and
-the rain and mists of spring. They symbolized the revolution of the
-season by rolling great wooden wheels down the hill-sides; sometimes
-attaching straw to the outer circle and setting fire to it at night,
-making a miniature midnight sun as it dashed down the steep incline.
-
-The people also believed that ill-luck rolled away from them with the
-fiery wheel, and to this day you will see Fortune or Misfortune
-represented as travelling, like an acrobat at a circus, upon a wheel.
-
-[Illustration: Midsummer-eve Party.]
-
-All the elves, brownies, and fays were supposed to be on hand at
-midsummer night, and it is this old superstition that Shakespeare has
-so beautifully illustrated in his “Midsummer Night’s Dream.”
-
-It was on midsummer eve that the supposed invisible seeds of the fern
-could be gathered which rendered the fortunate possessor invisible
-whenever he chose to carry them about with him. Among other strange
-and some quite pretty superstitions, there is a tradition that a coal,
-found attached to the roots of the mugwort or plantain on midsummer
-eve, will keep away misfortune and insure good luck to the finder.
-
-The girls of to-day who, although advanced enough to discard the
-superstitious element, can appreciate the poetic ideas symbolized by
-these ancient rites, may take hints for the entertainment of themselves
-and friends from the old belief in the mysteries and charms of
-midsummer eve.
-
-Games can be invented, and pretty keepsakes and souvenirs exchanged
-upon this night, that will translate ancient paganism into modern good
-feeling and fellowship.
-
-
-=The New Fern-leaf Game.=
-
-Some one who has charge of the games shows to the assembled girls and
-boys a fern-leaf, and explains to them the legend connected with it,
-and the power of the seed to render the possessor invisible. Next she
-blindfolds them all; then, choosing one from among them, she removes
-the bandage from the player’s eyes without allowing the others to
-know who has been selected to be the bearer of the magic fern. After
-giving the fern-leaf into the keeping of the chosen one, she places the
-latter in the centre of a ring formed by the rest of the players, who
-take hold of hands and circle round; then, still holding hands, they
-forward to the centre and return; letting go hands, they forward again,
-this time the fern-bearer joins in the ranks. Once more the ring is
-formed and they circle round, singing these lines:
-
-    Round goes the wheel,
-    Round goes the year,
-    For woe or for weal,
-    Midsummer is here.
-
-    To the one who finds
-    The seeds of the fern,
-    Misfortune and evil
-    To good luck will turn.
-
-At the word “turn,” each player seizes another and cries out, “fern,
-fern!” at the same time removing the handkerchief from the eyes.
-
-To the one who really has captured the magic fern a pretty card or silk
-badge, bearing a pictured fern and some appropriate motto, is given,
-as a token that the entire company wish all possible good luck to the
-possessor.
-
-
-=The Plantain Test.=
-
-To test fortune in this way, fill a large pan or bowl with clean dry
-sand; provide as many plantain-plants as there are players, and to
-the roots of all but one tie, with a narrow ribbon, a bonbon which
-contains within its wrapper a verse indicating that the wrong plant has
-been chosen. To the one reserved from the rest attach a small piece
-of coal, or charcoal, wrapped in a bonbon paper which also encloses a
-verse describing the magic powers of the coal. Place all of the plants
-in the sand, making them look as though growing there. All this should
-be prepared before the party assembles, that no one may know to which
-plant the coal is fastened.
-
-When the appointed time arrives, explain to the company that to the
-root of one of the plants in the bowl is fastened a coal which,
-according to old superstition, will secure to the finder perfect health
-for life. Then let each person in turn pull from the sand one of the
-plants. The one who finds the coal should be heartily congratulated,
-as she is supposed to have gained the good will of fortune and to be
-exempt from all the ills that flesh is heir to. The plantain is not
-difficult to secure, as it grows in almost every grass-plot, much to
-the annoyance of those who take pride in their lawns. Should the name
-be unfamiliar to some of our readers, the accompanying illustration
-will help them recognize the weed.
-
-[Illustration: Magic Plantain.]
-
-A pretty charm for the watch-chain can be made of the coal which is to
-bring the finder such good luck,[B] by having it cut to a proper size
-and shape, and a gold or silver band put around it. This will make it a
-souvenir, carrying out the old idea that the magic coal should be worn
-upon the person to bring the coveted good fortune.
-
-Rhymes to be enclosed in the paper with the magic coal:
-
-    Where my roots are intertwined
-    Lo, the magic coal you find.
-    Buried deep beneath the sand,
-    Waiting for your favored hand,
-    I have held it free from harm;
-    Take, and wear the mystic charm.
-    From the lightning’s deadly stroke,
-    From the fire it may invoke,
-    From all illness, pain, and strife,
-    May it guard thee safe through life.
-
-Rhymes to be enclosed in bonbons tied to the roots of plantains which
-do not bring good luck:
-
-    Though ye seek, ye seek in vain
-    Fortune’s favor thus to gain,
-    For I bring to you no coal
-    To write your name on Fortune’s roll.
-
-    Pity ’tis you thought it best
-    To pick out me from all the rest,
-    For no root of mine comes near
-    The coal that brings good fortune here.
-
-    Chance capricious, captures choice;
-    Fickle Fortune favors few;
-    When deaf to love, or reason’s voice,
-    What makes you think she’ll favor you?
-
-    I am no messenger of fate,
-    You find this out, alas! too late;
-    I bring no magic coal with me,
-    From pains and ills to set you free.
-
-Any bright girl can scribble off little jingles of this sort that will
-do very well for the plantain test, or appropriate quotations may be
-selected for the purpose.
-
-
-=Fortune’s Wheel.=
-
-Just where Fortune will fail each member of the company present is
-discovered in the following game:
-
-The entire party forms into a circle, standing about two feet apart;
-then a wheel or hoop is started around the inside of the ring, and kept
-going by each one giving it a gentle push with the hand, sending it to
-the person next in the circle. As the wheel goes around the players
-sing these lines, pronouncing a word as each player touches the wheel,
-as if counting out.
-
-    Fortune’s wheel we speed along
-    The while we sing our mystic song.
-    Bring happiness, fame, power, and wealth,
-    True love, long life, good friends, and health,
-    Success in music, poetry, art,
-    And with it all a merry heart.
-
-When the wheel drops at the feet of anyone as a gift of Fortune is
-being sung, or if they fail to strike it as it passes, or, striking,
-they send it into the centre of the ring instead of to their next
-neighbor, it denotes that Fortune will withhold that special gift from
-them, and they must leave the circle, for good luck has deserted them.
-
-The game continues until only one player remains, and this person, who
-has succeeded in keeping the wheel moving, is Fortune’s favorite, and
-will possess all the gifts the mythical Goddess can bestow.
-
-[Illustration]
-
-[Illustration: Starfish Portière]
-
-FOOTNOTES:
-
-[A] _Cicada_, commonly known among children as the locust.
-
-[B] Cannel coal is the best to use, for it is hard, will take a high
-polish like jet, and can be carved with a pen-knife.
-
-
-
-
-CHAPTER VIII.
-
-SEA-SIDE COTTAGE DECORATION.
-
-
-SIMPLY to enter a house is enough to start some people to planning how
-it can, might, or should be decorated. The love of beauty seems to be
-inherent in the feminine character, and it is the nature of most girls
-to make their surroundings as beautiful as circumstances will permit.
-Those who have taste and ability for decoration can see no barren
-or homely room without being seized with the desire to banish its
-uncomeliness, and substitute grace and beauty in its stead.
-
-The ordinary cottage at the sea-shore is a boon to such natures, for
-it is peculiarly well adapted to amateur decoration. Its ceiled walls
-offer plain, even, flat tinted surfaces for any kind of ornamentation,
-and the absence of plaster makes it possible to drive nails wherever it
-is desirable to have them.
-
-During a summer spent in one of these cottages on the coast of Maine,
-its many possibilities in the way of decoration were revealed, and
-personal experience has demonstrated that even the plainest of these
-temporary abiding-places is capable of being greatly beautified in a
-short time, and with materials usually close at hand, being obtainable
-from the fishermen and from the sea itself.
-
-The windows first claim our attention in any house and our little
-cottage is no exception to the rule. With, or without, the regulation
-shades, windows should always be draped; the formality of their
-straight lines and angles can be subdued in no other way.
-
-[Illustration: Diagram of Ring.]
-
-[Illustration: Looping for Curtains.]
-
-Light, airy curtains are suitable for summer, and the prettiest, most
-graceful window-drapery imaginable can be made of ordinary fish-net.
-An oar for a pole; rings made of rope (Fig. 39); the looping formed
-of a rope tied in a sailor’s knot; and a wooden hoop, such as is used
-to attach the sail to the mast on a sail-boat (Fig. 40) are all that
-are necessary for the completion of this nautical curtain. Small rings
-screwed into the oar, with corresponding hooks in the window-frame
-just above the window, will hold the oar securely in place. The
-looping should hang from a hook fastened in the wall near the window.
-The illustration given here will aid the imagination in picturing
-the effect of a window treated in this simple manner. Another pretty
-curtain may be made of unbleached cotton, with bands of blue at top and
-bottom covered with the ever-decorative fish-net.
-
-Gray linen curtains, with strips of the net set in as insertion at
-top and bottom, will also be found extremely pretty and serviceable;
-or they may be composed of strips of linen and net, of equal width,
-running the length of the curtain. Made up in either way the effect is
-excellent.
-
-[Illustration: Sea-side Cottage Window.]
-
-From window-drapery we will turn to that suitable for the door-ways.
-Portières, in a room where the prevailing tints are gray and light
-wood-color, should not present too violent a contrast to those subdued
-tones. A curtain of wood-brown, neither too dark nor too light,
-will give the needed strength and decision, without destroying the
-harmonious coloring. One can be quickly and easily made of brown
-canton flannel and decorated with dried starfish, as shown in the
-illustration of the starfish portière. The starfish are soft enough to
-admit of being sewed to the curtain, and they should be placed with
-the underside out, as that is much prettier than the back, showing as
-it does two shades of color. A heavy rope with a knot at each end,
-stretched taut across the door-way and held in place with two hooks,
-will answer for a pole, and the drapery can be hung from it with iron
-rings. If the rope is very heavy the ends will have to be parted into
-strands before the knots can be tied. Figs. 41 and 42 show the manner
-of tying the knot and fastening the end of a moderately heavy rope.
-
-[Illustration: Diagram of Tying Knot.]
-
-[Illustration: Fastening End of Rope.]
-
-[Illustration: Diagram of Book-shelves.]
-
-[Illustration: Row-boat Book-shelves.]
-
-Book-shelves made of half of a flat-bottomed row-boat is not only an
-appropriate piece of furniture for a cottage by the sea, but also a
-very useful one. The fact of its shape allowing it to occupy a corner
-makes it a welcome addition to the furnishing, since there are so few
-things adapted to fill that angle. Fig. 43 shows half of boat with
-cleats nailed on to hold the shelves, which must be made to fit the
-boat. The shelves, when resting on the cleats, are secure enough,
-and need not be fastened in any other way. If the book-shelves, when
-finished, are painted black, unvarnished, they will have the appearance
-of being ebonized.
-
-The evidence of a womanly presence in the shape of a dainty work-basket
-always gives a home-like look to a room, and when this useful trifle
-happens to be prettily designed it contributes not a little to the
-decorations. The standing work-basket represented here is manufactured
-of a crab-net, with the handle removed, fastened to a tripod stand.
-
-[Illustration: Diagram of Crab-net Work-basket.]
-
-The tripod may be made of bamboo, or any kind of straight sticks about
-the length of a walking-cane. Upon one of the sticks two notches must
-be cut; one exactly in the centre, and the other at one side just below
-(see Fig. 44). The second stick needs but one notch, which should match
-the upper one on the first stick (Fig. 45). The third stick has no
-notches.
-
-To fasten them together, Fig. 45 must be laid across Fig. 44 as in Fig.
-46, and the two fastened together with screws. The third stick must
-then be placed across the others, fitting in the two upper notches;
-this must be secured with two screws, one passing through each of the
-other sticks (Fig. 47).
-
-[Illustration: Crab-net Work-basket.]
-
-The stand when finished should be painted black, and the crab-net,
-which has previously been gilded, fastened in place by tying it on to
-each stick with a cord and tassel made of rope and gilded. Notches
-cut in the sticks, about three inches from the top, will afford a
-resting-place for the cord and keep it from slipping.
-
-[Illustration: Diagram of Hat-rack.]
-
-[Illustration: Hat-Rack.]
-
-The hat-rack, which our drawing represents, makes an excellent and
-convenient hall-decoration. The materials used in its construction
-are a small mirror, which can be procured at any country store;
-four boards, whose length and breadth depend upon the size of the
-mirror; two oars, with one-third of each handle sawed off; one dozen
-large-sized nails, or small spikes, and a piece of rope about twelve
-feet long. The frame is made by nailing the boards together as shown in
-illustration, placing the end-boards on top. The opening left in the
-centre should be one inch smaller than the mirror. When eight of the
-spikes have been driven into the frame at regular distances the mirror
-must be fastened on the back with strips of leather or sail-cloth, as
-shown in diagram (Fig. 48). The diagram also shows how the oars are
-held in place and the rope attached. The knot in which the rope is tied
-is called a true-lover’s knot, and can readily be fashioned by studying
-the diagram. Small nails driven through the rope where it crosses
-the back of the oar will keep the loops from slipping out of place.
-The remaining four spikes are to suspend the hat-rack from, and must
-be driven into the wall so that two will hold the top loop, and the
-others the extreme upper corners of the side loops.
-
-The frame and oars may be painted black and the spikes and ropes
-gilded, or the whole will look well painted yellow or brown.
-
-A handsome screen can be made in the following manner: Procure a nice,
-firm clothes-horse, saw off the legs close to the bottom cross-piece,
-then cover the whole neatly, on both sides, with dark green cambric.
-Next tack smoothly on one side of each fold light-brown wrapping-paper,
-which comes quite wide, and may be bought by the yard. For the border
-use dark-green canton flannel cut in strips eight inches wide. Tack
-this around each fold of the screen with gimp-tacks, and paste the
-inside edges smoothly over the paper.
-
-The decorations of the screen shown in the illustration are composed
-entirely of products of the sea.
-
-Two panels are shown. One is decorated with sea-weed, dried starfish,
-and shells. Sea-weed and shells also are used on the other, but a group
-of horseshoe crabs take the place of the starfish.
-
-Sea-weed of various kinds suitable for this use can be found along
-the coast, and they may be gathered and dried in this way. Loosen
-the sea-weed from whatever it is attached to, and while still in the
-water slip a piece of stiff paper beneath it and lift it out. Quite a
-number can be carried on the same paper, but they should be taken home
-as soon as possible and placed in a tub of fresh water. The tub will
-give the larger kinds room to spread out, when a smaller vessel would
-cramp and rumple them. On sheets of paper, of the kind used for the
-screen, carefully lift each sea-weed out of the water, and with a small
-camel-hair brush straighten the parts that are too much folded, and
-separate those that lie too closely together. Should a plant be very
-much crumpled when taken out, quickly replace it in the water and try
-again.
-
-[Illustration: Marine Screen.]
-
-When they have all been satisfactorily spread on the paper and have
-become partially dry, they must be pressed by laying the paper which
-holds the sea-weed on a piece of blotting-paper or folded newspaper,
-and over it a piece of linen or fine cotton cloth; then over that
-another piece of blotting-, or news-paper; then again the paper with
-sea-weed, and so on; when all are finished the entire heap should be
-placed between two boards with a moderately heavy weight on top. When
-the sea-weed is quite dry—which it will be in three or four days—it
-will be found that some varieties will cling closely to the paper on
-which they have been spread, while others can readily be removed. Do
-not try to separate the first-mentioned kind from the paper, but with
-sharp scissors neatly trim off the edges around the weed; the paper
-underneath being the same as that of the screen on which it is to be
-pasted, it will not show. The other sea-weed can be taken from the
-paper and fastened to the screen with mucilage.
-
-[Illustration: Horseshoe Crab Bag.]
-
-Before commencing the decoration some idea of the design, or the effect
-to be produced, should be decided upon; then with deft fingers the
-articles used can be glued in place. When the glue is dry the whole
-must be given a coat of white varnish. This will help to hold things in
-place, and will also keep the sea-weed from chipping off.
-
-An odd little bag for holding fancy work is made of two large horseshoe
-crab shells, with a satin bag fastened between them and tied at the
-top with a bow of ribbon. The main part of the bag can be of cambric
-the color of the satin, cut to fit the shells, the puff showing at the
-sides being of the satin.
-
-[Illustration: Vase.]
-
-[Illustration: Candlestick.]
-
-A pretty little vase can be made of the shells of three sea-urchins,
-of graduating sizes, placed one upon another, the smallest on top. The
-small hole in the bottom of the largest one should be filled up with
-damp plaster-of-Paris—which will harden very quickly. The other two
-shells must have the small holes enlarged to the size of the one at the
-top; they can then be joined together with the plaster, and the vase be
-used for flowers or vines. A sea-urchin and good-sized starfish make
-the prettiest kind of a candlestick, and the addition of a brass-headed
-tack on every point but one of the starfish gives it a nice finish
-and furnishes feet for it to stand on; the point left without a foot
-forms the handle by which it may be carried. The tacks should be
-stuck into the fish first, and then the sea-urchin fastened on with
-plaster-of-Paris. Not more than ten minutes are consumed in making a
-candlestick of this kind, and it will be found to be quite as useful as
-it is pretty and unique.
-
-The walls of the cottage can be decorated in many ways with the
-beautiful ornaments the sea furnishes. Over one of the doors in the
-cottage alluded to at the beginning of this chapter there was an
-ornamentation that looked exactly like wood-carving, but was only a
-group of starfish arranged and tacked on the wall in a decorative form.
-The fish being nearly the exact color of the background, the deception
-was almost perfect.
-
-If the walls of a room are divided off into panels, and each panel
-decorated in the manner described for the screen, the effect will be
-most exquisite.
-
-On entering such a room one might almost imagine oneself to be a
-mermaid, and this a lovely chamber beneath the sea.
-
-So much can be done by one’s own hands it depends greatly, if not
-entirely, upon the taste or time one is willing to devote to it what
-this sea-side habitation shall be; whether the little cottage shall be
-in harmony with its surroundings, seemingly a part of the place, or
-whether it shall be only a cheap frame-structure, looking as though
-it belonged in a country town and had been carried to the coast in a
-capricious gale of wind, with decorations, if it has any, inappropriate
-and unsuited to the sea-shore.
-
-
-=How to Dry Starfish.=
-
-Collect the most perfect specimens of all sizes, wash them in fresh
-water, and then spread on a board in a dry place (not in the sun) and
-leave them undisturbed for a few days, or until thoroughly dried.
-
-
-=How to Polish Shells.=
-
-Wash your shells in clean, fresh water; procure a small quantity of
-muriatic acid and have in readiness two-thirds as much water as acid.
-Place the shells in a basin, pour the water upon them, then the acid;
-let them remain a few minutes, then take them out and wash again in
-clear water. Rub each shell with a soft woollen cloth. A fine enamelled
-surface can be given by rubbing them with a little oil and finely
-powdered pumice-stone, and then with a chamois-skin.
-
-To bleach fresh-water shells to a snowy whiteness, wash them perfectly
-clean and then put them in a jar containing a solution of chloride
-of lime, place the vessel in the sun, and, when the shells are
-sufficiently bleached, remove and wash them in clear water. Polish them
-in the manner before described.
-
-[Illustration]
-
-
-
-
-CHAPTER IX.
-
-A GIRL’S FOURTH OF JULY.
-
-
-DECORATIONS are seen here, there, and everywhere. How beautifully the
-flags and streamers look as they wave in the breeze. All the houses
-and streets are gay with bunting. We listen with a thrill of patriotic
-excitement to the national airs played by bands of music as the
-different parades pass our doors.
-
-The spirit of independence fills the very air we breathe. Whiz! zip!
-bang! go the firearms. The noise is enchanting and the smell of powder
-delightful.
-
-This is our grand national holiday, the glorious Fourth, when all the
-United States grows enthusiastic, and in various appropriate ways
-manifests its patriotism.
-
-[Illustration: The Fourth of July Party.]
-
-The celebration, commencing in the early morn and lasting until late in
-the evening, gives ample time for fireworks, games, and illuminations.
-And the girls can take active part in, and enjoy these martial
-festivities, help to decorate the house and grounds, and in the evening
-do their part toward the illumination. Then there are the beautiful
-daylight fireworks to be sent off, and games to be played; all adding
-to the enjoyment and making up their celebration of Independence Day.
-
-Although
-
-
-=Interior Decoration=
-
-for the Fourth of July has not been considered as necessary as the
-decoration for the outside of the house, still it is appropriate and
-used to some extent, especially when the house is thrown open to
-guests. Then, with a little thought and care the home may be decked and
-adorned in the most attractive manner.
-
-If you chance to be the happy possessor of the portrait of some
-revolutionary ancestor, let this form the centre of your decorations.
-
-Bring forward any relics of the colonial times and make them hold
-a prominent place, for all such things are historical and of great
-interest, though of course they are not essential. Strips of bunting,
-cheese-cloth, or tissue-paper, in red and white and blue are necessary,
-and must do their part in adding to the gayety of the scene. These can
-be arranged in festoons, and made into wreaths, stars etc., to be used
-as ornaments on the wall.
-
-There is nothing, perhaps, more appropriate for decoration than flags,
-though it requires some ingenuity to decorate with our American flag on
-account of the blue being in one corner. However we will try. Take two
-flags without staffs and baste them together as in Fig. 49, bringing
-the blues side by side; pleat up the top of each to the centre and you
-will have Fig. 50 with the stripes at the bottom running from end to
-end.
-
-Now take two more flags reversed, the stripes being at the top the
-stars at the base, and pleat them in the centre, it gives the same idea
-in another form. For this style of adornment use the flags which may
-be had at any dry-goods store; they come by the bolt, cost but a few
-cents each, and are much softer and fold better than the more expensive
-glazed ones. Other modes of draping the stars-and-stripes will suggest
-themselves: place the “colors” in different positions until some good
-design is found, and you will enjoy it all the more for having made the
-combination yourself.
-
-[Illustration: _Fig. 49_]
-
-[Illustration: _Fig. 50_]
-
-Tiny flags fastened to the chandeliers, and pinned in groups on the
-curtains give to the room quite a holiday appearance. This is for the
-daylight. In the evening we will have
-
-
-=In-door Illumination,=
-
-which can be made very brilliant by simply using a number of lighted
-candles.
-
-Should you desire to have it more elaborate, the words Liberty
-and Independence can be printed on the windows by cutting the
-letters forming the words from thick paper and gumming them to the
-window-panes, so when the room is lighted they will show plainly from
-the outside.
-
-You may also make of tissue-paper a Liberty-bell, Goddess of Liberty,
-American Eagle, and flags. Gum these on the edges and fasten them to
-the windows; place a bright light behind them and the tints of the
-paper will shine out in all their brilliancy. The Goddess of Liberty’s
-face, the feathers on the eagle, and the lettering on the bell must all
-be drawn with a paint-brush and ink or black paint.
-
-In making any or all of these, it will be of great assistance if you
-secure a picture of the object to copy from.
-
-Having provided for the inside of the house it now behooves us to turn
-our attention to
-
-
-=Out-of-door Decoration=
-
-consisting principally of flags raised on poles, hung from windows, and
-disposed in numerous and various ways.
-
-The many devices representative of our country may be used with good
-effect. Thus, a large United States shield can be made of colored
-paper or inexpensive cloth tacked on a piece of card-board, cut in the
-desired shape, and the shield suspended from the window flat against
-the house, as a picture is hung on the wall. Other emblems can be
-manufactured in the same way.
-
-Small trees or tall bushes covered all over from top to bottom with
-flags and streamers look beautiful, and all the gayer, when the wind
-blows, causing them to wave and flutter.
-
-Fasten the flags and streamers on the tree with string.
-
-Some girls think that the
-
-
-=Illumination in the Open Air=
-
-is best of all, for then they can give their fancy free play, and
-create all sorts of odd and novel designs.
-
-The bright-colored Chinese lanterns are very decorative. Suppose we
-begin with these. Fasten securely here and there, on the lawn, large
-paper Japanese umbrellas in upright positions. This is accomplished by
-binding the handles of the umbrellas securely to poles which have been
-sharpened at one end, and planting the pointed end of the poles firmly
-in the ground.
-
-[Illustration: Fig. 51]
-
-[Illustration: Fig. 52]
-
-From every other rib of the umbrella suspend a lighted Chinese lantern
-by a wire long enough to prevent any danger of setting the little
-canopy on fire. The effect produced is both novel and pretty.
-
-A popular method of arranging the lanterns is stringing them on wires,
-stretched from house to house, or from tree to tree, so forming, as it
-were, a fringe of lights.
-
-Again, they may be placed at intervals on the ground, fastened to trees
-or hung on the piazza, some in groups of twos or threes, others singly,
-these being of many odd shapes and sizes. Piazzas are very good sites
-for the display of colored umbrellas, which may hang, inverted, from
-the ceiling, with a tiny lighted Chinese lantern suspended from each
-rib. Let me repeat, be careful not to have the wires so short that the
-light is in dangerous proximity to the umbrella.
-
-Another pleasing illumination is to make a large flag of colored-paper
-with strong pieces of tape pasted along both top and bottom, the ends
-of the tape extending beyond the flag. Tie the tape to two trees,
-poles, or pillars of the porch, and place a light back of the flag, to
-bring out the colors clearly and distinctly.
-
-Illuminated tents are made by placing poles in the fashion of Fig. 51,
-and using large flags, low-priced colored cloth or strong paper as a
-covering, Fig. 52. The corners are tied down to pegs in the ground,
-and, when two or three candles are set in the tent, the effect is very
-pleasing.
-
-All young people delight in the noise and excitement of
-
-
-=Fireworks,=
-
-and here are some pyrotechnics which any girl can easily make. They are
-daylight fireworks, and most of them may be sent off from a balcony or
-window, and all with no danger of fire or burns.
-
-One of the simplest to try is the
-
-
-=Parachute.=
-
-[Illustration: Parachutes.]
-
-Cut a piece of tissue-paper five inches square, twist each corner and
-tie with a piece of thread eight inches long, Fig. 53; wrap a small
-pebble in a piece of paper and tie the four pieces of thread securely
-to the pebble, Fig. 54. This makes a light airy little parachute,
-which, when sent out from the window, will, with a favorable wind,
-sail up and off over the house-tops. Make a number of parachutes in
-different colors and send them off one after another in succession.
-Next we will have what we call
-
-
-Thunderbolts
-
-[Illustration: Thunderbolts]
-
-fashioned of bright-colored tissue-paper. Cut the paper in pieces four
-inches wide and eight inches long. Then cut each piece into strips
-reaching about one-third of the length of the piece of paper (Fig. 55),
-pinch the uncut end of the paper together and twist it tightly so that
-it will not become undone (Fig. 56). Open the window and throw these
-out a few at a time. They will turn heavy end down and dart off with
-the fringed end fluttering. Now and then they will waver a moment in
-one spot, and then dart off in another direction; so they go whirling,
-zigzagging and bowing as if they were alive.
-
-Something different from these are the comical little
-
-
-=Whirls,=
-
-made by cutting circular pieces of writing- or common wrapping-paper
-into simple spiral forms (Fig. 57). The centre of the spirals are
-weighted by small pieces of wood, or other not too heavy substance
-gummed on the paper.
-
-[Illustration: Whirls.]
-
-When a number of these are freed in mid-air the weight will draw the
-spirals out, and present a curious sight, as with serpentine motion
-they all come wriggling and twisting toward the ground (Fig. 58). In
-these paper fire-works, we know of nothing prettier than the
-
-
-=Winged Fancies,=
-
-consisting of birds and butterflies.
-
-The birds may be cut out of wrapping-paper, measuring seven and a half
-inches long and ten inches from tip to tip of the wings (Fig. 59), a
-burnt match stuck in and out of the neck, will give the bird sufficient
-weight. When tossed from a height these paper swallows fly and skim
-through the air in the most delightful birdlike fashion.
-
-Both birds and butterflies are folded through the centre lengthwise,
-then unfolded and straightened out, this helps to give them form and
-they fly better.
-
-The patterns here given are possibly not as graceful in shape as could
-be made, but the writer drew the patterns from the best fliers among
-an experimental lot of winged fancies, having found them better than
-others that could boast of more beauty.
-
-[Illustration: The Bird.]
-
-Butterflies are made of bright colored tissue-paper cut from the
-pattern (Fig. 60), and have short pieces of broom-straws as weights.
-These also should be lightly thrown from a height, when they will
-flutter and fly downward, sometimes settling on a tree or bush as if
-seeking the sweets of flowers, and appearing very bright and pretty as
-they float hither and thither on the air.
-
-[Illustration: The Butterfly.]
-
-A ring of the ever-twirling
-
-
-=Pin-wheels=
-
-is gay and attractive, just the thing for the lawn on the Fourth of
-July. To manufacture one, select a nice firm barrel-hoop, and nail it
-securely on one end of a clothes-pole or broom-stick (Fig. 61), sharpen
-the other end of the pole to a point; if the hoop seems inclined to
-split when nailing, first bore holes with a gimlet or burn them with a
-red-hot nail or wire for the nails to pass through.
-
-Cover the barrel-hoop several inches deep with straw, lay the straw on
-and tie it down with string.
-
-Prepare a number of pin-wheels by cutting squares of red and white and
-blue paper, fold them twice diagonally through the centre and cut the
-folds up within a short distance of the middle. Turn over every other
-point to meet the centre, pierce the four points and the centre with a
-pin, then fasten the pin firmly to the end of a stick. The pin must be
-left long enough to allow the paper to turn easily.
-
-Stick the straw wreath full of pin-wheels, then plant the pole securely
-in the ground and you will have a ring of Fourth of July pin-wheels
-which will look pretty all day long.
-
-[Illustration: Pin-wheel.]
-
-Be sure to place the wreath facing the breeze, so the pin-wheels may be
-kept in constant motion. Reserve the
-
-
-=Bombs=
-
-until the last. They are simple in construction, but quite startling
-when they go off.
-
-Fasten together two very stiff flat pieces of steel (Fig. 62), those
-sold for the back of dress-skirts work well, and use a strong string
-many yards long to tie them with. Bring up the four ends of the steels
-and tie them with a slip knot (Fig. 63), in order that it may easily
-fly open. Place the cage thus formed in the centre of a square piece of
-tissue-paper.
-
-[Illustration: _Fig. 62_]
-
-[Illustration: _Fig. 63_]
-
-Now cut strips of different colored tissue-paper, four inches long, and
-twist each piece at one end.
-
-Put these in the centre of the cage and bring up the four corners of
-the square of paper, allowing the string to come out of the top. Twist
-the corners together and close up the small openings by folding over
-the edges of the paper. This makes a bomb somewhat resembling a common
-torpedo enlarged to many times its original size.
-
-Pass the string through a screw-eye which has been screwed in the end
-of a flag-pole or broomstick, and place the pole out of the window.
-Then drop the end of the string down to the lawn below. Fasten one
-end of the pole in the window by binding it firmly to a strong, heavy
-chair, or secure it in any other way most convenient so there will not
-be the slightest danger of its falling.
-
-Everything being ready, descend to the lawn, and pull the string so the
-bomb will rise slowly up to the pole.
-
-When it is within a short distance of the screw-eye, give the twine a
-sudden sharp jerk which will cause the bomb to come in contact with the
-pole with sufficient force to untie the slip-knot, the elastic-metal
-ribs will fly back causing the bomb to burst and fill the air with
-bright shreds, flying, gliding, and darting everywhere in the most
-eccentric manner, making the air brilliant with floating colors.
-
-Let your Fourth of July
-
-
-=Lawn Party=
-
-partake of the patriotic traditions, and as far as possible help to
-celebrate our Nation’s birthday in an appropriate manner.
-
-Paper fire-works may form part of the entertainment, it being optional
-with the hostess whether they come before or after the games, or are
-interspersed between them.
-
-The party opens with the signing of the
-
-
-=Declaration of Independence.=
-
-To each guest is given a brown-paper bag, and when all have assembled
-on the lawn, the hostess steps forward facing the company, and asks all
-to kindly keep quiet and listen for a few moments while she reads or
-repeats their Declaration of Independence, she then reads:
-
-We girls are, and of right should be, free and independent of all boys’
-sports, having resources and amusements befitting the celebration of
-the Fourth of July, independent of all those belonging exclusively to
-boys.
-
-Then follows the signing of the same, by each in turn writing her name
-beneath the declaration. This accomplished, the hostess gives the
-signal and each guest fills her bag with air, by holding it close
-to her mouth, gathering it tightly around, and blowing into it, then
-grasping it firmly in the right hand, being careful not to let any air
-escape.
-
-At another signal, all simultaneously bring their hands forcibly and
-quickly together, striking the paper bags with the left hand, which
-bursts the bags and causes a report almost equal to that of pistols.
-
-All the bags exploding at one time, gives a salute worthy of the name
-and creates much merriment.
-
-The salute may be varied by bursting the bags in quick succession, so
-that it will sound something like a volley of musketry.
-
-This introduction is followed by games to be played on the lawn.
-
-For the new game of
-
-
-=Toss,=
-
-make nine disks of card-board, painted or covered with paper, red and
-white and blue, three of each color.
-
-Place in the centre of the lawn a fancy waste-basket, and let each
-player in turn stand at a distance of six feet from the basket. It is
-better to have the station marked by a stone or stick, at the place
-designated.
-
-If played by sides, two stations, one on either side of the basket will
-be necessary.
-
-The object of the game is to throw the disks into the basket, and they
-are valued according to color; red counts one, white two, and blue
-three.
-
-If played by sides, each side should play five rounds, ninety being the
-highest possible tally for any one player.
-
-This is an easy and pleasant game, and may be played with or without
-sides. The hostess keeps account, and at the end of the game gives a
-knot of red, white, and blue ribbons as a prize to the one having the
-highest score.
-
-We hardly recognize our old friends in the new and gigantic
-
-
-=Fourth of July Jackstraws.=
-
-These are all in holiday attire, and so much larger than any we have
-seen that they are even more attractive, and afford greater amusement
-than those which we have hitherto enjoyed.
-
-It does not take long to make them. Cover a number of light slender
-sticks, three or four feet long, with paper or cloth, some red, some
-white, and others blue. The colors count respectively, red one, white
-two, and blue three. Provide another longer stick with a hook in one
-end to be used in taking the jackstraws from the pile.
-
-Stand the sticks up so as to meet at the top, and spread out like a
-tent at the bottom. Each player then takes the hook in turn and tries
-to remove a jackstraw, without shaking or throwing down any of the
-others. The one scoring the highest, wins the game and is entitled to
-the prize.
-
-Progressive games seem to be very popular, and deservedly so, as they
-possess an interest peculiarly their own.
-
-Here is a new and novel one, called
-
-
-=Progressive Mining.=
-
-[Illustration: _Fig. 64_]
-
-It is played with flower-pots filled with sand or loose earth, called
-mines. A small flag on a slender staff is placed upright in the centre
-of each flower-pot (Fig. 64). The staff should be stuck down in the
-sand only just far enough to keep it steady in its position. Each
-player in turn removes a little sand from the mine with a stick called
-a wand, taking great care not to upset the flag; for the one causing
-the flag to fall loses the game. The number of mines needed will depend
-upon the number of persons playing, as one flower-pot is required for
-every two players.
-
-Each one taking part in the game, is provided with a wand. Slender
-bamboo canes make excellent wands, and may be decorated with red, white
-and blue ribbons, tied on the handles. Should the canes be difficult to
-procure, then any kind of light slender stick will serve the purpose.
-
-The hostess should prepare blank envelopes, each containing a ribbon
-badge, or score sheet, of different colors, two of each; these are
-all numbered, the figures being painted or pasted on the ribbons to
-designate the place to be taken, thus two reds are marked 1, meaning
-that they are to occupy the first or prize mine. The blues are marked
-2, showing that they take the second mine, and so on. The last or
-lowest place is called the booby mine. Each badge should have a small
-pocket attached (Fig. 65), for holding stamps; these are cut in any
-desired form from gold and silver paper, which has previously been
-covered with mucilage on the under side, like a common postage-stamp.
-
-[Illustration: _Fig. 65_]
-
-The hostess passes around the envelopes, each guest takes one, and upon
-opening it discovers where and with whom she is to play.
-
-The preliminaries being settled, and all having taken their places, the
-hostess starts the game by ringing a little bell.
-
-When one of the players at the prize mine upsets the flag, the other
-calls out _prize_, and if the flags have not already fallen in the
-other mines, the couples play as quickly as possible until all the
-flags are down.
-
-The winner at the prize mine fastens a gold stamp on her ribbon badge,
-while the loser at the booby mine, ornaments hers with silver seal.
-
-The game is now rearranged, the winner at the prize mine remains at her
-station, and the loser goes down to the booby mine, while all those
-winning at the other mines move up, each one respectively to the next
-higher mine, for it is only at the prize mine where the loser moves her
-place and the victor remains stationary.
-
-When these details are settled, the flag-staffs are again planted in
-the flower-pots and the signal given for a new game.
-
-The player with the largest number of gold stamps on her score-sheet,
-receives the victor’s prize, and the one having the most silver stamps
-is entitled to the booby prize.
-
-The prizes are given when the game is ended. They should consist
-of some pretty little article made by the hostess herself, and, if
-practicable, appropriate to the day, such as a delicate satin sachet in
-the form of a Liberty bell, with the lettering painted on it.
-
-A pretty pin-cushion, with a cover made of a miniature silken flag, or
-a dainty pen-wiper in the shape of Liberty’s cap. Other more expensive
-gifts are not in good taste.
-
-The booby prize should be something grotesque or comical.
-
-As the mothers and sisters of 1776 took a full share in the hardships
-and trials of the Revolution, and actively assisted in gaining our
-independence, it is eminently fit and proper that American girls should
-show their appreciation of such bravery and heroism by assisting in the
-annual celebration of our famous Independence Day.
-
-Fourth of July seems heretofore to have been considered altogether
-too exclusively a boy’s holiday, and it is with a hope of stimulating
-a renewed activity, and awakening in the heart of every girl in the
-United States a sense of proprietary interest in the day, that we
-suggest new methods of celebrating our national holiday.
-
-[Illustration]
-
-
-
-
-CHAPTER X.
-
-PRINTING FROM NATURE’S TYPES.
-
-
-LAST summer we made some lovely impressions of flowers, leaves, and
-sprays; then we tried landscapes and all sorts of beautiful designs.
-
-It is really delightful and fascinating work. You are led on and on,
-always with a fancy to try something else to see how it will come out,
-and seldom, if ever, is it a disappointment or failure, a new interest
-being felt with every fresh print made. Moreover, you are sure of
-having your picture original and the only one of its kind, for as no
-two flowers or leaves are precisely alike, so no print can be an exact
-copy of another. And then it takes only a few moments for the work
-which could not be accomplished in thrice the time should a drawing be
-made of the same design.
-
-Let me tell you how to make an “Impression Album” a book of printed
-flowers and leaves. You who have houseplants will find it a delightful
-winter recreation, a novel pleasure, and you can enjoy the pretty
-work even more during your summer vacation, with wild flowers at your
-command.
-
-[Illustration: Making Prints.]
-
-The “prints” are taken from the natural flowers or leaves themselves.
-Girls who have no knowledge at all of drawing or of printing can with
-little trouble make these Impression Albums, and students of botany
-will find the work supplies valuable memoranda of leaves and plants, as
-the print preserves details of the form, fibre and veining of foliage
-and petal such as no drawing or photograph can. The printing can be
-made wholly accurate, giving all the minutiæ of construction.
-
-[Illustration: Pink Oxalis.]
-
-The tools required to make these print-pictures are simple, and
-consist of a piece of glass, a palette-knife or table-knife and some
-printers’ ink which comes in small tin boxes and can be procured at any
-stationery store, and a pad made of a ball of cotton tied in a piece of
-soft silk or satin.
-
-[Illustration: Smilax.]
-
-[Illustration: Evergreen Moss.]
-
-The printers’ pad used by the writer for spreading the ink, was
-manufactured of the satin lining taken from a gentleman’s old hat, and
-answered the purpose admirably, being a good size, measuring nearly
-four inches in diameter. The album itself may be a common blank-book,
-with every other leaf cut out, in order to make room for the prints,
-which are on pieces of blank unruled paper of uniform size, and small
-enough to fit in the album and leave a margin all around the piece
-inserted, so that the book when opened may be neat and attractive.
-Having all your tools at hand, select the leaves you wish to print.
-These must be free from dust or dew and perfectly fresh.
-
-First, with your knife, place a small quantity of printers’ ink on the
-piece of glass and smooth it as evenly as possible over the surface.
-Then press the printers’ pad down lightly, lifting, and again pressing,
-until the ink is evenly distributed on the pad; next, select a leaf and
-place it face, or right side, downward on a piece of folded newspaper;
-press the inked pad down on the under side of the leaf, which is now,
-of course, lying upward, repeating the operation until the leaf is
-sufficiently covered with ink. Carefully place the leaf, inked side
-down, on the centre of the piece of paper you have previously cut for
-the album; over this lay a piece of common yellow wrapping-paper, or
-any paper that is not too thick or stiff, and rub the finger gently all
-over the covered leaf. Remove the outside paper and very _carefully_
-take up the leaf. You will find an exact impress of the natural green
-leaf showing every one of the delicate fibres.
-
-[Illustration: Skeleton Geranium Leaves.]
-
-The picture is now ready to be pasted in the album, with a thin,
-delicate paste, touching only the corners. It is a good plan to write
-under each leaf the name of the plant or tree from which it was taken,
-with the date, and such facts as you would like to recall. Very
-valuable botanical collections can thus be made. Flowers are more
-difficult to print than leaves, owing to less “relief” in the films;
-still they make charming pictures when successfully treated, sometimes
-having the appearance of photographs of flowers with all the lights and
-shadows.
-
-[Illustration: A Winter Landscape.
-
-Printed from Nature’s Type.]
-
-When printing flowers, proceed in the same manner as with the leaves.
-Sweet peas, roses, daisies, wild carrot, clover, and verbenas, all make
-beautiful impressions which look like photographs. Grasses of various
-kinds also print well.
-
-In making a spray, it is best to have a definite idea of the form you
-desire it to take. If possible secure as a copy a natural spray of
-the kind you wish to print. Then first print all the leaves in the
-positions they are to occupy, and connect them by drawing in the branch
-with pen and India-ink.
-
-[Illustration: Maple Leaves.
-
-Printed from Nature’s Type.]
-
-The Winter Landscape is printed from dried twigs, grasses, and little
-leafless plants, so arranged as to resemble trees and shrubbery.
-
-Only have a little confidence and you can make etchings from
-nature. Should you not understand drawing or composition, do not be
-discouraged; obtain a picture to copy, and then hunt up little plants
-and soft twigs as nearly as possible corresponding in shape and
-character to the trees in the copy; in this way you can produce very
-creditable landscapes.
-
-Botanical impressions maybe used for “fancy work” by being printed on
-satin, and the decorated satin made up as though it were painted or
-embroidered; patches for silk quilts have been prettily decorated by
-this process. The printings also make beautiful patterns for outline
-work, much truer to nature than those made in any other manner and
-afford infinite variety for “borders” and “corners.” Even satin dresses
-can be beautifully ornamented with impressions of leaves instead of the
-“hand painting” so long in use. You can, of course, see that should
-several colors of printers’ ink be used, beautiful combinations and
-pleasing variety would be obtained, and that probably some unique and
-novel decorations would be secured.
-
-Letter-paper ornamented with a delicate design printed from nature’s
-types is very dainty and pretty, and in many other forms can these
-simple and beautiful decorations be used.
-
-Then bring leaves and blossoms from the woods or door-yard, and half
-an hour may be delightfully spent in printing “impressions” which
-will teach a lesson in botany, while the great variety of leaf forms,
-difference in texture, fibre, veining and finish cannot fail to attract
-your attention and call forth your admiration.
-
-[Illustration]
-
-[Illustration: Corn Roast.]
-
-
-
-
-CHAPTER XI.
-
-PICNICS, BURGOOS AND CORN-ROASTS.
-
-
-TRACES of foreign ancestors are apparent occasionally in most of us,
-true Americans though we be. It is perhaps a spice of gypsy blood in
-our veins that sets our pulses throbbing with pleasant excitement when,
-seated in an old hay-wagon, we go bumping and thumping down the road
-prepared for a delightful holiday.
-
-With camp-kettle swinging beneath, and coffee-pot stowed safely away
-within the wagon, do we not feel able to provide as savory dishes for
-our picnic dinner as any concocted by the gypsies themselves? Surely no
-coffee is ever so delicious as that cooked over the camp-fire, albeit
-it tastes somewhat smoky when prepared by hands inexperienced in the
-art of out-door cooking; but if the fish we broil is a little burned,
-and the baked potatoes rather hard in the middle, who cares? Hearty,
-healthy appetites, which the early morning drive through the fresh,
-exhilarating air has developed, laugh at such trifles and dinner
-is voted a success in spite of sundry mistakes and mishaps in its
-preparation.
-
-There are _picnics_ and _picnics_. When one drives out in a fine
-carriage to meet a fine company, and partake of a fine lunch prepared
-by fine servants, is one kind.
-
-When one goes with a large party, on a boat, and takes a lunch of
-sandwiches, cake, pickles, hard-boiled eggs, etc., which is spread on
-the grass at the landing and eaten as quickly as possible, is another
-kind; but the picnic most enjoyed by young people who are not afraid
-of a little work, which is only play to them, is the one where the raw
-materials for the dinner are taken and the cooking, or most of it, is
-done, gypsy fashion, by the picnickers themselves.
-
-A pleasant innovation in the ordinary routine of a picnic is
-
-
-=A Burgoo.=
-
-Thirty or forty years ago the men of Kentucky, in celebration of a
-holiday, would get up what they called a burgoo. In character it was
-very much like the clam-bake of to-day, but instead of chowder, or
-baked clams, the company prepared and partook of a soup or stew made of
-almost everything edible. Early in the morning the party would meet at
-the appointed place and decide what each should contribute toward the
-making of this most delectable stew.
-
-Those who were fond of hunting would go forth in search of birds,
-squirrels, rabbits, and game of all kinds, with which the woods were
-filled. Some caught fish, and others provided fowl, pork, vegetables,
-and condiments.
-
-As the ingredients were brought in, those who had charge of the cooking
-prepared and dropped them into an immense pot which, half full of
-water, was suspended over a roaring fire.
-
-When everything of which the stew was composed was cooked to shreds,
-the burgoo was pronounced done, and was served in tin cups, and eaten
-with shell spoons, made by splitting a stick and wedging a mussel-shell
-in the opening.
-
-That this was a most appetizing feast I know from an old gentleman who
-has frequently attended the burgoos and partaken of the stew. Of course
-at a picnic composed of girls and boys, it would not do to depend upon
-the game which might be shot and the fish which might be caught, for
-the dinner, but the burgoo should be adapted to the ways and means of
-the party, and each member should provide something for the stew. The
-following recipe will make enough for fifteen or twenty persons.
-
-
-=Burgoo Stew.=
-
-Two pounds of salt pork, the same of lean beef; two good-sized
-chickens, or fowls of any kind; two quarts of oysters, the same
-of clams; twelve potatoes, four turnips, one onion, two quarts of
-tomatoes, and any other vegetables which may be obtainable. Make a
-bouquet of parsley, celery, and a very little bay-leaf, thyme and
-hyssop, tied together with thread.
-
-[Illustration: _Fig. 66_]
-
-Put the beef, fowl, pork, oysters, clams and a handful of salt in a
-large iron kettle, three-quarters full of water; skim it before it
-begins to boil hard, and add the other ingredients; keep the kettle
-covered and boil until the bones fall from the meat. Serve hot with
-crackers. Wild game and fish may also be added to the recipe. When a
-burgoo is decided upon, it is best to prepare a light lunch to be eaten
-about eleven o’clock, and have the heartier meal at four or five in the
-afternoon, as it requires some time for the stew to cook.
-
-Our illustration shows four ways of suspending the kettle over the
-fire. While the girls are preparing the ingredients for the stew, the
-boys will build a fire in some such fashion as is shown upon page 135,
-and put the kettle on. The best way to boil coffee is to make or build
-a kind of little stove of stones and mud, and set the coffee-pot on
-top, as shown in Fig. 66; this will prevent the smoky taste it is apt
-to have when placed directly on the fire.
-
-
-=A Corn-roast.=
-
-During the season when green corn is plentiful, there is no better
-way of having a real jolly time than by getting up a corn-roast. It
-is not as elaborate an affair as the burgoo. Some green corn, a long
-pole sharpened at one end, for each member of the party and a large
-fire built in some open space where there will be no danger of causing
-conflagration makes us ready for the corn-roast.
-
-Several summers ago a gay party of friends from New York and vicinity
-took possession of and occupied for a few months a little cottage at a
-place on the coast of Maine called Ocean Point.
-
-[Illustration: Then The Boys will Build The Fire In Some Such Fashion
-and Put The Kettle on.]
-
-Toward the end of August, when all places of interest had been
-explored, when the stock of shells, starfish, and such like treasures
-had grown beyond the accommodation of an ordinary trunk, and the minds
-of the sojourners were beginning to be filled with thoughts of a speedy
-return home, green corn, for the first time that summer, made its
-appearance. This was hailed with delight, and a farewell lark, in the
-form of a corn-roast, was promptly proposed and almost as promptly
-carried into execution.
-
-The place selected on which to build the fire was a large rock jutting
-out into a little cove called “Grimes Cove.” Here the party met about
-three o’clock in the afternoon, each member bringing only such dishes
-as were considered necessary for his or her own use. It is needless to
-say that the supply was not very plentiful, many limiting themselves to
-a cup and spoon; still as the supper was to consist merely of roasted
-corn, bread and coffee, these answered every purpose.
-
-Not only was the corn roasted on the ends of the long poles, but bread
-was toasted, and in true American fashion it was eaten piping hot.
-One of the gentlemen, much to the amusement of the rest of the party,
-produced a piece of breakfast bacon, which he fastened on to the end
-of his pole and toasted over the glowing embers, declaring that it was
-better cooked in that way than in any other.
-
-Yes, corn-roasts are great fun, and they can be held almost any place
-where a large fire can be safely built. It is best to allow the fire to
-burn down until it is a glowing pile of coals; then sticking the sharp
-end of a pole into an ear of corn (Fig. 67), and standing as far from
-the fire as the length of the pole will permit, it can be held close to
-the hot embers until thoroughly cooked; then with butter and salt this
-roasted corn is excellent eating.
-
-[Illustration: _Fig. 67_]
-
-Enough corn should be provided to allow several ears to each member of
-the party, as mishaps are liable to occur, and the tempting ear of corn
-may be devoured by the flames, instead of the person for whom it was
-intended.
-
-The poles, about six feet in length, should be as light as possible,
-for if too heavy they will tire the hands and arms of those holding
-them.
-
-[Illustration]
-
-[Illustration: White Clover Design.]
-
-
-
-
-CHAPTER XII.
-
-BOTANY AS APPLIED TO ART.
-
-
-THERE is a book of most lovely designs open to everyone whose eyes are
-open to see.
-
-Grasses, leaves, blossoms, and even buds and seed-vessels supply
-material for beautiful patterns.
-
-We need not look far for suggestions. Truly “that is best which lieth
-nearest; shape from that thy work of art.”
-
-At your very doorway the wonders of botany may be studied. Carefully
-inspect the tree blossoms in the early spring; the maple, willow,
-birch, any in fact which happen to be convenient, and you will find
-suggestions of rare designs.
-
-Clover, plantain, pepper-grass, dandelions, vines and twigs, offer
-ideas which can be adapted to ornamental art.
-
-A love of nature will quicken and stimulate the faculties; take the
-flowers and plants for instructors, and they will teach and guide you.
-
-Though there cannot be found an exact duplicate of any blossom or leaf,
-still these may be conventionalized by arranging them in all sorts of
-symmetrical designs.
-
-There is no mystery about the matter, for all the designs are
-conceived upon the most simple of geometric laws. We are now following
-in the steps of the old masters, and an unlimited field of new
-combinations opens before us.
-
-When making designs for this chapter, the writer did not select the
-objects she thought would be most decorative, but anything which
-chanced to fall in the way; and what she has done you can do, provided,
-of course, that you have ordinary skill with the pencil.
-
-
-=The Peony Leaf.=
-
-Suppose you do not know how to draw at all! Even then you can design.
-Take the first thing you see, which in this case happens to be a peony
-leaf (Fig. 68). That is, assuming that you are seated by the side of
-the writer.
-
-[Illustration: Fig. 68.]
-
-[Illustration: Fig. 69.]
-
-[Illustration: Fig. 70.]
-
-[Illustration: Fig. 71 Fig. 72 Fig. 73]
-
-Now watch! We will pull it apart thus (Fig. 69). Next with a pair of
-scissors, a knife, or fingers snip off the stems, and group the leaves
-in any way we chose. We will try this combination (Fig. 70). If you do
-not understand drawing, we must fasten the leaves down upon a piece
-of paper as they are arranged, and trace around them, following their
-edges with a pencil until the outline is complete (Fig. 70). By simply
-repeating this figure at regular intervals we have a very pretty border
-design and one that is truly original, for the writer had no more idea
-than you, what was to be the result of this experiment. In order to
-make the pattern exact, draw lines as in Fig. 71, for a guide; then
-draw the figure according to the foundation lines (Fig. 72). When
-finished, erase the lines and the design stands a conventionalized
-peony leaf, Fig. 73. By making a tracing of the first pattern, you can
-repeat it any number of times. It requires no great or peculiar genius
-to design well, and it is a mistaken, old-fashioned idea to suppose
-because you never have done any original work in art that you never
-can. Do not slavishly follow other people, but believe that there is
-implanted in you the same elements that belong to those whose designs
-you admire, then commence and design for yourself. That you may have
-a start in your new art, we will try something else, a vegetable this
-time, for here comes the green-grocery man with a basket full of as
-quaint decorations as are ever painted with bamboo-handled brush by the
-Japanese.
-
-
-=A Bunch of Turnips.=
-
-[Illustration: _Fig. 74_
-
-Bunch of Turnips]
-
-[Illustration: Fig. 75.]
-
-Take the first bunch of vegetables on the top of the basket. What are
-they? turnips? Well that requires a little skill as a draughtsman,
-but we will sketch this one and you can copy it (Fig. 74). Now repeat
-it (Fig. 75), or place the bunches in a row and you will have another
-border design. After a few experiments you will see that anything will
-make a decoration even the humble kitchen vegetables.
-
-
-=Decorative Lines.=
-
-[Illustration: Fig. 78. Fig. 76. Fig. 77.]
-
-[Illustration: Fig. 79.]
-
-[Illustration: _Fig 80_]
-
-Figs. 76 and 77 are simply graceful curves, such as anyone can make
-with a pen or pencil, and may be used in many ways: cross them and
-they form Fig. 78, use this as half the design, duplicating it
-for the other half and it gives Fig. 79. We now have graceful and
-beautiful foundation lines on which any vine or flower may be placed
-as ornamentation. We will select the rose, allowing the lines to form
-the stems and using as ornament the bud, flower and seed-vessels,
-remembering that one side must be an exact duplicate of the other (see
-Fig. 80).
-
-With these curves invent new designs by placing them together in
-different ways, and choose for decoration anything which may strike
-your fancy.
-
-
-=Plant Cross-section Designs.=
-
-Have you ever noticed how curiously some leaves are curled before
-opening? Watch them as they commence to expand and grow, and you will
-be delighted with the great variety and unique designs formed by the
-folding and rolling of these leaf-buds.
-
-Cut a bud square across in the centre with a sharp knife, and this will
-show the nicety of arrangment of the young leaves. The leaf-bud of
-the sage (Fig. 81), rosemary (Fig. 82), apricot (Fig. 83), and still
-another variety of pattern (Fig. 84), are all singular natural designs.
-
-[Illustration: _Fig. 81_ _Fig. 82_ _Fig. 83_ _Fig. 84_]
-
-The petals of flower-buds are also folded in many ways, affording odd
-designs; if cut in like manner as the leaves, the cross-sections will
-be as beautiful. Fig. 85, the lilac bud, and the oleander (Fig. 86),
-give some idea of these odd designs. Submit all kinds of buds to the
-test by cutting them in halves, and carefully examining the two parts,
-observe how nicely and orderly the leaves are folded together. In this
-way you will find many natural ornamental patterns.
-
-[Illustration: _Fig. 85_]
-
-[Illustration: _Fig. 86_]
-
-[Illustration: _Fig. 87_]
-
-Nor must we neglect the seed-vessels; when these in their turn are cut
-open, they present excellent designs. Fig. 87 is a cross-section of the
-seed-vessel of the harebell. Other seeds will furnish queer forms and
-figures to be obtained in no other way.
-
-
-=Flower Sprays.=
-
-The common white clover with its trefoil leaf is very pretty, and if a
-few sprays are placed together in a graceful manner it is surprising
-how readily they lend themselves to decoration. Experiment with these,
-gather a few blossoms and leaves, group them on the centre of a piece
-of paper, and make an outline of the group; then trace it off in order
-to repeat the copy at equal intervals from the central figure (see
-illustration, page 138); this makes a very simple and yet beautiful
-design for embroidery, needle-work, or wall-paper pattern. In the same
-manner try grasses and different kinds of flowers.
-
-[Illustration: _Fig. 88_]
-
-Conventional designs can also be formed by simply inclosing a natural
-spray in a geometrical figure. Fig. 88 is a circle, but a square,
-triangle, diamond, oval, or any geometrical figure may take the place
-of the circle.
-
-
-=Changing the Color=
-
-of a natural object gives still another style of ornamental art.
-A spray of flowers and leaves in one color on a background of
-different tint is an example. The spray may be brown on a yellow
-background, or a dull blue on white background, either way it will be
-conventionalized. So you see that by merely making natural objects
-all in one tint, you can have a great variety of designs suitable
-for china, embroidery, wall paper, and many other decorations. It is
-instructive to examine the panels, screens, or painted china of the
-Japanese. There is a freedom and crispness about their ornamental art,
-which is very attractive.
-
-The method the Japanese frequently employ is to diminish the size
-of the fruit or flowers while increasing the size of the leaves,
-and vice-versa; in this way they invent designs without losing the
-character of the object they copy, and it is really a very simple, yet
-effective method.
-
-Suppose you try and see what you can make with it. The next time you
-have an opportunity, notice how the Oriental artists carry out this
-idea in their decorations, and it will help you in making your designs.
-
-
-=Burs.=
-
-The tenacious little burs found clinging to your dress after a country
-walk, when grouped together are not without beauty. Fig. 89 is formed
-of four of these burs placed at right angles making an ornament, and
-when the ornament is repeated at regular intervals as in Fig. 90, it
-forms a border design.
-
-[Illustration: _Fig. 89_]
-
-[Illustration: Fig. 90.]
-
-[Illustration: _Fig. 91_]
-
-Seeds with downy or feathery tails are well adapted for decorations;
-three grouped together (Fig. 91), is a design of itself, which may
-also be re-duplicated (Fig. 92). The horse-chestnut or buckeye is
-decorative, and makes an odd design (Fig. 93). Also the seed-vessel of
-the Velvet-leaf or Abutilon avicennæ (Figs. 94 and 95).
-
-[Illustration: Fig. 92.]
-
-
-=The Water-Lily.=
-
-In the illustration of the water-lily, the writer has conventionalized
-it by curving the stem around the flower and duplicating the same,
-always making the stem meet the next lily, then inclosing the flowers
-in two straight lines, so forming a water-lily border. Now, girls, you
-can realize how very simple it is to apply botany to art, and make for
-yourselves new and original designs.
-
-[Illustration: Fig. 93.]
-
-[Illustration: Fig. 94.]
-
-[Illustration: Fig. 95.]
-
-The knowledge of plants is not only interesting but useful in
-connection with art, in selecting and determining appropriate designs
-for wood-carving, hammered brass, or any kind of ornamentation or
-decoration. The cross-section of some trees will furnish very good
-designs and the differently formed roots of plants and flowers will
-aid you in ornamental art.
-
-So we find that Nature offers us exquisite designs, in many shapes and
-forms, and we have only to stretch out our hand and take what we want.
-
-[Illustration: Fig. 96.]
-
-“Beauty doth truly inhabit everywhere,” for “it is mind alone that is
-beautiful, and in perceiving beauty, we only contemplate the shadow of
-our own affections.”
-
-[Illustration]
-
-    [Illustration: A DOOR-STEP
-    PARTY
-    QUIET GAMES
-    FOR HOT WEATHER]
-
-
-
-
-CHAPTER XIII.
-
-DOOR-STEP PARTY AND QUIET GAMES FOR HOT WEATHER.
-
-
-IN the State of Kentucky, in one of whose towns the writer’s early
-childhood was spent, the summers are long, and frequently very
-hot spells occur when even in the early morning hours there is no
-refreshing coolness in the air. As the sun rises higher and higher in
-the heavens, its rays grow fiercer and fiercer, until by afternoon,
-the heat is so intense that few persons care to venture out of doors,
-unless compelled by business or necessity to do so.
-
-At dusk, however, after the heat of the day is spent, and the air,
-although not cool, is a degree or two less hot, the population of the
-town makes itself visible. Ladies and children clad in the thinnest of
-white and light colored muslin gowns, emerge from the houses to sit
-upon piazza and door-step, and there welcome the husband, father, and
-brothers of the family upon their return from business; that business
-which is never neglected no matter what the thermometer may register.
-After tea the door-steps are once more taken possession of, and to
-enter the house again until ready to retire for the night, is not to
-be thought of. Friends and neighbors making social calls are received
-and entertained informally upon the door-steps, and sometimes when the
-party becomes too large for the steps to accommodate, chairs are placed
-upon the pavement immediately in front of the door, and no one feels,
-while occupying one of these seats, that the position is at all public
-or conspicuous.
-
-Hatless and bonnetless as all of the ladies and children are, the
-warmth of the evenings making all head coverings and extra wraps
-unnecessary and uncomfortable, the streets present a gay and fête-like
-appearance seldom seen in our eastern towns.
-
-At least this is as it was when, as one of the band of merry children,
-I played “Oats-peas-beans” and “Come Philanders,” upon the sidewalk,
-and I do not think these customs have changed much since then.
-
-Later, when I and my young friends had outgrown the “ring-around-arosy”
-games, we used to gather upon the door-step, and there chatter away
-about the day’s doings, or whatever interested us at the time. When
-tired of talking, we would amuse ourselves by playing quiet games
-or telling stories. Sometimes the thoughtful mother of our young
-hostess would add to our enjoyment by serving some light refreshment,
-such as ice-cream or fruit. The greatest treat, and the one most
-appreciated, was when we were invited to partake of a great crisp
-frozen water-melon, whose blood-red core, sweet as sugar and cold as
-ice, quickly melted away between the rosy lips of the little guests.
-We were not always thus favored, however; the refreshments were ever a
-pleasant surprise, but the pleasure of our evening was not marred by
-their absence.
-
-The remembrance of what very pleasant times we used to have at these
-impromptu little parties, urges me to devote some pages of this book
-to the description of a door-step party, that by acting upon the
-suggestion, others may enjoy them even as did that group of little
-Kentucky girls.
-
-Now is just the time for a door-step party; now when the beauty of the
-evening lures us from the lighted parlor to the shadowy piazza whose
-coolness is so attractive after the long, hot summer day. Here soft
-breezes fan our cheeks, and here, perhaps, the moonlight filtering
-through vine and trellis, is carpeting the floor with lacy shadows, and
-with its soft mysterious light is casting a glamour over all familiar
-things.
-
-It is a modest little fête, this door-step party, a simple way of
-entertaining one’s friends of a summer evening when the heat will
-not permit of the exertion of active games. The delightful out-door
-surroundings give it a novel charm and make it entirely different from
-the frolics usually indulged in during the winter season.
-
-Because the entertainment is not noisy it need not be the less
-enjoyable, and a party of bright, merry girls will derive plenty of
-amusement and fun from the quiet games of a door-step party. The
-following will give an idea of what games are suitable for an occasion
-of this kind.
-
-
-=Five Minutes’ Conversation=
-
-is not exactly a game, although there are rules which must be obeyed in
-order to make it interesting.
-
-A programme with small pencil attached, like the one shown in Fig. 97,
-should be given to each guest upon her arrival. The engagements for
-five minutes’ conversation are made by putting your name down on your
-friend’s card opposite the time chosen for your conversation with her.
-
-Five minutes only are allowed for one conversation.
-
-Two or more consecutive engagements with one person are not allowable.
-When engagements are made and programmes filled, the hostess, or
-anyone willing to be time-keeper, must ring a bell giving notice that
-the conversation is to begin.
-
-At the end of five minutes the bell is to be rung again, when all
-talking must instantly cease, the exchange of positions be quickly
-made, and a new conversation be commenced.
-
-[Illustration: _Fig. 97_]
-
-The time-keeper should be strictly attentive to her duties, for the
-bell must be rung regularly at the end of every five minutes.
-
-The hour allotted to this new mode of conversation will pass very
-quickly, and cannot become in the least tiresome, as the time spent in
-talking to any one person is so very short.
-
-
-=Blind-man’s Singing-school.=
-
-One of the party must be blindfolded to take the part of teacher. The
-class composed of the rest of the players should sit in a line facing
-her.
-
-The teacher informs her scholars that they will begin the lesson by
-singing the scales. Then the head girl, or the one at the top of the
-line, sings ah! and the next, ah! a little higher or lower, and so it
-goes down the line; each one in turn uttering ah! in any key or note
-she please; in a high shrill voice, or the deepest tone a girlish
-throat is capable of. The teacher should listen attentively, and when
-she thinks she recognizes a voice she must command the class to stop
-while she makes some criticism on the manner in which the note is sung,
-at the same time calling the singer by name.
-
-When one of the players is named correctly, she must be blindfolded and
-become teacher, while the former teacher takes her place in the class.
-
-A general exchange of seats is made before the singing lesson
-recommences, that the voices may not be guessed by the direction from
-which they come. To give variety to this game the second teacher may
-direct the class to sing a song, selecting some well-known nursery
-rhyme; then, beginning at the top of the line as before, each player
-must sing the word which comes to her to supply. It is the privilege
-of each teacher to direct the class to sing whatever she may choose,
-either song or exercise.
-
-
-=A Game of Noted Men,=
-
-is played in this way: The hostess begins the game by saying, I know
-a celebrated poet; the first part of his name is very black, and the
-last is an elevation. Whoever gives the right name, which is Coleridge
-(coal, ridge), in her turn describes the name of some noted person.
-She may choose Shakespeare and say, I give the name of a noted author
-and poet; the first part is something people are apt to do when they
-are cold, the last is a weapon of warfare.
-
-There are quite a number of names which will do nicely for this game; a
-few of them are—
-
-    Wordsworth—words, worth.
-    Cornwall—corn, wall.
-    Howitt—how, it.
-    Milman—mill, man.
-    Shelley—shell, lea.
-    Washington—washing, ton.
-    Fillmore—fill, more.
-    Longfellow—long, fellow.
-
-When giving a name to be guessed, the profession of the man, whether
-poet, author, statesman, or soldier, must be given, but nothing else
-should be told about him.
-
-
-=What will You Take to the Picnic?=
-
-can be played very nicely while the party are enjoying some light
-refreshments.
-
-The hostess alone should be in the secret, and these directions are
-addressed only to her.
-
-Commence the game by announcing that you propose to give a picnic, that
-it depends upon what your guests will bring for lunch whether they
-will be allowed to attend, and that each one must furnish two articles
-of food. Then ask the person nearest you, What will you take to the
-picnic? If the name of neither of the articles she mentions commences
-with the initial letter of her Christian name or surname tell her she
-cannot go, and put the question to the next person, asking each in
-turn, What will you take to the picnic?
-
-For example, we will suppose that the name of one of the party is Susan
-Davis, and she says she will take crackers and lemons, she cannot go,
-as neither of her names commence with C or L; but if she proposes to
-take salmon and doughnuts, she will be doubly welcome, since S and D
-are both her initials. Should she say sugar and cream, she could go for
-one of her names commences with S.
-
-Continue to put the question to each player until all, or nearly all,
-have discovered why their proposed contribution to the lunch secures
-them a welcome, or debars them from attending the picnic.
-
-
-=Assumed Characters.=
-
-In this game some well-known novelist is selected—Dickens, for
-instance—and each player chooses one of his characters to personate,
-telling no one her choice. Then one of the players relates the life
-as though it were her own, and portrays with voice and gesture the
-character she has assumed. Of course no names must be mentioned.
-
-The person who first guesses what character is being personated has the
-privilege of deciding who shall be the next to tell her story.
-
-The game of Assumed Characters will prove to be very entertaining
-if each player does her part and makes her narrative as amusing and
-interesting as possible.
-
-
-=Shadow Verbs.=
-
-A white sheet is fastened tightly across a French window, or doorway
-opening upon the piazza, and a large lamp set behind it.
-
-The company separates into two parties; one enters the house, while the
-other remains seated upon the piazza facing the suspended sheet.
-
-The outside party chooses a verb which the others are to guess and
-perform. When their decision is made they call the leader of the inside
-party and say, “The verb we have chosen rhymes with rake,” or whatever
-it may rhyme with. The leader then joins her followers and consults
-with them what the first guess shall be. It is best to take the verbs
-which rhyme with the noun given in alphabetical order. Bake would come
-first for rake, and if it is decided that they shall act this, several
-of the party step before the lamp, which casts their shadows on the
-sheet and, without speaking, go through the motions of making and
-baking bread. If the guess is right (that is if to bake was the verb
-chosen) the spectators clap their hands; if wrong, they cry, No, no.
-
-When they hear the no, no, the actors retire and arrange what to do
-next. Make, quake, take, wake are all acted in turn, until the clap of
-approval announces that they have been successful in guessing the verb.
-Then the actors take the seats vacated by the spectators, who in their
-turn enter the house to become shadows and act the verbs chosen by the
-other party, and the game goes on as before. A little ingenuity on the
-part of the players in producing funny and absurd shadows makes the
-whole thing very laughable and causes great amusement.
-
-There are an unlimited number of games that may be played, but the
-object of this chapter is not so much to describe the games as it is
-to illustrate those that are appropriate to the quiet and delightful
-entertainment known as a door-step party.
-
-[Illustration]
-
-
-
-
-CHAPTER XIV.
-
-HOW TO MAKE A HAMMOCK.
-
-
-UNDERNEATH the spreading branches of the cool, shady tree swings our
-hammock.
-
-Through the intertwining boughs the golden sunlight is sifted in bright
-little dashes on the leafy foliage below. Lying ensconced in its lacy
-meshes idly listening to the hum of the busy bumble-bees at work among
-the red clover, or gazing up through the leafy canopy to the blue
-heavens where now and then fleecy white clouds float softly past, or
-watching a flight of birds skim o’er the distant horizon, who would
-not be lulled by the harmony of the summer day! A delightful languor
-steals over us and we unconsciously drift into the land of dreams where
-perfect rest is found. We awaken refreshed, to again gently swing back
-and forth and vaguely wonder who could have first thought of this
-most delightful invention. It is said that we owe the luxury to the
-Athenian, General Alcibiades, who, in 415 B.C. first made the swinging
-bed. The word hammock is taken from hamacas or hamac, an Indian
-word which Columbus relates as being used by the Indians to signify
-a hanging bed composed of netting. What these uncivilized red men
-made with their rude implements, we ought to be able with our modern
-facilities to accomplish very easily and quickly.
-
-[Illustration: Home-made Comforts.]
-
-[Illustration: Mesh-sticks.]
-
-It is not difficult to make a hammock; anyone can soon knit one that is
-strong and comfortable, and it should not cost more than fifty cents.
-The materials required will be one hammock-needle about nine inches
-long (this can be whittled out of hickory or ash, or purchased for ten
-cents); two iron rings two and one-half inches in diameter, which will
-cost about five cents each; two mesh-sticks or fids, one twenty inches
-long and eight inches wide bevelled on both edges (Fig. 98): the other
-nine inches long and two and one-half inches wide, bevelled on the long
-edge (Fig. 99); these you can easily make yourself from any kind of
-wood.
-
-[Illustration: Fig. 100.—Hammock Needle.]
-
-[Illustration: Fig. 101.—The Loop.]
-
-[Illustration: Fig. 102.—Small Fid and Loop.]
-
-One pound of Macremé cord number twenty-four, or hammock twine of the
-same number, which can be had for less than thirty cents; colored cord
-comes five cents extra.
-
-Wind the cord in balls, as it is then more convenient to handle, and
-begin making your hammock. First, thread the needle by taking it in the
-left hand and using the thumb to hold the end of the cord in place,
-while looping it over the tongue (Fig. 100); pass the cord down under
-the needle to the opposite side and catch it over the tongue; repeat
-this until the needle is full.
-
-[Illustration: Fig. 103.—First Half of Knot.]
-
-[Illustration: Fig. 104.—Construction of Knot.]
-
-[Illustration: Fig. 105.—A Number of Knots.]
-
-Next, make a loop of a piece of cord two yards long and fasten this to
-any suitable place (Fig. 101)—a door-knob will do very well; then tie
-the cord on your needle three inches from the end to this loop. Place
-the small fid under the cord, the bevelled edge close to the loop
-(Fig. 102). With your thumb on the cord to hold it in place while you
-pass the needle around the fid, and with its point toward you, pass it
-through the loop from the top, bringing it over the fid, so forming the
-first half of the knot (Fig. 103). Pull this taut, holding it in place
-with your thumb while throwing the cord over your hand, which forms
-the loop as in (Fig. 104). Then pass the needle from under through
-the loops, drawing it tight to fasten the knot. Hold it in place with
-your thumb, and repeat the operation for the next knot. Fig. 105 shows
-a number of these knots finished. A is a loosened knot, making plain
-its construction. B, in Figs. 103, 104, and 105, is the cord running
-to the needle, and D is the fid. When thirty meshes are finished shove
-them off the fid (Fig. 106), as this number will make the hammock
-sufficiently wide.
-
-[Illustration: Fig. 106.—Meshes.]
-
-[Illustration: Fig. 107.—Commencing the Second Row.]
-
-Commence the next row by again placing the fid under the cord, and take
-up the first mesh, drawing it close to the fid; hold it in place with
-your thumb while throwing the cord over your hand; pass the needle
-on the left hand-side of the mesh from under through the loop thrown
-over your hand (Fig. 107); pull this tight and you will have tied the
-common knitting-knot; proceed in like manner with all the loops in
-rotation until the row is finished. When it is necessary to thread or
-fill your needle, tie the ends of the cord with the fisherman’s knot
-shown in Fig. 108, which cannot slip when properly tightened. Wrap each
-end of the cord from the knot securely to the main cord with strong
-thread to give a neat appearance to the hammock.
-
-[Illustration: Fig. 108.—Fisherman’s Knot.]
-
-Continue knitting until thirty rows are finished.
-
-Then use the large fid, knitting one row on the short side first, next
-one on the long side. This accomplished, knit the meshes to the ring
-by passing the needle through it from the top, knitting them to the
-ring in rotation as if they were on the mesh-stick or fid (Fig. 109).
-When finished tie the string securely to the ring, and one end of your
-hammock is finished.
-
-Cut the loop on which the first row was knitted, and draw it through
-the knots. Tie the end of the cord on your needle to the same piece
-used in fastening the end of the first needleful to the loop (Fig.
-110), and knit the long meshes to the other ring as described. This
-completed, the hammock is finished.
-
-[Illustration: On the Ring.]
-
-[Illustration: _Fig. 110_]
-
-To swing it, secure two pieces of strong rope and fasten them firmly
-to the iron rings, the length of the rope depending upon the space
-between the two points from which you wish it to hang. These should be
-if possible twelve or fifteen feet apart and at least ten feet high, to
-give your hammock sufficient room to swing freely.
-
-This suspended bed will furnish a welcome retreat when the weather is
-too warm to admit of games, walks, or other amusements. Then, with some
-favorite book, or if even reading is too much of an exertion, simply to
-lie indolently in the hammock is a comfort, so restful and quiet that
-the time quickly passes, and we are made better and brighter for our
-short, passive repose.
-
-Very decorative nets, and useful ones of many kinds, including
-fish-nets and minnow-seines, are made with the same stitch as that used
-in the hammock. The size of the mesh is regulated by the circumference
-of the fid, and the twine used is fine or coarse, according to the
-style of net desired.
-
-
-=Barrel Hammock.=
-
-When in the Catskills last summer the writer saw for the first time a
-hammock made of a barrel. It was painted red and looked very cheery
-and inviting hanging under the green boughs; the two colors, being
-complementary, harmonized beautifully.
-
-This hammock was made of a piece of strong rope twenty feet long
-threaded in and out of barrel staves, and was substantial and durable.
-The construction of such a hammock is very simple. Remove the top
-and bottom hoops and nails from a firm, clean barrel. Then before
-taking off the remaining hoops draw a pencil-line around both ends of
-the barrel, being careful to have the marking three inches from and
-parallel to the edges; this is for a guide when making the two holes
-in each end of all the staves. Bore the holes with a five-eighth of
-an inch augur or a red-hot poker, using the pencil-line as a centre;
-leave an equal margin on both sides of the staves, and at the same time
-enough space in the centre to preclude all danger of breakage.
-
-[Illustration]
-
-Fasten the staves together by threading the rope through the hole from
-the out side of the first stave, then across the inside of the stave
-down through the other hole (see illustration). Continue threading
-until one side is finished, then in like manner thread the other side.
-Knock off the remaining hoops and the staves will appear as shown at
-bottom of illustration. Tie the two ends of the rope together and
-fasten loops of rope on both ends; these should be of sufficient length
-to conveniently swing the hammock. When threading the staves let the
-rope be loose enough to leave a space of an inch or so between each
-stave when the barrel is spread out in the form of a hammock.
-
-In this way you can have a serviceable hammock, the cost of which will
-be about twenty-five cents and a little labor.
-
-[Illustration]
-
-[Illustration: Grandmamma’s Dolls.]
-
-
-
-
-CHAPTER XV.
-
-(_FOR LITTLE GIRLS._)
-
-CORN-HUSK AND FLOWER DOLLS.
-
-
-NO such beautiful dolls as delight the hearts of the children of
-to-day, ever peeped forth from the Christmas-stockings of our
-grandmothers or great-grandmothers when they were little girls. In
-those times there were not, as there are now, thousands of people
-doing nothing but making toys for the entertainment and pleasure of
-the little ones, and the motherly little hearts were fain to content
-themselves with lavishing unlimited affection and care upon a rag,
-wooden, or corn-husk baby, made and dressed at home. Since then almost
-every child tired of, and surfeited with handsome and expensive
-toys, has been glad at times to get grandma to make for her a real
-old-fashioned dollie which might be hugged in rapturous moments of
-affection without fear of dislocating some of its numerous joints, or
-putting out of order its speaking or crying apparatus; and might in
-times of forgetfulness be dropped on the floor and suffer no injury
-thereby. Such a doll is just the kind to adopt for the summer. The fine
-French doll with its delicate wax or china face, silky hair, and dainty
-toilets, is more suited to the elegances of the parlor than to the wear
-and tear of out-door life, and everyone knows that summer holidays
-spent in the country are far too precious to be wasted taking care of
-anyone’s complexion, let alone a doll’s; so it is best to leave the
-city doll in her city home, safe out of harm’s way, and manufacture,
-from materials to be found in the country, one more suited to country
-surroundings.
-
-Corn-husks, corn-cobs, and ordinary garden flowers can be made into
-dolls which, although not quite so pretty nor so shapely as those
-produced from more costly material, yet possess a charm of their own
-which the children are not slow to perceive.
-
-Little Indian girls, to whom store babies are unknown, make the most
-complete and durable corn-husk dolls, and the following directions tell
-just how to construct them:
-
-[Illustration: Head Commenced.]
-
-[Illustration: The Corn Husk.]
-
-[Illustration: Corn-husk Tied.]
-
-[Illustration: Head Finished.]
-
-[Illustration: Head and Arms.]
-
-Provide yourself with the husks of several large ears of corn, and from
-among them select the soft white ones which grow closest to the ear.
-Place the stiff ends of two husks together, fold a long, soft husk in a
-lengthwise strip, and wind it around the ends so placed as in Fig. 111.
-Select the softest and widest husk you can find, fold it across the
-centre and place a piece of strong thread through it (as in Fig. 112),
-draw it in, tie it securely (Fig. 113), place it entirely over the
-husks you have wound, then bring it down smoothly and tie with thread
-underneath (Fig. 114); this will form the head and neck. To make the
-arms, divide the husks below the neck in two equal parts, fold together
-two or more husks and insert them in the division (Fig. 115). Hold the
-arms in place with one hand, while with the other you fold alternately
-over each shoulder several layers of husks, allowing them to extend
-down the front and back. When the little form seems plump enough, use
-your best husks for the topmost layers and wrap the waist with strong
-thread, tying it securely (Fig. 116). Next divide the husks below the
-waist and make the legs by neatly wrapping each portion with thread,
-trimming them off evenly at the feet. Finally, twist the arms once or
-twice, tie, and trim them off at the hands. The features can be drawn
-on the face with pen and ink, or may be formed of small thorns from
-the rose-bush. Fig. 117 shows the doll complete, minus its costume,
-which may be of almost any style or material, from the pretty robe of
-a civilized lady to the more scanty garments of its originator, the
-Indian. The doll is represented in full Indian costume in Fig. 118. The
-war-paint and tomahawk are not necessary here, as he is smoking a pipe
-of peace. His apparel is composed of one garment, which is cut from a
-broad, soft corn-husk, after the pattern given in Fig. 119. A narrow
-strip of husk tied about his waist forms the belt.
-
-[Illustration: Head, Arms, and Body.]
-
-[Illustration: Finished Doll.]
-
-His head-dress is made of small chicken feathers stuck at regular
-intervals into a strip of husk. The corn-silk hair is placed on his
-head, and on top of that one end of the head-dress is fastened with a
-thorn.
-
-A small twig is used for the stem of his pipe, and two rose-bush thorns
-form the bowl. Instead of using a thorn for his mouth, a round hole is
-punched in the face and the stem of the pipe inserted.
-
-[Illustration: A Real Indian Doll.]
-
-[Illustration: The Indian’s Dress.]
-
-
-=Mary Jane.=
-
-Here is another way of making a doll which is very easy and simple.
-First find a young ear of corn, one on which the silk has not turned
-brown; then with a crab-apple for a head and a leaf of the corn to
-dress her with, you have your material. Cut off squarely that end of
-the ear where the husks are puckered, to join the stalk, and carefully
-take the silk from the other end, disturbing as little as possible the
-closely wrapped husks.
-
-Roll part of the leaf (as indicated in Fig. 120) for the arms, then
-with a small twig fasten the head to the arms; stick the other end of
-the twig into the small end of the corn-cob, and the doll is ready for
-dressing. Her bonnet is made of the leaf just where it joins the stalk
-(Fig. 121), and is fastened to her head with a thorn. Before adjusting
-the bonnet, however, the silk must be placed on the head to form the
-hair.
-
-[Illustration: Material and Parts of Doll.]
-
-[Illustration: Mary Jane.]
-
-Make the scarf of part of the leaf (Fig. 122), fold it around the
-shoulders, and secure it with thorns.
-
-The features also are made of thorns.
-
-When her toilet is complete, you can but acknowledge that this
-rosy-cheeked little maid, peeping from beneath her poke-bonnet, is very
-cunning indeed.
-
-
-=Flower Dolls.=
-
-[Illustration]
-
-The flower lady with the baby is made of a yellow gourd flower; the
-small gourd attached, which has just begun to form, serves for her
-head; a green gourd leaf is used for her shawl, and her bonnet is made
-of a smaller leaf folded to fit her head. The baby is a white gourd
-bud, with a cap made of a leaf. A small twig stuck through part of the
-lady’s shawl, through the baby, and into the lady doll, holds the child
-in place and makes it appear as though clasped in the mother’s arms.
-
-The features of both dolls are scratched on with a pin and then inked.
-To make the lady stand erect, a small twig is stuck into the heart of
-the flower, and the other end into the top of a small paste-board-box
-lid.
-
-The other flower doll is made of the common garden flowers. The
-underskirt is a petunia; a Canterbury-bell forms the over-skirt and
-waist; small twigs, or broom-straws stuck through buds of the phlox,
-are the arms, and the head is a daisy with the petals cut off to look
-like a bonnet. The features are made with pen and ink on the yellow
-centre. A reversed daisy forms the parasol.
-
-If the flowers named are not at hand, those of a similar shape will
-answer just as well.
-
-Gaily dressed little ladies can be made of the brilliantly tinted
-hollyhocks, and many other flowers can also be transformed into these
-pretty though perishable dolls.
-
-[Illustration]
-
-
-
-
-CHAPTER XVI.
-
-HOW TO MAKE A FAN.
-
-    “That graceful toy whose moving play
-    With gentle gales relieves the sultry day.”
-
-
-A FAN is only a pretty trifle, yet it has been made rather an important
-one. To manage a fan gracefully was some time ago considered very
-essential by fair dames of society, and in the dainty hand of many
-a famous beauty it has played a conspicuous part. Queen Elizabeth
-regarded it with so much favor that she was called the “Patron of
-Fans,” and she made a rule that no present save a fan should be
-accepted by English queens from their subjects.
-
-Although held in such high esteem, it is only since the influx of any
-and every thing Japanese that we have had fans in such profusion,
-and have discovered how effective they are when used for decorative
-purposes.
-
-A brilliantly tinted fan is of equal value in giving just the right
-touch of color to a costume or the decorations of a room, and this
-chapter will show how the girls can make the fans themselves, and
-have for use or for the adornment of their rooms those of various
-shapes, sizes, and colors. The first fan represented here is made in
-the form of a butterfly. The principal articles necessary for its
-manufacture are a strip of smooth, brown wrapping-paper, stiff enough
-to keep its folds, and two sticks for handles. The ribbon which, in
-the illustration, ties the handles together looks pretty, but is not
-indispensable; an elastic band, or one made of narrow ribbon, slipped
-over the sticks will do as well.
-
-[Illustration: Butterfly Fan.]
-
-The paper must be twenty-eight inches long and five and one-half inches
-wide. In order to fold it evenly it should be ruled across with lines
-one-half inch apart, as shown in diagram of butterfly (page 179). When
-the paper is prepared the pattern can be copied from the diagram,
-which is half of the butterfly. By counting the lines and using them
-as guides for obtaining the proportions, an exact reproduction of
-this pattern can be made. The outlines being drawn, the paper must be
-plaited, one fold on top of another, until twenty-seven plaits have
-been laid. Smoothing out the paper again, the butterfly should be
-painted with water-colors in flat, even tints.
-
-[Illustration: Diagram of one-half of Butterfly Fan.]
-
-The lower part of diagram is the body of the insect and is of a
-light-brown color, also the space just below the head, which is
-surrounded by a strip of black.
-
-[Illustration:
-
-    Fig. 123.   Fig. 125.
-
-Folded Fans.]
-
-[Illustration: Handle.]
-
-The head and eyes are black, the eyes having a half-circle of white
-to separate them from the head. The main part of the wings are a
-brownish purple, next to which comes a border of very dark purple with
-light-blue spots. The outer border is light yellow. When the paint
-is quite dry the extra paper at the top of the butterfly is to be
-cut away. Again the fan must be plaited in the folds already formed,
-and the plaits fastened together at one end with a strong needle and
-thread, as shown in diagram (Fig. 123). Fig. 124 shows the shape of the
-handles, two of which are required; they should be about nine inches
-long, one-third of an inch wide, and one-eighth of an inch thick. A
-handle must be glued to the last fold at each end of the fan (see Fig.
-125). The fan should be kept closed until the glue is dry, when it may
-be opened and used at pleasure.
-
-[Illustration: The Mikado Fan.]
-
-Our next sketch is that of the Mikado fan, and represents a Japanese
-lady who, with her fan held aloft, is making a bowing salutation.
-
-This fan is made of the same paper as that used for the butterfly, and
-is cut the same width; there are, however, twenty-nine plaits instead
-of twenty-seven, as in the other. The diagram gives the pattern in two
-parts, and the colors it is to be painted; the face and hands should
-be of a flesh-tint and the features done with black in outline. The
-directions for putting together the butterfly apply as well to the
-Mikado fan.
-
-[Illustration: Pattern of Mikado Fan.]
-
-The third illustration shows a fan made in the shape of a daisy.
-Diagram on page 183 shows a section of the pattern.
-
-White paper should be used, and it must be laid in thirty-four plaits,
-which will give the flower fifteen whole and two half petals, the half
-petals being at each end.
-
-The tinted part of pattern indicates where it is painted yellow to form
-the centre of the daisy.
-
-For a plain round fan no pattern is needed. It is made simply of a
-strip of paper, of the width used for the other fans, and has about
-thirty plaits. When fans of this kind are made of colored paper in
-solid tints they are very pretty. Pieces of bright, figured wall-paper
-left from papering a room can be utilized, and quite effective fans be
-made of them to use for decoration.
-
-[Illustration: Daisy Fan.]
-
-Another style of fan is represented in our last illustration. It is
-made of twenty slats of cardboard cut after pattern Fig. 126. These
-slats are joined together at the top and centre with narrow ribbon
-passed through the slits cut for it, as shown in Fig. 127. Over the
-ribbon where it passes through the top slits, on the wrong side of the
-fan, square pieces of paper are pasted, which hold the ribbon down
-securely at these points. The paper is pasted only at each end of the
-ribbon in the middle row. It is best to leave one end of this ribbon
-loose until the fan is joined at the bottom; then opening the fan, and
-drawing the ribbon until it fits the fan smoothly, it can be cut the
-right length and the loose end fastened down. A ribbon is also used to
-hold the slats together at the bottom; a bow at each side keeps them
-in place (see Fig. 128). When a large fan for decoration is desired,
-the slats should be about eighteen inches long, two and a half inches
-wide at the top, and one and a half inch wide at the bottom. The fan
-may be larger still, in which case it can be used as a screen to set
-before an empty fire-place. For this purpose the slats have to be two
-feet long, four inches wide at the top, and two and a half inches wide
-at the bottom.
-
-[Illustration: Pattern for Daisy Fan.]
-
-The proportions of the slats for a small hand-fan are eight and a half
-inches long, one and a half inch wide at the top, and one inch wide
-at the bottom. The large fans should be made of heavier cardboard or
-pasteboard than that used for smaller ones.
-
-[Illustration: Construction of Cardboard Fan.]
-
-Colored cardboard, which can be bought at almost any stationer’s, is
-the best to use, but the slats of ordinary white cardboard may be
-covered with colored paper if more convenient.
-
-These fans may be varied to suit the taste of the girls who make them.
-Instead of a solid color, one can be made with alternate slats of red
-and white, blue and yellow, or any other colors that harmonize. Another
-may show all the tints of the rainbow, and for use on the Fourth of
-July one might display the red, white, and blue.
-
-[Illustration: Cardboard Fan.]
-
-Some will look especially handsome if prettily painted. A dark-red fan
-with a branch of dogwood-blossoms painted across it makes a charming
-wall decoration, as does also one of light blue with pine-branch and
-cone painted in brown or black.
-
-A gilt fan lightens up a dusky corner beautifully; it can be curved
-around to fit the place, and catching and reflecting the light at all
-angles, as it does, it is quite effective.
-
-[Illustration]
-
-
-
-
-[Illustration: AUTUMN.]
-
-[Illustration]
-
-
-
-
-CHAPTER XVII.
-
-ALL-HALLOW-EVE.
-
-
-RADIANT and beautiful October, whose changing color heralds the
-approach of winter, gives us our first autumn holiday, if Halloween can
-now be called a holiday.
-
-Before the Christian era, in the days of the ancient Celts and their
-priests, the Druids, the eve of the first of November was the time for
-one of the three principal festivals of the year. The first of May was
-celebrated for the sowing; the solstice on the twenty-first of June for
-the ripening, and the eve of the first of November for the harvesting.
-At each of these festivals great fires were built on the hill-tops
-in honor of the sun, which the people worshipped. When Christianity
-took the place of the heathen religion, the Church, instead of
-forbidding the celebration of these days, gave them different meanings,
-and in this way the ancient harvest-festival of the Celts became
-All-Hallow-Eve, or the eve of All-Saints-Day, the first day of November
-having been dedicated to all of the saints.
-
-[Illustration: Kaling.]
-
-For a long while most of the old customs of these holidays were
-retained; then, although new ceremonies were gradually introduced,
-Hallow-Eve remained the night of the year for wild, mysterious, and
-superstitious rites. Fairies and all supernatural beings were believed
-to be abroad at this time, and to exercise more than their usual power
-over earthly mortals. Because the fairy folk were believed to be so
-near us on Halloween, it was considered the best evening of the
-season for the practice of magic, and the customs observed on this
-night became mostly those of divination, by the aid of which it was
-thought the future might be read.
-
-Before proceeding further with this subject we desire our readers
-to appreciate and fully understand that we are far from wishing to
-inculcate any superstitious belief in the power of charms to forecast
-future events; that we regard all fortune-telling as nonsense, pure and
-simple, and only insert it here, as we would any other game, for the
-sake of the amusement it affords. Although, to make our descriptions
-more intelligible, we announce the results of charms as facts, we would
-not have it understood that they are to be taken as such.
-
-Nowadays, so practical has the world become, no fairy, witch, or geni
-could we conjure up, were we to practice all the charms and spells
-ever known to soothsayer or seer. Our busy, common-sense age allows
-no fairies to interfere with its concerns, and these creatures, who
-existed only in the belief of the people, must needs vanish, to return
-no more, when that belief is gone.
-
-A few fortune-telling games are all that now remain of the weird
-ceremonies that once constituted the rites of Halloween, and the
-spirit of this old heathen holiday is once more changed, for it is now
-considered only an occasion for fun and frolic.
-
-It was the custom for quite a number of years of some friends of the
-writer to give a Halloween party on each recurring Halloween; and
-merrier, jollier parties than those were, it would not be easy to
-devise. The home which opened wide its hospitable doors to the favored
-few on this night is a country-house, large and spacious; there is a
-basement under the whole lower floor, which is divided into kitchen,
-laundry, and various store-rooms intersected with passages, and this
-basement, deserted by the servants, was given up to the use of the
-Halloween revellers. The rooms and passage-ways were decorated with
-and lighted by Chinese lanterns, which produced a subdued glow in their
-immediate vicinity, but left mysterious shadows in nooks and corners.
-
-Putting aside conventionality and dignity as we laid aside our wraps,
-ready for any fun or mischief that might be on hand, we proceeded
-down-stairs and into the kitchen, where a large pot of candy was found
-bubbling over the fire. This candy, poured into plates half-full of
-nuts, was eaten at intervals during the evening, and served to keep
-up the spirits of those who were inclined to be cast down by the
-less pleasing of Fortune’s decrees. With plenty of room and no fear
-of breaking or destroying anything, which is apt to put a check upon
-frolics in the parlor, the company could give full vent to their high
-spirits. Now in this room, now in that, again flitting through the dim
-passages and around dark corners, each person seemed to be everywhere
-at once, and although the party was limited to about twenty-five, there
-appeared to be at least twice that number present. Bursts of merry
-laughter and little screams of pretended terror would announce, now
-and then, that some charm was being gone through with and someone’s
-fortune being told. All sorts of games were played, and the variety of
-our entertainment made the evening pass very quickly. All too soon the
-hands of the kitchen clock warned the guests that to reach home at a
-seasonable hour they must put an end to their Halloween festivities. A
-number of the following methods of telling fortunes were tried at these
-parties, one might say with success, for we certainly succeeded in
-accomplishing our main object, which was, to have a good time. By
-
-
-=Melted Lead=
-
-we used to ascertain what the occupation of one’s future husband would
-be. The fortune is told in this way: Each girl, in turn, holds a
-door-key in one hand, while with the other hand she pours the melted
-lead, from an iron spoon or ladle, through the handle of the key into a
-pan of cold water.
-
-[Illustration]
-
-In the fanciful shapes the lead assumes can be traced resemblances to
-all sorts of things. Sometimes it is a sword or gun, which indicates
-that a soldier will win the fair prize; again, traces of a ship may
-be seen: then the favored one is to be a sailor; a plough suggests a
-farmer; a book, a professor, or perhaps a minister; and when the lead
-forms only drops, it seems to mean that the gentle inquirer will not
-marry, or if she does, her husband will be of no profession.
-
-
-=Nutshell Boats=
-
-foretell in a general way what their owner’s future life will be.
-They should be prepared beforehand in this manner: Split an English
-walnut directly in half, remove the kernel, and clear away any of the
-partitions which may remain in the shell; then place a short piece of
-heavy cotton string in the shell and pour around it melted beeswax.
-Mould the wax into a cone shape around the string, as shown in Fig.
-129, allowing the end to come out at the top. Fig. 130 shows what it is
-like when finished.
-
-[Illustration: _Fig. 129_]
-
-[Illustration: _Fig. 130_]
-
-The tapers first being lighted, several of these little craft are
-launched at the same time, by their respective owners, upon the sea of
-life, or, in other words, in a tub of water.
-
-When a light burns steadily until the wax is all melted, and the frail
-bark safely rides the waves (which are occasioned by stirring the water
-with a stick, or shaking the tub from side to side), a happy life is
-predicted, and a long one.
-
-When two boats come in contact, it means that their owners will meet
-and have mutual interests some time during their lives.
-
-If one boat crosses another’s path, it denotes that their owners will
-do the same.
-
-If two boats come together and continue to sail about side by side,
-their owners will in some way pass much of their lives together.
-
-When a boat clings closely to the sides of the tub, refusing to sail
-out into the centre, it shows that its owner will be a stay-at-home.
-
-Touching often at the side of the tub is indicative of short voyages;
-and extended travel is predicted when a boat seldom touches the tub.
-
-It depends a good deal upon the fancy and imagination of those testing
-their fate how the antics of the little fleet are interpreted, and the
-meanings given to the movements of the boats create no end of fun.
-
-
-“=Three Luggies.=”[C]
-
-    “In order, on the clean hearth-stane,
-       The luggies three are ranged,
-     And ev’ry time great care is ta’en
-       To see them duly changed.”
-
-The three bowls, or dishes, one containing clear water, one milky, and
-the other nothing at all, are placed in a row on the hearth-stone or
-table, and the girl wishing to try her fortune is blindfolded and led
-up to where the dishes stand. She is then told to put her left hand
-into one of the bowls. If she dips her fingers in the clear water,
-she will marry a bachelor; if in the milky water, a widower; and if
-into the empty bowl, it is a sure sign that she will live in single
-blessedness all her days.
-
-This ceremony must be gone through with three times, and the hand be
-dipped twice in the same bowl, in order to make the prediction of any
-value.
-
-
-=Roasting Nuts=
-
-is the charm by which the friendship of anyone may be tested. The
-applicant for knowledge on this point names two nuts, one for her
-friend and the other for herself, and then places them side by
-side upon the grate, or a shovel held over the fire. If they burn
-quietly, it is prophetic of a long and happy friendship kept up by
-both parties; but if in roasting they burst with a loud report and
-fly apart, they are decidedly uncongenial, and should not seek much
-intercourse. The movements of the nuts while heating are closely
-watched, for the tempers of the persons for whom they are named is said
-to be thus revealed.
-
-
-=Kaling=
-
-is a mode of telling one’s fortune not as well known, perhaps, as
-the foregoing methods. The ceremony is carried out in the following
-manner: Two girls are blindfolded and started off on the path to the
-kitchen-garden and cabbage-patch, where each pulls up the first stalk
-she finds. They then return at once to the house, where the bandages
-are removed and the mysterious stalks examined.
-
-According to the state of the stalk, so will be the gatherer’s fate. If
-it is straight or crooked, large or small, so will the future husband
-be; if it has a pleasant taste, or the reverse, the character of the
-person will correspond, and the quantity of earth clinging to the roots
-denotes whether their riches will be little or great.
-
-When there are no cabbages at hand, almost any other garden vegetable
-will answer; and if there be objections to going out-of-doors,
-vegetables of various kinds, such as turnips, beets, and parsnips, may
-be placed on a table, and the persons blindfolded can choose from them.
-No doubt the charm will work as well with the plants upon a table as
-when they are pulled from a kitchen-garden.
-
-
-=The Magic Mirror,=
-
-which is simply a hand-glass on ordinary occasions, and gains its
-mysterious power only on Halloween, divulges, under certain conditions,
-the delightful secret of how many bits of good-fortune will fall to
-one’s share during the ensuing year. The conditions are that the
-person wishing to know how bright her prospects are shall go to an open
-window or door from which the moon is visible, and, standing with her
-face in-doors, hold her mirror so that the moon will be reflected in
-it. The number of moons she sees there betokens the number of times
-something pleasant will happen to her before the advent of another
-Halloween.
-
-
-=Three Tin Cups=
-
-partially filled with water are balanced on the small ends of three
-funnels, which are placed in a row on the floor, about two feet apart.
-Over these cups, one after another, each member of the party must
-leap in turn. Whoever succeeds in leaping over all three cups without
-knocking any of them off will make an early marriage. The person who
-knocks over one will marry when not so young. The marriage of the one
-who tips over two cups will be deferred until late in life, and she who
-leaps none of them safely will not be married at all.
-
-To guard against wet feet very little water should be put in the
-cups—only enough to make the players careful about tipping them over.
-
-
-=The Ring Cake=
-
-is always an object of interest at Halloween parties. The cake itself
-is made like the ordinary kind, but before it is baked a plain gold
-ring is hidden in the dough, not to be taken out until the cake is cut
-and it falls to the share of the fortunate person in whose slice it
-happens to be found. The ring is sometimes put in a flour-cake, which
-is simply flour packed into a cake-mould so firmly that when it is
-turned out it retains the shape of the mould and can be sliced off with
-a knife. Each member of the party cuts her or his own section of flour,
-and whoever secures the ring, it is confidently stated, will be the
-first of the group to marry.
-
-Some Halloween games apparently have no particular meaning attached to
-them, but seem to be devised for the purpose of creating as much fun as
-possible.
-
-
-=Bobbing for Apples=
-
-is, perhaps, familiar to most of our readers, but we give a description
-of it here for the benefit of the few who may not know the game so well.
-
-In a large tub full of fresh, cold water several apples are placed, and
-it is the object of the participators to take them out of the water
-with their teeth.
-
-As the rosy-cheeked, tempting fruit bobs about within easy reach, it
-looks simple enough to secure a prize; but the apples are so round and
-slippery, so aggravatingly illusive, that, unless you thrust your head
-and neck beneath the cold water, regardless of consequences, and drive
-an apple to the bottom, the feat cannot be accomplished. The girls can
-seldom be induced to try their luck in this game, but usually content
-themselves with looking on, immensely enjoying the frantic endeavors of
-the boys to succeed at any cost.
-
-
-=The Apple and Candle Game=
-
-is another favorite sport for Halloween, and is played as follows:
-From the ceiling is suspended a stout cord, the lower end of which is
-securely tied to the centre of a stick about a foot and a half long.
-On one end of the stick is fastened an apple, on the other a lighted
-candle. The string is set in motion, swinging back and forth like a
-pendulum, and the contestants for the prize stand ready, each in turn,
-to make a grab for the apple, which must be caught in the teeth before
-it can be won. Frequently the candle is caught instead of the apple,
-which mishap sends the spectators off into shouts of merriment; but
-although funny, it is at the same time a little dangerous to catch a
-lighted candle in one’s teeth, and we would suggest that a bag made of
-cheese-cloth, or like thin material, be filled with flour and tied to
-the stick in place of the candle. When the person essaying to snatch
-the fruit is struck in the face with the bag, and is covered with flour
-instead of the glory anticipated, as much mirth will result as can
-possibly arise when the old and dangerous practice of using a candle is
-clung to.
-
-
-=The Ghostly Fire=
-
-should not be lit unless all of the party have strong nerves, for the
-light it produces is rather unearthly, and may affect some members
-unpleasantly. We, at our Halloween parties, never omitted this rite,
-however, its very weirdness proving its strongest attraction. Salt and
-alcohol were put in a dish, with a few raisins, and set on fire. As
-soon as the flame leaped up we clasped hands and gayly danced around
-the table, upon which burned our mystic fire. The laughing eyes and
-lips looked in strange contrast to the pale faces of their owners, from
-which the greenish light had taken every vestige of color. The dance
-was not prolonged, for it was our duty, before the fire was spent, to
-snatch from the flames the raisins we had put in the dish. This can be
-done, if one is careful, without as much as scorching the fingers, and
-I never knew of anyone burning themselves while making the attempt.
-
-
-=Trying for a Raisin=
-
-is a very laughable performance. The raisin, which must be a good-sized
-one, is strung on and pushed exactly to the middle of a soft cotton
-string about one yard long. Two aspirants for the prize then take each
-an end of the string, which they put in their mouths and commence to
-chew, taking it up as fast as they can—the raisin falling to the share
-of the person who succeeds in reaching it first.
-
-
-=A Lighted Candle=
-
-is again used in a game which is exceedingly amusing. The candle is
-placed upon a table in full view of everyone; then one of the players
-is blindfolded, turned around several times, and set free to seek for
-the candle and blow out the light, if possible.
-
-To see girls, with their hands clasped behind them, going crazily
-about the room, blowing at anything and everything, is very ludicrous.
-They seldom find the candle, and even when the table is reached it is
-difficult to blow in such a direction as to extinguish the flame.
-
-
-=The Fairy’s Gifts=
-
-are suggested as a new and original ending of a Halloween frolic.
-
-The Fairy Godmother, in Mother Hubbard costume, carries a large basket
-under her cloak or shawl. She enters the room and announces that she
-has a certain number of gifts which she proposes to distribute among
-the company. After cautioning all that the contents must be kept
-secret, she passes to each person a folded paper. On one is written
-“_Wealth_,” on another “_Honor_,” on the third “_Fame_,” etc., and some
-of the papers are left blank.
-
-Those whose papers contain the names of gifts are then blindfolded,
-preparatory to receiving their behests.
-
-The first is led up and made to kneel before the Fairy Godmother, to
-whom she repeats these words:
-
-    Most gracious Fairy, the gift you give
-    I shall treasure and keep as long as I live.
-
-Then the paper containing the name of the gift is handed the Fairy, who
-reads it aloud very solemnly: “_Wealth_”—and, turning to her basket,
-she takes from it a new dust-pan, to which is attached a ribbon-loop,
-at the same time reciting these lines:
-
-    Your choice is bad when you intrust
-    Your happiness where moth and rust,
-    In time, turn all your wealth to dust.
-
-From a paper-bag the Fairy pours a small amount of dust over the
-kneeling girl, and hangs the dust-pan around her neck.
-
-The next person who has drawn a prize is then brought forward and
-the performance is repeated, only altering the Fairy’s speech. For
-“_Honor_,” she will say:
-
-    Your honor crowds shall loud declare,
-    But in your heart, no crowd is there,
-    You’ll find, like _Falstaff_, “honor’s air.”
-
-The present here is a pair of bellows, from which the Fairy blows a
-blast on the bowed head before her as she utters the word _air_. The
-bellows, like the dust-pan, are hung by a ribbon around the recipient’s
-neck.
-
-For “_Fame_,” the Fairy gives a wreath of roses, and says, as she
-adjusts the crown:
-
-    When Fame doth weave a laurel-wreath,
-    He weaves this subtle charm beneath;
-    “For every evil thought that’s born
-    The laurel grows a prickly thorn;
-    But where pure thought and love reposes,
-    The laurel-wreath’s a wreath of roses.”
-
-[Illustration]
-
-[Illustration: Buckeye Portière.]
-
- FOOTNOTE:
-
-[C] Dishes.
-
-
-
-
-CHAPTER XVIII.
-
-NATURE’S FALL DECORATIONS, AND HOW TO USE THEM.
-
-
-THESE beautiful decorations are free to all who care to possess them.
-Every autumn comes to us laden with ornaments which no skilled workman
-can rival. The graceful golden-rod, so rich in color, sways and bends
-over the low stone walls, and in the fields wild flowers of all kinds
-grow in great profusion. White, spreading wild carrot, yellow and white
-daisies, light and dark purple asters, and sumach, with its varied
-hues, give color to the landscape on our bright fall days. There are
-also the queer-shaped pods and feathery, silky seeds peculiar to some
-wild plants; among others the poor “vagabond thistle,” which has donned
-its robe of glistening white, although some of its tribe still wear
-their faded purple gowns. The latter may be gathered for thistle-puffs,
-and all the objects mentioned can be used in home decorations.
-
-We cannot pass by unnoticed the brown milk-weed pods, for within
-the shells, full well we know, are hidden the silvery, downy seeds
-which make such pretty milk-weed balls. Here, too, we notice the
-rich coloring of bark as well as foliage, the bright scarlet berries
-contrasting with the brown, yellow, and green leaves. The vine, once a
-fresh green, is now changed to deep crimson; even the tiny leaves of
-the wild strawberry and some grasses have touches of red on their edges.
-
-How the rich coloring of autumn differs from the delicate tints of
-spring, when the promise was made in bud and leaf, which is now
-realized in the bountiful harvests!
-
-Having such a wealth to glean from, we scarcely know what to take
-first; but for decorations to last only a few hours it would be
-difficult to imagine anything more brilliantly appropriate than
-
-
-=Fresh Autumn Wild Flowers=
-
-and small branches of brilliant fall leaves. At the time of this
-writing wild flowers are very popular; one of our daily papers records
-a wedding which recently took place, where the display of wild flowers
-was beautiful in the extreme. Curtains of wood-ferns were caught back
-with golden-rod, and a bower of holly and oak was fringed with clusters
-of scarlet bitter-sweet berries. Daisies were also used in abundance,
-while the beauty of the little church was enhanced by the masses of
-white blossoms and oak-branches.
-
-This idea can be used advantageously in decorating the house for
-evening parties and receptions, or afternoon teas and coffees. Have the
-flowers and foliage in masses, the effect is much better; and if you
-gather very large, hardy ferns with their roots attached they will make
-exceedingly graceful decorations, and placed in water or wet sand they
-will remain fresh for days.
-
-When golden-rod is gathered in its prime it will keep nearly all winter
-without fading. Do not put it in water; all that is necessary is to
-keep it dry. The rich brown cat-tails should be treated in the same
-manner; these must be gathered at their best, before they are too ripe.
-Bitter-sweet berries will last for months and retain a bright red. The
-old-fashioned honesty, with its white, satiny pods, keeps perfectly
-for any length of time. The wild rose-bush in the fall is decked with
-seed-coverings, which closely resemble scarlet berries; these will last
-for many weeks. The wild clematis, with its festoons of hazy fluff,
-will keep for a long time, and always looks well when thrown over and
-on the top corner of a portière and allowed to hang naturally down a
-little on one side, or arranged in a similar manner over the tops of
-windows, doors, pictures, or wherever it will look graceful. It should
-hang out of harm’s way, as it is brittle and easily broken when dry.
-
-[Illustration: A Young Decorator.]
-
-For entertainments, the more elaborate and bountiful the decorations
-of fresh wild flowers the more beautiful will the house appear; but
-for every-day life during the cold weather, when we have only the
-dried fall plants, we may almost make up for the lack of fresh flowers
-by using judgment and taste in arranging the dried ones. Though wild
-flowers are beautiful, you must use taste in their arrangement and not
-mingle them together promiscuously, but make a judicious selection, for
-where a light bunch of golden-rod would be the very thing needed to
-give color to a particular spot, should the dark cat-tails be placed
-there the effect might be lost. There are places where some high, stiff
-decoration would look best, and others where the soft, swaying clematis
-seems to belong. As with everything else, so with our decorations, we
-must seek to have harmony.
-
-Who has not admired the dark-brown, glossy buckeyes and
-horse-chestnuts, and wondered what use could be made of them? Children
-love to gather them and come home with their pockets and baskets full,
-only to play with them for awhile, and then the pretty dark balls, each
-marked with a spot of light cream-color, are thrown away or lost.
-
-Now, the next time the buckeyes are collected save every one and make a
-
-
-=Buckeye Portière.=
-
-The writer assures you that you will find it much easier to do this
-than she did to make a picture of the curtain, for it is difficult with
-a pen-and-ink drawing to give an idea of the richness of color in the
-handsome hangings these horse-chestnuts make when properly fashioned
-into a portière for hall or doorway. Two full bushels of buckeyes will
-be needed to make a curtain two yards and a half long and one yard and
-a quarter wide.
-
-Take a very large, long needle and a strong, waxed thread a little
-longer than you desire to have your curtain, make a large knot in the
-end of the thread, and commence to string your buckeyes in the same
-way as stringing beads or buttons. Continue until the thread in the
-needle is exhausted, then tie the thread in a large knot close to the
-last buckeye, leaving a length of three inches of thread. Make your
-other strands in the same way. When all are finished, fasten as many
-small screw-eyes in a straight line on a curtain-pole, or a rustic
-pole if desired, as there are strands of buckeyes, and tie securely to
-each screw-eye one string of buckeyes. When all are fastened on, your
-portière is finished and ready to be hung. This is easily accomplished
-if the pole used is a regular curtain-pole, as they always come with
-brackets; but should your pole be rustic, it must be supported by bands
-of strong birch-bark, or leather, as in Fig. 131. Our illustration
-shows over the portière a
-
-[Illustration: Birch-Bark Support for Pole.]
-
-
-=Panel of Fall Decorations.=
-
-These also look handsome over windows and doors, and you are at liberty
-to use ornaments of all styles, for the panels are placed where there
-is no danger of anything coming in contact with them to break off the
-decorations or mar their beauty. Any kind of board will do for the
-panel, rough or smooth, as you like. Paint the board a pure white, then
-decide on your ornaments, which may be a chestnut-branch with bursting
-burs attached, sprays of common wayside velvet-leaf with clusters of
-pods clinging to them, a piece of black-berry vine with its twigs,
-thorns, and dried berries, or branches of buckeyes with some of the
-nuts falling from their horned shells.
-
-Select according to your fancy, and gild the decorations chosen, then
-tack them on the panel. It is best to place the ornaments on the board
-while the paint is soft and wet, for then it will help to fasten the
-decoration more securely; if the paint be put on thick where the
-ornaments are to be placed, they will lie partially embedded in the
-paint, and when it dries they will appear as if carved from the wood.[D]
-
-A white and gold panel made in this way is very pretty and inexpensive.
-
-The fall decorations also enable us to make a very effective
-
-
-=Louis Quinze Screen.=
-
-[Illustration: Hinge for Louis Quinze Screen.]
-
-[Illustration: Hoops Fastened Together for Louis Quinze Screen.]
-
-For this it is necessary to have two small wooden hoops, such as
-children roll along the streets; fasten these together with a strong
-piece of white tape, two or three inches wide, cut the end of the
-tape bias, tack this on the side of one of the hoops, bring it around
-between and over the other hoop, and tack it again, repeat the
-operation and the hinge will be finished (Fig. 132). If you look at
-the hinge on a wooden clothes-horse you will understand how to make
-one. Fig. 133 shows the hoops fastened together. Now cut two pieces of
-coarse, strong cotton cloth, a little larger around than the hoops,
-and place one of the pieces smoothly over one of the hoops; tack it
-down, driving the tacks in far apart, and so that they can be easily
-extracted; if the cloth wrinkles, keep changing it until the surface is
-perfectly even; when this is accomplished carefully tack the covering
-securely down, keeping it smooth and without wrinkles. In like manner
-tack the remaining piece of cloth on the other hoop. Next get four
-broomsticks and cut a notch on each one, at exactly the same distance
-from the top, for the hoops to fit in. Then measure where you wish
-the hoops to be placed and cut another notch on each stick a certain
-distance from the bottom; all the sticks must be of the same length and
-have the notches cut in the same places, so each one may be a duplicate
-of the others. Mark the hoops where the sticks are to fit, and then
-fasten them firmly on with small screws. Make the screen strong, so
-that there will not be any danger of its coming apart. Give each cloth
-a sizing of common flour-paste on both sides, then scrape off all the
-paste with a knife; in this way the cloth will be starched and prepared
-to receive the paint. When the screen is thoroughly dry, sew a branch
-across one of the disks and some waxed fall leaves in the places
-where they would naturally lie on the branch; when these are securely
-attached, decorate the other disk with something different; acorns can
-be used if cut in halves; but never place any ornaments on the screen
-which will not lie flat, for if they stand out they will be broken off
-or injured by persons passing and brushing against them. Now give the
-screen a coat of white paint all over, including the branch and leaves,
-but do not paint the hinge. Set the screen away until it is perfectly
-dry, then gild the branches and leaves, connecting the latter with the
-twigs by painting a line of gold between the two. Gild a ring around
-each pole near the top and another near the bottom, and cover the edges
-of the hoops where the cloth has been fastened on by tacking white gimp
-around each one, using fancy brass-headed tacks and placing them at
-equal distances apart; this completes the ornamental screen.
-
-[Illustration: Louis Quinze Screen.]
-
-Should you desire it, the screen can be painted black or any other
-color, and the decorations bronzed instead of gilded. The bronzes come
-in different shades, and the color of real bronze can be easily copied.
-
-
-=A Panel of Field-Corn=
-
-As an ornament for the dining-room is very decorative and easy to
-make. When the corn ripens, select some nice, firm, golden ears, with
-husks and without; then break off pieces of cornstalk and group them
-together, as in the illustration; cover a board of requisite size with
-a piece of old black velvet; if you have no velvet, paint the board
-black, and after tying the corn firmly together, tack it securely on
-the board, and the dark background will bring out the many yellow tints
-of the decoration beautifully; fasten two screw-eyes in the back of the
-board, by which to attach the wire, and the panel will be ready to hang
-on the wall.
-
-The corn can also be fastened to a rough board of the desired size and
-the panel and decoration bronzed, using green bronze for the background
-and portions of the group, while all the edges and prominent points
-should be of copper-colored bronze.
-
-Early in November the many varieties of gourds ripen, and their odd
-and fantastic forms seem like nature’s suggestions of the unique
-in ornamentation. So suggestive are they that it needs but little
-originality to make them into many useful and beautiful articles. As
-a decoration for looping over the poles of portières, and for holding
-back draperies, these
-
-
-=Ornamental Gourds=
-
-are convenient. They must first be allowed to become perfectly dry;
-then they can be made into tasselled festoons. Take six mock-oranges,
-which imitate so closely our real oranges in color, size, and form,
-and cut a hole about the size of a silver dime in the top and bottom
-of each one; then shake out the seeds. To make the openings in the
-gourds, first bore a small hole with the point of a large needle, then
-twist the needle around and around until it will easily pass through.
-Next, carefully enlarge the opening with a sharp penknife until it is
-of the stated size. Make a rope two yards and a half long of Persian
-colored wools or worsted; on the end fasten a slender tassel, six or
-seven inches long, made of the same worsted; now string one of the
-bright orange-gourds on the rope down against the tassel, which should
-be large enough to prevent the gourd from slipping off; make another
-similar tassel, and attach it to the rope about twelve inches from
-the first one, and thread another gourd on the rope, bringing it down
-against the second tassel; proceed in like manner with the remaining
-gourds, making a tassel for each one, and you will have a decoration
-unlike any to be found elsewhere.
-
-We are all more or less familiar with the
-
-
-=Gourd-Dippers=
-
-so common in the South, where, in olden times, scarcely a spring
-bubbled in a rustic nook that was not supplied with its drinking-gourd.
-These dippers are made by sawing an opening in the large part of the
-gourd, scraping out the contents, and making the inside as smooth as
-possible with sand-paper. They need no ornamentation.
-
-The kind of gourds resembling flattened globes can be made into
-graceful and unique
-
-
-=Bowls.=
-
-The gourds must be sawed into two parts, with the inside of each
-sand-papered, and flowers painted, with oil-colors, on the outside.
-After they have thoroughly dried, give a coat of white varnish to both
-the inside and outside. A pretty
-
-
-=Bonbon-Box=
-
-can be fashioned of one of these gourds. Saw off the top, which will
-serve as a lid, and fasten it to the bowl with narrow ribbons tied
-through holes at the back of each; line both lid and box with satin by
-gluing it along the edges with stiff glue put on sparingly, and cover
-the raw edge of the satin with chenille; this is also put on with a
-little glue. Do not allow the chenille to interfere with the closing of
-the box, but place it along the inside edge of the box and lid.
-
-Another form is the
-
-
-=Bottle-Gourd.=
-
-Ornament this with ivy-leaves painted as if twined around bowl and
-neck, and when the paint is dry varnish the gourd all over; if you wish
-it for use as well as decoration, saw off the top about two or three
-inches deep, shake out the seeds, then fit a cork in the piece cut off,
-and so glue it in that the cork may extend an inch downward to fit in
-the bottle.
-
-The large egg-shaped gourds look well as
-
-
-=Vases.=
-
-[Illustration: Wire Twisted for Feet of Gourd-Vase.]
-
-[Illustration: Foot Bent Down.]
-
-[Illustration: Finished Wire Feet for Gourd-Vase.]
-
-[Illustration: Ornamental and Useful Gourds.]
-
-Select a deep-colored gourd, saw off the top and scrape out the inside;
-then varnish the vase and mount it on feet of twisted wire, made
-according to Fig. 134; bend down the feet, as in Fig. 135, when the
-wire will be formed into Fig. 136. To fasten this on the vase, first
-bore holes in the bottom of the gourd, then sew the feet firmly on,
-passing the needle through the holes previously made and bending the
-wire a little to fit to the gourd. Gild the wire feet, and your vase is
-finished. Another way is to save the top sawed off, fasten an ornament
-of twisted wire on the top of it, and then, after making the vase as
-the one just described, add bands of gilded cardboard made to fit
-the gourd, fastening them to the vase with glue. Handles can also be
-fashioned of cardboard and sewed to the upper band before it is glued
-to the vase, as in the illustration.
-
-There are many other ways of utilizing gourds, but we will leave it to
-your ingenuity to think up new and pretty conceits.
-
-Pine-cones, large and small, acorns, and balls from the sweet-gum tree,
-can be used as
-
-
-=Small Decorations.=
-
-Never try to fasten them by the natural stems, for these will soon
-break off, but place in each one a small screw-eye, and when tied in
-groups they form ornaments for waste-baskets and fancy baskets of all
-kinds. We have seen chandeliers with gilded cones hanging from the
-different points, and being the identical color of the chandelier, they
-seemed of the same metal, and added novelty and grace to its appearance.
-
-There are some varieties of the tree-fungi which make dark, rich-colored
-
-
-=Brackets.=
-
-Use heavy cardboard or thin board as a covering for the back; have this
-fit the fungus perfectly, and fasten it securely in position with very
-stiff glue or nails. Paint the back the same color as the fungus, and
-on either side of the upper edge place screw-eyes by which to fasten up
-the bracket.
-
-Many of the curiously formed galls and oak-apples to be found on
-different trees can also be employed as ornaments.
-
-Nothing can be finer than our brilliant autumn season, which is said
-to be more beautiful in this than in other countries, with its crisp
-mornings and bright sunny afternoons.
-
-When the weather is too lovely to remain in-doors, and all nature
-invites us out, then is the time to gather our fall decorations.
-
-[Illustration]
-
-[Illustration: The Little Brown Squirrel.]
-
- FOOTNOTE:
-
-[D] For this work the staple-tacks used for tacking down matting will
-be found very convenient.
-
-
-
-
-CHAPTER XIX.
-
-NUTTING-PARTIES.
-
-
-OFF they go with bright, laughing eyes and glowing cheeks, each one
-carrying a light little basket or fancy bag slung carelessly on her
-arm. The girls are full of life and spirits as they walk briskly along
-toward the woods in the delightful fall weather, talking and laughing
-in a happy, thoughtless fashion, now telling where the best nuts are
-to be found, the shortest route to take, or where the prettiest walks
-lead, and again lingering or stopping to admire the many wonderful
-beauties of autumn. Leaving the road they enter the woods, where the
-dry leaves rustle pleasantly beneath their feet, and in some places the
-gold and brown leaves through which they walk lie ankle-deep.
-
-All this is fully enjoyed by the party as they proceed on their way
-discussing the best place for lunch, which consideration is quite
-important, as it is necessary, if possible, to be near a clear, cool
-spring; otherwise the water must be transported.
-
-Arriving at the selected spot about noon, all bring forward their
-baskets and bags to contribute the contents to their “nutting-dinner.”
-Soon the white cloth is laid and the tempting feast spread, when the
-hungry but merry maidens gather around to relish their repast in the
-forest, where, all about, are seen sure signs of coming winter.
-
-The airy dining-hall is carpeted with the softest moss, and the
-gorgeous coloring of the surrounding foliage is far more beautiful than
-the most costly tapestry, while the sky forming the roof is of the
-serenest blue.
-
-Now and then the sound of falling nuts is heard as they drop from the
-trees. This is music in the ears of the girls, and they hurry through
-their lunch, collect the empty baskets, and are soon busy gathering the
-glossy brown chestnuts, which are thrashed down from the branches by
-some of the party, who use long poles for the purpose. Down comes the
-shower of nuts and burs, and away the party scamper to patiently wait
-until it is over, as the prickly burs are things to be avoided. Some
-wise girls have brought tweezers to use in pulling open these thorny
-coverings. Others have their hands well protected by heavy gloves which
-cannot easily be penetrated with the bristling spikes.
-
-It does not take long to fill their bags, and the one who first
-succeeds in the feat receives the title of “Little Brown Squirrel.”
-Then all the others, for the rest of the day, obey her wishes. Nor is
-this difficult, for their Little Brown Squirrel is blithe and gay,
-generous and kind, and does all in her power to render her subjects
-happy.
-
-As they turn their faces homeward the girls plan for another
-nutting-party to come off soon, for they wish to make the most of the
-glorious Indian summer, which belongs, we claim, exclusively to our
-country, and which may last a week or only a few days.
-
-The chestnuts are brought home, where in the evening some are eaten
-raw, others have the shells slit and are then roasted or boiled, making
-a sort of chestnut festival, as in the North of Italy, only of course
-on a very much smaller scale, for there the peasants gather chestnuts
-all day long and have a merry-making when the sun goes down. This
-harvest lasts over three weeks and is a very important one to the
-dark-eyed Italians, who dry the nuts and grind them to flour, which is
-used for bread and cakes during the barren season. The harvest in the
-Apennines is quite an event, as the trees are plentiful, the fruit is
-good, and the people gladly celebrate the season.
-
-Our thin, white-shelled shag-bark hickory-nut is peculiarly American,
-and many a nutting-party have found its delicate and agreeable flavor
-very welcome when, gathered around a large rock, they crack a few to
-sample their fruit before returning home. These nuts are only cooked
-by covering the kernels with hot candy, and thus prepared, they make a
-delicious sweetmeat.
-
-[Illustration: Blossom and Fruit of the Chestnut-Tree.]
-
-When cracking hickory-nuts, hold each nut firmly by the flat sides,
-bringing uppermost one of the narrow sides; strike this and the nut
-will open so that the halves fall out, or may be easily extracted,
-and occasionally the kernels will come out whole. We have seen quaint
-little figures, with the heads made of hickory-nuts, the pointed end
-forming the nose, and the eyes and mouth marked with ink, giving a
-comical expression to the peaked face.
-
-The neat little three-cornered beech-nut is easy and pleasant to
-gather, making a desirable change for the “nutters” after going for
-other kinds, and the trees with their beautiful foliage render the
-scene very attractive. But not more so than do the lofty and stately
-walnut-trees with their rich, brown fruit encased in such rough shells,
-whose outside covering is so juicy that, unless we are very cautious,
-it will stain our hands its own dark color. The black-walnut tree
-(J. nigra) is indigenous to the United States, and we are informed
-that a celebrated specimen is still standing at Roslyn, L. I., where
-the seed was planted in 1713. The tree measures twenty-five feet in
-circumference at three feet from the ground.
-
-Butter-nuts, so significant during our civil war, also belong to
-America; the meat, though quite oily, is sweet and agreeable.
-
-Butter-nuts will repay anyone for gathering them, though, like the
-walnut, the outer husk is apt to stain the fingers; but this may be
-avoided by wearing gloves while handling the fruit. The cross-sections
-of the shells, when properly polished, make pretty ornaments.
-
-Although we are all fond of the round little hazel-nut, they do not
-seem to be as plentiful as could be wished, and it is seldom we have
-the pleasure of going hazel-nutting, yet when the opportunity occurs,
-it is rare sport and an event to be talked of afterward.
-
-Nuts are to be found in all portions of the country, and the varieties
-depend upon the section in which you live.
-
-
-=Rules for Nutting-Parties.=
-
-1. In selecting the members of a nutting-party be careful to choose
-only those on whom you can safely depend for cheerfulness, kindly
-feeling, and a willingness on their part to do all in their power to
-assist, should occasion arise, in letting down the bars of a fence,
-going for water, or anything which might happen to require their
-services.
-
-[Illustration: Pea-Nut Vine and Fruit.]
-
-2. Decide by majority any case of controversy in regard to destination,
-the best place and way of crossing a brook, which route to take, or in
-fact any question concerning the comfort and pleasure of the party,
-until the “Little Brown Squirrel” wins her title. Then she rules
-absolutely and settles all questions according to her best judgment,
-giving council and friendly advice to those who ask it. All differences
-being referred to her, the decision is considered final, and the party
-must obey when their Little Brown Squirrel directs.
-
-3. The one who gathers the greatest quantity of nuts in a given time
-wins, and receives the above much-desired title. The standard of
-measure being previously decided upon by the party, the time may be
-either long or short, as desired.
-
-4. The badge given to the successful competitor may consist of fall
-leaves or nuts tied with a brown ribbon. This she keeps in remembrance
-of the delightful day spent nutting in the woods when she was a Little
-Brown Squirrel.
-
-Select, if possible, a day in Indian summer for your nutting-party, and
-it is well to wear a gown that will not easily tear, catch the dust,
-or spot—not that these accidents are always to be met with on such
-excursions, but they might happen, and we must be on the safe side, so
-that no thought or anxiety need be given to the clothing.
-
-If your party contemplates a series of nutting-picnics, propose that
-they shall go for different varieties each time. This will add novelty
-and zest to the excursions; and should the distance in some cases be
-too great for a walk, secure a vehicle with a good reliable driver, and
-the ride will be particularly enjoyed. This mode of travelling procures
-another change in the programme, which should be as varied as you can
-make it. Let the plates for your dinner be of wood or paper, to avoid
-the necessity of carrying them home. A table-cloth made of large sheets
-of white paper is a good substitute for damask, and after doing service
-the paper may be thrown away, leaving your baskets entirely empty to be
-filled with nuts.
-
-There grows a nut, highly prized, that is never gathered by
-nutting-parties. Nor could they see it if they examined every tree
-throughout the country. Yet it flourishes in this climate, and may be
-seen any day at the fruit-stores and corner-stands. The shells of these
-furnish odd fancies for little trifles made by girlish fingers. Cut
-in the shape of slippers and glued to a card, they seem suitable for a
-wood-nymph, and the card is used as a birthday or _menu_ card. Strung
-together with needle and thread, and dressed in costume with black
-thread for hair, they make quite a good-looking Japanese.
-
-Glued on a twig and marked with ink in representation of the birds,
-they look not unlike owls perched on a limb. When divided in halves the
-shells are transformed into tiny boats with tissue-paper sails. This
-nut boasts of four names: gouber, pindar, ground-nut, and the familiar
-name of pea-nut.
-
-[Illustration]
-
-
-
-
-CHAPTER XX.
-
-HOW TO MAKE A TELEPHONE.
-
-
-HELLO! Hello! What is it you say? You can really make a telephone? What
-fun! How far will it work? You think it can be heard a long distance?
-Very good. Could we manage to construct such a one? How, pray tell us?
-
-The answer which came back over the line we give in a more concise
-form, as follows:
-
-The best way to make a simple telephone is to procure two round,
-medium-sized tin baking-powder boxes, and remove the bottoms with a
-pair of pinchers; then soak two pieces of Whatman’s drawing-paper, or
-any other strong paper, in a basin of water for a few moments, and when
-thoroughly wet take them out and place one smoothly over the end of
-each box. Fasten these down by winding a waxed cotton twine securely
-over the paper and box, and tying it tightly (Fig. 137). This done,
-allow the drums to become wholly dry, when they should be firm, even,
-and without wrinkles. Next cut away that portion of the paper which
-stands out, frill-like, beyond the string, and paste a narrow strip of
-paper around over the twine (Fig. 138). Wax a piece of string of the
-desired length, and with a large needle or pin carefully punch a hole
-in the centre of each drum; thread one end of the waxed string through
-one of the holes and make a large knot in the end, then cautiously pull
-the string until the knot rests on the inside surface of the paper.
-Connect the other box to the string in like manner, so that the twine
-will have a box fastened on each end.
-
-[Illustration: _Fig. 137_]
-
-[Illustration: _Fig. 138_]
-
-[Illustration: _Fig. 139_]
-
-The telephone is now ready for use; and if the distance is short, the
-line may be stretched taut from point to point. But should the space be
-great, supports will be needed and loops must be made of the twine and
-fastened at intervals on trees, corners of the houses, or any available
-points, with the connecting cord passed through these loops (Fig. 139),
-which act as supports. Keep the course of the waxed string as straight
-as possible, and, as far as practicable, avoid sharp angles. This
-style of telephone we know, from personal experience, works perfectly
-at the distance of fifty yards, and doubtless it will do as well when
-the line is stretched much farther. Be particular, in selecting the
-tin baking-powder boxes, to have them round and even; if they are old
-and battered the experiment may not prove satisfactory. We find the
-telephone very useful and convenient, besides affording any amount of
-amusement and fun; with its aid we converse with acquaintances, even
-though they be at a distance. The friendly little instrument carries
-the voice all along the slender line to the very ears of our best
-friend, and we can chat away as freely and almost as easily as if side
-by side. What a comfort to be able, when seated in your own room, to
-listen to the voice of some companion, living perhaps blocks away, and
-it is such a pleasure, too, to have questions answered immediately,
-which is impossible in communications made by letter. Nor is this a
-pleasure to be enjoyed at rare intervals, for as long as the telephone
-lasts it can be used at any time for a short or long talk, as one may
-feel inclined. The consultations, the plans, the sport, and merriment
-to be had with the telephone can scarcely be appreciated by one who is
-not the happy possessor of such an instrument.
-
-[Illustration: Listening.]
-
-When the weather will not permit of a walk or a visit, the telephone
-brings us, if not face to face, at least within speaking distance of
-those to whom we desire to talk.
-
-There are many other easy methods of making telephones. They can be
-manufactured as described without waxing the string, or the boxes may
-be used unaltered, in which case the tin bottoms serve as drums, and
-the holes for the string are made in the centre of each by driving a
-small tack through. With these instruments the voice cannot be sent a
-great distance, but when only a short line is needed they succeed very
-well.
-
-More complicated telephones are made with the drums of bladder and the
-line of soft, flexible wire. Though good and serviceable, they are more
-difficult to make and require more time and labor.
-
-[Illustration: Speaking.]
-
-The two beef-bladders used for such a telephone must first be blown up,
-tied, and left about thirty hours, or until they are stretched, but not
-dried. When in proper condition, cut off the necks and portion of the
-ends, then soak them in warm water, and they will become very pliable
-and light in color. Having previously prepared two square pieces of
-board by very carefully cutting out a perfect circle in the centre of
-each, about as large as a medium-sized pie-pan or a tea-plate, place
-the bladders smoothly but not tightly over the openings, allowing the
-outside of the bladder to come on the bottom, and fasten it all around
-the circle, a little distance from the edge, with tacks so driven in
-that they may be easily removed.
-
-Try the drums with your finger; if they stretch evenly they are
-correct, if they wrinkle, change them until they stretch perfectly
-smooth. Then tack a piece of firm tape securely around the edge of
-the circle, and cut off the bladder reaching beyond the tape. Next
-fasten four feet of soft, flexible wire to a large-sized gutta-percha
-button by threading it through the two opposite holes in the centre of
-the button; pass the other end of the wire through the middle of the
-bladder, bringing the button flat against its surface.
-
-After attaching a weight of about seven pounds to the end of the wire,
-place the drum in the sun until perfectly dry. Proceed with the other
-in the same manner, and when both are well dried, fasten one on each
-end of the line and attach the drum-wires to the principal wire by
-loops; then stretch it firm and tight. This telephone will also need
-loops for supports, which should be of wire. When the instrument is
-carefully and properly made it will carry the voice three or four miles
-or more, giving every word and tone distinctly and clearly.
-
-[Illustration]
-
-
-
-
-CHAPTER XXI.
-
-HOW TO DRAW.[E]
-
-
-WOULD you like to learn to draw, to sketch from nature? Don’t you think
-that it would be delightful to be able to take out your pencils and
-paper and copy some scene you want to remember, or produce a likeness
-of any bird or animal which strikes your fancy?
-
-Many will say, “I’d like it very well, but I _can’t_ draw.”
-
-You can write, can hold a pencil, and trace lines upon the paper;
-and if you can do this, you can draw a little. A girl who can learn
-anything can learn to draw if she will give the same attention to it
-that she gives to other things.
-
-[Illustration: _Fig. 140_]
-
-Now we are not going to talk about copying pictures which someone
-else has already drawn, for there is not much satisfaction in making
-imitations of other people’s work; it is much more gratifying to make
-the original drawings ourselves; but to do this we need some direction.
-
-
-The reason it is easier to copy a picture than to draw the real object
-is because the lines to be copied are all laid out on the flat surface
-of the picture; but to draw the object we must find out where to trace
-the lines for ourselves.
-
-[Illustration: _Fig. 141_]
-
-For instance, suppose we are to draw a flower-pot and plant. If we
-have the picture before us, we can readily see where all the lines are
-placed upon the paper, but in viewing a real plant and pot we are apt
-to become confused in trying to discover the directions and proportions
-of the lines.
-
-[Illustration: _Fig. 142_]
-
-Therefore we must learn _to see things as they appear_, not as they
-really are. This may seem strange to you, because one is apt to think
-that a thing must appear as it is; but let us look into the matter.
-
-We will take a square box (Fig. 140). Now, we know that all the sides
-are the same size, that the top is as large as the side, and that one
-side is as large as another; but if you try to draw it so, you will
-find it impossible, because, although you know that the top and sides
-are the same size as the front, they do not look so, and you draw
-things as they look, not as they really are.
-
-What would our cube look like if we tried to make the sides K and H
-just like the side I? Why, like Fig. 141. Don’t you see that would be
-no box at all?
-
-Take another example. We all know that a man’s leg is longer than his
-arm, but it doesn’t always appear so. Measure the arms and legs of Fig.
-142, and you will see by actual measurement the arms are longer than
-the legs, and yet it looks right, because the legs are projected toward
-you; in other words, the legs are _fore-shortened_.
-
-The great secret of drawing from nature is to train the eye to see a
-real object just like a picture.
-
-Now let us return to our flower-pot again. We will suppose we are
-drawing from a real flower-pot and plant. We determine how large we
-will make our sketch, and begin operations by drawing a vertical
-line (a straight upright line). Along this line we will mark out the
-proportions of the plant and pot, as in Fig. 143.
-
-[Illustration: _Fig. 143_]
-
-We may easily discover that the plant is longer than the pot. This can
-be done by holding the pencil upright before the eye at arm’s length,
-as in Fig. 144, so that it will cover the pot, and measuring by the
-thumb the height of the pot, then raising the arm so as to cover the
-plant, and comparing the measurement of the pot with the plant. The
-lines drawn from the eye (Fig. 144) show how the pencil makes the
-measurement on the object.
-
-[Illustration: _Fig. 144_]
-
-After settling the question of the height of the flower-pot and plant,
-we will mark the measurements on the line. And now we will draw in the
-pot, leaving the straight line through its centre.
-
-On observing the plant we will see that it is not exactly straight, and
-here again the straight line will be of assistance.
-
-By holding up our pencil, which represents the straight line, we
-will discover that the main stem of the plant leans considerably to
-the left. Guided by the line, we can get the curve of the stem about
-right. Now we sketch the stem. Along the straight line we again measure
-the distance from the top of each leaf and flower to the pot, as in
-Fig. 145. We can see several leaves, each reaching a certain height.
-Observing the same plan of measurement, we find that the top of the
-lowest leaf is about the same height from the pot as the height of the
-pot itself, and again from the top of the lowest leaf to the top of the
-plant measures the same distance.
-
-[Illustration: _Fig. 145_]
-
-By drawing another vertical line just touching the right side of the
-pot, we find that it touches the extreme edge of the leaf. Thus we find
-the exact situation of the leaf. By the same method we find the right
-places for the other leaves and flowers, and after we know just where
-they belong, we draw them in, and find that we have produced a very
-creditable outline from nature.
-
-We need not confine ourselves to one or two guiding lines in sketching
-an object; in fact, we may use as many straight lines as will help us
-to get the correct proportions; not only vertical and horizontal lines,
-but slanting lines will also assist us in most cases.
-
-The sketch of a dog (Fig. 146) will give an idea of the way to employ
-all lines necessary in sketching from nature. A few words will be all
-that is necessary to explain this illustration.
-
-There lies the dog on the floor, and we seat ourselves at a little
-distance from it with pencil and paper. We will start off with a
-horizontal line (A); then we can form some idea as to whether the
-little dog lies along a straight line, or in case the bottom line
-slants, how much it slants. Then draw the vertical line (B E). Now
-suppose we hold our pencil upright, in such a position as to touch
-the back of the knee-joint of the foreleg, we will find that it passes
-through the middle of the dog’s back, as represented by the line (B E);
-so we have found the places for these parts.
-
-[Illustration: _Fig. 146_]
-
-Another horizontal line (C D) drawn above the first will touch just
-over the right eye, pass through the middle of the left ear, through
-the middle of the neck, cut off the foreleg, and run along the top of
-the two hind legs, passing through the knee of the left one. This will
-show us that the top of the right eye, the ear, and the top of both
-hindlegs are on a line. It will also help us to get the proportions
-above and below the line; then by drawing a line from D to the point F
-on the horizontal line A, we find that the lower edges of the left hind
-and fore legs are on the same line, which, if extended a little farther
-down, will touch the edge of the dog’s mouth. With these lines to guide
-us we cannot go far astray in our proportions.
-
-[Illustration: _Fig. 147_]
-
-One of the chief difficulties in following this method of drawing from
-nature is to hold our measuring-stick exactly vertical or horizontal.
-This difficulty can be overcome by providing yourself with a T-square
-(Fig. 147) and attaching to it, at the point P, a string with a weight
-tied on the other end so that it will hang plumb. By using this we can
-be sure whether we hold it straight or not, for in case we tip it too
-much on one side or the other the string will swerve from the middle of
-the upright stick. Of course, whenever we hold the T-square perfectly
-straight, the string will fall straight down the middle of the upright,
-and the top of the T will then give us a true horizontal line. A little
-thought and practice will lead you to thoroughly understand this
-method, and when you really understand it you will have an unerring
-guide to assist you. Of course, as the eye and hand become more
-trained, with practice and observation, the work will become easier,
-and you will not need the T-square.
-
-In beginning the practice of drawing from nature, we had better
-confine our first efforts to things that will stand still, for without
-a practised hand it will be almost impossible to sketch a restless
-subject; but if we attempt to do so, we should follow the methods
-before taught as nearly as possible.
-
-Now, suppose we step out of doors in search of something to sketch. The
-first moving object our eyes rest upon is a goose, and we decide to use
-him as a model.
-
-But he is so restless, will not keep still an instant. First we have a
-front view, then a side view, and again he turns his back upon us. If
-we really must have his picture, the only way is to catch him and tie
-him up.
-
-Yet even now he is a difficult subject, twisting and turning, and
-bobbing his head about. Determined on sketching him, however, we
-observe the position in which he remains the longest time, or assumes
-oftenest, and begin our work.
-
-We first note the general proportions. Is his body as thick as it is
-long? Is his neck as long as his body? Are his legs nearest the head or
-tail? Is the head as long as the neck? What part reaches the highest,
-or what part the lowest? We hastily but carefully consider these
-questions and determine in our own mind the answers, for we must get an
-idea of the proportions before we begin our sketch.
-
-Now we draw a horizontal line along our paper, and then hold up our
-pencil horizontally, so that it will answer for a straight line drawn
-across the body of the real goose (Fig. 148). This will represent the
-horizontal line on the paper. Noticing then the directions the outlines
-of the goose take from the horizontal line (represented by the pencil),
-we sketch them in on the paper, remembering that one of the most
-important things is to get the right directions of the lines.
-
-[Illustration: _Fig. 148_]
-
-Observe that in Fig. 149 the line G is directed to too high a point,
-and makes the body too thick and out of proportion.
-
-[Illustration: _Fig. 149_]
-
-[Illustration: _Fig. 150_]
-
-In sketching it is best to make all lines straight instead of curves,
-for in this way we are more likely to get the right directions.
-Our first rough sketch of the goose ought to have something of the
-appearance of Fig. 150, and as we work it up more carefully it will
-become as nicely rounded as we could desire.
-
-One of the most common faults a beginner is apt to commit is to try to
-do too much, either by choosing too great a subject, such as a large
-landscape, or by putting too many little things into the composition.
-Take care of the large things, and the little things will take care of
-themselves.
-
-If our subject be a clump of trees at some distance, we should not
-attempt to draw in separate leaves, but endeavor to get the true shape
-of the tree, simply indicating the leaves by a few lines. Neither must
-we attempt, in our first sketches, to put in all the shadows we see;
-the strong principal ones are all that are necessary. A background of
-hills and trees should be merely suggested by a few lines, because the
-light striking upon them gives a very light appearance.
-
-Draw as simply as possible. Ten pictures are spoiled by putting in too
-much work, where one is spoiled by too little.
-
-Don’t be discouraged. Every effort will show improvement, if you really
-put your mind and heart in your work. As for
-
-
-=Materials,=
-
-a sheet of drawing-paper, a No. 2 lead-pencil, and a piece of soft
-rubber are all you really need to commence with. Later it will be well
-to have a drawing-pad and several more pencils.
-
-[Illustration]
-
- FOOTNOTE:
-
-[E] The material for this chapter is from an article written by
-Professor Frank Beard for Harper’s Young People. By permission of
-Harper & Brothers.
-
-
-
-
-CHAPTER XXII.
-
-HOW TO PAINT IN WATER-COLORS.
-
-
-THERE is a certain charm in water-color painting—a charm distinctly its
-own—which lies, as Penley says, “in the beauty and truthfulness of its
-aerial tones.” Without this quality a water-color, as a water-color, is
-a failure.
-
-This transparency of effect does not depend alone upon the manner of
-painting or the colors employed, but much rests with the paper we use.
-In the days when our mothers and grandmothers were taught painting at
-school, the finest, smoothest cardboard was thought necessary; but we
-have since learned that the flat, smooth paper tends decidedly toward
-producing a flat, smooth effect in the picture painted upon it, while
-the rough, uneven surface of the paper now in use helps to produce
-depth and atmosphere. Therefore it is always best to have rough paper
-to paint upon. We give below the
-
-
-=Materials for Water-Color Painting.=
-
-1. A block of rough drawing or water-color paper.
-
-It is better to buy it in blocks than by the sheet, as it is much more
-easily handled, and is always ready for use.
-
-2. Brushes. The best brushes are made of sable, and although costing
-more to begin with, it is really more economical to purchase them than
-to choose the less expensive camel’s-hair; for the sable are by far the
-most satisfactory, and will last much longer. Three or four brushes are
-sufficient. As Devoe & Co. number them, they should range between No.
-3, which is small enough for ordinary painting, and No. 19, for clouds,
-backgrounds, etc.
-
-3. Colors. A tin sketching-box of moist colors, which also contains a
-palette, is very useful, but the colors can be bought separately in
-tubes or pans.
-
-Water-color painting seems by its qualities to be especially adapted to
-flowers and landscapes, and as this is to be a chapter, not a book, on
-water-colors, we will confine ourselves to the principal points to be
-observed in these two departments, and will commence with the
-
-
-=Flowers.=
-
-Few oil-paintings, however well executed, give the delicate, exquisite
-texture of a flower as nearly as water-colors. The semitransparency of
-a rose-petal, the juicy, translucent green of the young leaf, it is
-difficult to truthfully represent in other than these colors, whose
-essential quality is transparency. To preserve this transparency of
-color, everything about the painting must be kept exceedingly neat. The
-brushes must be thoroughly washed before using them for a different
-tint from that already upon them, and plenty of water, changed
-frequently, is necessary.
-
-Having arranged your materials conveniently upon a table, place
-your paper so that it will lie at an angle slanting toward you, not
-perfectly flat upon the table; this can be done by putting books under
-the edge farthest from you, thus raising it up. Stand the flowers you
-wish to copy in such a position that the light will fall upon them only
-from one direction and produce decided shadows; the effect will then
-be much better than when the light is more diffused.
-
-[Illustration]
-
-Always arrange your model exactly as you want to paint it, and leave
-nothing to your idea of how it ought to look. If you do not intend to
-have any background other than the white paper, place something white
-behind your flowers. If you want a colored background, arrange the
-color you have chosen behind the flowers, and paint it as you see it.
-Commence your work by sketching lightly, as correctly and rapidly as
-you can, the outline of your flower. Try something simple at first;
-say a bunch of heart’s-ease or pansies, and when drawing them try to
-get the character of both flower and leaf. Observe how the stem curves
-where it is attached to the flower, and at what angles the stems of the
-flowers and the leaves join the main stalk. Given character, an outline
-drawing painted in flat tints will closely resemble nature; without it,
-the most beautifully finished painting will not look like the flower it
-is intended to represent.
-
-[Illustration: Painting in Water-Colors.]
-
-When your outline is drawn in, dip your largest brush in clear water,
-and go over the whole surface of your paper, then place a piece of
-blotting-paper over the paper to soak up the water, leaving it simply
-damp, not wet.
-
-If you are using tube colors, have ready on a porcelain palette, or
-ordinary dinner-plate, these colors: crimson lake, cobalt blue, indigo,
-Prussian blue, and gamboge. Put in your lightest tints first, leaving
-the white paper for the highest light; then paint in your darker tints
-and shadows, and get the effect.
-
-If your flower is what we call the johnny-jump-up, the lowest petal
-will be yellow. Paint this in with a light wash of gamboge, leaving, as
-we have said, the white paper for touches of high light. The two upper
-petals will probably be a deep claret-color; this is made by mixing
-crimson lake and cobalt blue, the crimson lake predominating. The two
-central petals may be a bluish lavender, and this color is made by
-mixing a little crimson lake with cobalt blue. Use plenty of water; but
-do not let it run, and keep the colors of the petals distinct.
-
-Paint the stems and leaves, where they are a rich green, with a mixture
-of gamboge and Prussian blue, and where they appear gray as the light
-touches them, a pale wash of indigo will give the desired effect.
-
-Keep your shadows broad and distinct, and your tints as flat as you
-can. Leave out details altogether in your first paintings, and add them
-afterward only when you can do so without spoiling the effect.
-
-When a tinted background is desired, put it in quickly in a flat tint,
-before commencing the flowers. It is best not to bring the tint quite
-up to the outline, as a narrow edge of white left around the flower
-gives a pleasant, sketchy look to the painting.
-
-
-=Landscapes.=
-
-In your first studies from nature keep to simple subjects, and treat
-them simply, without any attempt at elaboration. Choose, for instance,
-a picturesque corner of an old fence, with perhaps a bit of field
-and sky for the background. Sketch in the principal features in the
-foreground in outline, and indicate the horizon, if it comes in the
-picture.
-
-Penley says, in his “System of Water-Color Painting,” “White paper is
-too opaque to paint upon without some wash of color being first passed
-over it,” and he recommends a thin wash of _yellow ochre_ and _brown
-madder_, which should be put all over the surface of the paper except
-on the high lights in the foreground, which are best left crisp and
-white.
-
-Notwithstanding what Penley says in this matter, it must be borne in
-mind that some artists do not believe in successive washes, but claim
-that the color desired should be put upon the white paper at once.
-
-If the yellow tint is used, let it become quite dry and then wash it
-over with a large brush and _clean_ water; then, as in the flower
-painting, soak up the water with blotting-paper; the blotting-paper
-must also be quite clean. While the paper is damp, not wet, begin with
-a blue tint—a light wash of cobalt will give it—and put in the sky _in
-a flat tint_; bring the same color down all over your sketch except in
-the high lights. The blue tint gives atmosphere and distance. Let your
-paper again become quite dry, and then wash it over as before, in clear
-water.
-
-The process of laying on color and lightly washing over it afterward
-should be repeated several times, “and the result will be a transparent
-aerial tone.”
-
-Keep your extreme distance bluish, your middle distance warmer in tone,
-but not too strong, and the principal objects in your foreground strong.
-
-Leave out small objects, and with light and shade seek to obtain the
-effect.
-
-Keep your colors pure or your sketch will be dull.
-
-Contrast has much to do in producing strength and character. Phillips
-says that, “in aiming at opposition of color, we must select that
-which gives force to the foreground, and consequently communicates
-the appearance of air in the distance. Thus, if the general tone of
-the light be warm and yellow, we should have blues and purples in the
-foreground; if the lights be cool, reds and yellows in the foreground
-give atmosphere to distance, as neither of these colors in a positive
-state is found in the middle or remote distance.”
-
-The three principal contrasts are blue opposed to orange, red to green,
-and yellow to purple; and “a good first lesson in sketching in color
-will be to put in your shadows with color opposite to the object in
-light; and by carrying out this principle of opposition throughout
-the scale you will obtain an endless variety of contrasts.” It is the
-general rule in most painting to have cool shadows to warm lights, and
-warm shadows to cool lights. We all know that a _green_ picture is
-very disagreeable, and although a green field _is_ green, it must not
-be made intensely so. An untrained eye will not see how nature tones
-down the vivid color with shadows, and softens it with the atmosphere;
-but when the eye has learned to look at nature in the right way this
-difficulty will be overcome. Howard says, “green must be sparingly
-used, even in landscapes, whose greatest charm consists of vegetation.”
-
-Foliage in some form will present itself in almost every landscape, and
-it is therefore necessary to have a few general principles to guide
-you in this important feature. In sketching trees be sure to get the
-character of their trunks, limbs, branches, and general form; also the
-texture of the bark, rough or smooth. You will see that the foliage
-appears in layers, one above another. Sketch in the outlines of the
-principal layers, where they are tipped with light; then go over the
-whole tree with a local color, and afterward separate the light from
-shadow. Each mass is edged with light, while its base is in shadow, as
-a rule. Omit _details_, and keep to your _masses_ of light and shade.
-If your tree is in the foreground, leave the white paper for crisp
-touches of high light. The tone of your fence will probably be gray,
-but do not take it for granted that it is _all_ gray; look for other
-colors, and you will find brown, blue, green, and sometimes red. Put
-these in as you see them, letting the edges melt into each other, as
-they will do when the paper is damp; but have each color pure, and do
-not try to mix them.
-
-
-=Painting from Notes=
-
-is not as difficult as one might imagine. With a little practice it
-is easily learned. The following directions will tell how to paint a
-sunset on the meadows, from notes made at sunset on the meadows on Long
-Island.
-
-[Illustration: How to Paint a Sunset in Water-Colors.]
-
-Take a piece of Whatman’s rough drawing-paper, or a kind that is
-termed egg-shell cartoon, the size decided upon for your picture.
-Have ready a large dish of clean water, brushes, and paints. Draw a
-pencil-line along the centre of your paper for your horizon, Fig.
-151; then directly on the line paint a streak of vermilion. Put the
-color on quite damp, and make it about half an inch broad, extending
-one-fourth of an inch on either side of the horizon-line, Fig. 152.
-Next, quickly paint a yellow streak above and below the red one, making
-each streak of the same size and parallel, and leaving a little white
-paper between the different colors, Fig. 153. With a clean brush dipped
-in clean water carefully moisten the paper between the streaks, and
-allow the edges of the colors to mingle, Fig. 154. Before this has time
-to dry, paint a blue streak above and below, about half an inch from
-the yellow, Fig. 155; then with the clean brush dampen the white paper
-between, being careful not to get it too wet; there should be just
-enough moisture to enable the colors to flow and mingle at the edges,
-Fig. 156. This may be aided by holding the paper first one side up and
-then the other, until the edges are evenly blended. Now, before the
-horizon is quite dry, while it is still damp enough to cause the paint
-to spread, fill a brush with Payne’s gray, which should be rather dark
-and not too wet, touch the point of your brush here and there along the
-horizon, now a little above and now a little below, and you will find
-that the paint will spread and make excellent trees for the distance,
-Fig. 157.
-
-[Illustration: _Fig. 159_]
-
-When your work is dry enough to paint over without spreading the color,
-mix some green and black, and green and brown; paint in the meadow,
-using the color made of green and black for the extreme and middle
-distance, the color made of green and brown for the foreground, leaving
-spaces for streams and ponds, and your sunset upon the meadow is
-finished. A pretty little sketch it is, too, Fig. 158.
-
-[Illustration: Leaf from an Artist’s Note-Book.]
-
-A different composition can be made by proceeding as directed as far as
-Fig. 156 and then, instead of putting in trees on the horizon, hills
-running to points in the water can be painted in a flat tint with the
-Payne’s gray, and a vessel with masts painted in the foreground, as in
-Fig. 159. This also makes a pretty and effective little sketch.
-
-Fig. 160 shows sunset notes taken while aboard a ferryboat in the
-winter of 1886-87. From these you can see just how the notes are
-made; but you must make _your own notes_, because what is perfectly
-intelligible to the writer of the sunset memoranda is an enigma to
-another person. For example, in Fig. 160, “Rose-tinted sky” may mean
-almost any shade of red, or blue and red mixed, but “Rose-tinted sky”
-no doubt brings before the mind’s eye of the writer of the notes the
-exact color of the sky at the time the notes were made.
-
-[Illustration]
-
-[Illustration: A Study in Oil.]
-
-
-
-
-CHAPTER XXIII.
-
-HOW TO PAINT IN OIL-COLORS.
-
-
-THE difference between oil- and water-color painting lies in the
-fact that, although especially well adapted to the portrayal of some
-subjects, water-color has its limitations, while with oil-colors
-any subject, from the simplest study in still-life to the grandest
-conception of a great artist, can be represented, and no limit has yet
-been reached in its possibilities.
-
-But there are first steps to be taken in all things, and the
-greatest artist who ever lived had to make a beginning and learn the
-preliminaries of painting before he could produce a picture. To these
-steps, then, we will turn our attention, and the first will be the
-necessary
-
-
-=Materials.=
-
-The following list of colors, with their combinations, will be found
-sufficient for most purposes.
-
-
-    YELLOWS.         REDS.          BLUES.            GREENS.
-
-    Yellow Ochre,    Vermilion,     Permanent Blue,   Terre Verte,
-    Naples Yellow,   Light Red,     Cobalt,           Emerald Green,
-    Light Cadmium,   Indian Red,    Antwerp Blue.     Light Zinnober Green.
-    Orange Cadmium.  Venetian Red,
-
-        Burnt Sienna,                     Rose Madder.
-    Silver White,    Raw Umber,     Vandyke Brown,    Ivory Black.
-
-Winsor & Newton’s colors are acknowledged by most artists to be the
-best, but the writer personally prefers German white, as in her opinion
-it is not so stiff, and mixes better with other colors than the Winsor
-& Newton.
-
-
-=The Easel=
-
-may be simply a pine one, which can be purchased from any dealer at the
-cost of about one dollar. More elaborate easels are, of course, more
-expensive; but as the merits of a picture do not depend upon the easel
-which holds it, a common pine one will do.
-
-
-=The Palette=
-
-should be light in weight and not too small; oiled and not varnished. A
-very light-colored wood is not desirable; one of walnut or cedar, about
-eighteen inches long, is the best to use, and will cost from thirty to
-sixty cents.
-
-
-=Brushes,=
-
-both of sable and bristles, are used, but we would advise a beginner
-to work with bristle brushes only, for the first attempt should be to
-obtain a broad style of painting, without the finished details which
-the sable brushes are used for.
-
-About four different sizes of flat bristle brushes are needed to
-commence with; there should be two of each size, the largest one inch
-wide, and the smallest not more than a quarter of an inch in width.
-
-
-=The Palette-Knife=
-
-is used for taking up color on the palette, for cleaning the palette,
-and sometimes for scraping a picture after its first painting.
-It should be flexible, but not too limber. The cost will be from
-twenty-five cents upward.
-
-
-=Oil-Cups=
-
-are fastened on to the palette, and are used for oil and turpentine.
-The double ones range in price from eight cents to twenty. The single
-ones, without cover, can be bought for five cents.
-
-
-=A Paint-Box=
-
-for holding colors, palette, and brushes will cost from one dollar and
-twenty-five cents up. It is convenient to have one, and necessary when
-going out sketching, but for painting at home any kind of tin box will
-answer for the paints. The palette can be hung up, and the brushes put
-in a vase or jar, handles downward, which will keep them nicely.
-
-
-=Mediums.=
-
-Boiled linseed-oil or poppy-oil, siccatif Courtray, and turpentine.
-
-
-=Canvas.=
-
-In selecting canvas choose that of a warm-gray or creamy tone, for it
-is difficult to give warmth to a picture painted on a cold-gray canvas.
-The German sketching-canvas is quite cheap, and does very well to
-commence on. It is best to buy it on the stretcher, as a girl’s fingers
-are seldom strong enough to stretch the canvas as tight as it should
-be. A very good sketching-canvas, 18 × 24, can be bought in New York
-City for twenty-five cents.
-
-Several clean pieces of old white cotton-cloth are necessary for wiping
-brushes, cleaning knife and palette, etc.
-
-
-=The Light=
-
-in the studio, or room in which you paint, should come from one
-direction only, and fall from above. This can be managed by covering
-the lower sash of the window with dark muslin, or anything that will
-shut out the light. A shawl will answer for a temporary curtain.
-
-Most artists prefer that while painting the light should come from
-behind over the left shoulder.
-
-Our advice to beginners in all the departments of art is the same:
-commence with simple subjects.
-
-Your first study should be from still-life (which means any inanimate
-object used for artistic study), and let the object selected be of a
-shape that requires but little drawing; for your aim now is to learn
-to handle your colors, and it is not desirable to have your mind
-distracted by complicated drawing. A vase placed on a piece of drapery,
-which is also brought up to form the background, is a good subject;
-the drapery should be of one color, and of a tone that will contrast
-agreeably with the vase and give it prominence.
-
-Arrange whatever object you have decided to paint so that it will show
-decided masses of light and shade; place your easel at a sufficient
-distance from it to obtain the general effect of shape and color
-without seeing too much detail; arrange your canvas on the easel so
-that you will neither have to look up nor down upon it, but straight
-before you; then sketch in the object you are about to copy in outline.
-Observe the edges of the heaviest shadows, and draw them also in
-outline. Charcoal is better than a pencil for sketching on canvas,
-as it can be easily rubbed off with a clean cloth if the drawing is
-incorrect. When the sketch is finished, dust off the charcoal lightly
-and go over the lines again with a camel’s-hair brush and India ink.
-
-
-=Setting the Palette=
-
-is a term used for arranging the colors in a convenient manner upon the
-palette. The colors should always occupy the same position, so that,
-the places once learned, you will never be at a loss to find the color
-you want. Fig. 161 shows a convenient arrangement of colors, as well as
-the position of the oil-cans.
-
-[Illustration: Fig. 161.—Manner of Arranging Colors on Palette.]
-
-Fill one of your oil-cans one-third full of turpentine, to which add
-enough siccatif Courtray to turn it the color of strong coffee. Dip one
-of your good-sized brushes in this mixture and scrape it off on the
-edge of the can, that the brush may not be too wet; then take up some
-burnt sienna on the brush and put it on your palette about an inch or
-so below the terre verte, add some terre verte, and mix the two with
-your brush. Lay in all the shadows of the vase, or whatever object you
-are about to paint, in a flat, even tone with the color thus formed,
-keeping it thin with the turpentine and siccatif.
-
-Mix a tint as near the required color as you can, and go over the whole
-background without regard to light or shade; cover all the background;
-do not leave any white or bare canvas showing.
-
-The general effect being thus obtained, it is easier to see what colors
-are needed for further painting.
-
-Select a medium tint between the high lights and half-tones, and paint
-in the lights of the vase in a flat, even tint; then go over the
-shadows again with a medium tone, still keeping them in one flat, even
-mass. Should you lose the outline at any time, dip a rag in turpentine
-and wash off the paint that covers it.
-
-Having progressed this far, the painting should be left to dry.
-
-The turpentine and siccatif Courtray have such drying properties that
-by the next day you may work again on the study.
-
-Begin the second painting by putting in the half-tints. These unite the
-decided light and shade, and should be dragged over their edges, but
-not blended with them. Once more go over the shadows, strengthening
-them and putting in the reflected lights.
-
-Add more color in the lights where it is needed, and put in the high
-lights with clear, crisp touches. Work on your background in this
-second painting. Indicate the shadows, but do not make them strong,
-except the one which will probably be cast by the object; that can be
-strengthened, as it helps to set the object out from the background and
-gives the idea of space. Do not make the background strong; keep it
-toned down, that it may not become too prominent. Drag the background
-a little over the edges of the vase, or whatever it may be you are
-painting, and then paint over it again with the colors of the vase. Do
-this while working around the edges of the vase, or object, to prevent
-its looking flat, as if it were pasted on.
-
-These directions are to be applied to painting any subject; but after
-you have learned how to manage the colors and wish to really paint
-a picture, the medium must be changed from turpentine and siccatif
-Courtray to oil, either linseed or poppy, using the turpentine only for
-the first effect of shadow.
-
-When oil is used it will require two or three days for the picture to
-dry. Many advise the use of but little oil, and there are artists who
-dissapprove of any medium at all.
-
-Before commencing the second painting, a coating of poppy-oil should be
-put all over the canvas with a large, flat camel’s-hair brush. Every
-bit should be covered without touching the brush twice to the same
-spot. This softens the first coat of paint sufficiently to allow of its
-blending with the next. If a raw potato be cut in half and rubbed over
-the painting before the oil is put on, it will prevent the oil from
-crawling, or separating into drops on the canvas.
-
-Do not use the same brushes for dark and light tints, but keep them
-separate. Mix your tints on your palette, the dark tint below the dark
-colors, and the light tint below the light colors.
-
-In putting away your work after painting, be sure that the tops are
-screwed on to all your color-tubes, and arrange them neatly in their
-box. Clean your palette with the palette-knife, and then wipe it off
-with a rag. Dip your brushes, one by one, in turpentine and wipe them
-on a rag; this removes most of the paint and makes them easier to wash.
-Warm, not hot, water should be used for washing the brushes. The best
-way is to hold several brushes in the right hand, their sticks being
-in an upright position, dip them in the water, rub them on a piece of
-common soap, and then scrub them round and round on the palm of the
-left hand; rinse them in clear water, and wipe dry with a clean rag.
-
-Our limited space will not allow of our going more fully into the
-details of painting; but we hope that these directions will give some
-idea of how to make a beginning as a painter in oil-colors, and after
-you have made a start you will find two good professors at your elbow
-to help you along and encourage you—Prof. Judgment and Prof. Experience.
-
-[Illustration]
-
-
-
-
-CHAPTER XXIV.
-
-HOW TO MODEL IN CLAY AND WAX.
-
-
-AN eminent artist once remarked within the writer’s hearing that,
-should he bring into his studio the first dozen boys he happened to
-meet on the street, taking them as they came, he would probably be able
-to teach at least half of them to model within six months, whereas
-there might not be one of them who could be taught to paint at all.
-Possibly none of these boys would ever become great sculptors, but they
-could learn to model moderately well. If that is the case with boys,
-who are apt to be so awkward and clumsy, how quickly could a girl’s
-deft fingers learn to mould and form the plastic clay or wax into
-life-like forms. In some of the institutions for the blind, deaf and
-dumb, modelling is taught with great success. Quickly the sensitive
-fingers of the young inmates run over the object to be copied, and
-skilfully they reproduce in their clay the form conveyed to them by
-touch alone. It is pleasant to think that these silent little workers
-have this new pleasure added to their somewhat limited stock; but at
-the same time the fact puts to shame some of us who, having all our
-faculties, the use of all our senses, and not infrequently artistic
-ability in addition, do so little with the talents intrusted to our
-care.
-
-Let us to work then, girls, and see if we cannot accomplish at least as
-much as our unfortunate sisters, who have neither sight nor hearing to
-guide them.
-
-[Illustration: Modelling in Clay.]
-
-The great difficulty we encounter in learning to draw—which is
-representing things as they appear, not as they really are—will not
-trouble us in this other department of art, for in modelling it must be
-our aim to do precisely the reverse, and reproduce an object exactly
-_as it is_, not as it appears.
-
-Modelling, besides its own worth, is of value as an aid to drawing,
-for it teaches form, and the shadows on an object can be drawn more
-intelligently and correctly when it is known just what formations
-produce them.
-
-A great deal can be done in modelling without the aid of a teacher.
-So, not waiting to look up a professor, suppose we commence by
-ourselves and see what we can do. It is very fascinating work, and if
-a few failures are the result of our first attempt, we need not be
-discouraged, for what others can do, we also can accomplish.
-
-The writer has lately been initiated into the mysteries of this art,
-and since, as they say, the person just graduated from a primary
-department is best fitted to teach in that department, perhaps the
-hints given here may be better suited to the understanding of beginners
-than if they were written by a great sculptor, who might forget that
-everyone does not know, as well as he does himself, the preliminary
-steps necessary even in accomplishing the grandest results.
-
-Instead of entering into the later and more artistically finished
-processes we will confine ourselves to the prelude or introduction to
-modelling; and then, girls, with the object before you, your only guide
-and instructor, you must work out the rest for yourselves.
-
-The first thing to do is to provide your
-
-
-=Materials,=
-
-and here is a list of all you will need:
-
-1. Clay, such as is used by potters, perfectly free from grit.
-
-2. Modelling-tools. These can be bought at any artists’ material store,
-and the simplest ones might be made at home of hard wood. Only a few
-tools are necessary for a beginner; Fig. 162 shows those most useful.
-The fingers and thumbs are the best of all tools, and a great deal can
-be done with them, though for fine, delicate modelling tools must be
-used.
-
-[Illustration: Modelling Tools]
-
-3. Modelling-stand. A regular modelling-stand with rotary platform will
-cost from eight to twelve dollars and the expense may be an objection;
-but the writer has found that an ordinary high office-stool with
-revolving seat makes a good substitute. If the stool is not high enough
-it can be raised by placing on the seat a drawing- or pastry-board, and
-on top of that a square wooden box about one foot high and broad enough
-to allow sufficient room for a good-sized head and bust.
-
-4. Basin of water and towel for washing and drying the hands.
-
-
-=How to Manage Clay.=
-
-Clay costs, near New York, from one to three cents per pound, and about
-fifty pounds will be required. If possible buy it moist, but if dry,
-put it into an earthenware jar, or anything that will hold water, and
-cover with clear water. Let it remain until thoroughly moistened; then
-with a stick stir the clay around as, when a small girl, you did the
-mud while making mud-pies, until it is free from lumps and is perfectly
-smooth; clear away from the sides of the jar and pile it up in the
-centre.
-
-When it is dry enough not to be muddy and is still pliable, it is
-in a fit condition to work with. It is necessary to keep your hands
-perfectly clean and conveniences for washing them should be handy.
-
-Do not use muddy water or a dusty towel.
-
-Use any tools that will produce the result desired with the greatest
-ease; a little experience will soon determine what they are, but as a
-rule the largest are best.
-
-When leaving unfinished work cover it with a damp cloth to keep it
-moist. If you are working on a head, and the features have been
-commenced, stick a small wooden tool in the head just above the
-forehead to hold the cloth away from the face, for it is liable to
-soften the nose and push it out of shape if it rests upon it.
-
-[Illustration]
-
-A frame made of laths (Fig. 163) covered with oil-cloth or rubber (an
-old gossamer water-proof will be just the thing), placed over the
-modelling, will keep it better than the cloth, as it excludes the air
-and prevents its drying (Fig. 164). When using the frame, sprinkle your
-work by dipping a clean whisk-broom into water and shaking it over the
-clay. Remember, the clay must always be kept moist and pliable and
-never allowed to dry. If it does become dry and hard there is nothing
-to do but to put it back into the jar, and go through the process of
-damping it again.
-
-[Illustration]
-
-Keep your tools clean, and do not allow the metal ones to become rusty,
-as they will if carelessly left on the modelling-stand when not in use.
-To avoid trouble of this kind it is best to put your tools in a box
-where they will be perfectly dry. Unless you wish to go through one of
-the writer’s first experiences, when she was obliged to let her tools
-lie in a pan of kerosene oil for two days, and then clean them with
-knife-brick.
-
-
-=How to Preserve Modelled Clay.=
-
-If terra-cotta clay is used, it can be baked in a kiln, which will,
-while hardening, turn it a fine buff terra-cotta color, and make the
-object, if well modelled, ornamental enough for almost any use.
-
-From the other clay, plaster casts can be taken, and the article
-reproduced in plaster as many times as desired.
-
-
-=Hints for Modelling a Head.=
-
-Always work from a model, and it is best to try copying plaster casts
-before attempting to model from life.
-
-[Illustration: How to Model a Head.]
-
-Place on the centre of your stand a wooden or tin box (a cigar-box will
-do) to form the base; cover this with clay in the form of Fig. 165, and
-stick a support in the middle, as shown in diagram. The support may be
-a piece of kindling-wood eight inches long and about one inch thick.
-
-Build up the clay around this stick, as in Fig. 166, and with your
-hands mould the clay, piecing it out here, and cutting off there, until
-it bears some resemblance to a head, as in Fig. 167.
-
-Still using your hands, get the general proportions of the head, and
-then commence the features. Begin with the profile, using tools when
-necessary, and try for character without detail; then turn the head
-a little and work from that point of view; always look at your model
-from the same point of view as you do your work. Turn the head in the
-opposite direction and model the other side, keeping the face evenly
-balanced. Continue turning your work little by little, until each
-outline it presents is as near as you can get like the corresponding
-outline of your model, and then work up the detail.
-
-In modelling any object the same process, of viewing the model from all
-points, must be gone through with.
-
-Do not strive to obtain a likeness at first, but be careful to have all
-of your outlines correct, and the likeness will come of itself.
-
-
-=How to Model in Wax.=
-
-Modelling-wax prepared at home is much better than any that can be
-purchased. The following recipe is a very good one:
-
-
-=Modelling-wax.=
-
-    1 pound pure yellow beeswax.
-    ½ pound corn-starch.
-    4 ounces Venice turpentine.
-    1½ ounce Venetian red powder.
-    ½ ounce sweet-oil.
-
-Put the wax on the stove in a saucepan and let it melt; _take off_ and
-pour in the turpentine. Never attempt to add this while the wax is near
-the fire, as it is extremely dangerous. It is a good idea, when buying
-the ingredients, to have the oil and turpentine put in the same bottle
-(which should have a wide neck), then they can be poured into the wax
-at the same time. Warm the bottle of oil and turpentine in hot water to
-soften before mixing with the wax. Keep stirring all the time. Pour in
-the corn-starch and Venetian red. When the corn-starch is dissolved the
-wax is ready for use.
-
-[Illustration: Bas-relief Figure in Wax.]
-
-Modelling-wax is much more expensive than clay; it is used principally
-for small objects and those that require fine workmanship. It is quite
-useful for sketchy work, as it may be carried about almost like a
-sketchbook, and being so much cleaner than clay, it can be used even in
-the parlor without damage to table or carpet. With the wax on a small
-board one can sit at a table and work very comfortably. The tools for
-clay modelling may also be used for wax; probably the smallest will be
-most useful.
-
-[Illustration: Bas-relief Head in Wax.]
-
-As cold weather advances, we like to pass the evenings in some
-agreeable occupation, that may be carried on without disturbing the
-family group around the fireside. For such occasions, modelling in
-wax will make a pleasant pastime. Sitting quietly, taking part in the
-general conversation, or listening while someone reads aloud, one may
-model the wax into many pretty forms to be preserved afterward in
-plaster, or, obtaining a profile view, a likeness of one of the group
-may be done in bas-relief. If a slate is used to work on, it will make
-a good foundation, and the head can first be drawn on it in outline
-and the wax built over it, using the drawing as a guide. The slate is
-smooth and firm, and it is a good idea to use it as a foundation for
-all wax bas-relief, especially when plaster casts are to be taken from
-the modelling, for in that case the panel forming the background must
-be perfectly even.
-
-[Illustration]
-
-[Illustration: Making Plaster Casts.]
-
-
-
-
-CHAPTER XXV.
-
-HOW TO MAKE PLASTER CASTS.
-
-
-IT is not at all difficult; anyone can succeed in it who will take the
-pains to follow carefully the directions given here for making plaster
-casts. Without the knowledge of drawing or modelling you can in this
-way reproduce almost any article in a very short time.
-
-Casting in plaster is really so simple a process that even a child can
-soon learn to manage it nicely.
-
-You will need a board, about a foot and a half square, upon
-which to work, fifteen or twenty pounds of clay, five pounds of
-plaster-of-Paris, a cup of warm melted lard, and several small wooden
-pegs; these can be made of wooden tooth-picks or matches broken in two.
-
-Select an object with few angles and a smooth surface to experiment on;
-a firm round apple will do. Rub the lard all over the apple until every
-particle is greased; then lay it in the centre of your board. Take some
-clay and pack it around it just as high as the middle of the apple,
-forming a square, as in Fig. 168. Smooth the clay off on the edges and
-stick pegs in diagonal opposite corners (Fig. 168); then with more clay
-build a wall close around the apple and its case, making the sides
-one inch higher than the top of the apple (Fig. 169). Put a cupful of
-clear water into a pan or dish, and stir in enough plaster of Paris to
-make it like batter; pour the plaster over the apple, filling the clay
-box to the top. This makes a half mould of clay and a half mould of
-plaster.
-
-[Illustration]
-
-When the plaster is hard, which will be in a very short time, pull away
-your clay wall, and take out the apple and half plaster mould together,
-lifting the apple from its half clay mould.
-
-Remove the clay from your board and set the plaster mould containing
-the apple in the centre. Rub lard over the apple and upper edge of the
-mould, build around it the clay wall, as you did the first time; roll a
-small piece of clay into a slender conical shape and stand it upright
-on top of the apple, as in Fig. 169. This will make a hole through
-which to pour the plaster when filling the completed mould, and it must
-stand high enough to reach above the top of the clay wall.
-
-Pour the plaster over the apple as at first, and let it set or harden.
-Take away the wall of clay once more, and carefully separate the two
-parts of the mould with the blade of a table-knife; remove the apple,
-and all is ready for the final cast which is to produce your plaster
-fruit (Fig. 170).
-
-Thoroughly grease the inside of your mould, fit the two parts together,
-and wrap and tie them with string to hold them in place.
-
-Pour in the plaster, through the hole left in one-half of the mould,
-until it is quite full; then gently shake it to send the plaster into
-all small crevices.
-
-Let your mould stand without moving again until sufficient time has
-elapsed for the plaster to harden; then gently separate the two parts
-and you will find a perfect cast of the apple.
-
-The ridge made by the joining of the mould you must scrape off with a
-sharp knife, or rub with sand-paper.
-
-In taking casts of almost any object not too complicated, this same
-method must be employed. The only difficulty lies in deciding just
-where to place the dividing-line, which must be exactly at the broadest
-part of your model, otherwise you will break your mould in taking the
-object out.
-
-In casting a hand the clay must be built up around each finger to
-precisely its widest part; therefore it is a good plan, before
-commencing, to mark on the hand, with a fine paint-brush and ink, the
-line that is to be observed.
-
-When making casts of long objects, or those that are larger at one end
-than the other, such as vases, always lay them on one side, as a much
-better mould can be obtained in that way.
-
-I have read that if milk-and-water is used for mixing the plaster, or,
-after the cast has hardened, if a little oil, in which wax has been
-dissolved, be applied to the surface, it will take a high polish; and
-if left for a while in a smoky room it will acquire the look of old
-ivory.
-
-The same writer also states, without giving the proportions, that
-liquid gum-arabic and sufficient alum in solution, mixed and put into
-the slip or soft plaster, will make the cast so hard that it can be set
-as a panel in a cabinet.
-
-The dead white of plaster-casts is frequently objected to when they are
-wanted for ornaments; but that difficulty is easily overcome by mixing
-dry colors with the plaster before wetting it.
-
-[Illustration]
-
-A small quantity of yellow ochre will make the plaster creamy or
-ivory-like; brown will give a wood color, and red a terra-cotta.
-
-Plaster-casts can also be bronzed with gold, red, or green bronze,
-which makes quite handsome ornaments of them. A plaster panel in
-bass-relief, bronzed with gold bronze and mounted on black or
-dark-colored velvet, is an exceedingly rich wall decoration.
-
-To mount a panel of this kind you must first secure a smooth, flat
-piece of board, not more than half an inch thick, and just large enough
-to allow about four inches of the background to show all around the
-panel when it is mounted. Cover the board with velvet or velveteen,
-bringing it smoothly over the edges, and tacking it down at the back.
-Fasten on it a small brass hook. Fig. 171 is the best kind to use,
-which is tacked to the board with small, brass tacks.
-
-Make a ring or loop for hanging the panel in this way:
-
-Take a piece of wire about three inches long, form a small loop in the
-middle, and give the wire several twists; then bend the ends out on
-each side.
-
-Scrape a narrow place in the top edge of the panel, just long enough
-to admit the wire, and about half an inch deep; then place the wire in
-this little ditch and fill up the hole to the top with soft plaster.
-When this hardens the ring will be quite secure. Fig. 172.
-
-[Illustration]
-
-
-
-
-CHAPTER XXVI.
-
-CHINA PAINTING.
-
-
-CERTAINLY you can paint on china; have confidence, and do not hesitate
-because you may never have studied art, but select the china you wish
-to decorate and we will go to work. First, take what is needed for
-present use from the following
-
-
-=List of Materials.=
-
-
-PALETTE.
-
-A common square, white china tile is the best palette for mineral
-colors; but in case you have no tile, an old white plate will answer
-the purpose.
-
-
-BRUSHES.
-
-These are of camel’s-hair, Figs. 173 and 174, are broad and flat, and
-are used in placing the color on the china when the surface is to be
-tinted. Fig. 175 is for blending the color after it is on the china; it
-is called a blender, and is useful where borders and surfaces are to
-be tinted. Figs. 176 and 178 are for general use. Fig. 177, with its
-long, slender point, is for gilding, another similar brush is needed
-for India-ink. Mark the two brushes in some way to distinguish them
-one from the other, and never use either for any paint except that for
-which it is intended. Fig. 179 is a stipple for blending the colors
-when painting a face, a fish, the sky of a landscape, or wherever
-delicate, fine blending is needed.
-
-[Illustration: Brushes for China Painting (about one-half actual size).]
-
-To clean the brushes after using: dip them in turpentine and wipe off
-the paint on a cotton cloth, repeating the operation until the brushes
-are perfectly clean; then dip them in fat oil, and bring them out
-smooth to a fine point. Do not allow the brushes to become bent over,
-if the box is not long enough for them to lie out straight, remove the
-quills from the wooden handles and they can easily be replaced when
-needed. Should the brushes seem a little stiff at the next painting,
-immerse them in turpentine; this will make them soft and pliable.
-
-To save the expensive gold paint, the gilder should be kept exclusively
-for gilding, and need not be cleaned, as it will not be injured if the
-hairs are carefully straightened out and the brush put away with the
-gold.
-
-
-KNIVES.
-
-Fig. 180 is a horn palette-knife for mixing Lacroix white, the yellows,
-and all such colors as are injured by contact with metal. It is the
-only knife used with the mat paints for Royal Worcester decoration.
-Fig. 181 is a steel palette-knife for general use. Fig. 182 is a steel
-scraper for removing paint from the china when necessary. Always clean
-the knives after mixing one color, before using them for another.
-
-[Illustration: Horn Palette-knife. Steel Palette-knife. Steel Scraper.
-
-(Reduced sizes.)]
-
-
-PAD.
-
-This is made of a ball of cotton tied in a piece of soft lining-silk,
-fine linen, or cotton-cloth (Fig. 183) and is used for tinting.
-
-[Illustration: Printer’s Pad.]
-
-
-THE PAINTS
-
-are Lacroix’s colors; they come in tubes and should be squeezed out
-on the palette and used as in oil painting, with a little turpentine
-and fat oil when desired. To moisten the colors while painting dip
-your brush, carefully, without shaking or moving it around, into the
-turpentine or oil, and then in the color. Allow the paint to lie on the
-palette as it comes from the tube, except when two colors are mixed,
-or when using the stipple for blending one tint with another, or when
-tinting, then the paint must be mixed and rubbed down with oil and
-turpentine. Keep the colors in a _cool_ place, and when returning them
-to the box, after you have finished painting, do not lay them back on
-the same side. Always remember to turn them over so that the color
-will not separate from the oil. If you are careful and follow these
-hints, your colors will keep in a good condition. We would advise
-you to purchase the paints as they are needed, thereby avoiding all
-unnecessary expenditure.
-
-
-OILS.
-
-Fat oil is for general use in painting. Clove oil is used in its place
-when two or more tints are to be blended together, as in painting a
-face, etc. Capavia oil is always mixed with the colors for grounding.
-
-
-TURPENTINE
-
-is in constant demand in china painting. It is used with all the
-different oils, paints, bronzes, and gilt, and should be poured in a
-small cup or any little vessel, and kept convenient while painting.
-
-
-TAR PASTE
-
-comes in bottles, and is used to take the color off of tinted
-backgrounds, in order to leave a clean surface of the china in which to
-paint the design in different colors. The paste should be rubbed down
-smooth on the tile with the palette-knife; if it is too hard, a little
-tar oil may be added. A small brush is best to use for the paste in
-covering the design you wish to wash out; but be very careful to keep
-within the outlines, for this mixture will take off the color wherever
-it touches. When the tint is light the paste may be wiped off in a few
-moments; but when it is dark, the paste must be allowed to remain on
-for perhaps hours before the paint will be sufficiently softened to
-remove.
-
-Use small balls of raw cotton-batting in wiping off the paste, and take
-a fresh piece for every stroke. If any of the tar paste is left on the
-tile after using, scrape it off with your palette-knife, and return it
-to the bottle.
-
-
-MAT GOLD
-
-is for gilding, and can be either burnished or highly polished. It
-comes on a little square of glass inclosed in a box. This gold can
-also be used as solid ornamentation or for delicate tracery, and is
-sometimes used over colors, greens excepted, but is then never so
-bright as when on the plain white china.
-
-The gold is prepared for painting on a tile kept expressly for the
-purpose, and which must not be used for any other paint. Place some
-of the gold on the palette with your palette-knife, and mix a little
-turpentine with it by dipping your palette-knife in the turpentine and
-rubbing down the gold with the turpentine on the knife. If more is
-needed, again dip your knife in the liquid, and do so as often as it is
-necessary; but you must use the utmost care not to have the gold too
-thin; gild with it as stiff as it can be smoothly applied.
-
-Should any gold remain on the palette after the gilding is
-finished, mix in a little turpentine and scrape it all up with your
-palette-knife, then replace the gold on the square of glass.
-
-Silver is used the same as gold.
-
-The bronzes are for handles and conventional flowers or figures; they
-are rich and pleasing in effect.
-
-
-PURE GOLD
-
-cannot be employed for gilding plain white china. It also comes on a
-little square of glass and is used for gilding over colors. It can
-be applied over any mineral paint or relief, and may be polished or
-burnished as desired.
-
-This gold is mixed with turpentine, for use in the same manner as mat
-gold.
-
-
-RELIEF.
-
-The best is mat relief, which comes in a powder, and is used for both
-tube and mat colors. It is prepared by mixing with a very little fat
-oil and turpentine, and should be applied stiff enough to make a raised
-line. It is useful where a small raised surface is desired, as on
-the edge of a leaf or the petals of flowers. A fish-net is much more
-effective if the gilt be put on over the relief. Should the relief dry
-and become too stiff while using, soften it from time to time with a
-little turpentine, always using the horn knife for mixing, as the steel
-knife should never be used with the relief, and the relief must always
-be fired before the gilt is applied.
-
-Enamel white can be mixed with delicate tints, turpentine, and a very
-little fat oil for raised flowers; or the white alone may be used for
-pearls, imitation of lace, or embroidery, but its use is limited and it
-will not stand two firings, so should always be the last paint applied.
-
-
-MAT COLORS
-
-are for Royal Worcester decorations. They come in powders, and when
-mixed with a little oil and turpentine are used in the same way as the
-Lacroix tube paints.
-
-
-BOX FOR MATERIALS.
-
-Select a light wooden box, or one of strong pasteboard; have the box of
-a convenient size to contain all your painting materials.
-
-
-PIECES OF SOFT, OLD MUSLIN,
-
-torn in different sizes, and plenty of them, are very essential for
-cleaning brushes and rubbing paint off the tile or china; the demand
-for clean pieces will be constant while painting.
-
-
-CHINA.
-
-Have this of the very finest French ware, without spots or other
-imperfections of the surface, and never attempt to decorate china after
-it has been used, for it seldom proves satisfactory.
-
-
-=A Monochrome Painting.=
-
-For this we will need a tile, a pad, a broad flat brush (Fig. 173),
-some turpentine, capavia, two tubes of paint—one copper-water green,
-the other brown green—a palette-knife, and some pieces of cotton cloth.
-Now be sure your china is perfectly clean and dry, then mix your
-copper-water green for
-
-
-=Tinting.=
-
-Place enough color on your palette to cover the entire surface to be
-tinted; dip your palette-knife in the capavia oil and tap it off the
-knife on the tile; in the same way place turpentine on the tile with
-the oil, and use your palette-knife to _thoroughly_ mix the paint, oil,
-and turpentine. If the mixture seems too stiff add a little more oil
-and turpentine, but be careful not to have the paint too thin so that
-it will run; test its consistency with a brush on a clean place on the
-tile.
-
-As a rule, the proportions for tinting should be five drops of paint to
-three of capavia, mixed with a little turpentine.
-
-The paint being prepared, take the flat brush and begin to paint;
-rapidly cover the entire surface with color. Then go over the tinting
-with a pad, touching lightly and gently, not letting the pad rest
-a moment on the paint, nor touching it twice in the same place in
-succession. Continue going over and over it until the grounding is even
-and of a uniform tint. Then set the china away to dry, in a safe place,
-where it will be free from dust. Always make a fresh pad every time
-you tint, and a separate one for each color used, as a pad cannot do
-service more than once.
-
-All tinted grounds and borders are made in this way, the capavia oil
-and turpentine being mixed with any of the grounding colors you may
-wish to use. Tinting is very easily and quickly done; but should
-anything happen to spot or mar the evenness of the grounding, the paint
-must all be washed off with turpentine, and the china tinted over again.
-
-When your green-tinted china is perfectly dry, gather some maple leaves
-and with the brown-green paint try a
-
-
-=New Method of Decorating China.=
-
-The leaves must be free from dust and moisture and perfectly fresh.
-Place a small quantity of paint on the palette, do not mix the paint
-with oil or turpentine, but rub it down well on the tile as it comes
-from the tube; make the paint perfectly smooth, now press a small
-clean pad down lightly, lifting and again pressing until the paint is
-smoothly distributed on the pad; next select a leaf and place it face
-or right side downward on a piece of folded newspaper, then press the
-pad down on the under side of the leaf, which is now lying upward,
-repeating the operation until the leaf is sufficiently covered with
-paint. This done, carefully place the leaf painted side downward on
-the china, over it lay a piece of common wrapping-paper, and rub your
-finger gently all over the covered leaf. Then remove the outside paper
-and very carefully take up the leaf, when an exact impress of the
-natural leaf will be printed on the china. Repeat the operation with
-another leaf either larger or smaller, and still another, using as many
-as you wish; connect the leaves to a central branch by making the stems
-and branch in the same color with a small paint-brush. To do this paint
-a long line for the branch and other smaller ones for the stems of the
-leaves. Set the china away to dry, and it will be ready for firing.
-Very pretty effects may be secured by using two shades of one color for
-the tinting and designs. First tint the china, and when it is perfectly
-dry, ornament it with the same paint in the manner described, making
-the ground of a lighter tint than the decorations. The colors of fall
-leaves can be used on white china, or you may make the combinations and
-designs of whatever is most pleasing.
-
-It is well to have some idea of what your decoration is to be like
-before commencing with the leaves. If you desire a spray, try to place
-the leaves as they are on the natural spray, or as represented in
-some picture taken for a guide. The prints also look well used in a
-conventional style. As any kind of leaves or grasses that will print
-can be employed, your decorations will always be original and true to
-nature.
-
-Flowers are more difficult to print, yet when the impressions are
-successful they are very beautiful.
-
-You will find this new idea an interesting method of ornamenting china,
-while the decorations may be made in much less time than is usually
-required. The style is suitable for dinner-sets, vases, tiles, plaques,
-and lamps, and it requires no knowledge of drawing or painting to
-decorate china in this simple yet effective manner.
-
-
-=Tracing.=
-
-Lay a piece of tracing-paper over the design to be copied and trace
-the outlines very carefully with a hard lead-pencil. Then have your
-china perfectly clean and dry, and give it a wash all over with a
-clean cotton cloth wet with clear turpentine. Place a piece of red
-transfer-paper on the china, and having determined exactly where you
-wish the design, lay the tracing-paper over the transfer-paper on the
-space for decoration. Use bits of gummed paper on the corners of the
-transfer- and tracing-paper to hold them in place, and carefully go
-over the lines with a lead-pencil, remove the papers, and the design
-will be clearly outlined on the ware. Now rub a little India-ink on a
-common individual butter-plate of white china, and using a fine brush,
-very carefully paint over the red marks with the India-ink, making your
-lines as distinct and delicate as possible. When this is finished,
-again wash the china with turpentine to remove any of the red coloring
-which may be apparent on its surface. Thus prepared the design can be
-painted, or the china may first be tinted and allowed to dry, when the
-outlines will be plainly visible through the tinting, and the color can
-be removed from the design with tar paste. Use the scraper to take the
-grounding off of minute spaces. For those skilled in drawing it will
-not be necessary to trace the design, as it can readily be sketched on
-the china with a lead-pencil after the ware has first received a coat
-of turpentine, and when tinted the decoration can be drawn on after the
-grounding has thoroughly dried, and the color may be removed as before.
-
-
-=Mottled Grounds.=
-
-Prepare the paint as for tinting, only make it more moist, and dab it
-lightly over the china by means of a piece of cotton cloth on the end
-of your finger; this will give the china a mottled appearance which in
-some cases is preferred to the plain grounding.
-
-
-=Snow Landscape.=
-
-We will take for example Fig. 184.
-
-[Illustration: _Fig. 184_]
-
-After tracing the design, paint a streak across the sky, just back
-and a little above the trees, with carnation No. 1 mixed with clove
-oil and turpentine, then another narrow streak above it of a lighter
-shade, and another still lighter of the same color, allowing each
-tint to meet. Next mix light sky-blue with clove oil and turpentine,
-and paint as deep a tint as it will make across the sky at the top of
-the plate, graduating it down to the red; use the stipple immediately
-while the paint is wet to blend the colors and tints; this finished,
-make the reflections on the ice, beginning with carnation No. 1 for
-the ice nearest the castle, and ending near the bottom of the plate
-with the deepest shade of light sky-blue, using the colors mixed for
-the sky. Paint the foliage in the background with neutral gray and
-sky-blue mixed with turpentine and fat oil for the darker tones, and
-turquoise-blue with neutral gray, turpentine and fat oil for the
-lighter parts, also for shading the darker portions of the snow. Then
-take brown No. 4 as it comes from the tube, with a little turpentine
-when necessary, for the shading of the trees in the foreground, the
-outlining of the castle, and the tufts of grass and edges of the ice in
-places where the copy requires it.
-
-Leave the white china for the high lights and the white snow on the
-roof of the castle, on the trees, and here and there on the ground.
-
-Paint the castle with neutral gray and yellow ochre mixed with
-turpentine and fat oil, and its windows with brown No. 4, using the
-color as it comes from the tube. Now allow the plate to dry and then
-have it fired, after which mix carnation No. 1 with clove oil and
-turpentine, and touch up the sky and reflections on the ice, using
-the stipple if necessary; then mix light sky-blue with clove oil and
-turpentine and paint the sky where that color is required and the light
-shadows on the snow; then take yellow ochre for portions of the trees,
-places in the foreground, and touching up the castle; mix this color
-with fat-oil and turpentine.
-
-Again strengthen the trees and other places, where the painting
-requires it, with brown No. 4, unmixed, except with a little turpentine
-when necessary; for the last touches mix relief-white with fat oil and
-clean turpentine, using the horn-palette knife always when mixing the
-white; this is to be laid on, in little raised places, where the snow
-is whitest on the ground and where the snow has lodged in the trees.
-
-Now inclose the snow scene with a gilt band, using the stipple to make
-an uneven edge of gilt on the surrounding white rim; the gold next to
-the picture must be perfectly smooth and even; put this on with your
-fine long-haired brush; then make a similar band on the edge of the
-plate and it will be finished and ready for its last firing.
-
-Almost any snow landscape with a sunset sky may be painted in this way.
-
-Often you can find Christmas cards which will furnish very good copies.
-
-[Illustration: _Fig. 185_]
-
-
-=How to Paint a Head on China.=
-
-Select a pretty copy from some photograph, as in Fig. 185; very
-carefully trace the head on a plate and go over the lines with Indian
-ink; next give the plate another wash with turpentine, to remove all
-remains of the color from the transfer-paper; then mix thoroughly
-two parts of carnation No. 2 with one part of ivory-yellow, adding a
-little turpentine and clove oil; give the face and neck a wash with
-this color and touch up the cheeks with carnation No. 1 mixed with
-clove oil and turpentine; now lay on the shadows with neutral gray,
-five parts, mixed with deep chrome-green, one part, using clove oil and
-turpentine in mixing the colors; last, the deepest shadows with brown
-No. 4, two parts, to one of ivory-black, mixed together with clove oil
-and turpentine, and immediately before any of the paint dries use the
-stipple to blend the colors, making the face round out and have the
-blending soft and true to nature; set your copy before you and try to
-have the shadows on the face you paint correspond exactly with those in
-the copy.
-
-Now leave the face and neck, and place some brown No. 4 on the tile;
-do not mix it with anything; use it as it comes from the tube, dipping
-your brush in turpentine when it becomes necessary to thin the paint a
-little; with this paint the shading of the hair and follow with your
-brush, as nearly as possible, the sway of the masses. That finished,
-paint the eyes, eyebrows, and nostrils with brown No. 4 and ivory-black
-mixed together as they come from the tubes, using when necessary a
-little turpentine; then mix a little carnation No. 1 with fat oil for
-the lips. Next turn your attention to the drapery; shade the white
-material with gray No. 1, unmixed, and gray No. 2 for the deeper
-shadows, mixed with fat oil and turpentine.
-
-For the handkerchief on the head mix emerald-green with fat-oil and
-turpentine; put it on in a light tint, so that the handkerchief can be
-shaded, when dry, with the same color.
-
-When the plate is dry, it is ready to be fired. After it has been fired
-touch up the shading on the face and neck with two parts of carnation
-No. 2 mixed with one of brown No. 4, using clove oil and turpentine
-while mixing; and for the deepest shadows mix two parts of brown and
-one of ivory-black together with clove oil and turpentine. This must
-be put on carefully, so that the shadows will not be too dark. Use the
-stipple to blend the shadows; then give the hair a wash of yellow ochre
-all over, and touch up the handkerchief on the head with emerald green,
-the same you used before.
-
-For the background of the head mix light coffee, turpentine, and
-capavia oil; make it an even tint with the blender (Fig. 175); the
-brush must be clean and dry, and used in the same manner as the pad in
-tinting, then, for the outer border, mix celestial-blue with capavia
-and turpentine, and with your large flat brush paint the border and
-blend it to an even tint with your pad. When this is finished wipe off
-the paint around the edge as evenly as possible, so that the bare china
-may be left to receive a band of gold. Roll up a piece of white cotton
-cloth into a small point and with this remove the paint around the
-inner edge of the blue border, making an even narrow white band; this
-is also to be gilded.
-
-On a clean tile mix the mat gold with turpentine, and using the
-slender, fine, long-haired brush, carefully cover the white bands of
-china with gold; when this is finished the plate is ready for the
-second and last firing. If a fairer complexion be desired, make the
-flesh-tints of the same colors, only lighter in tint; try the paint on
-the edge of the tile until the tint is correct. Always try your colors
-this way when painting any design. For blue eyes use sky-blue shaded
-with black; the high light of the eye may be left the white of the
-china. If you wish the hair very light, take ivory-yellow and shade
-with sepia and black.
-
-Once more we say, be _very_ careful in tracing not to get the head or
-features out of drawing, as so much depends upon the correct outlines.
-Before sending china to be fired, paint in small figures the date on
-which it was decorated and add your name or initials.
-
-
-=How to Paint a Carp, Sea-weed, and Fish-net on China.=
-
-Having traced in your design very carefully, mix one part of neutral
-gray with two parts of sky-blue, some clove oil, and turpentine; with
-this paint the upper edge of the back of the fish dark, graduating to
-white along near the centre of the fish; stipple this so that it will
-look even, soft, and rounding, keeping it dark on the edge and tinting
-down to the white china; paint the tail and dorsal fins a flat tint
-of gray No. 2 mixed with fat oil and turpentine; then mix carnation
-No. 2 with fat oil and turpentine for a flat tint on gills, mouth, and
-ventral fin; shade the mouth with the same color and paint the anal and
-pectoral fins a flat tint of carnation No. 2 mixed with sepia; when dry
-shade with the same color, and also shade the gills and fins painted
-carnation with carnation, and the dorsal fins and tail shade with
-ivory-black mixed with fat oil and turpentine; try the paint with your
-brush until you get rather a gray tint instead of black, and use this
-for the shading; now paint the rows of spots along the back of the fish
-ivory-black, making the dots smaller as they approach the tail; and
-with your eraser take the paint off of the eye, leaving a clean white
-spot of china; paint a fine circle around this in ivory-black; then
-paint a portion of the eye black, leaving the white china for the high
-lights; in painting the scales and lower part of the fish use gray No.
-1 as it comes from the tube, mark an outline of gray along the lower
-edge of the fish and stipple it off in the white, remembering this gray
-must occupy only a narrow line along the lower edge of the fish.
-
-[Illustration: _Fig. 186_]
-
-[Illustration: _Fig. 187_]
-
-Commence to mark the scales in gray No. 1 by making a line of them
-with a fine-pointed brush downward across the body of the fish (Fig.
-186) and this will be a guide to build out from (Fig. 187); after the
-painting has thoroughly dried begin again by marking, on the head and
-around the eye, the tiny scales in gray No. 2, with a little fat oil
-and turpentine, and paint a line along the upper edge of the head and
-back with brown No. 4, and another lighter line of the same color
-along the back just below and adjoining the first one; paint the eye
-and markings on the head brown and strengthen the tail and dorsal fins
-with gray No. 2; touch up around the gills with sky blue, also with
-yellow ochre where the copy requires it. Then turn your attention to
-the sea-weeds; mark the thread-like branches of these in different
-colors, using carnation, brown No. 4, gray No. 2, and brown-green;
-paint each weed in one color, place the sea-weeds on one side or corner
-of the plate, making them branch out this way and that, as in nature.
-Now clean off your palette and mix some mat relief for the fish-net,
-which is to be placed over and across a portion of the plate; with a
-lead-pencil mark the netting on the plate, but do not touch the fish;
-then with a very fine brush follow the markings with the relief, when
-it is necessary to paint across the fish, your eye and the copy must
-be your guides, as it would take the paint off the fish to attempt any
-marking on it. The relief on the fish cannot be altered, so be careful
-to have it correct the first time. Should the line of relief be too
-broad in other places, remove it with your scraper and make another
-trial. When the plate is perfectly dry it must be fired, after which
-put in a background of warm gray mixed with capavia and turpentine;
-bring this to an even tint with the blender, and if any paint blends
-over on the fish wipe it off while the color is damp; also remove
-the paint from the netting and set the china away to allow the color
-to thoroughly dry; next paint broad sweeps across the plate, but not
-over the fish, with gray No. 2 mixed with fat oil and turpentine, to
-represent the different tints of the water, and again remove the paint
-from the net; now touch up the sea-weed and the fish where they need
-strengthening, then give the fish a very light wash of gray No. 1.
-
-Here and there along the upper edges of the water colored gray No. 2
-make a very fine line with enamel or relief-white mixed with a little
-fat oil and turpentine; gild the fish-net, using either pure gold or
-mat gold, cover the relief carefully with the gold, and put it on thick
-but in fine lines; this accomplished, finish by gilding the edges of
-the plate with mat gold, and when dry send it to be fired. To avoid
-mistakes when sending china to be fired, state whether you wish the
-gold burnished, dull, or polished.
-
-
-=Foliage on China Made With a Sponge.=
-
-Prepare the paint with fat oil and turpentine, rub it down smooth, then
-with a small sponge apply the colors, using different shades as the
-first dry, and touching up afterward with a brush; in this way you can
-also paint backgrounds which cannot be made with the brush.
-
-
-=Mixing Colors.=
-
-The best way to paint with safety when you are in doubt what colors
-will mix, is to test them yourself. For this purpose take a French
-china plate and make experiments with different colors on the plate;
-at the same time write down a memorandum of the paints used and of
-those mixed, have the plate fired; then paste your memorandum on the
-back. Use this for reference, and with experience will come the full
-knowledge of the use of all the paints.
-
-
-=Royal Worcester Ware=
-
-is very delicate and dainty and something quite novel for amateurs in
-the way of china decorations.
-
-Very beautiful pieces of this ware may be seen now in all the leading
-china establishments in New York City, and so choice is it that even
-some of the largest jewelry stores have rare Royal Worcester vases
-among their most valuable articles on exhibition.
-
-We know of no book that teaches this art of decoration, and although we
-have seen some amateur work which only an expert could distinguish from
-the genuine article itself, we think our exposition of the method is
-the first of its kind printed in this country; and girls, if you would
-know the secret, so that you also may be able to paint and gild in this
-beautiful fashion, you have only to listen while the writer tells how
-to decorate a Royal Worcester vase as she did; then you will have a
-practicable and detailed method which we know to be good, having tried
-it.
-
-[Illustration: Fig. 188.—Royal Worcester Vase.]
-
-Select a vase of the finest French china, and be sure that it is
-perfectly clean, dry, and free from dust. Then with a clean white
-cotton cloth give the vase a wash all over with clear turpentine,
-and having chosen your design, make a tracing of it on the vase, and
-it will be ready for grounding. Mix enough mat lemon-yellow to cover
-the entire surface of the vase. First place a little of the powder on
-the tile, then dip your palette-knife in the capavia oil and tap it
-off on the tile; in the same way drop turpentine on the tile with the
-oil. Use a horn palette-knife and _thoroughly_ mix the paint, oil, and
-turpentine; if the mixture seems too stiff, add a little more oil and
-turpentine, but be careful not to have the paint too thin, so that it
-will run; try the paint with a brush on a clean place on the tile to
-see if it is of the right consistency and shade; do not let the color
-be too intense; it should be of a delicate tint, and if it is too dark
-add a very little more oil. Take a broad, flat brush and begin to paint
-at the top of the vase, passing around with short strokes rapidly over
-its whole surface; go over the tinting with a pad, touching lightly and
-gently; then set the vase away to dry in a dry place free from dust.
-The Indian-ink outlines will be plainly visible through the paint, and
-when the grounding or tinting has _thoroughly_ hardened, to remove the
-color from the design, mix a little of the tar paste upon a clean tile
-by working it with your palette-knife until it is smooth. Use a small
-brush and go over the design with this mixture, covering every part
-except the stems and fine grasses; be very careful not to go outside of
-the lines. When the design is all painted with the paste, begin at that
-first covered and wipe off the tar paste with small pieces of cotton
-batting rolled into little balls, using a fresh wad for each stroke;
-clean it all off carefully and the vase will present vacant white china
-spots where the flowers, leaves, and bird are soon to appear. For a
-guide we will take Fig. 188. Now mix a little mat pink with fat oil and
-turpentine in the same way you prepared the grounding yellow, only this
-time fat oil takes the place of capavia; use the horn palette-knife as
-before; the steel knife should never be used with the Royal Worcester
-colors, as the metal is apt to rub in with the paint, dulling and
-spoiling the colors. Paint all the flowers a flat tint of light pink.
-Always try the color first on the tile until you have the desired
-shade. By the time all the flowers have received their tint of color,
-those first painted will be dry enough for shading. Observe attentively
-the copy, and notice where the different flowers are shaded; then shade
-yours with the same color, following as nearly as possible the copy
-before you.
-
-For painting the leaves, mix separately with turpentine and fat oil,
-mat light yellow-green, mat dark-green, and mat blue green. These
-colors can be used separately or any two mixed if desired. Shade the
-leaves with mat yellow-brown mixed with the different greens. Paint
-the body of the bird a flat tint of mat gold-yellow and the top of its
-head and back green; the edges of wing and tail and eye must be of mat
-black. When the bird is dry, shade its breast with broad sweeps of mat
-gold-yellow, according to the copy; then mix black with yellow-brown
-for the other shading on the bird’s breast, and mix black with blue for
-painting and shading the wings and tail.
-
-While the paint is drying on the vase mix the mat relief for the raised
-edges of bird, flowers, and stems. Mix the relief with turpentine
-and fat oil, making it as stiff as it can be used. With a very fine
-brush outline the bird, its wings, and tail; also a few strokes on its
-breast, tail, and back; be sure the relief is stiff enough to make a
-fine raised line; then outline the flowers and the stems; the leaves
-are not raised on the edges. When this is finished the vase is ready
-for its first firing. Allow the ware to become perfectly dry before
-sending it to the firers.
-
-As great care should be taken with the firing of royal Worcester china,
-send your vase to the most reliable firers you know of, and when it is
-fired and returned, all that remains to be done is to carefully gild
-the vase. Mix pure gold with turpentine, but do not have it too thin,
-as the gold should be applied as thick as possible. For fine gilding
-use a fine small brush with long hairs; this will make a distinct
-thread-like line; first cover all the relief with the gold, next
-outline the leaves, veining them if necessary; then with thick gold
-make your grasses according to the copy. When the gold becomes too
-stiff work in a little more turpentine. After you have finished this
-gilding, mix some mat gold with turpentine and gild the top rim of the
-vase; use the small stipple brush cut off square at the end (Fig. 179),
-and bring the border down unevenly along its lower edge, making it the
-same way on the inside of the vase; then with the fine long-haired
-gilder cover the upper edge of the vase thick with gold. This finished,
-gild the bottom of the vase in like manner and make the handle solid
-gilt; after it is all dry the vase is ready for its second and last
-firing, and when it returns again from the firers you will have a piece
-of beautiful Royal Worcester ware similar to that seen at Tiffany’s.
-
-The mat colors used, remove all the gloss from the china, and when
-mat lemon-yellow forms the grounding, the china comes from the firing
-having the appearance of beautiful decorated ivory without any glaze.
-
-This ware must be seen to be appreciated, and is suitable for vases
-and ornaments, but the Royal Worcester colors cannot be used on table
-china, for any grease coming in contact with the colors would spoil
-them.
-
-Exquisite little vases of all shapes are decorated in this manner; the
-delicate gold tracery and outlining brings the designs out effectively.
-In this style of painting the decoration is more conventional, and does
-not require the same amount of working up and shading, but is as a
-rule, treated simply, flat tints with a little shading being all that
-is required. Almost any floral design can be used on royal Worcester,
-when outlined with relief and gold; there are, however, copies which
-come expressly for the purpose.
-
-[Illustration]
-
-
-
-
-CHAPTER XXVII.
-
-A CHAPTER ON FRAMES.
-
-
-AFTER the foregoing chapters on drawing and painting, it is surely our
-duty to provide the means of framing the various pictures which we hope
-will be the result of their teachings. Unframed, a picture is apt to
-be tucked away out of sight, or it becomes rumpled and spoiled when
-left lying about, and a picture-frame, as a rule, is quite an expensive
-article; but with a little ingenuity and good taste almost any girl may
-manufacture frames, if not of equal finish, at least as durable and
-quite as artistic as any the dealer can produce.
-
-The cost? The cost is the price of a wooden stretcher and a bottle of
-gold paint.
-
-The first sketch shown here (Fig. 189) will give some idea of the
-appearance of a frame decorated appropriately for a marine picture. The
-articles necessary for this frame are a stretcher, some rope, a piece
-of fish-net, several dried starfish, and gold paint. The stretcher
-must first be gilded; then the rope, upon which the fish-net has been
-strung, should be fastened with small tacks around the outer edge,
-joining it at the corner, where the starfish will hide the ends. The
-net must be large enough to drape gracefully across one corner, along
-the top, and fall a short distance down the other side of the frame.
-When the starfish, graduating in size, are tacked around the draped
-corner, and they, as well as the rope and net, are given a coat of
-gilt, a pretty, unique, and substantial frame is the result.
-
-If starfish are not to be had, sea-shells may be used instead (these of
-course will have to be glued in place), and if fish-net is also out of
-reach, a piece of fine netted hammock can be used as a substitute.
-
-[Illustration: Original Design—Marine Picture Frame.]
-
-For the benefit of those who spend their summers at the sea-shore where
-such things are obtainable, I would advise that a small collection be
-made of the quaint and pretty products of the place, as they will be
-found useful in various ways for decorative purposes.
-
-[Illustration: Fig. 190.—Section of Decorated Frame.]
-
-The next sketch (Fig. 190) shows a corner section of frame especially
-appropriate for a flower piece. The open lattice-like border is cut
-with a sharp penknife from stiff pasteboard and tacked along the edge
-of the frame.
-
-The pattern shown in diagram (Fig. 191) is simple, quite easily made,
-and well suited for a border, though other and more elaborate ones may
-be used. This border must, of course, be made in sections. The edges to
-be connected should be cut to fit exactly, then after tacking them upon
-the frame the whole may be laid upon a table, face downward, and strips
-of paper pasted across the joints (see Fig. 192), which will hold them
-securely together. If the work is neatly done, when the gilt is applied
-all traces of the joints will disappear. The decorations of this frame
-consist of a spray of artificial rosebuds and leaves, gilded and tacked
-on the upper left-hand corner. A few scattered rosebuds look well upon
-the lower part of the frame near the right-hand side.
-
-[Illustration: Section of Border for Decorated Frame.]
-
-Figure 193 is the section of a frame which will look well on almost any
-kind of picture. It is made by tacking a small rope around the inside
-edge and then covering it and the frame with crumpled tin-foil, which,
-after it is pressed to fit the rope, is brought around and tacked on
-the wrong side of the frame, joining that edge which is turned over the
-top. Care should be taken while handling the tin-foil not to flatten
-it, as its beauty depends upon its roughness. The pieces are joined by
-simply lapping one edge over the other, the uneven surface hiding all
-seams. This frame like the others must be gilded.
-
-[Illustration: Fig. 193.—Section of Frame covered with Tin-foil.]
-
-A very effective rough surface on a frame can be produced by dabbing
-on it with a palette-knife the scrapings of the palette. Of course
-this frame cannot be made in a day, but if every time the palette is
-cleaned the paint is used in this way it will not be long before the
-surface is covered and ready for gilding.
-
-The cork paper used in packing bottles makes quite a handsome frame
-for black and white pictures or photographs (Fig. 194). This paper is
-sprinkled all over with small bits of cork, making a rough surface and
-one admirably suited to the purpose.
-
-[Illustration: Cork Frame.]
-
-First the foundation of the frame is cut of stiff pasteboard exactly
-the size and shape desired; then the cork paper is cut the width of
-the frame and glued securely to it, the corners being joined as in
-Fig. 195. The frame is very pretty when left its natural color, as it
-resembles carved wood at a little distance, but it can be gilded if
-preferred.
-
-The inside mat is made of white or gray-tinted cardboard, cut with the
-open space for the picture, from half an inch to an inch smaller than
-the opening of the frame. The mat is pasted to the back of the frame
-and then the entire back is covered with strong paper pasted at the
-top and two side edges, and left open at the bottom until the picture
-is shoved in place, when the lower edge is fastened also. The mat will
-look well if the inside edge is gilded.
-
-Another frame is made in the same manner as the one just described,
-only instead of using cork paper a thick coating of glue is put
-all over the face of the foundation, and sand or small pebbles are
-sprinkled over the entire surface. This must be quickly done before the
-glue has time to harden.
-
-[Illustration: Fig. 195.]
-
-The writer has in her possession a pretty little winter landscape done
-in water-colors. It is a snow scene, and its light effect is well set
-off by the frame, which is made simply of two pieces of heavy brown
-strawboard or pasteboard. The two pieces are cut exactly the same size;
-then the centre is cut out of one, leaving a broad frame of equal width
-on all sides. The picture is placed between these two boards, which are
-then glued together. The cord for hanging it is fastened to two small
-brass rings which are attached to pieces of tape glued to the back
-of the frame, as in Fig. 196. Fig. 197 shows how a piece of paper is
-pasted over the tape to hold it more securely.
-
-[Illustration: _Fig. 196_]
-
-[Illustration: _Fig. 197_]
-
-When making a frame of this kind the picture to be framed should first
-be measured and the width of the frame decided upon; then cutting a
-piece of paper the size the open space is to be, or one-half inch
-smaller all round than the picture, it must be laid upon the pasteboard
-and a mark drawn around it showing its exact size and proportion (Fig.
-198). The width of the frame can then be measured from these lines,
-which will place the opening exactly in the centre (Fig. 199). The
-lines must be perfectly straight and the measurements correct or a
-lop-sided frame will be the result.
-
-In cutting out the frame a sharp knife should be used, and it will be a
-great help in keeping the lines straight if a ruler is held down firmly
-close to the line to be cut, and the knife guided by that.
-
-[Illustration _Fig. 198_]
-
-[Illustration _Fig. 199_]
-
-[Illustration]
-
-
-
-
-CHAPTER XXVIII.
-
-THANKSGIVING.
-
-
-NOT to Pagan ancestors in far-away countries, but to our own Pilgrim
-Fathers do we trace the origin of Thanksgiving Day—as purely American
-as our Independence Day. Instituted by William Bradford, the Governor
-of Plymouth, and first observed by the Puritans, who, suffering from
-hunger and privation, were truly thankful when the first harvest
-brought them the means of support for the approaching winter, it has
-come to us as “the religious and social festival that converts every
-family mansion into a family meeting-house.” The pleasant New England
-custom of the gathering together of families to celebrate Thanksgiving
-is now observed in most of our States. From far and near they come,
-filling the cars with merry family parties, who chatter away of
-anticipated pleasures to be found in the old home. Little children
-taught to lisp grandma and grandpa are instructed by their mammas not
-to be afraid of the old gentleman who will meet them at the depot, nor
-the dear old lady who waits with open arms at the door of grandpa’s
-house.
-
-Children old enough to know what a Thanksgiving at grandpa’s is like
-are wild with delight at the prospect before them. Their eyes brighten
-at the thought of the great pantry where grandma keeps her doughnuts
-and cookies; of the cellar with its bins of sweet and juicy apples; of
-the nuts and popcorn, all of which taste so much nicer at grandma’s
-than anywhere else. And then what fun the games will be which they will
-play with cousins, who, though rather shy at first, will soon make
-friends. The lovely young aunties, too, who help grandma entertain all
-these guests, will join in the games and suggest and carry out schemes
-of amusements which the children would never think of.
-
-[Illustration: One Little Indian.]
-
-What a happy holiday it is, how social and pleasant and comfortable and
-easy! How near and dear all the bright faces gathered around the long
-table at the Thanksgiving-dinner, seem to be. Truly, we should all be
-thankful that we have a Thanksgiving.
-
-However, this chapter is not written merely to generalize upon the
-pleasures of the day, but in order that we may offer something new, in
-the way of amusement, which will add to the fund of merriment on this
-occasion. The series of
-
-[Illustration: Pilgrim’s Spectacles.]
-
-[Illustration: Patterns of Pilgrim Father’s Hat and Collar.]
-
-
-=Impromptu Burlesque Tableaux=
-
-illustrating some of the principal events in our history will be
-appropriate for this national holiday, and will prove a mirth-provoking
-entertainment.
-
-When two rooms are connected by folding-doors, a whole room may be used
-for the stage. In this case no curtains are necessary, as the doors
-take their place, and, for impromptu tableaux, answer very well. When
-there are no such connecting rooms, one end of a large room can be
-curtained off with sheets, or any kind of drapery, suspended from a
-rope or wire stretched from one wall to the other. It is best to keep
-the audience as far away from this improvised stage as the room will
-admit of, for distance greatly assists the effect.
-
-
-=Landing of the Pilgrims.=
-
-TABLEAU 1.—The good ship Mayflower has just touched Plymouth Rock.
-Pilgrim Father stands upon the rock, and reaches down to help
-Pilgrim Mother to land. A number of Indians sit upon the edge of
-the rock, fishing unconcernedly over the side, while the Pilgrims
-take possession. In the ship Pilgrim children are standing, with
-outstretched arms, waiting to be taken ashore.
-
-
-COSTUMES.
-
-PILGRIM FATHER.—Cape, a broad-brimmed, high-crowned hat and large,
-white collar, over ordinary boy’s dress, spectacles—cut from black
-paper (Fig. 200). The cape may be of any material, so that it is of a
-dark color.
-
-[Illustration: Costume of Pilgrim Father.]
-
-The hat can be made by cutting from stiff brown paper a crown (Fig.
-201), fitting it around the crown of an ordinary flat-brimmed hat,
-bringing it into a conical shape, and pinning it in place (Fig. 202).
-The brim should be cut from the same paper in a large circle (Fig.
-203), the hole in the centre being just large enough to fit nicely
-around the crown, over which it is slipped, and pushed down until it
-rests upon the real hat-brim (Fig. 204). The paper brim should be about
-seven inches wide, and the crown nine inches high. Figure 205 is the
-pattern of collar, which can be made of white paper or muslin.
-
-PILGRIM MOTHER.—Full, plain skirt, white kerchief, small white cap, and
-large spectacles. A gentleman’s linen handkerchief, put around the neck
-and crossed over the bosom, answers for a kerchief. The cap, too, can
-be made of a large handkerchief in this way.
-
-Fold the handkerchief in the manner shown in Fig. 206; lay it flat upon
-a table, and turn the folded corners over as in Fig. 207; turn up the
-bottom edge over the other, and roll over about three times (Fig. 208);
-take the handkerchief up by the ends and the cap (Fig. 209) is made.
-
-[Illustration: Manner of Making Pilgrim Mother’s Cap.]
-
-[Illustration: Costume of Pilgrim Mother.]
-
-CHILDREN.—The young Pilgrims’ costumes are like the others, on a
-smaller scale, but they wear no spectacles.
-
-INDIANS.—Bright-colored shawls for blankets, and feather-dusters for
-head-dresses. The duster is tied on to the back of the Indian’s neck
-with a ribbon which passes under the chin, and the shawl is placed over
-the handle, partially covering the head and enveloping the figure.
-
-
-PROPERTIES.
-
-The ship is a large wash-tub, which is placed in the centre of the
-stage; its sail is a towel, fastened with pins to a stick, the stick
-being tied to a broom, as shown in illustration. It is held aloft by
-one of the children in the tub.
-
-[Illustration: The Good Ship Mayflower.]
-
-Plymouth Rock is a table, occupying a position near the tub. On top of
-it is a chair, placed on its side to give an uneven surface, and over
-both chair and table is thrown a gray table-cover. The fishing-poles of
-the Indians are walking-canes with strings tied to the ends.
-
-
-=First Harvest.=
-
-TABLEAU 2.—Pilgrim families, grouped in the centre of the stage,
-examining an ear of corn and rejoicing over their first harvest.
-
-
-PROPERTIES.
-
-A broom, upon which is tied one ear of dried corn, or popcorn, it
-doesn’t matter which, and if neither is to be had, an imitation ear of
-corn can be made by rolling paper into the shape of Fig. 210, cutting
-husks after the pattern Fig. 211, and putting them together like Fig.
-212. The broom is held erect, with the handle resting on the floor, by
-Pilgrim Father.
-
-[Illustration: Fig. 210.—Paper Ear of Corn.]
-
-[Illustration: Fig. 211.—Pattern for Outside Husks of Corn.]
-
-[Illustration: Fig. 212.—Ear of Corn Finished.]
-
-[Illustration: The Corn-field.]
-
-
-=Devastation by the Indians.=
-
-TABLEAU 3.—A long table reaches across centre of stage; upon it are
-empty dishes, and the remains of a feast.
-
-At each end and at back of table are grouped the Indians, who are
-gnawing large turkey-bones and eating huge pieces of bread and pie. The
-Pilgrim family stand at each side, and view with horror the destruction
-of their dinner.
-
-
-PROPERTIES.
-
-The table is a board placed across the backs of two chairs. In the
-centre of the table is a large pie-plate, with only a very small piece
-of pie remaining in it; most of the other dishes are empty.
-
-
-=The Revolution.=
-
-TABLEAU 4.—This is represented by the revolution of a wheel. Pilgrim
-Mother stands in the centre of the stage, at a spinning-wheel, which is
-set in motion just as the curtain is parted.
-
-[Illustration: The Spinning-wheel.]
-
-
-PROPERTIES.
-
-If a real spinning-wheel cannot be obtained, a velocipede,
-baby-carriage, or child’s wagon, turned upside down, will answer the
-purpose. In the illustration the curtain has been made transparent, to
-show how the two back wheels of a velocipede are disposed of. A broom
-is fastened in an upright position to the velocipede, and on the handle
-is tied a piece of gray linen (a handkerchief will do), to represent
-flax. A string tied to the linen is held by Pilgrim Mother. The curtain
-must be dropped before the wheel ceases to revolve.
-
-
-=Slavery.=
-
-TABLEAU 5.—Pilgrim Mother is bending over a wash-tub, with sleeves
-rolled up to shoulders, washing; a great pile of clothes lies on the
-floor at her side; she looks angrily at the Pilgrim Father, who sits
-opposite to her with his legs crossed, calmly reading a newspaper.[F]
-
-
-PROPERTIES.
-
-The tub used for the ship, placed on two chairs; a washboard and a pile
-of clothes, white predominating. A rocking-chair for the Pilgrim Father.
-
-
-=Rebellion.=
-
-TABLEAU 6.—Pilgrim Mother stands in defiant attitude, facing Pilgrim
-Father, who has just arisen from his chair.
-
-The tub and one of the chairs upon which it stands are tipped over, and
-the clothes are scattered about.
-
-
-PROPERTIES.
-
-Same as in preceding tableau.
-
-
-=Peace and Plenty.=
-
-TABLEAU 7.—Table extending across the centre of stage is heaped with
-all sorts of edibles—whole pumpkins, vegetables, fruit, and flowers.
-At one end of the festive board stands Pilgrim Father, at the other
-Pilgrim Mother, smiling at each other. Pilgrim Father holds a long
-carving-knife, as though about to carve a large pumpkin in front of
-him. Pilgrim Mother is in the act of cutting a huge pie. At the back of
-the table are ranged the Pilgrim children, each holding outstretched
-an empty plate, waiting to be served, and all smiling. At each side of
-the stage, extending to the front, is a line of Indians sitting on the
-floor, smoking the pipes of peace. The Indians also are smiling.
-
-[Illustration: The Festive Board.]
-
-[Illustration:
-
-    Side View.      Back View.      Front View.
-
-Fig. 213.—Pumpkin Lantern.]
-
-
-PROPERTIES.
-
-Table same as in Tableau 3: Dishes, fruit, and vegetables. The Indians’
-pipes are canes with bent handles.
-
-If, in arranging the stage, clothes-horses, with drapery thrown over
-them, are placed at the back, they will not only form a background for
-the pictures presented, but the space behind makes a nice dressing-room
-or retiring-place for those taking part.
-
-Pumpkin lanterns, set in a row on the floor just inside the curtain,
-will be funny substitutes for footlights. They will decorate the stage
-appropriately, and at the same time be quite safe. Fig. 213 shows
-how they are made. The face is not cut through, but the features are
-scraped thin enough to allow the light inside to make them visible. If
-they were cut, as in ordinary pumpkin lanterns, the light would shine
-out from instead of on to the stage.
-
-[Illustration: Silhouette of the Headless Turkey.]
-
-
-=The Game of the Headless Turkey.=
-
-A large silhouette, representing a headless turkey, is cut from black,
-or dark colored paper-muslin, and fastened upon a sheet stretched
-tightly across a door-way. To each member of the party is given a pin
-and a muslin head, which, if rightly placed, will fit the turkey.
-Then, one at a time, the players are blind-folded and placed at the
-end of the room opposite the sheet. After turning them around three
-times one way, then three times the other, they are started off to
-search for the turkey, that they may pin the head where they suppose
-it belongs. When the person going blindly about the room comes in
-contact with anything, no matter what, be it chair, table, wall, door,
-or another player, she must pin the turkey-head to the object touched.
-To the person who comes nearest to placing the head in its true place,
-a prize of a gilded wish-bone, tied to a card with a ribbon, is given.
-And she who makes the least successful effort is presented with a
-turkey-feather, which she must stick in her hair and wear for the
-remainder of the evening.
-
-
-=A Suggestion.=
-
-Amid all these bright and happy thoughts of feasting and merrymaking,
-comes an idea, so gently, yet persistently, forcing itself upon my
-notice, that it finally assumes the form of a definite plan which I
-will put to you in the form of a suggestion.
-
-At this time, when, thinking over the numerous blessings, that most of
-you find to be thankful for, how would it do, girls, to form a society
-among yourselves, to be called the Thanksgiving Society, whose object
-will be to provide a real Thanksgiving for other and less fortunate
-girls, by giving them something to be thankful for before next year’s
-Thanksgiving shall arrive?
-
-There need be no formality about the society. The only necessary
-officer will be a secretary, to keep a record of what is done by the
-society, individually and collectively; which report the secretary will
-read at the grand annual meeting on Thanksgiving Day.
-
-Many girls, young, like yourselves, to whom it is just as natural to
-be glad and happy, have little to make them so, and to bring some
-brightness into their lives would indeed be worth forming a society for.
-
-There are various ways in which kindness may be done these girls, and
-so many avenues will open to those seeking to benefit them, that it is
-needless to attempt any instruction as to what work may be performed by
-the society; if this suggestion is adopted, I know it will be safe to
-leave it to the quick sympathy and warm hearts of the girls to do the
-right thing at the right moment. What think you, girls, would it not be
-worth while to make of this last Thursday of November a Thanksgiving
-for others as well as for yourselves? and would not your own pleasures
-be doubly enhanced when sweetened with the thought of having done what
-you could to make someone else happy?
-
-[Illustration: Four Little “Injun” Boys]
-
- FOOTNOTE:
-
-[F] Of course we all know that our Pilgrim fathers did not have the
-daily papers, but this fact makes it the more absurd.
-
-
-
-
-[Illustration: Winter]
-
-[Illustration]
-
-
-
-
-CHAPTER XXIX.
-
-CHRISTMAS FESTIVITIES AND HOME-MADE CHRISTMAS GIFTS.
-
-
-AMONG all the days we celebrate Christmas stands first and foremost in
-our thoughts, the holiday of holidays. Coming in the season of frost
-and snow it brings a cheering warmth to our hearts that defies the
-icy atmosphere, and the feeling of kindliness and good will toward
-everyone, which it awakens, seems in response to the words the angels
-sang on our first Christmas, “On earth peace, good will toward men.”
-
-Christmas is not merely a day set apart for feasting, giving and
-receiving presents, and for merrymaking. The day on which we celebrate
-the birth of our Lord is a time of rejoicing for rich and poor alike,
-and Christmas is Christmas still, although we may receive and can offer
-no presents and our feast is humble indeed.
-
-Feeling this, let us keep the Christmas festival as it should be kept,
-right happily and merrily. Let us decorate our homes to the best of our
-ability in honor of the day, and supply all deficiencies with happy
-hearts and smiling faces.
-
-A friend of the writer’s once remarked, as she busied herself with
-some Christmas-cards she was preparing to send to the hospitals, “I
-always like to tie a sprig of evergreen on each card; it looks and
-smells so Christmasy.” And so it does. Even a few pieces of evergreen,
-tacked over doorways or branching out from behind picture-frames, give
-a room a festive, Christmas-like appearance that nothing else can, and
-as evergreens are so plentiful here in America there are few houses
-that need be without their Christmas decorations. Holly, too, with
-its brilliant red berries peeping cheerily forth from their shelter
-of prickly leaves, adds brightness to the other adornments, and when
-the white-berried mistletoe can also be obtained all the time-honored
-materials for the Christmas decorations are supplied.
-
-Though we are Americans, our ancestors came from many nations, and we
-have therefore a right and claim to any custom we may admire in other
-countries. We may take our Christmas celebrations from any people who
-observe the day and combining many, evolve a celebration which in its
-variety will be truly American.
-
-From Germany we have already taken our Christmas-tree; from Belgium our
-Christmas-stocking; Santa Claus hails from Holland, and old England
-sends us the cheery greeting, Merry Christmas!
-
-The custom the French children have of ranging their shoes on the
-hearth-stone on Christmas-Eve for the Christ-child to fill with toys
-or sweetmeats, is too much like our own Christmas stocking to offer
-any novelty. The Presepio, or Holy Manger, of the Roman Catholic
-countries, which represents the Holy Family at Bethlehem, with small
-wooden or wax figures for the characters, is more suitable for the
-church celebration, but in Sweden and Denmark they have a peculiar
-method of delivering their Christmas-presents which we might adopt to
-our advantage, for it would be great fun to present some of our gifts
-in their novel manner.
-
-Instead of describing this custom we will tell you just how to carry it
-out and will call it the
-
-
-=Julklapp,=
-
-which in Denmark and Sweden means Christmas-box or gift.
-
-Before Christmas-Day arrives all the presents intended for the Julklapp
-delivery must be prepared by enclosing them in a great many wrappings
-of various kinds, none of which should in any way suggest their
-contents.
-
-If one of the presents is a pretty trinket, wrap it up in a fringed
-tissue paper, such as is used for motto candy or sugar-kisses; place
-it in a small box, and tie the box with narrow ribbon; then do it up
-in common, rough brown paper, and wrap the package with strips of
-cloth until it is round like a ball; cover the ball with a thin layer
-of dough, and brown in the oven. Pin it up in a napkin, wrap in white
-wrapping paper and tie with a pink string.
-
-The more incongruous the coverings, the more suitable they are for
-the Julklapp. You may enclose others gifts in bundles of hay, rolls
-of cotton or wool, and use your own pleasure in choosing the inner
-wrappings. It will be the wisest plan to always use something soft for
-the outside covering, the reason of which you will understand when the
-manner of delivery is explained. Each package must be labelled with
-the name of the person for whom it is intended, and if an appropriate
-verse, epigram, or proverb be added it will be the cause of fresh mirth
-and laughter.
-
-The Julklapp delivery may, and probably will commence very early
-Christmas morning, for the little folks, always early risers on this
-day, will no doubt be up betimes, and ready for the business of the
-day. The first intimation the less enterprising members of the
-family will have that Christmas has dawned, will be a loud bang at
-the chamber door, followed by a thump of something falling on the bed
-or the sleeper’s chest. Then springing up and opening startled eyes,
-from which all sleep has been thus rudely banished, one will probably
-discover a large bundle of _something_ on the bed or lying on the floor
-close beside it. It will be useless to rush to the door to find from
-whom or where this thing has come, for although a suppressed giggle may
-be heard outside the door just after feeling the thump, nothing will be
-met upon opening it, but dead silence, and nothing seen but the empty
-hall.
-
-At any time during the day or evening the Julklapps may arrive and when
-all look toward the door, as a loud rap is heard, whizz! something
-comes through the window and lands in the middle of the room. A sharp
-tap at the window is followed by the opening and closing of a door, and
-a bundle of straw, wool, paper, or cloth, as the case may be, lands
-in someone’s lap. In short the Julklapps may come from any and every
-direction, and when one is least expecting them, and so the surprises
-and excitement are made to last until, weary with the fun and gayety of
-the day, the tired merrymakers seek their beds on Christmas-night.
-
-If it has not been made plain enough who, or what causes the mysterious
-arrivals of the Julklapps we will say that the whole household join in
-the conspiracy, and the packages come from the hands of each of its
-members. The
-
-
-=Polish Custom=
-
-of searching for Christmas gifts, which have previously been hidden in
-all manner of places in the house, is one the children will delight in,
-and one that, introduced at a Christmas party, will provoke no end of
-merriment and fun.
-
-
-=The Bran Pie=
-
-is an English dish, but is quite as well suited to the American taste.
-It is an excellent means of distributing trifling gifts and may be new
-to some of you.
-
-Use a large, deep brown dish for the pie. Put in it a gift for everyone
-who will be at the Christmas dinner, and cover them over thickly with
-bran, ornament the top by sticking a sprig of holly in the centre.
-After dinner have the bran pie put on the table with a spoon and plates
-beside it, and invite everyone to help her or himself, each spoonful
-bringing out whatever it touches. Comical little articles may be put in
-the pie, and the frequent inappropriateness of the gift to the receiver
-of it, helps to create laughter.
-
-The Bran Pie should be the secret of not more than two persons,
-for, like all things pertaining to Christmas gifts, the greater the
-surprise, the more pleasure there will be in it.
-
-
-=The Blind Man’s Stocking=
-
-may also be used for small gifts, or it may hold only candy and
-bonbons. Make the stocking of white or colored tissue-paper like the
-pattern given in Fig. 214.
-
-[Illustration: Fig. 214.—Paper Stocking.]
-
-First cut out one piece like the pattern, making the foot thirteen
-inches long and six inches from the sole to the top of the instep, and
-the leg of the stocking sixteen inches from the heel to the top; then
-cut another, one inch larger all around than the first. Place the two
-together fold the edge of the larger over the smaller piece and paste
-it down all around except at the top (Fig. 214). Fill the stocking
-with small gifts or sweetmeats, tie a string around the top to keep
-it fast, and suspend it from the centre of a doorway. Blindfold each
-player in turn, put a long, light stick in her hand, a bamboo cane will
-do, and lead her up within reach of the stocking and tell her to strike
-it. When anyone succeeds in striking the stocking and a hole is torn in
-it, the gifts or candy will scatter all over the floor to be scrambled
-for by all the players. Each player should be allowed three trials at
-striking the stocking.
-
-Young children are always delighted with this Christmas custom, and the
-older ones by no means refuse to join in the sport.
-
-
-=Home-made Christmas Gifts.=
-
-That the children may do their share toward filling the Christmas
-stockings, adding to the fruit of the Christmas tree, helping with
-the Julklapps, contributing to the Bran Pie or Blind Man’s Stocking,
-we give these hints on home-made Christmas gifts, all of which are
-inexpensive and easily constructed.
-
-
-=Chamois for Eye-glasses.=
-
-Cut out two circular pieces of chamois-skin about the size of a silver
-half-dollar, bind the edges with narrow ribbon, and fasten the two
-pieces together with a bow of the same. Print with a lead pencil on
-one piece of the chamois-skin, “I Make all Things Clear,” and go over
-the lettering with a pen and India ink, or you may paint the letters
-in colors to match the ribbon. Fig. 215 shows how it should look when
-finished.
-
-[Illustration: Fig. 215.—Chamois for Eye-glasses.]
-
-
-=Glove Pen-wiper.=
-
-Cut four pieces from thin, soft chamois-skin, like the outline of Fig.
-216. Stitch one with silk on the sewing-machine, according to the
-dotted lines. Cut two slits at the wrist through all the pieces as
-shown in Fig. 216, and join them together by a narrow ribbon passed
-through the openings, and tied in a pretty bow, Fig. 217.
-
-[Illustration: Fig. 216.—Pattern of Pen-wiper.]
-
-[Illustration: Fig. 217.—Pen-wiper.]
-
-
-=Sachet.=
-
-[Illustration: Fig. 218—Sachet.]
-
-Open out an envelope, and cover it with white or cream-colored silk,
-refold carefully, joining the edges with stiff mucilage, using as
-little as possible. In place of a letter enclose a layer of cotton
-sprinkled with sachet-powder, fasten the envelope with sealing-wax as
-in an ordinary letter. Address it with pen and ink, to the one for whom
-it is intended. Print on it, like a stamp, “Christmas, December 25,”
-and fasten a cancelled stamp, taken from an old letter, on one corner.
-The finished sachet is shown in Fig. 218.
-
-
-=A Book-mark.=
-
-Cut out the corner of a full-sized, linen-lined envelope, making the
-piece four inches long, and one and a half inches wide. Write on one
-side with pen and ink, or paint the lettering in color, “A Fresh Mind
-Keeps the Body Fresh.” The book-mark will fit over the book-leaf like a
-cap, and is excellent for keeping the place. Fig. 219.
-
-[Illustration: Fig. 219—Book-mark.]
-
-
-=A Scrap-bag.=
-
-[Illustration: Fig. 220.—Pattern of Scrap-bag.]
-
-Scrap-bags have been fashioned in many shapes and sizes, and of
-all sorts of material, still it remains to be shown in what manner
-Christmas cards may add in decoration and beauty to these useful
-articles. From your collection choose four cards of the same size,
-then on a piece of bright silk or cloth sew the cards at equal
-distances apart, as in Fig. 220, stitching them around the edges on the
-sewing-machine. At the dotted line fold over the top of the bag as if
-for a hem, making the narrow fold lap just cover the upper edge of the
-card; stitch this down to form a binding.
-
-[Illustration: Fig. 221.—Scrap-bag.]
-
-After joining the bag at the dotted lines on the sides, gather the
-bottom up tight and fasten to it a good-sized tassel; then sew on each
-side a heavy cord with tassels placed where the cord joins the bag,
-as seen in Fig. 221. The cord and tassels of the example were made of
-scarlet worsted.
-
-
-=A Walnut-shell Turtle.=
-
-For an ornament to be used on a pen-wiper, or simply as a pretty toy,
-the little turtle is appropriate. It is made of half an English walnut,
-which forms the turtle’s back or shell, glued on a piece of card-board
-cut after the diagram given in Fig. 222. Paint the card-board as nearly
-as possible the color of the shell, and the eyes black. When perfectly
-dry glue the shell securely to the card-board, bend down and out the
-feet a little, in order to make the turtle stand; bend the head up, and
-the tail down, as in Fig. 223.
-
-[Illustration: Fig. 222.—Pattern of Turtle.]
-
-[Illustration: Fig. 223.—Walnut-shell Turtle.]
-
-Here are some home-made toys which the children can make to give to one
-another.
-
-
-=Miss Nancy.=
-
-Miss Nancy (Fig. 226) is fashioned from a piece of pith taken out of
-a dried cornstalk. Cut away the stalk until the pith is reached; then
-take a piece of the pith, about six inches long and whittle out one
-end to resemble a head as in Fig. 224, draw a face on the head with
-pen and ink, and glue half of a lead bullet on the lower end of the
-pith (Fig. 225). Make Miss Nancy’s costume of a skirt, composed of some
-bright-colored Japanese paper, a shawl made of a piece of soft ribbon
-or silk, and a cap of white swiss. The peculiarity of the little lady
-is that she insists upon always standing upright, no matter in what
-position she is placed.
-
-[Illustration:
-
-    Fig. 224.      Fig. 225.
-
-Manner of Making Miss Nancy.]
-
-[Illustration: Fig. 226.—Miss Nancy.]
-
-
-=A Soft Ball.=
-
-A very pretty and safe return ball for the little ones to play with may
-be made of paper (Fig. 227), which, being soft, precludes all danger of
-“thumps and bumps.”
-
-[Illustration: Fig. 227.—Paper Ball.]
-
-Take a piece of newspaper, and, using both hands, roll it and fold it
-into something of the required shape. Then place it in the centre of
-a square piece of bright-colored tissue paper; take the four corners
-of the tissue-paper up to the centre of the top of the ball, fold them
-over, also fold and smooth down what fulness there may be; next place
-a small round piece of gold, silver, or some contrasting colored paper
-on the top of the ball. Secure all by winding a string around the ball,
-making six or eight divisions; tie a piece of elastic to the string
-where it crosses on the top of the ball, then paste over this a small
-artificial flower. In the other end of the elastic, make a loop to fit
-over the finger, or tie on it a small brass ring.
-
-If a tiny sleigh-bell be placed in the centre when the ball is being
-made, it will give a cheerful little tinkling noise whenever the ball
-is thrown.
-
-[Illustration: Fig. 228.—The Rooster.]
-
-[Illustration:
-
-    Fig. 229
-    Fig. 230
-    Fig. 231
-    Fig. 232.
-    Fig. 233.—The Weight.
-
-Pattern of Rooster.]
-
-
-=A Lively Rooster.=
-
-To make the rooster (Fig. 228), cut out of stiff cardboard Figs. 229,
-230, 231, and 232. Tie on Figs. 229 and 230 each a piece of string
-seven and one-half inches long. Then attach the head and tail to the
-body by running a string through holes at A in Fig. 230 and A in Fig.
-231, and another through B in Fig. 229 and B in Fig. 231. Bring the
-head and tail up close to the body and fasten the ends of the strings
-down securely with court-plaster or pieces of paper pasted over them.
-Bend Fig. 231 at dotted line C; then on the space marked E, paste the
-portion of Fig. 232 marked E after bending it at dotted line O. Again
-bend Fig. 232 in the same direction at dotted line P, and paste it
-across the space marked P, on Fig. 231. When all is fastened together,
-and the paste perfectly dry, paint the rooster to look as life-like as
-possible. Tie the strings of Figs. 229 and 230 together four inches
-from where they are fastened on, then again about three inches lower
-down, and attach a weight to the ends. A common wooden top, with a tack
-in the head (Fig. 233), will answer the purpose nicely. To bring the
-rooster to life, place him on the mantel-piece, with a book serving as
-a weight on the projection of Fig. 232, swing the top and he will move
-his head and tail in the most amusing manner.
-
-[Illustration: Fairy Dancers.]
-
-
-=Fairy Dancers.=
-
-[Illustration: Fig. 234.—A Fairy Dancer.]
-
-[Illustration: Fig. 235.—Pattern of Fairy Dancer.]
-
-Among the gifts made by little hands, a box, containing a set of fairy
-dancers, will be a most novel and welcome addition. These little
-figures, when placed on the piano, will move as soon as the keys are
-touched, dancing fast or slow in perfect time to the music. They may
-all be made to resemble fairies as in Fig. 234, or a famous collection
-of figures in the costumes of different periods in history will be
-equally pretty and perhaps more interesting. Ladies in kirtles and
-tunics, gentlemen in slashed doublet and hose of the Tudor times, Queen
-Elizabeth’s starched ruffs and farthingales, etc. All these dresses
-can be more easily copied from pictures of the period than from any
-written description of them. The materials used for the costume must
-be of the lightest kind, for a heavy dress will weigh down the dancer
-and hamper its movements. To make the fairy (Fig. 234) trace Fig. 235
-on cardboard and cut it out, sew a piece of bonnet-wire down the back,
-as shown in diagram. Mark the slippers on the feet with ink or black
-paint, select a Christmas or advertising card representing a child,
-with a head of a suitable size, cut the head out and paste it on the
-fairy.
-
-[Illustration: Fig. 236.—Pattern of Chinaman.]
-
-[Illustration: Fig. 237. Fig. 238. Chinaman’s Queue.]
-
-[Illustration: Fig. 239.—The Chinaman.]
-
-Gather two short skirts of tarlatan, make a waist of the same, sew
-with a few stitches to the doll, and cover the stitches with a
-sash of bright colored tissue paper; add a strip of tarlatan for a
-floating scarf, gluing it to the uplifted hands. Bend back the piece
-of cardboard projecting from the foot, and glue to it a small piece
-of bristle brush. The wire on the doll should be long enough to pass
-tightly around the brush, thus making it more secure.
-
-If you would like to have the Chinaman (Fig. 239) in your troupe of
-dancers, trace on cardboard Fig. 236, draw a face with slanting eyes,
-or paint it; then take several strands of black thread and tie them
-together in the centre with another piece of thread (Fig. 237), bring
-the ends down together (Fig. 238), braid them and sew the braid to the
-back of the Chinaman’s head (239). Cut a loose sacque from pattern Fig.
-240, fold at the waved lines and sew together at the dotted lines;
-cut an opening for the head as seen in pattern. Make the hat of dark
-green paper cut in the form of Fig. 241, and crimp it from the centre
-(Fig. 242). Sew the hat to the back of the Chinaman’s head, bend the
-cardboard projection at the feet and glue it to a piece of brush.
-
-[Illustration: Fig. 240.—Chinaman’s Sacque.]
-
-[Illustration: Fig. 241.—Pattern of Chinaman’s Hat.]
-
-[Illustration: Fig. 242.—Chinaman’s Hat.]
-
-[Illustration:
-
-    _Fig. 243_
-
-    _Fig. 244_
-
-    _Fig. 245_
-
-    _Fig. 246_
-
-Butterfly Pattern.]
-
-[Illustration: _Fig. 247_
-
-Butterfly.]
-
-Butterflies of brilliant hues, all hovering and circling, may take
-the place of the fairies, or they may mingle with them in the dance,
-presenting a scene indeed fairy-like. To make a butterfly, trace the
-pattern given in Fig. 243, on brilliantly colored paper. Form a body by
-rolling a small piece of beeswax between the fingers until it assumes
-the desired shape (Fig. 244); then attach the wings to the body by
-softening the wax and sticking them to it. Wax a piece of black thread
-to stiffen it, and make a knot in each end (Fig. 245), bend this in
-the middle and stick it on to the head to form the antennæ (Fig. 246).
-Fasten one end of a very fine wire securely in the middle of the wax
-body, and wrap the other end around a small piece of brush as seen in
-Fig. 247. A number of these butterflies placed on the pianoforte will
-move, bend and sway with the music as if endowed with life.
-
-Toys, also, which are small and light enough, can be made to “trip the
-light fantastic” in time to the music.
-
-Select those most suitable and glue them to pieces of brush in the way
-described for the other dancers.
-
-The children, generous little souls, always long to do their part
-towards making Christmas presents, and we hope that the suggestion we
-have offered will help them to manufacture, without other aid, many
-little gifts which their friends will prize the more highly for having
-been made by the loving little hands.
-
-[Illustration]
-
-
-
-
-CHAPTER XXX.
-
-AMUSEMENTS AND GAMES FOR THE CHRISTMAS HOLIDAYS.
-
-
-A WINTER passed in-doors would be irksome indeed for a healthy, hearty
-girl, and even the most delicate are the better for an outing now and
-then. The keen northwest wind, the biting frosts, the crisp atmosphere
-and the glistening ice and snow are not without their attractions, and
-we hope that no American girl will neglect the opportunities this time
-of the year affords for healthy, enjoyable out-door pastime. It is well
-to follow the example of our Canadian sisters, and, clad in garments
-warm and appropriate, indulge in coasting, tobogganing, skating,
-sleighing, and walking.
-
-The country, wrapped in its winter mantle, is very attractive. Many
-of our small animals and birds that city people are apt to associate
-only with a summer landscape, are to be found abroad in mid-winter,
-and upon a bright sunny day the birds are not only to be seen, but
-heard twittering and even singing in the hedges; they do not feel
-the cold and are enjoying themselves heartily. The reason the birds
-and wild creatures are so comfortably content, is because they are
-prepared for the weather, their clothing is not only soft and warm, but
-fits them perfectly, without interfering with their movements. Take a
-lesson from them, girls, dress as becomingly as you choose, the birds
-always do that, but do not wear thin-soled shoes or anything that is
-uncomfortable; wrap up warm and you can enjoy yourself out of doors in
-the coldest weather just as well as the birds. The cold winds will only
-bring the roses to your cheeks, and the keen, invigorating air, health
-and suppleness to your body.
-
-We do not think any person ever learned to skate, coast, or walk on
-snow-shoes from reading the directions that can be given in a book. It
-is for that reason we have no chapter devoted to these sports and not
-because we do not believe in, and enjoy them, too. Therefore we will
-direct our attention to indoor sports, for they can be learned in this
-way and are quite as important as the others in filling out the list of
-winter amusements.
-
-There are a great many days in winter when it is so stormy and
-disagreeable out-doors, one is glad enough to have the shelter of a
-roof and the warmth of a fire; these are the days and evenings when
-in-doors games are in demand, and during the holiday season, when work
-has been put aside, and you have nothing to do but enjoy yourself, any
-new diversion is always welcome. It is here then that we will insert the
-
-
-=New Game of Bubble Bowling.=
-
-When the game of Bubble Bowling was played for the first time, it
-furnished an evening’s entertainment, not only for the children, but
-for grown people also; even a well known general and his staff, who
-graced the occasion with their presence, joined in the sport, and
-seemed to enjoy it equally with their youthful competitors. Loud was
-the chorus of “Bravo!” and merry the laugh of exultation when the
-pretty crystal ball passed safely through its goal; and sympathy was
-freely expressed in many an “Oh!” and “Too bad!” as the wayward bubble
-rolled gayly off toward the floor, or, reaching the goal, dashed itself
-against one of the stakes and instantly vanished into thin air.
-
-[Illustration: Bubble Bowling.]
-
-The game should be played upon a long, narrow table, made simply of
-a board about five feet long and eighteen inches wide, resting upon
-high wooden “horses.” On top of the table, and at a distance of twelve
-inches from one end, should be fastened in an upright position, two
-stakes, twelve inches high; the space between the stakes should be
-eight inches, which will make each stand four inches from the nearest
-edge of the table. When finished, the table must be covered with some
-sort of woollen cloth; an old shawl or a breadth of colored flannel
-will answer the purpose excellently. Small holes must be cut at the
-right distance for the stakes to pass through. The cloth should be
-allowed to fall over the edge of the table, and must not be fastened
-down, as it will sometimes be necessary to remove it in order to let it
-dry. It will be found more convenient, therefore, to use two covers, if
-they can be provided, as then there can always be a dry cloth ready to
-replace the one that has become too damp. The bubbles are apt to stick
-when they come upon wet spots, and the bowling can be carried on in a
-much more lively manner if the course is kept dry. Each of the stakes
-forming the goal should be wound with bright ribbons of contrasting
-colors, entwined from the bottom up, and ending in a bow at the top.
-This bow can be secured in place by driving a small brass-headed tack
-through the ribbon into the top of the stake. If the rough pine legs of
-the table seem too unsightly, they can easily be painted, or a curtain
-may be made of bright-colored cretonne—any other material will do as
-well, provided the colors are pleasing—and tacked around the edge of
-the table, so as to fall in folds to the floor. The illustration shows
-the top of the table, when ready for the game.
-
-For an impromptu affair, a table can be made by placing a leaf of a
-dining-table across the backs of two chairs, and covering it with a
-shawl; lead pencils may be used for the stakes, and they can be held in
-an upright position by sticking them in the tubes of large spools. This
-sort of table the children can arrange themselves, and it answers the
-purpose very nicely. The other things to be provided for the game are
-a large bowl of strong soapsuds, made with hot water and common brown
-soap, and as many pipes as there are players.
-
-The prizes for the winners of the game may consist of any trinkets or
-small articles that fancy or taste may suggest.
-
-Bubble Bowling can be played in two ways. The first method requires
-an even number of players, and these must be divided into two equal
-parties. This is easily accomplished by selecting two children for
-captains, and allowing each captain to choose, alternately, a recruit
-for her party until the ranks are filled, or, in other words, until all
-the children have been chosen; then, ranked by age, or in any other
-manner preferred, they form in line on either side of the table. A pipe
-is given to each child, and they stand prepared for the contest. One
-of the captains first takes her place at the foot of the table, where
-she must remain while she is bowling, as a bubble passing between the
-stakes is not counted unless blown through the goal from the end of the
-table.
-
-The bowl of soapsuds is placed upon a small stand by the side of the
-bowling-table, and the next in rank to the captain, belonging to the
-same party, dips her pipe into the suds and blows a bubble, not too
-large, which she then tosses upon the table in front of the captain,
-who, as first bowler, stands ready to blow the bubble on its course
-down through the goal. Three successive trials are allowed each player;
-the bubbles which break before the bowler has started them, are not
-counted.
-
-The names of all the players, divided as they are into two parties, are
-written down on a slate or paper, and whenever a bubble is sent through
-the goal, a mark is set down opposite the name of the successful bowler.
-
-When the captain has had her three trials, the captain on the other
-side becomes bowler, and the next in rank of her own party blows the
-bubbles for her. When this captain retires, the member of the opposite
-party, ranking next to the captain, takes the bowler’s place and is
-assisted by the one whose name is next on the list of her own side;
-after her the player next to the captain on the other side; and so on
-until the last on the list has her turn, when the captain then becomes
-assistant and blows the bubbles.
-
-The number of marks required for either side to win the game, must be
-decided by the number of players; if there are twenty—ten players on
-each side—thirty marks would be a good limit for the winning score.
-
-When the game has been decided, a prize is given to that member of the
-winning party who has the greatest number of marks attached to her name
-showing that she has sent the bubble through the goal a greater number
-of times than any player on the same side. Or, if preferred, prizes may
-be given to every child belonging to the winning party. The other way
-in which Bubble Bowling may be played is simpler, and does not require
-an even number of players as no sides are formed.
-
-Each bowler plays for herself, and is allowed five successive trials;
-if three bubbles out of the five be blown through the goal the player
-is entitled to a prize. The child acting as assistant becomes the next
-bowler, and so on until the last in turn becomes bowler, when the one
-who began the game takes the place of assistant.
-
-When the evening lamps are lighted and the young folks, gathered
-cosily around the cheerful fire, begin to be at a loss how to amuse
-themselves, let them try the game of
-
-
-=Biographical Nonsense.=
-
-A paper must be written by one of the players which will read like the
-following:
-
-    The name of a noted man.
-    A date between the flood and the present year.
-    The name of a noted man.
-    A country.
-    The name of some body of water or river.
-    Some kind of a vessel.
-    A country.
-    A country.
-    The name of a school.
-    A city.
-    A city, town, or country.
-    A city, town, or country.
-    A number.
-    The names of two books.
-    The name of one book.
-    A wonderful performance.
-    The name of a well-known person.
-    A profession or trade.
-    A term expressing the feeling entertained for another person.
-    A term descriptive of someone’s appearance.
-    A word denoting size.
-    A term describing form.
-    A color.
-    A word denoting size.
-    The name of an article of some decided color.
-    The name of any article.
-    The name of any article.
-    A number of years.
-
-This paper is to be passed to each member of the party who in turn will
-fill up the blanks left, with the words, terms, and names indicated.
-
-When the blanks have been filled, one player must read the following,
-and another supply the words, when she pauses, from the paper just
-prepared, being sure to read them in their true order.
-
-A BIOGRAPHY.
-
-—— was born in —— the same year when —— discovered ——, by sailing
-through the —— in a ——. His father was a native of ——; his mother of
-——. He was educated at ——, in the city of ——. His first voyage, which
-was a long one, was from —— to ——. He wrote three books before he was
-—— years of age. They are ——, and ——. He performed the miraculous
-feat of —— with ——. He was a great ——, and one we shall ever ——. In
-appearance he was —— being rather —— of stature. His nose was ——, his
-eyes ——, his mouth ——, and hair the color of —— adorned his head. He
-invariably carried in his hand a —— and a ——, by which he was always
-known, and with which he is represented to this day. He died at the
-advanced age of ——-.
-
-The ridiculous combinations found in this game make it very funny.
-
-
-=Comic Historical Tableaux=
-
-are very amusing, and being impromptu require no preparation beforehand.
-
-As in charades, the company must divide into two parties. But instead
-of acting as in charades, one party decides what event in history they
-will represent, and then they form a tableau to illustrate the event,
-making it as ridiculous as possible. The other party must try and
-guess what the tableau is; if they are successful, it is their turn to
-produce a tableau, if not, the first party must try another subject,
-and continue to do so until the subject of their tableau is correctly
-guessed.
-
-We will give a few suggestions for the tableaux.
-
-
-BALBOA DISCOVERING THE PACIFIC OCEAN.
-
-Place a pan of water on the floor in plain sight of the audience; then
-let someone dress up in a long cloak and high-crowned hat to personate
-Balboa, and stand on a table in the middle of the floor, while the rest
-of the performers, enveloped in shawls, crouch around. When the curtain
-is drawn aside, Balboa must be seen looking intently through one end of
-a tin horn, or one made of paper, at the pan of water.
-
-
-NERO AT THE BURNING OF ROME.
-
-Nero, in brilliant robes made of shawls, sits on a table, surrounded
-by his courtiers, who are also in fantastic costumes. Nero is in the
-act of fiddling, his fiddle being a small fire shovel, and the bow a
-poker. On the floor in front of the group is placed a large shallow pan
-or tray, in which is set a small house, which has been hastily cut from
-paper. A lighted match is put to the paper house just as the curtains
-are parted.
-
-These two suggestions will no doubt be sufficient to show what the
-tableaux should be like and we need give no further illustrations.
-
-
-=Living Christmas Cards.=
-
-To impart seeming life to the little figures painted on the Christmas
-cards, is a performance intensely amusing to the little ones. A moving
-toy whose actions are life-like is always of great interest; but when
-a little flesh-and-blood head is seen nodding and twisting upon the
-shoulders of a figure painted on a card, the children fairly shout with
-delight.
-
-[Illustration: Fig. 248.—Manner of Holding Card.]
-
-Here is the method of bringing life into the bits of pasteboard.
-
-Select cards with pretty or comical figures, whose faces are the size
-of the ends of your first or second finger. Carefully cut the face out
-of a card; then with ink mark the features on your finger, and put it
-through the opening, as in Fig. 248. Place on this little live head
-a high peaked tissue-paper cap, and the effect will be exceedingly
-ludicrous (Fig. 249). A little Santa Claus who can really nod and bow
-to the children will be very amusing, and there are quite a number of
-Christmas cards which portray the funny, jolly little fellow.
-
-Floral cards may have nodding fairies peeping out from among the petals
-of the flowers, whose heads are crowned with queer little fairy caps,
-as in Fig. 250. If among your collection you have a card with a picture
-of a house on it, it will be amusing to thrust a little head wearing a
-night-cap, out of one of the windows. Round holes will, of course, have
-to be cut in the cards wherever the heads are to appear.
-
-[Illustration: Fig. 249.—Live Head with Peaked Cap.]
-
-Still another way of managing these living puppets is to cut in a
-piece of cardboard, five inches long and two inches wide, three round
-holes a little more than half an inch apart. Sew around the edge of
-the cardboard a gathered curtain of any soft material six inches deep.
-Sketch faces on three of your fingers, pass them under the curtain and
-through the holes in the cardboard. The curtain will fall around and
-conceal your hand, leaving the three heads appearing above (Fig. 251).
-On these heads place any kind of head-dress you choose, making them of
-paper; or caps of white swiss look quaint, and wee doll hats may be
-worn.
-
-[Illustration: Fig. 250—Nodding Fairies.]
-
-It is best to use a little mucilage or paste in fastening the hats on,
-that there may be no danger of their falling off with the movement of
-the fingers.
-
-The hair may be inked, or little wigs made of cotton can be used.
-
-[Illustration: Fig. 251.—Living Puppets.]
-
-If the little faces are painted with water colors, giving color to the
-cheeks and lips, the life-like appearance will be enhanced.
-
-These little personages can be made to carry on absurd conversations,
-and a great deal of expression be given to the bobbing and turning
-of their heads. One person can easily manage the whole thing, and
-entertain a roomful with the performance of the living puppets.
-
-[Illustration]
-
-[Illustration: Happy New Year]
-
-
-
-
-CHAPTER XXXI.
-
-NEW YEAR’S AND A LEAP YEAR PARTY.
-
-
-MY earliest recollection of New Year’s day is of being awakened at
-midnight by the clangor of the fire bells, and the ringing of the
-church bells, as they swung and rocked in their high steeples and
-cupolas, shouting, Happy New Year! from their brazen throats to all the
-sleeping town. Not being thoroughly conversant with bell language, I
-was very much alarmed because they seemed to say “Come, get up—Come,
-get up—House on fire—House on fire!” but, upon opening my eyes, I was
-assured that they were ringing in the New Year, and, as I again fell
-asleep, the bells were saying distinctly, “Wish you Happy New Year—Wish
-you Happy New Year.”
-
-Next day the table was decked with flowers, and was laden with roast
-turkey, fruits, salads, and mince-pies. Oh, my! what delicious
-mince-pies they were! None since have ever tasted as good as those made
-and baked by my grandmother.
-
-I often wonder if the next generation of grandmammas will make such
-cookies, mince pies, and doughnuts as ours did; but this was in
-Kentucky, and you know that we still observed the old-fashioned
-customs, and all day long the gentlemen came dropping in by twos and
-fours, and such handshaking and laughing, and such courtly compliments,
-and such a bowing and a wishing of Many Happy New Years, it does me
-good to think of. Who knows but that so many kind wishes of a long and
-happy life, sincerely given, may really help to bring it to pass.
-
-Small as I was at the time, and little as I understood the customs or
-conversation, the spirit of the whole day was intelligible and appealed
-to the little child, perhaps more forcibly than to the grown-up people.
-
-It is really too bad that the crowded states of our large cities tend
-to lead to the gradual decline of the custom of New Year’s calls, so
-that now many people confine themselves to sending and receiving cards,
-making the always stiff and formal bits of engraved pasteboard, do all
-the calling and receiving; but
-
-
-=New Year’s Parties=
-
-are not out of date, so we will have one on New Year’s Eve, because
-then young and old are privileged to sit up all night, that is, until
-after twelve o’clock midnight, and have all the fun possible. Let us
-begin our frolic with a
-
-
-=Pantomime of an Enchanted Girl.=
-
-For this a damp sheet must be fastened up across the room or between
-the folding doors of the parlor. First, fasten the corners of the
-sheet, next, the centre of each of the four sides, in order that the
-cloth may be perfectly smooth; then place a lighted candle on the
-floor, about four or five feet from the centre of the curtain. When the
-lights in the room occupied by the audience are turned out, leaving it
-in total darkness, so the shadows of the actors behind the curtain may
-be seen on the screen, someone, standing outside of the curtain and
-facing the audience, should explain or relate the story of the play:
-of how a young girl, while walking out on the last day in November,
-meets Halloween, who presents her with three gifts to try her fortune,
-and how, when she is about to do so, a witch enchants her, etc. After
-the story is finished, and a lively overture has been performed on some
-musical instrument, the pantomime is played as follows:
-
-The young girl personating the enchanted one, comes gayly forward from
-the side, when almost across the curtain she meets Halloween, who
-approaches from the opposite side, arrayed in short dress, with wings
-made of newspaper folded fan fashion, and fastened on the shoulders;
-in her hand she carries a cane with a silhouette of a cat, or two or
-three stars and a crescent cut of stiff, brown paper and pasted on the
-end; the cane is so held that the profiles of the figures are kept
-toward the curtain. Seeing this queer being the young girl clearly
-demonstrates, by her actions, that she is alarmed. When Halloween
-quiets her fears, by surely and plainly indicating with slow movements
-of the head, and downward motions of the arms that no harm is intended,
-they shake hands; then Halloween shows the maiden three gifts, an
-apple, a hand-mirror, and an unlighted candle. Before presenting them
-she illustrates by gestures, the use to be made of each. Holding the
-mirror in front of her face, she bites the apple, then looks quickly
-around, as if expecting to see someone, and, again holding up the
-mirror in one hand and the candle in the other, she takes a few steps
-backward, when a boy enters by jumping over the light, which gives the
-appearance of his having fallen down from the sky, Halloween looks
-around, and the boy quickly disappears in the same manner as he came.
-
-All this time the girl stands transfixed, with her hands raised and
-all the fingers spread out in astonishment; she receives the presents
-which are given with many nods and gestures. As Halloween walks away
-the fortune-seeker turns and watches her with a telescope made of
-a roll of paper she finds at her feet on the floor. The maiden then
-proceeds to examine the gifts; as she takes up the apple and mirror,
-her hand is stayed by a witch with flowing hair, who has approached
-unperceived, carrying under one arm a broom, and wearing on her head an
-ordinary hat with a piece of newspaper rolled up and pinned on to form
-a peaked crown. She motions to the girl to be seated; then stands over
-her and makes passes in the air, and taking up her broom from the floor
-makes grand flourishes and departs walking back towards the candle,
-which causes her shadow to grow larger and larger. The poor girl looks
-anxiously around and discovers she has been enchanted, for there are
-three girls instead of one; this effect is produced by two more lighted
-candles being placed on the floor on either side of the first candle,
-and every movement the girl makes is mimicked by her other selves. The
-candles are removed and the Old Year instantly appears, his figure
-bent, a piece of fringed paper pasted on his chin for a flowing beard,
-and carrying in his hand a cane with a piece of stiff paper fastened
-on to represent a scythe. Discovering him the girl runs forward to
-tell her sorrows, and finds that it is only when alone that she is
-enchanted, for when she attempts to point out her other selves they
-have disappeared; making many gestures she looks here and there for
-them, but in vain, then as the Old Year leaves she bids him a sorrowful
-adieu. Again alone, the facsimiles reappear and she grows desperate,
-so do the other two selves, she throws her arms about, skips, jumps,
-and dances wildly around, the other selves do likewise, and at the same
-time they are made to pass and repass her, by two persons taking up the
-two extra lights, and, keeping the lights facing the curtain, walking
-back and forth, passing, and repassing each other but never stepping
-in front of the candle on the floor. In the midst of the dancing the
-two extra candles are taken away and immediately the little New Year
-enters, crowned with a paper star and wearing wings of paper. The young
-girl rushes to meet the New Year with a hearty greeting, she then tells
-him of her enchantment, counting the three selves by holding up the
-first finger of the right hand three times in succession, and while the
-New Year makes gestures that indicate advice the maiden listens with
-her hand to her ear, and, promising by signs to be a good girl, she
-kneels down, and the little New Year raises both hands above her head,
-then, kissing her hand to the maiden, departs.
-
-The glad New Year has disenchanted her, she carefully looks this way
-and that, but seeing all is well she tosses her head, dances around,
-makes a courtesy, kisses both hands to the audience and disappears.
-
-When the play is over, and just as the clock strikes twelve, the party
-can instantly change its character if it is leap-year and become a
-
-
-=Leap-Year Party=
-
-for the remaining hour or so, thereby creating a great deal more
-merriment and sport; the novelty of the fact that the girls exchange
-places with the boys makes everything appear strange. And when the
-music commences for dancing the girls look from one to another, no
-one at first having the courage to invite a partner to dance, so
-unaccustomed are they to even the thought of such a thing. The boys of
-course laugh, and make no move to assist their timid, would-be partners
-in the part they must play, but quietly await the expected invitation.
-When, however, someone takes the initiative step, the others follow,
-and all goes merrily.
-
-The supper presents a new phase, but here the girls do their part
-perfectly, providing all the boys with a plentiful repast, and each one
-is made to feel that his presence is necessary to the success of the
-party, thereby insuring a happy, pleasant time for all.
-
-In giving a leap-year party it is very essential that all the guests
-understand perfectly that the idea of the entertainment is to have
-the girls take upon themselves all the duties and courtesies properly
-belonging to the boys, and that the boys shall wait for an invitation
-before dancing, promenading, or partaking of refreshments, and that
-a boy should not cross the floor unattended, but wait for some fair
-friend to escort him. The girls are at liberty to go and come as they
-like, though they must remember not to leave a partner standing after
-the dance is over, but politely conduct him to a seat, and the girls
-must also endeavor to make the party pleasant and agreeable to all.
-The chaperons, of course, should have charge of the boys during the
-entertainment.
-
-The leap-year party need not necessarily be a dancing party, as any
-social gathering can take the form of a leap-year party.
-
-When an entertainment is given on the eve of a new leap-year, with a
-view to dancing the old year out and the new year in, just as the clock
-strikes twelve the party can immediately change into a leap-year party
-as described, or should the New Year be a common year, then as the time
-flies and the hands of the clock approach the hour of twelve all are
-on the qui vive to be the first to have the pleasure of greeting their
-friends with a Happy New Year.
-
-[Illustration]
-
-
-
-
-CHAPTER XXXII.
-
-HOME GYMNASIUM.
-
-
-EVERYONE _must_ exercise to keep healthy and strong, for life is motion
-and activity. It is natural to be well and happy, and to keep so we
-must exercise all our muscles, as well as our moral and intellectual
-faculties, or they will dwindle and wither. The arm of the Hindoo
-devotee, not being used, at length becomes completely paralyzed, and
-fish in the Mammoth Cave having no use for eyes pass their life without
-them; so we find that _use_ is the foundation of all things, otherwise
-they would cease to exist; then, girls, it lies within your power to
-become stronger and more graceful each day by regular and graduated
-bodily exercise, which will bring life and energy to every part of your
-system by causing the blood to circulate freely through all the body.
-
-There are some simple methods of carrying this into effect in the most
-agreeable and salutary manner, but the exercises must be very light at
-first, and as you advance they may be increased a little each time, but
-always stop before you feel fatigued, for when the calisthenics cease
-to give pleasure it is doubtful if they are beneficial.
-
-[Illustration]
-
-The best time for exercising is in the morning after having partaken
-of some light refreshments, though any time will do except directly
-after hearty meals. Try and have a regular time set apart each day for
-your physical culture. Commence by exercising five or ten minutes,
-then for a little longer period next time, and so on until you can
-exercise with ease for half an hour or longer. You will feel refreshed,
-invigorated, and better prepared for the duties and pleasures which
-await you. Your clothing must not incommode the free action of the
-body, and it is essential that it be comfortable. What is suitable
-for lawn tennis is also well adapted for the gymnasium. An ordinary
-bathing-dress answers the purpose very well, as it is made for exercise.
-
-The Egyptian water-carrier, with the jug of water poised so prettily
-on her head, and her figure so straight and beautiful, has always
-challenged admiration; her carriage is dignified, erect, and graceful,
-something worth striving for, especially when we have the certainty of
-success if we will only be faithful and persevering. The peasantry of
-foreign countries who carry all their burdens balanced on their heads
-have their reward in healthy, strong, straight figures, even in old age
-they do not stoop. Witness the emigrants landing at Castle Garden who
-carry their possessions done up in huge bundles on their heads with the
-utmost ease; of this class, three generations—a grandmother, mother,
-and grown daughter—with baggage of the same weight on their heads, were
-lately seen at a New York ferry, each equally upright, strong, and
-vigorous.
-
-A good straight back is an excellent thing; and when the head is
-properly carried and all the movements are buoyant and elastic, then
-we may walk as it was intended we should, every step bringing a glow
-to the cheek and a sparkle to the eye. It requires only a few minutes’
-regular daily exercise for any girl to attain a carriage equal to that
-of the Egyptian water-carrier, and the only apparatus needed for
-
-
-=Exercise First=
-
-is a roll of paper. Now stand with your heels together, toes out, and
-shoulders well back; then place on your head the roll of paper; if
-your position is not perfectly erect the roll will fall off; keep your
-chin straight and back against your neck, for it is the _chin_ which
-determines the poise of the body. You cannot stand straight unless the
-chin is straight; throw out your chin and your shoulders will stoop
-forward, have your chin straight and your back will be straight; bear
-this in mind in all your exercises. Now walk, keeping the roll balanced
-on your head (Fig. 252). Practice this walking back and forth until
-you can do so without the paper rolling off; then try a tin cup full
-to the brim with water. Walk erect or the water will wash over, down
-on your head, and it will feel cold as it trickles through your hair;
-soon, however, you will be able to carry the cup of water with ease
-and no danger of its spilling. But do not discontinue the practice on
-that account; try something else in its place, until you are able to
-carry anything you wish on your head with no fear of it falling. The
-exercise affords amusement, and at the same time you will be acquiring
-a beautiful, dignified, and graceful carriage.
-
-[Illustration: Fig. 252.—Balancing a Roll of Paper.]
-
-
-=Exercise Second=
-
-is for gaining agility, suppleness, quickness of eye, hand, and foot.
-Standing as far from the wall as possible, take a common rubber
-hand-ball and toss it against the wall, catching it as it rebounds
-(see illustration), and again toss it against the wall. Vary this by
-allowing the ball to strike the floor, catching it on the rebound;
-then try keeping the ball in constant motion by using first one hand
-and then the other as a bat for returning the ball to the wall. The
-exercise can also be changed by striking the ball against the floor,
-and on its return bound again striking it, thus keeping it in motion.
-You will find that activity is necessary, and the work so quick that it
-will keep you on the jump all through the exercise.
-
-
-=Exercise Third=
-
-is with a broom-handle. Saw or cut off the broom and smooth down the
-sharp ends of the handle, and it will be ready for use. Stand erect,
-heels together, toes out, chin well back and straight, so as to throw
-out and expand the chest. Now grasp firmly each end of the broomstick
-and bring it up over the head (Fig. 253); repeat this motion six or
-seven times; then change by carrying the broomstick over back of the
-head down across and back of the shoulders; then up above the head
-again, repeating this, and all other motions in your calisthenics, half
-a dozen times. Another exercise is holding the stick down in front of
-you with both hands and bringing it up over the head and down back of
-the shoulders without stopping.
-
-[Illustration: Fig. 253.—Broom-handle Exercise.]
-
-The side motion is made by grasping the broomstick at each end, holding
-it down in front of you, and swinging it sideways, thus bringing the
-right hand up when the left is down, and _vice versa_. Another way is
-to hold the stick by both ends above your head and swing it from one
-side to the other, which will cause the right arm to come in contact
-with the right side of the head, while the left arm is extended out
-horizontally to the left. Next carry the stick back of and against the
-shoulders; then swing it from right to left, which gives another side
-movement. Vary all the movements in as many different ways as you can
-think of.
-
-
-=Exercise Fourth.=
-
-Stand erect always when in position for exercising, according to the
-directions given—heels together, toes out, etc. Now allow your arms to
-hang naturally down at your sides, raise your heels, and stand on your
-toes; now lower the heels and repeat the motion; then close your hands
-tightly and raise your arms out sideways at right angles with your
-body, next up straight above your head, and down again to the level of
-the shoulders, then back down to your sides as at first.
-
-Again take position, close your hands tightly, and raise them up under
-the arms, bringing the elbows out to a level with the shoulders; then
-bring your hands down at your sides again and repeat the movement
-vigorously; resume position, firmly close your hands and carry them up
-to the shoulders, next extend them up straight above your head, down
-again to your shoulders, and back to the first position. A very good
-exercise is to extend both arms straight out in front of you, close
-your hands and bring them back to your chest, which will cause the bent
-elbows to project beyond your back.
-
-
-=Exercise Fifth.=
-
-Assume position, close your hands, and take one long step forward
-with your right foot, bend the right knee and stand with your weight
-resting on the right foot; then extend your arms out sideways straight
-from the shoulders, now bring your hands together in front of you,
-still keeping the arms on a level with the shoulders, and while doing
-so throw the body back, straightening the right knee and bending the
-left so the weight of the body will rest on the left foot; repeat this
-and vary it by taking one step forward with the left foot and going
-through with the same motions.
-
-Resume position, and place your hands on your hips, with your thumbs
-turned forward and fingers backward. Now take a long step forward with
-your right foot, throwing the weight on that foot, then back again in
-position, and in the same manner step forward with your left foot and
-back again; next take a step backward with your right foot, resume
-position, and then with your left.
-
-Again stand with your hands on your hips, thumbs turned forward, and
-without bending your knees move the body, first bending it forward,
-then backward, and resuming an upright position, bend over to the right
-and to the left.
-
-[Illustration: Fig. 254.—Balancing Broom-handle.]
-
-
-=Exercise Sixth.=
-
-In this the broomstick is used for balancing; hold it in an upright
-position, and first try balancing it on the palm of your hand; then
-on the back of your hand, next on each of the fingers in succession,
-commencing with the first finger (Fig. 254); be cautious, and when
-the stick wavers do not let it fall, but catch it with the other hand,
-and again balance it. This is an interesting, light, and diverting
-exercise, requiring all your attention, and, for the time being, your
-thoughts are concentrated on the effort to keep the broomstick properly
-balanced.
-
-
-=Exercise Seventh.=
-
-Pure blood means good health, and to purify the blood and keep the
-complexion clear it is essential that you breathe a sufficient quantity
-of _pure_ air, and you cannot take in a proper amount of air unless
-your lungs are wholly extended. So take position with your hands
-correctly placed on your hips; then very slowly draw in your breath
-until your chest and lungs are fully expanded; next slowly exhale your
-breath, and repeat the exercise.
-
-
-=Exercise Eighth.=
-
-Screw in two large, _strong_ hooks in the woodwork on each side of the
-doorway; place the hooks as far above your head as you can conveniently
-reach; slide the broomstick in so that it will extend across the
-doorway and be supported by the hooks; have the apparatus on that side
-of the doorway where it will not interfere with the opening and closing
-of the door, and be sure that it is perfectly secure before attempting
-to exercise; each time before commencing a new movement examine the
-stick, and be certain that it is not in any danger of slipping from
-the hooks. Unless you can be perfectly safe from liability to hurts or
-falls, do not include this in your list of exercises.
-
-For the first movement grasp the bar firmly with both hands and swing
-the body forward and backward, standing first on the toes, then on the
-heels; next, still grasping the bar, raise up on your toes, then back
-again. Change the movements in as many ways as you like, but do not
-try anything that may strain or hurt you. Now screw in two more hooks,
-on either side of the woodwork, below the first ones, placing them
-about two feet and eight inches from the floor; take the stick from
-its elevated position and slide it across the doorway so it will rest
-securely on the two lower hooks. Standing in front of it, grasp the bar
-firmly with both hands and try to raise yourself up, feet and all, from
-the floor by bearing your weight down on the bar; then let yourself
-gently back again. When you have finished exercising, remove the stick
-and put it away.
-
-[Illustration: Fig. 255.—The Swing.]
-
-
-=Exercise Ninth.=
-
-In the top part of the framework of the doorway fasten a very strong
-hook by screwing it into the wood; then take a broomstick and, after
-shortening it so that when held in a horizontal position it will
-readily pass through the doorway, cut notches in each end and securely
-tie the two ends of a rope across the notches; suspend this swing by
-slipping the centre of the rope over the hook in the doorway (Fig.
-255); have the apparatus strong and firm, capable of any amount of wear
-and tear. Stand facing the stick, which should be at the height of the
-chest, and take hold of it with both hands; now bend the knees until
-they are within a short distance of the floor, then rise and repeat
-the exercise. Next, with both hands on the stick, take a long step
-forward with the right foot, throwing the weight on that foot; return
-to your position and go through the same exercise with your left foot.
-Try different movements which suggest themselves, and select those you
-like best. When not in use the swing can be slipped off the hook and
-put out of the way.
-
-
-=Exercise Tenth.=
-
-To develop a weak voice and make it clear and sweet, and to strengthen
-the lungs, reading aloud is an excellent exercise; as it requires both
-mental and muscular exertion and performs a double duty, it should
-receive a full share of time and attention. Begin with something you
-are interested in, then you will find it much easier to read aloud than
-if you undertook a book or an article which might be full of merit,
-but lack interest for you. When commencing this exercise read only ten
-minutes or less at a sitting, increasing the time as you practise and
-the reading grows less difficult. Do not be discouraged if your voice
-sounds a little husky while reading; stop a moment, and then go on
-again. After a few trials you will have no more trouble in that way,
-for your voice will grow clear and distinct, and the exercise will
-become a great pleasure as well as an attractive, useful accomplishment.
-
-Let your reading matter be very choice and of the best; do not
-condescend to waste your time on other writings.
-
-From the ten different exercises given, select those best adapted to
-your size, age, and liking, and practise them for a short time daily;
-you can hardly realize the great advantage they will prove to be. In
-this way all parts of the system may be strengthened and harmoniously
-developed. But the constitution cannot be hurried: all must be
-accomplished little by little. Allow yourselves to be happy and merry;
-be ready to enjoy the little pleasures of life, and this, with kind
-and generous feelings for others, will do a great deal toward keeping
-you well and strong.
-
-Out-of-door exercise is always to be preferred to in-door when one has
-a choice. Walking, tennis, archery, horseback, and swimming are some
-of the athletic sports for girls, and they all have their attractions.
-But there are times when we are denied the pleasure of these pastimes,
-and then we are glad of a little exercise in-doors, which also affords
-enjoyment and recreation.
-
-[Illustration]
-
-
-
-
-CHAPTER XXXIII.
-
-A DECORATIVE LANGUAGE.
-
-
-WHEN in olden times the warriors went around the country dressed in
-suits of clothes made by a blacksmith instead of a tailor, their hats
-were manufactured at the forge also, and had _iron front doors_ that
-moved upon hinges. When danger was nigh these doors were closed,
-locked, and barred over the poor men’s heads, leaving only a loop-hole
-or two for them to peep through. At such times in meeting Mr. Brown it
-was impossible to distinguish him from Mr. Smith, who was arrayed in
-like manner, and it might happen that Mr. Smith was the last man in
-the world that one cared to meet, not being on speaking terms or some
-such reason. Well, as we were saying, there was no chance whatever of
-telling one man from another unless he wore a distinguishing mark of
-some kind.
-
-So to prevent such uncomfortable mistakes and to distinguish friend
-from foe, every gentleman had to be marked and labelled, like an
-express package, so one might read as he ran, “I am Earl Jenkins,
-of Thunderland, who married a Rhazor, of Stropshire.” These names
-and addresses were not painted in words on their owners with a
-marking-brush, but worked and embroidered in translatable designs on
-cloaks, saddle-housings, and silken banners, or emblazoned on the
-shield they carried with which to meet the advances of their neighbors.
-Since that time our more recent ancestors in England have taken great
-pride in preserving and handing down from generation to generation
-these distinguishing marks, as a guarantee to their children that they
-came of gentle birth, which is very interesting and gratifying for
-European girls, but American girls need nothing of the kind; it is
-sufficient that we are Americans.
-
-Of course, some of us do take pleasure in knowing that our
-great-great-grandparents came over in the Mayflower, or that the
-name of an ancestor is among the signatures upon that Declaration of
-Independence which made such a stir a century ago, for that proves us
-to be Columbia’s daughters.
-
-When there was no other method of distinguishing a man his label became
-a very important item; so these family devices were reduced to a
-science and protected by law.
-
-The old countries’ coats of arms may remain abroad, where they belong,
-but the ingenious scheme, that was gradually evolved, of picturing
-ideas, mottoes, and pretty sentiments we will adopt as our inheritance,
-with many thanks to our mediæval ancestors with the metallic clothes,
-who bequeathed them to us.
-
-We propose to revive enough of this neglected knowledge of chivalry to
-serve our purpose in suggesting a method of designing devices which
-will not only be artistic decorations, but to the initiated can be made
-to portray almost any sentiment or set of principles the artist may
-choose.
-
-The many uses to which these designs can be applied will, we hope,
-at once be seen by the quick-witted American girls, and we trust
-will interest the reader as much as they do the writer, who in this
-chapter can only give a few necessary, brief hints upon the subject,
-sufficient, however, to explain the application that can be made of
-this beautiful and perfect system of
-
-
-=Decorative Language.=
-
-In the following directions anyone can learn how to make a device which
-will not only be a decoration, artistic in form and color, but will at
-the same time express the peculiar traits, characteristics, and virtues
-of the friend for whom it is intended, or the precept, code, proverb,
-or creed of the designer. All technical terms, as far as practicable,
-are discarded, but the rules of heraldry strictly adhered to, with such
-simplifications as are necessary to render it intelligible.
-
-
-=The Field.=
-
-The surface on which the design is portrayed is called the field.
-This may be of any shape; originally it was supposed to represent a
-warrior’s shield, but you may use a circle, oval, square, diamond, or
-any other form.
-
-[Illustration: Fig. 256.—The Field.]
-
-
-=The Points=
-
-on the surface of the shield locate the exact spot where a design or
-object in heraldry may be placed. Refer by numbers to Fig. 257.
-
-[Illustration: Fig. 257.—Points.]
-
-    1. Fess point.
-    2. Honor point.
-    3. Nombril point.
-    4. Dexter chief point.
-    5. Middle or chief point.
-    6. Sinister chief point.
-    7. Dexter base point.
-    8. Middle base point.
-    9. Sinister base point.
-
-If you desire to place a flower on the fess point, you find that it
-means the exact centre of the shield, and so on.
-
-The devices take significance in accordance with the more or less
-importance of their position on the shield; the honor point holds the
-highest grade, next to it the middle or chief point, and the right or
-dexter side is of more importance than the left or sinister.
-
-The field may be divided, if desired, in any of the following
-
-
-=Divisions,=
-
-each of which has a significance, suggested generally by the form:
-
-Fig. 258, the Chief, occupying the top or head of the shield, indicates
-pre-eminence, main object, intelligence, first principle.
-
-[Illustration: Fig. 258.—Chief.]
-
-[Illustration: Fig. 259.—Fess.]
-
-[Illustration: Fig. 260.—Parted per Fess.]
-
-Fig. 259, the Fess, denotes cause and effect, the central band
-containing the means by which the ends, in the other spaces, are
-accomplished.
-
-[Illustration: Fig. 261.—Pale.]
-
-[Illustration: Fig. 262.—Parted per Pale.]
-
-[Illustration: Fig. 263.—Bend.]
-
-Fig. 260 is a partition, and partakes of the meaning of the division,
-it is denoted by the term, parted per fess.
-
-Fig. 261, the Pale, represents rectitude, uprightness; also union, the
-object in the central division uniting whatever occupies the dexter and
-sinister sides.
-
-Fig. 262 is parted per pale.
-
-[Illustration: Fig. 264.—Parted per Bend.]
-
-[Illustration: Fig. 265.—Chevron.]
-
-[Illustration: Fig. 266.—Cross.]
-
-Fig. 263, the Bend, is auspicious, meaning prosperity, success.
-
-Fig. 264 is parted per bend.
-
-Fig. 265, the Chevron, is indicative of aid, assistance, support.
-
-Fig. 266, the Cross, suggests humility, devotion, patience,
-perseverance.
-
-[Illustration: Fig. 267.—Saltire.]
-
-[Illustration: Fig. 268.—Pile.]
-
-[Illustration: Fig. 269.—Canton.]
-
-Fig. 267, the Saltire, a variation of the cross, is recognized as
-order, discipline.
-
-Fig. 268, the Pile, being in the form of a wedge, means penetration,
-incision, entering to divide or distribute.
-
-Fig. 269, the Canton, denotes an additional, separate idea or
-principle; also some characteristic that is added to the original
-design.
-
-
-=Colors.=
-
-These also have symbolical meanings.
-
-Fig. 270.—Gold or yellow is expressed in black and white by means of
-dots, and is used in the sense of wealth, ability, or knowledge.
-
-[Illustration: Fig. 270.—Gold.]
-
-[Illustration: Fig. 271.—Silver.]
-
-[Illustration: Fig. 272.—Red.]
-
-Fig. 271.—Silver or white is represented by a plain white surface,
-and being the color of light, signifies brightness, purity, virtue,
-innocence.
-
-Fig. 272.—Red, represented by perpendicular lines, means ardent
-affection, love.
-
-Fig. 273.—Blue is represented by horizontal lines; like the color in
-the heavens, it is truth, freedom, eternity.
-
-[Illustration: Fig. 273.—Blue.]
-
-[Illustration: Fig. 274.—Purple.]
-
-[Illustration: Fig. 275.—Green.]
-
-Fig. 274.—Purple, represented by diagonal lines from sinister chief to
-dexter base, being the royal color, is understood as authority, power,
-grandeur.
-
-Fig. 275.—Green is represented by lines running diagonally across the
-shield from dexter chief to sinister base. Like spring foliage, it
-suggests hope, life, vitality, youth, freshness.
-
-Fig. 276.—Orange is represented by horizontal lines crossed by diagonal
-lines from dexter base to sinister chief. It is the color of the king
-of beasts and signifies strength, honor, generosity.
-
-[Illustration: Fig. 276.—Orange.]
-
-[Illustration: Fig. 277.—Crimson.]
-
-[Illustration: Fig. 278.—Black.]
-
-Fig. 277.—Crimson, or blood-color, is represented by diagonal lines
-from dexter chief and sinister chief, crossing each other. It denotes
-boldness, enthusiasm, impetuosity.
-
-Fig. 278.—Black is represented by horizontal and perpendicular lines
-crossed. It means darkness, doubt, ignorance, uncertainty.
-
-To the principal design portrayed on the shield can be added such
-appendages as are appropriate—crest over the top and a scroll with a
-motto beneath the shield—but they are supplementary, and not of great
-importance; their colors should be those of the shield.
-
-Thus far our plans have followed the exact science of heraldry, but
-at this point comes a departure, for in the place of other armorial
-devices we shall place Dame Nature’s sweetest thoughts—flowers.
-
-If we now add to the significance of the forms and colors already
-given the accepted and authentic language of flowers, we shall have a
-possibility of combinations practically inexhaustible, and with such
-a dictionary of symbols to draw upon, we can successfully translate
-almost any terse sentiment into a unique decorative design.
-
-In order to give all the assistance in our power we have culled from
-the most generally accepted authorities and authentic sources a short
-floral vocabulary, and now that we have the material at hand let us
-test the system and learn
-
-
-=How to Make a Design in Decorative Language.=
-
-Suppose our Natural History Society desires an appropriate pin or badge.
-
-First we turn to the floral vocabulary and there find that the magnolia
-means love of nature. The flower has a good decorative form, its
-sentiment is exactly appropriate, and we unhesitatingly adopt it.
-
-[Illustration: Fig. 279. TRUE LOVE OF NATURE]
-
-After trying various forms for the shield, we select a very plain one
-that the effect of the decorative form of the magnolia may not be
-lessened by too ornate surroundings, and to show the large size of the
-blossom we must have it occupy the entire field without any divisions.
-Next, as to color; let us think. White, meaning brightness, purity,
-etc.? No. Yellow or gold, signifying wealth, ability, or—ah! here we
-have it—_knowledge?_ Yes, that will do nicely—a love of nature on a
-field of knowledge; that certainly is appropriate. But the top of
-the shield being so square and plain gives the device an unfinished
-appearance. Suppose we try a bar over it, and something not a flower.
-As we wish this design to remain simple, a leaf of some kind would be
-best; so we return to the floral vocabulary, and after trying many and
-almost taking several, finally decide that the oak leaf is just the
-form needed to give a finish to the top, and its meaning, strength,
-will be an excellent element in the society. There, our insignia is
-complete, good in form, attractive in color, and appropriate in its
-meaning; but some of us prefer having the motto written out in plain
-English, so we will add a decorative scroll, with the meaning of the
-design inscribed “True Love of Nature.” (See Fig. 279.)
-
-To familiarize ourselves with the working of the method let us try
-another experiment, and take the sentiment, “Wealth is the Reward of
-Industry,” to illustrate.
-
-After deciding on the form of the shield, we turn to the divisions, and
-running them slowly over for something suitable, stop at Fig. 259, the
-Fess, meaning cause and effect. That sounds promising. Industry is the
-means by which the end, wealth, is accomplished. Good so far. We can
-now see that a floral emblem to represent industry should be placed in
-the central division, and whatever signifies wealth on the other two
-spaces. Among our legends of flowers we find industry portrayed by the
-bee orchid, and wealth and prosperity are symbolized by wheat. That
-is plain and easy. Now we have only to decide upon appropriate colors
-for the field to complete the design. Gold would mean wealth, but that
-we have in the wheat; besides the yellow of the wheat would not show
-well on the gold background, while on white or silver the contrast
-is strong and the appearance agreeable. Silver denotes innocence and
-virtue, which are so necessary that without them wealth would be
-undesirable. Therefore silver or virtue shall be the groundwork for
-our wealth, and for industry we will select purple as meaning power.
-Industry possesses the power to acquire wealth. Thus we complete the
-emblematical design, as seen in Fig. 280.
-
-[Illustration: Fig. 280. Wealth is the Reward of INDUSTRY]
-
-The following is a problem given to us for solution: On a gold chevron
-in a black field is a scarlet lily, to which is added as a crest a
-sunflower, and under all a blank scroll. On this we must write a motto
-that will be appropriately symbolized by the design.
-
-It would be excellent practice for the student in this new motif in
-decorative art to try, by application of the foregoing instructions, to
-decipher the meaning of this design before reading the analysis.
-
-SOLUTION OF FIG. 281. —We do not think this is put together as
-scientifically as the system would admit of, but still it can be
-deciphered.
-
-[Illustration: Fig. 281.]
-
-The scarlet lily (high-souled aspirations) on a gold (knowledge)
-chevron, which is aid, assistance, in a field of black (ignorance),
-surmounted by the sunflower (pure and lofty thoughts), freely
-translated, might be read: Aspirations after knowledge help to illumine
-the darkness of ignorance with pure and lofty thoughts. Aspirations
-(lily) after knowledge (gold) help (chevron) to illumine (the gold
-chevron and lily brighten up the dulness of the black field) the
-darkness of ignorance (black) with pure and lofty thoughts (sunflower).
-
-[Illustration: Fig. 282.]
-
-For younger girls the plain shield of one color with an appropriate
-flower had best be used, which they may vary _ad infinitum_. A simple
-yet pretty shield can be made by placing a four-leaved clover,
-symbolical of good-luck, on a shield of one color, silver, meaning
-purity, innocence, showing that innocence, combined with the language
-of the clover, expresses good-fortune.
-
-[Illustration: Fig. 283.]
-
-[Illustration: Fig. 284]
-
-We might go on forming innumerable designs, each more beautiful than
-the last, but enough hints have been given to enable the young people
-to make any style of design in this decorative language which may
-best suit their purpose. Young girls can decorate menu cards, having
-each motto exactly suited to every separate guest, the sentiment
-being indicative of some feeling or quality peculiar to each person.
-Invitations for parties, also orders of dances or games, may be
-designed in the same way.
-
-[Illustration: Fig. 285.]
-
-This beautiful combination of flowers and heraldry is appropriate for
-ornamental needlework, to be embroidered on chairs, worked on screens,
-painted on velvet, wrought on scarfs, and adapted in innumerable ways
-to add to the refinement and attractiveness of home.
-
-[Illustration: Fig. 286.]
-
-The idea can be utilized in stained-glass effects and in china
-
-[Illustration: Fig. 287.]
-
-[Illustration: Fig. 288.]
-
-The chosen motto may be a decoration in marking personal possessions,
-such as table china (Figs. 282, 283, 284), fan (Fig. 285), chair-back
-(Fig. 286), travelling satchel (Fig. 287), tidy (Fig. 288),
-handkerchief (Fig. 289), and sofa-cushion (Fig. 290).
-
-[Illustration: Fig. 289.]
-
-[Illustration: Fig. 290.]
-
-These are only a few examples of the many articles which can be
-beautified and stamped with your individual mark. Portières offer a
-good ground for applique or embroidery in decorative language.
-
-
-=Book-Plates=
-
-seem to be regaining their popularity and usefulness. These book-plates
-are tablets in any style, which, when gummed inside on the front covers
-of books, have been used for many years to designate to whom the books
-belong.
-
-There is a certain book-plate more interesting to us than all others.
-To the design on it we are indebted for our national shield and our
-Stars and Stripes. It was used by the Father of our Country, and we are
-glad to be able to give a print of the original in Fig. 291.
-
-[Illustration: Fig. 291.]
-
-In the decorative language any style of book-plate can be designed,
-which, when pasted in a favorite book, will add to the value of the
-already treasured volume.
-
-
-=Floral Vocabulary.=
-
-    Apple-blossom                   Preference.
-    Almond                          Hope.
-    Acanthus                        Art.
-    Arbor vitæ                      Unchanging friendship.
-    Bulrush                         Docility.
-    Balm                            Social intercourse.
-    Balsamine                       Impatience.
-    Blue violet                    Faithfulness.
-    Bay wreath                     Glory.
-    Box                            Constancy.
-    Broom                          Humility.
-    Buttercup                      Riches.
-    Camellia japonica              Unpretending excellence.
-    Cherry                         A good education.
-    Canterbury-bell                Gratitude.
-    Chestnut                       Do me justice.
-    China aster                    Love of variety.
-    Cabbage                        Profit.
-    Coreopsis                      Always cheerful.
-    Clover, red                    Industry.
-    Cowslip                        Winning grace.
-    Clover, white                  I promise.
-    Daffodil                       Uncertainty.
-    Dahlia                         Elegance and dignity.
-    Dandelion                      Coquetry.
-    Fennel                         Strength.
-    Geranium                       Gentility.
-    Grass                          Submission.
-    Heliotrope                     Devotion.
-    House-leek                     Domestic economy.
-    Hollyhock                      Ambition.
-    Ivy                            Dependence.
-    Laurestine                     A token.
-    Lichen                         Solitude.
-    Lettuce                        Cold-hearted.
-    Lemon-blossom                  Discretion.
-    Lilac, purple                  Fastidiousness.
-    Lily, white                    Purity.
-    Mullein                        Good-nature.
-    Mignonette                     Worth.
-    May-flower                     Welcome.
-    Nasturtium                     Patriotism.
-    Oats                           Music.
-    Olive                          Peace.
-    Ox-eye                         Patience.
-    Poppy, white                   Dreams.
-    Snowdrop                       Consolation.
-    Straw                          United.
-    Sensitive-plant                Sensitiveness.
-    Star of Bethlehem              Reconciliation.
-    Sweetbrier                     Simplicity.
-    Thyme                          Thriftiness.
-    Thorn-apple                    Disguise.
-    Tulip-tree                     Fame.
-    Witch-hazel                    A spell.
-    Winged seeds of all kinds      Messengers.
-    White violet                   Modesty.
-    White rose                     Silence.
-
-[Illustration]
-
-
-
-
-CHAPTER XXXIV.
-
-A FEW ITEMS ON OLD-FASHIONED NEEDLE-WORK, WITH SOME NEW AND ORIGINAL
-PATTERNS.
-
-
-“COME around early this afternoon and bring your fancy-work; we will
-have a nice, cosey time; all the girls will be there, and we can read
-that last new book.” Such is the familiar and welcome invitation given
-and received, from time to time, by most young girls, and they find
-quiet but real recreation in these informal meetings, where, while
-listening to a friend read aloud, they believe it much easier to keep
-their minds on the subject if their hands are employed with dainty
-needle-work. Then, too, sewing is a real pleasure when one becomes
-interested in the work, and anyone who thoroughly understands plain
-sewing can with ease learn fancy stitches of all kinds, for good
-old-fashioned
-
-
-=Plain Sewing=
-
-is the foundation—the A B C—of all the more elaborate drawn work,
-embroideries, and some of the laces. As a rule we think
-
-
-OVERHANDING
-
-comes first on the list of plain stitches; this is exactly the same
-as sewing over and over. Hold the two edges of the material firmly
-together between the first finger and thumb of the left hand, while
-with the right hand you take the stitches very close together and as
-near the edge as possible, sewing from right to left (Fig. 292). It is
-well to keep the edge nearest to you a little tighter than the outer
-edge, to prevent its puckering. Always baste the seam before sewing,
-and when the seam is finished open it and flatten out the stitches
-(Fig. 293), so that the edges of the material will not overlap, but
-just meet together and lie smooth and flat.
-
-[Illustration: Fig. 292.—Overhanding; or Sewing over and over.]
-
-[Illustration: Fig. 293—Overhanding. The seam opened with stitches
-flattened out.]
-
-
-OVERCASTING
-
-is the same as overhanding, except the stitches slant, are farther
-apart, taken down deeper in the material, and the seam is not opened.
-
-
-HEMMING.
-
-First turn in the raw edge four or five threads, according to the kind
-of goods to be hemmed, then turn it down again to the desired width;
-this done, baste the hem down evenly and neatly—it must be of the same
-width throughout—hold the sewing over the first finger of your left
-hand, and have the stitches small, even, and very near the edge of the
-hem (Fig. 294).
-
-[Illustration: Fig. 294.—Hemming.]
-
-
-RUNNING.
-
-Pass the needle in and out of the material in a straight line (Fig.
-295), making all the stitches the same size. We believe the rule is to
-take up two threads and leave two; but the length of the stitch should
-be regulated by the kind of material used.
-
-[Illustration: Fig. 295.—Running.]
-
-
-BASTING
-
-is to take long stitches in the same manner as running.
-
-
-GATHERING
-
-does not differ much from running; the stitches are taken on the needle
-in the same manner, but in this case two threads are taken up and four
-left; the line should be kept perfectly straight.
-
-If you wish to gather an apron or a skirt divide it into halves, then
-into quarters, in order to make the fulness even on each half of the
-band; mark the four places and gather on the right side; when finished
-draw the stitches tightly together on the thread and stroke down
-evenly with a needle. To sew in the gathers, back-stitch each one in
-separately.
-
-
-STITCHING.
-
-Take two threads back of the needle and two before, having each stitch
-meet the last one, as in Fig. 296; keep the stitches even and in a
-straight line.
-
-[Illustration: Fig. 296.—Stitching.]
-
-
-BACK-STITCHING.
-
-Proceed as in stitching, only make the stitches longer and do not have
-them meet.
-
-
-FELLING.
-
-First baste up the seam, allowing the upper edge to extend five threads
-beyond the lower edge (Fig. 296); then back-stitch or stitch the two
-edges together; next turn the upper edge down over the lower one and
-lay open the seam so that the fell will lie down flat like a hem (Fig.
-297); then hem it down neatly.
-
-[Illustration: Fig. 297.—Felling.]
-
-
-=Button-holes.=
-
-Fig. 298 shows how to take the proper stitch. Be careful in cutting
-button-holes to make the slit even to a thread and cut the outer corner
-rounded; bar the inner corner by taking two stitches across it, and
-overcast the button-hole around three or four threads deep from the
-edge, or if the material is not inclined to ravel run it with thread,
-either double or single, drawing it a trifle tight; then begin at the
-left-hand corner to work the button-hole, leaving one thread between
-each stitch; keep the stitches exactly the same depth and the loop or
-pearl of the button-hole on the upper edge.
-
-[Illustration: Fig. 298.—Button-hole Stitch.]
-
-
-HERRING-BONE OR CAT’S-TOOTH STITCH
-
-is used to keep the seams in flannel spread open and fastened neatly
-down. Fig. 299 shows how to take the stitch; make the stitches all even
-and of the same size.
-
-[Illustration: Fig. 299.—Herring-bone Stitch.]
-
-We have now given all the stitches which properly belong to plain
-sewing, and our next step will be
-
-
-=Darning and Mending.=
-
-“A stitch in time saves nine;” this much most of us know from
-experience, and it is wise to devote a little time on a certain day
-each week to looking over the wardrobe and making any repairs that may
-be needed; the little care and time thus bestowed will prove a true
-economy, and it is a real comfort to have all one’s clothing in perfect
-order.
-
-
-TO DARN A JERSEY OR A STOCKING.
-
-With a needle and thread carefully draw out the uneven ravelled edges
-of the hole, in order to diminish its size as much as possible, and
-bring the loops and ends back in their proper places; then place under
-it a wooden egg or anything that will answer the purpose, and using
-thread of the same texture and shade of color as the garment to be
-mended, run back and forth across the hole as far as the material is
-worn thin, leaving a loop at the end of each turn. In crossing the
-threads, take up every other thread alternately each way (Fig. 300),
-and make the darn of an irregular shape, as one of an even outline does
-not wear well; when the weaving or darning is finished the loops can be
-cut off.
-
-[Illustration: Fig. 300.—Jersey or Stocking Darn.]
-
-[Illustration: Fig. 301.—Tear Darn.]
-
-
-TO DARN A TEAR.
-
-Carefully bring the ragged edges together and baste the tear as nearly
-as possible in its original position; then, if it is delicate muslin
-or dress material to be mended, use ravellings of the same instead of
-thread to darn with, and weave it in and out across the edges of the
-rent, as in Fig. 301; if the darn needs strengthening, baste a piece
-of the same material under the rent before darning, and catch down
-the edges of the piece on the under side of the goods. In mending
-broadcloth or like material, darn it on the wrong side, and when the
-darn is finished, ruff up the nap with the point of the needle at the
-edges of the tear on the right side to cover the stitches; then dampen
-the darn, and after laying a thin clean cloth over it, press with a
-moderately hot flat-iron; this should make the darn almost, if not
-quite, imperceptible.
-
-
-=How to Patch.=
-
-If possible cut the piece intended as a patch of the same goods as the
-garment to be mended, and if there is a pattern be careful to so cut
-and place the patch that it will match exactly; baste and hem down the
-patch on the right side of the worn part of the garment; then cut out
-the old material on the wrong side, leaving enough edge to form a firm
-hem; sew this to the patch, taking care that the stitches do not show
-on the right side.
-
-
-=How to Sew on a Button.=
-
-Should much strain come on the button, as in little children’s clothes,
-first hem down a small double piece of muslin, on the wrong side of
-the garment, at the exact spot where the button is to be placed, and
-with strong thread take a stitch on the right side; then sew the button
-through about four times, being careful not to let the stitches spread
-on the wrong side; wind the thread three times around the shank of the
-button formed by the stitches, drawing the thread a little tight, pass
-the needle through and fasten the thread neatly on the wrong side; the
-extra piece of muslin can be omitted when not needed.
-
-
-=To Mend a Kid Glove.=
-
-If the glove is merely ripped, and there is no strain on the portion
-to be mended, sew the two edges together over and over on the right
-side with fine thread or sewing-silk matching in color the glove to
-be mended; if, however, there _is_ liability of its tearing out again,
-strengthen the edges by first working a button-hole stitch on each;
-then sew them together over and over, passing the needle in and out of
-the loops of the button-hole stitch, so forming a narrow net-work of
-thread between the two pieces of kid. Should the glove need a patch,
-carefully cut a piece of kid out of the best part of an old kid glove
-corresponding in color to the one needing repairs; make the patch
-exactly the shape and size of the hole, and button-hole stitch all
-around the edge of the hole and the edge of the patch; then sew in the
-patch over and over, catching together the loops of the button-hole
-stitches; this makes the mending firm, neat, and strong.
-
-
-=Fancy Stitches.=
-
-These are in many varieties of style; one of the most useful is known
-as the
-
-
-FEATHER STITCH.
-
-Fig. 302 gives the position of the needle and the manner of taking
-the stitch. Remember to make all the stitches of an exact length and
-the same distance apart, first one on this side and then one on that,
-keeping them in a straight, even line.
-
-[Illustration: Fig 302.—Feather Stitch.]
-
-
-CHAIN STITCH
-
-sometimes takes the place of braiding; it is the same stitch as
-that used in the old-fashioned tambouring (Fig. 303); many Persian
-embroideries are made in silk with the chain-stitch.
-
-[Illustration: Fig. 303.—Chain Stitch.]
-
-
-A NEW IDEA IN OUTLINE STITCH.
-
-The stitch (Fig. 304) is used for outline embroidery, and when made
-with fine black sewing-silk resembles pen-and-ink work. We have seen
-figures outlined on linen with the drapery worked in colors, while the
-face, hands, and feet were simply in black and white; being finely
-outlined, the effect was novel and artistic, for in this way the
-features were made as true as if drawn on paper with a pencil.
-
-For filling in the solid colors take the common running stitch, but
-make the stitches long on the right side of the embroidery and very
-short on the wrong side, so as to give the appearance of the colored
-fabric copied.
-
-[Illustration: Fig. 304.—Outline Stitch.]
-
-Use filo-silk; and English or French embroidery cottons, when colors
-are needed in the work. Always soak the silks and cottons in strong
-salt and water before using; this sets the color and keeps it from
-running when washed.
-
-
-HEM-STITCHING.
-
-Decide upon the width of the hem and the width of the space for drawn
-threads; carefully draw out the thread at one edge of the space, then
-the thread at the other edge; next all the intervening threads; this
-finished, fold and baste down the hem, allowing it to meet the edge
-of the drawn work, and taking five threads running lengthwise in the
-space, bind them together at the edge of the hem; at the same time
-stitch them to the hem, as in Fig. 305.
-
-[Illustration: Fig. 305.—Hem-stitching.]
-
-
-=Drawn Work=
-
-always looks well and is very serviceable when made of linen.
-Scarfs for buffets, bureaus, or tables, and tea-cloths, tidies, or
-chair-backs, can be made of crash, butchers’ linen, and linen sheeting;
-it is better to have doylies of very fine linen.
-
-[Illustration: Fig. 306.—Fagotting Stitch.]
-
-In making drawn work, if the article is to be fringed, first draw out
-a few threads to measure the depth of the fringe, and at the opening
-thus made hem-stitch all around the edge of the material, leaving the
-ravelling out of the fringe until the drawn work is finished; proceed
-to draw the threads wherever spaces are desired, and before working the
-pattern always hem-stitch both edges of the spaces. In Fig. 306 the
-pattern marked B shows the stitch called fagotting, made by crossing
-every other group of threads back over the one preceding and drawing
-the linen thread through in such a way as to keep the groups twisted;
-the two lines marked A, in the Fig. 306, are intended more as a finish
-to some elaborate design than as a pattern in themselves; these are
-made by hem-stitching down a number of threads to each group. Fig.
-307 gives a favorite pattern; for this count the threads, so that the
-spaces may be equal and regular; draw the threads in all the spaces
-running one way first; then draw the threads in the spaces crossing
-the first one and run linen threads diagonally across from the top of
-the right-hand corner to the bottom of the left, dividing each linen
-square into two equal parts; cross these by threads also running
-diagonally across from the top of the left-hand corner to the bottom of
-the right, again dividing the linen squares, making four equal parts;
-then weave threads through all the spaces running both horizontally
-and perpendicularly, using the fagotting stitch (Fig. 306), and when
-crossing the threads in the open spaces tie the centres of each in
-turn, as in Figs. 308, 309; finish the pattern by running a thread in
-and out several times around the knots in the centres of the wheels and
-fasten the ends by tying neatly. Another pattern is given in Fig. 310.
-
-[Illustration: Fig. 307.—Drawn Work.]
-
-[Illustration: Fig. 308.—First Knot.]
-
-[Illustration: Fig. 309.—Second Knot.]
-
-[Illustration: Fig. 310.—Border in Drawn Work.]
-
-Outline work is often combined with drawn work; fast colors, in
-either cotton, linen or silk, are used for the outline design. When
-the article worked is intended for daily use and must frequently be
-laundried, it is better to substitute in place of the fringe a wide
-hem-stitched hem edged with firm linen lace.
-
-Very dainty fancy aprons are made of common scrim with spaces drawn
-and narrow ribbons of different colors simply woven in and out of the
-threads, running crosswise through the spaces.
-
-
-=Applique and Original Designs for Portières.=
-
-The pattern in this work is cut from one material and sewed on another.
-
-Almost any kind of fabric can be used as either applique or foundation;
-velvet and plush are suitable for applique, but make poor groundwork,
-owing to the long nap; both materials in dark rich colors are handsome
-when used as a border on portières or table-covers. To applique a
-pattern of velvet or plush cut the design very exact and cover the
-wrong side with a slight coating of gum, being careful to have the
-gum thin on the edges so that it will not spread on the groundwork;
-then lay the velvet on the place it is to occupy, and after pressing
-it down very gently and lightly with your hand, allow it to dry; this
-accomplished, the edges of the pattern may be hemmed down neatly on
-the foundation. If a further finish is desired, outline the design by
-sewing all around the edge a small gold or silken cord.
-
-
-=Portières.=
-
-We give an original applique design for a portière in Fig. 311,
-representing Day. The foundation is of soft dark-blue momie-cloth, the
-sun a round piece of bright yellow or orange satin, and the rays are
-of gold or heavy yellow silk thread merely run in stitches of various
-lengths; the cloud is of light blue crape or crazy cloth, and the bird
-is one of those which come prepared expressly for applique by the
-Japanese, and can be purchased at almost any Japanese or fancy store;
-if possible a lark should be selected in preference to other birds.
-The border is a band of old gold velvet. Our other design (Fig. 312)
-represents Night; the foundation and band are the same as those for the
-“Day” portière; the star is of white silk, the moon of very pale Nile
-green silk, and the cloud of dark pearl gray crape or crazy cloth, much
-darker than the blue momie-cloth.
-
-[Illustration: Fig. 311.—Portière. Day.]
-
-[Illustration: Fig. 312.—Portière. Night.]
-
-The applique work must be done very carefully. First cut out the
-designs, next turn in the raw edges evenly and smoothly, and with a
-very fine thread and needle baste the edges down; then baste the
-designs carefully on the foundations, and, with a fine needle and
-sewing-silk matching in color the piece to be appliqued, hem each one
-down neatly, making the stitches almost invisible. The band of velvet
-can be sewed on the bottom edge of the momie-cloth, then turned up like
-a hem and hemmed down.
-
-
-=Lace.=
-
-Very beautiful lace is made by cutting out the heavy patterns which
-are still perfect, from old and worn laces and embroideries, and
-transferring the designs to new fine wash-net. After first basting them
-on, hem them down to the netting with a fine needle and thread; in this
-way the embroideries last as long again and look as well as when new.
-
-
-=Ribbon Embroideries.=
-
-We can give a clearer idea of this work by means of an example, and we
-will take the common white daisy as an illustration.
-
-Thread a long-eyed coarse needle with very narrow white ribbon, and
-beginning at the centre of the flower, pass the needle from the wrong
-side up through your material, drawing the ribbon out nearly its full
-length and leaving only a short piece on the wrong side to be fastened
-down; now take a stitch straight out the length of a daisy petal and
-pass the needle through to the wrong side; then, taking a very short
-stitch, draw the needle out through on the right side; next take
-another long stitch back to the centre of the daisy, thus forming the
-second petal; continue in the same manner, making the petals radiate
-out in a circle from the centre of the flower. Work the centres of the
-daisies with yellow silk and the stems in dark-green silk; the leaves
-can be either worked or appliqued. For half-blown daisies make only
-about a quarter of a circle of petals, and in place of the yellow
-centre, work a green calyx. Ox-eyed daisies can be made in the same
-way with soft, thin yellow ribbon, a little broader than the ribbon
-used for white daisies. The work is rapid and pleasing, and almost any
-flower can be imitated very perfectly with ribbon embroidery.
-
-[Illustration]
-
-
-
-
-CHAPTER XXXV.
-
-SCRAP-BOOK AND HOME-MADE BOOK-COVERS.
-
-
-THE fashion of collecting pictured advertising cards, so much in vogue
-among the children a few years ago, seems to have run its course,
-and dying out, it has left on the young collectors’ hands more cards
-than they know well what to do with. Many of the collections have
-been pasted in scrap-books, of which the children have long since
-tired. While examining one of these volumes with its row after row of
-cards, it occurred to me that these advertisements might be utilized
-in a new way by dividing and combining them. The experiment proved a
-success, and I will now try to show you how, with the aid of scissors
-and mucilage, the pictures which have become so familiar may be made
-to undergo changes that are indeed wonderful, and how from them may be
-formed a
-
-
-=Mother Goose Scrap-book.=
-
-The nursery scrap-books made of linen or paper cambric are, perhaps,
-familiar to most of our readers; but for the benefit of those who
-may not yet have seen these durable little books, we will give the
-following directions for making one: Cut from a piece of strong linen,
-colored paper cambric, or white muslin, four squares twenty-four
-inches long by twelve inches wide. Button-hole stitch the edges all
-around with some bright-colored worsted, then place the squares neatly
-together and stitch them directly through the centre with strong thread
-(Fig. 313). Fold them over, stitch again, as in Fig. 314, and your book
-is finished and ready for the pictures.
-
-It is in the preparation of these pictures that you will find the
-novelty of the plan we propose. Instead of pasting in those cards
-which have become too familiar to awaken much interest, let the young
-book-makers design and form their own pictures by cutting special
-figures, or parts of figures, from different cards, and then pasting
-them together so as to form new combinations.
-
-[Illustration: Fig. 313.—Scrap-book Opened and Stitched through the
-Centre.]
-
-[Illustration: Fig. 314.—Scrap-book Folded and again Stitched.]
-
-Any subject which pleases the fancy can be illustrated in this way,
-and you will soon be deeply interested in the work and delighted at
-the strange and striking pictorial characters that can be produced by
-ingenious combinations.
-
-Stories and little poems may be very nicely and aptly illustrated; but
-the “Mother Goose Melodies” are, perhaps, the most suitable subjects
-with which to interest younger children, as they will be easily
-recognized by the little folk. Take, for instance, the “Three Wise Men
-of Gotham,” who went to sea in a bowl. Will not Fig. 315 serve very
-well as an illustration of the subject? Yet these figures are cut from
-advertising cards, and no two from the same card. Fig. 316 shows the
-materials, Fig. 315 the result of combining them.
-
-[Illustration: Fig. 315.—“Three Wise Men of Gotham.”]
-
-Again, the little man dancing so gayly (Fig. 317) is turned into
-“Little Jack Horner” eating his Christmas pie (Fig. 318), by merely
-cutting off his legs and substituting a dress-skirt and pair of feet
-clipped from another card. The Christmas pie in his lap is from still
-another card.
-
-[Illustration: Fig. 316.—Figures cut from Advertising Cards.]
-
-[Illustration: Fig. 317.—Figures cut from Christmas Cards.]
-
-[Illustration: Fig. 318.—“Little Jack Horner.”]
-
-In making pictures of this kind, figures that were originally standing
-may be forced to sit; babies may be placed in arms which, on the cards
-they were stolen from, held only cakes of soap, perhaps, or boxes
-of blacking; heads may be ruthlessly torn from bodies to which they
-belong, and as ruthlessly clapped upon strange shoulders; and you will
-be surprised to see what amusing, and often excellent, illustrations
-present themselves as the result of a little ingenuity in clipping and
-pasting. Another kind, which we shall call the
-
-
-=Transformation Scrap-Book,=
-
-will be found exceedingly amusing on account of the various and
-ever-changing pictures it presents.
-
-Unlike any other, where the picture once pasted in must remain ever the
-same, the transformation scrap-book alters one picture many times. To
-work these transformations a blank book is the first article required;
-one eight inches long by six and a half or seven wide is a good size.
-
-[Illustration: Fig. 319.—Transformation Scrap-book with Pages cut.]
-
-Cut the pages of this book across, one-third of the way down. Fig. 319
-shows how this should be done. The three-cornered piece cut out near
-the binding allows the pages to be turned without catching or tearing.
-Leave the first page uncut; also the one in the middle of the book.
-
-Cut from picture-cards, or old toy-books which have colored
-illustrations, the odd and funny figures of men and women, boys and
-girls, selecting those which will give a variety of costumes and
-attitudes.
-
-Paste a figure of a woman or girl on the first page, placing it so that
-when the lower part of the next page is turned, the upper edge of it
-will come across the neck of the figure where it is joined on to the
-shoulders.
-
-[Illustration: Leaves from a Transformation Scrap-book.]
-
-Cut the heads from the rest of the pictured women, and choosing a
-body as different as possible from the one just used, paste it upon
-the lower part of the next page, directly under the head belonging to
-the first body. Upon the upper part of the same page paste any one
-of the other heads, being careful to place it so that it will fit the
-body. Continue in this way, pasting the heads upon the upper, and the
-bodies on the lower, part of the page, until the space allowed for the
-women is filled up; then, commencing at the page left in the middle of
-the book, paste upon it the figure of a man, and continue in the same
-manner as with the woman, until the spaces are all used and the book is
-complete.
-
-The combinations formed in this way are very funny. Old heads with
-young bodies; young heads with old bodies; then one head with a great
-variety of bodies, and so on.
-
-The first picture may represent a man, tall and thin, dressed in a
-rowing costume, as shown in the illustration. Turn the lower part of
-the next page, and no longer is he thin and tall, but short and stout,
-the position of this body giving the expression of amazement, even to
-the face. The next page turned shows him to be neither tall nor short,
-thick nor thin, but a soldier, well-proportioned, who is looking over
-his shoulder in the most natural manner possible.
-
-The figures in the illustration were cut from advertising cards, and
-the head belongs to none of the bodies.
-
-A curious fact in arranging the pictures in this way is that the heads
-all look as though they might really belong to any of the various
-bodies given them.
-
-Instead of having but one figure on a page, groups may be formed of
-both men and women, and in the different arrangement of the figures
-they can be made very ludicrous indeed.
-
-A scrap-book for older girls, which might be termed more fitly
-
-
-=An Album,=
-
-can be made by mounting engravings, wood-cuts, photographs, and
-water-colors on pieces of thin card-board all of the same size. If any
-one subject be chosen, and such pictures selected as tend in some way
-to illustrate that subject, the book will prove more interesting in the
-making, and will be quite valuable when finished.
-
-There will be no difficulty in mounting the pictures; simply paste
-them on the card-board with good flour-paste, and press under a heavy
-weight, keeping them perfectly neat and free from smears of paste on
-the edges. When two or more are mounted at the same time, place clean
-pieces of blotting-paper between, pile one upon another, and put the
-heavy weight on top.
-
-Such a scrap-book should be bound in a
-
-
-=Home-made Book-cover,=
-
-which is made in this way:
-
-[Illustration: Fig. 320.—One Side of Book-cover with Holes cut near the
-Edge.]
-
-[Illustration: Fig. 321.—Book-cover Tied with Ribbons.]
-
-[Illustration: Fig 322.—Book-cover Laced together with Silk Cord.]
-
-Take two pieces of heavy card-board a trifle larger than the book you
-wish to cover, make three holes near the edge of each (Fig. 320) and
-corresponding holes in the edges of the book, which must not be too
-thick—that is, contain too many leaves; pass narrow ribbons through
-these holes and tie in bow-knots, as in Fig. 321. If the leaves of the
-book are thin, more holes can be made in the back and the covers laced
-together with silk cord (Fig. 322).
-
-These book-covers may be beautifully decorated by anyone who can paint
-in water-colors, and tinted card-board can also be used for them. They
-are pretty, and suitable as covers for manuscript poems or stories, or
-for a collection of autographs.
-
-In making any kind of scrap-book it is very necessary that the paste
-used should be good. If the paste is poor, the pictures will peel off
-or the paste turn sour. The recipe given below we can recommend as an
-excellent one for
-
-
-=Flour-paste.=
-
-Mix one-half cup of flour with enough cold water to make a very thin
-batter, which must be smooth and free from lumps; put the batter on
-top of the stove—not next to the fire—in a tin sauce-pan, and stir
-continually until it boils; then remove from the stove, add three drops
-of oil of cloves, and pour the paste into a cup or tumbler. This will
-keep for a long time and will not become sour.
-
-[Illustration]
-
-
-
-
-CHAPTER XXXVI.
-
-A HEAP OF RUBBISH, AND WHAT TO DO WITH IT.
-
-
-IN almost every house there is an attic, and in almost every attic
-may be found a room where trunks are stored, where broken toys and
-disabled furniture are put out of sight, and where all articles not
-worth selling or giving away gradually accumulate until this attic
-room contains, literally, a heap of rubbish. Entering one of these
-lumber-rooms not long ago, and glancing over the medley which comprised
-so much, from a tin can to a piece of broken bric-à-brac, the thought
-occurred to me that something might be done with it, some use be made
-of at least a few of the articles consigned to the place as utterly
-useless.
-
-That was rather a thrifty thought. Do you not think so, girls? Then let
-us make the most of it and together venture back into that mysterious
-and somewhat dusty chamber, and see if there really is anything there
-worth the making over.
-
-In imagination we will stand in our attic lumber-room and begin to look
-about us with eyes and mind open to perceive possibilities.
-
-On one side of the room, leaning against the wall, we see what was once
-a handsome old-fashioned mirror, quite large and of heavy plate-glass.
-It’s poor dusty face, reflecting dimly its barren surroundings, is
-shattered in many pieces, and at first sight it seems hopeless to
-attempt to restore it to the plane of beauty or usefulness; but do
-not let us be hasty; we will examine it more closely. Yes, here is a
-piece of glass large enough to frame. Never mind its uneven shape and
-rough edges; we will work out that problem later. Now we must put it
-carefully aside and continue our investigations.
-
-Here is a large tin can, which can be made into a lantern to hang in
-the hall, and this baking-powder can may be of some use, so we will
-take it also.
-
-The tops of three cheese-boxes; something should be done with them.
-Perhaps they can be used for a table; put them with the other chosen
-things.
-
-A croquet-ball! That will make a fine key-rack. This box of silks and
-ribbons we may need, and the large pasteboard-box will do for the
-foundation of our mirror frame.
-
-We must have this piece of old brass chain, this handful of large
-nails, the pasteboard roll which has been used for sending engravings
-through the mail, and that old broad-brimmed straw hat; also these
-three broomsticks and the piece of nice dark-gray hardware paper.
-
-Now, seated in our own room, let us see what we can do with this rather
-unpromising array of objects spread around us. First we will try
-
-
-=The Mirror,=
-
-and must cast about us for the ways and means of framing it. The large
-pasteboard-box we have already decided will make a good foundation.
-After tearing off the sides, we will cut an even square from the
-bottom, which is smooth and unwarped.
-
-[Illustration: Fig. 323.—Brown Paper Pasted on Mirror and Pasteboard
-for Home-made Mirror-frame.]
-
-[Illustration: Fig. 324.—Bevel of Hardware Paper on Frame.]
-
-[Illustration: Fig. 325.—The Outside Covering for Mirror-frame.]
-
-[Illustration: Fig. 326.—Back of Frame with Tape Attached.]
-
-Next laying the piece of mirror on the square of pasteboard we must
-cut, out of ordinary brown wrapping-paper, a square two inches larger
-all around than the pasteboard, make a hole in the centre as large as
-the shape of the mirror will allow, and paste it down on the mirror
-and pasteboard (Fig. 323). Then, after clipping out the corners, we
-will turn the edges over on to the back of the pasteboard foundation
-and paste them down. Cutting four strips of the hardware paper, about
-two inches wide, we will fold them through the centre lengthwise and
-paste them around the glass, lapping them just a little over the edge
-of the other paper, the folded side being next to the glass (Fig. 324).
-This will form a bevel for our frame. From the same paper we will now
-cut a square, three inches larger on all sides than the foundation;
-then, exactly in the centre, mark a square half an inch larger all
-around than the square of mirror showing. In the centre of the square
-marked out we must insert our scissors, cut it like Fig. 325, and after
-clipping off the points, as indicated by the dotted lines L, M, O, N,
-turn back the four pieces at the dotted lines, P, Q, R, S, leaving an
-open square. Then placing it over the mirror so that the same width of
-bevelled edge shows on all sides of the mirror, we must paste it down.
-Clipping out the corners, as shown in diagram, we will bring the edges
-over and paste them down securely to the back of the frame. A piece of
-hardware paper, cut in a square one inch smaller than the frame, we
-will paste on the back to finish it off and hide the edges of the paper
-where they have been turned over (Fig. 326).
-
-We must fasten on a piece of tape by which to hang the mirror, by
-pasting down the ends of the tape on the frame (letter T, Fig. 326),
-and pasting over each a strip of the hardware paper (letter U, Fig.
-326). When the frame is quite dry we will paint a branch of dog-wood or
-some light-colored flower across it, and have as pretty a little mirror
-as anyone could wish for.
-
-[Illustration: Home-made Mirror-frame.]
-
-The next thing to commence will be
-
-
-=The Table,=
-
-which you can make yourselves by following these directions:
-
-The three cheese-box lids will answer nicely as shelves for a work- or
-bric-à-brac table, and the broomsticks, which are all the same length,
-will do for the legs.
-
-[Illustration: Fig. 327.—Narrow Grooves Cut around Broomstick for
-Table-leg.]
-
-[Illustration: Fig. 328.—Holes Bored in a Box-lid Used as a
-Table-shelf.]
-
-[Illustration: Fig. 329.—Manner of Fastening a Shelf to Table-leg.]
-
-[Illustration: Fig. 330.—Table-shelf and Leg Fastened securely together
-by Wire.]
-
-[Illustration: Bric-à-brac Table.]
-
-Upon each broomstick mark the distances for placing the shelves,
-allowing six inches from each end of the stick for the top and bottom,
-and the exact centre between these points for the middle shelf. With a
-pocket-knife cut narrow grooves around each stick, one-half inch on
-either side of the points marked on them (Fig. 327). This will make
-six grooves on each stick. Now measure the box-lids to find their
-circumferences, and divide them into thirds, marking the distances on
-the rim to obtain the true position for the legs. At these points bore
-four holes with a gimlet, one inch apart, two above and two below (Fig.
-328). Through one of the top holes pass a piece of pliable wire, place
-one of the broomsticks against the rim of the lid, pass the wire back
-through the other upper hole (Fig. 329), fit it into the upper groove
-of the stick, and draw it tight. Twice the wire must be put through the
-upper holes and around the stick in the top groove; then, bringing it
-down on the inside of the lid, you must put it twice through the lower
-holes and around the stick in the lower groove; then twist the ends and
-tuck them under the wire on the inside of the lid (Fig. 330). In this
-way each leg will have to be fastened to each shelf. When the table
-is all put together paint it black, and, as soon as it is dry, tie a
-bright ribbon on one of the sticks at the top, and a charming little
-bric-à-brac table will be the result of your labor.
-
-You can make a very pretty
-
-
-=Lantern=
-
-of the old tin can; but first you must have some tools to work with;
-not many, only a piece of wood, rounded on one side to fit into the
-can, a hatchet or heavy hammer, and a few wrought iron nails. If the
-piece of wood is not large enough to fit the can, another stick can
-be put in to hold the first one firmly against the can. That being
-arranged, you must decide upon some kind of a pattern to be made by the
-holes, and indicate it on the can with a small paint-brush and paint or
-ink; then, laying the can on its side, the rounded piece of wood being
-at the top, with one of the wrought iron nails puncture the holes where
-you have indicated the pattern. With the hammer drive the nail through
-the tin into the wood; then draw it out, make another hole, and so on
-until all the holes you wish are driven through that part of the can
-held in place by the rounded piece of wood.
-
-This wood, you see, keeps the can from bending when the nail is being
-driven through. In moving the wood as the work progresses, you must
-always keep it under that part of the can being punctured. To make the
-large hole, you will have to put a number of the small holes close
-together, and then drive the nail through the partitions, cutting them
-away. The pattern being completed, puncture three holes, close to the
-top of the can, at equal distances apart. These are for the chains to
-pass through, by which to suspend the lantern. In the cover of the
-baking-powder can make three holes at equal distances; then divide the
-chain, which is about one yard and a quarter long, into three equal
-lengths, separating the pieces by prying open the links. Put an end of
-each piece through the holes made for them at the top of the can, and
-fasten them by hooking the open links through the links of the chain a
-little farther up, and hammering them together again.
-
-Now pass the ends of the chains through the holes made in the lid of
-the baking-powder can, and, bringing the ends together, fasten them by
-joining the links.
-
-[Illustration: Fig. 331. Fig. 332.—Stand in Lantern, with Nails for
-Holding Candle.]
-
-Paint the lantern, chain and all, black, and while it is drying make a
-stand for the candle which is to furnish the light. A square piece of
-thin board, just large enough to fit into the can without touching the
-sides will do for the stand. Drive four small nails in the centre to
-hold the candle (Fig. 331).
-
-Make handles for lifting the stand in and out of the lantern, by
-bending two pieces of wire like Fig. 331, and fastening them to the
-board with staple tacks (Fig. 332).
-
-[Illustration: Lantern.]
-
-When the paint on the lantern is dry, paste red tissue-paper all around
-the inside to give a cheerful red glow to the light, which will shine
-through it. If you would like it to resemble a jewelled lantern, paste
-different colored papers over the large holes and leave the small ones
-open. An S hook passed through the loop made by the three chains will
-serve to connect them to the chain which should suspend the lantern
-from the ceiling.
-
-
-=A Music-Roll=
-
-can be made of the pasteboard roll.
-
-Cut a round piece of pasteboard just the size to fit into one end of
-the roll; then cut out another round piece, this time of paper, one
-inch larger than that made of pasteboard. Clip the edges (Fig. 333) and
-paste it over the end of the roll which is filled in with the round of
-pasteboard (Fig. 334).
-
-[Illustration: Fig. 333.—Paper Covering for End of Music-roll.]
-
-[Illustration: Fig. 334.—Paper Pasted over End of Music-roll.]
-
-Among the scraps of silk and ribbons you will, perhaps, find a
-good-sized piece of dark-green or brown silk; use this for the case,
-which must cover the roll neatly. To make the case fit the end of the
-roll you have just filled up, mark on a piece of the silk a circle the
-size of that end of the roll. This can be done by standing the roll
-on the silk, and running a pencil around the edge. When cutting out
-the silk leave a margin of a quarter of an inch on the outside of the
-pencil-mark for the seam. Cut the silk for covering the roll three
-inches longer than the roll, and wide enough to allow for a quarter of
-an inch seam. Sew up the long seam, and then sew the round of silk into
-the end of the case. Hem the other end of the case, and run in a narrow
-ribbon about an inch from the edge. This is for a draw-string.
-
-[Illustration: Music-roll.]
-
-When the roll is fitted snugly in its case, tie a ribbon, matching it
-in color, around the roll, making a loop to form the handle. Fasten the
-ribbon by taking a few stitches under the bows, catching them on to the
-silk.
-
-The old straw hat can be transformed into a dainty
-
-
-=Work-Basket.=
-
-It is stiff and harsh at present, but pour boiling water over it and
-the straw will become soft and pliable, and can be bent into any shape
-you like. When dry, it will be again stiff, and will retain the form
-you have given it. After scalding the hat bend the brim in toward the
-centre, in four different places, at equal distances apart. This will
-make a fluted basket. You must tie it in shape (Fig. 335) and leave
-until perfectly dry; then bronze the basket, line it with silesia,
-and sew silk or satin around the top to form a bag. Run a draw-string
-of narrow ribbon near the top of the bag, and the pretty little
-work-basket is finished.
-
-[Illustration: Fig. 335.—Straw Hat Tied in Shape for a Work-basket.]
-
-[Illustration: Work-basket.]
-
-The croquet ball you can make into a
-
-
-=Key and Button-Hook Rack.=
-
-First you must gild it, and then around the middle of the ball, at
-regular intervals, insert small brass hooks. A yellow ribbon and bow,
-tacked on the top with small tacks, will serve to suspend it by, and
-completes the rack.
-
-With the gilt left from gilding the ball, and a piece of bright ribbon
-you can make a
-
-
-=Paper-Weight=
-
-of six of the large nails. Gild each nail separately, let them dry, and
-then tie them securely together with a piece of ribbon.
-
-[Illustration: Key Rack.]
-
-[Illustration: Paper-weight.]
-
-All the articles brought from the attic have now been turned to some
-use, but there are many other things to be found there which we
-have not space to mention, and which with little trouble can be so
-transformed that no one would ever suppose they were taken originally
-from a heap of rubbish.
-
-[Illustration]
-
-
-
-
-CHAPTER XXXVII.
-
-HOW TO MAKE ATTRACTIVE BOOTHS AT A FAIR—A NEW KIND OF GRAB-BAG.
-
-
-DECIDING to have our fair unlike those which have preceded it, we must
-do away with monotony and introduce not only variety, but originality
-as well. New ideas, something different from that which has served us
-heretofore, is what we strive for. Novelties are always attractive, let
-them be decorative also, and help to make the room or hall as inviting
-as possible.
-
-[Illustration: The Fair.] [Illustration: Fig. 336.—Framework for the
-Canopy of a Booth at a Fair.]
-
-[Illustration: Fig. 337.—Block of Wood Fastened on the side of Table.]
-
-
-=The Tables=
-
-being the most important item, we will give them our first attention.
-Have each table or booth canopied in a style differing from all others,
-and make the canopy extend up as high as practicable, in order to
-avoid the flat, blank appearance so common in small fairs. If tables
-are arranged in this fashion, they will go far toward decorating the
-hall. Fig. 336 shows one style in which a framework for the roof or
-covering may be constructed. At the four corners of the table, where
-the top projects over the sides, fit in blocks of wood according to
-Fig. 337; the dotted lines represent the block. Nail the wood fast
-to the table, so that the uprights may stand perfectly straight. Use
-laths or similar sticks for the four uprights, and screw or nail them
-at the corners of the table according to Fig. 336; then with small
-screws fasten a stick across the top of the laths at each side, and at
-the top of the sticks on the front of the table tie the two ends of a
-barrel-hoop to form the arch; also attach another hoop at the back to
-the other two uprights, and connect the top centre of each by a wire
-running across. The hoops are fastened to the laths by binding the
-ends of the hoops to the ends of the laths with strong twine, or wire,
-wound around in notches which have previously been cut in the ends of
-both sticks and hoops. Should the barrel-hoops be too short for the
-arch, take children’s large-sized toy wooden hoops, and fasten them up
-in the same manner. Fig. 338 is another way to arrange the framework.
-The four upright sticks are attached to the table as described in
-Fig. 336; then in the top of each is driven a very large-sized tack,
-and a strong flexible wire is stretched from lath to lath and wound
-around each tack, thus connecting the four uprights together.[G] Flags,
-shawls, drapery curtains, sheets, and inexpensive cheese-cloth make
-good canopies; undressed cambric and canton flannel in desirable colors
-drape nicely, and can also be used for the purpose. Where you wish to
-produce light, airy effects, tarlatan, in one or more colors, will be
-found useful; again, let some of the tables have only a suggestion of
-a roof, made by ornamenting the framework with flowers, or whatever is
-most suitable, according to the style of table and the place it is to
-occupy.
-
-Try and have a variety of shapes and sizes in the booths, and avoid
-sombre dulness and monotony. Let the room fairly sparkle and shine with
-light and color.
-
-[Illustration: Fig. 338.—Construction of Framework for the Canopy of a
-Table at a Fair.]
-
-To make a tent-like covering, firmly bind a large-sized Japanese
-umbrella to a pole, and fasten the pole in the centre of the table.
-To hold it securely, make a bench of two pieces of board, with a hole
-through the centre of each, and join them together by a block of wood
-nailed in each end (Fig. 339). The bench can be made fast to the table
-by screws put through from the under side of the top of the table
-
-[Illustration: Fig. 339.—Bench for Holding a Pole as a Support for a
-Canopy of a Booth.]
-
-In erecting the canopy place the end of the pole in the bench and it
-will be steady and firm. Attach pieces of string to several ribs on
-each side of the umbrella, stretch the strings down and fasten the
-ends securely to the table; paste over the strings bright-colored
-tissue-paper fringe (Fig. 340). Cut the paper four or six thicknesses,
-and when pasted on turn the fringe part uppermost, so it will look
-fluffy and not hang down in a tame, fringe fashion. When a red umbrella
-is used, and the strings are covered with fringe of the same hue, it
-looks very pretty. Be extremely careful that no light comes dangerously
-near the tissue-paper, or any other inflammable material; all the
-decorations must be arranged with a view to perfect safety from contact
-with gas, lamp, or candle.
-
-In decorating the room remember to mass your color so the effect may be
-broad. If the colors are too much mingled the effect will be weakened,
-and in some cases lost entirely.
-
-[Illustration: Fig. 340.—Tissue-paper Fringe.]
-
-Paper-flowers and plants in great abundance will be needed, and if you
-can persuade all your friends, as well as those actively interested
-in the fair, to make paper-flowers or plants, they will prove very
-acceptable, and after the fair is over the floral decorations can be
-safely stored away to do service again on like occasion. Large, showy
-flowers, like peonies, dog-wood, and magnolias, as well as large-leaved
-plants, are best to use, though the smaller ones look well in a few
-places.
-
-In making
-
-
-=Flowers for Decorations=
-
-we aim at general effect, with less regard to detail than if the
-blossoms were to be used in other ways. Fig. 341 is a pattern of the
-dog-wood. Cut the flowers of white writing paper and make them quite
-large. Use wire to fasten them to a natural branch, and imitate nature
-as nearly as possible in the arrangement of the blossoms.
-
-[Illustration: Fig. 341.—Dog-wood.]
-
-If you fold the paper a number of times and then place your pattern
-over it, you can cut out six or eight flowers at once, and save both
-time and labor.
-
-Peonies are made of white, pink, or red tissue-paper, cut in squares
-of about eight inches each and pinked on the two opposite edges.
-Twelve squares are needed for one flower. With your fingers gather the
-squares up in the centre (Fig. 342); then fold over the pieces, as in
-Fig. 343; when all are ready string them on a wire and shape the bunch
-to resemble a peony; twist the wire up tight and fasten the petals
-together, leaving a length of wire for a stem.
-
-[Illustration: Fig. 342.—Peony Petal Gathered through the Centre.]
-
-Make the cherry-blossoms (Fig. 344) in clusters of five or seven each,
-and attach green leaves (Fig. 345) cut in different sizes. Fig. 346
-shows the method of giving the leaf a pretty, crimped appearance. By
-holding the point of the leaf firmly under the head of the pin with
-your left hand, and with the right hand pushing the leaf up toward the
-head of the pin, you can crimp the leaves very rapidly, and they look
-much more natural than when left plain.
-
-[Illustration: Fig. 343.—Peony Petal Folded over.]
-
-All the materials necessary for the manufacture of flowers for fair
-decorations will be paper, wire, and paste. The buds of different
-flowers can be imitated by pinching together the petals of open
-blossoms. Figs. 347, 348, 349 are the petals of the magnolia; the
-inside petals are five and one-half inches long, the others in
-proportion. Cut three of each size. No. 347 forms the innermost petals,
-No. 348 the next, and No. 349 the outermost; these last should be
-double; make the outside of pink tissue-paper and the inside white, all
-the other petals are white; cut three, from Fig. 350, of green paper to
-form the calyx.
-
-[Illustration: Fig. 344.—Cherry Blossom.]
-
-[Illustration: Fig. 345.—Green Leaf of Cherry Tree.]
-
-[Illustration: Fig. 346.—Method of Crimping Leaf.]
-
-Other ornamental flowers may be manufactured from these hints. Patterns
-can be cut from any natural flowers, and they may be made without the
-aid of further directions. When natural blossoms can be obtained, they
-are far preferable, though the paper plants make splendid substitutes
-and at a little distance cannot be distinguished from the natural ones.
-
-[Illustration: Fig. 347.]
-
-[Illustration: Fig. 348.]
-
-[Illustration: Fig. 349.]
-
-[Illustration: Fig. 350.]
-
-If the fair comes off in the season when the trees are leafless, bare
-branches with green paper leaves wired on will help very much where
-foliage is needed.
-
-An excellent scheme in the arrangement of a fair is to divide the
-tables into twelve separate booths and let each one represent one month
-in the year. They should contain articles appropriate only to the month
-represented, and when planned in this way each month should be of
-appropriate color. For example:
-
-
-=December=
-
-can be all white, with tufts of cotton scattered about for snow, and
-mica or isinglass sprinkled around and over places to represent frost
-and ice. Icicles, varying in size, depending from the arch or canopy,
-add to the effect. The icicles are made of strips of paper first rolled
-up like paper-lighters, then completely covered with tallow from the
-dripping of a lighted candle; the tallow being allowed to harden on in
-raised places makes the twisted paper resemble in form a real icicle;
-the tallow icicle is next covered with a wash of mucilage, and powdered
-mica or isinglass is sprinkled all over it, so that it sparkles and
-shines.
-
-In place of the usual grab-bag at this booth, there should be a
-Christmas-tree without lights and burdened with little gifts tied up in
-colored tissue-paper. Santa Claus must have charge of the tree.
-
-
-=July=
-
-calls for flags and decorations of red, white, and blue, as well as
-flowers, fruits, and green foliage; the table should be presided over
-by Columbia.
-
-
-=May.=
-
-Deck this table in spring blossoms and make the canopy of a slender
-May-pole. Pass the pole through the holes in the bench (Fig. 339) and
-screw the bench tight on the centre of the table; fasten a wreath of
-flowers and the ends of a number of ribbons at the top of the pole;
-bring the ribbons down and tack them to the sides of the table. Give
-the Queen of May care of the booth.
-
-
-=November=
-
-may be gay with late fall leaves and berries, and a very large pumpkin,
-which has been previously scraped out and lined with paper, can serve
-as a receptacle for odds and ends. A little Puritan maid should be in
-charge of the booth.
-
-
-=June=
-
-is all rose color, with the queen of flowers, the rose, holding the
-post of honor. This month is very suitable for the flower-table, and
-Flora, the Goddess of Flowers, may preside over it.
-
-We have chosen these few months only as suggestions of the manner in
-which the idea can be carried out.
-
-Those in charge of the different booths might wear as a badge a
-conspicuous sign of the zodiac appropriate to the month represented.
-
-
-=The Five Senses=
-
-can be illustrated by five booths, each one bearing its proper symbol
-as a sign. To represent
-
-
-HEARING,
-
-make a large pasteboard ear-trumpet and cover it with silver paper;
-fasten this on the highest point of the booth and place the word
-Hearing in large letters under the trumpet; have these signs in plain
-sight, where none can fail to see and read. The articles on the table
-should consist of everything pertaining to the sense of hearing, such
-as sheet-music, musical instruments, telephones, and suitable toys.
-
-It would be a great addition if a phonograph could be rented or
-borrowed for the occasion, and a certain sum charged to each one
-speaking in the instrument and hearing the echo of his own words and
-tones ground out to him again.
-
-An oracle would be a capital thing at this table, each person
-consulting it paying so much a question.
-
-
-SEEING
-
-likewise must be labelled with a sign in the shape of a very large pair
-of spectacles cut out of stiff pasteboard and placed over the lettering.
-
-The goods offered here for sale should pertain to the sense of
-sight; and could be such articles as pictures, decorated candles,
-kaleidoscopes, and common blue glasses. All things pleasing to look
-upon may find place at the Seeing Table. Any kind of a peep-show can be
-used, five cents being required from every curious person wishing for a
-peep behind the curtain.
-
-
-FEELING
-
-is more difficult to portray. Perhaps an ordinary riding-whip will
-answer the purpose, with the word Feeling in large type under it.
-
-Sofa-cushions, quilts, mittens, canes, muffs, fancy toilet articles,
-and almost anything adding to our personal comfort, or pleasant to
-handle, are suitable for the Feeling booth.
-
-
-TASTING.
-
-As an emblem for this booth make a huge cornucopia for candy, with the
-sign “Tasting” beneath, and the booth can be the candy-table.
-
-
-SMELLING
-
-naturally suggests perfumes and sweet-scented flowers. This sense will
-most fitly be represented by an immense bouquet fastened up over the
-table. The booth, of course, must be the flower-table.
-
-If you have only a few tables, make four booths of them, and let each
-booth represent a season. They should be decorated in keeping with the
-time represented, and the idea fully carried out in all the details.
-
-When the booths stand for different nations there is a great field for
-variety and beautiful decoration. But in this, as in all cases where an
-attempt is made to carry out an idea, it must be faithfully adhered to,
-or the effect will not be that intended.
-
-When it is necessary to decorate the
-
-
-=Walls=
-
-use flags, bright, soft draping cloth, and large palm leaves; also
-branches of leaves, showy flowers, and anything that can be arranged to
-look well. As rooms differ so much in size and style, it is impossible
-to give any but general directions, leaving it to the taste of the
-decorator to carry out the details.
-
-[Illustration: Fig. 351.—Grab-bag of a Sheet with Holes Cut for Face
-and Arms.]
-
-[Illustration: Fig. 352.—Apron Skirt Sewed on Sheet.]
-
-
-=Grab-Bags.=
-
-On a narrow sheet hung up in a door-way, and fastened securely at the
-sides, or attached to a frame, cut a hole large enough to allow of a
-false face being fitted in (Fig. 351 A). The flaps of the cloth are
-left for pasting inside the face; now cut two more holes for the arms
-to pass through (Fig. 351 B). In these holes sew sleeves of the same
-material as the skirt, which is made of bright-colored cambric in the
-form of an apron, and sewed on the sheet (Fig. 352). The sides of the
-skirt are basted down on the sheet. When pasting in the false face,
-first cover the flaps, left at the opening for the face with stiff
-paste; then paste these flaps down into the inside of the false face,
-which will bring it up close against the sheet. If small openings are
-left, or the sheet puckers a little after the face is fastened on,
-never mind, as all defects can be covered by sewing on a thin white
-frill all around the face, to form a cap, and making a collar of the
-same material (Fig. 353).
-
-[Illustration: Fig. 353.—Grab-bag.]
-
-[Illustration: Fig. 354.—Inside of Sheet for Grab-bag.]
-
-Leave an opening, or pocket-hole, through the sheet at one side of the
-dress, so that the hand can be slipped through to get the packages,
-which are placed within reach at the back of the curtain. Fig. 354
-shows the inside of the sheet, and C the opening for the hand. Someone
-must stand or be seated behind this curtain, and slip her arms into
-the sleeves, then she can look out through the mask and see with whom
-she is talking. In one hand she may hold a package, while she receives
-the money with the other.
-
-On the sheet print these words: “Five cents for what is in my pocket.”
-
-
-=The Lady of the Lake.=
-
-You will need a tin bath-tub for the lake, the longest one you can
-find, and a toy boat which will not easily tip or turn over. Place tiny
-flags in the bow and stern, and in one end of the boat glue a doll
-dressed like the “Lady of the Lake” in Scott’s poem. Attach a pulley to
-each end of the tub, and fasten the string to the boat, as it must be
-run back and forth by means of the pulleys. Fill the tub nearly full
-of water, then cover the edges with moss and vines. The bath-tub must
-be completely disguised, and surrounded by plants and foliage, with
-an opening left at one end for purchasers, and another small one near
-the other end for the boat to pass through to those stationed behind
-the shrubbery, who have charge of the boat, and where the parcels are
-kept. At the store-room end the screen of vines or leaves should be
-so arranged that those in charge can see all that is going on outside
-without being seen themselves.
-
-The boat should be stationed at the farther end of the lake, and
-whoever wishes to make a purchase must give the doll five cents; then
-the boat may immediately leave, sail across the lake, and disappear
-behind the screen, only to emerge again laden with a parcel in place
-of the money, and lightly skimming over the water arrive at her
-destination, when the purchaser can relieve the “Lady of the Lake” of
-her package.
-
-The Bubble Range described on page 335 can be used in a fair with
-advantage. Unless the fair is very small, it is better to have two
-Bubble Ranges, to prevent the tiresome waiting for a turn, and give
-all who wish to try their skill the opportunity to enjoy the sport.
-
-
-=Fortune’s Wheel.=
-
-Cut of stiff pasteboard a large circle (Fig. 355) with a point on the
-edge at the end of one of the spokes, for the circle must be painted
-to resemble a wheel. With a large round nail fasten the wheel through
-the centre to a board, which has previously had numbers painted on in a
-circle somewhat larger than the circumference of the wheel (Fig. 356);
-the wheel should turn around easily on the nail. Hang the board up flat
-against the wall. The gypsy in charge of the Fortune’s Wheel should
-be stationed by its side, holding a basket filled with many envelopes
-numbered to correspond to the figures on the board, each envelope
-containing some appropriate fortune-telling lines; and when the people
-come to seek their fortunes the gypsy must allow each in turn to give
-the wheel a twirl, sending it around rapidly, and then hand to the
-fortune-seeker an envelope whose number corresponds with the figure at
-which the wheel pointed when it stopped turning.
-
-[Illustration: Fig. 355.—Circle for Fortune’s Wheel.]
-
-[Illustration: Fig. 356.—Fortune’s Wheel.]
-
-
-=Rag-Balls.=
-
-Prepare a number of carpet-rag balls with a small gift in the centre of
-each one. These sell rapidly, and it is very amusing to see the buyers
-unwinding their balls to discover the contents, which may prove to be
-a thimble, a bundle of jackstraws, a grotesque Japanese toy, or any
-little comical conceit which can be hidden in the odd receptacle.
-
-The same idea might be applied to the always pleasing popcorn balls;
-then the knick-knacks must be first wrapped in soft paper to protect
-them from the candy used in making the balls.
-
-Pleasant mysteries and surprises are always popular at fairs, and the
-more that can be invented the better.
-
-[Illustration]
-
-[Illustration: Window Decorated with Imitation Stained Glass and Dutch
-Curtain.]
-
- FOOTNOTE:
-
-[G] If the uprights seem to need it, brace them with cross-sticks in
-place of wire.
-
-
-
-
-CHAPTER XXXVIII.
-
-WINDOW DECORATION.
-
-
-NOW, girls, we must have practicable ideas in regard to our
-decorations; they should consist of something which we _know_ will be
-easy to make and at the same time look well; the materials employed
-must be within possible reach of all, and nothing expensive or
-difficult to obtain allowed to enter into their manufacture. What
-are commonly called Dutch curtains are very popular; they are short
-curtains of some thin, transparent fabric, fastened with rings to a
-slender rod of bamboo, and when drawn, cover the lower part of the
-window without intercepting the light. The curtains are very useful,
-but, while they do not obstruct the light, they do obstruct the vision.
-
-We all know that the front window is just the place to sit when sewing
-or doing fancy-work, and although few ladies care to be seen by every
-passer-by, yet they all like to see what is going on outside, and
-while their deft fingers ply the needle their bright eyes take in the
-landscape out of doors and derive amusement and entertainment from the
-birds and flowers, if it be in the country, or the ever-moving throng,
-if in the city.
-
-An ornamental screen, therefore, that will shield one and yet not
-interfere with the view is desirable. What might be termed the
-
-
-=Oriental Window-Shade=
-
-not only comes up to the above requirements, but is inexpensive, and
-not difficult to construct.
-
-[Illustration: Fig. 357.—Manner of Making Fringe for Oriental
-Window-shade.]
-
-[Illustration: Fig. 358.—Fringe of Macaroni and Beads.]
-
-Make a small lawn-tennis net, long enough to reach across the width of
-the window and about eight inches deep; make loops of the rope on the
-ends for hanging the screen to knobs or hooks screwed in the framework
-of the window; spread the net out and fasten it up on a door, between
-two chairs, or any convenient place; then cut a number of pieces of
-fine twine, about four feet long, and attach them, a quarter of an inch
-apart, along the bottom rope (Fig. 357); A shows a loosened loop and
-B the tightened ones. The ends of the twine hang free. On each double
-strand string glass beads and slender pieces of bamboo, reeds, painted
-clay pipe-stems, or macaroni broken in pieces of equal length and used
-in their natural color, or painted with oil-paints to any desired tint.
-Have the reeds four inches long, and thread them on alternately with
-the beads (Fig. 358); or you can form a design by cutting the reeds
-into different lengths; at the end of each strand fasten a large bead
-or glass button. A very simple
-
-
-=Ribbon-Curtain=
-
-is of red, blue, yellow, and black ribbons all cut the same length and
-sewed, a quarter of an inch apart, on a narrow strip of black cloth
-long enough to reach across the window. The strip may be used as a
-band, or attached to a slender pole by means of small brass rings. The
-ribbons should be silk, and thin enough to admit of the light shining
-through; they hang down fringe-like, with three glass beads fastened on
-the end of each ribbon (Fig. 359 or Fig. 360). If you prefer to have
-the shade all one color make it yellow, which gives a pleasant, mellow
-light. Any pattern you choose can be made by taking short pieces of
-ribbon and joining them together with glass beads. In this way bits
-of ribbon could be utilized, but those used must be semi-transparent,
-showing the color when held up to the light. Even smooth pieces of silk
-with their edges neatly hemmed might do service, only be very careful
-to join either ribbon or silk with the beads in such a manner as to
-prevent its twisting; the beads must be heavy enough to keep the fringe
-straight.
-
-[Illustration: Fig. 359.]
-
-[Illustration: Fig. 360.—Beads on the Ends of Ribbons.]
-
-Nearly all homes have their bags of silk and worsted pieces, and from
-these can be made a handsome
-
-
-=Drapery of Very Small Scraps.=
-
-Cut the pieces of silk or worsted into squares about an inch each way,
-using any and all colors; then take a piece of twine of the length
-you desire your curtain, and with a large needle string the bright
-bits on the twine until the whole string is completely and closely
-covered; next fasten the twine well to prevent its slipping, and with
-a large pair of scissors trim off the rough edges of the silken strand
-until the surface is rounded and even; on one end attach a small brass
-curtain-ring, and on the other a heavy bead or button; make as many
-strands as you will need to hang across the window and fasten them to
-a pole in which small hooks have been screwed.
-
-This drapery resembles chenille; it is rich in color, will wear well,
-and is best adapted for full-length curtains.
-
-As a substitute for stained glass we give directions for
-
-
-=Painting Window-Panes.=
-
-These are very pretty and satisfactory. If good designs are chosen the
-window will surpass in beauty your expectations.
-
-The materials necessary are: some of Winsor & Newton’s transparent
-colors, such as rose-madder, Prussian blue, raw and burnt umber, burnt
-sienna, ultramarine, gamboge, ivory-black, viridian green, and orient
-yellow. Any transparent color can be used. For purple, mix rose-madder
-with Prussian blue.
-
-Prepare the paints to be used by mixing each color separately with a
-little oil and siccatif Courtray. Almost any brush will do to paint
-with, but one of medium size made for oil-colors is the best, and
-another smaller one is necessary for the outlining, which takes the
-place of leading in stained glass. The dabber is a ball of raw cotton
-tied in a piece of fine cotton-cloth, and the manner of tinting or
-grounding is exactly the same as in china-painting; lac-varnish will be
-needed as a wash after the painting has dried.
-
-When you have an opportunity, carefully examine real stained-glass
-windows, and you will see that each window is one complete design. The
-corners and borders are usually in rich, dark colors, while the central
-portion is of lighter tints or clear glass.
-
-[Illustration: Fig. 361.—Border Pattern.]
-
-[Illustration: Fig. 362.—Cracked Glass.]
-
-Always make your corners and borders first, and if you desire a
-centre-piece, it should be placed in position next, and the space
-between it and the border filled in afterward. A Gothic window may be
-imitated by painting the corners black, thus making it arched at the
-top. Very often good patterns can be found in the many art and fashion
-papers. One copy may serve for an entire border, if it be pasted at
-the four corners to one pane of glass, and, when that is outlined,
-removed and gummed to the next, and so on until the border is finished.
-Fig. 361 is intended as a border. Fig. 362 is a very simple pattern
-of cracked glass, which you can readily make without any copy. Place
-a ruler across the woodwork of the window-pane, first one way, then
-another, and with its aid paint your straight lines, being careful not
-to have any two run parallel. A conventional design is always to be
-preferred. Should any mistakes occur during the progress of the work,
-remove the paint with a cloth dampened with turpentine and try again.
-The painting is not difficult, and the only delays are in waiting for
-the colors to dry.
-
-First decide on your design, then trace it, making the outlines heavy
-and black; gum the pattern by the four corners to the outside of
-the window-pane, which it is essential to have perfectly clean and
-dry; close the window, and with a small brush dipped in black paint
-follow the outlines of your copy, keeping the lines of equal thickness
-throughout; when this is finished remove the pattern. In the same
-manner go over all the outlines you wish to make on the window, then
-leave the color to harden and dry, which will probably require hours.
-Begin again by laying on flat washes of paint to match the prevailing
-colors of the copy, and use the dabber in tinting each color as it is
-applied, so the surface may be even and uniform. While the decoration
-is drying it is best to protect it from dust by pinning up a newspaper
-or a large piece of cloth on the window-frame. When dry, the painting
-can be touched up if necessary.
-
-After the last color has entirely dried apply a wash of white
-lac-varnish; when this is dry give the window another coat of
-lac-varnish and then it will be finished. Should your copies be in
-black and white, use your own taste in coloring the glass.
-
-Another method of imitating stained glass is
-
-
-=Painting on Lawn,=
-
-batiste, or any kind of sheer white muslin. For this you will need the
-same paints that are used for painting on glass; these are mixed only
-with turpentine and the color put on as a stain.
-
-Cut a piece of new thin white batiste large enough to cover a
-window-sash, with a margin left for turning in, and make an outline on
-it of the exact size of the sash; then select your pattern and place
-the lawn over it, when the outlines should show through; trace these
-carefully with gum-arabic dissolved, but made _very_ stiff, and when
-the entire design has been traced let the gum dry; then go over it with
-ivory-black unmixed; this latter makes the leading; be careful to keep
-the lines even and of the same size. When the outlines have dried fill
-in the spaces with the stains made of paint and turpentine; the gum
-prevents the colors from spreading. When the paint has dried you may
-add a few touches where they are needed, and the stained-glass design
-will be ready to place on the window. Use stiff mucilage or tiny tacks
-to keep it in place, having first turned in the margin left for the
-purpose.
-
-An attractive window can be made with the upper sash of imitation
-stained glass, while the lower one is screened by a Dutch curtain, as
-in the illustration.
-
-For the benefit of those who prefer sewing to painting we now tell how
-to
-
-
-=Imitate Stained Glass=
-
-with a piece of stiff white rice-net, such as is commonly used for
-bonnet-frames, and some pieces of thin batiste, or lawns, of the
-requisite colors. Cut the rice-net the proper size and lay it over your
-design; then carefully trace off the pattern; when all the outlines
-are finished cut the different-colored lawns of the shape and size to
-correspond to the different portions of the design; baste these on
-in the places they must occupy; then sew them on with the Automatic
-Sewing-machine, following with coarse black thread the outlines on the
-wrong side of the foundation, so that the chain-stitch will appear on
-the right side to form the leading; or the stitching may be made by
-hand, or a very narrow black braid can be used as leading. When all the
-batiste is sewed on, cut out the net back of the design to allow the
-light to shine through.
-
-We have seen such an imitation of stained glass, and when placed up
-against the window it was very good; but care must be taken to have the
-colored lawns thin and of the right shades; if too heavy they obstruct
-the light and the colors do not look bright.
-
-For full-length window-drapery of inexpensive material there may be
-had at any of the leading dry-goods stores beautiful soft fabrics, in
-yellows and different colors, the designs of which equal those of much
-higher-priced goods. These draperies hang in graceful folds and come
-as low as ten cents a yard; some of them are also well adapted for the
-useful Dutch curtains.
-
-[Illustration: Fig. 363.—Imitation of Ground Glass.]
-
-[Illustration: Fig. 364.—Folded Paper with Diamond Pattern for
-Imitation of Ground Glass.]
-
-[Illustration: Fig. 365.—Paper Marked with Design for Imitation of
-Ground Glass.]
-
-
-=Windows of Imitation Ground Glass=
-
-can be made of white tissue-paper, cut in simple patterns and fastened
-on the inside of the glass with white lac-varnish. The window must be
-perfectly clean and dry. If possible have the pieces of tissue-paper
-exactly the same size as the window-panes, fold and refold the paper
-lengthwise until it is an inch or so in width; then cut from stiff
-cardboard your pattern. If it be a diamond, as in Fig. 363, have it
-exact, and cut it in halves; use one-half as a pattern, place this on
-the edge of the paper, as in Fig. 364, and with a lead pencil draw a
-line around it; remove the pattern and place it lower down about a
-quarter of an inch from the first tracing, and again mark around the
-edge. Continue in the same way until you have the pattern marked on the
-entire length of the tissue-paper. Make the same pattern on the other
-edge of the paper (Fig 365). Cut out the pattern, then unfold the paper
-and smooth it free of wrinkles; give the window-pane a thin coating of
-white lac-varnish, and apply the paper, being very careful to have it
-_perfectly_ smooth when on the glass. Sometimes it is necessary to join
-two or more pieces of paper, but if you are careful to make the edges
-come _exactly_ together, the joins will not be noticeable.
-
-Lac-varnish dries very quickly, and it takes only a short time to
-decorate a window in this manner.
-
-When all the panes of glass are covered with tissue-paper, finish by
-varnishing each one with the white lac-varnish; at a little distance it
-is difficult to distinguish a window so covered from one really formed
-of ground glass.
-
-For bath-rooms, or where the window is rather out of the way and the
-outlook not agreeable, the imitation of ground glass is suitable and
-useful.
-
-[Illustration]
-
-
-
-
-CHAPTER XXXIX.
-
-FURNITURE OLD AND NEW.
-
-
-ONLY the other day we were appealed to by a friend for suggestions on
-how to furnish a room prettily, and at the same time inexpensively,
-and we know that there are many girls like this friend who, loving to
-surround themselves with beauty and comfort, have not the means of
-doing so in the ordinary way; but must depend largely upon their own
-skill and ingenuity for the gratification of this taste. After all,
-there is more real pleasure in planning and contriving the furnishing
-of one’s room, even with only a small sum for outlays, than there
-is in ordering a set from the furnishers which is exactly like a
-hundred others. In the former case we make our room expressive of our
-individuality; in the latter we walk in the beaten track of those who
-have little or no individuality to express.
-
-So much for the sentiment of the idea. Now let us turn to the practical
-side, and find the best way of carrying it out, and putting our
-theories into practice.
-
-In mentioning old furniture in the heading of this chapter, we do not
-allude to the antiques in such high favor just now; they are unique
-and handsome enough in themselves, requiring no contriving to beautify
-them; but there are few families who do not possess furniture that
-is out of date, old-fashioned without being antique; furniture that
-time and hard usage has reduced to a state of shabbiness anything but
-beautiful, yet not worth sending to the cabinet-makers to be furbished
-up. It is the renovation of such furniture that will help much toward
-making a room pretty and attractive.
-
-We need not attempt to restore the furniture to its original state,
-that would be impracticable. But we can work wonders in transforming
-it; in turning a homely article into one that will be an adornment
-instead of a blemish.
-
-
-=Bookcase.=
-
-Take, for instance, an old bureau belonging to a cottage set. The
-mirror, perhaps, is broken, or if it is not it can be used to better
-advantage elsewhere. Removing that, there is left merely a chest of
-drawers, which we will proceed to convert into a bookcase by the
-addition of shelves placed on top. If you have a brother who is handy
-with his tools the matter is simple enough; without him a carpenter
-may have to be employed to make the shelves, or, by taking the plan
-and measurements to a carpenter-shop the materials can be obtained
-ready for use, and all you will have to do will be to put them
-together. Although there is a saying that “a girl can never drive
-a nail straight,” we have reason to believe the contrary, and feel
-sure that a little practice will enable most girls to do many bits of
-light carpentry work as well as the boys. Three feet is the height
-of a bureau belonging to an ordinary set of cottage furniture, so we
-will take that as our standard for measurement, and make our shelves
-according to it.
-
-[Illustration: Fig. 366.—Diagram of Book-shelves.]
-
-Fig. 366 is the diagram for the frame of the shelves. The side pieces
-are made of boards three feet four inches long and nine inches wide;
-the top of each of these boards is sawed into a point as shown in
-diagram. Four cleats made of sticks eight inches long and one inch
-thick are nailed to the side of each board, the distance between being
-nine inches.
-
-The frame at the back is composed of two boards five and one half feet
-long and seven inches wide, and two, three feet three inches long
-(the width of the bureau) and seven inches wide. One of these short
-boards is nailed across the top ends of the long boards, and the other
-twenty-four inches below. The side pieces are nailed to the back as
-shown in diagram, the nails being driven through the back board into
-the edge of the side piece.
-
-When the frame is made it is placed on the bureau, the sides resting on
-the top and the long back boards reaching down behind where they are
-nailed or screwed to the bureau. The shelves are thirty-seven inches
-long and nine inches wide. They rest on the cleats and are not nailed
-to the frame.
-
-Screws may in some places, answer better than nails.
-
-When the shelves have been adjusted, the whole is painted a dark olive
-green.
-
-If the knobs are removed from the drawers before the bureau is painted,
-and brass handles substituted afterward, it will add materially to its
-appearance.
-
-The bookcase shown in our illustration is finished off with curtains,
-which hang by brass rings from a slender bamboo pole. The pole is
-slipped through brass hooks screwed into the side pieces near the top.
-
-Curtains of canton-flannel, or any soft material, are suitable for this
-bookcase. The colors may be a combination of olive green with old blue,
-yellow, cherry, copper color, dark red, or light brown.
-
-
-=The Chair=
-
-in the same illustration is an ordinary rocking-chair painted olive
-green, with cushions at the back and in the seat stuffed with
-excelsior, covered with bright cretonne, and tied to the chair with
-ribbons.
-
-[Illustration: Bureau Transformed into a Bookcase.]
-
-Chairs of this kind look well painted almost any color; one of yellow,
-with yellow cushions and ribbons, is exceedingly pretty.
-
-If the chair to be remodelled is bottomless, reseat it in this way: Cut
-some strips of strong cotton cloth about one inch wide and sew them
-together, lapping one piece over another, as in Fig. 367; fasten an end
-on to the edge of the chair with a tack, and then pass the cloth back
-and forth across, each time putting it under and bringing it over the
-edge of the chair.
-
-[Illustration: Fig. 367.]
-
-When the seat is filled up with the strips going one way, cut the cloth
-and tack the end to the chair; then, commencing at the side, cross
-these strips, passing the cloth in and out as if darning. Fig. 368
-shows just how it is done. Be sure to draw the strip as tightly as you
-can every time it crosses the chair, for if too loose it will sag as
-soon as the chair is used. The edge of the chair may be covered with
-the cretonne, or a ruffle which is sewed around the cushion.
-
-[Illustration: Fig. 368.—How to Reseat a Chair.]
-
-Fig. 369 is an old settee fitted up with cushions, and a sociable,
-comfortable seat it is. It offers plenty of room for two, and ensconced
-thereon the girls may rock and talk to their hearts’ content.
-
-These settees are not often seen in the city, but are to be found in
-many a farm-house and country town. The one from which our sketch is
-taken is painted black, but, like the chair, it would look well any
-color.
-
-Fresh, dainty prettiness should be the principal feature of a young
-girl’s room, and this can be obtained at very little expense, much less
-than most persons suppose.
-
-[Illustration: Fig. 369.—Come and Sit Here.]
-
-Fig. 370 shows what can be done with the commonest kind of furniture.
-This can be bought at the manufacturer’s unpainted, and may be left its
-natural color and simply varnished, or, following the present fashion,
-it can be painted white, and decorated with slender bands or circles of
-gold.
-
-As in the illustration,
-
-
-=The Bedstead=
-
-should have drapery suspended over it. This gives a soft, pretty
-effect, and takes away its stiffness. Dotted swiss or thin cottage
-drapery answers the purpose nicely.
-
-Ten yards of material cut in two breadths of five yards each are
-required for these curtains. The breadths must be sewed together
-lengthwise and then passed through a small wooden hoop which has been
-gilded or painted white.
-
-When the hoop is directly in the middle of the breadths, the material
-must be brought together close to the hoop and two of the edges sewed
-or basted together. This seam is to go at the back and keep the curtain
-from parting and hanging in two strips.
-
-A ruffle of the same material, or lace, sewed on the edge and across
-the ends of the drapery gives it a soft, lacy effect. The ribbons which
-loop the curtains at either side should be of the prevailing colors of
-the room. If the furniture is white and gold, they should be yellow.
-
-The hoop can hang from a brass chain fastened to a hook in the ceiling.
-
-The bureau belonging to this style of furniture is too clumsy for our
-use, although without the mirror it will be convenient as a chest of
-drawers. Brass handles in place of knobs will improve it.
-
-
-=A Dressing-table=
-
-to take its place, like the one shown in Fig. 370, can be made of a
-small kitchen-table. The mirror suspended over it should have a broad
-flat frame of white pine, varnished or painted to match the furniture.
-Almost any cabinet-maker can frame a mirror in this way. Bracket
-candlesticks made of brass, which are very inexpensive, should be
-fastened to the frame on either side of the glass with brass nails or
-brass-headed tacks.
-
-[Illustration: Fig. 370.—What can be done with Common Unpainted
-Furniture.]
-
-With a brass handle on the drawer, a pretty scarf of linen crash,
-ornamented with drawn work or outline, thrown over the table and
-hanging down at each end, and the addition of pin-cushion and toilet
-articles, this toilet-table looks very attractive and readily
-challenges admiration.
-
-
-=Washstand.=
-
-A piece of white matting bound at top and bottom, with yellow
-cotton cloth for a splasher, as in Fig. 371, and a pretty scarf and
-toilet-set, presents this most ordinary washstand in a new light.
-
-Three common kitchen-chairs and one rocker, when painted white or
-varnished, as the case may be, and cushioned in pretty light-colored
-cretonne, completes this novel, pretty, and remarkably inexpensive set
-of furniture.
-
-[Illustration: Fig. 371.—The Ordinary Unpainted Washstand in a New
-Light.]
-
-The curtains next to the windows should be of the same material as
-that used for the bed-drapery, with the inner one of cretonne like the
-chair-cushions.
-
-White matting is suitable for the floor in summer, and during the cold
-weather it can be mostly covered with a pretty ingrain rug or art
-square, as it is called.
-
-Instead of using gilt, the rings and bands on the furniture may be blue
-or red, in which case the trimmings of the room should correspond.
-
-[Illustration: Fig. 372.—Hall Seat Made of a Common Wooden Bench.]
-
-
-=A Hall Seat.=
-
-As another illustration of what can be done with the most ordinary
-piece of furniture, we have chosen a common wooden bench, and by
-painting it black and giving it a dark-red cushion with tassels at each
-corner, have transformed it into quite an elegant hall-seat. Fig. 372
-gives the effect.
-
-[Illustration: Fig. 373.—Window Seat and Book-shelves Combined, Made of
-Boxes.]
-
-Fig. 373 shows a
-
-
-=Window Seat and Book-shelves Combined,=
-
-made of boxes. Eight soap-boxes of the same size are required for the
-shelves, and a packing-box about two feet high, two feet in width, and
-as long as the window is wide, for the seat.
-
-Remove the tops and two sides of the soap-boxes, and bore holes with a
-red-hot poker in one corner of the bottoms of six of the boxes, and in
-two of the tops which have been removed, making the holes one inch from
-either edge (Fig. 374). In the other two boxes bore in the same place,
-but not entirely through, making the holes about half an inch deep.
-
-Place these last two on the floor and pile the others on top of them,
-three on each, nailing the bottom of each box to the top edge of the
-one beneath it. On the two upper boxes nail the tops in which the holes
-have been made.
-
-Have ready two slender bamboo rods about four feet long. Insert a rod
-in the hole in the top of an upper box and let it pass down, slipping
-it through the holes in the bottoms of the other boxes and fitting it
-in the cavity in the lower box.
-
-[Illustration: Fig. 374.—Hole in Corner of Box for Book-shelves.]
-
-In like manner put the other rod in place through the other pile of
-boxes.
-
-If the packing-box has a cover, it should be fastened on with hinges,
-so that it may be used for a shoe-box as well as a seat; if it has not,
-turn it upside down, place the soap-boxes at each end and nail them to
-it.
-
-Paint the shelves black or the color of the wood-work in the room, and
-upholster the seat and the boxes on either side of it with cushions
-made of strong muslin stuffed with excelsior and covered with cretonne.
-
-Fasten the edges of the side cushions to the boxes with gimp braid and
-tacks. Make a deep plaiting of the cretonne and tack it across the
-front of the large box. When there is a lid a narrow plaiting must be
-tacked across its front edge, which will, when the box is closed, lap
-over the top of the deeper plaiting.
-
-That this combination of window-seat and shelves is both comfortable
-and convenient, one may easily imagine, and that it adds not a little
-to the furnishing of a room, we leave to our illustration to show.
-
-[Illustration]
-
-
-
-
-CHAPTER XL.
-
-SOMETHING ABOUT MANTEL-PIECES AND FIRE-PLACES.
-
-
-THE spirit of hospitality and comfort presides over the ruddy blaze
-of an open fire; yet, as we gather cosily around and bask in the
-delightful warmth and radiance, its cheerful influence is too often
-retarded by its very unattractive surroundings. This lovely household
-spirit should have a more fitting habitation than the one frequently
-accorded it. The fire-place should at least be pleasant to look upon,
-and not depend wholly upon the bright fire to make it inviting.
-
-The ordinary marble and marbleized slate or iron mantel-pieces are the
-reverse of beautiful, but they may be very much improved at the expense
-of a small outlay of money, time, and trouble.
-
-The examples we give here of the treatment of commonplace mantel-pieces
-are simple, and can easily be managed by the girls themselves, with but
-trifling aid from a carpenter.
-
-In a room occupied at one time by a young friend of the writer,
-there was an old-fashioned white-pine mantel-piece. It was stiff and
-plain, with no attempt at ornamentation, and the border of white
-marble, about five inches wide around the fire-place, was apparently
-inserted to protect the wood from the heat of the fire, and not for
-beauty. A hint from the writer was sufficient to set this girl’s brain
-and fingers to work. Soon the white-marble border was transformed
-into a row of blue and white tiles, which were not only pretty and
-appropriate, but were also the means of dispelling the impressions of
-coldness and hardness the marble gave.
-
-[Illustration: Fig. 375.—Shelves over Mantel-Piece.]
-
-The manner of effecting this transformation was simple enough. First
-the marble was divided into squares, the lines being painted black;
-then conventional patterns were sketched with a pencil on the squares
-and painted in blue, oil-paints being used for the purpose.
-
-How the mantel-piece was otherwise reformed, the writer never saw, but
-it might have been greatly improved and altered by the addition of
-shelves above, or a suitable lambrequin upon the mantel-shelf. However
-that may or might have been, the tiles were a successful bit of work,
-and the painting of them within the capabilities of almost anyone. Then
-why should we long in vain for a tiled mantel-piece, when we have it in
-our power to gratify the wish?
-
-On a plain white-marble mantel a border around the fire-place may be
-marked out, and a set of tiles painted, which will look just as pretty
-as any that can be bought.
-
-If the rest of the marble is painted black or brown, the tiles will
-look as though they were set in, and the contrast will make them more
-effective.
-
-Fig. 375 illustrates our suggestion of putting shelves over the
-mantel-piece. The braces can be bought at any hardware-store, and the
-shelves may be of black-walnut or pine boards, stained or painted to
-match the mantel-piece.
-
-Fig. 376 shows the effect of a mantel-shelf covered with enamel-cloth
-made in imitation of leather. The color of the material used for
-the one from which our sketch is taken is dark red, and has a dull,
-soft finish like Russian leather. It is ornamented with small brass
-curtain-rings sewed on in points or pyramids; a strip of enamel-cloth
-is also put behind the shelf, and at the top edge a piece of narrow
-gilt moulding is tacked.
-
-[Illustration: Fig. 376.—Mantel-Shelf covered with Enamel-Cloth
-ornamented with Brass Curtain-Rings.]
-
-A mantel-board of pine, two inches longer and two inches wider than the
-shelf, is always necessary when there is to be a lambrequin, for upon
-this the lambrequin is tacked.
-
-First, the board must be neatly covered with the material, enamel-cloth
-or whatever is used, the edges of the cloth being brought over and
-tacked under the edge of the shelf; then the strip composing the
-lambrequin must be turned in at the top edge and tacked across the
-front and two ends of the board with brass-headed tacks. It looks
-better if the corners of the board are rounded as shown in illustration.
-
-The piece at the back of the shelf should be about eighteen inches deep
-and must be tacked at top and bottom with small tacks, the edge at each
-end being turned in and tacked to the wall with brass-headed tacks.
-
-Fig. 377 is the diagram of enamel-cloth ornamented with brass rings,
-and shows a section of the pattern. The bottom row of rings should be
-sewed on first, and the edge of the cloth turned up as the rings are
-fastened on. The stitches which hold the rings catch the hem also. This
-first row of rings should extend half way below the edge of the cloth,
-as shown in Fig. 377. Strong yellow embroidery-silk or saddlers’ silk
-is the best to sew them on with.
-
-[Illustration: Fig. 377.—Enamel-Cloth ornamented with Brass Rings.]
-
-The gilt moulding can be bought by the foot and small headless nails
-are furnished to tack it with.
-
-Another mantel is treated in very much the same manner as Fig. 376,
-the difference being that, instead of enamel-cloth, the covering for
-the shelf and the piece at the back are dark-red canton-flannel, and
-around the edge of the shelf is tacked a worsted fringe, about six
-inches deep, matching the canton-flannel in color. This has a warm,
-comfortable look and is quite appropriate for a bedroom, while the
-other should be used only in a library or dining-room.
-
-[Illustration: Fig. 378.—Shelves around Projecting Chimney.]
-
-The writer was once invited into a young girl’s room which was very
-attractive in its daintiness. It was not pretty in shape, and an
-uncompromising chimney, in which there was no fire-place, projected
-into the room; but taste had overcome these difficulties, and the
-effect produced was decidedly pleasing.
-
-Pretty wall-paper and the arrangement of the furniture helped very
-much, but the greatest triumph was in subduing the awkwardness of that
-chimney by surrounding it with a set of shelves for holding pretty bits
-of bric-à-brac.
-
-In case another girl may have the same difficulty to surmount in
-decorating her room, we give an outline drawing of the shelves (Fig.
-378) that she may see and profit thereby.
-
-[Illustration]
-
-
-
-
-CHAPTER XLI.
-
-HOME-MADE CANDY.
-
-
-WE have noticed that in none of the books we have seen, which were
-written especially for the amusement and entertainment of girls, has
-there been any directions or recipes for making candy. Knowing by
-experience that most girls consider candy-making one of their prime
-winter enjoyments, we consider the omission to be quite an important
-one, and we will in this chapter endeavor to supply the much-wished-for
-information.
-
-Though cooking in general may not be regarded with much favor by the
-average school-girl, she is always anxious to learn how to make candy,
-and hails a new recipe as a boon.
-
-The following recipes for peanut-candy, butter-scotch, and
-molasses-candy were obtained from a friend who makes the best home-made
-candy it has ever been our good-fortune to taste, and as she recommends
-them, we may rely upon their being excellent. We give them, with her
-comments, just as she wrote them.
-
-
-    =Delicious Peanut-Candy.=
-
-    Shell your peanuts and chop them fine; measure them in
-    a cup, and take just the same quantity of granulated
-    sugar as you have peanuts. Put the sugar in a skillet,
-    or spider, on the fire, and keep moving the skillet
-    around until the sugar is dissolved; then put in the
-    peanuts and pour into buttered tins.
-
-    This is _delicious_, and _so_ quickly made.
-
-
-    =Butter-Scotch.=
-
-    2 cups of brown sugar.
-    ½ cup of butter.
-    4 tablespoonfuls of molasses.
-    2 tablespoonfuls of water.
-    2 tablespoonfuls of vinegar.
-
-    Boil until it hardens when dropped into cold water,
-    then pour into buttered tins.
-
-
-    =Molasses-Candy.=
-
-    2 cups of brown sugar.
-    ½ cup of New Orleans molasses.
-    ⅔ cup of vinegar and water mixed.
-    A piece of butter half the size of an egg.
-
-    When the candy hardens in cold water, pour into shallow
-    buttered tins, and as soon as it is cool enough
-    to handle, pull it until it is of a straw-color.
-    _Splendid!_
-
-Here are two recipes which another friend has kindly sent us:
-
-
-    =Chocolate-Creams.=
-
-    To the white of 1 egg add an equal quantity of cold
-    water. Stir in 1 pound of confectioner’s sugar. Flavor
-    with vanilla. Stir until fine and smooth; then mould
-    into balls and drop into melted chocolate.
-
-To melt the chocolate, scrape and put it in a tin-cup or small
-sauce-pan over a kettle where it will steam. Let the chocolate be
-melting while the cream is being prepared.
-
-
-    =Walnut-Creams.=
-
-    Make the cream as for chocolate-drops and mould into
-    larger balls. Place the half of an English walnut on
-    either side and press them into the cream.
-
-The cream prepared in this way, we have found, can be used for various
-kinds of candy.
-
-Small pieces of fruit of any kind and nuts can be enclosed in the
-cream, making a great variety. Chocolate may be mixed with it; and if
-strong, clear coffee is used in place of the water, the candy will have
-the coffee flavor and color which some people like.
-
-
-=Walnut and Fruit Glacé.=
-
-Put 1 cup of sugar and ½ cup of water in a sauce-pan and stir until the
-sugar is all dissolved; then place it over the fire and let it boil
-until it hardens and is quite crisp when dropped in cold water. Do not
-stir it after it is put on the fire.
-
-When cooked sufficiently, dip out a spoonful at a time and drop in
-buttered tins, leaving a space of an inch or so between each spoonful.
-Place on each piece of candy the half of a walnut, or the fruit which
-has previously been prepared, and pour over them enough candy to cover
-them, always keeping each piece separate.
-
-Any kind of fruit can be made into glacé. When using oranges, quarter
-them and remove the seeds. Strawberries, in their season, and peaches
-also make delicious glacé.
-
-The remainder of our recipes have been taken from family recipe-books,
-and although we have not tested them ourselves, we think it may be
-safely said that they are good ones.
-
-
-=Marsh-mallow Paste.=
-
-Dissolve 1 pound of clean white gum-arabic in one quart of water;
-strain, add 1 pound of refined sugar, and place over the fire. Stir
-continually until the syrup is dissolved and the mixture has become of
-the consistency of honey. Next add gradually the beaten whites of 8
-eggs; stir the mixture all the time until it loses its thickness and
-does not adhere to the finger. Flavor with vanilla or rose. Pour into
-a tin slightly dusted with powdered starch, and when cool divide into
-squares with a sharp knife.
-
-
-=Toasted Marsh-mallows.=
-
-Tie a string on the end of a cane or stick, fasten a bent pin on the
-end of the string, and stick the pin into a marsh-mallow-drop. Hold the
-marsh-mallow suspended over an open fire and let it gradually toast.
-When it begins to melt and run down it is done.
-
-For a small party toasting marsh-mallows will be found quite a merry
-pastime, and a great many persons consider the candy much better for
-being thus cooked the second time.
-
-
-=Molasses Peanut-Candy.=
-
-    2 cups of molasses.
-    1 cup of brown sugar.
-    1 tablespoonful of butter.
-    1 tablespoonful of vinegar.
-
-While the candy is boiling remove the shells and brown skins from the
-peanuts, lay the nuts in buttered pans, and when the candy is done pour
-it over them. While it is still warm cut in blocks.
-
-
-=Chocolate-Caramels.=
-
-    2 cups of sugar.
-    1 cup of molasses.
-    1 cup of milk.
-    1 tablespoonful of butter.
-    1 tablespoonful of flour.
-    ½ pound of Baker’s chocolate.
-
-Grease your pot, put in sugar, molasses, and milk; boil fifteen
-minutes, and add butter and flour stirred to a cream. Let it boil five
-minutes, then add the chocolate, grated, and boil until quite thick.
-Grease shallow pans and pour in the candy half an inch thick, marking
-it in squares before it becomes hard.
-
-
-=Pop-Corn Balls.=
-
-    6 quarts of popped corn.
-    1 pint of molasses.
-
-Boil the molasses about fifteen minutes; then put the corn into a large
-pan, pour the molasses over it, and stir briskly until thoroughly
-mixed. Then, with clean hands, make into balls of the desired size.
-
-[Illustration]
-
-[Illustration: Saint Valentine.]
-
-
-CHAPTER XLII.
-
-Saint Valentine’s Day.
-
-
-Did it never occur to any of you to wonder who Saint Valentine was,
-and why we should commemorate his day by sending cards or letters
-containing all sorts of nonsense, like true-lovers’ knots, hearts
-pierced with arrows, etc.?
-
-It is easy enough to tell you about the saint, but what he had to do
-with the popular observances of the day dedicated to him is a matter
-for conjecture.
-
-Saint Valentine, they say, was a grave and earnest bishop, who was put
-to death in Rome on the fourteenth day of February, about the year 270
-A.D., for his too zealous efforts in converting the heathen. When he
-was canonized, the day of the month on which he died was dedicated to
-him.
-
-The customs of Saint Valentine’s Day are, no doubt, derived from those
-practised at some of the Pagan festivals, for they are of very ancient
-origin. In olden times, in England, it was kept as a great gala day,
-and all the houses were decked with evergreen in honor of it. Ben
-Jonson says:
-
-    “Get some fresh hay, then, to lay under foot,
-     Some holly and ivy to make fine the posts;
-     Is’t not Saint Valentine’s Day?”
-
-The principal feature of the ceremonies was always the choice of a
-valentine for the ensuing year. The cavalier was expected to wait upon
-his lady, execute all of her commands, and act as her escort at all
-social gatherings.
-
-The choice of a valentine was generally left to chance, one of the
-methods being that the first unmarried member of the opposite sex a
-person saw on Saint Valentine’s morning should be his or her valentine.
-
-Of course you have all had some experience in sending and receiving
-valentines, and perhaps consider that the only way of celebrating the
-day; but don’t you think it would be a good idea to invite some friends
-to your house and have a
-
-
-=Valentine-Party?=
-
-We will give several suggestions upon what to do at a valentine-party,
-that you may have some idea how the affair should be conducted.
-
-In the first place, let each guest, upon his or her arrival, deposit
-a valentine in a large bag placed in the hall for that purpose. The
-valentines must be addressed to no particular person, but the girls
-should write on theirs, “To my cavalier,” and the boys address the
-ones they send, “To my lady.” On one corner of each valentine (not the
-envelope) the sender’s name must be written.
-
-When all the guests have assembled, someone disguised as Saint
-Valentine, in a skull-cap, long white beard, made of cotton or wool,
-and long cloak, should enter the parlor, carrying on his back the sack
-of valentines. He must stand in the centre of the room and auction off
-each valentine as he takes it from his pack.
-
-All sorts of bids can be made, such as the promise of a dance, a
-necktie, her share of ice-cream at supper, by a girl. A compliment,
-the first favor asked of him, a paper of bonbons, by a boy. To make fun
-the bids should be as ridiculous as possible. Saint Valentine is to be
-at liberty to accept whatever bid he chooses. The payment of the debt
-must be rigidly exacted by the sender of a valentine, whose identity is
-revealed when the valentine is opened.
-
-[Illustration: Fig. 379.—Cupid’s Bow and Arrow.]
-
-If unable to comply immediately with the demand, the debtor must give
-the creditor a card or slip of paper on which is written “I O U a
-favor,” or whatever it may be that is owed. This I O U entitles the
-creditor to claim payment of the debt at any time during the year.
-
-Another feature of the party should be Cupid’s bow and arrow, which
-must be suspended from the chandelier or placed in some prominent
-position. The device is to be used for delivering such valentines as
-may be addressed to particular persons. The valentine must be stuck
-onto the point of the arrow, and no one may remove it save the person
-to whom it is addressed. At any time during the evening the arrow may
-be found to bear a missive, and we would advise the hostess to provide
-a valentine, to be delivered in this way, for each of her guests, that
-none may feel neglected. The rest of the party can, to be sure, send as
-many valentines as they like.
-
-[Illustration: Fig. 380.—Notch in End of Feather.]
-
-Make Cupid’s bow and arrow of heavy pasteboard, like Fig. 379. Let the
-bow measure about sixteen inches from tip to tip. Make the arrow twelve
-inches long, with a point or head three inches, and the feathers two
-inches, in length on the outside edge. Cut a notch in the feathered
-end, as shown in Fig. 380. Strengthen the arrow by gluing a thin stick
-of wood along it to within one inch of the point. Gild both the bow and
-arrow, tie a silk cord to the tips of the bow, leaving it slack, and
-force the head of a worsted-needle into the point of the arrow (Fig.
-381). Adjust the arrow by fitting the cord in the notch and pulling it
-back until the cord is taut; then fasten it to the bow by taking a few
-stitches with yellow silk through the bow and over the arrow. Fig. 382
-shows how it should appear when in place.
-
-[Illustration: Fig. 381.—Manner of fastening Needle in Arrow-head.]
-
-To determine how the guests shall be paired off for supper, place the
-names of all the girls, written on slips of paper, in a bag; then let
-each boy in turn take out a slip, and the girl whose name it bears he
-shall escort to the supper-room and serve like a true cavalier.
-
-At a valentine-party the valentines should, if possible, all be
-original, or at least contain appropriate quotations. The more absurd
-the rhyme, the more fun it will create, and when one is unable to make
-a rhyme a bit of prose can be made to serve. As funny as you please let
-the valentines be, but remember to omit anything that is in the least
-rude, or calculated to hurt another’s feelings.
-
-[Illustration: Fig. 382.—Cupid’s Bow with Arrow in Position.]
-
-With Saint Valentine’s Day ends our vacation-calendar and with it we
-also bring this book to a close, for a whole year of holidays, sports,
-and entertainments are now contained within its covers. If we may hope
-that our work has not been without profit, as well as entertainment,
-if we have been successful in opening any new avenues of enterprise and
-enjoyment for you, we are satisfied. If we have done more, and with any
-of our suggestions have prompted the thought of adding to the comfort
-and happiness of others, we have achieved a success, and the mission of
-the AMERICAN GIRL’S HANDY BOOK is accomplished.
-
-[Illustration]
-
-
-
-
-INDEX.
-
-
-    A
-
-    Album, an, 400
-
-    All-Hallow-Eve; see Halloween
-
-    Appliqué designs, 391
-
-    April, first of, 3;
-      April-fool’s Day party, 5;
-      games, 6 et seq.
-
-
-    B
-
-    Back-stitching, 383
-
-    Ball, soft, 327
-
-    Balls, lawn-tennis, 69
-
-    Basket, May, 74;
-      birch-bark, ib.;
-      cardboard, ib.;
-      crab-net, 97
-
-    Basting, 382
-
-    Bedstead, 444
-
-    Beech-nuts, 220
-
-    Biographical nonsense, 339
-
-    Bladder telephone, 227
-
-    Blind, taught modelling, 257
-
-    Blind-man’s singing-school, 155
-
-    Blind-man’s stocking, 321
-
-    Bombs, 115
-
-    Bonbon box, 49
-
-    Bookcase, 439
-
-    Book-covers, home-made, 401
-
-    Book-mark, 324
-
-    Book-shelves, marine, 94
-
-    Booths at a fair, 413;
-      tables for, ib.;
-      flowers for, 417;
-      arrangement of, 420
-
-    Botany as applied to art, 139;
-      conventionalizing plant forms, ib.;
-      the peony-leaf, 140;
-      a bunch of turnips, 142;
-      decorative lines, 143;
-      cross-section plant designs, 144;
-      flower-sprays, 146;
-      changing color and form, 147;
-      burs, ib.;
-      water-lily conventionalized, 148;
-      fern-leaf, 85
-
-    Bouquets, to preserve fresh, 25
-
-    Brackets, 214
-
-    Bradford, Governor William, 302
-
-    Bran pie, 321
-
-    Brushes for oil-colors, 250;
-      for china painting, 270
-
-    Bubble-blowing, 335
-
-    Buckeye Portière, 204
-
-    “Bunching eggs,” 37
-
-    Burgoos, 132
-
-    Butter-Scotch, 459
-
-    Butter-nuts, 220
-
-    Button, how to sew on a, 386
-
-    Button-holes, 383
-
-    Bureau transformed into a bookcase, 441
-
-
-    C
-
-    Candlestick, marine, 103
-
-    Candy, home-made, 458
-
-    Canvas for painting, 251
-
-    Cards, Easter, 50
-
-    Cards, living Christmas, 342
-
-    Chair, 441;
-      how to reseat, 442
-
-    Chestnuts, 218
-
-    China-painting, 272;
-      materials, 273;
-      China, 278;
-      monochrome painting, ib.;
-      tinting, 273;
-      new method of decorating china, 279;
-      tracing, 280;
-      mottled ground, 281;
-      snow landscape, ib.;
-      head-painting, 284;
-      sea-weed, fish, etc., 287;
-      mixing colors, 289;
-      painting royal Worcester ware, 290
-
-    Chocolate-caramels, 461
-
-    Chocolate-creams, 459
-
-    Christmas festivities, 317;
-      customs, 318
-
-    Clay, for modelling, 259;
-      how to manage, 261;
-      how to preserve, 262
-
-    Clover, four-leaved, 23
-
-    Color painting, 241, 244, 246
-
-    Conventionalized plant forms, 141
-
-    Court, for lawn-tennis, 62
-
-    Cross-section plant designs, 144
-
-    Crystallizing flowers, 21
-
-    Curtain fixtures, marine, 92
-
-
-    D
-
-    Dancers, fairy, 330
-
-    Darning and mending, 384
-
-    Declaration of Independence, 117
-
-    Decoration, sea-side cottage, 92
-
-    Decorations, natural, 201;
-      of autumn wild flowers, 202;
-      buckeye portière, 204;
-      of horse-chestnuts, ib.;
-      of corn, 209;
-      ornamental gourds, 210
-
-    Decorative language, 365;
-      how to make a design in, 371
-
-    Dolls, corn-husk, 169;
-      with crab-apple heads, 173;
-      flower, 175
-
-    Drapery of small scraps, 431
-
-    Draw, how to, 229
-
-    Drawing plant forms, 141
-
-    Drawn work, 389
-
-    Dressing-table, 444
-
-
-    E
-
-    Easel, 250
-
-    Easter, 33;
-      how celebrated in England, ib.;
-      in Russia, ib.;
-      in Ireland, 34;
-      in Germany, 35;
-      in Washington, D. C, ib.
-
-    Easter cards, 50
-
-    Easter eggs, 33;
-      games with, 36;
-      dolls made of, 39;
-      toys formed of, 42;
-      maple wax eggs, 49;
-      bonbon box, ib.
-
-    Enchanted girl, pantomime of, 348
-
-    Exercising, best time for, 353;
-      balancing weights on the head, 356;
-      broom-handle exercise, 357
-
-
-    F
-
-    Fairy dancers, 330
-
-    Fan, how to make a, 177;
-      butterfly fan, 178;
-      Mikado fan, 180;
-      daisy fan, 182;
-      card-board fan, 183
-
-    Felling, 383
-
-    Ferns for decoration, 19
-
-    Fid, 57, 161
-
-    Five minutes’ conversation, 154
-
-    Fish-painting on china, 286
-
-    Floral vocabulary, 377
-
-    Flowers, wild, 14;
-      transplanting, ib.;
-      how to keep cut, 15;
-      sending by mail, 16;
-      preserving, in sand, 16;
-      pressed, 18;
-      herbariums of, 19;
-      for decoration, ib.;
-      color of, changed, ib.;
-      waxed, 20;
-      to freshen cut, ib.;
-      crystallized, 21;
-      frosted, ib.;
-      perfume of, preserved, ib.;
-      spring flowers in winter, 23;
-      preserving, in alcohol, 24;
-      in an empty bottle, ib.;
-      under glass, ib.;
-      to keep bouquets fresh, 25;
-      to keep flowers or fruit fresh for a year, ib.;
-      painting, in water-colors, 239
-
-    Fortune-telling, by melted lead, 190;
-      by nutshell boats, 192;
-      by “three luggies,” 193;
-      by roasting nuts, ib.;
-      Kaling, 194;
-      by the magic mirror, ib.;
-      by three tin cups, by the ring cake, 195
-
-    Fortune’s wheel, 88, 426
-
-    “Fore-shortening,” 231
-
-    Fourth of July, celebration, interior decoration for, 107;
-      indoor illumination, 108;
-      out-door decoration and illumination, 109;
-      fireworks for girls, 111;
-      parachute, 112;
-      thunderbolts, ib.;
-      whirls, 113;
-      winged fancies, ib.;
-      pin-wheels, 114;
-      bombs, 115;
-      lawn party, 117;
-      declaration of independence, ib.;
-      game of toss, 118;
-      jackstraws, 119;
-      progressive mining, ib.
-
-    Frames for pictures, 295;
-      designs for, 296;
-      decorated, 297;
-      cork frame, 299
-
-    Furniture, old and new, 438
-
-
-    G
-
-    Game of headless turkey, 312
-
-    Game and fish stew, 133
-
-    Games, quiet, for hot weather, 151;
-      door-step party, 152;
-      five minutes’ conversation, 153;
-      blind-man’s singing-school, 155;
-      game of noted men, ib.;
-      what will you take to the picnic? 156;
-      assumed characters, 157;
-      shadow verbs, ib.;
-      Halloween games, 196 et seq.
-
-    Games for Christmas holidays, bubble-bowling, 335;
-      biographical nonsense, 339;
-      comic historical tableaux, 341;
-      living Christmas cards, 342
-
-    Gathering, 382
-
-    Glass, stained, imitated, 435
-
-    Glove pen-wiper, 323
-
-    Glove, to mend a kid, 386
-
-    Gold, mat, 276;
-      pure, ib.
-
-    Gourds, ornamental, 210
-
-    Grab-bags, 423
-
-    Ground glass, imitation of, 436
-
-    Gymnasium, home, 353
-
-
-    H
-
-    Hall seat, 447
-
-    Halloween, 187;
-      origin of, ib.;
-      party, 189;
-      fortune-telling on, 190 et seq.;
-      games, 196 et seq.
-
-    Hammock, how to make a, 159;
-      materials required, 161;
-      barrel hammock, 165
-
-    Hat-rack, sea-side, 98
-
-    Hazel-nuts, 220
-
-    Headless turkey, game of, 312
-
-    Hemming, 381
-
-    Heraldry, 366;
-      field of, 266;
-      the points, ib.;
-      divisions, 267
-
-    Herbariums, 19
-
-    Herring-bone stitch, 384
-
-    Hickory-nuts, 219
-
-    Historical tableaux, 341
-
-    Home gymnasium, 353
-
-    Home-made candy, 458
-
-    Horseshoe crab-bag, 101
-
-    “Huli Fool,” 4
-
-
-    I
-
-    Impression album, how to make an, 123;
-      tools required, 125;
-      printing from leaves, 126;
-      from flowers, 127;
-      landscapes, 128;
-      other uses for botanical impressions, 129
-
-
-    J
-
-    Jackstraws, Fourth of July, 119
-
-    Julklapp, 319
-
-
-    K
-
-    Kaling, 194
-
-    Key-rack, 412
-
-
-    L
-
-    Lace, 393
-
-    Lady of the Lake, 425
-
-    Landscape painting in water-colors, 241
-
-    Language, a decorative, 364
-
-    Lantern, 408
-
-    Lawn, painting on, 434
-
-    Lawn party, 117
-
-    Lawn-tennis, 55;
-      lawn-tennis suits, 56;
-      how to make a lawn-tennis net, 57;
-      materials for, ib.;
-      court, 62;
-      rules for the game, 63
-
-    Leap-year party, 351
-
-    Leaves and ferns for decoration, 19
-
-    Light, 252
-
-
-    M
-
-    Mailing parcels, directions for, 16
-
-    Mantle-cloth, 454
-
-    Mantle-piece, 451
-
-    Maple-wax Easter eggs, 49
-
-    Marsh-mallow paste, 460;
-      toasted, 461
-
-    Mat colors, 277
-
-    May Day, 71;
-      sports, 72;
-      May baskets, 74;
-      May-pole, 77;
-      May-pole dance, 79
-
-    Midsummer Eve, 83;
-      the games of, 85 et seq.
-
-    Mirror tableau, 6
-
-    Mirror, the, 404
-
-    Model, arrangement of, in water-color painting, 240
-
-    Modelling in clay and wax, 257;
-      value of, 259;
-      much can be learned without a teacher, ib.;
-      materials, ib.;
-      clay, 260;
-      general directions, 261
-
-    Modelling wax, 263
-
-    Modelling stand, 260
-
-    Molasses candy, 459
-
-    Monochrome painting, 278
-
-    Music-roll, a, 410
-
-
-    N
-
-    Nancy, Miss, 326
-
-    Nature’s types, 125
-
-    Needle, hammock, 58; 161
-
-    Needle-work, 380
-
-    Net, lawn-tennis, 57
-
-    New Year’s Day, 347;
-      New Year’s parties, 348
-
-    Noah’s ark peep-show, 8
-
-    Nutting parties, 218;
-      rules for, 221
-
-
-    O
-
-    Overhanding, 380
-
-    Oil-cups, 251
-
-    Oils for china-painting, 275
-
-    Overcasting, 380
-
-
-    P
-
-    Paint-box, 251
-
-    Painting in water-colors, 238;
-      materials for, ib.;
-      flower-painting, 239;
-      model, 240;
-      landscapes, 241;
-      general directions, 242;
-      painting from notes, 244
-
-    Painting in oil-colors, 249;
-      materials, ib.;
-      the light, 252;
-      setting the palette, 253
-
-    Painting on lawn, 434
-
-    Painting window-panes, 432
-
-    Paints, for china-painting, 274
-
-    Palette, 250;
-      setting the, 253
-
-    Palette-knife, 250;
-      of horn, 273
-
-    Panel decorations, 205, 209, 270
-
-    Panel of field-corn, 209
-
-    Pantomime of an enchanted girl, 348
-
-    Paper-weight, 412
-
-    Parachute, 112
-
-    Party, First of April, 5;
-      Fourth of July, 117;
-      door-step, 151;
-      Halloween, 189;
-      nutting, 218
-
-    Paste, how to make, 402
-
-    Patch, how to, 386
-
-    Peanut-candy, 458
-
-    Peanuts, 223
-
-    Perfumes, to prepare from flowers, 21
-
-    Picnics, burgoos and corn-roasts, 131;
-      how to make a burgoo stew, 133;
-      a corn-roast, 134
-
-    Picture-frames, 295
-
-    Pilgrims, landing of, tableau, 305 et seq.
-
-    Pin-wheels, 114
-
-    Plain sewing, 380;
-      overhanding, ib.;
-      overcasting, 381;
-      hemming, ib.;
-      running, 382;
-      basting, ib.;
-      gathering, ib.;
-      stitching, 383;
-      back-stitching, ib.;
-      felling, ib.;
-      button-holes, ib.;
-      herringbone, or cat’s-tooth stitch, 384
-
-    Plantain test, 86
-
-    Plaster casts, 268;
-      to harden, 270;
-      to color, ib.
-
-    “Poisson d’Avril,” 4
-
-    Pop-corn balls, 462
-
-    Portières, designs for, 391;
-      buckeye, 204
-
-    Postal regulations for packages, 16
-
-    Progressive mining, 119
-
-
-    R
-
-    Rag-balls, 427
-
-    Ribbon embroideries, 393
-
-    Ribbon curtain, 430
-
-    Rooster, a lively, 327
-
-    Rose-water, recipe for, 26
-
-    Rubbish, what to do with, 403
-
-    Running, 382
-
-
-    S
-
-    Sachet, 323
-
-    Saint Valentine’s Day, 464
-
-    Scrap-bag, 324
-
-    Scrap drapery, 431
-
-    Scrap-book, 395
-
-    Screen, marine, 99;
-      Louis Quinze, 206
-
-    Settee, 442
-
-    Shells, how to polish, 104
-
-    Shelves around chimney, 456
-
-    Siccatif Courtray, 253
-
-    “Silly mackerel,” 4
-
-    Spring flowers in winter, 23
-
-    “Squirrel, little brown,” 218, 221, 222
-
-    Stained glass, imitation of, 435
-
-    Starfish, candlestick made of, 102;
-      ornaments of, 103;
-      how to dry, 104
-
-    Stitches, fancy, 387
-
-    Stitching, 383
-
-
-    T
-
-    T-square, 234
-
-    Table, a bric-à-brac, 406;
-      at a fair, 413
-
-    Tableau, mirror, 6
-
-    Tableaux, burlesque, 304;
-      historical, 341
-
-    Tar paste, 275
-
-    Telephone, how to make a, 224
-
-    Tent, illuminated, 111
-
-    Thanksgiving, celebration of, 302
-
-    Thunderbolts, 112
-
-    Tiles, painted on marble mantle, 453
-
-    Tin telephone, 225
-
-    Tints in water-color painting, 242
-
-    Toss, 118
-
-    Tracing, 280
-
-    Transformation scrap-book, 398
-
-
-    U
-
-    Urchin, sea, vase made of, 102
-
-
-    V
-
-    Valentine party, 465
-
-    Vase, marine, 102
-
-
-    W
-
-    Walking Club, the, 27;
-      membership of, 30;
-      length of walks, ib.;
-      rules to be observed, 31
-
-    Walnuts, 220
-
-    Walnut creams, 459;
-      glacé, 460
-
-    Walnut-shell turtle, 325
-
-    Washstand, 446
-
-    Water-colors, 238
-
-    Wax-modelling, home-made, 263
-
-    Wedding decorations, wild flowers for, 202
-
-    Whirls, 113
-
-    Wild flowers, 13
-
-    Window decorations, 92
-
-    Window-panes, decoration of, 432
-
-    Window-seat, 448
-
-    Winged fancies, 113
-
-    Work-basket, crab-net, 97
-
-    Work-basket, 411
-
-    Worcester, royal, ware, 290
-
-
-
-
-CHARLES SCRIBNER’S SONS BOOKS FOR YOUNG READERS
-
-
-A NEW BOOK BY KIRK MUNROE
-
-THE WHITE CONQUERORS OF MEXICO
-
-By KIRK MUNROE. With 8 full-page illustrations by W. S. STACEY. 12mo,
-$1.25.
-
-A powerful and fascinating historical story, the scene of which is laid
-in Mexico when Cortez made his famous conquests. The story possesses
-a peculiar interest in that it is related from the stand-point of
-the native races, the hero, Huetzin, being not one of the “White
-Conquerors,” but a native, the son of Tlahuicol, a Toltec, and a war
-chief of the Tlascalan race. In warring against Montezuma, King of
-the Aztecs, Tlahuicol is captured, and after a long imprisonment,
-is cruelly put to death. His son is also ordered to be killed, but
-effects a miraculous escape, and makes his way to the army of Cortez,
-which is advancing against Montezuma. Animated by a Toltec’s hatred
-for the Aztecs, who have murdered his father, he effects an alliance
-between Cortez and his own race, and the united forces march against
-the Aztec King. In the various engagements he distinguishes himself by
-his valor, several times narrowly escaping death, and is prominent in
-the final overthrow of the Aztecs, and in the triumph that follows. The
-book is full of the life and color of a most interesting and romantic
-period, and the narrative fairly glows with thrilling battle scenes and
-incidents of exciting adventure.
-
-
-ROBERT GRANT’S
-
-TWO BOOKS FOR BOYS
-
-JACK HALL;
-
-OR, THE SCHOOL DAYS OF AN AMERICAN BOY. BY ROBERT GRANT. Illustrated by
-FRANCES G. ATTWOOD. 12mo., $1.25.
-
-“A better book for boys has never been written. It is pure, clean, and
-healthy, and has throughout a vigorous action that holds the reader
-breathlessly.”—_Boston Herald._
-
-“A capital story for boys, wholesome and interesting. It reminds one of
-Tom Brown.”—_Boston Transcript._
-
-
-JACK IN THE BUSH;
-
-OR, A SUMMER ON A SALMON RIVER. BY ROBERT GRANT. Illustrated by F. T.
-MERRILL. 12mo., $1.25.
-
-“A clever book for boys. It is the story of the camp life of a lot of
-boys, and is destined to please every boy reader. It is attractively
-illustrated .”—_Detroit Free Press._
-
-“An ideal story of out-door life and genuine experiences.”—_Boston
-Traveller._
-
-
-
-
-NEW BOOKS BY G. A. HENTY
-
-For the season of 1893-94 Mr. Henty adds to his list of fascinating
-stories of adventure three new books—THROUGH THE SIKH WAR, A TALE OF
-THE CONQUEST OF THE PUNJAUB; A JACOBITE EXILE, BEING THE ADVENTURES OF
-A YOUNG ENGLISHMAN IN THE SERVICE OF CHARLES XII OF SWEDEN; and ST.
-BARTHOLOMEW’S EVE, A TALE OF THE HUGUENOT WARS.
-
-_“No country nor epoch of history is there which Mr. Henty does not
-cover, and what is really remarkable is that he always writes well and
-interestingly. Boys like stirring adventures and Mr. Henty is a master
-of this method of composition.”_—NEW YORK TIMES.
-
-=THROUGH THE SIKH WAR.= A TALE OF THE CONQUEST OF THE PUNJAUB. By G. A.
-HENTY. With 12 full-page illustrations by HAL HURST, and a map. Crown
-8vo, handsomely bound, olivine edges, $1.50.
-
-Percy Groves, a plucky, high spirited boy, the son of an English
-officer, loses his parents at an early age, and joins his uncle
-residing on his estate in India, situated in the very center of the
-troubles that developed later into the Sikh war. The hero and his uncle
-become involved in the dangers and intrigues that surround them, and
-take active part in the war, passing through many thrilling experiences
-and adventures during the two notable campaigns that resulted in the
-conquest of the Punjaub. It is one of Mr. Henty’s most interesting and
-powerful stories.
-
-=ST. BARTHOLOMEW’S EVE.= A TALE OF THE HUGUENOT WARS. By G. A. HENTY.
-With 12 full-page illustrations by H. J. DRAPER, and a map. Crown 8vo,
-handsomely bound, olivine edges, $1.50.
-
-A story of a lad of English birth but Huguenot parentage, who visits
-relatives in France at the time when the feeling between the Catholics
-and Huguenots was bitterest, and the country was disturbed by religious
-strife and dissension. His relatives being leaders in the Huguenot
-party, the hero devotes himself heart and soul to the Protestant cause,
-following it faithfully through the varied and exciting scenes that
-preceded and led up to the terrible massacre of St. Bartholomew’s day.
-No boy could resist the fascination of this strong, vivid narrative. It
-is intense and absorbing, while presenting a true picture of the times,
-full of life and color.
-
-=A JACOBITE EXILE.= Being the Adventures of a young Englishman in the
-service of Charles XII of Sweden. By G. A. HENTY. With 8 full-page
-illustrations by PAUL HARDY, and a map. Crown 8vo, handsomely bound,
-olivine edges, $1.50.
-
-The events of the present story take place during the reign of William
-of Orange. The father of the hero is a Jacobite gentleman who, to
-avoid arrest, is compelled to flee to Sweden. Here the hero, Charlie
-Carstairs, and a young companion, engage in the service of Charles
-XII, taking part in the wars between Sweden and Poland. The hero,
-acting as a scout, falls into the hands of Polish bandits. After
-numerous exciting adventures and hair-breadth escapes, he finally
-secures his release and returns to Sweden. Then he serves for a time
-under Marlborough in France, and distinguishes himself signally. A
-final return to England, where his father is pardoned, supplies a
-satisfactory close to a story remarkable for its thrilling adventures,
-its varied scenery, and its interesting historical pictures.
-
-
-=BERIC THE BRITON:= A STORY OF THE ROMAN INVASION. By G. A. HENTY. With
-12 full-page illustrations by W. PARKINSON. Crown 8vo, $1.50.
-
-“It is a powerful and fascinating romance founded on the Roman invasion
-of England, and abounds with the prowess of valiant warriors and the
-triumphs of magnanimous victors, with war and war-like scenes, and with
-women like Boadicea, as heroic as their brothers.”—_Boston Post._
-
-
-=IN GREEK WATERS:= A STORY OF THE GRECIAN WAR OF INDEPENDENCE
-(1821-1827). By G. A. HENTY. With 12 full page illustrations by W. S.
-STACEY, and a map. Crown 8vo, $1.50.
-
-“It reproduces the spirit and describes many of the events of the Greek
-War, so that no boy can fail to remember considerable about it which
-is worth knowing. Moreover it is a stirring narrative, wholesome and
-stimulating.”—_Congregationalist._
-
-
-=CONDEMNED AS A NIHILIST:= A STORY OF ESCAPE FROM SIBERIA . By G. A.
-HENTY. With 8 full-page illustrations by WALTER PAGET. Crown, 8vo,
-$1.50.
-
-“Godfrey Bullen, the young hero, suspected of Nihilism, is sent with
-convicts to Siberia. His final escape from prison life, after many
-exciting adventures, affords material for a narrative absorbing and
-thrilling. The scenes of Siberian prison life give the book a peculiar
-value.”—_Christian Advocate._
-
-
-=REDSKIN AND COWBOY.= A TALE OF THE WESTERN PLAINS. By G. A. HENTY.
-With 12 full-page illustrations by ALFRED PEARSE. Crown 8vo, $1.50.
-
-“This book is said to be founded on the experiences of a young English
-friend of the author, and though it is full of hair-breadth escapes
-none of the incidents are improbable. It is needless to say that the
-English lad’s adventures are well told.”—_San Francisco Chronicle._
-
-
-=THE DASH FOR KHARTOUM.= A TALE OF THE NILE EXPEDITION. By G. A. HENTY.
-With 10 full-page illustrations by JOHN SCHÖNBERG and J. NASH, and 4
-plans. Crown 8vo, $1.50.
-
-“The author has provided a stirring book for young readers, and
-the episodes of battle, capture, rescue, deeds of daring, and
-other exciting features in which boys delight, are in great
-abundance.”—_Boston Saturday Evening Gazette._
-
-
-=HELD FAST FOR ENGLAND.= A TALE OF THE SIEGE OF GIBRALTAR. By G. A.
-HENTY. With 8 full-page illustrations by GORDON BROWNE. Crown 8vo,
-$1.50.
-
-“It is an historical novel, the siege of Gibraltar by the combined
-forces of France and Spain, in the latter part of the eighteenth
-century, being the foundation on which Mr. Henty’s clever fiction
-rests. It is a story of pluck and adventure on sea and land.”—_Newark
-Advertiser._
-
-*** _The above are Mr. Henty’s latest books. A full descriptive list
-containing all of Mr. Henty’s books—now 41 in number—will be sent to
-any address on application. They are all attractively illustrated and
-handsomely bound._
-
-
-
-
-RECENT STORIES
-
-BY FRANK R. STOCKTON
-
-
-=THE CLOCKS OF RONDAINE= AND OTHER STORIES. By FRANK R. STOCKTON. With
-24 illustrations by E. H. BLASHFIELD, W. A. ROGERS, D. C. BEARD and
-others. Square 8vo, $1.50.
-
-“His books for boys and girls are classics. In this one we have seven
-of the most delightful tales imaginable.”—_Newark Daily Advertiser._
-
-“Short tales in Mr. Stockton’s usual clever, distinctive style. They
-are all extremely entertaining.”—_The Churchman._
-
-“Marked by that attractive originality which is the author’s peculiar
-possession, and in which quaint and piquant humor and simple pathos
-are deftly and fascinatingly mingled. It is charming reading. It is
-beautifully printed and illustrated.”—_Boston Saturday Evening Gazette._
-
-=PERSONALLY CONDUCTED.= By FRANK R. STOCKTON. With 46 illustrations
-by JOSEPH PENNELL, ALFRED PARSONS and others. One volume, square 8vo,
-$2.00.
-
-“In Frank Stockton, the boys and girls have a cicerone skilled in the
-art of conversation, a traveler conversant with all the curious and
-characteristic things of the Old World, and a story teller renowned for
-the audacity of his stories.”—_Critic._
-
-
-STOCKTON’S OTHER BOOKS
-
-
-=The Story of Viteau.= With 16 full-page illustrations by R. B. BIRCH.
-12mo, extra cloth, $1.50.
-
-“It is as romantic and absorbing as any boy could wish for, full of
-adventure and daring, and yet told in excellent spirit and with a true
-literary instinct.”—_Christian Union._
-
-
-=A Jolly Fellowship.= With 20 illustrations. 12mo, $1.50.
-
-“We can think of no book published the present season which will more
-delight the wide-awake, adventure-loving boy. It is, to borrow the
-adjective from the title, just ‘jolly.’”—_Boston Transcript._
-
-
-=The Floating Prince and Other Fairy Tales.= With illustrations. Square
-8vo, $1.50.
-
-“These tales are full of the quaintest conceits and the oddest
-fancies, and the strange adventures in which the different characters
-engage are just the kind to excite the intense interest of
-children.”—_Philadelphia Bulletin._
-
-
-=The Ting-A-Ling Tales.= With numerous illustrations. 12mo, $1.00.
-
-“It would be difficult to find anything more dainty, fanciful and
-humorous than these tales of magic, fairies, dwarfs and giants. There
-is a vein of satire in them, too which adult readers will enjoy.”—_N.
-Y. Herald._
-
-
-=Roundabout Rambles in Lands of Fact and Fiction.= With 200
-illustrations. Square 8vo, $1.50.
-
-
-=Tales Out of School.= With nearly 200 illustrations. Square 8vo, $1.50.
-
-“The volumes are profusely illustrated and contain the most
-entertaining sketches in Mr. Stockton’s most entertaining
-manner.”—_Christian Union._
-
-
-
-
-HENRY M. STANLEY’S
-
-NEW BOOK FOR BOYS, NOW IN PRESS
-
-
-The volume consists of legends and folk-tales communicated to the
-explorer by his native followers during his long and perilous journeys
-through the great forests of the Dark Continent. They are fascinating
-stories of strange scenes and incidents among the tribes of Central
-Africa, and are narrated in the authors’ well-known, graphic,
-picturesque style, and attractively illustrated.
-
-
-MY KALULU
-
-PRINCE, KING AND SLAVE. A story of Central Africa. By HENRY M. STANLEY.
-One volume, 12mo., new edition, with many illustrations, $1.50.
-
-“A fresh, breezy, stirring story for youths, interesting in itself and
-full of information regarding life in the interior of the continent in
-which its scenes are laid.”—_The New York Times._
-
-
-HEROES OF THE OLDEN TIME
-
-By JAMES BALDWIN. Three volumes, 12mo., each beautifully illustrated.
-Singly, $1.50. The set, $4.00.
-
-
-=A STORY OF THE GOLDEN AGE.= Illustrated by HOWARD PYLE.
-
-“It is redolent with the spirit of the Odyssey, that glorious primitive
-epic, fresh with the dew of the morning of time. It is an unalloyed
-pleasure to read his recital of the adventures of the wily Odysseus.
-Howard Pyle’s illustrations render the spirit of the Homeric age with
-admirable felicity.”—PROF. H. H. BOYESEN.
-
-
-=THE STORY OF ROLAND.= Illustrated by REGINALD B. BIRCH.
-
-“Mr. Baldwin has culled from a wide range of epics, French, Italian and
-German, and has once more proved his aptitude as a story teller for the
-young, while conveying information for which many of their elders will
-be thankful.”—_The Nation._
-
-
-=THE STORY OF SIEGFRIED.= Illustrated by HOWARD PYLE.
-
-“The story of ‘Siegfried’ is charmingly told. The author makes up the
-story from the various myths in a fascinating way which cannot fail to
-interest. It is as enjoyable as any fairy tale. The writer’s style is
-simple and very attractive, and the book is in every way an excellent
-one for young readers.”—_Hartford Courant._
-
-
-
-TWO JUVENILES BY EDWARD EGGLESTON
-
-
-=THE HOOSIER SCHOOL-BOY.= 12mo. With full-page illustrations, $1.00.
-
-“‘The Hoosier School-Boy’ depicts some of the characteristics of boy
-life years ago on the Ohio. The story presents a vivid and interesting
-picture of the difficulties which in those days beset the path of the
-youth aspiring for an education. These obstacles, which the hero of the
-story succeeds by his manliness and force of character in surmounting,
-are just such as a majority of the most distinguished Americans,
-including Lincoln and Garfield, have had to contend with, and which
-they have made the stepping-stone to their future greatness.”—_Chicago
-Inter-Ocean._
-
-
-=QUEER STORIES FOR BOYS AND GIRLS.= 12mo, $1.00.
-
-“A very bright and attractive little volume for young readers. The
-stories are fresh, breezy and healthy, with a good point to them and a
-good sound American view of life and of the road to success. The book
-abounds in good feeling and good sense and is written in a style of
-homely art.”—_Independent._
-
-
-
-
-TWO BOOKS FOR BOYS AND GIRLS
-
-
-Mr. Beard has added sixty new drawings to his “American Boy’s Handy
-Book,” to illustrate the new games, sports, and mechanical contrivances
-which he has incorporated in this latest edition. The Misses Beard’s
-companion volume, “The American Girl’s Handy Book,” is reduced in
-price, all the features being retained. Both are profusely illustrated
-with hundreds of pictures and designs.
-
-=THE AMERICAN BOY’S HANDY BOOK:= OR, WHAT TO DO AND HOW TO DO IT. By
-DANIEL C. BEARD. With over 360 illustrations by the Author. One volume,
-square 8vo, $2.00.
-
-“The book has this great advantage over its predecessors, that most of
-the games, tricks, and other amusements described in it are new. It
-treats of sports adapted to all seasons of the year; it is practical,
-and it is well illustrated.”—_N. Y. Tribune._
-
-
-=THE AMERICAN GIRL’S HANDY BOOK:= OR, HOW TO AMUSE YOURSELF AND OTHERS.
-By LENA and ADELIA B. BEARD. With over 500 illustrations by the
-Authors. One volume, square 8vo, $2.00.
-
-GRACE GREENWOOD WROTE:—“It is a treasure which, once possessed, no
-practical girl would willingly part with. It is an invaluable aid in
-making a home attractive, comfortable, artistic and refined. The book
-preaches the gospel of cheerfulness, industry, economy and comfort.”
-
-
-JULES VERNE’S GREATEST WORK
-
-=THE EXPLORATION OF THE WORLD.= The three vols. in a set, $7.50;
-singly, $2.50.
-
-“M. Verne’s scheme in this work is to tell fully how man has made
-acquaintance with the world in which he lives, to combine into a single
-work in three volumes the wonderful stories of all the great explorers,
-navigators and travellers who have sought out, one after another, the
-once uttermost parts of the earth.”—_New York Evening Post._
-
-=Famous Travels and Travellers.= With over 100 full-page illustrations,
-maps, etc., 8vo, $2.50.
-
-
-=The Great Navigators of the XVIIIth Century.= With 96 full-page
-illustrations and nineteen maps. 8vo, $2.50.
-
-
-=The Great Explorers of the XIXth Century.= With over 100 full-page
-illustrations, fac-similies, etc. 8vo, $2.50.
-
-“The Prince of Story Tellers.”—_London Times._
-
-
-
-JULES VERNE’S STORIES
-
-_Uniform Illustrated Edition._ 9 vols., 8vo, extra cloth, with over 750
-full-page illustrations. Price, per set, in a box, $17.50. Sold also in
-separate volumes.
-
-
-=Michael Strogoff; or, the Courier of the Czar.= $2.00. =A Floating
-City and the Blockade Runners.= $2.00. =Hector Servadac.= $2.00. =A
-Journey to the Centre of the Earth.= $2.00. =From the Earth to the Moon
-Direct in Ninety-seven Hours, Twenty Minutes; and a Journey Around it.=
-$2.00. =Dick Sands.= $2.00. =The Steam House.= $2.00. =The Giant Raft.=
-$2.00. =The Mysterious Island.= $2.50.
-
-
-       *       *       *       *       *
-
-Transcriber’s Notes:
-
-Obvious punctuation errors repaired. Text spells the more usual macramé
-as both Macremé and macrimé.
-
-Page 30, repeated word “for” deleted from text (even for those who)
-
-Page 69, “drop” changed to “drops” (by him drops outside)
-
-Page 157, “proproses” changed to “proposes” (proposes to take salmon)
-
-Page 338, word “the” added to text (to the same party)
-
-Page 406, “Bric-a-brac” changed to “Bric-à-brac” on illustration
-caption (Bric-à-brac table)
-
-
-
-
-
-End of the Project Gutenberg EBook of The American Girl's Handy Book, by 
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-
-The Project Gutenberg EBook of The American Girl's Handy Book, by 
-Lina Beard and Adelia B. Beard
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: The American Girl's Handy Book
-       How to Amuse Youself and Others
-
-Author: Lina Beard
-        Adelia B. Beard
-
-Release Date: May 12, 2016 [EBook #52051]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE AMERICAN GIRL'S HANDY BOOK ***
-
-
-
-
-Produced by Chris Curnow, Emmy and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive)
-
-
-
-
-
-
-</pre>
-
-<h1 class="faux">The American Girls Handy Book</h1>
-
-<div class="figcenter" style="width: 561px;">
-<img src="images/i_cover.jpg" width="561" height="800" alt="cover" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-<div class="adtitle2">A COMPANION VOLUME<br />
-<span class="small">TO</span><br />
-The American Girl's Handy Book</div>
-<div class="figcenter" style="width: 272px;">
-<img src="images/i_frontis.jpg" width="272" height="390" alt="ad for compainion book The American Boys Handy Book" />
-</div>
-
-
-
-
-<p class="center">
-<i>NEW EDITION.</i><br />
-——————<br />
-1 Vol. Cloth. Price, $2.00.<br />
-——————<br />
-<span class="smcap">With Numerous Illustrations from<br />
-Drawings by the Author.</span><br />
-</p>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_i" id="Page_i">[i]</a></span></p>
-
-
-
-<div class="figcenter" style="width: 534px;">
-<img src="images/i_titlepage.jpg" width="534" height="800" alt="Title page" />
-</div>
-
-<div class="center">How to<br />
-Amuse<br />
-Yourself<br />
-and<br />
-Others</div>
-
-<div class="maintitle"><span class="smcap">The American Girls<br />
-Handy Book.</span></div>
-
-<div class="center">
-BY<br />
-<br />
-<span class="author">Lina Beard</span><br />
-and<br />
-<span class="author">Adelia B. Beard</span><br />
-<br /><br /><br />
-<span class="smcap">New York</span><br />
-Charles<br />
-Scribner’s<br />
-Sons<br />
-<br />
-1893<br />
-</div>
-<hr class="chap" />
-<div class="chapter"></div>
-<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[ii]</a></span></p>
-
-
-
-
-<p class="copyright">
-<span class="smcap">Copyright by</span><br />
-CHARLES SCRIBNER’S SONS<br />
-1887<br />
-</p>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[iii]</a></span></p>
-
-
-
-
-<h2>PREFACE.</h2>
-
-
-<p>“<span class="smcap">I do</span> wish some one would write a book like that for
-girls,” is the remark we have frequently heard when a new
-book of sports for boys has made its appearance; but it was
-not until the publication of the “American Boy’s Handy
-Book” that it occurred to us to write a book for the American
-boy’s neglected sisters, which should be equally original
-and practical.</p>
-
-<p>In the “Girl’s Handy Book,” which it has been our endeavor
-to make peculiarly American, we have sought to introduce
-original and novel ideas, and by their aid to open new
-avenues of enterprise and enjoyment.</p>
-
-<p>One of our objects is to impress upon the minds of the
-girls the fact that they all possess talent and ability to achieve
-more than they suppose possible, and we would encourage a
-belief in the truth of the remark said to have been made by
-a famous Frenchman: “When you Americans undertake anything
-you never stop to ascertain if it be possible, you simply
-<i>do it</i>.”</p>
-
-<p>We desire also to help awaken the inventive faculty, usually
-uncultivated in girls, and, by giving detailed methods of new
-work and amusements, to put them on the road which they
-can travel and explore alone.</p>
-
-<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[iv]</a></span></p>
-
-<p>We know well the feeling of hopelessness which accompanies
-vague directions, and, to make our explanations plain and lucid,
-we have ourselves, with very few exceptions, made all of the
-articles, played the games, and solved the problems described.</p>
-
-<p>The materials employed in the construction of the various
-articles are within easy reach of all, and the outlay, in most
-cases, little or nothing.</p>
-
-<p>We scarcely deem it necessary to point out the fact that in
-supplying healthy, sensible work and amusement for leisure
-hours, employment is given whose whole tendency is to refine
-the tastes and ambitions of our American girls.</p>
-
-<p>A few of our chapters are taken from articles which were
-written by us for, and published by, the <i>Youth’s Companion</i>,
-<i>St. Nicholas</i>, <i>Harper’s Young People</i>, <i>Golden Days</i>, and <i>Wide
-Awake</i>.</p>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_v" id="Page_v">[v]</a></span></p>
-
-
-
-
-<h2>CONTENTS.</h2>
-
-
-
-
-<div class="center">
-<table border="0" cellpadding="0" cellspacing="0" summary="Contents">
-<tr><td align="left">&nbsp;</td>
-<td align="right"><small>PAGE</small></td></tr>
-<tr><td align="left">PREFACE</td>
-<td align="right"><a href="#Page_iii">iii</a></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">SPRING</td></tr>
-<tr><td align="center" colspan="2">——————&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER I.</td></tr>
-<tr><td align="left"><span class="smcap">First of April</span></td>
-<td align="right"><a href="#Page_3">3</a></td></tr>
-<tr><td align="left"><div class="hang2">First of April Party, <a href="#Page_5">5</a>; Mirror Tableau, <a href="#Page_6">6</a>; Noah’s Ark Peep-show, <a href="#Page_8">8</a>; The Supper, <a href="#Page_10">10</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER II.</td></tr>
-<tr><td align="left"><span class="smcap">Wild Flowers and Their Preservation</span></td>
-<td align="right"><a href="#Page_13">13</a></td></tr>
-<tr><td align="left"><div class="hang2">Transplanting Wild Flowers, <a href="#Page_14">14</a>; Cut Wild Flowers, <a href="#Page_15">15</a>; Sending Flowers by Mail, <a href="#Page_15">15</a>; Preserved Flowers, <a href="#Page_16">16</a>; Pressed Flowers and Leaves, <a href="#Page_18">18</a>; Leaves and Ferns for Decoration, <a href="#Page_19">19</a>; Color of Flowers Changed, <a href="#Page_19">19</a>: Natural Wax Flowers, <a href="#Page_20">20</a>; To Freshen Cut Flowers, <a href="#Page_20">20</a>; Crystallized Flowers, <a href="#Page_21">21</a>; How to Preserve the Perfume of Flowers, <a href="#Page_21">21</a>; Spring Flowers in Winter, <a href="#Page_23">23</a>; The Four-leaved Clover, <a href="#Page_23">23</a>; Several Methods of Preserving Flowers, <a href="#Page_24">24</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER III.</td></tr>
-<tr><td align="left"><span class="smcap">The Walking Club</span></td>
-<td align="right"><a href="#Page_27">27</a></td></tr>
-<tr><td align="left"><div class="hang2">Rules to be Observed, <a href="#Page_31">31</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER IV.</td></tr>
-<tr><td align="left"><span class="smcap">Easter</span></td>
-<td align="right"><a href="#Page_33">33</a></td></tr>
-<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a></span>Easter Customs in Other Lands, <a href="#Page_33">33</a>; Easter Egg Games, <a href="#Page_36">36</a>; Easter Egg Dolls, <a href="#Page_39">39</a>; Humpty Dumpty, <a href="#Page_42">42</a>; Miss Rolly-poly, <a href="#Page_45">45</a>; Mandolin, <a href="#Page_47">47</a>; Maple-wax Easter Eggs, <a href="#Page_49">49</a>; Bonbon Box, <a href="#Page_49">49</a>; Easter Cards, <a href="#Page_50">50</a>; Little Quakeress, <a href="#Page_52">52</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER V.</td></tr>
-<tr><td align="left"><span class="smcap">How to Make a Lawn-Tennis Net</span></td>
-<td align="right"><a href="#Page_55">55</a></td></tr>
-<tr><td align="left"><div class="hang2">Rules for Lawn-Tennis, <a href="#Page_63">63</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER VI.</td></tr>
-<tr><td align="left"><span class="smcap">May-Day</span></td>
-<td align="right"><a href="#Page_71">71</a></td></tr>
-<tr><td align="left"><div class="hang2">May-day Sports, <a href="#Page_72">72</a>; How to Make May-baskets, <a href="#Page_74">74</a>; May-day Combat, <a href="#Page_75">75</a>; The May-pole, <a href="#Page_77">77</a>; May-pole Dance, <a href="#Page_79">79</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">————————————</td></tr>
-<tr><td align="center" colspan="2">SUMMER.</td></tr>
-<tr><td align="center" colspan="2">——————</td></tr>
-<tr><td align="center" colspan="2">CHAPTER VII.</td></tr>
-<tr><td align="left"><span class="smcap">Midsummer Eve</span></td>
-<td align="right"><a href="#Page_83">83</a></td></tr>
-<tr><td align="left"><div class="hang2">The New Fern-leaf Game, <a href="#Page_85">85</a>; Fortune-telling: The Plaintain Test, <a href="#Page_86">86</a>; Fortune’s Wheel, <a href="#Page_88">88</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER VIII.</td></tr>
-<tr><td align="left"><span class="smcap">Sea-side Cottage Decoration</span></td>
-<td align="right"><a href="#Page_91">91</a></td></tr>
-<tr><td align="left"><div class="hang2">Window Decorations, <a href="#Page_92">92</a>; Row-boat Book-shelves, <a href="#Page_95">95</a>; Crab-net Work-basket, <a href="#Page_96">96</a>; Hat-rack, <a href="#Page_98">98</a>; Marine Screen, <a href="#Page_99">99</a>; Horseshoe-crab Bag, <a href="#Page_102">102</a>; Sea-urchin Vase and Candlestick, <a href="#Page_102">102</a>; How to Dry Starfish and to Polish Shells, <a href="#Page_104">104</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER IX.</td></tr>
-<tr><td align="left"><span class="smcap">A Girl’s Fourth of July</span></td>
-<td align="right"><a href="#Page_105">105</a></td></tr>
-<tr><td align="left"><div class="hang2">Interior Decoration, <a href="#Page_107">107</a>; In-door Illumination, <a href="#Page_108">108</a>; Out-of-door Decoration, <a href="#Page_109">109</a>; Fireworks, <a href="#Page_111">111</a>; Parachute, <a href="#Page_112">112</a>; Thunderbolts, <a href="#Page_112">112</a>; Whirls, and Winged Fancies, <a href="#Page_113">113</a>; Pin-wheels, <a href="#Page_114">114</a>; Bombs, <a href="#Page_115">115</a>; Declaration of Independence, <a href="#Page_117">117</a>; Toss, <a href="#Page_118">118</a>; Fourth of July Jackstraws, <a href="#Page_119">119</a>; Progressive Mining, <a href="#Page_119">119</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER X.</td></tr>
-<tr><td align="left"><span class="smcap">Printing from Nature’s Types</span></td>
-<td align="right"><a href="#Page_123">123</a></td></tr>
-<tr><td align="left"><div class="hang2">Impression Album, <a href="#Page_123">123</a>; Winter Landscape, <a href="#Page_127">127</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XI.</td></tr>
-<tr><td align="left"><span class="smcap">Picnics, Burgoos, and Corn-roasts</span></td>
-<td align="right"><a href="#Page_131">131</a></td></tr>
-<tr><td align="left"><div class="hang2">A Burgoo, <a href="#Page_132">132</a>; Burgoo Stew, <a href="#Page_133">133</a>; A Corn-roast, <a href="#Page_134">134</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XII.</td></tr>
-<tr><td align="left"><span class="smcap">Botany as Applied to Art</span></td>
-<td align="right"><a href="#Page_139">139</a></td></tr>
-<tr><td align="left"><div class="hang2">The Peony Leaf, <a href="#Page_140">140</a>; A Bunch of Turnips, <a href="#Page_142">142</a>; Plant Cross-section Designs, <a href="#Page_144">144</a>; Flower Sprays, <a href="#Page_146">146</a>; Changing the Color, <a href="#Page_146">146</a>; Burs, <a href="#Page_147">147</a>; The Water-Lily, <a href="#Page_148">148</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XIII.</td></tr>
-<tr><td align="left"><span class="smcap">Door-step Party and Quiet Games for Hot Weather</span></td>
-<td align="right"><a href="#Page_151">151</a></td></tr>
-<tr><td align="left"><div class="hang2">Five Minutes’ Conversation, <a href="#Page_153">153</a>; Blind Man’s Singing-school, <a href="#Page_155">155</a>; A Game of Noted Men, <a href="#Page_155">155</a>; What Will you Take to the Picnic? 156; Assumed Characters, <a href="#Page_157">157</a>; Shadow Verbs, <a href="#Page_157">157</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XIV.</td></tr>
-<tr><td align="left"><span class="smcap">How to Make a Hammock</span></td>
-<td align="right"><a href="#Page_159">159</a></td></tr>
-<tr><td align="left"><div class="hang2">Materials, <a href="#Page_161">161</a>; Barrel Hammock, <a href="#Page_165">165</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XV.</td></tr>
-<tr><td align="center" colspan="2">(For Little Girls.)</td></tr>
-<tr><td align="left"><span class="smcap">Corn-Husk and Flower Dolls</span></td>
-<td align="right"><a href="#Page_169">169</a></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XVI.</td></tr>
-<tr><td align="left"><span class="smcap">How To Make a Fan</span></td>
-<td align="right"><a href="#Page_177">177</a></td></tr>
-<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_viii" id="Page_viii">[viii]</a></span>Butterfly Fan, <a href="#Page_178">178</a>; Mikado Fan, <a href="#Page_180">180</a>; Daisy Fan, <a href="#Page_182">182</a>; Cardboard Fan, <a href="#Page_183">183</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">————————————</td></tr>
-<tr><td align="center" colspan="2">AUTUMN.</td></tr>
-<tr><td align="center" colspan="2">——————</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XVII.</td></tr>
-<tr><td align="left"><span class="smcap">All-Hallow-Eve</span></td>
-<td align="right"><a href="#Page_187">187</a></td></tr>
-<tr><td align="left"><div class="hang2">Halloween Parties, <a href="#Page_189">189</a>; Melted Lead, <a href="#Page_190">190</a>; Nutshell Boats, <a href="#Page_192">192</a>; “Three Luggies,” 193; Roasting Nuts, <a href="#Page_193">193</a>; Kaling, <a href="#Page_194">194</a>; The Magic Mirror, <a href="#Page_194">194</a>; Three Tin Cups, <a href="#Page_195">195</a>; The Ring Cake, <a href="#Page_195">195</a>; Bobbing for Apples, <a href="#Page_196">196</a>; The Ghostly Fire, <a href="#Page_197">197</a>; The Fairy’s Gifts, <a href="#Page_198">198</a>.</div></td></tr>
-<tr><td align="center" colspan="2">CHAPTER XVIII.</td></tr>
-<tr><td align="left"><span class="smcap">Nature’s Fall Decorations and How to Use Them</span></td>
-<td align="right"><a href="#Page_201">201</a></td></tr>
-<tr><td align="left"><div class="hang2">Fresh Autumn Wild Flowers, <a href="#Page_202">202</a>; Buckeye Portière, <a href="#Page_204">204</a>; Panel of Fall Decorations, <a href="#Page_205">205</a>; Louis Quinze Screen, <a href="#Page_206">206</a>; A Panel of Field Corn, <a href="#Page_209">209</a>; Ornamental Gourds, <a href="#Page_210">210</a>; Gourd-Dippers and Bowls, <a href="#Page_211">211</a>; Vases, <a href="#Page_212">212</a>; Small Decorations, <a href="#Page_214">214</a>; Brackets, <a href="#Page_214">214</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XIX.</td></tr>
-<tr><td align="left"><span class="smcap">Nutting-Parties</span></td>
-<td align="right"><a href="#Page_217">217</a></td></tr>
-<tr><td align="left"><div class="hang2">“Little Brown Squirrel,” 218; Rules for Nutting-Parties, <a href="#Page_221">221</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XX.</td></tr>
-<tr><td align="left"><span class="smcap">How to Make a Telephone</span></td>
-<td align="right"><a href="#Page_224">224</a></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXI.</td></tr>
-<tr><td align="left"><span class="smcap">How to Draw</span></td>
-<td align="right"><a href="#Page_229">229</a></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXII.</td></tr>
-<tr><td align="left"><span class="smcap">How to Paint in Water-Colors</span></td>
-<td align="right"><a href="#Page_238">238</a></td></tr>
-<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span>Materials for Water-Color Painting, <a href="#Page_238">238</a>; Flowers, <a href="#Page_239">239</a>; Landscapes, <a href="#Page_241">241</a>; Painting from Notes, <a href="#Page_244">244</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXIII.</td></tr>
-<tr><td align="left"><span class="smcap">How to Paint in Oil-Colors</span></td>
-<td align="right"><a href="#Page_249">249</a></td></tr>
-<tr><td align="left"><div class="hang2">Materials, <a href="#Page_249">249</a>; Mediums, <a href="#Page_251">251</a>; Canvas, <a href="#Page_251">251</a>; The Light, <a href="#Page_252">252</a>; Setting the Palette, <a href="#Page_253">253</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXIV.</td></tr>
-<tr><td align="left"><span class="smcap">How to Model in Clay and Wax</span></td>
-<td align="right"><a href="#Page_257">257</a></td></tr>
-<tr><td align="left"><div class="hang2">Materials, <a href="#Page_259">259</a>; How to Manage Clay, <a href="#Page_260">260</a>; Hints for Modelling a Head, <a href="#Page_262">262</a>; How to Model in Wax, <a href="#Page_263">263</a>; Modelling-wax, <a href="#Page_263">263</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXV.</td></tr>
-<tr><td align="left"><span class="smcap">How to Make Plaster Casts</span></td>
-<td align="right"><a href="#Page_267">267</a></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXVI.</td></tr>
-<tr><td align="left"><span class="smcap">China Painting</span></td>
-<td align="right"><a href="#Page_272">272</a></td></tr>
-<tr><td align="left"><div class="hang2">List of Materials, <a href="#Page_272">272</a>; A Monochrome Painting, <a href="#Page_278">278</a>; Tinting, <a href="#Page_278">278</a>; New Method of Decorating China, <a href="#Page_279">279</a>; Tracing, <a href="#Page_280">280</a>; Mottled Grounds, <a href="#Page_281">281</a>; Snow Landscape, <a href="#Page_281">281</a>; How to Paint a Head on China, <a href="#Page_284">284</a>; How to Paint a Carp, Sea-weed, and Fish-net, on China, <a href="#Page_287">287</a>; Foliage on China made with a Sponge, <a href="#Page_289">289</a>; Mixing Colors, <a href="#Page_289">289</a>; Royal Worcester Ware, <a href="#Page_290">290</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXVII.</td></tr>
-<tr><td align="left"><span class="smcap">A Chapter on Frames</span></td>
-<td align="right"><a href="#Page_295">295</a></td></tr>
-<tr><td align="left"><div class="hang2">Marine Picture Frame, <a href="#Page_296">296</a>; Decorated Frame, <a href="#Page_297">297</a>; Frame Covered with Tin-foil, <a href="#Page_298">298</a>; Cork Frame, <a href="#Page_299">299</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXVIII.</td></tr>
-<tr><td align="left"><span class="smcap">Thanksgiving</span></td>
-<td align="right"><a href="#Page_302">302</a></td></tr>
-<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span>Impromptu Burlesque Tableaux, <a href="#Page_304">304</a>; Landing of the Pilgrims, <a href="#Page_305">305</a>; First Harvest, <a href="#Page_307">307</a>; Devastation by the Indians, <a href="#Page_308">308</a>; The Revolution, <a href="#Page_309">309</a>; Slavery, <a href="#Page_310">310</a>; Rebellion, <a href="#Page_310">310</a>; Peace and Plenty, <a href="#Page_310">310</a>; The Game of the Headless Turkey, <a href="#Page_312">312</a>; A Suggestion, <a href="#Page_313">313</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">————————————</td></tr>
-<tr><td align="center" colspan="2">WINTER.</td></tr>
-<tr><td align="center" colspan="2">——————</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXIX.</td></tr>
-<tr><td align="left"><span class="smcap">Christmas Festivities and Home-made Christmas Gifts</span></td>
-<td align="right"><a href="#Page_317">317</a></td></tr>
-<tr><td align="left"><div class="hang2">Julklapp, <a href="#Page_319">319</a>; Polish Custom, <a href="#Page_320">320</a>; The Bran Pie, <a href="#Page_321">321</a>; The Blind Man’s Stocking, <a href="#Page_321">321</a>; Home-made Christmas Gifts, <a href="#Page_322">322</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXX.</td></tr>
-<tr><td align="left"><span class="smcap">Amusements and Games for the Christmas Holidays</span></td>
-<td align="right"><a href="#Page_334">334</a></td></tr>
-<tr><td align="left"><div class="hang2">New Game of Bubble Bowling, <a href="#Page_335">335</a>; Biographical Nonsense, <a href="#Page_339">339</a>; Comic Historic Tableaux, <a href="#Page_341">341</a>; Living Christmas Cards, <a href="#Page_342">342</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXXI.</td></tr>
-<tr><td align="left"><span class="smcap">New Year’s and a Leap Year Party</span></td>
-<td align="right"><a href="#Page_347">347</a></td></tr>
-<tr><td align="left"><div class="hang2">Pantomime of an Enchanted Girl, <a href="#Page_348">348</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXXII.</td></tr>
-<tr><td align="left"><span class="smcap">Home Gymnasium</span></td>
-<td align="right"><a href="#Page_353">353</a></td></tr>
-<tr><td align="left"><div class="hang2">Course of Exercises, <a href="#Page_356">356</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXXIII.</td></tr>
-<tr><td align="left"><span class="smcap">A Decorative Language</span></td>
-<td align="right"><a href="#Page_364">364</a></td></tr>
-<tr><td align="left"><div class="hang2">The Field and the Points of Heraldry, <a href="#Page_366">366</a>; Divisions, <a href="#Page_367">367</a>; Colors, <a href="#Page_369">369</a>; How to Make a Design in Decorative Language, <a href="#Page_371">371</a>; Book-plates, <a href="#Page_377">377</a>; Floral Vocabulary, <a href="#Page_377">377</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXXIV.</td></tr>
-<tr><td align="left"><span class="smcap">A Few Items on Old-fashioned Needlework, with Some New and Original Patterns</span></td>
-<td align="right"><a href="#Page_380">380</a></td></tr>
-<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span>Plain Sewing, <a href="#Page_380">380</a>; Button-holes, <a href="#Page_383">383</a>; How to Patch, to Sew on a Button, and to Mend a Kid Glove, <a href="#Page_386">386</a>; Fancy Stitches, <a href="#Page_387">387</a>; Drawn Work, <a href="#Page_389">389</a>; Applique and Original Designs for Portières, <a href="#Page_391">391</a>; Lace, <a href="#Page_393">393</a>; Ribbon Embroideries, <a href="#Page_393">393</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXXV.</td></tr>
-<tr><td align="left"><span class="smcap">Scrap-book and Home-made Book-covers</span></td>
-<td align="right"><a href="#Page_395">395</a></td></tr>
-<tr><td align="left"><div class="hang2">Mother Goose Scrap-book, <a href="#Page_395">395</a>; Transformation Scrap-book, <a href="#Page_398">398</a>; An Album, <a href="#Page_400">400</a>; Home-made Book-cover, <a href="#Page_401">401</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXXVI.</td></tr>
-<tr><td align="left"><span class="smcap">A Heap of Rubbish and What to Do with It</span></td>
-<td align="right"><a href="#Page_403">403</a></td></tr>
-<tr><td align="left"><div class="hang2">The Mirror, <a href="#Page_404">404</a>; The Table, <a href="#Page_406">406</a>; Lantern, <a href="#Page_408">408</a>; A Music Roll, <a href="#Page_410">410</a>; Work-basket, <a href="#Page_411">411</a>; Key and Button-hook Rack and Paper Weight, <a href="#Page_412">412</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXXVII.</td></tr>
-<tr><td align="left"><span class="smcap">How to Make Attractive Booths at a Fair—A New Kind of Grab-bag</span></td>
-<td align="right"><a href="#Page_413">413</a></td></tr>
-<tr><td align="left"><div class="hang2">The Tables, <a href="#Page_413">413</a>; Flowers for Decorations, <a href="#Page_417">417</a>; The Months, <a href="#Page_420">420</a>; The Five Senses, <a href="#Page_421">421</a>; Walls, <a href="#Page_423">423</a>; Grab-bags, <a href="#Page_423">423</a>; The Lady of the Lake, <a href="#Page_425">425</a>; Fortune’s Wheel, <a href="#Page_426">426</a>; Rag-balls, <a href="#Page_427">427</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXXVIII.</td></tr>
-<tr><td align="left"><span class="smcap">Window Decoration</span></td>
-<td align="right"><a href="#Page_429">429</a></td></tr>
-<tr><td align="left"><div class="hang2">Oriental Window-shade, <a href="#Page_430">430</a>; Ribbon-curtain, <a href="#Page_430">430</a>; Drapery of Very Small Scraps, <a href="#Page_431">431</a>; Painting Window-panes, <a href="#Page_432">432</a>; Painting on Lawn, <a href="#Page_434">434</a>; To Imitate Stained Glass, <a href="#Page_435">435</a>; Windows of Imitation Ground Glass, <a href="#Page_436">436</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XXXIX.</td></tr>
-<tr><td align="left"><span class="smcap">Furniture, Old and New</span></td>
-<td align="right"><a href="#Page_438">438</a></td></tr>
-<tr><td align="left"><div class="hang2">The Bookcase, <a href="#Page_439">439</a>; The Chair, <a href="#Page_441">441</a>; The Bedstead, <a href="#Page_444">444</a>; A Dressing-table, <a href="#Page_444">444</a>; Washstand, <a href="#Page_446">446</a>; A Hall Seat, <a href="#Page_447">447</a>; Window Seat and Book-shelves, combined, <a href="#Page_448">448</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XL.</td></tr>
-<tr><td align="left"><span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span><span class="smcap">Something about Mantle-pieces and Fire-places</span></td>
-<td align="right"><a href="#Page_451">451</a></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XLI.</td></tr>
-<tr><td align="left"><span class="smcap">Home-made Candy</span></td>
-<td align="right"><a href="#Page_458">458</a></td></tr>
-<tr><td align="left"><div class="hang2">Peanut Candy, Butter Scotch and Molasses Candy, <a href="#Page_459">459</a>; Walnut and Fruit Glacé, <a href="#Page_460">460</a>; Marsh-mallow Paste, <a href="#Page_460">460</a>; Chocolate Caramels, <a href="#Page_461">461</a>; Pop-corn Balls, <a href="#Page_462">462</a>.</div></td></tr>
-<tr><td align="left">&nbsp;</td></tr>
-<tr><td align="center" colspan="2">CHAPTER XLII.</td></tr>
-<tr><td align="left"><span class="smcap">Saint Valentine’s Day</span></td>
-<td align="right"><a href="#Page_464">464</a></td></tr>
-<tr><td align="left"><div class="hang2">Valentine Party, <a href="#Page_465">465</a>.</div></td></tr>
-</table></div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p>
-<h2 class="faux">Spring</h2>
-<div class="figcenter" style="width: 502px;">
-<img src="images/i_001.jpg" width="502" height="262" alt="Spring" />
-</div>
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p>
-
-<div class="figcenter" style="width: 294px;">
-<img src="images/i_002.jpg" width="294" height="592" alt="girl running in rain with rainbow behind her" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p>
-
-
-
-
-<h2>The American Girl’s
-Handy Book.</h2>
-
-
-
-<hr class="chap" />
-<div class="chapter"></div>
-<h2>CHAPTER I.<br />
-
-<small>FIRST OF APRIL.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_003-drop-t.jpg" width="255" height="209" alt="T" />
-</div>
-
-<p class="drop-capi">THIS is the children’s own day, and
-no assumption of dignity on the
-part of their elders can deter them
-from exercising the privileges granted
-to them by acknowledged custom and
-precedent.</p>
-
-<p>“April fool! April fool!” cries
-my little nephew, as he dances with delight to see his aunt
-walk out of the room with a piece of white paper dangling
-from a hooked pin, attached to her dress.</p>
-
-<p>“April fool! April fool!” shout the children in the street,
-thus announcing the success of some practical joke.</p>
-
-<p>“April fool!” laughs everyone at the table, when some unfortunate
-bites into a brown, wholesome-looking cruller, only
-to find it a delusion and a snare, the coat of a cruller, but the
-inside of cotton.</p>
-
-<p>“April fool! April fool!” is what even the little sparrows seem<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span>
-to chirp, as with a “s-w-h-e-r-r” they sweep down from the
-tree and, frightening away the kitten, take forcible possession of
-her bone. What does all this mean? Why is the first day of
-April called “All-Fools-Day,” and when or where did the
-custom of the day originate? Who can tell? No one seems
-to know. Even the derivation of the word April does not appear
-to have been definitely settled, and this saucy month, with
-her mischievous tricks and pranks, her surprises and mysteries,
-fools and puzzles our wisest men.</p>
-
-<p>Through many centuries the observance of All-Fools-Day
-has descended to us. In many climes and many countries this
-day is chosen as the proper time for playing tricks on the unsuspecting.</p>
-
-<p>“Festum Fatuorum,” or “Fools’ Holiday,” is what it was
-called in England at the time of the arrival of the early Christians
-in that country.</p>
-
-<p>Easily caught like the mackerel, which are plentiful on the
-French coast in April and are said to be deficient in understanding,
-the April fool in France derives his name from that
-fish, and is called “Poisson d’Avril” or “April Fish,” and
-again, “Silly Mackerel.” From the cuckoo, a bird that does not
-know enough to build its own nest, the appellation of “gowk”
-is taken, and is given to the foolish one in Scotland who allows
-himself to be duped on this day.</p>
-
-<p>In India at the festival called Huli Festival held on the last
-day of March, the natives make merry at the expense of their
-friends, just as we do, and their fool is called “Huli Fool.”</p>
-
-<p>So in the East and in the West, in the North and in the South,
-in the oldest nation as well as the youngest, is this ridiculous
-custom observed, and, as if to make it still more ridiculous, no
-one apparently knows why.</p>
-
-<p>Now, girls, since this holiday has descended to us from so far
-back that its origin appears lost in the dim twilight of past ages,<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span>
-there surely must be some reason for its existence, and that reason
-may be, that “a little nonsense now and then is relished by the
-wisest men,” and is therefore wholesome as an occasional diet.
-So why not help to perpetuate it; not with rude, practical jokes,
-but with comical surprises, and absurd, but unembarrassing, situations.
-Much harmless fun can be derived from the privileges
-of this day, devoted as it is to nonsense, and we introduce the
-April Fool Party as an excellent means of concentrating the
-fun, and furnishing plenty of merriment to the young folks who
-are bent on having a good time.</p>
-
-
-<h3><b>First of April Party.</b></h3>
-
-<p>I remember, when quite a little girl, I was granted the privilege
-of celebrating my birthday, which came on the 1st of April,
-with a candy-pull, and a few days previous to the event I
-started joyfully off to invite my friends. The invitations were
-laughingly given and accepted, and it did not occur to me that I
-would be suspected of playing a joke, although the party was
-to be on April-Fools-Day. It seems, however, that my good intentions
-were doubted, and the children were undecided whether
-to come or not. I had begun to suspect that a joke was to be
-played on me by their all remaining away, before they finally
-arrived in a body, having taken the precaution of coming in
-that way, so that if the party were a hoax they would all be
-fooled together.</p>
-
-<p>I relate this incident that warning may be taken from my experience,
-and that it may be understood how important it is to
-make the guests invited to your First of April party realize that
-the invitations are given in good faith, and that your friends
-are expected to be on hand at the appointed time.</p>
-
-<p>It is well, in giving a party of this kind, to have the whole
-programme laid out beforehand, so that everything may go
-smoothly and nothing be forgotten.<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span></p>
-
-<p>The few methods of April fooling given here need not constitute
-the whole entertainment; the list may be added to by
-the young hostess, who will, no doubt, have many ideas of her
-own to carry out. We will head our list with the</p>
-
-
-<h3><b>Mirror Tableau.</b></h3>
-
-<p>This novel tableau is made ready in the following manner:</p>
-
-<p>In a door-way, or bay-window draped with full curtains,
-place a large mirror. Instead of having the curtains suspended
-from the usual pole, it is best to stretch a wire across the space
-and slip the curtain-rings upon that, as they will slide more
-readily on the wire; and when it is time to draw back the drapery
-it should be done quickly. A table placed before the curtains
-will serve as a barricade, keeping the too curious from taking
-a peep at the hidden mysteries before they are ready to be
-revealed.</p>
-
-<p>At the time selected, remove the table, and request all those
-desiring to see the tableau to arrange themselves in front of the
-curtain, and to remain perfectly quiet, as any movement will disturb
-those taking part.</p>
-
-<p>If the front rows of the audience can be induced to kneel or
-sit upon the floor, those in the rear can obtain a better view,
-and it will, at the same time, make the group more effective.
-When perfect quiet is obtained, give the signal to your assistant,
-who must stand opposite to you at the side of the curtain, and
-with her help quickly draw aside the draperies, thus disclosing
-the tableau of a group of young people, motionless, gazing into
-the mirror with eager and expectant eyes. For an instant the
-audience will be held spell-bound, scarcely realizing that they
-themselves are forming the pretty tableau.</p>
-
-<p>“We are April Fools,” written with soap on the mirror near
-the top, as shown in the illustration, tells what character the
-actors are assuming, and gives a name to the tableau.</p>
-
-<p><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span></p>
-
-<div class="figcenter" style="width: 479px;">
-<img src="images/i_007.jpg" width="479" height="600" alt="two girls pulling back curtains on mirrored audience" />
-<div class="caption">The Mirror Tableau.</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>During the interval which should be allowed to intervene
-before introducing the next thing on the programme, the guests
-will find amusement in the many harmless practical jokes which
-are awaiting the unwary in all manner of places.</p>
-
-<p>For instance, some boy will print APRIL FOOL in large
-white letters on his own back, by simply resting for a moment
-in a convenient chair upon whose snowy tidy the dreaded words
-have previously been printed backwards with white chalk. On
-the dark woolly surface of the coat, the white letters will be
-perfectly transferred, and the boy, little knowing what he has
-done, or the cause of the merriment, will join in the general
-laughter his appearance creates.</p>
-
-<p>A treacherous divan can be provided by removing the top
-of a low, flat packing-box, and putting in its place brown wrapping-paper,
-tacking it down around the edges of the box.
-With a piece of drapery thrown over it, entirely concealing the
-box, and sofa pillows placed upon it, leaning against the wall,
-the divan looks exceedingly comfortable and inviting. But woe
-unto the person who mistakes appearances for reality, for to attempt
-to sit upon this seeming substantial couch is but to break
-through and sit upon the floor instead.</p>
-
-<p>The box used for the divan should not be more than twelve
-inches high, so that the fall will be only funny, not dangerous.</p>
-
-<p>The next diversion may be a</p>
-
-
-<h3><b>Noah’s Ark Peep-show.</b></h3>
-
-<p>Make the peep-show of a box about two and a half feet
-long and one foot and a half high. Remove the top and both
-of the end-pieces (Fig. 1). Cut from pasteboard a slide to
-exactly fit the box, and place it in the middle, thus cutting off
-the view from either end, as shown in Fig. 1. Make a curtain
-in two pieces, and tack them around the upper edge of the<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>
-box, letting them meet at each
-end. Stout pieces of twine,
-stretched across the openings at
-the ends of the box, will serve to
-attach the drapery at these points.</p>
-
-<div>
-  <img class="split" src="images/i_009a.jpg" alt="Noah’s Ark Peep-show. Fig. 1" width="520" height="233" />
-  <img class="split" src="images/i_009b.jpg" alt="Noah’s Ark Peep-show." width="252" height="37" />
-  <img class="split" src="images/i_009c.jpg" alt="Noah’s Ark Peep-show." width="230" height="73" />
-  <img class="split" src="images/i_009d.jpg" alt="Noah’s Ark Peep-show." width="206" height="208" />
-</div>
-<p>Almost any kind of material will
-answer for this purpose, provided it
-is not too thin and is of some bright
-hue, for the peep-show should be
-made to look as gay as possible.
-Place the box upon a high stand,
-and so arrange it that a strong
-light will shine down into it, making
-the interior, from end to end, perfectly
-light.</p>
-
-<p>From a list, previously prepared, of the animals supposed
-to be on exhibition, read the first two, and invite two persons,
-a girl and a boy, for instance, to look into the peep-show.
-We will suppose that the first animals on the list are the raven
-and the dove. Inform your would-be audience that you have
-two of Noah’s special pets to show them; that from the girls’
-point of view will be seen a raven, and from the boys’, a dove<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span>.
-When taking their places at the box, one at each end, the two
-spectators must part the curtain, and, putting their faces between,
-hold the drapery together under their chins. This is
-to keep the remainder of the company from obtaining a glimpse
-into the wonderful show before their turns arrive.</p>
-
-<p>When all is ready, and the two wondering faces are hidden
-between the folds of the peep-show curtains, with the words,
-“Behold the pretty dove, and the mischievous raven,” remove
-the slide, and expose to the astonished gaze of each spectator a
-companion’s familiar face at the opposite end of the box. Of
-course, upon retiring from the show, its secret must be kept,
-otherwise the joke will be spoiled for those whose turns are yet
-to come.</p>
-
-<p>Before the next two take their station at the box, replace
-the slide and pretend to rearrange the show, to divert the suspicion
-that the box is empty.</p>
-
-
-<h3><b>The Supper</b></h3>
-
-<p class="unindent">can be made the means of perpetrating many practical jokes.
-The shams must be so intermingled with the real delicacies that
-one can never be sure what the consequences may be of partaking
-too rashly of even the most tempting-looking morsel.</p>
-
-<p>Small blocks of wood covered with batter and browned in
-the oven are excellent imitations of cakes. Dainty confectionery,
-in crimped papers, can be made of small radishes covered
-with icing of different colors. Button-moulds coated with chocolate
-will readily be mistaken for candy.</p>
-
-<p>If a small pasteboard pill-box is first filled with flour, and
-the top then covered with tissue-paper pasted down around the
-edges, it will look, when iced, like a delicate little cake, and
-will cause much merriment when anyone bites into it; for the
-moment the paper cover is broken the flour will fly in every<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
-direction. The fertile brain of girls, on mischief bent, will suggest
-many more frauds of this kind, and enough surprises may
-be prepared to make the supper as merry as anything else on
-the evening’s programme.</p>
-
-<p>Before leaving this subject, once more let the caution be
-given to keep the jokes entirely harmless. It is only poor fun
-that can be obtained at the expense of injuring others, or by
-running the slightest risk of hurting them in any way.</p>
-
-<p>The spirit of mischief must be kept within bounds even on
-All-Fools-Day.</p>
-
-<div class="figcenter" style="width: 471px;">
-<img src="images/i_011.jpg" width="471" height="133" alt="APRIL Fool" />
-</div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p>
-
-<div class="figcenter" style="width: 458px;">
-<img src="images/i_012.jpg" width="458" height="600" alt="children gathering flowers" />
-<div class="caption">Gathering Wild Flowers.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p>
-
-
-
-
-<h2>CHAPTER II.<br />
-
-<small>WILD FLOWERS AND THEIR PRESERVATION.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_013.jpg" width="114" height="172" alt="L" />
-</div>
-
-<p class="drop-capi">LONG before the first green leaves make their
-appearance, while the snows of winter still
-linger in the shaded nooks, and the branches
-are still bare, though blushing with the full,
-flowing sap that tinges their tips pink, yellow,
-and red—when the air is filled with a sweet
-freshness and delicate fragrance—it is charming
-in our rambles to find scattered here and
-there upon the hill-side, down among the roots of the great
-trees, or under the hedges delicate little wild flowers waving
-on their fragile stalks with the faintest passing breeze. They
-are so exquisitely beautiful with their tender hues and graceful
-shapes, that a longing comes to possess them.</p>
-
-<p>And why not keep them fresh at home? Plants live in
-the earth and require light, air, and moisture. All of these
-requirements can be and are fulfilled in thousands of homes
-where plants are kept, all over the world. But these are
-<i>wild flowers</i>. True, and they may need something to be
-found only in the wild woods. What, then, is it? Let us
-see. Earth, light, and air abound everywhere. Still, upon
-inspection we discover that the soil around our timid wild
-flowers is somewhat different from that to be found in our
-door-yards. But what is simpler than to take the earth up
-with the plant?</p>
-
-<p><span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span></p>
-
-<p>Be careful in</p>
-
-
-<h3><b>Transplanting Wild Flowers</b></h3>
-
-<p class="unindent">to dig well all around and under the roots, so that the earth
-surrounding and clinging to the plant may be taken up at the
-same time (Fig. 2). After covering the
-root and soil adhering to it with a layer
-of clay, mud, or damp earth (Fig. 3)
-set the root in a large leaf, and
-tie it up with string or
-a wisp of
-grass (Fig
-4), in order
-to make
-sure the soil
-does not fall
-off the plant. Thus secured
-the specimens will
-keep nicely until you
-reach home; then plant
-them in a shady place
-and keep the ground moist. Beautiful little woodland gardens
-are made in this way, where within a few steps of the door a
-glimpse may be had of the fair forest flowers.</p>
-
-<div class="figcenter" style="width: 504px;">
-<img src="images/i_014.jpg" width="504" height="484" alt="flowers with rootballs" />
-</div>
-
-<p>Sweet-scented white violets, delicate little anemones, odd
-yellow violets, and quaint jack-in-the-pulpits, with many others,<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
-not forgetting the graceful ferns, are now growing in the shaded
-corner of the writer’s lawn, transplanted there from their home
-in the woods, where she found them one lovely spring morning,
-when out with a party of friends on a hunt for wild flowers.</p>
-
-<p>The day was perfect, filled with sunshine and the song of
-birds. All nature appeared glad and joyous, and the trees
-seemed veiled in the softest greens and pinks of budding
-leaves.</p>
-
-<p>It was a happy party that went wandering into the forest,
-straying here and there, and finding new treasures at nearly
-every step, stopping to gather a few of the violets that gave a
-purple tinge to the ground for yards around, then rambling on
-to the spot that was covered with the fragile anemone, each girl
-laden with the flowers she loved best. Some had taken them up
-roots and all, while others preferred the</p>
-
-
-<h3><b>Cut Wild Flowers.</b></h3>
-
-<p>For these it is best to use a tin box of convenient size and
-form shutting closely. The flowers must be fresh and not at all
-damp; in such a box they can be kept for days bright and unfading.
-They may also safely be sent to friends at a distance,
-though it is better, when</p>
-
-
-<h3><b>Sending Flowers by Mail,</b></h3>
-
-<p class="unindent">if you wish to send a quantity, to pack them in a strong pad
-or wooden box. First lay down a piece of oiled paper of
-the proper size; spread a thin layer of damp paper on this; next
-a layer of flowers, then one of thin wet paper; and so on until
-the box is full. Over the last layer place a dry paper, and cover
-this with oiled paper or tin-foil; put the lid on the box and tie
-it down securely.</p>
-
-<p><span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span></p>
-
-<p>By this method a larger number of flowers can be sent in a
-given space than when simply inclosed in a tin box.</p>
-
-<p>The writer has often sent daisies from New York to Cincinnati
-where they arrived as fresh as when first gathered.</p>
-
-<p>For the benefit of those who wish directions for sending
-flowers by mail, we give the following on authority of the
-<i>American Agriculturist</i>.</p>
-
-<div class="blockquot">
-
-<p>“The law passed some years since by Congress, allowing packages of
-plants to be sent by mail, if not over four pounds in weight, was a capital
-arrangement for those who lived at a distance from railroad and express
-offices, but it is so hampered with the various constructions given by the
-Post Office Department, that it is difficult to know what is required by the
-officials. The law now is, we believe, as follows: A package, weighing four
-pounds or less, can be sent at the rate of two cents per four ounces, but the
-writing of the words “roots” or “plants” makes a letter of it, and is
-charged letter postage. Nothing should be written except the address, and
-the package must not be sealed, or contain any writing, and it must be so
-fastened that the postmaster can examine the contents if he wishes. The
-plants may, however, be numbered, and their names sent by letter.”</p></div>
-
-<p>Now let us think of some way in which these lovely blossoms
-can be preserved.</p>
-
-<p>In Germany they excel in making decorations for rooms,
-dinner-tables, etc., of</p>
-
-
-<h3><b>Preserved Flowers.</b></h3>
-
-<p>Bright-colored flowers are best adapted to this method. White
-flowers are apt to turn yellow. Jack-in-the-pulpits, clover,
-roses, and daisies came out beautifully when the writer dried
-them, and why should not many other kinds do just as well?
-Try and see.</p>
-
-<p>Procure three or four quarts of fine sand; white scouring-sand
-is the best; wash it perfectly clean. This can be tested by pouring
-the water off until it looks quite clear; then dry the sand,<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>
-by placing it in a clean tin in the oven. When it is dry—fully
-dry and cool—pour enough
-in a box to enable the flowers
-to stand by themselves, their
-stems embedded in the sand,
-which should be a mass of
-fine particles of uniform size.</p>
-
-<div class="figcenter" style="width: 506px;">
-<img src="images/i_017.jpg" width="506" height="596" alt="flowers in a vase iand in blxes" />
-<div class="caption">Preserved Flowers.</div>
-</div>
-
-<p>If the flowers are cut so
-that they all measure nearly
-the same length from the tip
-of the blossom to the end of
-the stem, they can more
-readily be covered with sand.
-The flowers must be fresh and entirely free from moisture.
-Place them stem downward in the sandy layer, and very gently<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span>
-and slowly pour in the sand a little at a time, until each leaf
-and petal is firmly held in place (Fig. 5); then fill the box
-with sand nearly two inches above the level of the flowers.</p>
-
-<p>It is very essential that every particle of the flower rest in
-the sand, and that in filling up, the smallest petal has not been
-bent or crumpled.</p>
-
-<p>Take care not to shake the box lest the flowers inside be injured.
-Set it in a warm, dry place, and let it stand at least two
-weeks.</p>
-
-<p>This manner of preserving flowers retains the color, while
-the shape of the leaves and petals remains unaltered. The flowers
-will keep for years.</p>
-
-<p>There are other ways also of preserving flowers.</p>
-
-
-<h3><b>Pressed Flowers and Leaves.</b></h3>
-
-<p>Although these are perfectly flat, they seldom fade and are
-very pretty and useful. Have ready a large book or a quantity
-of old newspapers and several weights. Use the newspapers
-for leaves and ferns—blotting-paper is best for the flowers.
-Both the flowers and leaves should be fresh and without moisture.
-Place them as nearly in their natural positions as possible
-in the book or papers, and press, allowing several thicknesses
-of paper between each layer. Remove the specimens to dry
-papers each day until perfectly dry.</p>
-
-<p>Some flowers must be immersed—all but the flower head—in
-boiling water for a few minutes, before pressing, to prevent
-them from turning black. Orchids are of this nature.</p>
-
-<p>If possible, it is well to obtain all parts of a plant, the roots
-as well as the seeds, for a more interesting collection can thus
-be made than from the flower and leaf alone.</p>
-
-<p>It is advisable to be provided with a blank book or, what is
-still better, pieces of stiff white paper of uniform size on which<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>
-to mount the flowers or leaves when dried; also with a small
-bottle of mucilage and a brush for fastening them, and some
-narrow strips of court-plaster or gummed paper for the stems
-and thicker parts of the plants. The sooner they can be
-mounted the better. Place them carefully on the paper, writing
-beneath the locality and date of finding. Flowers and
-leaves thus prepared make beautiful herbariums. Should you desire</p>
-
-
-<h3><b>Leaves and Ferns for Decoration,</b></h3>
-
-<p class="unindent">first press them nicely; then give them a coat of wax, by
-ironing them on both sides with a hot iron over which a piece
-of beeswax has first been rubbed. Cover the specimens completely
-with wax, as this renders them quite pliable, and they
-are no longer brittle nor easily broken. Sprays of small leaves
-can be pressed entire.</p>
-
-<p>To heighten the effect, use dry colors, rubbing them in, and
-selecting those corresponding with the color of the leaves when
-first gathered.</p>
-
-<p>The colors must be put on before the coating of wax.
-Ferns should be gathered when nearly full grown, and, after
-they are pressed, painted light green with oil-colors; in that
-case the beeswax is not used. The oil in the paint, like the
-wax, makes the specimens more substantial, and they look
-quite fresh and fair.</p>
-
-<p>Sometimes the late autumn frosts will bleach the ferns perfectly
-white; then are they even more delicate than before Nature
-changed their color. We have seen the</p>
-
-
-<h3><b>Color of Flowers Changed,</b></h3>
-
-<p class="unindent">and it is a very pretty experiment, very simple, too. Immerse
-the flowers in ammonia, and you will be surprised to see white<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
-lilies change to a delicate yellow, pink roses turn a lovely
-light green, while dark-red sweet-peas assume blue and rich
-purple tints; and the change is so rapid it is almost like magic.
-Another interesting experiment is making</p>
-
-
-<h3><b>Natural Wax Flowers</b></h3>
-
-<p class="unindent">by dipping the fresh buds and blossoms in paraffine just sufficiently
-hot to liquefy it; first the stems of the flowers; when
-these have cooled and hardened, then the flowers or sprays,
-holding them by the stalks and moving them gently. When
-they are completely covered the flowers are removed and lightly
-shaken, in order to throw off the superfluous wax. The flowers
-are then suspended until perfectly dry, when they are found
-hermetically sealed in a film of paraffine, while they still keep
-their beautiful coloring and natural forms, and for a while even
-their perfume. Now let us find what can be done</p>
-
-
-<h3><b>To Freshen Cut Flowers.</b></h3>
-
-<p>When the heat has made them wilt, clip the stems and set
-the flowers in cold water; in a few hours they will regain their
-freshness and beauty.</p>
-
-<p>Some flowers, however, must be differently treated, such as
-heliotrope and mignonette; these keep if placed <i>upon</i> damp
-moss or cotton and set in a cold place at night.</p>
-
-<p>Rosebuds will retain their freshness for hours when not
-placed in water, if the ends of the stems are snipped off, and
-immediately tipped with melted sealing-wax; this excludes
-the air, and so keeps the flowers from drooping.</p>
-
-<p>If roses are wilted before they can be placed in water, cut
-off the ends of the stalks and immerse in very hot water for a
-minute or two, and they will regain their pristine freshness.</p>
-
-<p>Another way to keep flowers fresh is to put a pinch of nitrate
-of soda into the glass each time you change the water<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>
-Nitrate of potash or saltpetre in a powder has nearly the same
-effect, or a drop of hartshorn.</p>
-
-<p>If plants are chilled by frost, shower them with cold water,
-and leave in a cool room; or set the pot in cold water and keep
-in a moderately cool place. Now one word about</p>
-
-
-<h3><b>Crystallized Flowers,</b></h3>
-
-<p class="unindent">that sparkle and look so beautiful. They must first be dried in
-sand, then crystallized in the same way as dried grasses—the
-rougher the surface the better will it crystallize. Dissolve as
-much alum in boiling water as it will hold; when this is determined,
-pour it off and boil the solution down to one-half.</p>
-
-<p>Suspend the flowers by a net-work of string tied across the
-top of a pail into which they must hang; then pour into the
-pail the boiling alum water, which must completely cover the
-flowers, and leave it undisturbed twelve hours, or all night.</p>
-
-<p>The flowers should not touch each other or the sides of the
-bucket. Be careful in removing them the next morning, as the
-crystals are easily broken off.</p>
-
-<p>Flowers or sprays of grass may be beautifully frosted by
-dipping them in a solution of gum-arabic and sprinkling them
-with powdered isinglass.</p>
-
-<p>Flowers are not only very beautiful, but many of them possess
-a fragrance so sweet that we would fain learn how to keep
-the</p>
-
-
-<h3><b>Perfume of Flowers.</b></h3>
-
-<div class="figleft" style="width: 151px;">
-<img src="images/i_022a.jpg" width="151" height="600" alt="pussy willows" />
-</div>
-
-<div class="figright" style="width: 226px;">
-<img src="images/i_022b.jpg" width="226" height="595" alt="catkins" />
-</div>
-
-<p>Rose-leaves are the most simply prepared. Take a covered
-jar, fill it with sweet-scented rose-leaves, and scatter through them
-some salt. Keep the jar closed tight, and when the petals have
-dried the “scent of the roses will cling to them still,” so that
-every time the jar is opened a delicious fragrance will fill the
-air. Or you can cover the rose-leaves with melted lard, and
-leave them for a day or two in some place at a temperature<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span>
-of about 140° F.; then cool
-it and knead the lard in alcohol.
-Pour off the alcohol in
-fancy glass bottles
-and use as
-handkerchief perfume.</p>
-
-<p>For varieties we
-find this method:</p>
-
-<div class="blockquot">
-
-<p>“The delicate odor
-of pinks and other flowers may be
-obtained as follows: Get a glass
-funnel, with the narrow end
-drawn to a point; in this place
-lumps of ice with salt, by which
-a very low temperature is produced.
-The funnel should be
-supported on an ordinary retort-stand and placed
-near the flowering plants, when water and the
-ethereal odor of the blossom will be deposited on
-the exterior of the glass funnel, and will trickle
-down to the point, from which it drops at intervals
-into a glass vessel below. The scent thus
-obtained is very perfect, but is apt to become
-sour in a few days unless some pure alcohol is
-added. By this process many odors may be procured
-for comparison and study. To obtain the
-odor in perfection the blossom must be in its
-prime.”</p></div>
-
-<p>Dry some sweet clover, and the fragrance
-will be sweet and pleasant. Fill a
-fancy bag of some thin sheer material with
-the clover, and you will find that you have
-imprisoned the fresh breath of summer.</p>
-
-
-<p>Old-time lavender can be prepared in the same way.</p>
-
-<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p>
-
-<p>Our thoughts so far have been for the flowers in their season.
-But did it ever occur to you that it is possible to have</p>
-
-
-<h3><b>Spring Flowers in Winter?</b></h3>
-
-<p>If you search in the woods during December you may find,
-tucked away in sheltered spots, little woodland plants which,
-when taken up and carefully transplanted in a flower-pot and
-set in a sunny window, will soon begin to grow, sending up
-tender stems, and in about three weeks will blossom. The little
-fairy-like flowers seem even more beautiful coming in the
-cold wintry weather.</p>
-
-<p>Fruit-tree twigs and sprays from flowering shrubs will blossom
-when the ground is white with snow, if cut from trees
-about the first of February, placed in well-heated water in a
-warm room, and the water changed every day for some that is
-almost but not quite hot.</p>
-
-<p>The twigs being kept warm will blossom in a few weeks.</p>
-
-<p>It is quite a pretty idea to take up and plant in a little
-flower-pot</p>
-
-
-<h3><b>The Four-leaved Clover.</b></h3>
-
-<p>Very frequently you may find a tuft bearing only the mystic
-number, and should it happen to have a five- or six-leaved clover
-in with the others, they will add to the luck.</p>
-
-<p>If you possess one of these charmed plants, it is said “good
-luck” will always be near at hand.</p>
-
-<p>Besides the foregoing directions for the preservation of
-flowers, plants, etc., there are numerous other methods, which,
-although not experimentally verified by the writer, are no
-doubt as worthy of a place here as any of the former.</p>
-
-<p>The following recipes have been culled from various old
-papers, books, etc.</p>
-
-<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p>
-
-
-<h3><b>Some Old-fashioned Methods of Preserving Flowers.</b></h3>
-
-<p>The first of these ways is more properly intended for botanical
-collections, and is often resorted to by collectors of rare
-blossoms. It consists in placing</p>
-
-
-<h3><b>Flowers in Alcohol,</b></h3>
-
-<p class="unindent">and possesses the great advantage of preserving the flowers for
-years, and keeping their most delicate fibres uninjured. They
-make invaluable specimens to sketch from, and though their
-beauty may be somewhat impaired by loss of color, their outlines
-remain perfect.</p>
-
-<p>Place the flowers in a wide-mouthed bottle, fill it to the top
-with alcohol, cork it tightly, and cover the cork with plaster-of-Paris
-or melted beeswax, thus hermetically sealing it. Do not
-use sealing-wax, as experience has taught us that the fumes of
-the alcohol soften the wax, and not only spoil the neat appearance
-of the bottle, but allow the spirits to evaporate.</p>
-
-<p>Another way is to</p>
-
-
-<h3><b>Bottle Flowers.</b></h3>
-
-<p>Carefully seal the ends of the stems with sealing-wax, place
-them in an empty bottle—both flowers and bottle must be perfectly
-dry—cork the bottle, and hermetically seal it with either
-sealing-wax or beeswax.</p>
-
-<p>The next method has greater possibilities of beauty, and
-consequently the reader will be more interested in learning</p>
-
-
-<h3><b>How to Preserve a Vaseful of Flowers for a Year.</b></h3>
-
-<p>Take home your basket of wild flowers, “nodding violets,”
-cowslips, bright-eyed anemones, and all the lovely offerings of
-the woods, and before arranging them in the vase, carefully
-seal the stem of each flower. Place a glass shade over the
-vase; be careful that flowers, vase, and shade are perfectly<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span>
-dry; then fill up the groove in the wood, in which the shade
-stands, with melted wax. By covering the wax with chenille
-it can be perfectly hidden.</p>
-
-<p>Flowers kept in this way will last for a twelvemonth.</p>
-
-<p>The flowers preserved in an empty bottle may be taken
-out, the wax cut from the stems, and, if arranged in a bouquet,
-will last as long as perfectly fresh flowers.</p>
-
-<p>Those in the alcohol lose their color after being immersed
-for a time, and will not last when removed from the alcohol.</p>
-
-<p>In following any of these directions be careful not to tie
-the flowers. No string must be used. The flower stems must
-be loose and separate from each other.</p>
-
-<p>A florist of much experience in preserving bouquets for an
-indefinite period gives this recipe for</p>
-
-
-<h3><b>Keeping Bouquets Fresh a Long Time.</b></h3>
-
-<p>When you receive a bouquet sprinkle it lightly with fresh
-water, then put it into a vessel containing some soapsuds; this
-will take the place of the roots and keep the flowers bright as
-new. Take the bouquet out of the suds every morning, and lay
-it sideways, the stems entering first, in clean water; keep it
-there a minute or two, then take it out, and sprinkle the flowers
-lightly by the hand with water; replace it in the soapsuds,
-and it will bloom as fresh as when first gathered.</p>
-
-<p>The soapsuds need changing every three or four days. By
-observing these rules a bouquet can be kept bright and beautiful
-for at least a month, and will last longer in a very passable
-state. From another source we learn how</p>
-
-
-<h3><b>To Keep Flowers or Fruit a whole Year perfectly Fresh.</b></h3>
-
-<p>Mix one pound of nitre with two pounds of sal ammoniac
-and three pounds of clean common sand; then in dry weather<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span>
-take fruit of any sort which is not fully ripe, allowing the stalks
-to remain, and put them one by one into an open glass until it
-is quite full; cover the glass with oiled cloth, closely tied down.
-Put the glass three or four inches down in the earth in a dry
-cellar, and surround it on all sides to the depth of three or four
-inches with the above mixture. The fruit will thus be preserved
-quite fresh all the year round.</p>
-
-<p>In giving the following recipe for the manufacture of rose-water,
-it may be as well to state that the original verse is given,
-not for its merit as such, but simply because it is the form in
-which the recipe reached the writer.</p>
-
-
-<h3><b>Rose-water.</b></h3>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">“When the bushes of roses are full,</div>
-<div class="verse"><span style="margin-left: 1.5em;">As most of them are about June,</span></div>
-<div class="verse"><span style="margin-left: .5em;">’Tis high time to gather, or pull</span></div>
-<div class="verse"><span style="margin-left: 1.5em;">The leaves of the flowers. As soon</span></div>
-<div class="verse"><span style="margin-left: .5em;">As you’ve picked all you need for the time,</span></div>
-<div class="verse"><span style="margin-left: 1.5em;">To each <i>quart of water</i> unite</span></div>
-<div class="verse"><span style="margin-left: .5em;">A <i>peck of the leaves</i>, which, if prime—</span></div>
-<div class="verse"><span style="margin-left: 1.5em;">And they will be, if pulled off aright—</span></div>
-<div class="verse"><span style="margin-left: .5em;">May be <i>placed in a still</i> near at hand,</span></div>
-<div class="verse"><span style="margin-left: 1.5em;">On a <i>very slow fire</i>. When done,</span></div>
-<div class="verse"><span style="margin-left: .5em;">Bottle off, and permit it to <i>stand</i></span></div>
-<div class="verse"><span style="margin-left: 1.5em;"><i>For three days</i> ere you cork down each one.”</span></div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 482px;">
-<img src="images/i_026.jpg" width="482" height="196" alt="fairy in a flower" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p>
-
-
-
-
-<h2>CHAPTER III.<br />
-
-<small>THE WALKING CLUB.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_027.jpg" width="284" height="189" alt="A" />
-</div>
-
-<p class="drop-capi2">A &nbsp;SOUND of girlish voices is
-suddenly heard in the
-quiet village streets, as
-our Walking Club, issuing
-from the house of one of
-its members, starts off on
-the first tramp of the season.
-The gay chatter
-and bubbling laughter
-blend with the twittering and chirping of the birds fluttering
-among the budding trees, and all these merry sounds seem in
-perfect harmony with the youthful gladness of the bright morning.</p>
-
-<p>There is a subtle power and exhilaration in the spring sunshine
-that stimulates the blood, and sends it tingling through our
-veins, as with light-springing steps we quickly leave the village
-behind us and penetrate into the outlying country, stopping
-now and then to secure a branch of the downy pussy willow
-or brilliant red blossoms of the maple, and again to admire a
-distant view where the trees seem enveloped in a hazy mist of
-delicate color; on we go, exploring sequestered spots or entering
-deep into the woods in search of early wild flowers.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_028.jpg" width="600" height="382" alt="group of girls and a dog walking" />
-<div class="caption">The Walking Club.</div>
-</div>
-
-<p>Although possibly timid as individuals, as a club we are
-brave enough; for a party of fourteen or sixteen girls, including<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a><br /><a name="Page_29" id="Page_29">[29]</a></span>
-our merry little chaperon, may go, with impunity, where it
-would not be so pleasant for one to venture alone.</p>
-
-<p>Once a week all through that delightful spring the club might
-have been seen, now upon a road leading in this direction, now
-in that. And, often as we stepped aside to allow a carriage to
-pass, its occupants would lean forward smiling, and waving their
-hands in greeting; for the moment, perhaps, feeling in sympathy
-with the vigorous young life that preferred this mode of locomotion
-to being carried about on the downiest cushions of the
-easiest of carriages. A ride which accorded with the unconventional
-mood of our club was not despised however, for, urged on
-by the girls, our little matron would make bold to accost some
-countryman driving a vehicle sufficiently large, and persuade
-him, in the terms of the country, to “give us a lift.” Jolting
-about in a springless wagon or hay-cart was not in the least
-enervating, and we experienced no indolent wish to continue our
-journey on wheels when forced by diverging roads to leave our
-equipage. It was not until the ever-increasing heat of the sun,
-and our own languid disinclination to much exertion, warned us
-that the mildness of spring had passed, that we concluded to disband
-for the summer. In the fall we again fell into rank, and
-came home from our walks laden with the gorgeous trophies of
-autumn, as we had once carried in triumph the tasselled branches
-and dainty flowers of spring.</p>
-
-<p>We continued our tramps into the early winter, when the
-frosty crispness of the air made it very bracing, and the brisk
-exercise of walking brought the healthy color to cheek and lip
-of the young pedestrians.</p>
-
-<p>Such a club as this, which at the same time promotes health,
-good spirits, and sociability, is one that most girls will enjoy
-and derive benefit from.</p>
-
-<p>A closer acquaintance with Nature, which these walks afford,
-is not the least of their benefits, and to her true lover, Nature has<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span>
-many delightful surprises and secrets to reveal; and as has
-been said, even for those who cannot read her deeper
-meanings she has a language which calls attention to her more
-outward forms of beauty, and which one may study until gradually,
-with slowly opening eyes, is seen more and more of the
-exquisite perfection of her work, that long ago might have been
-seen had one but chosen to look.</p>
-
-<p>As a society, the Walking Club is one of the most informal.</p>
-
-<p>No officers are needed, although a secretary may sometimes
-be found useful when any word is to be sent to absent members.</p>
-
-<p>The membership of the club should be large enough to
-insure the attendance of at least twelve or fourteen on each
-walk; for in this case, as I have said, safety lies in numbers.
-At a place of meeting previously appointed, the members
-should assemble, and, before starting on their walk, the route
-to be taken should be decided by vote; a decision on this
-point will be more quickly arrived at if a chairman be appointed
-to keep order.</p>
-
-<p>The first walk should not be too long. Three miles is a
-good walk to start with; a mile and a half out and the same
-home again. Gradually the distance can be lengthened, and
-the club be able to take a ten-mile walk without feeling fatigue.</p>
-
-<div class="figcenter" style="width: 479px;">
-<img src="images/i_030.jpg" width="479" height="157" alt="hat and walking stick on grass" />
-</div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p>
-
-<div class='center'> <table class="flowers" summary="flowers">
-<tr><td align='left'><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
-<div class="overlay1"><span class="smcap">To Make the Exercise of Walking
-Healthful, and therefore
-the more Enjoyable, these Rules should
-be Observed.</span>
-<div class="hangsection"><p><i>1st. Carry the body erect on the
-hips, the shoulders thrown back,
-the chest raised, and the head
-square on the shoulders.</i></p>
-
-<p><i>2d. Breathe through the nose
-while walking rapidly, otherwise
-the mouth will become dry
-and the breath short.</i></p>
-
-<p><i>3d. Wear loosely fitting clothes
-that will permit a free motion
-of the limbs, and shoes with
-broad, moderately thick, soles
-and low, broad heels. In all
-cases a girl’s skirts should be
-supported from the shoulders,
-and in walking any distance it
-is absolutely necessary for comfort
-that there should be no
-weight upon the hips.</i></p></div>
-</div>
-<br /><br /><br /><br /><br /><br /><br /></td>
-</tr></table></div>
-
-
-
-
-
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span></p>
-
-<div class="figcenter" style="width: 544px;">
-<img src="images/i_032.jpg" width="544" height="751" alt="Easter Anthem" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p>
-
-
-
-
-<h2>CHAPTER IV.<br />
-
-<small>EASTER.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_033.jpg" width="138" height="188" alt="E" />
-</div>
-
-<p class="drop-capi3">EVERYWHERE the children are playing with
-eggs; eggs colored in every hue—mottled,
-striped, and gilded; real eggs and imitation
-ones; sugar, glass, and wooden eggs; for
-this is Easter-tide, and not only in America,
-but in many far-away countries, where the
-habits and customs are very different from
-ours, does Easter bring to the children the highly prized,
-gayly-colored
-eggs.</p>
-
-<p>How nice it would be if we could take a peep into these
-foreign countries, and discover what else Easter brings the little
-ones besides the pretty eggs, and also how the people of such
-widely differing nations keep this happy festival common to
-all.</p>
-
-<p>If we could look into England now, we should find that the
-ceremonies there begin on Palm Sunday (the last Sunday before
-Easter), and on that day many people go a-palming, only
-they do not, of course, find palm, but gather instead branches
-of willow, which they stick into their hats and button-holes.
-On Good-Friday we might see, on almost every breakfast-table,
-those hot spicy cakes with a cross stamped on the face, known
-to many of us as well as to our English cousins, as “hot cross
-buns.” We should feel very much at home looking into the
-churches on Easter Sunday, for we should find them beautifully<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>
-decorated with flowers, and hear the Easter anthems chanted as
-we might in our own country. I do not think we can see in
-America, though, the ceremony which, on Easter Monday, is
-performed by the charity school-children in England. Were we
-among the spectators who, with shouts and merry laughter,
-crowd around to watch this performance, we should see the
-children take their places, with their backs against the outside
-of the church, and then join hands until a circle is formed
-around the building, thus completing what is called “clipping
-the church.”</p>
-
-<p>It would be great fun to see the Easter celebration in Russia,
-which includes many peculiar customs, and where the children
-receive presents as we do at Christmas, besides more eggs
-than any of us ever thought of possessing; some of the eggs
-being beautifully made of glass or porcelain, and filled with
-sugar-plums or small presents. How amusing it would be to
-watch the people, following a custom always observed on
-Easter Monday in this queer land, as they go about kissing
-relations, friends, and acquaintances, wherever they happen to
-meet them.</p>
-
-<p>If we were really in this great, cold, furry country, we
-might go with the children to make their Easter visits, and,
-on entering a house, hear the greeting, “Jesus Christ is
-risen,” and the answer, “Yes, he is risen;” then after kissing
-the inmates and exchanging eggs with them, go to visit
-elsewhere.</p>
-
-<p>All this would seem very strange to American eyes; and
-it would be a strange sight too, if we could look into the cities
-of Spain and see the people in the streets shooting at stuffed
-figures of Judas Iscariot.</p>
-
-<p>A passing glance at Ireland on Easter morning would show
-us the people making haste to be out at sunrise to see the sun
-dance in a pool or pail of clear water.</p>
-
-<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p>
-
-<p>It would be worth while to give more than a passing glance
-into Germany at this season, for in this country, where the children’s
-happiness is so much thought of and so well provided
-for, Easter Monday is looked upon as a grand holiday, and
-all the young people appear in their gala costumes ready for
-any fun or frolic that may be going on. It is a pretty sight
-when the little peasant-girls, in their quaint gowns and odd
-little caps, dance on the green with the boys, whose costumes
-are equally as picturesque; and it is also entertaining to
-watch them as they play various games with their many-colored
-eggs.</p>
-
-<p>In Germany, too, we should find that the children believe as
-sincerely in the Easter hare as they do in Santa Claus in our
-country; and the saying, that “the hares lay the Easter eggs,”
-is never doubted by the little ones.</p>
-
-<p>After visiting in imagination all these foreign countries to
-see their Easter celebrations, it may prove interesting to turn
-our eyes toward home, for, since our country is so large—as
-large almost as all Europe put together—perhaps some of our
-little citizens who have never been in Washington do not
-know how, in the capital of the United States, the children hold
-high carnival on Easter Monday, nor how the grounds of the
-White House and also of the Capitol are given up to them on
-this day that they may frolic on the lawns and roll their eggs
-down the hills. It would be as novel a sight to some of us as
-any found abroad, to see several thousand children rolling and
-tossing their eggs, while shells of every hue cover the grass in
-all directions.</p>
-
-<p>The following newspaper item, cut from the <i>Evening
-Star</i>, Washington, D. C., April 27, 1886, shows how these
-rights of the little Americans are recognized and respected,
-and how unmolested they enjoy the privileges of Easter Monday.</p>
-
-<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p>
-
-
-<div class="blockquot">
-
-<p class="center">“THE EASTER EGG-ROLLING.<br /><br />
-<small>“CHILDREN SHAKE HANDS WITH THE PRESIDENT.</small></p>
-
-<p>“The crowd in the White House grounds greatly increased yesterday
-afternoon, so that the grounds were literally packed with children. The
-crowd was the largest and best appearing that has collected there in many
-years. The President and Colonel Lamont watched the children for some
-time from the library window.</p>
-
-<p>At the President’s reception at half-past one o’clock hundreds of children
-gave up their sport temporarily and thronged the East Room to shake
-hands with the President.”</p></div>
-
-
-<h3><b>Easter Egg Games.</b></h3>
-
-<p>In the game they play at Washington, on the hills sloping
-from the White House, the child whose egg reaches the foot of
-the hill in an unbroken condition takes the one worsted in the
-journey down. Another game for two is played by knocking
-the eggs together; each child holds an egg firmly in his hand
-so that only the small end is visible, and then the two eggs are
-struck against each other until one is cracked, when the victorious
-player adds it to his stock, or devours it on the spot. I
-would not like to state the number of eggs eaten on these
-occasions, but there is a boy (<i>not a girl</i>) who once consumed
-fourteen and lived to tell the tale.</p>
-
-<p>Sometimes the egg which breaks another is called “the
-cock of one,” and when it has broken two it is “cock of two,”
-and so on. When an egg which is cock of one or more is
-broken, the number of trophies won by the victim is added to
-the score of the conquering egg and it becomes “cock of three”
-or more. Here is a game which comes from Germany, and although
-in that country it is played exclusively by boys, there is
-no reason why the girls should not participate in it as well. Two<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>
-baskets are necessary for this game, one large and shallow filled
-with soft shavings, the other shallow also, but smaller, and filled
-with eggs. The plan of the game is that one player is to run a
-given distance, while another safely throws the eggs from one
-basket to the other, she who completes her task first being the
-winner. When the baskets are prepared, and the distance the
-eggs are to be thrown decided upon, the two contestants draw
-lots to determine who shall run and who shall throw. This
-settled, the player who throws takes the basket of eggs, and one
-after another quickly tosses them the length of the course and
-into the basket of shavings, which is placed on the ground at the
-end of the course opposite the thrower. In Germany this
-basket is held by an assistant, but anyone occupying that position
-might receive some severe blows from the hard eggs
-thrown by unpractised hands, and it answers the purpose just
-as well to place the basket on the ground. Meantime the
-other player runs the distance (decided beforehand) to an appointed
-goal, marks it as a proof of having touched it, and should
-she succeed in returning before all the eggs are thrown, the victory
-and prize are her reward; otherwise they belong to the
-thrower.</p>
-
-<p>The game finished, a prize is presented to the successful contestant.
-Should any of the eggs pitched by the thrower fail to
-light in the basket, they must be gathered up and thrown again
-before the runner returns, as the eggs must all be in the basket
-before the thrower wins the game.</p>
-
-<p>“Bunching eggs” comes from Ireland, and is played in very
-much the same manner as the game played with a slate and
-pencil, and known to all children as “tit, tat, toe, three in a row.”
-A pan or large dish filled with sand or sawdust is set upon a
-table, around which the children stand, each supplied with eggs;
-the eggs of each player must be all of one color, and unlike
-those of any other player. The object of the game is for each<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
-player to so place her eggs, standing them upright in the sand,
-or sawdust, as to bring five in a row touching each other.</p>
-
-<p>In turn each player puts down an egg, sometimes filling
-out a row for herself, at others cutting off the line of an opponent;
-and the one who first succeeds in obtaining the desired
-row sings out—</p>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">“The raven, chough, and crow,</div>
-<div class="verse"><span style="margin-left: 0.5em;">Say five in a row.”</span></div>
-</div>
-</div>
-
-<p>Another pretty game from Ireland called “Touch” is played
-in the following manner:</p>
-
-<p>Six eggs of the different colors—green, red, black, blue,
-white, and gold are placed in a row in the sand used for the other
-game. One of the players is blindfolded and given a light wand
-or stick, with which she must touch one of the eggs, while at
-the same time she recites these lines:</p>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">Peggy, Patrick, Mike, and Meg,</div>
-<div class="verse">See me touch my Easter egg;</div>
-<div class="verse">Green, and red, and black, and blue,</div>
-<div class="verse">Count for six, five, four, and two.</div>
-<div class="verse">If I touch an egg of white,</div>
-<div class="verse">A forfeit then will be your right;</div>
-<div class="verse">If I touch an egg of gold,</div>
-<div class="verse">It is mine to have and hold.</div>
-</div>
-</div>
-
-<p>As is told in the rhyme, the eggs each have a different
-value. Green counts six; red, five; black, four; and blue,
-two; and the gold egg is worth more than all put together, for
-when a player touches that, she wins the game and a forfeit of
-an egg from each of the other players. The white egg is worth
-less than nothing, since it not only has no value but whoever
-touches it with the wand must pay a forfeit.</p>
-
-<p>Each player is in turn blindfolded and makes her trial, keeping
-account of the value of the eggs she has touched. When the<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span>
-sum of twenty has been reached by anyone the game is ended,
-without the aid of the gold egg. The position of the eggs are
-changed after each trial, that the person about to touch them
-may not know where it is best to place her wand.</p>
-
-
-<h3><b>Easter Egg Dolls.</b></h3>
-
-<p>In some of the large confectionery stores in New York City
-may be found at Easter-tide quaint little Easter offerings, looking
-at first sight exactly like dolls’ heads surmounted by pretty
-little head-dresses. As dolls are not peculiarly appropriate gifts
-for Easter, one naturally examines them closer, to ascertain if
-there is anything about them significant of the day, and in so
-doing quickly discovers that the heads are not made of wax or
-china, as was at first supposed, but are simply egg-shells from
-which the eggs have been blown, leaving the shell perfect.
-Little faces are painted upon these shells, and the cunning caps
-or bonnets are made of tissue-paper.</p>
-
-<p>Now it is our purpose to teach the children who do not live
-in New York and have never seen these pretty toys, and also
-those who, having seen, cannot afford to purchase them, just how
-to make some of these little men and women, and how to fashion
-a variety of head-dresses not to be found in the stores.</p>
-
-<div class="figcenter" style="width: 491px;">
-<img src="images/i_040.jpg" width="491" height="678" alt="patterns" />
-<div class="caption">Patterns for Head-dresses.</div>
-</div>
-
-<p>To begin with, select several nice large eggs, those of a
-pinkish yellow are preferable, being something of a flesh-tint.
-These eggs should be blown, or the shells emptied of their
-contents; to blow them make a small hole in each end of the
-shell, and, taking it gently between the thumb and forefinger,
-put one hole to the lips; then blow, not too hard, but steadily,
-until the egg has all run out of the other end.</p>
-<div class="figleft" style="width: 200px;">
-<img src="images/i_041a.jpg" width="200" height="200" alt="egg nun" />
-<div class="caption">The Nun.</div>
-</div>
-<p>The face must be painted next, and to those who know
-nothing of drawing this will seem no easy task, until by carefully
-observing the following direction they will find that it is<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a><br /><a name="Page_41" id="Page_41">[41]</a></span>
-in the power of anyone to produce as pretty a face as could
-be wished for.</p>
-
-
-<p>Among picture-cards, or in almost any juvenile book, may
-be found many pretty faces of a suitable size which can be
-transferred to the egg in this way.
-Lay a piece of tracing-paper over the
-head selected, and with a soft lead-pencil
-trace carefully all the lines indicating
-the features; then place the
-paper on the shell so that the pencil-marks
-are next to it, and with a hard
-pencil, or ivory knitting-needle, go
-over the lines again, thus transferring
-the soft pencil-marks to the shell.
-Touch up and strengthen the features
-with a fine paint-brush and india-ink. Anyone understanding
-painting may color the face in natural tints, but it looks very
-nicely done merely in outline.</p>
-
-<div class="figright" style="width: 172px;">
-<img src="images/i_041b.jpg" width="172" height="209" alt="egg girl" />
-<div class="caption">The Old-fashioned Girl.</div>
-</div>
-
-<p>The simplest arrangement for holding the little head erect
-is a small pasteboard box turned upside down, and having a
-hole cut in the bottom just large enough
-to admit the small end of the shell; this
-will support the head nicely, and also form
-the shoulders.</p>
-
-<div class="figleft" style="width: 152px;">
-<img src="images/i_042.jpg" width="152" height="213" alt="egg gentleman" />
-<div class="caption">The Dude.</div>
-</div>
-
-<p>Make the hair of raw cotton blackened
-with ink, and fasten it on the head with
-mucilage. When all of the foregoing directions
-have been carried out it is time
-to attend to the head-dresses, and we will
-begin with the quaint and old-fashioned
-poke-bonnet. Cut this bonnet from ordinary
-brown wrapping-paper after the pattern shown in diagram;
-sew together the ends of the “side of crown,” then sew<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span>
-the curved side (which is cut in slits as shown in pattern, and
-folded back as indicated by dotted line) to the smallest part of
-brim; fold in the strips marked on the straight “side of
-crown” and fasten on the “top of crown” with mucilage. The
-trimming for the bonnet consists of a fold and bow of colored
-tissue paper.</p>
-
-
-<p>Make the man’s hat of shiny black paper by the pattern in
-diagram, and fasten together in the same
-manner as the bonnet, rolling the sides of
-the brim when finished. Black and white
-tissue-paper folded to fit the head, as
-shown by the dotted lines in the pattern,
-forms the head-dress of the nun.</p>
-
-<p>By copying the head-dresses of different
-nations, an odd and curious assembly
-of these Easter-egg dolls can be formed;
-but that must be worked out at some
-future time, for we have yet to tell how
-to construct some Easter toys that cannot be found in any
-store. The</p>
-
-
-<h3><b>Humpty Dumpty</b></h3>
-
-<p class="unindent">who “sat on a wall,” and the “Humpty Dumpty” who “had
-a great fall,” must have been like the one I am about to describe,
-made of an egg; for it is pretty certain that if he should
-fall, “all the king’s horses and all the king’s men couldn’t put”
-this “Humpty Dumpty together again” any more than they
-could the other.</p>
-
-<div class="figcenter" style="width: 502px;">
-<img src="images/i_043.jpg" width="502" height="654" alt="diagram" />
-<div class="caption">Diagram of Humpty Dumpty.</div>
-</div>
-
-<p>The diagram shows the frame of this little fellow and how it
-is joined together. A large egg should be chosen; and when
-the contents have been blown from the shell, four holes must
-be pricked in it for the arms and legs to pass through, as shown
-in the diagram. These limbs are made of rather fine bonnet-wire,<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a><br /><a name="Page_44" id="Page_44">[44]</a></span>
-the piece used for the arms being about eight inches long.
-The hand is made by bending up one end of the wire as in diagram,
-and with softened beeswax covering the loop thus formed.
-When one hand has been finished off in this way, the other end
-of the wire, still straight, should be passed through one of the
-holes near the small end of the shell and out through the one
-opposite, then bent up into
-a hand and arm in the
-same manner as described.</p>
-
-<div class="figright" style="width: 298px;">
-<img src="images/i_044.jpg" width="298" height="293" alt="Humpty sitting" />
-<div class="caption">Humpty Dumpty.</div>
-</div>
-
-<p>The wire for the legs
-and feet must be ten inches
-long. The diagram shows
-how it is bent to form the
-feet. On this frame, wax
-can easily be modelled to
-look like a foot; a coating
-of red paint will add to the
-appearance, as red boots
-look well with the costume
-to be worn. The wire for
-the legs should be bent in
-a curve in the middle (see diagram) before it is passed through
-the shell. Again, as with the hands, one foot must be finished
-and the legs fastened on before the other foot can be made.</p>
-
-<p>The figure of Humpty Dumpty being thus prepared, his face
-must be painted; water-colors are the best for this purpose.
-The jollier the expression of his face, the funnier the little man
-will look.</p>
-
-<p>Patterns for trousers, jacket, and hat are shown in the diagrams.
-The trousers should be cut from white cotton cloth two
-and a half inches long and six inches wide. A slit an inch and
-a half long, cut in the middle, separates the legs of the trousers,
-which must, of course, be sewed up. Dotted lines at top and<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span>
-bottom show where a gathering thread should be run, the bottom
-gathers forming ruffles around the ankles. White should
-also be used for the jacket, cutting it three and a half inches
-long and five inches wide. The shape of the jacket may be
-seen in the diagram, dotted lines showing where the sleeves are
-to be gathered around the wrist. Collar and pockets of red—the
-patterns of which are given—finish the little garment. A
-white hat four inches around the brim and two inches high is
-decorated with a band of red, which should be sewed on the
-edge and turned up.</p>
-
-<p>When dressing Humpty Dumpty, fasten his garments on to
-his body here and there with glue, which will hold them securely
-in place. The hat also should be glued to his head, as
-it is difficult otherwise to keep it on.</p>
-
-
-<h3><b>Miss Rolly-poly.</b></h3>
-
-<div class="figleft" style="width: 322px;">
-<img src="images/i_045.jpg" width="322" height="317" alt="egg woman" />
-<div class="caption">Miss Rolly-poly.</div>
-</div>
-
-<p>Little Miss Rolly-poly, who decidedly
-refuses to lie down, always regaining
-an upright posture, no matter
-in what position she is placed, is made
-in the following manner: After the
-contents have been blown from the
-shell, the hole of the small end is enlarged
-gradually until it is about a
-half-inch in diameter; the shell is then
-placed in an upright
-position (a box with a
-hole cut in it just large
-enough to hold the egg
-firmly makes a good
-stand) and melted sealing-wax is poured in; on top of this
-melted lead is poured, all the while care being taken to keep<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span></p>
-
-<p class="unindent">the shell perfectly steady, that the weight may fall exactly in
-the centre and make a perfect balance. A small quantity of
-lead is sufficient for the purpose, as the shell is so very light.</p>
-
-<div class="figcenter" style="width: 424px;">
-<img src="images/i_046.jpg" width="424" height="353" alt="diagram" />
-<div class="caption">Diagram of Miss Rolly-poly.</div>
-</div>
-
-<p>Miss Rolly-poly requires no limbs; when her babyish face
-is painted she is ready for her costume. The dress is simply
-made of a strip of colored cloth, and is two inches long and
-seven inches wide. The white apron is fastened to the dress as
-shown in the diagram. Sleeves are made of pieces of the dress,
-material about one inch long and one and a half inch wide.
-They are rolled up and fastened with needle and thread, then
-sewed on to the dress in the position shown in the diagram.
-Pockets are made for the apron, and the ends of the sleeves
-tucked in them, which makes it appear as though the hands
-were hidden in the pockets. The cap, made of the same material,
-or of a color harmonizing with the dress, is four inches<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>
-round the brim and one inch high; it is sewed together at the
-two ends, and gathered into a pompon on top, as is shown by
-the dotted lines in the diagram. A little glue should also be
-used to fasten this dolly’s dress and cap on.</p>
-
-
-<h3><b>Mandolin.</b></h3>
-
-<div class="figcenter" style="width: 456px;">
-<img src="images/i_047.jpg" width="456" height="132" alt="spoon-like diagram" />
-</div>
-<div class="figright" style="width: 331px;">
-<img src="images/i_047b.jpg" width="331" height="434" alt="mandolin with ribbon" />
-<div class="caption">The Mandolin.</div>
-</div>
-
-<p>A pretty little toy
-mandolin is made of the
-lengthwise half of an
-egg-shell. To separate
-the shell in
-this way it is
-necessary
-to pierce
-holes
-with a needle along
-the line where the division
-is to be made,
-which will cause it to break
-evenly; or the egg may be
-boiled hard and then cut in
-half with a very sharp knife.
-Fig. 6 is cut from stiff paper,
-and the strings drawn with pen
-and ink; then the shell is fastened
-to it on the opposite side
-by pasting a narrow strip of white tissue paper
-over the edges of the shell and frame, joining
-them together. The top of the handle
-is bent down a little and a narrow ribbon
-tied to it. To make the
-mandolin still more complete,
-paint the handle mahogany
-color, with a fine needle stitch
-on strings of yellow silk, and paint the egg-shell into pumpkin-like
-divisions of yellow and mahogany.</p>
-
-
-
-<p><span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span></p>
-
-
-<h3><b>The Owl.</b></h3>
-
-<div class="figleft" style="width: 92px;">
-<img src="images/i_048a1.jpg" width="92" height="163" alt="diagram" />
-<div class="caption">Wing.</div>
-</div>
-
-<div class="figright" style="width: 154px;">
-<img src="images/i_048a2.jpg" width="154" height="210" alt="diagram" />
-<div class="caption">Diagram of Owl.</div>
-</div>
-
-<p>To turn a hen’s egg into an owl has not before, I imagine, been
-thought possible; yet it is easy enough, and requires but a very
-short time to accomplish the transformation, when one knows
-just how to go to work. No incubator is needed to hatch this
-bird, as only the shell is used, the
-contents having been disposed of
-in the manner before described.
-We commence the formation of
-the little owl by making two holes
-near the large end of the shell in
-the position shown in diagram.</p>
-<div class="figleft" style="width: 121px;">
-<img src="images/i_048a3.jpg" width="121" height="100" alt="legs and feet diagram" />
-</div>
-
-<p>By looking at the next diagram
-the manner of making the feet and
-legs may be seen. A short piece
-of wire is bent in the shape given,
-and is wrapped on to a longer
-wire with strong thread, thus forming
-three toes, which are quite
-enough for a bird that will never walk. One foot made, the
-wire is passed through the shell, having first been bent into a<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>
-curve, as in the description of Humpty Dumpty. When the
-last foot has been fastened on, the wire should be pushed back
-into the shell, allowing but little of the legs to show. The
-wings are cut by the pattern given, and are painted to resemble
-feathers as much as possible. Brown is the best color to use.
-By the diagram may be seen how the head and body are painted.</p>
-<div class="figcenter" style="width: 214px;">
-<img src="images/i_048b.jpg" width="214" height="262" alt="owl on branch" />
-<div class="caption">Owl Complete.</div>
-</div>
-
-
-<h3><b>Maple-wax Easter Eggs.</b></h3>
-
-<p>Empty the egg-shell of its contents and open a place at the
-small end the size of a silver dime. Stand it in an upright position
-with the largest opening on top, and leave it while you
-prepare the maple-wax, or candy. Mix enough water with
-some maple sugar to dissolve it, and set on the fire to cook;
-when it will harden in cold water it is done. Carefully fill the
-egg-shell with the hot maple-wax, and keeping it in an upright
-position, set it on the ice to cool. When the wax is perfectly
-cold and hard, paste an artificial daisy over the opening in the
-shell. Maple-wax is the nicest kind of candy, and done up in
-this way will remain firm and hard for a long while; and therefore
-these maple-wax eggs make excellent Easter gifts to send
-away to one’s friend at a distance. The best way to pack them
-is to wrap them in cotton and then put them in a tin baking-powder
-box, filling up the interstices with cotton to keep them
-from knocking about.</p>
-
-<p>The box, of course, must be wrapped in paper and tied securely
-with a string. Packed like this, they may travel safely
-all over the United States. The writer sent several the distance
-of over seven hundred miles, and they arrived at their destination
-in as perfect condition as when they left her hands.</p>
-
-
-<h3><b>Bonbon Box.</b></h3>
-
-<p>Select a box two or three inches high—a round one is best—which
-has a lid that covers the entire box. Cut some straw<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>
-or hay in pieces long enough to reach from the top to the edge,
-and glue it on the sides of the lid, covering them completely.
-Prepare as many halves of egg-shells as will cover the top, allowing
-a space one inch wide around the edge. Glue the shells
-down, and fill up the spaces between with straw. Near the
-edge, on the opposite sides, glue a loop of narrow white ribbon;
-these loops are to lift it with. Then glue straw on all the
-uncovered parts of the lid, making it a little thicker and higher
-at the edges. When the box is finished it resembles a nest of
-eggs, and makes an appropriate and acceptable Easter gift.</p>
-
-
-<h3><b>Easter Cards.</b></h3>
-
-
-<div class="figleft" style="width: 208px;">
-<img src="images/i_050.jpg" width="208" height="292" alt="Easter card" />
-</div>
-<p>It is a very pretty custom, that of sending Easter cards,
-altogether too pretty to be allowed to lapse into disuse, as many
-customs which are merely the expression
-of sentiment are apt to do
-in this busy, practical country of
-ours. One experiences a great deal
-of pleasure in selecting from the
-stock of beautiful cards found in the
-stores just before Easter those that
-seem suitable for one’s friends, but
-more pleasure will be derived from
-home-made Easter cards, both to
-the sender and recipient; for it is
-true that into everything we make
-we put a part of ourselves, and into
-many a home-made article is woven
-loving thoughts which make the gift priceless, although the materials
-of which it is composed may have cost little or nothing.</p>
-
-<p>Several years ago the writer was visiting a friend in the
-country twenty miles from the nearest town where Easter cards<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>
-could be purchased, but when Easter approached we sent off
-our cards, just the same, and I am sure our friends were as
-pleased with them, and more pleased, than if they had been of
-the most expensive kind. This is how we made them:</p>
-
-<div class="figcenter" style="width: 460px;">
-<img src="images/i_051.jpg" width="460" height="325" alt="diagram" />
-<div class="caption">Pattern for the Chicken.</div>
-</div>
-
-<p>It was an early spring, and the woods were filled with wild-flowers,
-anemones and violets mostly; these we gathered, and
-arranging them in small bunches, stuck the stems through little
-slits cut in cards or pieces of heavy paper, as they are sometimes
-fastened in books when pressed. Underneath the bouquet
-we wrote the name of the person for whom it was intended,
-with some friendly message appropriate to the season, and
-signed our own names; then we carefully folded each in writing
-paper, taking pains not to crumple the flowers, and enclosing
-them in envelopes, sent them to their destination through
-the mail. Any kind of flowers can be used for these Easter
-cards, and instead of putting the stems through slits in the<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>
-card, they may be tied to them with narrow ribbon. A card
-to be sent only a short distance should be put in a box just
-deep enough to leave room for the flowers, and fastened in
-some way to keep it from moving about; in this way it will
-reach its destination sweet and fresh.</p>
-
-<p>To those who can paint their Easter cards we have no suggestions
-to offer, for they have an unlimited supply of designs at their
-command, and with their power of decoration, may turn almost
-anything into an Easter card, from a piece of satin ribbon, upon
-which they sketchily paint a spray of flowers, to an elaborate
-picture. A few suggestions are here given which our younger
-readers may like to carry out, as the cards we describe are
-easily made, and adapted to amuse the children.</p>
-
-<p>“Stepping through the White House” the first card is called,
-and it represents a little chicken breaking through its shell.
-The pattern of the chicken is given in the diagrams. Fig. 7, the
-head and neck, is cut from yellow
-flannel; Figs. 8, 9, and 10, the main
-part and fragments of shell, are of
-white paper, and Fig. 11, the feet, of
-black paper. These are pasted to a
-tinted card, as shown in illustration.
-The eye and bill are made black
-with ink or paint.</p>
-
-
-<h3><b>Little Quakeress.</b></h3>
-
-<div class="figright" style="width: 210px;">
-<img src="images/i_052.jpg" width="210" height="281" alt="Quaker egg" />
-<div class="caption">The Little Quakeress.</div>
-</div>
-
-<p>Half an egg-shell, with the face
-and hair painted on it, forms the
-head. The cap is made of white
-tissue paper cut in four strips; one, for the crown, is six and a
-half inches long, and a little over one and a half wide; another,
-for the brim, is four and a half inches long and one inch wide;<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>
-while the strings are each three and a half inches long, and one
-and a half wide. The crown is plaited in the centre, the brim
-folded lengthwise through the middle, and sewed to the crown.
-The strings are fastened on either side of the cap, and crossed
-in front; then the cap is pasted on the head, the surplus paper
-folded back, and the whole glued on a card. The ends of the
-strings are also fastened to the card, forming a Quaker kerchief.</p>
-
-<div class="figcenter" style="width: 486px;">
-<img src="images/i_053.jpg" width="486" height="128" alt="basket of eggs" />
-</div>
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_054.jpg" width="600" height="434" alt="girls playing tennis" />
-<div class="caption">Lawn-Tennis with Our Own Net.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span></p>
-
-
-
-
-<h2>CHAPTER V.<br />
-
-<small>HOW TO MAKE A LAWN-TENNIS NET.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_055.jpg" width="197" height="182" alt="L" />
-</div>
-
-<p class="drop-capi2">LET us see; it was that old medical gentleman,
-Galen the Greek, who first
-wrote upon tennis, speaking of the
-sport as healthy exercise, was it not?
-Well, girls, it really does not matter
-much to us whether he was the first
-to write it up and the Greeks the
-first to play it, or whether the game
-originated in France in the fifteenth
-century, as some claim. What <i>we</i> want to know is, can we
-all learn to play tennis? Does it cost much? What kind of
-gowns and shoes must we wear? And is it an enjoyable game?</p>
-
-<p>There is no doubt, we think, of its being a right royal
-pastime, as it has been called both the “king of games” and
-the “game of kings;” the latter because it was enjoyed by
-princes and nobles—so much enjoyed, that in both England and
-France edicts were published forbidding the common people to
-play it.</p>
-
-<p>Girls, do you wonder if they always had the choice of courts,
-and so never took part in the fun of spinning the racket in the
-air while the adversary called out “rough” or “smooth;” or
-whether they played as we do, taking their defeats pleasantly
-and wearing their honors gracefully, while always doing their
-very best?</p>
-
-<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p>
-
-<p>They must have played well, for it is said that Louis XI.,
-Henry II., and Charles IX., were experts, and that Henry VIII.
-of England was extremely fond of the sport.</p>
-
-<p>We can easily learn to play this most popular and exhilarating
-of games. But we must be suitably clothed in order to
-thoroughly enjoy it and receive all the benefit the recreation
-brings to both mind and body.</p>
-
-<p>Flannel seems to be the best material for a tennis suit—it is
-so soft and yielding, and so well adapted for a defence against
-either cold or heat.
-Then, make your
-tennis gown of flannel;
-the skirt in
-plaits, without drapery;
-the postilion
-basque of Jersey
-cloth, soft and elastic,
-matching the
-skirt in color.</p>
-
-<p>Sew the skirt of
-your gown on a
-sleeveless waist,
-made of lining or
-muslin. The Jersey
-will fit nicely over
-this, and you can play better and feel far more comfortable
-than when the weight is allowed to drag on the hips. For it
-is nonsense to attempt to take part in any athletic game unless
-you can have perfect freedom of action; in short, you should
-be so dressed as to be utterly unconscious of your clothing.</p>
-
-<div class="figcenter" style="width: 341px;">
-<img src="images/i_056.jpg" width="341" height="289" alt="two birds on net" />
-<div class="caption">An Old Game.</div>
-</div>
-
-<p>Either crochet a Tam O’Shanter hat or make one of the
-dress material, as these are not so apt to fall off while running as
-a straw hat. “Last, but not least,” come the shoes. Of course,<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span>
-rubber-soled shoes are the best. But if these are not to be had,
-remove the heels from an old pair of ordinary shoes, and they
-will do very well; heels roughen and cut the courts.</p>
-
-<p>The actual cost of a lawn-tennis set need only be the price
-of the rackets and balls, and rope and cord necessary when
-you learn</p>
-
-
-<h3><b>How to Make a Lawn-Tennis Net,</b></h3>
-
-<p class="unindent">which is not difficult.</p>
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 237px;">
-<img src="images/i_057a.jpg" width="237" height="36" alt="diagram" />
-<div class="caption">Stake.</div>
-</div>
-</td>
-<td align="left"><div class="figright" style="width: 166px;">
-<img src="images/i_057b.jpg" width="166" height="41" alt="diagram" />
-<div class="caption">Peg.</div>
-</div>
-</td>
-</tr>
-</table>
-</div>
-<p>First procure two pieces of cotton rope, three-sixteenths of
-an inch in size, each thirty-four feet long, costing about twenty-five
-cents apiece. Then one and a half pound of hammock
-twine or macrimé cord, No. 24, which will not cost more than
-fifty cents. Next, two lengths of cotton rope for guy-ropes,
-each five feet, price, both included, ten cents; making the total
-amount $1.10 for a strong, firm, tennis
-net which will prove serviceable and
-last many a season.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr><td align="left"><div class="figcenter" style="width: 184px;">
-<img src="images/i_057c.jpg" width="184" height="73" alt="diagram" />
-<div class="caption">Runner.</div>
-</div></td><td align="left" rowspan="2" valign="middle"><div class="figcenter" style="width: 192px;">
-<img src="images/i_057e.jpg" width="192" height="56" alt="diagram" />
-<div class="caption">The Fid.</div>
-</div></td></tr>
-<tr><td align="left"><div class="figcenter" style="width: 163px;">
-<img src="images/i_057d.jpg" width="163" height="73" alt="diagram" />
-<div class="caption">Runner and Guy-rope.</div>
-</div></td></tr>
-</table></div>
-
-<p>The other
-materials necessary are all home-made.
-These consist
-of two stakes, each five feet long (Fig.
-12). Any kind of a strong pole, when
-sharpened at one end and a notch cut
-at the other, will answer the purpose. Four pegs, each one foot
-long (Fig. 13). These may be easily made of old broomsticks.
-Four runners (Fig. 14), each five inches long, one and a quarter
-wide, and about half an inch thick, with holes bored near each<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span>
-end large enough to allow the guy-rope (Fig. 15) to pass
-through. A fid or mesh-stick of any kind of wood (Fig. 16),
-about a foot or ten inches long, with circumference measuring
-three inches. A hammock-needle (Fig. 17), nine or ten inches
-long and one wide, which may be bought for ten cents, or
-whittled out of a piece of ash or hickory by some kind
-brother. Tassels are not necessary, though
-it is much better to have them, as they make
-the top line of the net more distinct and add
-to its appearance. Make about forty bright-colored
-tassels of worsted, or bits of flannel
-cut in very narrow strips, three inches long, allowing ten or
-twelve strips to each tassel. Commence your tennis net by
-first threading the needle; take it in the left hand, and use the
-thumb to hold the end of the cord in place while looping it
-over the tongue (see Fig. 18); pass the cord down under the
-needle to the opposite side, and catch it over the tongue. Repeat
-this until the needle is full.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 50px;">
-<img src="images/i_058a.jpg" width="50" height="377" alt="diagram" />
-<div class="caption">Hammock-needle.</div>
-</div>
-</td>
-<td align="left"><div class="figcenter" style="width: 121px;">
-<img src="images/i_058b.jpg" width="121" height="263" alt="diagram" />
-</div>
-</td>
-<td align="left"><div class="figcenter" style="width: 91px;">
-<img src="images/i_058c.jpg" width="91" height="229" alt="diagram" />
-</div>
-</td>
-<td align="left"><div class="figcenter" style="width: 94px;">
-<img src="images/i_058d.jpg" width="94" height="371" alt="diagram" />
-<div class="caption">Needle
-Threaded</div>
-</div>
-</td>
-</tr>
-</table>
-</div>
-
-
-
-
-
-
-
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_059.jpg" width="600" height="297" alt="diagram" />
-<div class="caption">Knots.</div>
-</div>
-
-<p>Next, take a piece of rope thirty-four feet long, and make a<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>
-long loop in one end, tying the knot so that it can readily be
-untied again. Throw
-the loop over some
-convenient hook or
-door-knob (Fig. 19)
-with the knot at the
-knob or hook. Tie
-the cord on the needle
-to the loop, place the
-fid or mesh-stick under
-the cord close to
-the loop (Fig. 20),
-with the thumb on the
-cord to hold it in place
-(Fig. 25), while you
-pass the needle around
-the mesh-stick, and,
-with its point toward
-you, pass it through
-the loop from the top,
-bringing it over the
-mesh-stick. This will
-make the first half of
-the knot (Fig. 21).
-Pull this tight, holding
-it in place with the
-thumb while you
-throw the cord over
-your hand, which
-forms the loop as seen
-in Fig. 22. Then pass
-the needle from under
-through the loop, pulling it tight to fasten the knot. Hold it<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>
-in place with the thumb, and repeat these movements for the
-next knot. Fig. 23 shows a number of these knots finished.
-A in Fig. 23 is a knot before it is drawn tight; B in Figs. 21,
-22, 23 is the string that runs to the needle, C is the rope, and
-D is the mesh-stick. About two hundred and sixty-four of
-these knots or meshes will make the
-net the regular length, thirty-three
-feet.</p>
-
-<div class="figleft" style="width: 213px;">
-<img src="images/i_060.jpg" width="213" height="369" alt="diagrams" />
-</div>
-
-<p>In knitting across, the meshes will
-accumulate on the fid; shove them
-off to the left, a few at a time, to
-make space for others. When the
-desired number of meshes are finished
-to form the first row, shove them all
-off the fid, as shown in Fig. 24.</p>
-
-<p>Begin the next row by again placing
-the fid under the cord (Fig. 24).
-Take up the first mesh, drawing it
-close to the mesh-stick, hold it in
-place with the thumb while throwing
-the cord over your hand, pass the needle
-on the left-hand side of the mesh
-from under through the loop (Fig. 25);
-pull this tight, and you will have tied the common knitting-knot.
-Repeat this with all the loops until the row is finished.</p>
-<div class="figright" style="width: 226px;">
-<img src="images/i_061a.jpg" width="226" height="257" alt="diagrams" />
-</div>
-<p>When it becomes necessary to thread or fill the needle, tie
-the ends of the cord with the knot shown in Fig. 26, which, when
-properly tightened, cannot slip. Wrap each end of the cord
-from the knot securely to the main cord with strong thread, to
-give the net a neat appearance.</p>
-
-<p>Continue netting until the net is three feet wide. Then untie
-the rope, and spread the net by sliding the knots apart, and
-fasten the second rope to the bottom of the net by tying the rope<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span>
-securely to the first mesh with the cord on the needle; then
-carry the rope and cord to the next mesh, hold the rope, cord,
-and mesh firmly in place, and throw the cord over your hand,
-passing the needle down through the mesh under the rope and
-cord out through the loop (Fig.
-27). Pull this tight, and continue
-in like manner, knitting each successive
-mesh to the rope until the
-net is all fastened on. Turn back
-the end of the rope and
-wrap it down neatly
-with strong string
-(Fig. 28). In the same way secure
-the other end, and also the ends of
-the first or top rope.</p>
-
-
-
-<div class="figleft" style="width: 81px;">
-<img src="images/i_061b.jpg" width="81" height="32" alt="knot" />
-<div class="caption">Fig. 26.</div>
-</div>
-
-<p>This completes the lawn-tennis
-net proper. The bright tassels can now be tied at intervals
-along the top of the net, and four pieces of twine fastened on
-each end of the net at equal distances apart. These are for
-tying the net to the poles (Fig. 29).</p>
-
-<div class="figcenter" style="width: 504px;">
-<img src="images/i_061c.jpg" width="504" height="141" alt="Fig. 17 Fig. 18" />
-</div>
-
-<div class="figleft" style="width: 150px;">
-<img src="images/i_062b.jpg" width="150" height="250" alt="diagram" />
-</div>
-
-<p>To erect the lawn-tennis net, plant the two poles firmly
-in the ground a little over thirty-three feet apart, tie the net to
-the poles, then drive in the pegs, two to each pole, about five
-feet from the pole (Fig. 30); slide a runner on each end of the
-two guy-ropes by first threading the rope through one of the
-holes in the runner, then pass the rope over the side down<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span>
-through the other hole and fasten it with a
-knot (Fig. 15). Next tie around the notch
-in the top of the poles the guy-ropes, with
-runners attached, and slip each loop made
-by the runner over each peg (Fig. 31), allowing
-the rope to fall in the groove A near
-the top of the peg; tighten the rope by
-pushing up the runners. The stakes are
-thus held in position by ropes running out to
-the pegs in the ground (Fig. 30).</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_062a.jpg" width="600" height="115" alt="drawing" />
-<div class="caption">Fig. 30.—The Home-Made Net.</div>
-</div>
-
-<p>Now we understand how to make and
-erect a lawn-tennis net;
-but what shall we do
-about the court? Of
-course, that must be all
-ready before we can set
-up the net. We must
-now learn how to lay
-out a</p>
-
-
-<h3><b>Lawn-Tennis Court.</b></h3>
-
-<p>The best ground for
-this is turf, though it may be of asphalt, or
-earth mixed with fine gravel; sometimes
-wood is used.</p>
-
-<p>The diagram on <a href="#Page_64">page 64</a> (Fig. 32) shows
-the construction of a lawn-tennis court for
-two, three, or four-handed games.</p>
-
-<p>Lay out the court with a hundred-foot
-measuring-tape, by marking the lines with
-whitewash, chalk, paint, or plaster-of-Paris.</p>
-
-<div class="figright" style="width: 138px;">
-<img src="images/i_063.jpg" width="138" height="134" alt="fig. 31" />
-</div>
-
-<p>First the side line, seventy-eight feet,<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span>
-AB. This gives you one side of your court. Then the base
-line, thirty-six feet, AC, which, with their parallel lines CD and
-DB, form the boundaries of a court for four-handed
-games. Now lay off the side lines
-of the single court, EG and FH, which are
-parallel to the others and four and a half feet
-inside of them. Divide the court across the
-centre by the net, fastened to the poles O and
-P. The lines EF and GH are called base
-lines. Twenty-one feet from the net, mark the service lines,
-MN and TV. Then make the central longitudinal line, IJ, and
-the court is complete.</p>
-
-<p>Now everything is prepared for the game. Hold your racket
-firmly, and try to keep the ball flying over the net, back and
-forth, as often as possible.</p>
-
-<p>For the guidance of those who have had no opportunity of
-learning to play lawn-tennis the following rules are given, as
-adopted by the United States National Lawn-Tennis Association.</p>
-
-<p>First, however, we would say that it is not necessary always
-to have an umpire or a referee, as spoken of in the</p>
-
-
-<h3><b>Rules for Lawn-Tennis.</b></h3>
-
-<h4>THE GAME.</h4>
-
-<p>1. The choice of sides, and the right to serve in the first
-game, shall be decided by toss; provided that, if the winner of
-the toss choose the right to serve, the other player shall have
-choice of sides, and <i>vice versa</i>. If one player choose the court,
-the other may elect not to serve.</p>
-
-<p>2. The players shall stand on opposite sides of the net; the
-player who first delivers the ball shall be called the <i>server</i>, and
-the other the <i>striker-out</i>.</p>
-
-<p><span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span></p>
-
-<div class="figcenter" style="width: 359px;">
-<img src="images/i_064.jpg" width="359" height="693" alt="Fig. 32" />
-<div class="caption">LAWN-TENNIS COURT.</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span></p>
-
-<p>3. At the end of the first game the striker-out shall become
-server, and the server shall become striker-out; and so on, alternately,
-in all the subsequent games of the set, or series of
-sets.</p>
-
-<p>4. The server shall serve with one foot on the base line, and
-with the other foot behind that line, but not necessarily upon
-the ground. He shall deliver the service from the right to the
-left courts alternately, beginning from the right.</p>
-
-<p>5. The ball served must drop between the service line, half-court
-line, and side line of the court, diagonally opposite to
-that from which it was served.</p>
-
-<p>6. It is a <i>fault</i> if the server fail to strike the ball, or if the
-ball served drop in the net, or beyond the service line, or out of
-court, or in the wrong court; or if the server do not stand as
-directed by law 4.</p>
-
-<p>7. A ball falling on a line is regarded as falling in the court
-bounded by that line.</p>
-
-<p>8. A fault cannot be taken.</p>
-
-<p>9. After a fault the server shall serve again from the same
-court from which he served that fault, unless it was a fault because
-he served from the wrong court.</p>
-
-<p>10. A fault cannot be claimed after the next service is delivered.</p>
-
-<p>11. The server shall not serve till the striker-out is ready.
-If the latter attempt to return the service he shall be deemed
-ready.</p>
-
-<p>12. A service or fault, delivered when the striker-out is not
-ready counts for nothing.</p>
-
-<p>13. The service shall not be <i>volleyed</i>, <i>i.e.</i>, taken, before it
-has touched the ground.</p>
-
-<p>14. A ball is in play on leaving the server’s racket, except
-as provided for in law 6.</p>
-
-<p>15. It is a good return, although the ball touch the net; but<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span>
-a service, otherwise good, which touches the net, shall count for
-nothing.</p>
-
-<p>16. The server wins a stroke if the striker-out volley the service,
-or if he fail to return the service or the ball in play; or if
-he return the service or the ball in play so that it drops outside
-of his opponent’s court; or if he otherwise lose a stroke,
-as provided by law 18.</p>
-
-<p>17. The striker-out wins a stroke if the server serve two
-consecutive faults; or if he fail to return the ball in play; or
-if he return the ball in play so that it drops outside of his opponent’s
-court; or if he otherwise lose a stroke as provided by
-law 18.</p>
-
-<p>18. Either player loses a stroke if he return the service or
-the ball in play so that it touches a post of the net; or if the
-ball touch him or anything that he wears or carries, except
-his racket in the act of striking; or if he touch the ball with his
-racket more than once; or if he touch the net or any of its supports
-while the ball is in play; or if he volley the ball before it
-has passed the net.</p>
-
-<p>19. In case any player is obstructed by any accident, the
-ball shall be considered a <i>let</i>.</p>
-
-<p>20. On either player winning his first stroke, the score is
-called 15 for that player; on either player winning his second
-stroke, the score is called 30 for that player; on either player
-winning his third stroke, the score is called 40 for that player;
-and the fourth stroke won by either player is scored game for
-that player, except as below: If both players have won three
-strokes, the score is called <i>deuce</i>; and the next stroke won by
-either player is scored <i>advantage</i> for that player. If the same
-player wins the next stroke, he wins the game; if he loses the
-next stroke the score returns to deuce; and so on, until one
-player wins the two strokes immediately following the score of
-deuce, when game is scored for that player.</p>
-
-<p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p>
-
-<p>21. The player who first wins six games wins the set; except
-as follows: If both players win five games, the score is
-called <i>games all</i>; and the next game won by either player is
-scored <i>advantage game</i> for that player. If the same player wins
-the next game, he wins the set; if he loses the next game, the
-score returns to games all; and so on, until either player wins
-the two games immediately following the score of games all,
-when he wins the set. But individual clubs, at their own tournaments,
-may modify this rule at their discretion.</p>
-
-<p>22. The players shall change sides at the end of every set;
-but the umpire, on appeal from either player, before the toss for
-choice, may direct the players to change sides at the end of
-every game of each set, if, in his opinion, either side have a distinct
-advantage, owing to the sun, wind, or any other accidental
-cause; but if the appeal be made after the toss for choice, the
-umpire can only direct the players to change sides at the end of
-every game of the odd or deciding set.</p>
-
-<p>23. When a series of sets is played, the player who served in
-the last game of one set shall be striker-out in the first game of
-the next.</p>
-
-<p>24. The referee shall call the game after an interval of five
-minutes between sets, if either player so order.</p>
-
-<p>25. The above laws shall apply to the three-handed and
-four-handed games, except as below:</p>
-
-<p>26. In the three-handed game, the single player shall serve
-in every alternate game.</p>
-
-<p>27. In the four-handed game, the pair who have the right to
-serve in the first game shall decide which partner shall do so;
-and the opposing pair shall decide in like manner for the second
-game. The partner of the player who served in the first game
-shall serve in the third, and the partner of the player who served
-in the second game shall serve in the fourth; and the same order
-shall be maintained in all the subsequent games of the set.</p>
-
-<p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p>
-
-<p>28. At the beginning of the next set, either partner of the
-pair which struck out in the last game of the last set may serve,
-and the same privilege is given to their opponents in the second
-game of the new set.</p>
-
-<p>29. The players shall take the service alternately throughout
-the game; a player cannot receive a service delivered to his
-partner; and the order of service and striking out once established
-shall not be altered, nor shall the striker-out change
-courts to receive the service, till the end of the set.</p>
-
-<p>30. It is a fault if the ball served does not drop between the
-service line, half-court line, and service side line of the court,
-diagonally opposite to that from which it was served.</p>
-
-<p>31. In matches, the decision of the umpire shall be final.
-Should there be two umpires, they shall divide the court between
-them, and the decision of each shall be final in his share
-of the court.</p>
-
-
-<h4>ODDS.</h4>
-
-<p>A <i>bisque</i> is one point which can be taken by the receiver of
-the odds at any time in the set except as follows:</p>
-
-<p>(<i>a</i>) A bisque cannot be taken after a service is delivered.</p>
-
-<p>(<i>b</i>) The server may not take a bisque after a fault, but the
-striker-out may do so.</p>
-
-<p>One or more bisques may be given to increase or diminish
-other odds.</p>
-
-<p><i>Half fifteen</i> is one stroke given at the beginning of the
-second, fourth, and every subsequent alternate game of a set.</p>
-
-<p><i>Fifteen</i> is one stroke given at the beginning of every game
-of a set.</p>
-
-<p><i>Half thirty</i> is one stroke given at the beginning of the
-first game, two strokes given at the beginning of the second
-game; and so on, alternately, in all the subsequent games of
-the set.</p>
-
-<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span></p>
-
-<p><i>Thirty</i> is two strokes given at the beginning of every game
-of a set.</p>
-
-<p><i>Half forty</i> is two strokes given at the beginning of the
-first game, three strokes given at the beginning of the second
-game; and so on, alternately, in all the subsequent games of
-the set.</p>
-
-<p><i>Forty</i> is three strokes given at the beginning of every game
-of a set.</p>
-
-<p><i>Half court:</i> The players may agree into which half court,
-right or left, the giver of the odds shall play; and the latter
-loses a stroke if the ball returned by him drops outside any of
-the lines which bound that half court.</p>
-
-
-<h4>THE BALLS.</h4>
-
-<p>The balls shall measure not less than 2-15/32 inches, nor more
-than 2½ inches in diameter; and shall weigh not less than 1-15/16
-oz., nor more than 2 oz.</p>
-
-<div class="figcenter" style="width: 477px;">
-<img src="images/i_069.jpg" width="477" height="135" alt="one cherub pulling another one seated on a tennis racket" />
-</div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span></p>
-
-<div class="figcenter" style="width: 505px;">
-<img src="images/i_070.jpg" width="505" height="715" alt="drawing of children dancing round May pole" />
-<div class="caption">The May-Pole Dance.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span></p>
-
-
-
-
-<h2>CHAPTER VI.<br />
-
-<small>MAY-DAY.</small></h2>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">Ho! the merrie first of Maie</div>
-<div class="verse">Bryngs the daunce and blossoms gaie,</div>
-<div class="verse">To make of lyfe a holiday.</div>
-</div>
-</div>
-
-
-<div>
-  <img class="drop-cap" src="images/i_071.jpg" width="190" height="247" alt="I" />
-</div>
-
-<p class="drop-capi2">IN the merry heart of youth the old song
-still finds an echo, and this day, with
-its relics of pagan customs, celebrating,
-in the advent of spring, nature’s
-renewed fertility, is a festival full of
-fun for the children.</p>
-
-<p>Some of the ceremonies of May-day,
-handed down from generation to
-generation, were brought to America
-in old colonial days by the English,
-but owing, perhaps, to the stern puritanical
-training of most of the early
-settlers, the customs did not thrive here as in the mother country,
-and many of them have died out altogether.</p>
-
-<p>May-day is one of the many holidays still celebrated, that
-originated among the pagans ages ago, and it is said that the
-practice of choosing a May-queen and crowning her with flowers
-is a remnant of the ceremonies in honor of Flora, the goddess
-of flowers, which were held in Rome the last four days of April
-and the first of May.</p>
-
-<p>There was, at one time, a very pretty custom observed in<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>
-Merrie England of fastening bunches of flowering shrubs and
-branches of sycamore and hawthorn upon the doors of those
-neighbors whose good lives and kindly habits were thus recognized
-by their friends.</p>
-
-<p>The maids and matrons of England formerly had a way of
-their own of observing the day. On the first of May they would
-all go trooping out with the earliest rays of the morning sun,
-to bathe their faces in the magic dew, which glistened upon the
-grass once a year only, and was supposed to render the features
-moistened with it beautiful for the next twelve months.</p>
-
-<p>When the writer was a wee little girl there lived next door
-to her home two old maiden ladies, who always kept a bottle
-of May-dew among their treasures. Although the ladies in
-question had long since passed that period when maidens are
-supposed to be lovely, superstitious persons might have found
-confirmation of a belief in the power of the dew, when they
-looked upon the sweet and kindly faces of these old maids.
-Faith in the fabled efficacy of May-dew will probably lose its
-last adherents when the two old ladies, very aged now, leave
-this world; but other pretty customs, from which all the superstitious
-elements seem to have departed, should not be allowed
-to die out, and we intend this chapter on May-day sports as a
-reminder that May-day is a holiday and should be fittingly celebrated
-by the older girls as well as the little children, who, in
-these times, seem to be the only ones to remember the day.</p>
-
-
-<h3><b>May-day Sports.</b></h3>
-
-<p>A May-day custom, and a very pretty one, still survives
-among the children in our New England States. It is that of
-hanging upon the door-knobs of friends and neighbors pretty
-spring-offerings in the shape of small baskets filled with flowers,
-wild ones, if they can be obtained; if not, the window-gardens<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span>
-at home are heavily taxed to supply the deficiency. When the
-dusky twilight approaches, it is time for the merry bands of
-young folks to start out on this lovely errand of going from
-house to house, leaving behind them the evidence of their flying
-visit in these sweetest of
-May-offerings. Silently approaching
-a door, they hang
-a May-basket upon the knob
-and, with a loud rap, or ring
-of the bell, scamper off, and
-flee as though for life.</p>
-
-<div class="figleft" style="width: 155px;">
-<img src="images/i_073b.jpg" width="155" height="225" alt="diagram of three sticks" />
-<div class="caption">Fig. 33.</div>
-</div>
-
-<div class="figright" style="width: 277px;">
-<img src="images/i_073.jpg" width="277" height="492" alt="drawing" />
-<div class="caption">The Straw Basket</div>
-</div>
-
-<p>These little Mayers are
-sometimes pursued, but few
-are ever caught, for the recipients
-of the baskets know
-that to capture a child, carry
-her into the house and treat her to sweetmeats, usually dear to
-the youthful palate, will not compensate the little prisoner for
-being held captive and thereby missing the fun going on among
-the other children.</p>
-
-<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p>
-
-
-<h3><b>How to Make May-baskets.</b></h3>
-
-<p>The dainty little baskets which are used by the Mayers are
-generally of home manufacture. They are made of almost any
-material, and in a variety of shapes. Some, constructed of card-board,
-are covered with crimped tissue-paper, or with gilt,
-silver, or colored paper. They are never large unless flowers
-are plentiful, and even in that case a small basket is prettier.</p>
-
-<p>Our first illustration represents a May-basket made of straws.
-Fig. 33 shows the frame of this basket, for which three straws
-seven inches long are required; these are sewed together, two
-and one-half inches from the bottom, forming a tripod. For
-the sides eighteen straws are necessary, six on each side, of
-graduating lengths; the three top straws being five inches long
-and the lowest ones three and one-half inches. These are sewed
-to the frame, log-cabin fashion, one upon another.</p>
-
-<p>The bottom of the basket is made of a three-cornered piece
-of card-board cut to fit; three straws, two and one-half inches
-long, hold the base of the frame in position. A handle formed
-of three ribbons finishes off this May-basket very prettily; a
-ribbon is tied to each corner of the basket; the other ends
-meeting form a bow, as shown in the illustration.</p>
-
-<div class="figcenter" style="width: 472px;">
-<img src="images/i_075.jpg" width="472" height="458" alt="Fig 34. " />
-<div class="caption">The Birch-bark Basket.</div>
-</div>
-
-<h3><b>Birch-bark Baskets</b></h3>
-
-<p class="unindent">are quite appropriate for wild flowers, and one in the shape of a
-canoe can be made from a strip of bark six and one-half inches
-long and four inches wide. Fig. 34 gives the pattern of this
-basket. The dotted lines show where the ends are to be sewed
-together; a ribbon sewed to each end of the canoe serves for a
-handle.</p>
-
-
-<h3><b>Card-board Baskets,</b></h3>
-
-<p class="unindent">cut after the pattern Fig. 35, can be covered with gilt, silver, or
-crimped tissue-paper as desired; paper lace or fringe is sometimes<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span>
-placed around the edges of baskets of this kind, as a
-border to rest the flowers upon. The card-board basket shown
-in illustration is joined together by button-hole stitching of colored-silk
-floss; slits are cut in two sides and a ribbon slipped
-through, the ends of which are tied in bow-knots to hold them
-in place.</p>
-
-
-
-<h3><b>May-day Combat.</b></h3>
-
-<div class="figleft" style="width: 298px;">
-<img src="images/i_076a.jpg" width="298" height="414" alt="drawing" />
-<div class="caption">The Card-board Basket.</div>
-</div>
-<p>This game, although suggested by the ceremonies which, according
-to Waldron, usher in the month of May in the Isle of<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span>
-Man, is entirely new and bids fair to become popular, as it combines
-the elements of beauty, sentiment and mirth.</p>
-
-<p>A number of young people separate into two parties, each
-having its queen; one the Queen of May, the other Queen of
-Winter. The May-queen and her attendants should be decked
-with flowers, Winter and her retinue being without decoration.
-Equipped with the appropriate
-implements of
-warfare between the two
-seasons, namely, a wreath
-of flowers for spring and a
-ball of raw cotton, or wool,
-representing snow, for winter,
-the contending forces
-draw up in opposing lines,
-the space between being
-about twelve feet. Each
-line is headed by its respective
-queen, who holds
-her missile in her hand.</p>
-
-
-<div class="figright" style="width: 162px;">
-<img src="images/i_076.jpg" width="162" height="98" alt="diagram" />
-<div class="caption">Fig. 35.</div>
-</div>
-
-<p>The game is commenced by the two queens simultaneously
-tossing the wreath and ball to someone in the opposite line,
-whose name is called as the missile is thrown. Should the person
-to whom it is thrown fail to catch it, she is made prisoner
-and must do battle on the other side, being released only when
-she succeeds in catching the missile belonging to her own party.</p>
-
-<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p>
-
-<p>When the wreath and ball are caught, they are instantly
-tossed back to the opposite rank, and so the game goes on.
-Hostilities must cease when prisoners are being taken or released,
-to be recommenced when both sides announce themselves ready.</p>
-
-<p>If either queen is captured she is ransomed by the return of
-all the prisoners taken on her side; should she have no prisoners
-to release, the game is ended.</p>
-
-<p>If the May-queen and her forces are defeated, they must
-strip off their floral decorations and give them to the victors,
-who, decked in these trophies, become the representatives of
-Spring, and the Queen of Winter is made Queen of May and is
-crowned by her vanquished and dethroned opponent. The former
-May-queen and her retinue, after offering their congratulations,
-must serve as attendants on the triumphant queen and do
-her bidding.</p>
-
-<p>When the May-queen proves victorious the programme is
-reversed, and Winter and her party become the subjects of May.</p>
-
-
-<h3><b>The May-pole.</b></h3>
-
-<p>An old writer, speaking of the May-games held in England,
-says, “Their cheefest jewell is their Maie-poole,” and to leave
-the May-pole out of our list of May-sports would indeed deprive
-the day of one of its most important and prettiest features. The
-appropriate place for the May-pole is, of course, out of doors;
-yet the climate in most of our Northern States is so changeable
-and uncertain it may be found necessary for comfort to hold the
-festivities in the house, and in that case the following directions
-for erecting the pole in a room of moderate dimensions will be
-found useful.</p>
-
-
-<h3><b>How to Erect a May-pole in the House.</b></h3>
-
-<p>A May-pole from ten to twelve feet high is as tall as the
-ceilings of most rooms will admit.</p>
-
-<p><span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span></p>
-
-<p>The pole should be round, smooth, and about five inches in
-diameter at the base, growing gradually smaller toward the
-top.</p>
-
-<div class="figcenter" style="width: 285px;">
-<img src="images/i_078.jpg" width="285" height="136" alt="diagram" />
-<div class="caption">Fig. 36.</div>
-</div>
-
-
-<div class="figright" style="width: 285px;">
-<img src="images/i_079.jpg" width="285" height="401" alt="diagram" />
-<div class="caption">Fig. 37.</div>
-</div>
-
-<p>For its support a wooden box is necessary, the average size
-being three feet long, two feet wide, and one foot high. Remove
-the top of the box,
-and directly in the centre
-of it cut a hole large enough
-to admit the pole. Take
-two sticks, two inches wide,
-and long enough to fit
-lengthwise in the box, and
-two shorter ones fitting the
-box crosswise, and nail them securely in the position shown in
-Fig. 36, driving the nails from the outside of the box. Slip the
-pole through the hole which has been cut in the top, and then
-stand it in an upright position between the four sticks in the
-centre of the box (Fig. 37). Be sure that the pole stands perfectly
-straight; then, before nailing down the top, fill the box
-with sand, bricks, or stones, packing them tightly around the
-pole; this will give sufficient weight to prevent its tipping.
-Nail the top on, and cover the box with moss or green cloth,
-and bank it up with flowers.</p>
-
-
-<h3><b>How to Dress a May-pole.</b></h3>
-
-<p>In olden times the May-poles were painted in alternate
-stripes of yellow and black, but a white pole is prettier and
-shows the decorations to better advantage. Tack the ends of
-eight or ten variously colored ribbons, one and one-half inch
-wide, around the pole near the top. For a pole ten feet high
-the ribbons should be four yards long. Around where the
-ribbons are fastened on, suspend a wreath of flowers, as shown<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>
-in Fig. 38. Decorate the extreme tip of the pole with gaily
-colored streamers, or small flags.</p>
-<div class="figleft" style="width: 253px;">
-<img src="images/i_080a.jpg" width="253" height="419" alt="drawing of ribbon top" />
-<div class="caption">Fig. 38.</div>
-</div>
-
-<h3><b>May-pole Dance.</b></h3>
-
-<p>An even number of persons are required for this dance;
-half the number take the end of a ribbon in the right hand and
-half in the left; they then
-stand facing alternately right
-and left. When the dance
-commences, each dancer facing
-the right passes under
-the ribbon held by the one
-opposite facing the left; she
-then allows the next person
-going to the left to pass under
-her ribbon, and so, tripping
-in and out, under and
-over, the ribbons are woven
-around the pole.</p>
-
-<p>After continuing for a
-while, according to the above
-directions, the dancers separate
-into two equal divisions,
-and each party, independent
-of the other, plaits
-a strip which hangs loosely
-from the pole.</p>
-
-
-<p>In performing this variation the two parties stand on either
-side of the pole, and all those facing the right pass on in that
-direction, going in and out as at first, until the last person going
-to the right has passed the last person going to the left in
-her division; then, transferring the ribbons to their other hands,<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
-they all turn and reverse the order. Thus they continue, going
-back and forth until the plait is
-about a foot in length, when another
-change is made by the two
-parties joining forces again; this
-time, all those facing the left
-proceed in that direction, passing
-under the ribbons of all the
-others who are going to the right,
-thus forming two circles, one
-within the other. After going
-twice around the pole in this
-order, the dancers composing
-the inner circle take the outside
-and the others pass beneath their
-ribbons, again circling the pole
-twice; then, after going through
-the first figure once more the
-dance may be ended, or the
-whole order may be reversed,
-and the ribbons, in that way, be
-unplaited again.</p>
-
-<p>An appropriate song, with words set to a dancing air, should
-be sung by those taking part in the May-pole dance.</p>
-
-<div class="figcenter" style="width: 483px;">
-<img src="images/i_080b.jpg" width="483" height="146" alt="flower basket" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p>
-<h2 class="faux">Summer</h2>
-<div class="figcenter" style="width: 524px;">
-<img src="images/i_081.jpg" width="524" height="369" alt="SUMMER" />
-</div>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span></p>
-
-<div class="figcenter" style="width: 467px;">
-<img src="images/i_082.jpg" width="467" height="464" alt="girl on shore" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span></p>
-
-
-
-
-<h2>CHAPTER VII.<br />
-
-<small>MIDSUMMER EVE.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_083.jpg" width="222" height="247" alt="I" />
-</div>
-
-<p class="drop-capi">IN the minds of most of us, midsummer is
-associated with dry, dusty roads,
-parched vegetation, the shrill cry of
-the locust,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> the shriller notes of the
-mosquitoes, and the hum of myriads
-of other insects; but, girls, midsummer
-does not come at this time:
-astronomy fixes the date at June
-21st, the longest day of the year,
-when the leaves are still glossy green with the fresh sap circulating
-through their veins, giving them that healthy, juicy
-look so refreshing to the eye, and the heat of the sun has not
-yet dried to a white powder the firm country roads over which
-we delight to wander.</p>
-
-<p>Ages ago the Pagans used to celebrate the day with rejoicing,
-because old Sol’s bright face had broken loose from the
-clouds of winter, and the rain and mists of spring. They
-symbolized the revolution of the season by rolling great
-wooden wheels down the hill-sides; sometimes attaching straw
-to the outer circle and setting fire to it at night, making a
-miniature midnight sun as it dashed down the steep incline.</p>
-
-<p>The people also believed that ill-luck rolled away from them
-with the fiery wheel, and to this day you will see Fortune or<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a><br /><a name="Page_85" id="Page_85">[85]</a></span>
-Misfortune represented as travelling, like an acrobat at a circus,
-upon a wheel.</p>
-
-<div class="figcenter" style="width: 526px;">
-<img src="images/i_084.jpg" width="526" height="716" alt="drawing" />
-<div class="caption">Midsummer-eve Party.</div>
-</div>
-
-<div class="blockquot">“Ye vertue of a rare cole that is to be
-found at Midsummer Eve under ye
-root of plantane and of mugwort
-Ye effects whereof are wonderful
-Whosoever weareth or beareth ye
-same about with them shall be freed
-from ye plague lightning and all ills”</div>
-
-<p>All the elves, brownies, and fays were supposed to be on
-hand at midsummer night, and it is this old superstition that
-Shakespeare has so beautifully illustrated in his “Midsummer
-Night’s Dream.”</p>
-
-<p>It was on midsummer eve that the supposed invisible seeds
-of the fern could be gathered which rendered the fortunate
-possessor invisible whenever he chose to carry them about with
-him. Among other strange and some quite pretty superstitions,
-there is a tradition that a coal, found attached to the roots of
-the mugwort or plantain on midsummer eve, will keep away
-misfortune and insure good luck to the finder.</p>
-
-<p>The girls of to-day who, although advanced enough to discard
-the superstitious element, can appreciate the poetic ideas
-symbolized by these ancient rites, may take hints for the entertainment
-of themselves and friends from the old belief in the
-mysteries and charms of midsummer eve.</p>
-
-<p>Games can be invented, and pretty keepsakes and souvenirs
-exchanged upon this night, that will translate ancient paganism
-into modern good feeling and fellowship.</p>
-
-
-<h3><b>The New Fern-leaf Game.</b></h3>
-
-<p>Some one who has charge of the games shows to the assembled
-girls and boys a fern-leaf, and explains to them the legend
-connected with it, and the power of the seed to render the
-possessor invisible. Next she blindfolds them all; then, choosing
-one from among them, she removes the bandage from the
-player’s eyes without allowing the others to know who has
-been selected to be the bearer of the magic fern. After giving
-the fern-leaf into the keeping of the chosen one, she places the
-latter in the centre of a ring formed by the rest of the players,
-who take hold of hands and circle round; then, still holding<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
-hands, they forward to the centre and return; letting go hands,
-they forward again, this time the fern-bearer joins in the ranks.
-Once more the ring is formed and they circle round, singing
-these lines:</p>
-
-<div class="poetry-container">
-  <div class="poetry">
-    <div class="stanza">
-<div class="verse">Round goes the wheel,</div>
-<div class="verse">Round goes the year,</div>
-<div class="verse">For woe or for weal,</div>
-<div class="verse">Midsummer is here.</div>
-    </div>
-    <div class="stanza">
-<div class="verse">To the one who finds</div>
-<div class="verse">The seeds of the fern,</div>
-<div class="verse">Misfortune and evil</div>
-<div class="verse">To good luck will turn.</div>
-</div>
-</div>
-</div>
-
-<p>At the word “turn,” each player seizes another and cries
-out, “fern, fern!” at the same time removing the handkerchief
-from the eyes.</p>
-
-<div class="figright" style="width: 268px;">
-<img src="images/i_087.jpg" width="268" height="511" alt="plant and candy on end" />
-<div class="caption">Magic Plantain.</div>
-</div>
-
-<p>To the one who really has captured the magic fern a pretty
-card or silk badge, bearing a pictured fern and some appropriate
-motto, is given, as a token that the entire company wish all
-possible good luck to the possessor.</p>
-
-
-<h3><b>The Plantain Test.</b></h3>
-
-<p>To test fortune in this way, fill a large pan or bowl with
-clean dry sand; provide as many plantain-plants as there are
-players, and to the roots of all but one tie, with a narrow ribbon,
-a bonbon which contains within its wrapper a verse indicating
-that the wrong plant has been chosen. To the one reserved
-from the rest attach a small piece of coal, or charcoal, wrapped
-in a bonbon paper which also encloses a verse describing the
-magic powers of the coal. Place all of the plants in the sand,
-making them look as though growing there. All this should
-be prepared before the party assembles, that no one may know
-to which plant the coal is fastened.</p>
-
-<p>When the appointed time arrives, explain to the company
-that to the root of one of the plants in the bowl is fastened a
-coal which, according to old superstition, will secure to the
-finder perfect health for life. Then let each person in turn pull<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>
-from the sand one of the plants. The one who finds the
-coal should be heartily congratulated, as she is supposed
-to have gained the good will of fortune and to be exempt
-from all the ills that flesh is heir to. The plantain is
-not difficult to secure, as it
-grows in almost every grass-plot,
-much to the annoyance
-of those who take pride in
-their lawns. Should the
-name be unfamiliar to some
-of our readers, the accompanying
-illustration will help
-them recognize the weed.</p>
-
-<p>A pretty charm for the
-watch-chain can be made of
-the coal which is to bring the
-finder such good luck,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> by
-having it cut to a proper size
-and shape, and a gold or silver
-band put around it. This
-will make it a souvenir, carrying
-out the old idea that the
-magic coal should be worn
-upon the person to bring
-the coveted good fortune.</p>
-
-<p>Rhymes to be enclosed in the paper with the magic coal:</p>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">Where my roots are intertwined</div>
-<div class="verse">Lo, the magic coal you find.</div>
-<div class="verse">Buried deep beneath the sand,</div>
-<div class="verse"><span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span>Waiting for your favored hand,</div>
-<div class="verse">I have held it free from harm;</div>
-<div class="verse">Take, and wear the mystic charm.</div>
-<div class="verse">From the lightning’s deadly stroke,</div>
-<div class="verse">From the fire it may invoke,</div>
-<div class="verse">From all illness, pain, and strife,</div>
-<div class="verse">May it guard thee safe through life.</div>
-</div>
-</div>
-
-<p>Rhymes to be enclosed in bonbons tied to the roots of plantains
-which do not bring good luck:</p>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">Though ye seek, ye seek in vain</div>
-<div class="verse">Fortune’s favor thus to gain,</div>
-<div class="verse">For I bring to you no coal</div>
-<div class="verse">To write your name on Fortune’s roll.</div>
-<div class="center">—————</div>
-<div class="verse">Pity ’tis you thought it best</div>
-<div class="verse">To pick out me from all the rest,</div>
-<div class="verse">For no root of mine comes near</div>
-<div class="verse">The coal that brings good fortune here.</div>
-<div class="center">—————</div>
-<div class="verse">Chance capricious, captures choice;</div>
-<div class="verse">Fickle Fortune favors few;</div>
-<div class="verse">When deaf to love, or reason’s voice,</div>
-<div class="verse">What makes you think she’ll favor you?</div>
-<div class="center">—————</div>
-<div class="verse">I am no messenger of fate,</div>
-<div class="verse">You find this out, alas! too late;</div>
-<div class="verse">I bring no magic coal with me,</div>
-<div class="verse">From pains and ills to set you free.</div>
-</div>
-</div>
-
-<p>Any bright girl can scribble off little jingles of this sort that
-will do very well for the plantain test, or appropriate quotations
-may be selected for the purpose.</p>
-
-
-<h3><b>Fortune’s Wheel.</b></h3>
-
-<p>Just where Fortune will fail each member of the company
-present is discovered in the following game:<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span></p>
-
-<p>The entire party forms into a circle, standing about two feet
-apart; then a wheel or hoop is started around the inside of the
-ring, and kept going by each one giving it a gentle push with
-the hand, sending it to the person next in the circle. As the
-wheel goes around the players sing these lines, pronouncing a
-word as each player touches the wheel, as if counting out.</p>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">Fortune’s wheel we speed along</div>
-<div class="verse">The while we sing our mystic song.</div>
-<div class="verse">Bring happiness, fame, power, and wealth,</div>
-<div class="verse">True love, long life, good friends, and health,</div>
-<div class="verse">Success in music, poetry, art,</div>
-<div class="verse">And with it all a merry heart</div>
-</div>
-</div>
-
-<p>When the wheel drops at the feet of anyone as a gift of Fortune
-is being sung, or if they fail to strike it as it passes, or,
-striking, they send it into the centre of the ring instead of to
-their next neighbor, it denotes that Fortune will withhold that
-special gift from them, and they must leave the circle, for good
-luck has deserted them.</p>
-
-<p>The game continues until only one player remains, and this
-person, who has succeeded in keeping the wheel moving, is
-Fortune’s favorite, and will possess all the gifts the mythical
-Goddess can bestow.</p>
-
-<div class="figcenter" style="width: 507px;">
-<img src="images/i_089.jpg" width="507" height="210" alt="a witch, a black cat, a crescent moon rising" />
-</div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></p>
-
-<div class="figcenter" style="width: 510px;">
-<img src="images/i_090.jpg" width="510" height="700" alt="drawing" />
-<div class="caption">Starfish Portière</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span></p>
-
-
-
-
-<h2>CHAPTER VIII.<br />
-
-<small>SEA-SIDE COTTAGE DECORATION.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_091.jpg" width="217" height="245" alt="S" />
-</div>
-
-<p class="drop-capi2">SIMPLY to enter a house is enough
-to start some people to planning
-how it can, might, or should be
-decorated. The love of beauty
-seems to be inherent in the feminine
-character, and it is the nature
-of most girls to make their surroundings
-as beautiful as circumstances
-will permit. Those who
-have taste and ability for decoration
-can see no barren or homely
-room without being seized with
-the desire to banish its uncomeliness, and substitute grace and
-beauty in its stead.</p>
-
-<p>The ordinary cottage at the sea-shore is a boon to such
-natures, for it is peculiarly well adapted to amateur decoration.
-Its ceiled walls offer plain, even, flat tinted surfaces for any
-kind of ornamentation, and the absence of plaster makes it possible
-to drive nails wherever it is desirable to have them.</p>
-
-<div class="figright" style="width: 194px;">
-<img src="images/i_092a.jpg" width="194" height="208" alt="Fig. 39" />
-<div class="caption">Diagram of Ring.</div>
-</div>
-
-<p>During a summer spent in one of these cottages on the coast
-of Maine, its many possibilities in the way of decoration were
-revealed, and personal experience has demonstrated that even
-the plainest of these temporary abiding-places is capable of being
-greatly beautified in a short time, and with materials usually<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span>
-close at hand, being obtainable from the fishermen and from the
-sea itself.</p>
-
-<div class="figleft" style="width: 116px;">
-<img src="images/i_092b.jpg" width="116" height="301" alt="Fig. 40" />
-<div class="caption">Looping for Curtains.</div>
-</div>
-
-<p>The windows first claim our attention in any house and our
-little cottage is no exception to the rule. With, or without, the
-regulation shades, windows should
-always be draped; the formality of
-their straight lines and angles can be
-subdued in no other way.</p>
-
-<p>Light, airy curtains are suitable
-for summer, and the prettiest, most
-graceful window-drapery imaginable
-can be made of ordinary
-fish-net. An
-oar for a pole; rings
-made of rope (Fig.
-39); the looping
-formed of a rope tied in a sailor’s knot; and a
-wooden hoop, such as is used to attach the sail
-to the mast on a sail-boat (Fig. 40) are all that
-are necessary for the completion of this nautical
-curtain. Small rings screwed into the oar, with
-corresponding hooks in the window-frame just
-above the window, will hold the oar securely in
-place. The looping should hang from a hook
-fastened in the wall near the window. The illustration
-given here will aid the imagination in
-picturing the effect of a window treated in this
-simple manner. Another pretty curtain may
-be made of unbleached cotton, with bands of blue at top and
-bottom covered with the ever-decorative fish-net.</p>
-
-<p>Gray linen curtains, with strips of the net set in as insertion
-at top and bottom, will also be found extremely
-pretty and serviceable; or they may be composed of strips<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span>
-of linen and net, of equal width, running the length of the
-curtain. Made up in either way the effect is excellent.</p>
-
-<div class="figcenter" style="width: 479px;">
-<img src="images/i_093.jpg" width="479" height="626" alt="drawing" />
-<div class="caption">Sea-side Cottage Window.</div>
-</div>
-
-<div class="figleft" style="width: 250px;">
-<img src="images/i_094a.jpg" width="250" height="267" alt="Fig. 41" />
-<div class="caption">Diagram of Tying Knot.</div>
-</div>
-
-<div class="figright" style="width: 293px;">
-<img src="images/i_094b.jpg" width="293" height="113" alt="Fig. 42" />
-<div class="caption">Fastening End of Rope.</div>
-</div>
-<p>From window-drapery we will turn to that suitable for the
-door-ways. Portières, in a room where the prevailing tints are<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span>
-gray and light wood-color, should not present too violent a contrast
-to those subdued tones. A curtain of wood-brown, neither
-too dark nor too light, will give the
-needed strength and decision, without
-destroying the harmonious coloring.
-One
-can be
-quickly and easily made of brown
-canton flannel and decorated with
-dried starfish, as shown in the illustration
-of the starfish portière. The
-starfish are soft enough to admit of
-being sewed to the curtain, and they
-should be placed with the underside
-out, as that is much prettier than the
-back, showing as it does two shades
-of color. A heavy rope with a knot
-at each end, stretched taut across the
-door-way and held in place with two
-hooks, will answer for a pole, and the
-drapery can be hung from it with iron
-rings. If the rope is very heavy the
-ends will have to be parted into strands before the knots can
-be tied. Figs. 41 and 42 show the manner of tying the knot
-and fastening the end of a moderately heavy rope.</p>
-
-
-<div class="figleft" style="width: 201px;">
-<img src="images/i_094c.jpg" width="201" height="352" alt="Fig. 43" />
-<div class="caption">Diagram of Book-shelves.</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span></p>
-
-<p>Book-shelves made of half of a flat-bottomed row-boat is not
-only an appropriate piece of furniture
-for a cottage by the sea, but also a very
-useful one. The fact of
-its shape allowing it to
-occupy a corner makes it a welcome addition to the furnishing,
-since there are so few things adapted to fill that angle. Fig. 43<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span>
-shows half of boat with cleats nailed on to hold the shelves,
-which must be made to fit the boat. The shelves, when resting
-on the cleats, are secure enough, and need not be fastened in
-any other way. If the book-shelves, when finished, are painted
-black, unvarnished, they will have the appearance of being
-ebonized.</p>
-
-<p>The evidence of a womanly presence in the shape of a dainty
-work-basket always gives a home-like look to a room, and when
-this useful trifle happens to be prettily designed it contributes
-not a little to the decorations. The standing work-basket represented
-here is manufactured of a crab-net, with the handle
-removed, fastened to a tripod stand.</p>
-<div class="figcenter" style="width: 517px;">
-<img src="images/i_095.jpg" width="517" height="643" alt="drawing of room" />
-<div class="caption">Row-boat Book-shelves.</div>
-</div>
-
-
-<div class="figcenter" style="width: 516px;">
-<img src="images/i_096.jpg" width="516" height="372" alt="Fig. 44 Fig. 45 Fig. 46 Fig. 47" />
-<div class="caption">Diagram of Crab-net Work-basket.</div>
-</div>
-
-<div class="figleft" style="width: 232px;">
-<img src="images/i_097.jpg" width="232" height="398" alt="net in tripod stand" />
-<div class="caption">Crab-net Work-basket.</div>
-</div>
-
-<p>The tripod may be made of bamboo, or any kind of straight
-sticks about the length of a walking-cane. Upon one of the<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span>
-sticks two notches must be cut; one exactly in the centre, and
-the other at one side just below (see Fig. 44). The second stick
-needs but one notch, which should match the upper one on the
-first stick (Fig. 45). The third stick has no notches.</p>
-<div class="figright" style="width: 283px;">
-<img src="images/i_098a.jpg" width="283" height="422" alt="Fig. 48" />
-<div class="caption">Diagram of Hat-rack.</div>
-</div>
-<p>To fasten them together, Fig. 45 must be laid across Fig. 44
-as in Fig. 46, and the two fastened together with screws. The
-third stick must then be placed
-across the others, fitting in the
-two upper notches; this must be
-secured with two screws, one passing
-through each of the other
-sticks (Fig. 47).</p>
-
-<p>The stand when finished
-should be painted black, and the
-crab-net, which has previously
-been gilded, fastened in place by
-tying it on to each stick with a
-cord and tassel made of rope and
-gilded. Notches cut in the sticks,
-about three inches from the top,
-will afford a resting-place for the
-cord and keep it from slipping.</p>
-
-<div class="figright" style="width: 290px;">
-<img src="images/i_098b.jpg" width="290" height="429" alt="drawing" />
-<div class="caption">Hat-Rack.</div>
-</div>
-
-<p>The hat-rack, which our drawing
-represents, makes an excellent
-and convenient hall-decoration.
-The materials used in its
-construction are a small mirror,
-which can be procured at any country store; four boards,
-whose length and breadth depend upon the size of the mirror;
-two oars, with one-third of each handle sawed off; one dozen
-large-sized nails, or small spikes, and a piece of rope about
-twelve feet long. The frame is made by nailing the boards together
-as shown in illustration, placing the end-boards on top.<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span>
-The opening left in the centre should be one inch smaller than
-the mirror. When eight of the spikes have been driven into
-the frame at regular distances
-the mirror must be fastened
-on the back with strips of
-leather or sail-cloth, as shown
-in diagram (Fig. 48). The diagram
-also shows how the
-oars are held in place and
-the rope attached. The knot
-in which the rope is tied is
-called a true-lover’s knot,
-and can readily be fashioned
-by studying the diagram.
-Small nails driven
-through the rope where it
-crosses the back of the oar
-will keep the loops from
-slipping out of place. The
-remaining four spikes are to suspend the hat-rack from, and
-must be driven into the wall so that two will hold the top<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
-loop, and the others the extreme upper corners of the side
-loops.</p>
-
-<p>The frame and oars may be painted black and the spikes and
-ropes gilded, or the whole will look well painted yellow or brown.</p>
-
-<p>A handsome screen can be made in the following manner:
-Procure a nice, firm clothes-horse, saw off the legs close to the
-bottom cross-piece, then cover the whole neatly, on both sides,
-with dark green cambric. Next tack smoothly on one side of
-each fold light-brown wrapping-paper, which comes quite wide,
-and may be bought by the yard. For the border use dark-green
-canton flannel cut in strips eight inches wide. Tack this
-around each fold of the screen with gimp-tacks, and paste the
-inside edges smoothly over the paper.</p>
-
-<p>The decorations of the screen shown in the illustration are
-composed entirely of products of the sea.</p>
-
-<p>Two panels are shown. One is decorated with sea-weed,
-dried starfish, and shells. Sea-weed and shells also are used
-on the other, but a group of horseshoe crabs take the place of
-the starfish.</p>
-
-<p>Sea-weed of various kinds suitable for this use can be found
-along the coast, and they may be gathered and dried in this
-way. Loosen the sea-weed from whatever it is attached to, and
-while still in the water slip a piece of stiff paper beneath it and
-lift it out. Quite a number can be carried on the same paper,
-but they should be taken home as soon as possible and placed
-in a tub of fresh water. The tub will give the larger kinds room
-to spread out, when a smaller vessel would cramp and rumple
-them. On sheets of paper, of the kind used for the screen,
-carefully lift each sea-weed out of the water, and with a small
-camel-hair brush straighten the parts that are too much folded,
-and separate those that lie too closely together. Should a plant
-be very much crumpled when taken out, quickly replace it in
-the water and try again.</p>
-
-<p><span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span></p>
-
-<div class="figcenter" style="width: 529px;">
-<img src="images/i_100.jpg" width="529" height="716" alt="Diagram" />
-<div class="caption">Marine Screen.</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span></p>
-<div class="figleft" style="width: 286px;">
-<img src="images/i_101.jpg" width="286" height="544" alt="crasing" />
-<div class="caption">Horseshoe Crab Bag.</div>
-</div>
-<p>When they have all been satisfactorily spread on the paper
-and have become partially dry, they must be pressed by laying
-the paper which holds the sea-weed on a piece of blotting-paper
-or folded newspaper, and
-over it a piece of linen or
-fine cotton cloth; then
-over that another piece of
-blotting-, or news-paper;
-then again the paper with
-sea-weed, and so on; when
-all are finished the entire
-heap should be placed between
-two boards with a
-moderately heavy weight
-on top. When the sea-weed
-is quite dry—which
-it will be in three or four
-days—it will be found that
-some varieties will cling
-closely to the paper on
-which they have been
-spread, while others can
-readily be removed. Do
-not try to separate the first-mentioned
-kind from the
-paper, but with sharp
-scissors neatly trim off the
-edges around the weed;
-the paper underneath being
-the same as that of the
-screen on which it is to be pasted, it will not show. The other
-sea-weed can be taken from the paper and fastened to the
-screen with mucilage.</p>
-
-
-
-<p><span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span></p>
-
-<p>Before commencing the decoration some idea of the design,
-or the effect to be produced, should
-be decided upon; then with deft fingers
-the articles used can be glued
-in place. When the glue is dry the
-whole must be given a coat of white
-varnish. This will help to hold things
-in place, and will also keep the sea-weed
-from chipping off.</p>
-
-<p>An odd little bag for holding
-fancy work is made of two large
-horseshoe crab shells, with a satin
-bag fastened between them and tied
-at the top with a bow of ribbon. The main part of the bag can
-be of cambric the color of the satin, cut to fit the shells, the
-puff showing at the sides
-being of the satin.</p>
-
-<div class="figright" style="width: 195px;">
-<img src="images/i_102a.jpg" width="195" height="225" alt="stacked dried anemomes" />
-<div class="caption">Vase.</div>
-</div>
-
-<div class="figleft" style="width: 291px;">
-<img src="images/i_102b.jpg" width="291" height="331" alt="Anemoney candlesick holder on dried starfish" />
-<div class="caption">Candlestick.</div>
-</div>
-
-<p>A pretty little vase can
-be made of the shells of
-three sea-urchins, of graduating
-sizes, placed one
-upon another, the smallest
-on top. The small hole
-in the bottom of the largest
-one should be filled up
-with damp plaster-of-Paris—which
-will harden very
-quickly. The other two
-shells must have the small
-holes enlarged to the size
-of the one at the top; they
-can then be joined together
-with the plaster, and the vase be used for flowers or vines.<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span>
-A sea-urchin and good-sized starfish make the prettiest kind
-of a candlestick, and the addition of a brass-headed tack on
-every point but one of the starfish gives it a nice finish and
-furnishes feet for it to stand on; the point left without a foot
-forms the handle by which it may be carried. The tacks
-should be stuck into the fish first, and then the sea-urchin
-fastened on with plaster-of-Paris. Not more than ten minutes
-are consumed in making a candlestick of this kind, and
-it will be found to be quite as useful as it is pretty and
-unique.</p>
-
-<p>The walls of the cottage can be decorated in many ways
-with the beautiful ornaments the sea furnishes. Over one of
-the doors in the cottage alluded to at the beginning of this
-chapter there was an ornamentation that looked exactly like
-wood-carving, but was only a group of starfish arranged and
-tacked on the wall in a decorative form. The fish being nearly
-the exact color of the background, the deception was almost
-perfect.</p>
-
-<p>If the walls of a room are divided off into panels, and each
-panel decorated in the manner described for the screen, the
-effect will be most exquisite.</p>
-
-<p>On entering such a room one might almost imagine oneself
-to be a mermaid, and this a lovely chamber beneath the
-sea.</p>
-
-<p>So much can be done by one’s own hands it depends greatly,
-if not entirely, upon the taste or time one is willing to devote
-to it what this sea-side habitation shall be; whether the
-little cottage shall be in harmony with its surroundings, seemingly
-a part of the place, or whether it shall be only a cheap
-frame-structure, looking as though it belonged in a country
-town and had been carried to the coast in a capricious gale of
-wind, with decorations, if it has any, inappropriate and unsuited
-to the sea-shore.</p>
-
-<p><span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span></p>
-
-
-<h3><b>How to Dry Starfish.</b></h3>
-
-<p>Collect the most perfect specimens of all sizes, wash them in
-fresh water, and then spread on a board in a dry place (not in
-the sun) and leave them undisturbed for a few days, or until
-thoroughly dried.</p>
-
-
-<h3><b>How to Polish Shells.</b></h3>
-
-<p>Wash your shells in clean, fresh water; procure a small
-quantity of muriatic acid and have in readiness two-thirds as
-much water as acid. Place the shells in a basin, pour the water
-upon them, then the acid; let them remain a few minutes, then
-take them out and wash again in clear water. Rub each shell
-with a soft woollen cloth. A fine enamelled surface can be given
-by rubbing them with a little oil and finely powdered pumice-stone,
-and then with a chamois-skin.</p>
-
-<p>To bleach fresh-water shells to a snowy whiteness, wash
-them perfectly clean and then put them in a jar containing a solution
-of chloride of lime, place the vessel in the sun, and, when
-the shells are sufficiently bleached, remove and wash them in
-clear water. Polish them in the manner before described.</p>
-
-<div class="figcenter" style="width: 450px;">
-<img src="images/i_104.jpg" width="450" height="143" alt="mermaids and fish" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span></p>
-
-
-
-
-<h2>CHAPTER IX.<br />
-
-<small>A GIRL’S FOURTH OF JULY.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_105.jpg" width="256" height="263" alt="D" />
-</div>
-
-<p class="drop-capi3">DECORATIONS are seen here,
-there, and everywhere. How
-beautifully the flags and
-streamers look as they wave
-in the breeze. All the houses
-and streets are gay with bunting.
-We listen with a thrill
-of patriotic excitement to the
-national airs played by bands
-of music as the different parades
-pass our doors.</p>
-
-<p>The spirit of independence
-fills the very air we breathe. Whiz! zip! bang! go the firearms.
-The noise is enchanting and the smell of powder delightful.</p>
-
-<p>This is our grand national holiday, the glorious Fourth,
-when all the United States grows enthusiastic, and in various
-appropriate ways manifests its patriotism.</p>
-
-<div class="figcenter" style="width: 530px;">
-<img src="images/i_106.jpg" width="530" height="704" alt="party" />
-<div class="caption">The Fourth of July Party.</div>
-</div>
-
-<p>The celebration, commencing in the early morn and lasting
-until late in the evening, gives ample time for fireworks,
-games, and illuminations. And the girls can take active part
-in, and enjoy these martial festivities, help to decorate the house
-and grounds, and in the evening do their part toward the illumination.
-Then there are the beautiful daylight fireworks to<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a><br /><a name="Page_107" id="Page_107">[107]</a></span>
-be sent off, and games to be played; all adding to the enjoyment
-and making up their celebration of Independence Day.</p>
-
-<p>Although</p>
-
-
-<h3><b>Interior Decoration</b></h3>
-
-<p class="unindent">for the Fourth of July has not been considered as necessary as
-the decoration for the outside of the house, still it is appropriate
-and used to some extent, especially when the house is
-thrown open to guests. Then, with a little thought and care
-the home may be decked and adorned in the most attractive
-manner.</p>
-
-<p>If you chance to be the happy possessor of the portrait of
-some revolutionary ancestor, let this form the centre of your
-decorations.</p>
-
-<p>Bring forward any relics of the colonial times and make
-them hold a prominent place, for all such things are historical
-and of great interest, though of course they are not essential.
-Strips of bunting, cheese-cloth, or tissue-paper, in red and
-white and blue are necessary, and must do their part in adding
-to the gayety of the scene. These can be arranged in festoons,
-and made into wreaths, stars etc., to be used as ornaments on
-the wall.</p>
-
-<p>There is nothing, perhaps, more appropriate for decoration
-than flags, though it requires some ingenuity to decorate with
-our American flag on account of the blue being in one corner.
-However we will try. Take two flags without staffs and baste
-them together as in Fig. 49, bringing the blues side by side;
-pleat up the top of each to the centre and you will have Fig.
-50 with the stripes at the bottom running from end to end.</p>
-
-<p>Now take two more flags reversed, the stripes being at the
-top the stars at the base, and pleat them in the centre, it gives
-the same idea in another form. For this style of adornment use
-the flags which may be had at any dry-goods store; they come<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span>
-by the bolt, cost but a few cents each, and are much softer and
-fold better than the more expensive glazed ones. Other modes
-of draping the stars-and-stripes will suggest themselves: place
-the “colors” in different positions until some good design is
-found, and you will enjoy it all the more for having made the
-combination yourself.</p>
-
-<div class="figcenter" style="width: 371px;">
-<img src="images/i_108a.jpg" width="371" height="133" alt="two flags back to back" />
-<div class="caption"><i>Fig. 49</i></div>
-</div>
-
-<div class="figcenter" style="width: 441px;">
-<img src="images/i_108b.jpg" width="441" height="161" alt="flag bunting" />
-<div class="caption"><i>Fig. 50</i></div>
-</div>
-
-<p>Tiny flags fastened to the chandeliers, and pinned in groups
-on the curtains give to the room quite a holiday appearance.
-This is for the daylight. In the evening we will have</p>
-
-
-<h3><b>In-door Illumination,</b></h3>
-
-<p class="unindent">which can be made very brilliant by simply using a number of
-lighted candles.</p>
-
-<p>Should you desire to have it more elaborate, the words
-Liberty and Independence can be printed on the windows by
-cutting the letters forming the words from thick paper and gumming<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span>
-them to the window-panes, so when the room is lighted
-they will show plainly from the outside.</p>
-
-<p>You may also make of tissue-paper a Liberty-bell, Goddess
-of Liberty, American Eagle, and flags. Gum these on the
-edges and fasten them to the windows; place a bright light
-behind them and the tints of the paper will shine out in all
-their brilliancy. The Goddess of Liberty’s face, the feathers
-on the eagle, and the lettering on the bell must all be drawn
-with a paint-brush and ink or black paint.</p>
-
-<p>In making any or all of these, it will be of great assistance if
-you secure a picture of the object to copy from.</p>
-
-<p>Having provided for the inside of the house it now behooves
-us to turn our attention to</p>
-
-
-<h3><b>Out-of-door Decoration</b></h3>
-
-<p class="unindent">consisting principally of flags raised on poles, hung from windows,
-and disposed in numerous and various ways.</p>
-
-<p>The many devices representative of our country may be
-used with good effect. Thus, a large United States shield can
-be made of colored paper or inexpensive cloth tacked on a
-piece of card-board, cut in the desired shape, and the shield suspended
-from the window flat against the house, as a picture is
-hung on the wall. Other emblems can be manufactured in the
-same way.</p>
-
-<p>Small trees or tall bushes covered all over from top to bottom
-with flags and streamers look beautiful, and all the gayer,
-when the wind blows, causing them to wave and flutter.</p>
-
-<p>Fasten the flags and streamers on the tree with string.</p>
-
-<p>Some girls think that the</p>
-
-
-<h3><b>Illumination in the Open Air</b></h3>
-
-<p class="unindent">is best of all, for then they can give their fancy free play, and
-create all sorts of odd and novel designs.</p>
-
-<p><span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></p>
-
-<p>The bright-colored Chinese lanterns are very decorative.
-Suppose we begin with these. Fasten securely here and there,
-on the lawn, large paper Japanese umbrellas in upright positions.
-This is accomplished by binding the handles of the umbrellas
-securely to poles which have been sharpened at one end, and
-planting the pointed end of the poles firmly in the ground.</p>
-
-<p>From every other rib of the umbrella suspend a lighted<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span>
-Chinese lantern by a wire long enough to prevent any danger
-of setting the little canopy on fire. The effect produced is
-both novel and pretty.</p>
-
-<p>A popular method of arranging the lanterns is stringing
-them on wires, stretched from house to house, or from tree to
-tree, so forming, as it were, a fringe of lights.</p>
-
-<p>Again, they may be placed at intervals on the ground, fastened
-to trees or hung on the piazza, some in groups of twos or
-threes, others singly, these being of many odd shapes and
-sizes. Piazzas are very good sites for the display of colored
-umbrellas, which may hang, inverted, from the ceiling, with a
-tiny lighted Chinese lantern suspended from each rib. Let me
-repeat, be careful not to have the wires so short that the light
-is in dangerous proximity to the umbrella.</p>
-
-<p>Another pleasing illumination is to make a large flag of colored-paper
-with strong pieces of tape pasted along both top
-and bottom, the ends of the tape extending beyond the flag.
-Tie the tape to two trees, poles, or pillars of the porch, and
-place a light back of the flag, to bring out the colors clearly
-and distinctly.</p>
-
-
-<div class="figcenter" style="width: 403px;">
-<img src="images/i_110a.jpg" width="403" height="249" alt="Frame" />
-</div>
-
-<p>Illuminated tents are made by placing poles in the fashion
-of Fig. 51, and using large flags, low-priced colored cloth or
-strong paper as a covering, Fig. 52. The corners are tied
-down to pegs in the ground, and, when two or three candles
-are set in the tent, the effect is very pleasing.</p>
-
-<div class="figcenter" style="width: 498px;">
-<img src="images/i_110b.jpg" width="498" height="246" alt="tent up" />
-</div>
-
-<p>All young people delight in the noise and excitement of</p>
-
-
-<h3><b>Fireworks,</b></h3>
-
-<p class="unindent">and here are some pyrotechnics which any girl can easily make.
-They are daylight fireworks, and most of them may be sent
-off from a balcony or window, and all with no danger of fire
-or burns.</p>
-
-<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span></p>
-
-<p>One of the simplest to try is the</p>
-
-
-<h3><b>Parachute.</b></h3>
-
-<div class="figleft" style="width: 334px;">
-<img src="images/i_112a.jpg" width="334" height="223" alt="Fig. 53 Fig. 54" />
-<div class="caption">Parachutes.</div>
-</div>
-
-<p>Cut a piece of tissue-paper five inches square, twist each corner
-and tie with a piece of thread eight inches long, Fig. 53;
-wrap a small pebble
-in a piece of paper
-and tie the four
-pieces of thread securely
-to the pebble,
-Fig. 54. This
-makes a light airy
-little parachute,
-which, when sent
-out from the window,
-will, with a
-favorable wind, sail
-up and off over the house-tops. Make a number of parachutes
-in different colors and send them off one after another in succession.
-Next we will have what
-we call</p>
-
-
-<h3><b>Thunderbolts</b></h3>
-
-<div class="figright" style="width: 216px;">
-<img src="images/i_112b.jpg" width="216" height="204" alt="Fig. 55 Fig. 56" />
-<div class="caption">Thunderbolts</div>
-</div>
-
-<p class="unindent">fashioned of bright-colored tissue-paper.
-Cut the paper in pieces
-four inches wide and eight inches
-long. Then cut each piece into
-strips reaching about one-third of
-the length of the piece of paper
-(Fig. 55), pinch the uncut end of
-the paper together and twist it
-tightly so that it will not become undone (Fig. 56). Open
-the window and throw these out a few at a time. They will<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
-turn heavy end down and dart off with the fringed end fluttering.
-Now and then they will waver a moment in one spot, and
-then dart off in another direction; so they go whirling, zigzagging
-and bowing as if they were alive.</p>
-
-<p>Something different from these are the comical little</p>
-
-
-<h3><b>Whirls,</b></h3>
-
-<div class="figleft" style="width: 229px;">
-<img src="images/i_113.jpg" width="229" height="165" alt="Fig. 57 Fig. 58" />
-<div class="caption">Whirls.</div>
-</div>
-<p class="unindent">made by cutting circular pieces of writing- or common wrapping-paper
-into simple spiral forms (Fig. 57). The centre of the
-spirals are weighted by small
-pieces of wood, or other not too
-heavy substance gummed on the
-paper.</p>
-
-<p>When a number of these are
-freed in mid-air the weight will
-draw the spirals out, and present
-a curious sight, as with serpentine
-motion they all come wriggling
-and twisting toward the
-ground (Fig. 58). In these paper fire-works, we know of nothing
-prettier than the</p>
-
-
-<h3><b>Winged Fancies,</b></h3>
-
-<div class="figright" style="width: 327px;">
-<img src="images/i_114a.jpg" width="327" height="256" alt="Fig. 59" />
-<div class="caption">The Bird.</div>
-</div>
-<p class="unindent">consisting of birds and butterflies.</p>
-
-<p>The birds may be cut out of wrapping-paper, measuring
-seven and a half inches long and ten inches from tip to tip of
-the wings (Fig. 59), a burnt match stuck in and out of the neck,
-will give the bird sufficient weight. When tossed from a height
-these paper swallows fly and skim through the air in the most
-delightful birdlike fashion.</p>
-
-<p>Both birds and butterflies are folded through the centre
-lengthwise, then unfolded and straightened out, this helps to
-give them form and they fly better.</p>
-
-<p><span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p>
-
-<p>The patterns here given are possibly not as graceful in shape
-as could be made, but the writer drew the patterns from the
-best fliers among an
-experimental lot of
-winged fancies, having
-found them better
-than others that could
-boast of more beauty.</p>
-
-<p>Butterflies are
-made of bright colored
-tissue-paper cut
-from the pattern (Fig.
-60), and have short
-pieces of broom-straws
-as weights.
-These also should be
-lightly thrown from a height, when they will flutter and fly
-downward, sometimes settling on a tree or bush as if seeking
-the sweets of flowers,
-and appearing very
-bright and pretty as
-they float hither and
-thither on the air.</p>
-
-<div class="figcenter" style="width: 305px;">
-<img src="images/i_114b.jpg" width="305" height="197" alt="Fig. 60" />
-<div class="caption">The Butterfly.</div>
-</div>
-
-<p>A ring of the ever-twirling</p>
-
-
-<h3><b>Pin-wheels</b></h3>
-
-<div class="figleft" style="width: 165px;">
-<img src="images/i_115.jpg" width="165" height="428" alt="Fig. 61" />
-<div class="caption">Pin-wheel.</div>
-</div>
-
-<p class="unindent">is gay and attractive,
-just the thing for the
-lawn on the Fourth of July. To manufacture one, select a nice
-firm barrel-hoop, and nail it securely on one end of a clothes-pole
-or broom-stick (Fig. 61), sharpen the other end of the pole<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
-to a point; if the hoop seems inclined to split when nailing,
-first bore holes with a gimlet or burn them
-with a red-hot nail or wire for the nails to
-pass through.</p>
-
-<p>Cover the barrel-hoop several inches
-deep with straw, lay the straw on and tie
-it down with string.</p>
-
-<p>Prepare a number of pin-wheels by
-cutting squares of red and white and blue
-paper, fold them twice diagonally through
-the centre and cut the folds up within a
-short distance of the middle. Turn over
-every other point to meet the centre,
-pierce the four points and the centre with
-a pin, then fasten the pin firmly to the
-end of a stick. The pin must be left long
-enough to allow the paper to turn easily.</p>
-
-<p>Stick the straw wreath full of pin-wheels,
-then plant the pole securely in the
-ground and you will have a ring of Fourth
-of July pin-wheels which will look pretty
-all day long.</p>
-
-<p>Be sure to place the wreath facing
-the breeze, so the pin-wheels may be kept in constant motion.
-Reserve the</p>
-
-
-<h3><b>Bombs</b></h3>
-
-<div class="figright" style="width: 363px;">
-<img src="images/i_116a.jpg" width="363" height="365" alt="Fig. 62" />
-</div>
-
-<p class="unindent">until the last. They are simple in construction, but quite startling
-when they go off.</p>
-
-<p>Fasten together two very stiff flat pieces of steel (Fig. 62),
-those sold for the back of dress-skirts work well, and use
-a strong string many yards long to tie them with. Bring
-up the four ends of the steels and tie them with a slip knot<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span>
-(Fig. 63), in order that it may easily fly open. Place the cage
-thus formed in the centre of a square piece of tissue-paper.</p>
-
-
-<p>Now cut strips of different colored tissue-paper, four inches
-long, and twist each piece at one end.</p>
-<div class="figleft" style="width: 257px;">
-<img src="images/i_116b.jpg" width="257" height="230" alt="Fig. 63" />
-</div>
-
-<p>Put these in the centre of the cage and bring up the four
-corners of the
-square of paper,
-allowing the
-string to come
-out of the top.
-Twist the corners
-together and close
-up the small openings
-by folding
-over the edges of
-the paper. This
-makes a bomb somewhat resembling
-a common torpedo
-enlarged to many times its
-original size.</p>
-
-<p>Pass the string through a
-screw-eye which has been screwed in the end of a flag-pole or
-broomstick, and place the pole out of the window. Then drop
-the end of the string down to the lawn below. Fasten one end
-of the pole in the window by binding it firmly to a strong,
-heavy chair, or secure it in any other way most convenient so
-there will not be the slightest danger of its falling.</p>
-
-<p><span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p>
-
-<p>Everything being ready, descend to the lawn, and pull the
-string so the bomb will rise slowly up to the pole.</p>
-
-<p>When it is within a short distance of the screw-eye, give the
-twine a sudden sharp jerk which will cause the bomb to come
-in contact with the pole with sufficient force to untie the slip-knot,
-the elastic-metal ribs will fly back causing the bomb to
-burst and fill the air with bright shreds, flying, gliding, and
-darting everywhere in the most eccentric manner, making the
-air brilliant with floating colors.</p>
-
-<p>Let your Fourth of July</p>
-
-
-<h3><b>Lawn Party</b></h3>
-
-<p class="unindent">partake of the patriotic traditions, and as far as possible help to
-celebrate our Nation’s birthday in an appropriate manner.</p>
-
-<p>Paper fire-works may form part of the entertainment, it
-being optional with the hostess whether they come before or
-after the games, or are interspersed between them.</p>
-
-<p>The party opens with the signing of the</p>
-
-
-<h3><b>Declaration of Independence.</b></h3>
-
-<p>To each guest is given a brown-paper bag, and when all have
-assembled on the lawn, the hostess steps forward facing the
-company, and asks all to kindly keep quiet and listen for a
-few moments while she reads or repeats their Declaration of
-Independence, she then reads:</p>
-
-<p>We girls are, and of right should be, free and independent
-of all boys’ sports, having resources and amusements befitting
-the celebration of the Fourth of July, independent of all those
-belonging exclusively to boys.</p>
-
-<p>Then follows the signing of the same, by each in turn writing
-her name beneath the declaration. This accomplished, the
-hostess gives the signal and each guest fills her bag with air, by<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span>
-holding it close to her mouth, gathering it tightly around, and
-blowing into it, then grasping it firmly in the right hand, being
-careful not to let any air escape.</p>
-
-<p>At another signal, all simultaneously bring their hands
-forcibly and quickly together, striking the paper bags with the
-left hand, which bursts the bags and causes a report almost
-equal to that of pistols.</p>
-
-<p>All the bags exploding at one time, gives a salute worthy of
-the name and creates much merriment.</p>
-
-<p>The salute may be varied by bursting the bags in quick succession,
-so that it will sound something like a volley of musketry.</p>
-
-<p>This introduction is followed by games to be played on the
-lawn.</p>
-
-<p>For the new game of</p>
-
-
-<h3><b>Toss,</b></h3>
-
-<p class="unindent">make nine disks of card-board, painted or covered with paper,
-red and white and blue, three of each color.</p>
-
-<p>Place in the centre of the lawn a fancy waste-basket, and let
-each player in turn stand at a distance of six feet from the basket.
-It is better to have the station marked by a stone or stick,
-at the place designated.</p>
-
-<p>If played by sides, two stations, one on either side of the
-basket will be necessary.</p>
-
-<p>The object of the game is to throw the disks into the basket,
-and they are valued according to color; red counts one, white
-two, and blue three.</p>
-
-<p>If played by sides, each side should play five rounds, ninety
-being the highest possible tally for any one player.</p>
-
-<p>This is an easy and pleasant game, and may be played with
-or without sides. The hostess keeps account, and at the end of
-the game gives a knot of red, white, and blue ribbons as a prize
-to the one having the highest score.</p>
-
-<p><span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span></p>
-
-<p>We hardly recognize our old friends in the new and gigantic</p>
-
-
-<h3><b>Fourth of July Jackstraws.</b></h3>
-
-<p>These are all in holiday attire, and so much larger than any we
-have seen that they are even more attractive, and afford greater
-amusement than those which we have hitherto enjoyed.</p>
-
-<p>It does not take long to make them. Cover a number of
-light slender sticks, three or four feet long, with paper or cloth,
-some red, some white, and others blue. The colors count respectively,
-red one, white two, and blue three. Provide another
-longer stick with a hook in one end to be used in taking the jackstraws
-from the pile.</p>
-
-<p>Stand the sticks up so as to meet at the top, and spread out
-like a tent at the bottom. Each player then takes the hook in
-turn and tries to remove a jackstraw, without shaking or throwing
-down any of the others. The one scoring the highest, wins
-the game and is entitled to the prize.</p>
-
-<p>Progressive games seem to be very
-popular, and deservedly so, as they
-possess an interest peculiarly their own.</p>
-
-<p>Here is a new and novel one, called</p>
-
-
-<h3><b>Progressive Mining.</b></h3>
-
-<div class="figright" style="width: 148px;">
-<img src="images/i_119.jpg" width="148" height="274" alt="flag in a pot Fig. 64" />
-</div>
-
-<p>It is played with flower-pots filled with
-sand or loose earth, called mines. A
-small flag on a slender staff is placed
-upright in the centre of each flower-pot
-(Fig. 64). The staff should be stuck
-down in the sand only just far enough
-to keep it steady in its position. Each player in turn removes
-a little sand from the mine with a stick called a wand, taking<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span>
-great care not to upset the flag; for the one causing the flag
-to fall loses the game. The number
-of mines needed will depend upon
-the number of persons playing, as
-one flower-pot is required for every
-two players.</p>
-
-<div class="figleft" style="width: 196px;">
-<img src="images/i_120.jpg" width="196" height="648" alt="Fig. 65" />
-</div>
-
-<p>Each one taking part in the game,
-is provided with a wand. Slender
-bamboo canes make excellent wands,
-and may be decorated with red, white
-and blue ribbons, tied on the handles.
-Should the canes be difficult to procure,
-then any kind of light slender
-stick will serve the purpose.</p>
-
-<p>The hostess should prepare blank
-envelopes, each containing a ribbon
-badge, or score sheet, of different
-colors, two of each; these are all
-numbered, the figures being painted
-or pasted on the ribbons to designate
-the place to be taken, thus two reds
-are marked 1, meaning that they are
-to occupy the first or prize mine. The
-blues are marked 2, showing that
-they take the second mine, and so on.
-The last or lowest place is called the
-booby mine. Each badge should
-have a small pocket attached (Fig.
-65), for holding stamps; these are cut
-in any desired form from gold and
-silver paper, which has previously
-been covered with mucilage on the under side, like a common
-postage-stamp.</p>
-
-<p><span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span>The hostess passes around the envelopes, each guest takes
-one, and upon opening it discovers where and with whom she
-is to play.</p>
-
-<p>The preliminaries being settled, and all having taken their
-places, the hostess starts the game by ringing a little bell.</p>
-
-<p>When one of the players at the prize mine upsets the flag,
-the other calls out <i>prize</i>, and if the flags have not already fallen
-in the other mines, the couples play as quickly as possible until
-all the flags are down.</p>
-
-<p>The winner at the prize mine fastens a gold stamp on her
-ribbon badge, while the loser at the booby mine, ornaments
-hers with silver seal.</p>
-
-<p>The game is now rearranged, the winner at the prize mine
-remains at her station, and the loser goes down to the booby
-mine, while all those winning at the other mines move up, each
-one respectively to the next higher mine, for it is only at the
-prize mine where the loser moves her place and the victor remains
-stationary.</p>
-
-<p>When these details are settled, the flag-staffs are again planted
-in the flower-pots and the signal given for a new game.</p>
-
-<p>The player with the largest number of gold stamps on her
-score-sheet, receives the victor’s prize, and the one having the
-most silver stamps is entitled to the booby prize.</p>
-
-<p>The prizes are given when the game is ended. They should
-consist of some pretty little article made by the hostess herself,
-and, if practicable, appropriate to the day, such as a delicate
-satin sachet in the form of a Liberty bell, with the lettering
-painted on it.</p>
-
-<p>A pretty pin-cushion, with a cover made of a miniature silken
-flag, or a dainty pen-wiper in the shape of Liberty’s cap. Other
-more expensive gifts are not in good taste.</p>
-
-<p>The booby prize should be something grotesque or comical.</p>
-
-<p>As the mothers and sisters of 1776 took a full share in the<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span>
-hardships and trials of the Revolution, and actively assisted in
-gaining our independence, it is eminently fit and proper that
-American girls should show their appreciation of such bravery
-and heroism by assisting in the annual celebration of our
-famous Independence Day.</p>
-
-<p>Fourth of July seems heretofore to have been considered
-altogether too exclusively a boy’s holiday, and it is with a
-hope of stimulating a renewed activity, and awakening in the
-heart of every girl in the United States a sense of proprietary
-interest in the day, that we suggest new methods of celebrating
-our national holiday.</p>
-
-<div class="figcenter" style="width: 477px;">
-<img src="images/i_122.jpg" width="477" height="137" alt="dog and cat" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></p>
-
-
-
-
-<h2>CHAPTER X.<br />
-
-<small>PRINTING FROM NATURE’S TYPES.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_123.jpg" width="207" height="202" alt="L" />
-</div>
-
-<p class="drop-capi3">LAST summer we made some lovely
-impressions of flowers, leaves, and
-sprays; then we tried landscapes
-and all sorts of beautiful designs.</p>
-
-<p>It is really delightful and fascinating
-work. You are led on and
-on, always with a fancy to try something
-else to see how it will come
-out, and seldom, if ever, is it a disappointment
-or failure, a new interest being felt with every
-fresh print made. Moreover, you are sure of having your picture
-original and the only one of its kind, for as no two flowers
-or leaves are precisely alike, so no print can be an exact copy
-of another. And then it takes only a few moments for the work
-which could not be accomplished in thrice the time should a
-drawing be made of the same design.</p>
-
-<p>Let me tell you how to make an “Impression Album” a
-book of printed flowers and leaves. You who have houseplants
-will find it a delightful winter recreation, a novel pleasure,
-and you can enjoy the pretty work even more during your
-summer vacation, with wild flowers at your command.</p>
-
-<div class="figcenter" style="width: 520px;">
-<img src="images/i_124.jpg" width="520" height="728" alt="drawing of leaves and stalks of plants with girls in background" />
-<div class="caption">Making Prints.</div>
-</div>
-
-<div class="figright" style="width: 185px;">
-<img src="images/i_125a.jpg" width="185" height="424" alt="print" />
-<div class="caption">Pink Oxalis.</div>
-</div>
-<p>The “prints” are taken from the natural flowers or leaves
-themselves. Girls who have no knowledge at all of drawing
-or of printing can with little trouble make these Impression Albums,<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a><br /><a name="Page_125" id="Page_125">[125]</a></span>
-and students of botany will find the work supplies valuable
-memoranda of leaves and plants, as the print preserves details
-of the form, fibre and veining of
-foliage and petal such as no drawing or
-photograph can. The printing can be
-made wholly
-accurate, giving
-all the
-minutiæ of
-construction.</p>
-<div class="figleft" style="width: 192px;">
-<img src="images/i_125b.jpg" width="192" height="212" alt="print" />
-<div class="caption">Smilax.</div>
-</div>
-
-<p>The tools
-required to
-make these
-print-pictures
-are simple, and consist of a piece of
-glass, a palette-knife or table-knife and
-some printers’ ink which comes in
-small tin boxes and can be procured at
-any stationery store, and a pad made
-of a ball of cotton
-tied in a piece of
-soft silk or satin.</p>
-
-
-
-<div class="figleft" style="width: 130px;">
-<img src="images/i_125c.jpg" width="130" height="224" alt="print" />
-<div class="caption">Evergreen Moss.</div>
-</div>
-
-<p>The printers’
-pad used by the
-writer for spreading
-the ink, was
-manufactured
-of the satin lining taken from a gentleman’s
-old hat, and answered the purpose
-admirably, being a good size, measuring
-nearly four inches in diameter. The album
-itself may be a common blank-book, with every other leaf cut
-out, in order to make room for the prints, which are on pieces<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span>
-of blank unruled paper of uniform size, and small enough to fit
-in the album and leave a margin all around the piece inserted,
-so that the book when opened may be neat and attractive.
-Having all your tools at hand, select the leaves you wish to
-print. These must be free from dust or dew and perfectly fresh.</p>
-<div class="figright" style="width: 239px;">
-<img src="images/i_126.jpg" width="239" height="314" alt="print" />
-<div class="caption">Skeleton Geranium Leaves.</div>
-</div>
-<p>First, with your knife, place a small quantity of printers’ ink
-on the piece of glass and smooth it as evenly as possible over
-the surface. Then press the printers’ pad down lightly, lifting,
-and again pressing, until the
-ink is evenly distributed on the
-pad; next, select a leaf and
-place it face, or right side, downward
-on a piece of folded newspaper;
-press the inked pad down
-on the under side of the leaf,
-which is now, of course, lying
-upward, repeating the operation
-until the leaf is sufficiently covered
-with ink. Carefully place
-the leaf, inked side down, on
-the centre of the piece of paper
-you have previously cut for the
-album; over this lay a piece of
-common yellow wrapping-paper,
-or any paper that is not too thick or stiff, and rub the finger
-gently all over the covered leaf. Remove the outside paper
-and very <i>carefully</i> take up the leaf. You will find an exact
-impress of the natural green leaf showing every one of the delicate
-fibres.</p>
-
-
-
-<p>The picture is now ready to be pasted in the album, with a
-thin, delicate paste, touching only the corners. It is a good
-plan to write under each leaf the name of the plant or tree from
-which it was taken, with the date, and such facts as you would<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span>
-like to recall. Very valuable botanical collections can thus be
-made. Flowers are more difficult to print than leaves, owing
-to less “relief” in the films;
-still they make charming pictures
-when successfully
-treated, sometimes
-having the appearance of photographs of flowers with all the
-lights and shadows.</p>
-
-<div class="figcenter" style="width: 516px;">
-<img src="images/i_127.jpg" width="516" height="600" alt="landscape in prints" />
-<div class="caption">A Winter Landscape.<br />
-<span class="plaintext">Printed from Nature’s Type.</span></div>
-</div>
-
-<p><span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span></p>
-
-<p>When printing flowers, proceed in the same manner as with
-the leaves. Sweet peas, roses, daisies, wild carrot, clover, and
-verbenas, all make beautiful impressions which look like photographs.
-Grasses of various kinds also print well.</p>
-
-<p>In making a spray, it is best to have a definite idea of the
-form you desire it to take. If possible secure as a copy a natural
-spray of the kind you wish to print. Then first print all
-the leaves in the positions they are to occupy, and connect them
-by drawing in the branch with pen and India-ink.</p>
-
-<div class="figcenter" style="width: 531px;">
-<img src="images/i_128.jpg" width="531" height="305" alt="print" />
-<div class="caption">Maple Leaves.<br />
-<span class="plaintext">Printed from Nature’s Type.</span></div>
-</div>
-
-<p>The Winter Landscape is printed from dried twigs, grasses,
-and little leafless plants, so arranged as to resemble trees and
-shrubbery.</p>
-
-<p>Only have a little confidence and you can make etchings
-from nature. Should you not understand drawing or composition,
-do not be discouraged; obtain a picture to copy, and
-then hunt up little plants and soft twigs as nearly as possible
-corresponding in shape and character to the trees in the copy;
-in this way you can produce very creditable landscapes.</p>
-
-<p><span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span></p>
-
-<p>Botanical impressions maybe used for “fancy work” by
-being printed on satin, and the decorated satin made up as
-though it were painted or embroidered; patches for silk quilts
-have been prettily decorated by this process. The printings
-also make beautiful patterns for outline work, much truer to
-nature than those made in any other manner and afford infinite
-variety for “borders” and “corners.” Even satin dresses can
-be beautifully ornamented with impressions of leaves instead of
-the “hand painting” so long in use. You can, of course, see
-that should several colors of printers’ ink be used, beautiful
-combinations and pleasing variety would be obtained, and that
-probably some unique and novel decorations would be secured.</p>
-
-<p>Letter-paper ornamented with a delicate design printed from
-nature’s types is very dainty and pretty, and in many other
-forms can these simple and beautiful decorations be used.</p>
-
-<p>Then bring leaves and blossoms from the woods or door-yard,
-and half an hour may be delightfully spent in printing
-“impressions” which will teach a lesson in botany, while the
-great variety of leaf forms, difference in texture, fibre, veining
-and finish cannot fail to attract your attention and call forth
-your admiration.</p>
-
-<div class="figcenter" style="width: 478px;">
-<img src="images/i_129.jpg" width="478" height="188" alt="leaves" />
-</div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p>
-
-<div class="figcenter" style="width: 440px;">
-<img src="images/i_130.jpg" width="440" height="600" alt="drawing" />
-<div class="caption">Corn Roast.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span></p>
-
-
-
-
-<h2>CHAPTER XI.<br />
-
-<small>PICNICS, BURGOOS AND CORN-ROASTS.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_131.jpg" width="301" height="313" alt="T" />
-</div>
-
-<p class="drop-capi">TRACES of foreign ancestors
-are apparent occasionally
-in most of us,
-true Americans though
-we be. It is perhaps a
-spice of gypsy blood in
-our veins that sets our
-pulses throbbing with
-pleasant excitement
-when, seated in an old hay-wagon, we go bumping and thumping
-down the road prepared for a delightful holiday.</p>
-
-<p>With camp-kettle swinging beneath, and coffee-pot stowed
-safely away within the wagon, do we not feel able to provide as
-savory dishes for our picnic dinner as any concocted by the gypsies
-themselves? Surely no coffee is ever so delicious as that
-cooked over the camp-fire, albeit it tastes somewhat smoky
-when prepared by hands inexperienced in the art of out-door
-cooking; but if the fish we broil is a little burned, and the
-baked potatoes rather hard in the middle, who cares? Hearty,
-healthy appetites, which the early morning drive through the
-fresh, exhilarating air has developed, laugh at such trifles and<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span>
-dinner is voted a success in spite of sundry mistakes and mishaps
-in its preparation.</p>
-
-<p>There are <i>picnics</i> and <i>picnics</i>. When one drives out in a
-fine carriage to meet a fine company, and partake of a fine lunch
-prepared by fine servants, is one kind.</p>
-
-<p>When one goes with a large party, on a boat, and takes a
-lunch of sandwiches, cake, pickles, hard-boiled eggs, etc.,
-which is spread on the grass at the landing and eaten as quickly
-as possible, is another kind; but the picnic most enjoyed by
-young people who are not afraid of a little work, which is only
-play to them, is the one where the raw materials for the dinner
-are taken and the cooking, or most of it, is done, gypsy fashion,
-by the picnickers themselves.</p>
-
-<p>A pleasant innovation in the ordinary routine of a picnic is</p>
-
-
-<h3><b>A Burgoo.</b></h3>
-
-<p>Thirty or forty years ago the men of Kentucky, in celebration
-of a holiday, would get up what they called a burgoo. In
-character it was very much like the clam-bake of to-day, but
-instead of chowder, or baked clams, the company prepared and
-partook of a soup or stew made of almost everything edible.
-Early in the morning the party would meet at the appointed
-place and decide what each should contribute toward the making
-of this most delectable stew.</p>
-
-<p>Those who were fond of hunting would go forth in search of
-birds, squirrels, rabbits, and game of all kinds, with which the
-woods were filled. Some caught fish, and others provided fowl,
-pork, vegetables, and condiments.</p>
-
-<p>As the ingredients were brought in, those who had charge of
-the cooking prepared and dropped them into an immense pot
-which, half full of water, was suspended over a roaring fire.</p>
-
-<p>When everything of which the stew was composed was<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>
-cooked to shreds, the burgoo was pronounced done, and was
-served in tin cups, and eaten with shell spoons, made by splitting
-a stick and wedging a mussel-shell in the opening.</p>
-
-<p>That this was a most appetizing feast I know from an old
-gentleman who has frequently attended the burgoos and partaken
-of the stew. Of course at a picnic composed of girls and
-boys, it would not do to depend upon the game which might
-be shot and the fish which might be caught, for the dinner, but
-the burgoo should be adapted to the ways and means of the
-party, and each member should provide something for the stew.
-The following recipe will make enough for fifteen or twenty
-persons.</p>
-
-
-<h3><b>Burgoo Stew.</b></h3>
-<div class="figleft" style="width: 270px;">
-<img src="images/i_133.jpg" width="270" height="315" alt="coffee pot on rocks on fire" />
-</div>
-<p>Two pounds of salt pork, the same of lean beef; two good-sized
-chickens, or fowls of any kind; two quarts of oysters, the
-same of clams; twelve potatoes,
-four turnips, one onion,
-two quarts of tomatoes, and
-any other vegetables which
-may be obtainable. Make a
-bouquet of parsley, celery,
-and a very little bay-leaf,
-thyme and hyssop, tied together
-with thread.</p>
-
-
-
-<p>Put the beef, fowl, pork,
-oysters, clams and a handful
-of salt in a large iron kettle,
-three-quarters full of water;
-skim it before it begins to
-boil hard, and add the other
-ingredients; keep the kettle covered and boil until the bones
-fall from the meat. Serve hot with crackers. Wild game and<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span>
-fish may also be added to the recipe. When a burgoo is
-decided upon, it is best to prepare a light lunch to be eaten
-about eleven o’clock, and have the heartier meal at four or
-five in the afternoon, as it requires some time for the stew to
-cook.</p>
-
-<p>Our illustration shows four ways of suspending the kettle
-over the fire. While the girls are preparing the ingredients for
-the stew, the boys will build a fire in some such fashion as is
-shown upon <a href="#Page_135">page 135</a>, and put the kettle on. The best way to
-boil coffee is to make or build a kind of little stove of stones
-and mud, and set the coffee-pot on top, as shown in Fig. 66;
-this will prevent the smoky taste it is apt to have when placed
-directly on the fire.</p>
-
-
-<h3><b>A Corn-roast.</b></h3>
-
-<p>During the season when green corn is plentiful, there is no
-better way of having a real jolly time than by getting up a corn-roast.
-It is not as elaborate an affair as the burgoo. Some
-green corn, a long pole sharpened at one end, for each member
-of the party and a large fire built in some open space where
-there will be no danger of causing conflagration makes us ready
-for the corn-roast.</p>
-
-<p>Several summers ago a gay party of friends from New
-York and vicinity took possession of and occupied for a few
-months a little cottage at a place on the coast of Maine called
-Ocean Point.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_135.jpg" width="600" height="399" alt="types of fires; Then The Boys will Build The Fire In Some Such Fashion and Put The Kettle on." />
-</div>
-
-<p>Toward the end of August, when all places of interest had
-been explored, when the stock of shells, starfish, and such like
-treasures had grown beyond the accommodation of an ordinary
-trunk, and the minds of the sojourners were beginning to be
-filled with thoughts of a speedy return home, green corn, for
-the first time that summer, made its appearance. This was
-hailed with delight, and a farewell lark, in the form of a corn-roast,<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a><br /><a name="Page_136" id="Page_136">[136]</a></span>
-was promptly proposed and almost as promptly carried
-into execution.</p>
-<div class="figright" style="width: 394px;">
-<img src="images/i_136.jpg" width="394" height="269" alt="corn on a stick" />
-</div>
-
-<p>The place selected on which to build the fire was a large
-rock jutting out into a little cove called “Grimes Cove.”
-Here the party met about three o’clock in the afternoon, each
-member bringing only such dishes as were considered necessary
-for his or her own use. It is needless to say that the
-supply was not very plentiful, many limiting themselves to a
-cup and spoon; still as the supper was to consist merely of
-roasted corn, bread and coffee, these
-answered every purpose.</p>
-
-<p>Not only was the corn roasted on
-the ends of the long poles, but bread
-was toasted, and in true American fashion
-it was eaten piping hot. One of
-the gentlemen, much to the amusement
-of the rest of
-the party, produced
-a piece
-of breakfast
-bacon, which
-he fastened on
-to the end of his pole and toasted over the glowing embers, declaring
-that it was better cooked in that way than in any other.</p>
-
-<p>Yes, corn-roasts are great fun, and they can be held almost
-any place where a large fire can be safely built. It is best to
-allow the fire to burn down until it is a glowing pile of coals;
-then sticking the sharp end of a pole into an ear of corn (Fig. 67),
-and standing as far from the fire as the length of the pole will
-permit, it can be held close to the hot embers until thoroughly
-cooked; then with butter and salt this roasted corn is excellent
-eating.</p>
-
-
-
-<p>Enough corn should be provided to allow several ears to<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span>
-each member of the party, as mishaps are liable to occur, and
-the tempting ear of corn may be devoured by the flames, instead
-of the person for whom it was intended.</p>
-
-<p>The poles, about six feet in length, should be as light as
-possible, for if too heavy they will tire the hands and arms of
-those holding them.</p>
-
-<div class="figcenter" style="width: 457px;">
-<img src="images/i_137.jpg" width="457" height="124" alt="geese eating spilled stew" />
-</div>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span></p>
-
-<div class="figcenter" style="width: 430px;">
-<img src="images/i_138.jpg" width="430" height="600" alt="diagram" />
-<div class="caption">White Clover Design.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span></p>
-
-
-
-
-<h2>CHAPTER XII.<br />
-
-<small>BOTANY AS APPLIED TO ART.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_139.jpg" width="213" height="257" alt="T" />
-</div>
-
-<p class="drop-capi2">THERE is a book of most lovely designs
-open to everyone whose eyes
-are open to see.</p>
-
-<p>Grasses, leaves, blossoms, and
-even buds and seed-vessels supply
-material for beautiful patterns.</p>
-
-<p>We need not look far for suggestions.
-Truly “that is best
-which lieth nearest; shape from
-that thy work of art.”</p>
-
-<p>At your very doorway the wonders
-of botany may be studied.
-Carefully inspect the tree blossoms in the early spring; the
-maple, willow, birch, any in fact which happen to be convenient,
-and you will find suggestions of rare designs.</p>
-
-<p>Clover, plantain, pepper-grass, dandelions, vines and twigs,
-offer ideas which can be adapted to ornamental art.</p>
-
-<p>A love of nature will quicken and stimulate the faculties;
-take the flowers and plants for instructors, and they will teach
-and guide you.</p>
-
-<p>Though there cannot be found an exact duplicate of any
-blossom or leaf, still these may be conventionalized by arranging
-them in all sorts of symmetrical designs.</p>
-
-<p>There is no mystery about the matter, for all the designs<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span>
-are conceived upon the most simple of geometric laws. We
-are now following in the steps of the old masters, and an unlimited
-field of new combinations opens before us.</p>
-
-<p>When making designs for this chapter, the writer did not
-select the objects she thought would be most decorative, but
-anything which chanced to fall in the way; and what she has
-done you can do, provided, of course, that you have ordinary
-skill with the pencil.</p>
-
-
-<h3><b>The Peony Leaf.</b></h3>
-
-<p>Suppose you do not know how to draw at all! Even then
-you can design. Take the first thing you see, which in this
-case happens to be a peony leaf (Fig. 68). That is, assuming
-that you are seated by the side of the writer.</p>
-
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
-<tr><td align="left"><div class="figcenter" style="width: 195px;">
-<img src="images/i_140.jpg" width="195" height="216" alt="drawing" />
-<div class="caption">Fig. 68.</div>
-</div></td><td align="left"><div class="figright" style="width: 193px;">
-<img src="images/i_140b.jpg" width="193" height="202" alt="" />
-<div class="caption">Fig. 69.</div>
-</div></td></tr>
-</table></div>
-
-
-<div class="figright" style="width: 278px;">
-<img src="images/i_141a.jpg" width="278" height="306" alt="drawing" />
-<div class="caption">Fig. 70.</div>
-</div>
-
-<p>Now watch! We will pull it apart thus (Fig. 69). Next
-with a pair of scissors, a knife, or fingers snip off the stems,
-and group the leaves in any way we chose. We will try this
-combination (Fig. 70). If you do not understand drawing,
-we must fasten the leaves down upon a piece of paper as they
-are arranged, and trace around them, following their edges<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span>
-with a pencil until the outline is complete (Fig. 70). By simply
-repeating this figure at regular intervals we have a very
-pretty border design and
-one that is truly original,
-for the writer had no more
-idea than you, what was
-to be the result of this experiment.
-In order to
-make the pattern exact,
-draw lines as in Fig. 71,
-for a guide; then draw
-the figure according to the
-foundation lines (Fig. 72).
-When finished, erase the
-lines and the design stands
-a conventionalized peony
-leaf, Fig. 73. By making
-a tracing of the first pattern,
-you can repeat it any
-number of times. It requires no great or peculiar genius to
-design well, and it is a mistaken, old-fashioned idea to suppose
-because you never have done any original work in art that you
-never can. Do not slavishly follow other people, but believe<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span>
-that there is implanted in you
-the same elements that belong
-to those whose designs you admire,
-then commence and design
-for yourself. That you
-may have a start in your new
-art, we will try something else,
-a vegetable this time, for here
-comes the green-grocery man
-with a basket full of as quaint
-decorations as are ever painted
-with bamboo-handled
-brush by the Japanese.</p>
-<div class="figcenter" style="width: 489px;">
-<img src="images/i_141b.jpg" width="489" height="174" alt="Fig. 71   Fig. 72   Fig. 73" />
-</div>
-
-
-<h3><b>A Bunch of Turnips.</b></h3>
-
-<div class="figcenter" style="width: 260px;">
-<img src="images/i_142a.jpg" width="260" height="377" alt="drawing" />
-<div class="caption">Bunch of Turnips</div>
-</div>
-
-<div class="figcenter" style="width: 459px;">
-<img src="images/i_142b.jpg" width="459" height="449" alt="drawing of four turnip bunches" />
-<div class="caption">Fig. 75.</div>
-</div>
-
-<p>Take the first bunch
-of vegetables on the top
-of the basket. What are
-they? turnips? Well
-that requires a little skill
-as a draughtsman, but
-we will sketch this one
-and you can copy it (Fig.
-74). Now repeat it (Fig.
-75), or place the bunches
-in a row and you will
-have another border
-design. After a few
-experiments you will
-see that anything will
-make a decoration
-even the humble
-kitchen vegetables.</p>
-
-<p><span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span></p>
-
-
-<h3><b>Decorative Lines.</b></h3>
-
-<div class="figcenter" style="width: 315px;">
-<img src="images/i_143a.jpg" width="315" height="150" alt="Fig. 78. Fig. 76. Fig. 77." />
-</div>
-
-<div class="figcenter" style="width: 288px;">
-<img src="images/i_143b.jpg" width="288" height="143" alt="Fig. 79." />
-</div>
-
-<p>Figs. 76 and 77 are simply graceful curves, such as anyone
-can make with a pen or pencil, and may be used in many
-ways: cross them and they form Fig. 78, use this as half the
-design, duplicating it for the other half and it gives Fig. 79.
-We now have graceful and beautiful foundation lines on which
-any vine or flower may be placed as ornamentation. We will
-select the rose, allowing the lines to form the stems and using
-as ornament the bud, flower and seed-vessels, remembering<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span>
-that one side must be an exact duplicate of the other (see Fig.
-80).</p>
-
-<div class="figcenter" style="width: 327px;">
-<img src="images/i_143c.jpg" width="327" height="151" alt="Fig. 80" />
-</div>
-
-<p>With these curves invent new designs by placing them together
-in different ways, and choose for decoration anything
-which may strike your fancy.</p>
-
-
-<h3><b>Plant Cross-section Designs.</b></h3>
-
-<p>Have you ever noticed how curiously some leaves are curled
-before opening? Watch them as they commence to expand
-and grow, and you will be delighted with the great variety and
-unique designs formed by the folding and rolling of these leaf-buds.</p>
-
-<p>Cut a bud square across in the centre with a sharp knife,
-and this will show the nicety of arrangment of the young
-leaves. The leaf-bud of the sage (Fig. 81), rosemary (Fig.
-82), apricot (Fig. 83), and still another variety of pattern (Fig.
-84), are all singular natural designs.</p>
-
-<div class="figcenter" style="width: 499px;">
-<img src="images/i_144.jpg" width="499" height="251" alt="Fig. 81 Fig. 82 Fig. 83 Fig. 8" />
-</div>
-
-<p>The petals of flower-buds are also folded in many ways,
-affording odd designs; if cut in like manner as the leaves, the<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span>
-cross-sections will be as beautiful. Fig. 85, the lilac bud, and
-the oleander (Fig. 86), give some idea of these odd designs.
-Submit all kinds of buds to the test by cutting them in halves,
-and carefully examining the two parts, observe how nicely and
-orderly the leaves are folded together. In this way you will
-find many natural ornamental patterns.</p>
-
-<div class="figcenter" style="width: 511px;">
-<img src="images/i_145a.jpg" width="511" height="218" alt="Fig. 85 Fig. 86" />
-</div>
-
-<p>Nor must we neglect the seed-vessels; when these in their<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
-turn are cut open, they present excellent designs. Fig. 87 is a
-cross-section of the seed-vessel of the harebell. Other seeds
-will furnish queer forms and figures to be obtained in no other
-way.</p>
-
-<div class="figcenter" style="width: 292px;">
-<img src="images/i_145b.jpg" width="292" height="300" alt="Fig. 87" />
-</div>
-
-
-<h3><b>Flower Sprays.</b></h3>
-
-<div class="figright" style="width: 232px;">
-<img src="images/i_146.jpg" width="232" height="248" alt="Fig. 88" />
-</div>
-
-<p>The common white clover with its trefoil leaf is very pretty,
-and if a few sprays are placed together in a graceful manner it
-is surprising how readily they
-lend themselves to decoration.
-Experiment with these, gather
-a few blossoms and leaves,
-group them on the centre of a
-piece of paper, and make an
-outline of the group; then
-trace it off in order to repeat
-the copy at equal intervals
-from the central figure (see illustration,
-<a href="#Page_138">page 138</a>); this
-makes a very simple and yet
-beautiful design for embroidery, needle-work, or wall-paper
-pattern. In the same manner try grasses and different kinds
-of flowers.</p>
-
-<p>Conventional designs can also be formed by simply inclosing
-a natural spray in a geometrical figure. Fig. 88 is a circle, but
-a square, triangle, diamond, oval, or any geometrical figure
-may take the place of the circle.</p>
-
-
-<h3><b>Changing the Color</b></h3>
-
-<p class="unindent">of a natural object gives still another style of ornamental art.
-A spray of flowers and leaves in one color on a background of
-different tint is an example. The spray may be brown on a<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>
-yellow background, or a dull blue on white background, either
-way it will be conventionalized. So you see that by merely
-making natural objects all in one tint, you can have a great variety
-of designs suitable for china, embroidery,
-wall paper, and many other decorations.
-It is instructive to examine the panels,
-screens, or painted china of the Japanese.
-There is a freedom and crispness about their
-ornamental art, which is very attractive.</p>
-
-<p>The method the Japanese
-frequently employ is to diminish
-the size of the fruit or flowers while increasing
-the size of the leaves, and vice-versa; in this way
-they invent designs without losing the character
-of the object they copy, and it is really a very
-simple, yet effective method.</p>
-
-<p>Suppose you try and see what you can make
-with it. The next time you have an opportunity,
-notice how the Oriental artists carry out this idea
-in their decorations, and it will
-help you in making your designs.</p>
-
-
-<h3><b>Burs.</b></h3>
-<div class="figright" style="width: 150px;">
-<img src="images/i_147a.jpg" width="150" height="158" alt="Fig. 89" />
-</div>
-
-<div class="figleft" style="width: 93px;">
-<img src="images/i_147b.jpg" width="93" height="370" alt="Fig. 90" />
-</div>
-
-<p>The tenacious little burs found
-clinging to your dress after a
-country walk, when grouped together
-are not without beauty.
-Fig. 89 is formed of four of these burs placed at right angles
-making an ornament, and when the ornament is repeated at
-regular intervals as in Fig. 90, it forms a border design.</p>
-
-
-<div class="figright" style="width: 113px;">
-<img src="images/i_147c.jpg" width="113" height="177" alt="Fig. 91" />
-</div>
-
-<p>Seeds with downy or feathery tails are well adapted for decorations;
-three grouped together (Fig. 91), is a design of itself,<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span>
-which may also be re-duplicated (Fig. 92). The horse-chestnut
-or buckeye is decorative, and makes an odd design (Fig.
-93). Also the seed-vessel of the
-Velvet-leaf or Abutilon avicennæ
-(Figs. 94 and 95).</p>
-
-<div class="figcenter" style="width: 214px;">
-<img src="images/i_148a.jpg" width="214" height="210" alt="Fig. 92" />
-</div>
-
-
-<h3><b>The Water-Lily.</b></h3>
-
-<p>In the illustration of the water-lily,
-the writer has conventionalized
-it by curving the stem around the
-flower and duplicating the same, always
-making the stem meet the next
-lily, then inclosing the flowers in two straight lines, so forming
-a water-lily border. Now, girls, you can realize how very simple
-it is to apply botany to art, and make for
-yourselves new and original designs.</p>
-
-<div class="figcenter" style="width: 516px;">
-<img src="images/i_148b.jpg" width="516" height="92" alt="Fig. 93" />
-</div>
-
-<div class="figleft" style="width: 125px;">
-<img src="images/i_148c.jpg" width="125" height="127" alt="Fig. 94." />
-</div>
-
-
-<p>The knowledge of plants is not only interesting
-but useful in connection with art,
-in selecting and determining appropriate designs
-for wood-carving, hammered brass, or
-any kind of ornamentation or decoration. The cross-section of
-some trees will furnish very good designs and the differently<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span>
-formed roots of plants and flowers will aid you in ornamental
-art.</p>
-<div class="figcenter" style="width: 469px;">
-<img src="images/i_148d.jpg" width="469" height="78" alt="Fig. 95" />
-</div>
-
-<p>So we find that Nature offers us exquisite designs, in many
-shapes and forms, and we have only to stretch out our hand
-and take what we want.</p>
-
-<div class="figcenter" style="width: 487px;">
-<img src="images/i_149a.jpg" width="487" height="209" alt="Fig. 96" />
-</div>
-
-<p>“Beauty doth truly inhabit everywhere,” for “it is mind
-alone that is beautiful, and in perceiving beauty, we only contemplate
-the shadow of our own affections.”</p>
-
-<div class="figcenter" style="width: 508px;">
-<img src="images/i_149b.jpg" width="508" height="160" alt="palette and ribbons" />
-</div>
-
-<p><span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span></p>
-<hr class="chap" />
-<div class="figcenter" style="width: 535px;">
-<img src="images/i_150.jpg" width="535" height="731" alt="A Door-Step Party quiet games for Hot Weather" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span></p>
-
-
-
-
-<h2>CHAPTER XIII.<br />
-
-<small>DOOR-STEP PARTY AND QUIET GAMES FOR
-HOT WEATHER.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_151.jpg" width="308" height="322" alt="I" />
-</div>
-
-<p class="drop-capi2">IN the State of Kentucky, in one of whose
-towns the writer’s early childhood was
-spent, the summers are long, and frequently
-very hot spells occur when even in
-the early morning hours there is no
-refreshing coolness in the air. As
-the sun rises higher and higher
-in the heavens, its rays
-grow fiercer and fiercer, until
-by afternoon, the heat is
-so intense that few persons
-care to venture out
-of doors, unless compelled
-by business or necessity to do so.</p>
-
-<p>At dusk, however, after the heat of
-the day is spent, and the air, although not cool, is a degree or
-two less hot, the population of the town makes itself visible.
-Ladies and children clad in the thinnest of white and light
-colored muslin gowns, emerge from the houses to sit upon piazza
-and door-step, and there welcome the husband, father, and
-brothers of the family upon their return from business; that
-business which is never neglected no matter what the thermometer
-may register. After tea the door-steps are once more<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span>
-taken possession of, and to enter the house again until ready
-to retire for the night, is not to be thought of. Friends and
-neighbors making social calls are received and entertained informally
-upon the door-steps, and sometimes when the party
-becomes too large for the steps to accommodate, chairs are
-placed upon the pavement immediately in front of the door,
-and no one feels, while occupying one of these seats, that the
-position is at all public or conspicuous.</p>
-
-<p>Hatless and bonnetless as all of the ladies and children are,
-the warmth of the evenings making all head coverings and extra
-wraps unnecessary and uncomfortable, the streets present a
-gay and fête-like appearance seldom seen in our eastern towns.</p>
-
-<p>At least this is as it was when, as one of the band of merry
-children, I played “Oats-peas-beans” and “Come Philanders,”
-upon the sidewalk, and I do not think these customs have
-changed much since then.</p>
-
-<p>Later, when I and my young friends had outgrown the
-“ring-around-arosy” games, we used to gather upon the door-step,
-and there chatter away about the day’s doings, or whatever
-interested us at the time. When tired of talking, we would
-amuse ourselves by playing quiet games or telling stories.
-Sometimes the thoughtful mother of our young hostess would
-add to our enjoyment by serving some light refreshment, such
-as ice-cream or fruit. The greatest treat, and the one most appreciated,
-was when we were invited to partake of a great crisp
-frozen water-melon, whose blood-red core, sweet as sugar and
-cold as ice, quickly melted away between the rosy lips of the
-little guests. We were not always thus favored, however; the
-refreshments were ever a pleasant surprise, but the pleasure of
-our evening was not marred by their absence.</p>
-
-<p>The remembrance of what very pleasant times we used to
-have at these impromptu little parties, urges me to devote some
-pages of this book to the description of a door-step party, that<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span>
-by acting upon the suggestion, others may enjoy them even as
-did that group of little Kentucky girls.</p>
-
-<p>Now is just the time for a door-step party; now when the
-beauty of the evening lures us from the lighted parlor to the
-shadowy piazza whose coolness is so attractive after the long,
-hot summer day. Here soft breezes fan our cheeks, and here,
-perhaps, the moonlight filtering through vine and trellis, is carpeting
-the floor with lacy shadows, and with its soft mysterious
-light is casting a glamour over all familiar things.</p>
-
-<p>It is a modest little fête, this door-step party, a simple way
-of entertaining one’s friends of a summer evening when the heat
-will not permit of the exertion of active games. The delightful
-out-door surroundings give it a novel charm and make it
-entirely different from the frolics usually indulged in during
-the winter season.</p>
-
-<p>Because the entertainment is not noisy it need not be the less
-enjoyable, and a party of bright, merry girls will derive plenty
-of amusement and fun from the quiet games of a door-step
-party. The following will give an idea of what games are suitable
-for an occasion of this kind.</p>
-
-
-<h3><b>Five Minutes’ Conversation</b></h3>
-
-<p class="unindent">is not exactly a game, although there are rules which must be
-obeyed in order to make it interesting.</p>
-
-<p>A programme with small pencil attached, like the one shown
-in Fig. 97, should be given to each guest upon her arrival.
-The engagements for five minutes’ conversation are made by
-putting your name down on your friend’s card opposite the
-time chosen for your conversation with her.</p>
-
-<p>Five minutes only are allowed for one conversation.</p>
-
-<p>Two or more consecutive engagements with one person are
-not allowable. When engagements are made and programmes<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span>
-filled, the hostess, or anyone willing to be time-keeper, must
-ring a bell giving notice that the conversation is to begin.</p>
-
-<p>At the end of five minutes the bell is to be rung again, when
-all talking must instantly cease, the exchange of positions be
-quickly made, and a new conversation be commenced.</p>
-
-<div class="figcenter" style="width: 404px;">
-<img src="images/i_154.jpg" width="404" height="477" alt="Fig. 97" />
-</div>
-
-<p>The time-keeper should be strictly attentive to her duties, for
-the bell must be rung regularly at the end of every five minutes.</p>
-
-<p>The hour allotted to this new mode of conversation will pass
-very quickly, and cannot become in the least tiresome, as the
-time spent in talking to any one person is so very short.</p>
-
-<p><span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span></p>
-
-
-<h3><b>Blind-man’s Singing-school.</b></h3>
-
-<p>One of the party must be blindfolded to take the part of
-teacher. The class composed of the rest of the players should
-sit in a line facing her.</p>
-
-<p>The teacher informs her scholars that they will begin the
-lesson by singing the scales. Then the head girl, or the one at
-the top of the line, sings ah! and the next, ah! a little higher or
-lower, and so it goes down the line; each one in turn uttering
-ah! in any key or note she please; in a high shrill voice, or the
-deepest tone a girlish throat is capable of. The teacher should
-listen attentively, and when she thinks she recognizes a voice
-she must command the class to stop while she makes some criticism
-on the manner in which the note is sung, at the same time
-calling the singer by name.</p>
-
-<p>When one of the players is named correctly, she must be
-blindfolded and become teacher, while the former teacher takes
-her place in the class.</p>
-
-<p>A general exchange of seats is made before the singing lesson
-recommences, that the voices may not be guessed by the
-direction from which they come. To give variety to this game
-the second teacher may direct the class to sing a song, selecting
-some well-known nursery rhyme; then, beginning at the top
-of the line as before, each player must sing the word which
-comes to her to supply. It is the privilege of each teacher to
-direct the class to sing whatever she may choose, either song
-or exercise.</p>
-
-
-<h3><b>A Game of Noted Men,</b></h3>
-
-<p class="unindent">is played in this way: The hostess begins the game by saying,
-I know a celebrated poet; the first part of his name is very
-black, and the last is an elevation. Whoever gives the right
-name, which is Coleridge (coal, ridge), in her turn describes the<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span>
-name of some noted person. She may choose Shakespeare
-and say, I give the name of a noted author and poet; the first
-part is something people are apt to do when they are cold, the
-last is a weapon of warfare.</p>
-
-<p>There are quite a number of names which will do nicely for
-this game; a few of them are—</p>
-
-
-<ul class="booklist"><li>Wordsworth—words, worth.</li>
-<li>Cornwall—corn, wall.</li>
-<li>Howitt—how, it.</li>
-<li>Milman—mill, man.</li>
-<li>Shelley—shell, lea.</li>
-<li>Washington—washing, ton.</li>
-<li>Fillmore—fill, more.</li>
-<li>Longfellow—long, fellow.</li></ul>
-
-
-
-<p>When giving a name to be guessed, the profession of the
-man, whether poet, author, statesman, or soldier, must be given,
-but nothing else should be told about him.</p>
-
-
-<h3><b>What will You Take to the Picnic?</b></h3>
-
-<p class="unindent">can be played very nicely while the party are enjoying some
-light refreshments.</p>
-
-<p>The hostess alone should be in the secret, and these directions
-are addressed only to her.</p>
-
-<p>Commence the game by announcing that you propose to
-give a picnic, that it depends upon what your guests will bring
-for lunch whether they will be allowed to attend, and that each
-one must furnish two articles of food. Then ask the person
-nearest you, What will you take to the picnic? If the name of
-neither of the articles she mentions commences with the initial
-letter of her Christian name or surname tell her she cannot go,
-and put the question to the next person, asking each in turn,
-What will you take to the picnic?</p>
-
-<p>For example, we will suppose that the name of one of the
-party is Susan Davis, and she says she will take crackers and
-lemons, she cannot go, as neither of her names commence with<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span>
-C or L; but if she proposes to take salmon and doughnuts,
-she will be doubly welcome, since S and D are both her initials.
-Should she say sugar and cream, she could go for one of
-her names commences with S.</p>
-
-<p>Continue to put the question to each player until all, or
-nearly all, have discovered why their proposed contribution to
-the lunch secures them a welcome, or debars them from attending
-the picnic.</p>
-
-
-<h3><b>Assumed Characters.</b></h3>
-
-<p>In this game some well-known novelist is selected—Dickens,
-for instance—and each player chooses one of his characters to
-personate, telling no one her choice. Then one of the players
-relates the life as though it were her own, and portrays with
-voice and gesture the character she has assumed. Of course no
-names must be mentioned.</p>
-
-<p>The person who first guesses what character is being personated
-has the privilege of deciding who shall be the next to
-tell her story.</p>
-
-<p>The game of Assumed Characters will prove to be very entertaining
-if each player does her part and makes her narrative
-as amusing and interesting as possible.</p>
-
-
-<h3><b>Shadow Verbs.</b></h3>
-
-<p>A white sheet is fastened tightly across a French window, or
-doorway opening upon the piazza, and a large lamp set behind it.</p>
-
-<p>The company separates into two parties; one enters the
-house, while the other remains seated upon the piazza facing
-the suspended sheet.</p>
-
-<p>The outside party chooses a verb which the others are to
-guess and perform. When their decision is made they call the
-leader of the inside party and say, “The verb we have chosen<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span>
-rhymes with rake,” or whatever it may rhyme with. The
-leader then joins her followers and consults with them what the
-first guess shall be. It is best to take the verbs which rhyme
-with the noun given in alphabetical order. Bake would come
-first for rake, and if it is decided that they shall act this, several
-of the party step before the lamp, which casts their shadows on
-the sheet and, without speaking, go through the motions of
-making and baking bread. If the guess is right (that is if to
-bake was the verb chosen) the spectators clap their hands; if
-wrong, they cry, No, no.</p>
-
-<p>When they hear the no, no, the actors retire and arrange
-what to do next. Make, quake, take, wake are all acted in
-turn, until the clap of approval announces that they have been
-successful in guessing the verb. Then the actors take the seats
-vacated by the spectators, who in their turn enter the house
-to become shadows and act the verbs chosen by the other party,
-and the game goes on as before. A little ingenuity on the part
-of the players in producing funny and absurd shadows makes
-the whole thing very laughable and causes great amusement.</p>
-
-<p>There are an unlimited number of games that may be
-played, but the object of this chapter is not so much to describe
-the games as it is to illustrate those that are appropriate
-to the quiet and delightful entertainment known as a door-step
-party.</p>
-
-<div class="figcenter" style="width: 521px;">
-<img src="images/i_158.jpg" width="512" height="126" alt="A Door-step party; little girl lying on door-step with doll" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span></p>
-
-
-
-
-<h2>CHAPTER XIV.<br />
-
-<small>HOW TO MAKE A HAMMOCK.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_159.jpg" width="133" height="191" alt="U" />
-</div>
-
-<p class="drop-capi2">UNDERNEATH the spreading branches of the
-cool, shady tree swings our hammock.</p>
-
-<p>Through the intertwining boughs the golden
-sunlight is sifted in bright little dashes on
-the leafy foliage below. Lying ensconced
-in its lacy meshes idly listening to the hum
-of the busy bumble-bees at work among the
-red clover, or gazing up through the leafy
-canopy to the blue heavens where now and
-then fleecy white clouds float softly past, or watching a flight
-of birds skim o’er the distant horizon, who would not be lulled
-by the harmony of the summer day! A delightful languor
-steals over us and we unconsciously drift into the land of
-dreams where perfect rest is found. We awaken refreshed, to
-again gently swing back and forth and vaguely wonder who
-could have first thought of this most delightful invention. It is
-said that we owe the luxury to the Athenian, General Alcibiades,
-who, in 415 <span class="smcap">B.C.</span> first made the swinging bed. The word
-hammock is taken from hamacas or hamac, an Indian word
-which Columbus relates as being used by the Indians to signify
-a hanging bed composed of netting. What these uncivilized
-red men made with their rude implements, we ought to
-be able with our modern facilities to accomplish very easily
-and quickly.</p>
-
-<p><span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span></p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_160.jpg" width="600" height="424" alt="girl in hammock" />
-<div class="caption">Home-made Comforts.</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span></p>
-
-<div class="figcenter" style="width: 470px;">
-<img src="images/i_161a.jpg" width="470" height="106" alt="Fig. 98 Fig. 99" />
-<div class="caption">Mesh-sticks..</div>
-</div>
-
-<p>It is not difficult to make a hammock; anyone can soon knit
-one that is strong and comfortable, and it should not cost more
-than fifty cents. The materials required will be one hammock-needle
-about nine inches long (this can be whittled out of hickory
-or ash, or purchased for ten cents); two
-iron rings two and one-half inches in diameter,
-which will cost about five cents each;
-two mesh-sticks or fids, one twenty inches
-long and eight inches wide bevelled on both edges (Fig. 98): the other nine inches long and two and one-half
-inches wide, bevelled on the long edge (Fig. 99); these
-you can easily make yourself from any kind of wood.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 96px;">
-<img src="images/i_161b.jpg" width="96" height="371" alt="diagram" />
-<div class="caption">Fig. 100.—Hammock Needle.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 115px;">
-<img src="images/i_161ca.jpg" width="115" height="253" alt="diagram" />
-<div class="caption">Fig. 101.—The Loop.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 92px;">
-<img src="images/i_161cb.jpg" width="92" height="233" alt="diagram" />
-<div class="caption">Fig. 102.—Small Fid and Loop.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p><span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>One pound of Macremé cord number twenty-four, or hammock
-twine of the same number, which can be had for less than
-thirty cents; colored
-cord comes five
-cents extra.</p>
-
-<p>Wind the cord in
-balls, as it is then
-more convenient to
-handle, and begin
-making your hammock.
-First, thread
-the needle by taking
-it in the left hand
-and using the thumb
-to hold the end of
-the cord in place,
-while looping it
-over the tongue
-(Fig. 100); pass the
-cord down under
-the needle to the
-opposite side and
-catch it over the
-tongue; repeat this
-until the needle is
-full.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_162.jpg" width="600" height="322" alt="Fig. 103.—First Half of Knot. Fig. 104.—Construction of Knot. Fig. 105.—A Number of Knots." />
-</div>
-<div class="figleft" style="width: 197px;">
-<img src="images/i_163a.jpg" width="197" height="367" alt="Diagram" />
-<div class="caption">Fig. 106.—Meshes.</div>
-</div>
-<p>Next, make a
-loop of a piece of
-cord two yards long
-and fasten this to
-any suitable place
-(Fig. 101)—a door-knob will do very well; then tie the cord
-on your needle three inches from the end to this loop. Place<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span>
-the small fid under the cord, the bevelled edge close to the
-loop (Fig. 102). With your thumb on the cord to hold it in
-place while you pass the needle around the
-fid, and with its point toward you, pass it
-through the loop from the top, bringing it
-over the fid, so forming the first half of the
-knot (Fig. 103). Pull this taut, holding it
-in place with your thumb while throwing
-the cord over your hand, which forms the
-loop as in (Fig. 104). Then pass the needle
-from under through the loops, drawing it
-tight to fasten the knot. Hold it in place
-with your thumb, and repeat the operation
-for the next knot. Fig. 105
-shows a number of these knots finished.
-A is a loosened knot, making
-plain its construction. B, in Figs. 103,
-104, and 105, is
-the cord running
-to the needle,
-and D is the fid.
-When thirty meshes are finished shove
-them off the fid (Fig. 106), as this number
-will make the hammock sufficiently
-wide.</p>
-
-<div class="figright" style="width: 221px;">
-<img src="images/i_163b.jpg" width="221" height="240" alt="digarm" />
-<div class="caption">Fig. 107.—Commencing the Second
-Row.</div>
-</div>
-
-<p>Commence the next row by
-again placing the fid under the
-cord, and take up the first mesh,
-drawing it close to the fid; hold
-it in place with your thumb while
-throwing the cord over your hand; pass the needle on the left
-hand-side of the mesh from under through the loop thrown
-over your hand (Fig. 107); pull this tight and you will have<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span>
-tied the common knitting-knot; proceed in like manner with
-all the loops in rotation until the row is finished. When it is
-necessary to thread or fill your needle,
-tie the ends of the cord with the fisherman’s
-knot shown in Fig. 108, which
-cannot slip when properly tightened.
-Wrap each end of the cord from the knot
-securely to the main cord with strong
-thread to give a neat appearance
-to the hammock.</p>
-
-<div class="figleft" style="width: 348px;">
-<img src="images/i_164aa.jpg" width="348" height="131" alt="knot" />
-<div class="caption">Fig. 108.—Fisherman’s Knot.</div>
-</div>
-
-<p>Continue knitting until thirty
-rows are finished.</p>
-
-<p>Then use the large fid, knitting
-one row on the short side
-first, next one on the long side.
-This accomplished, knit the
-meshes to the ring by passing
-the needle through it from the
-top, knitting them to the ring in
-rotation as if they were on the
-mesh-stick or fid (Fig. 109). When
-finished tie the string securely to
-the ring, and one end of your
-hammock is finished.</p>
-<div class="figleft" style="width: 171px;">
-<img src="images/i_164ab.jpg" width="171" height="505" alt="Fig. 109" />
-<div class="caption">On the Ring.</div>
-</div>
-<p>Cut the loop on which the
-first row was knitted, and
-draw it through the knots.
-Tie the end of the cord on
-your needle to the same
-piece used in fastening
-the end of the first needleful to the loop (Fig. 110), and knit
-the long meshes to the other ring as described. This completed,
-the hammock is finished.</p>
-
-<div class="figright" style="width: 117px;">
-<img src="images/i_164b.jpg" width="117" height="445" alt="Fig. 110" />
-</div>
-
-<p><span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span></p>
-
-<p>To swing it, secure two pieces of strong rope and fasten
-them firmly to the iron rings, the length of the rope depending
-upon the space between the two points from which you wish
-it to hang. These should be if possible twelve or fifteen feet
-apart and at least ten feet high, to give your hammock sufficient
-room to swing freely.</p>
-
-<p>This suspended bed will furnish a welcome retreat when the
-weather is too warm to admit of games, walks, or other amusements.
-Then, with some favorite book, or if even reading is
-too much of an exertion, simply to lie indolently in the hammock
-is a comfort, so restful and quiet that the time quickly
-passes, and we are made better and brighter for our short, passive
-repose.</p>
-
-<p>Very decorative nets, and useful ones of many kinds, including
-fish-nets and minnow-seines, are made with the same stitch
-as that used in the hammock. The size of the mesh is regulated
-by the circumference of the fid, and the twine used is fine
-or coarse, according to the style of net desired.</p>
-
-
-<h3><b>Barrel Hammock.</b></h3>
-<div>
-  <img class="splitr" src="images/i_166a.jpg" alt="The Way it Is" width="488" height="392" />
-  <img class="splitr" src="images/i_166b.jpg" alt="The Way it Is" width="135" height="37" />
-  <img class="splitr" src="images/i_166c.jpg" alt="The Way it Is" width="212" height="40" />
-  <img class="splitr" src="images/i_166d.jpg" alt="The Way it Is" width="299" height="232" />
-</div>
-<p>When in the Catskills last summer the writer saw for the
-first time a hammock made of a barrel. It was painted red
-and looked very cheery and inviting hanging under the green
-boughs; the two colors, being complementary, harmonized
-beautifully.</p>
-
-<p>This hammock was made of a piece of strong rope twenty
-feet long threaded in and out of barrel staves, and was substantial
-and durable. The construction of such a hammock is
-very simple. Remove the top and bottom hoops and nails
-from a firm, clean barrel. Then before taking off the remaining
-hoops draw a pencil-line around both ends of the barrel,
-being careful to have the marking three inches from and parallel<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>
-to the edges; this is for a guide
-when making the two holes in
-each end of all the staves. Bore
-the holes with a five-eighth
-of an inch augur
-or a red-hot poker,
-using the pencil-line as
-a centre; leave an equal
-margin on both sides of
-the staves, and at the
-same time enough space
-in the centre to preclude
-all danger of breakage.</p>
-
-<p>Fasten the staves together
-by threading the rope through the hole from the out<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span>
-side of the first stave, then across the inside of the stave down
-through the other hole (see illustration). Continue threading
-until one side is finished, then in like manner thread the other
-side. Knock off the remaining hoops and the staves will appear
-as shown at bottom of illustration. Tie the two ends of
-the rope together and fasten loops of rope on both ends; these
-should be of sufficient length to conveniently swing the hammock.
-When threading the staves let the rope be loose
-enough to leave a space of an inch or so between each stave
-when the barrel is spread out in the form of a hammock.</p>
-
-<p>In this way you can have a serviceable hammock, the cost
-of which will be about twenty-five cents and a little labor.</p>
-
-<div class="figcenter" style="width: 475px;">
-<img src="images/i_167.jpg" width="475" height="167" alt="cozy nest for a fairy" />
-</div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span></p>
-
-<div class="figcenter" style="width: 518px;">
-<img src="images/i_168.jpg" width="518" height="723" alt="two girls playing with corn dolls" />
-<div class="caption">Grandmamma’s Dolls.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p>
-
-
-
-
-<h2>CHAPTER XV.<br />
-
-<span class="small">(<i>FOR LITTLE GIRLS.</i>)</span><br />
-
-<small>CORN-HUSK AND FLOWER DOLLS.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_169.jpg" width="254" height="319" alt="N" />
-</div>
-<div class="figright" style="width: 109px;">
-<img src="images/i_170a.jpg" width="109" height="354" alt="Fig. 111" />
-<div class="caption">Head Commenced.</div>
-</div>
-<p class="drop-capi3">NO such beautiful dolls as delight
-the hearts of the children of
-to-day, ever peeped forth from
-the Christmas-stockings of our
-grandmothers or great-grandmothers
-when they were little
-girls. In those times there
-were not, as there are now,
-thousands of people doing
-nothing but making toys for
-the entertainment and pleasure
-of the little ones, and the
-motherly little hearts were
-fain to content themselves
-with lavishing unlimited affection
-and care upon a rag, wooden, or corn-husk baby, made
-and dressed at home. Since then almost every child tired of,
-and surfeited with handsome and expensive toys, has been
-glad at times to get grandma to make for her a real old-fashioned
-dollie which might be hugged in rapturous moments of
-affection without fear of dislocating some of its numerous
-joints, or putting out of order its speaking or crying apparatus;<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span>
-and might in times of forgetfulness be dropped on the floor
-and suffer no injury thereby. Such a doll is just the kind to
-adopt for the summer. The fine French doll with
-its delicate wax or china face, silky hair, and
-dainty toilets, is more suited to the elegances of
-the parlor than to the wear and tear of out-door
-life, and everyone knows that summer holidays
-spent in the country are far too precious to be
-wasted taking care of anyone’s complexion, let
-alone a doll’s; so it is best to leave the city doll
-in her city home, safe out of harm’s way, and
-manufacture, from materials to be found in the
-country, one more suited to
-country surroundings.</p>
-<div class="figleft" style="width: 154px;">
-<img src="images/i_170b.jpg" width="154" height="355" alt="Fig. 112" />
-<div class="caption">The Corn Husk.</div>
-</div>
-<p>Corn-husks, corn-cobs,
-and ordinary garden flowers
-can be made into dolls which,
-although not quite so pretty
-nor so shapely as those produced
-from more costly material,
-yet possess a charm
-of their own which the children are not slow
-to perceive.</p>
-
-<p>Little Indian girls, to whom store babies
-are unknown, make the most complete and
-durable corn-husk dolls, and the following
-directions tell just how to construct them:</p>
-
-<p>Provide yourself with the husks of several
-large ears of corn, and from among
-them select the soft white ones which grow
-closest to the ear. Place the stiff ends of
-two husks together, fold a long, soft husk in a lengthwise strip,
-and wind it around the ends so placed as in Fig. 111. Select<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span>
-the softest and widest husk you can find, fold it across the centre
-and place a piece of strong thread through it (as in Fig.
-112), draw it in, tie it securely
-(Fig. 113), place it
-entirely over the husks
-you have wound, then
-bring it down smoothly
-and tie with thread underneath
-(Fig. 114); this will form the
-head and neck. To make the arms,
-divide the
-husks below
-the
-neck in
-two equal
-parts, fold
-together
-two or
-more
-husks and
-insert
-them in
-the division
-(Fig. 115). Hold the arms in
-place with one hand, while with the
-other you fold alternately over each
-shoulder several layers of husks, allowing
-them to extend down the
-front and back. When the little
-form seems plump enough, use
-your best husks for the topmost
-layers and wrap the waist with strong thread, tying it securely
-(Fig. 116). Next divide the husks below the waist and make<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span>
-the legs by neatly wrapping each portion with thread, trimming
-them off evenly at the feet. Finally, twist the arms
-once or twice, tie, and trim them off at the hands. The features
-can be drawn on the face with pen and ink, or may be formed
-of small thorns from the rose-bush. Fig. 117 shows the doll
-complete, minus its costume, which may be of almost any style
-or material, from the pretty robe of a civilized lady to the more
-scanty garments of its originator, the Indian. The doll is represented
-in full Indian costume in Fig. 118. The war-paint and
-tomahawk are not necessary here, as he is smoking a pipe of
-peace. His apparel is composed of one garment, which is cut
-from a broad, soft corn-husk, after the pattern given in Fig. 119.
-A narrow strip of husk tied about his waist forms the belt.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 127px;">
-<img src="images/i_171a1.jpg" width="127" height="374" alt="Fig. 113" />
-<div class="caption">Corn-husk Tied.</div>
-</div>
-</td>
-<td align="left"><div class="figcenter" style="width: 291px;">
-<img src="images/i_171b.jpg" width="291" height="408" alt="Fig. 115" />
-<div class="caption">Head and Arms.</div>
-</div>
-</td>
-<td align="left"><div class="figcenter" style="width: 104px;">
-<img src="images/i_171a2.jpg" width="104" height="405" alt="Fig. 114" />
-<div class="caption">Head Finished.</div>
-</div>
-</td>
-</tr>
-</table>
-</div>
-
-<p>His head-dress is made of small chicken feathers stuck at<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span>
-regular intervals into a strip of husk. The corn-silk hair is
-placed on his head, and on top of that one end of the head-dress
-is fastened with a thorn.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 258px;">
-<img src="images/i_172a.jpg" width="258" height="346" alt="Fig. 116" />
-<div class="caption">Head, Arms, and Body.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 234px;">
-<img src="images/i_172b.jpg" width="234" height="291" alt="Fig. 117" />
-<div class="caption">Finished Doll.</div>
-</div>
-</td>
-</tr>
-</table>
-</div>
-
-<p>A small twig is used for the stem of his pipe, and two rose-bush
-thorns form the bowl. Instead of using a thorn for his
-mouth, a round hole is punched in the face and the stem of
-the pipe inserted.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 208px;">
-<img src="images/i_173a.jpg" width="208" height="369" alt="Fig. 118" />
-<div class="caption">A Real Indian Doll.</div>
-</div>
-</td>
-<td align="left"><div class="figcenter" style="width: 136px;">
-<img src="images/i_173b.jpg" width="136" height="366" alt="Fig. 119" />
-<div class="caption">The Indian’s Dress.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<h3><b>Mary Jane.</b></h3>
-
-<p>Here is another way of making a doll which is very easy and
-simple. First find a young ear of corn, one on which the silk
-has not turned brown; then with a crab-apple for a head and
-a leaf of the corn to dress her with, you have your material.<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span>
-Cut off squarely that end of the ear where the husks are puckered,
-to join the stalk, and carefully take the silk from the other
-end, disturbing as little as possible the closely wrapped husks.</p>
-
-<p>Roll part of the leaf (as indicated in Fig. 120) for the arms,
-then with a small twig fasten the head to the arms; stick the
-other end of the twig into the small end of the corn-cob, and
-the doll is ready for dressing. Her bonnet is made of the leaf
-just where it joins the stalk (Fig. 121), and is fastened to her
-head with a thorn. Before adjusting the bonnet, however, the
-silk must be placed on the head to form the hair.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 392px;">
-<img src="images/i_174a.jpg" width="392" height="449" alt="Fig. 120  Fig. 121 Fig. 122" />
-<div class="caption">Material and Parts of Doll.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 171px;">
-<img src="images/i_174b.jpg" width="171" height="428" alt="doll" />
-<div class="caption">Mary Jane.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p><span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span></p>
-
-<p>Make the scarf of part of the leaf (Fig. 122), fold it around
-the shoulders, and secure it with thorns.</p>
-
-<p>The features also are made of thorns.</p>
-
-<p>When her toilet is complete, you can but acknowledge that
-this rosy-cheeked little maid, peeping from beneath her poke-bonnet,
-is very cunning indeed.</p>
-
-
-<h3><b>Flower Dolls.</b></h3>
-
-<div class="figcenter" style="width: 541px;">
-<img src="images/i_175.jpg" width="541" height="389" alt="two dolls one with baby, one with flower parasol" />
-</div>
-
-<p>The flower lady with the baby is made of a yellow gourd
-flower; the small gourd attached, which has just begun to
-form, serves for her head; a green gourd leaf is used for her
-shawl, and her bonnet is made of a smaller leaf folded to fit her
-head. The baby is a white gourd bud, with a cap made of a<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span>
-leaf. A small twig stuck through part of the lady’s shawl,
-through the baby, and into the lady doll, holds the child in
-place and makes it appear as though clasped in the mother’s
-arms.</p>
-
-<p>The features of both dolls are scratched on with a pin and
-then inked. To make the lady stand erect, a small twig is stuck
-into the heart of the flower, and the other end into the top of a
-small paste-board-box lid.</p>
-
-<p>The other flower doll is made of the common garden flowers.
-The underskirt is a petunia; a Canterbury-bell forms the over-skirt
-and waist; small twigs, or broom-straws stuck through
-buds of the phlox, are the arms, and the head is a daisy with
-the petals cut off to look like a bonnet. The features are made
-with pen and ink on the yellow centre. A reversed daisy forms
-the parasol.</p>
-
-<p>If the flowers named are not at hand, those of a similar
-shape will answer just as well.</p>
-
-<p>Gaily dressed little ladies can be made of the brilliantly
-tinted hollyhocks, and many other flowers can also be transformed
-into these pretty though perishable dolls.</p>
-
-<div class="figcenter" style="width: 441px;">
-<img src="images/i_176.jpg" width="441" height="154" alt="girl sitting on cob of corn" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span></p>
-
-
-
-
-<h2>CHAPTER XVI.<br />
-
-<small>HOW TO MAKE A FAN.</small></h2>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">“That graceful toy whose moving play</div>
-<div class="verse"><span style="margin-left: .5em;">With gentle gales relieves the sultry day.”</span></div>
-</div>
-</div>
-
-
-<div>
-  <img class="drop-cap" src="images/i_177.jpg" width="266" height="279" alt="A" />
-</div>
-<div class="figright" style="width: 351px;">
-<img src="images/i_178.jpg" width="351" height="566" alt="drawing" />
-<div class="caption">Butterfly Fan.</div>
-</div>
-<p class="drop-capi">A FAN is only a pretty trifle,
-yet it has been made rather
-an important one. To manage
-a fan gracefully was some
-time ago considered very essential
-by fair dames of society,
-and in the dainty hand
-of many a famous beauty it
-has played a conspicuous
-part. Queen Elizabeth regarded it with so much favor that
-she was called the “Patron of Fans,” and she made a rule that
-no present save a fan should be accepted by English queens
-from their subjects.</p>
-
-
-<p>Although held in such high esteem, it is only since the influx
-of any and every thing Japanese that we have had fans in
-such profusion, and have discovered how effective they are
-when used for decorative purposes.</p>
-
-<div class="figleft" style="width: 510px;">
-<img src="images/i_179a.jpg" width="510" height="213" alt="diagram" />
-<div class="caption">Diagram of One-half of Butterfly Fan</div>
-</div>
-
-<div class="figright" style="width: 212px;">
-<img src="images/i_179b.jpg" width="212" height="307" alt="Fig. 123 Fig. 125" />
-<div class="caption">Folded Fans.</div>
-</div>
-
-<p>A brilliantly tinted fan is of equal value in giving just the
-right touch of color to a costume or the decorations of a room,
-and this chapter will show how the girls can make the fans<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span>
-themselves, and have for use or for the adornment of their
-rooms those of various shapes, sizes, and colors. The first fan
-represented here is
-made in the form
-of a butterfly. The
-principal articles
-necessary for its
-manufacture are a
-strip of smooth,
-brown wrapping-paper,
-stiff enough
-to keep its folds,
-and two sticks for
-handles. The ribbon
-which, in the
-illustration, ties the
-handles together
-looks pretty, but is
-not indispensable;
-an elastic band, or
-one made of narrow
-ribbon, slipped
-over the sticks will
-do as well.</p>
-
-<p>The paper must
-be twenty-eight
-inches long and five
-and one-half inches
-wide. In order to
-fold it evenly it
-should be ruled across with lines one-half inch apart, as shown
-in diagram of butterfly (<a href="#Page_179">page 179</a>). When the paper is prepared
-the pattern can be copied from the diagram, which is<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span>
-half of the butterfly. By counting the lines and using them as
-guides for obtaining the proportions, an exact reproduction of
-this pattern can be made. The outlines being drawn, the paper
-must be plaited, one fold on top of
-another, until twenty-seven plaits
-have been laid. Smoothing out the
-paper again, the butterfly should be
-painted with water-colors in flat,
-even tints.</p>
-
-
-<p>The lower part of diagram is the
-body of the insect and is of a light-brown
-color, also the space just below
-the head, which is surrounded
-by a strip of black.</p>
-
-<div class="figcenter" style="width: 503px;">
-<img src="images/i_179c.jpg" width="503" height="46" alt="Fig. 124" />
-<div class="caption">Handle.</div>
-</div>
-
-<p>The head and eyes are black,
-the eyes having a half-circle of
-white to separate them from the
-head. The main part of the wings<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span>
-are a brownish purple, next to which comes a border of very
-dark purple with light-blue spots. The outer border is light
-yellow. When the paint is quite dry the extra paper at the
-top of the butterfly is to be cut away. Again the fan must be
-plaited in the
-folds already
-formed, and
-the plaits
-fastened together
-at one
-end with a
-strong needle
-and thread, as
-shown in diagram
-(Fig. 123).
-Fig. 124 shows
-the shape of the
-handles, two of
-which are required;
-they
-should be about
-nine inches
-long, one-third
-of an inch wide,
-and one-eighth of an inch thick. A handle must
-be glued to the last fold at each end of the fan (see
-Fig. 125). The fan should be kept closed until the
-glue is dry, when it may be opened and used at pleasure.</p>
-
-<div class="figcenter" style="width: 393px;">
-<img src="images/i_180.jpg" width="393" height="498" alt="The Mikado Fan" />
-</div>
-
-<p>Our next sketch is that of the Mikado fan, and represents a
-Japanese lady who, with her fan held aloft, is making a bowing
-salutation.</p>
-
-<p>This fan is made of the same paper as that used for the butterfly,
-and is cut the same width; there are, however, twenty-nine<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span>
-plaits instead of twenty-seven, as in the other. The diagram
-gives the pattern in two parts, and the colors it is to be
-painted; the face and hands should be of a flesh-tint and the
-features done with black in outline. The directions for putting
-together the butterfly apply as well to the Mikado fan.</p>
-
-<div class="figcenter" style="width: 507px;">
-<img src="images/i_181.jpg" width="507" height="407" alt="diagrams" />
-<div class="caption">Pattern of Mikado Fan.</div>
-</div>
-
-<p>The third illustration shows a fan made in the shape of a
-daisy. Diagram on <a href="#Page_183">page 183</a> shows a section of the pattern.</p>
-<div class="figright" style="width: 348px;">
-<img src="images/i_182.jpg" width="348" height="551" alt="drawying" />
-<div class="caption">Daisy Fan.</div>
-</div>
-
-<p>White paper should be used, and it must be laid in thirty-four
-plaits, which will give the flower fifteen whole and two
-half petals, the half petals being at each end.</p>
-
-<p>The tinted part of pattern indicates where it is painted yellow
-to form the centre of the daisy.<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p>
-
-<p>For a plain round fan no pattern is needed. It is made
-simply of a strip of paper, of the width used for the other fans,
-and has about thirty plaits. When fans of this kind are made
-of colored paper in
-solid tints they are
-very pretty. Pieces
-of bright, figured
-wall-paper left from
-papering a room
-can be utilized, and
-quite effective fans
-be made of them to
-use for decoration.</p>
-
-
-<div class="figleft" style="width: 322px;">
-<img src="images/i_183a.jpg" width="322" height="229" alt="drawing" />
-<div class="caption">Pattern for Daisy Fan.</div>
-</div>
-<p>Another style of
-fan is represented
-in our last illustration.
-It is made of
-twenty slats of cardboard
-cut after pattern
-Fig. 126. These
-slats are joined together
-at the top and centre with narrow ribbon
-passed through the slits cut for it, as shown in
-Fig. 127. Over the ribbon where it passes through
-the top slits, on the wrong side of the fan, square
-pieces of paper are pasted, which hold the ribbon
-down securely at these points. The paper is pasted
-only at each end of the ribbon in the middle row. It is
-best to leave one end of this ribbon loose until the fan is
-joined at the bottom; then opening the fan, and drawing the
-ribbon until it fits the fan smoothly, it can be cut the right
-length and the loose end fastened down. A ribbon is also
-used to hold the slats together at the bottom; a bow at each<span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span>
-side keeps them in place (see Fig. 128). When a large fan for
-decoration is desired, the slats should be about eighteen inches
-long, two and a half
-inches wide at the
-top, and one and a
-half inch wide at the
-bottom. The fan
-may be larger still,
-in which case it can
-be used as a screen to
-set before an empty
-fire-place. For this
-purpose the slats
-have to be two feet
-long, four inches wide at the top, and two and a half inches
-wide at the bottom.</p>
-<div class="figleft" style="width: 303px;">
-<img src="images/i_183b.jpg" width="303" height="256" alt="diagram" />
-<div class="caption">Construction of Cardboard Fan.</div>
-</div>
-
-<p>The proportions of the slats for a small hand-fan are eight
-and a half inches long,
-one and a half inch wide
-at the top, and one inch
-wide at the bottom.
-The large fans should
-be made of heavier cardboard
-or pasteboard
-than that used for smaller
-ones.</p>
-
-
-<div class="figright" style="width: 328px;">
-<img src="images/i_184a.jpg" width="328" height="389" alt="drawing" />
-<div class="caption">Cardboard Fan</div>
-</div>
-<p>Colored cardboard,
-which can be bought at
-almost any stationer’s, is
-the best to use, but the
-slats of ordinary white
-cardboard may be covered with colored paper if more convenient.</p>
-
-<p><span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span></p>
-
-<p>These fans may be varied to suit the taste of the girls who
-make them. Instead of a solid color, one can be made with
-alternate slats of red
-and white, blue and
-yellow, or any other
-colors that harmonize.
-Another may
-show all the tints of
-the rainbow, and for
-use on the Fourth of
-July one might display
-the red, white,
-and blue.</p>
-
-
-
-<p>Some will look
-especially handsome
-if prettily painted.
-A dark-red fan with
-a branch of dogwood-blossoms
-painted
-across it makes a
-charming wall decoration,
-as does also one of light blue with pine-branch and
-cone painted in brown or black.</p>
-
-<p>A gilt fan lightens up a dusky corner beautifully; it can
-be curved around to fit the place, and catching and reflecting
-the light at all angles, as it does, it is quite effective.</p>
-
-<div class="figcenter" style="width: 472px;">
-<img src="images/i_184b.jpg" width="472" height="104" alt="fan and cherubs" />
-</div>
-
-<hr class="full" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span></p>
-<h2 class="faux">AUTUMN</h2>
-<div class="figcenter" style="width: 498px;">
-<img src="images/i_185.jpg" width="498" height="201" alt="AUTUMN." />
-</div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span></p>
-
-<div class="figcenter" style="width: 403px;">
-<img src="images/i_186.jpg" width="403" height="464" alt="girl reading under umbrella on shore" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span></p>
-
-
-
-
-<h2>CHAPTER XVII.<br />
-
-<small>ALL-HALLOW-EVE.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_187.jpg" width="133" height="170" alt="R" />
-</div>
-
-<p class="drop-capi3">RADIANT and beautiful October, whose
-changing color heralds the approach of winter,
-gives us our first autumn holiday, if
-Halloween can now be called a holiday.</p>
-
-<p>Before the Christian era, in the days of
-the ancient Celts and their priests, the
-Druids, the eve of the first of November
-was the time for one of the three principal festivals of the year.
-The first of May was celebrated for the sowing; the solstice on
-the twenty-first of June for the ripening, and the eve of the first
-of November for the harvesting. At each of these festivals
-great fires were built on the hill-tops in honor of the sun, which
-the people worshipped. When Christianity took the place of
-the heathen religion, the Church, instead of forbidding the celebration
-of these days, gave them different meanings, and in
-this way the ancient harvest-festival of the Celts became All-Hallow-Eve,
-or the eve of All-Saints-Day, the first day of November
-having been dedicated to all of the saints.</p>
-
-<div class="figcenter" style="width: 435px;">
-<img src="images/i_188.jpg" width="435" height="600" alt="two girls stepping outdoors blindfolded" />
-<div class="caption">Kaling.</div>
-</div>
-
-<p>For a long while most of the old customs of these holidays
-were retained; then, although new ceremonies were gradually
-introduced, Hallow-Eve remained the night of the year for wild,
-mysterious, and superstitious rites. Fairies and all supernatural
-beings were believed to be abroad at this time, and to
-exercise more than their usual power over earthly mortals. Because
-the fairy folk were believed to be so near us on Halloween,<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a><br /><a name="Page_189" id="Page_189">[189]</a></span>
-it was considered the best evening of the season for the
-practice of magic, and the customs observed on this night became
-mostly those of divination, by the aid of which it was
-thought the future might be read.</p>
-
-<p>Before proceeding further with this subject we desire our
-readers to appreciate and fully understand that we are far from
-wishing to inculcate any superstitious belief in the power of
-charms to forecast future events; that we regard all fortune-telling
-as nonsense, pure and simple, and only insert it here,
-as we would any other game, for the sake of the amusement it
-affords. Although, to make our descriptions more intelligible,
-we announce the results of charms as facts, we would not have
-it understood that they are to be taken as such.</p>
-
-<p>Nowadays, so practical has the world become, no fairy,
-witch, or geni could we conjure up, were we to practice all the
-charms and spells ever known to soothsayer or seer. Our busy,
-common-sense age allows no fairies to interfere with its concerns,
-and these creatures, who existed only in the belief of the people,
-must needs vanish, to return no more, when that belief is gone.</p>
-
-<p>A few fortune-telling games are all that now remain of the
-weird ceremonies that once constituted the rites of Halloween,
-and the spirit of this old heathen holiday is once more changed,
-for it is now considered only an occasion for fun and frolic.</p>
-
-<p>It was the custom for quite a number of years of some
-friends of the writer to give a Halloween party on each recurring
-Halloween; and merrier, jollier parties than those were,
-it would not be easy to devise. The home which opened wide
-its hospitable doors to the favored few on this night is a country-house,
-large and spacious; there is a basement under the whole
-lower floor, which is divided into kitchen, laundry, and various
-store-rooms intersected with passages, and this basement, deserted
-by the servants, was given up to the use of the Halloween
-revellers. The rooms and passage-ways were decorated<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span>
-with and lighted by Chinese lanterns, which produced a subdued
-glow in their immediate vicinity, but left mysterious
-shadows in nooks and corners.</p>
-
-<p>Putting aside conventionality and dignity as we laid aside
-our wraps, ready for any fun or mischief that might be on
-hand, we proceeded down-stairs and into the kitchen, where
-a large pot of candy was found bubbling over the fire. This
-candy, poured into plates half-full of nuts, was eaten at intervals
-during the evening, and served to keep up the spirits of
-those who were inclined to be cast down by the less pleasing
-of Fortune’s decrees. With plenty of room and no fear of
-breaking or destroying anything, which is apt to put a check
-upon frolics in the parlor, the company could give full vent to
-their high spirits. Now in this room, now in that, again flitting
-through the dim passages and around dark corners, each person
-seemed to be everywhere at once, and although the party was
-limited to about twenty-five, there appeared to be at least twice
-that number present. Bursts of merry laughter and little
-screams of pretended terror would announce, now and then, that
-some charm was being gone through with and someone’s fortune
-being told. All sorts of games were played, and the variety
-of our entertainment made the evening pass very quickly.
-All too soon the hands of the kitchen clock warned the guests
-that to reach home at a seasonable hour they must put an end
-to their Halloween festivities. A number of the following
-methods of telling fortunes were tried at these parties, one
-might say with success, for we certainly succeeded in accomplishing
-our main object, which was, to have a good time. By</p>
-
-
-<h3><b>Melted Lead</b></h3>
-
-<p class="unindent">we used to ascertain what the occupation of one’s future husband
-would be. The fortune is told in this way: Each girl, in<span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span>
-turn, holds a door-key in one
-hand, while with the other
-hand she pours the melted
-lead, from an iron spoon or
-ladle, through the handle
-of the key into a pan of
-cold water.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_191.jpg" width="600" height="830" alt="lead dripping off spoon into tub" />
-</div>
-
-<p>In the fanciful
-shapes the lead
-assumes can be
-traced resemblances
-to
-all sorts
-of things.
-Sometimes
-it is a sword
-or gun, which
-indicates that a
-soldier will win the
-fair prize; again,
-traces of a ship
-may be seen: then
-the favored one is to be a sailor;
-a plough suggests a farmer;
-a book, a professor, or perhaps a minister;
-and
-when the
-lead forms
-only drops,
-it seems to mean
-that the gentle inquirer
-will not<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span>
-marry, or if she does, her husband will be of no profession.</p>
-
-
-<h3><b>Nutshell Boats</b></h3>
-
-<p class="unindent">foretell in a general way what their owner’s future life will be.
-They should be prepared beforehand in this manner: Split an
-English walnut directly in half, remove the
-kernel, and clear away any of the partitions
-which may remain in the shell; then place a
-short piece of heavy cotton string in the shell
-and pour around it melted beeswax. Mould
-the wax into a cone shape around the string,
-as shown in Fig. 129, allowing the end to
-come out at the top. Fig. 130 shows what
-it is like when finished.</p>
-
-<div class="figleft" style="width: 146px;">
-<img src="images/i_192.jpg" width="146" height="233" alt="Fig. 129  Fig. 130" />
-</div>
-
-<p>The tapers first being lighted, several of
-these little craft are launched at the same
-time, by their respective owners, upon the sea of life, or, in
-other words, in a tub of water.</p>
-
-<p>When a light burns steadily until the wax is all melted,
-and the frail bark safely rides the waves (which are occasioned
-by stirring the water with a stick, or shaking the tub
-from side to side), a happy life is predicted, and a long one.</p>
-
-<p>When two boats come in contact, it means that their owners
-will meet and have mutual interests some time during their lives.</p>
-
-<p>If one boat crosses another’s path, it denotes that their
-owners will do the same.</p>
-
-<p>If two boats come together and continue to sail about side
-by side, their owners will in some way pass much of their lives
-together.</p>
-
-<p>When a boat clings closely to the sides of the tub, refusing
-to sail out into the centre, it shows that its owner will be a stay-at-home.</p>
-
-<p><span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span></p>
-
-<p>Touching often at the side of the tub is indicative of short
-voyages; and extended travel is predicted when a boat seldom
-touches the tub.</p>
-
-<p>It depends a good deal upon the fancy and imagination of
-those testing their fate how the antics of the little fleet are interpreted,
-and the meanings given to the movements of the
-boats create no end of fun.</p>
-
-
-<h3>“<b>Three Luggies.</b>”<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a></h3>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">“In order, on the clean hearth-stane,</div>
-<div class="verse"><span style="margin-left: 1.5em;">The luggies three are ranged,</span></div>
-<div class="verse"><span style="margin-left: 0.5em;">And ev’ry time great care is ta’en</span></div>
-<div class="verse"><span style="margin-left: 1.5em;">To see them duly changed.”</span></div>
-</div>
-</div>
-
-<p>The three bowls, or dishes, one containing clear water, one
-milky, and the other nothing at all, are placed in a row on the
-hearth-stone or table, and the girl wishing to try her fortune is
-blindfolded and led up to where the dishes stand. She is then
-told to put her left hand into one of the bowls. If she dips her
-fingers in the clear water, she will marry a bachelor; if in the
-milky water, a widower; and if into the empty bowl, it is a sure
-sign that she will live in single blessedness all her days.</p>
-
-<p>This ceremony must be gone through with three times, and
-the hand be dipped twice in the same bowl, in order to make
-the prediction of any value.</p>
-
-
-<h3><b>Roasting Nuts</b></h3>
-
-<p class="unindent">is the charm by which the friendship of anyone may be tested.
-The applicant for knowledge on this point names two nuts, one
-for her friend and the other for herself, and then places them
-side by side upon the grate, or a shovel held over the fire. If
-they burn quietly, it is prophetic of a long and happy friendship<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span>
-kept up by both parties; but if in roasting they burst with
-a loud report and fly apart, they are decidedly uncongenial,
-and should not seek much intercourse. The movements of the
-nuts while heating are closely watched, for the tempers of the
-persons for whom they are named is said to be thus revealed.</p>
-
-
-<h3><b>Kaling</b></h3>
-
-<p class="unindent">is a mode of telling one’s fortune not as well known, perhaps,
-as the foregoing methods. The ceremony is carried out in the
-following manner: Two girls are blindfolded and started off on
-the path to the kitchen-garden and cabbage-patch, where each
-pulls up the first stalk she finds. They then return at once to
-the house, where the bandages are removed and the mysterious
-stalks examined.</p>
-
-<p>According to the state of the stalk, so will be the gatherer’s
-fate. If it is straight or crooked, large or small, so will the
-future husband be; if it has a pleasant taste, or the reverse,
-the character of the person will correspond, and the quantity
-of earth clinging to the roots denotes whether their riches
-will be little or great.</p>
-
-<p>When there are no cabbages at hand, almost any other garden
-vegetable will answer; and if there be objections to going
-out-of-doors, vegetables of various kinds, such as turnips, beets,
-and parsnips, may be placed on a table, and the persons blindfolded
-can choose from them. No doubt the charm will work
-as well with the plants upon a table as when they are pulled
-from a kitchen-garden.</p>
-
-
-<h3><b>The Magic Mirror,</b></h3>
-
-<p class="unindent">which is simply a hand-glass on ordinary occasions, and gains its
-mysterious power only on Halloween, divulges, under certain
-conditions, the delightful secret of how many bits of good-fortune
-will fall to one’s share during the ensuing year. The conditions<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span>
-are that the person wishing to know how bright her
-prospects are shall go to an open window or door from which
-the moon is visible, and, standing with her face in-doors, hold
-her mirror so that the moon will be reflected in it. The number
-of moons she sees there betokens the number of times something
-pleasant will happen to her before the advent of another
-Halloween.</p>
-
-
-<h3><b>Three Tin Cups</b></h3>
-
-<p class="unindent">partially filled with water are balanced on the small ends of three
-funnels, which are placed in a row on the floor, about two feet
-apart. Over these cups, one after another, each member of the
-party must leap in turn. Whoever succeeds in leaping over all
-three cups without knocking any of them off will make an early
-marriage. The person who knocks over one will marry when
-not so young. The marriage of the one who tips over two cups
-will be deferred until late in life, and she who leaps none of
-them safely will not be married at all.</p>
-
-<p>To guard against wet feet very little water should be put in
-the cups—only enough to make the players careful about tipping
-them over.</p>
-
-
-<h3><b>The Ring Cake</b></h3>
-
-<p class="unindent">is always an object of interest at Halloween parties. The cake
-itself is made like the ordinary kind, but before it is baked a
-plain gold ring is hidden in the dough, not to be taken out
-until the cake is cut and it falls to the share of the fortunate
-person in whose slice it happens to be found. The ring is
-sometimes put in a flour-cake, which is simply flour packed into
-a cake-mould so firmly that when it is turned out it retains the
-shape of the mould and can be sliced off with a knife. Each
-member of the party cuts her or his own section of flour, and
-whoever secures the ring, it is confidently stated, will be the first
-of the group to marry.</p>
-
-<p><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span></p>
-
-<p>Some Halloween games apparently have no particular
-meaning attached to them, but seem to be devised for the purpose
-of creating as much fun as possible.</p>
-
-
-<h3><b>Bobbing for Apples</b></h3>
-
-<p class="unindent">is, perhaps, familiar to most of our readers, but we give a description
-of it here for the benefit of the few who may not know
-the game so well.</p>
-
-<p>In a large tub full of fresh, cold water several apples are
-placed, and it is the object of the participators to take them out
-of the water with their teeth.</p>
-
-<p>As the rosy-cheeked, tempting fruit bobs about within easy
-reach, it looks simple enough to secure a prize; but the apples
-are so round and slippery, so aggravatingly illusive, that, unless
-you thrust your head and neck beneath the cold water, regardless
-of consequences, and drive an apple to the bottom, the feat
-cannot be accomplished. The girls can seldom be induced to
-try their luck in this game, but usually content themselves
-with looking on, immensely enjoying the frantic endeavors of
-the boys to succeed at any cost.</p>
-
-
-<h3><b>The Apple and Candle Game</b></h3>
-
-<p class="unindent">is another favorite sport for Halloween, and is played as follows:
-From the ceiling is suspended a stout cord, the lower end of
-which is securely tied to the centre of a stick about a foot and
-a half long. On one end of the stick is fastened an apple, on
-the other a lighted candle. The string is set in motion, swinging
-back and forth like a pendulum, and the contestants for the
-prize stand ready, each in turn, to make a grab for the apple,
-which must be caught in the teeth before it can be won. Frequently
-the candle is caught instead of the apple, which mishap
-sends the spectators off into shouts of merriment; but although
-funny, it is at the same time a little dangerous to catch a lighted<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span>
-candle in one’s teeth, and we would suggest that a bag made of
-cheese-cloth, or like thin material, be filled with flour and tied
-to the stick in place of the candle. When the person essaying
-to snatch the fruit is struck in the face with the bag, and is
-covered with flour instead of the glory anticipated, as much
-mirth will result as can possibly arise when the old and dangerous
-practice of using a candle is clung to.</p>
-
-
-<h3><b>The Ghostly Fire</b></h3>
-
-<p class="unindent">should not be lit unless all of the party have strong nerves, for
-the light it produces is rather unearthly, and may affect some
-members unpleasantly. We, at our Halloween parties, never
-omitted this rite, however, its very weirdness proving its strongest
-attraction. Salt and alcohol were put in a dish, with a few
-raisins, and set on fire. As soon as the flame leaped up we
-clasped hands and gayly danced around the table, upon which
-burned our mystic fire. The laughing eyes and lips looked in
-strange contrast to the pale faces of their owners, from which
-the greenish light had taken every vestige of color. The dance
-was not prolonged, for it was our duty, before the fire was
-spent, to snatch from the flames the raisins we had put in the
-dish. This can be done, if one is careful, without as much as
-scorching the fingers, and I never knew of anyone burning
-themselves while making the attempt.</p>
-
-
-<h3><b>Trying for a Raisin</b></h3>
-
-<p class="unindent">is a very laughable performance. The raisin, which must be a
-good-sized one, is strung on and pushed exactly to the middle
-of a soft cotton string about one yard long. Two aspirants for
-the prize then take each an end of the string, which they put in
-their mouths and commence to chew, taking it up as fast as
-they can—the raisin falling to the share of the person who succeeds
-in reaching it first.</p>
-
-<p><span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span></p>
-
-
-<h3><b>A Lighted Candle</b></h3>
-
-<p class="unindent">is again used in a game which is exceedingly amusing. The
-candle is placed upon a table in full view of everyone; then
-one of the players is blindfolded, turned around several times,
-and set free to seek for the candle and blow out the light, if
-possible.</p>
-
-<p>To see girls, with their hands clasped behind them, going
-crazily about the room, blowing at anything and everything, is
-very ludicrous. They seldom find the candle, and even when
-the table is reached it is difficult to blow in such a direction as
-to extinguish the flame.</p>
-
-
-<h3><b>The Fairy’s Gifts</b></h3>
-
-<p class="unindent">are suggested as a new and original ending of a Halloween frolic.</p>
-
-<p>The Fairy Godmother, in Mother Hubbard costume, carries
-a large basket under her cloak or shawl. She enters the room
-and announces that she has a certain number of gifts which she
-proposes to distribute among the company. After cautioning
-all that the contents must be kept secret, she passes to each person
-a folded paper. On one is written “<i>Wealth</i>,” on another
-“<i>Honor</i>,” on the third “<i>Fame</i>,” etc., and some of the papers
-are left blank.</p>
-
-<p>Those whose papers contain the names of gifts are then
-blindfolded, preparatory to receiving their behests.</p>
-
-<p>The first is led up and made to kneel before the Fairy Godmother,
-to whom she repeats these words:</p>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">Most gracious Fairy, the gift you give</div>
-<div class="verse">I shall treasure and keep as long as I live.</div>
-</div>
-</div>
-
-<p>Then the paper containing the name of the gift is handed the
-Fairy, who reads it aloud very solemnly: “<i>Wealth</i>”—and, turning
-to her basket, she takes from it a new dust-pan, to which is
-attached a ribbon-loop, at the same time reciting these lines:</p>
-
-<p><span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span></p>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">Your choice is bad when you intrust</div>
-<div class="verse">Your happiness where moth and rust,</div>
-<div class="verse">In time, turn all your wealth to dust.</div>
-</div>
-</div>
-
-<p>From a paper-bag the Fairy pours a small amount of dust
-over the kneeling girl, and hangs the dust-pan around her neck.</p>
-
-<p>The next person who has drawn a prize is then brought forward
-and the performance is repeated, only altering the Fairy’s
-speech. For “<i>Honor</i>,” she will say:</p>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">Your honor crowds shall loud declare,</div>
-<div class="verse">But in your heart, no crowd is there,</div>
-<div class="verse">You’ll find, like <i>Falstaff</i>, “honor’s air.”</div>
-</div>
-</div>
-
-<p>The present here is a pair of bellows, from which the Fairy
-blows a blast on the bowed head before her as she utters the
-word <i>air</i>. The bellows, like the dust-pan, are hung by a ribbon
-around the recipient’s neck.</p>
-
-<p>For “<i>Fame</i>,” the Fairy gives a wreath of roses, and says, as
-she adjusts the crown:</p>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">When Fame doth weave a laurel-wreath,</div>
-<div class="verse">He weaves this subtle charm beneath;</div>
-<div class="verse">“For every evil thought that’s born</div>
-<div class="verse">The laurel grows a prickly thorn;</div>
-<div class="verse">But where pure thought and love reposes,</div>
-<div class="verse">The laurel-wreath’s a wreath of roses.”</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 447px;">
-<img src="images/i_199.jpg" width="447" height="186" alt="two women holding candles" />
-</div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span></p>
-
-<div class="figcenter" style="width: 437px;">
-<img src="images/i_200.jpg" width="437" height="600" alt="drawing" />
-<div class="caption">Buckeye Portière.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span></p>
-
-
-
-
-<h2>CHAPTER XVIII.<br />
-
-<small>NATURE’S FALL DECORATIONS,
-AND HOW TO
-USE THEM.</small></h2>
-
-
-<div>
-  <img class="splittop" src="images/i_201a.jpg" alt="T" width="194" height="126" />
-  <img class="split" src="images/i_201b.jpg" alt="" width="119" height="29" />
-  <img class="split" src="images/i_201c.jpg" alt="" width="100" height="73" />
-  <img class="split" src="images/i_201d.jpg" alt="" width="61" height="78" />
-</div>
-
-<p class='dropcapstory'>THESE beautiful decorations are free to
-all who care to possess them. Every
-autumn comes to us laden with ornaments
-which no skilled workman can rival. The
-graceful golden-rod, so rich in color, sways and
-bends over the low stone walls, and in the fields
-wild flowers of all kinds grow in great profusion.
-White, spreading wild carrot, yellow and white daisies,
-light and dark purple asters, and sumach, with
-its varied hues, give color to the landscape on our
-bright fall days. There are also the queer-shaped pods and
-feathery, silky seeds peculiar to some wild plants; among others
-the poor “vagabond thistle,” which has donned its robe of
-glistening white, although some of its tribe still wear their
-faded purple gowns. The latter may be gathered for thistle-puffs,
-and all the objects mentioned can be used in home decorations.</p>
-
-<p>We cannot pass by unnoticed the brown milk-weed pods,
-for within the shells, full well we know, are hidden the silvery,
-downy seeds which make such pretty milk-weed balls. Here,
-too, we notice the rich coloring of bark as well as foliage, the
-bright scarlet berries contrasting with the brown, yellow, and
-green leaves. The vine, once a fresh green, is now changed to<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span>
-deep crimson; even the tiny leaves of the wild strawberry and
-some grasses have touches of red on their edges.</p>
-
-<p>How the rich coloring of autumn differs from the delicate
-tints of spring, when the promise was made in bud and leaf,
-which is now realized in the bountiful harvests!</p>
-
-<p>Having such a wealth to glean from, we scarcely know what
-to take first; but for decorations to last only a few hours it would
-be difficult to imagine anything more brilliantly appropriate than</p>
-
-
-<h3><b>Fresh Autumn Wild Flowers</b></h3>
-
-<p class="unindent">and small branches of brilliant fall leaves. At the time of this
-writing wild flowers are very popular; one of our daily papers
-records a wedding which recently took place, where the display
-of wild flowers was beautiful in the extreme. Curtains of wood-ferns
-were caught back with golden-rod, and a bower of holly
-and oak was fringed with clusters of scarlet bitter-sweet berries.
-Daisies were also used in abundance, while the beauty of the
-little church was enhanced by the masses of white blossoms and
-oak-branches.</p>
-
-<p>This idea can be used advantageously in decorating the
-house for evening parties and receptions, or afternoon teas and
-coffees. Have the flowers and foliage in masses, the effect is
-much better; and if you gather very large, hardy ferns with their
-roots attached they will make exceedingly graceful decorations,
-and placed in water or wet sand they will remain fresh for days.</p>
-
-<p>When golden-rod is gathered in its prime it will keep nearly
-all winter without fading. Do not put it in water; all that is
-necessary is to keep it dry. The rich brown cat-tails should
-be treated in the same manner; these must be gathered at their
-best, before they are too ripe. Bitter-sweet berries will last for
-months and retain a bright red. The old-fashioned honesty,
-with its white, satiny pods, keeps perfectly for any length of<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span>
-time. The wild rose-bush in the fall is decked with seed-coverings,
-which closely resemble scarlet berries; these will
-last for many weeks. The
-wild clematis, with its
-festoons of hazy fluff, will
-keep for a long time, and
-always looks well when
-thrown over and on the
-top corner of a portière
-and allowed to hang naturally
-down a little on
-one side, or arranged in a
-similar manner over the
-tops of windows, doors,
-pictures, or wherever it
-will look graceful. It should
-hang out of harm’s way, as it
-is brittle and easily broken when dry.</p>
-
-<div class="figright" style="width: 311px;">
-<img src="images/i_203a.jpg" width="311" height="427" alt="tree" />
-</div>
-<div class="figright" style="width: 509px;">
-<img src="images/i_203b.jpg" width="509" height="194" alt="A Young Decorator." />
-</div>
-
-<p>For entertainments, the more elaborate
-and bountiful the decorations of fresh
-wild flowers the more beautiful will the house
-appear; but for every-day life during the cold
-weather, when we have only the dried fall plants,
-we may almost make up for the
-lack of fresh flowers by using judgment
-and taste in arranging the
-dried ones. Though wild flowers<span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span>
-are beautiful, you must use taste in their arrangement and not
-mingle them together promiscuously, but make a judicious selection,
-for where a light bunch of golden-rod would be the
-very thing needed to give color to a particular spot, should
-the dark cat-tails be placed there the effect might be lost.
-There are places where some high, stiff decoration would look
-best, and others where the soft, swaying clematis seems to belong.
-As with everything else, so with our decorations, we
-must seek to have harmony.</p>
-
-<p>Who has not admired the dark-brown, glossy buckeyes and
-horse-chestnuts, and wondered what use could be made of them?
-Children love to gather them and come home with their pockets
-and baskets full, only to play with them for awhile, and
-then the pretty dark balls, each marked with a spot of light
-cream-color, are thrown away or lost.</p>
-
-<p>Now, the next time the buckeyes are collected save every
-one and make a</p>
-
-
-<h3><b>Buckeye Portière.</b></h3>
-
-<p>The writer assures you that you will find it much easier to do
-this than she did to make a picture of the curtain, for it is difficult
-with a pen-and-ink drawing to give an idea of the richness
-of color in the handsome hangings these horse-chestnuts make
-when properly fashioned into a portière for hall or doorway.
-Two full bushels of buckeyes will be needed to make a curtain
-two yards and a half long and one yard and a quarter wide.</p>
-
-<p>Take a very large, long needle and a strong, waxed thread
-a little longer than you desire to have your curtain, make a
-large knot in the end of the thread, and commence to string
-your buckeyes in the same way as stringing beads or buttons.
-Continue until the thread in the needle is exhausted, then tie
-the thread in a large knot close to the last buckeye, leaving a
-length of three inches of thread. Make your other strands in<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span>
-the same way. When all are finished, fasten as many small
-screw-eyes in a straight line on a curtain-pole, or a rustic pole
-if desired, as there are strands of buckeyes, and tie securely to
-each screw-eye one string of buckeyes. When all are fastened
-on, your portière is finished and ready to be hung. This is easily
-accomplished if the pole used is a regular curtain-pole, as they
-always come with brackets; but should your pole be rustic, it
-must be supported by bands of strong birch-bark, or leather, as
-in Fig. 131. Our illustration shows over the portière a</p>
-
-<div class="figcenter" style="width: 341px;">
-<img src="images/i_205.jpg" width="341" height="58" alt="Fig. 131" />
-<div class="caption">Birch-Bark Support for Pole.</div>
-</div>
-
-
-<h3><b>Panel of Fall Decorations.</b></h3>
-
-<p>These also look handsome over windows and doors, and you
-are at liberty to use ornaments of all styles, for the panels are
-placed where there is no danger of anything coming in contact
-with them to break off the decorations or mar their beauty.
-Any kind of board will do for the panel, rough or smooth, as
-you like. Paint the board a pure white, then decide on your
-ornaments, which may be a chestnut-branch with bursting burs
-attached, sprays of common wayside velvet-leaf with clusters
-of pods clinging to them, a piece of black-berry vine with its
-twigs, thorns, and dried berries, or branches of buckeyes with
-some of the nuts falling from their horned shells.</p>
-
-<p>Select according to your fancy, and gild the decorations
-chosen, then tack them on the panel. It is best to place the
-ornaments on the board while the paint is soft and wet, for then
-it will help to fasten the decoration more securely; if the paint
-be put on thick where the ornaments are to be placed, they will<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span>
-lie partially embedded in the paint, and when it dries they will
-appear as if carved from the wood.<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a></p>
-
-<p>A white and gold panel made in this way is very pretty and
-inexpensive.</p>
-
-<p>The fall decorations also enable us to make a very effective</p>
-
-
-<h3><b>Louis Quinze Screen.</b></h3>
-
-<div class="figleft" style="width: 204px;">
-<img src="images/i_206.jpg" width="204" height="373" alt="Fig. 132" />
-<div class="caption">Hinge for Louis Quinze Screen.</div>
-</div>
-
-<div class="figright" style="width: 472px;">
-<img src="images/i_207.jpg" width="472" height="239" alt="Fig. 133" />
-<div class="caption">Hoops Fastened Together for Louis Quinze Screen.</div>
-</div>
-
-<p>For this it is necessary to have two small wooden hoops, such
-as children roll along the streets; fasten these together with a
-strong piece of white tape, two or
-three inches wide, cut the end of
-the tape bias, tack this on the side
-of one of the hoops, bring it around
-between and over the other hoop,
-and tack it again, repeat the operation
-and the hinge will be finished
-(Fig. 132). If you look at the hinge
-on a wooden clothes-horse you will
-understand how to make one. Fig.
-133 shows the hoops fastened together.
-Now cut two pieces of coarse,
-strong cotton cloth, a little larger
-around than the hoops, and place
-one of the pieces smoothly over one
-of the hoops; tack it down, driving
-the tacks in far apart, and so that
-they can be easily extracted; if the
-cloth wrinkles, keep changing it until
-the surface is perfectly even; when this is accomplished carefully
-tack the covering securely down, keeping it smooth and<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span>
-without wrinkles. In like manner tack the remaining piece of
-cloth on the other hoop. Next get four broomsticks and cut a
-notch on each one, at exactly the same distance from the top, for
-the hoops to fit in. Then measure where you wish the hoops to
-be placed and cut another notch on each stick a certain distance
-from the bottom; all the sticks must be of the same length and
-have the notches cut in the same places, so each one may be a
-duplicate of the others. Mark the hoops where the sticks are
-to fit, and then fasten them firmly on with small screws. Make
-the screen strong, so that there will not be any danger of its
-coming apart. Give each cloth a sizing of common flour-paste
-on both sides, then scrape off all the paste with a knife; in this
-way the cloth will be starched and prepared to receive the paint.
-When the screen is thoroughly dry, sew a branch across one of
-the disks and some waxed fall leaves in the places where they
-would naturally lie on the branch; when these are securely attached,
-decorate the other disk with something different; acorns
-can be used if cut in halves; but never place any ornaments on
-the screen which will not lie flat, for if they stand out they will<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span>
-be broken off or injured by persons passing and brushing against
-them. Now give the screen a coat of white paint all over, including
-the branch and leaves, but do not paint the hinge. Set the
-screen away until it is perfectly dry, then gild the branches and
-leaves, connecting the latter with the twigs by painting a line of
-gold between the two. Gild a ring around each pole near the
-top and another near the bottom, and cover the edges of the
-hoops where the cloth has been fastened on by tacking white
-gimp around each one, using fancy brass-headed tacks and
-placing them at equal distances apart; this completes the ornamental
-screen.</p>
-
-<div class="figcenter" style="width: 514px;">
-<img src="images/i_208.jpg" width="514" height="433" alt="drawing" />
-<div class="caption">Louis Quinze Screen.</div>
-</div>
-<div class="figright" style="width: 363px;">
-<img src="images/i_209.jpg" width="363" height="719" alt="A Panel of
-Field-Corn" />
-</div>
-<p><span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span>Should you desire
-it, the screen
-can be painted
-black or any
-other color, and
-the decorations
-bronzed instead
-of gilded. The
-bronzes come in
-different shades,
-and the color of
-real bronze can
-be easily copied.</p>
-
-
-<h3><b>A Panel of
-Field-Corn</b></h3>
-
-<p>As an ornament
-for the dining-room
-is very decorative
-and easy to make.
-When the corn
-ripens, select
-some nice, firm,
-golden ears, with
-husks and without;
-then break
-off pieces of cornstalk
-and group
-them together, as
-in the illustration;
-cover a board of<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span>
-requisite size with a piece of old black velvet; if you have no
-velvet, paint the board black, and after tying the corn firmly
-together, tack it securely on the board, and the dark background
-will bring out the many yellow tints of the decoration
-beautifully; fasten two screw-eyes in the back of the board, by
-which to attach the wire, and the panel will be ready to hang
-on the wall.</p>
-
-<p>The corn can also be fastened to a rough board of the desired
-size and the panel and decoration bronzed, using green
-bronze for the background and portions of the group, while all
-the edges and prominent points should be of copper-colored
-bronze.</p>
-
-<p>Early in November the many varieties of gourds ripen, and
-their odd and fantastic forms seem like nature’s suggestions of
-the unique in ornamentation. So suggestive are they that it
-needs but little originality to make them into many useful and
-beautiful articles. As a decoration for looping over the poles
-of portières, and for holding back draperies, these</p>
-
-
-<h3><b>Ornamental Gourds</b></h3>
-
-<p class="unindent">are convenient. They must first be allowed to become perfectly
-dry; then they can be made into tasselled festoons. Take six
-mock-oranges, which imitate so closely our real oranges in
-color, size, and form, and cut a hole about the size of a silver
-dime in the top and bottom of each one; then shake out the
-seeds. To make the openings in the gourds, first bore a small
-hole with the point of a large needle, then twist the needle
-around and around until it will easily pass through. Next,
-carefully enlarge the opening with a sharp penknife until it is
-of the stated size. Make a rope two yards and a half long of
-Persian colored wools or worsted; on the end fasten a slender
-tassel, six or seven inches long, made of the same worsted; now<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span>
-string one of the bright orange-gourds on the rope down against
-the tassel, which should be large enough to prevent the gourd
-from slipping off; make another similar tassel, and attach it to
-the rope about twelve inches from the first one, and thread another
-gourd on the rope, bringing it down against the second
-tassel; proceed in like manner with the remaining gourds,
-making a tassel for each one, and you will have a decoration
-unlike any to be found elsewhere.</p>
-
-<p>We are all more or less familiar with the</p>
-
-
-<h3><b>Gourd-Dippers</b></h3>
-
-<p class="unindent">so common in the South, where, in olden times, scarcely a spring
-bubbled in a rustic nook that was not supplied with its drinking-gourd.
-These dippers are made by sawing an opening in the
-large part of the gourd, scraping out the contents, and making
-the inside as smooth as possible with sand-paper. They need
-no ornamentation.</p>
-
-<p>The kind of gourds resembling flattened globes can be made
-into graceful and unique</p>
-
-
-<h3><b>Bowls.</b></h3>
-
-<p>The gourds must be sawed into two parts, with the inside of
-each sand-papered, and flowers painted, with oil-colors, on the
-outside. After they have thoroughly dried, give a coat of white
-varnish to both the inside and outside. A pretty</p>
-
-
-<h3><b>Bonbon-Box</b></h3>
-
-<p class="unindent">can be fashioned of one of these gourds. Saw off the top, which
-will serve as a lid, and fasten it to the bowl with narrow ribbons
-tied through holes at the back of each; line both lid and box
-with satin by gluing it along the edges with stiff glue put on<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span>
-sparingly, and cover the raw edge of the satin with chenille;
-this is also put on with a little glue. Do not allow the chenille
-to interfere with the closing of the box, but place it along the
-inside edge of the box and lid.</p>
-
-<p>Another form is the</p>
-
-
-<h3><b>Bottle-Gourd.</b></h3>
-
-<p>Ornament this with ivy-leaves painted as if twined around
-bowl and neck, and when the paint is dry varnish the gourd
-all over; if you wish it for use as well as decoration, saw off
-the top about two or three inches deep, shake out the seeds,
-then fit a cork in the piece cut off, and so glue it in that the
-cork may extend an inch downward to fit in the bottle.</p>
-
-<p>The large egg-shaped gourds look well as</p>
-
-
-<h3><b>Vases.</b></h3>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-
-<td align="left" rowspan="2"><div class="figcenter" style="width: 201px;">
-<img src="images/i_212.jpg" width="201" height="194" alt="Fig. 134" />
-<div class="caption">Wire Twisted for Feet of Gourd-Vase.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 147px;">
-<img src="images/i_212b.jpg" width="147" height="71" alt="Fig. 135" />
-<div class="caption">Foot Bent Down.</div>
-</div></td>
-</tr>
-<tr>
-<td align="left"><div class="figcenter" style="width: 257px;">
-<img src="images/i_212c.jpg" width="257" height="147" alt="Fig. 136" />
-<div class="caption">Finished Wire Feet for Gourd-Vase.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-
-
-<p>Select a deep-colored gourd, saw off the top and scrape out
-the inside; then varnish the vase and mount it on feet of
-twisted wire, made according to Fig. 134; bend down the feet,
-as in Fig. 135, when the wire will be formed into Fig. 136. To<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span>
-fasten this on the vase, first bore holes in the bottom of the
-gourd, then sew the feet firmly on, passing the needle through
-the holes previously made and bending the wire a little to fit to
-the gourd. Gild the wire feet, and your vase is finished. Another<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span>
-way is to save the top sawed off, fasten an ornament of
-twisted wire on the top of it, and then, after making the vase
-as the one just described, add bands of gilded cardboard made
-to fit the gourd, fastening them to the vase with glue. Handles
-can also be fashioned of cardboard and sewed to the upper
-band before it is glued to the vase, as in the illustration.</p>
-<div class="figcenter" style="width: 376px;">
-<img src="images/i_213.jpg" width="376" height="574" alt="drawing" />
-<div class="caption">Ornamental and Useful Gourds.</div>
-</div>
-
-<p>There are many other ways of utilizing gourds, but we will
-leave it to your ingenuity to think up new and pretty conceits.</p>
-
-<p>Pine-cones, large and small, acorns, and balls from the sweet-gum
-tree, can be used as</p>
-
-
-<h3><b>Small Decorations.</b></h3>
-
-<p>Never try to fasten them by the natural stems, for these
-will soon break off, but place in each one a small screw-eye,
-and when tied in groups they form ornaments for waste-baskets
-and fancy baskets of all kinds. We have seen chandeliers
-with gilded cones hanging from the different points,
-and being the identical color of the chandelier, they seemed
-of the same metal, and added novelty and grace to its appearance.</p>
-
-<p>There are some varieties of the tree-fungi which make dark,
-rich-colored</p>
-
-
-<h3><b>Brackets.</b></h3>
-
-<p>Use heavy cardboard or thin board as a covering for the
-back; have this fit the fungus perfectly, and fasten it securely
-in position with very stiff glue or nails. Paint the back the
-same color as the fungus, and on either side of the upper edge
-place screw-eyes by which to fasten up the bracket.</p>
-
-<p>Many of the curiously formed galls and oak-apples to be
-found on different trees can also be employed as ornaments.</p>
-
-<p>Nothing can be finer than our brilliant autumn season, which<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span>
-is said to be more beautiful in this than in other countries, with
-its crisp mornings and bright sunny afternoons.</p>
-
-<p>When the weather is too lovely to remain in-doors, and all
-nature invites us out, then is the time to gather our fall decorations.</p>
-
-<div class="figcenter" style="width: 443px;">
-<img src="images/i_215.jpg" width="443" height="105" alt="a paintbox on a branch" />
-</div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span></p>
-
-<div class="figcenter" style="width: 448px;">
-<img src="images/i_216.jpg" width="448" height="600" alt="drawing of girl sitting on fence under branch with squirrel on it" />
-<div class="caption">The Little Brown Squirrel.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span></p>
-
-
-
-
-<h2>CHAPTER XIX.<br />
-
-<small>NUTTING-PARTIES.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_217.jpg" width="204" height="206" alt="O" />
-</div>
-
-<p class="drop-capi2">OFF they go with bright, laughing eyes and
-glowing cheeks, each one carrying
-a light little basket or fancy bag
-slung carelessly on her arm. The
-girls are full of life and spirits as
-they walk briskly along toward
-the woods in the delightful fall
-weather, talking and laughing in
-a happy, thoughtless fashion, now
-telling where the best nuts are to
-be found, the shortest route to take, or where the prettiest walks
-lead, and again lingering or stopping to admire the many wonderful
-beauties of autumn. Leaving the road they enter the
-woods, where the dry leaves rustle pleasantly beneath their feet,
-and in some places the gold and brown leaves through which
-they walk lie ankle-deep.</p>
-
-<p>All this is fully enjoyed by the party as they proceed on
-their way discussing the best place for lunch, which consideration
-is quite important, as it is necessary, if possible, to be near
-a clear, cool spring; otherwise the water must be transported.</p>
-
-<p>Arriving at the selected spot about noon, all bring forward
-their baskets and bags to contribute the contents to their
-“nutting-dinner.” Soon the white cloth is laid and the tempting
-feast spread, when the hungry but merry maidens gather<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span>
-around to relish their repast in the forest, where, all about, are
-seen sure signs of coming winter.</p>
-
-<p>The airy dining-hall is carpeted with the softest moss, and the
-gorgeous coloring of the surrounding foliage is far more beautiful
-than the most costly tapestry, while the sky forming the
-roof is of the serenest blue.</p>
-
-<p>Now and then the sound of falling nuts is heard as they drop
-from the trees. This is music in the ears of the girls, and they
-hurry through their lunch, collect the empty baskets, and are
-soon busy gathering the glossy brown chestnuts, which are
-thrashed down from the branches by some of the party, who
-use long poles for the purpose. Down comes the shower of nuts
-and burs, and away the party scamper to patiently wait until it
-is over, as the prickly burs are things to be avoided. Some wise
-girls have brought tweezers to use in pulling open these thorny
-coverings. Others have their hands well protected by heavy
-gloves which cannot easily be penetrated with the bristling
-spikes.</p>
-
-<p>It does not take long to fill their bags, and the one who first
-succeeds in the feat receives the title of “Little Brown Squirrel.”
-Then all the others, for the rest of the day, obey her wishes.
-Nor is this difficult, for their Little Brown Squirrel is blithe
-and gay, generous and kind, and does all in her power to
-render her subjects happy.</p>
-
-<p>As they turn their faces homeward the girls plan for another
-nutting-party to come off soon, for they wish to make the most of
-the glorious Indian summer, which belongs, we claim, exclusively
-to our country, and which may last a week or only a few days.</p>
-
-<p>The chestnuts are brought home, where in the evening some
-are eaten raw, others have the shells slit and are then roasted
-or boiled, making a sort of chestnut festival, as in the North of
-Italy, only of course on a very much smaller scale, for there the
-peasants gather chestnuts all day long and have a merry-making<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span>
-when the sun goes down. This harvest
-lasts over three weeks and is a
-very important one to the dark-eyed
-Italians, who dry the nuts and grind
-them to flour, which is used for bread
-and cakes during the barren season.
-The harvest in the Apennines is quite
-an event, as the trees are plentiful,
-the fruit is good, and the people gladly
-celebrate the season.</p>
-
-<p>Our thin, white-shelled shag-bark
-hickory-nut is peculiarly American,
-and many a nutting-party have found
-its delicate and agreeable flavor very
-welcome when, gathered around a
-large rock, they crack a few to sample
-their fruit before returning home.
-These nuts are only cooked by covering the kernels with hot
-candy, and thus prepared, they make a delicious sweetmeat.</p>
-
-<div class="figright" style="width: 200px;">
-<img src="images/i_219a.jpg" width="200" height="362" alt="catkin" />
-</div>
-<div class="figright" style="width: 502px;">
-<img src="images/i_219.jpg" width="502" height="253" alt="drawing" />
-<div class="caption">Blossom and Fruit of the Chestnut-Tree.</div>
-</div>
-<p>When cracking hickory-nuts, hold each nut firmly by the<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span>
-flat sides, bringing uppermost one of the narrow sides; strike
-this and the nut will open so that the halves fall out, or may
-be easily extracted, and occasionally the kernels will come out
-whole. We have seen quaint little figures, with the heads
-made of hickory-nuts, the pointed end forming the nose, and
-the eyes and mouth marked with ink, giving a comical expression
-to the peaked face.</p>
-
-<p>The neat little three-cornered beech-nut is easy and pleasant
-to gather, making a desirable change for the “nutters” after
-going for other kinds, and the trees with their beautiful foliage
-render the scene very attractive. But not more so than do the
-lofty and stately walnut-trees with their rich, brown fruit encased
-in such rough shells, whose outside covering is so juicy
-that, unless we are very cautious, it will stain our hands its own
-dark color. The black-walnut tree (J. nigra) is indigenous to
-the United States, and we are informed that a celebrated specimen
-is still standing at Roslyn, L. I., where the seed was
-planted in 1713. The tree measures twenty-five feet in circumference
-at three feet from the ground.</p>
-
-<p>Butter-nuts, so significant during our civil war, also belong to
-America; the meat, though quite oily, is sweet and agreeable.</p>
-
-<p>Butter-nuts will repay anyone for gathering them, though,
-like the walnut, the outer husk is apt to stain the fingers; but
-this may be avoided by wearing gloves while handling the
-fruit. The cross-sections of the shells, when properly polished,
-make pretty ornaments.</p>
-
-<p>Although we are all fond of the round little hazel-nut, they do
-not seem to be as plentiful as could be wished, and it is seldom
-we have the pleasure of going hazel-nutting, yet when the opportunity
-occurs, it is rare sport and an event to be talked of
-afterward.</p>
-
-<p>Nuts are to be found in all portions of the country, and the
-varieties depend upon the section in which you live.</p>
-
-<p><span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span></p>
-
-
-<h3><b>Rules for Nutting-Parties.</b></h3>
-
-<p>1. In selecting the members of a nutting-party be careful
-to choose only those on whom you can safely depend for cheerfulness,
-kindly
-feeling, and a
-willingness on
-their part to
-do all in their
-power to assist,
-should occasion
-arise, in letting
-down the bars of a fence,
-going for water, or anything
-which might happen to require
-their services.</p>
-
-<div class="figleft" style="width: 424px;">
-<img src="images/i_221.jpg" width="424" height="577" alt="drawing" />
-<div class="caption">Pea-Nut Vine and Fruit.</div>
-</div>
-
-<p>2. Decide by majority any case of
-controversy in regard to destination, the best
-place and way of crossing a brook, which
-route to take, or in fact any question
-concerning the comfort and
-pleasure of the party, until the
-“Little Brown Squirrel” wins her
-title. Then she rules
-absolutely and settles all
-questions according
-to her best
-judgment, giving
-council and friendly
-advice to
-those who
-ask it. All
-differences being referred to her, the decision is considered<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span>
-final, and the party must obey when their Little Brown Squirrel
-directs.</p>
-
-<p>3. The one who gathers the greatest quantity of nuts in a
-given time wins, and receives the above much-desired title.
-The standard of measure being previously decided upon by the
-party, the time may be either long or short, as desired.</p>
-
-<p>4. The badge given to the successful competitor may consist
-of fall leaves or nuts tied with a brown ribbon. This she keeps
-in remembrance of the delightful day spent nutting in the woods
-when she was a Little Brown Squirrel.</p>
-
-<p>Select, if possible, a day in Indian summer for your nutting-party,
-and it is well to wear a gown that will not easily tear,
-catch the dust, or spot—not that these accidents are always to
-be met with on such excursions, but they might happen, and
-we must be on the safe side, so that no thought or anxiety
-need be given to the clothing.</p>
-
-<p>If your party contemplates a series of nutting-picnics, propose
-that they shall go for different varieties each time. This
-will add novelty and zest to the excursions; and should the
-distance in some cases be too great for a walk, secure a vehicle
-with a good reliable driver, and the ride will be particularly
-enjoyed. This mode of travelling procures another change in
-the programme, which should be as varied as you can make it.
-Let the plates for your dinner be of wood or paper, to avoid
-the necessity of carrying them home. A table-cloth made of
-large sheets of white paper is a good substitute for damask, and
-after doing service the paper may be thrown away, leaving
-your baskets entirely empty to be filled with nuts.</p>
-
-<p>There grows a nut, highly prized, that is never gathered by
-nutting-parties. Nor could they see it if they examined every
-tree throughout the country. Yet it flourishes in this climate,
-and may be seen any day at the fruit-stores and corner-stands.
-The shells of these furnish odd fancies for little trifles made by<span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span>
-girlish fingers. Cut in the shape of slippers and glued to a
-card, they seem suitable for a wood-nymph, and the card is
-used as a birthday or <i>menu</i> card. Strung together with needle
-and thread, and dressed in costume with black thread for
-hair, they make quite a good-looking Japanese.</p>
-
-<p>Glued on a twig and marked with ink in representation of
-the birds, they look not unlike owls perched on a limb. When
-divided in halves the shells are transformed into tiny boats with
-tissue-paper sails. This nut boasts of four names: gouber, pindar,
-ground-nut, and the familiar name of pea-nut.</p>
-
-<div class="figcenter" style="width: 439px;">
-<img src="images/i_223.jpg" width="439" height="135" alt="tiny boy on limb picking nut, squirrel behind him" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span></p>
-
-
-
-
-<h2>CHAPTER XX.<br />
-
-<small>HOW TO MAKE A TELEPHONE.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_224.jpg" width="96" height="148" alt="H" />
-</div>
-
-<p class="drop-capi3">HELLO! Hello! What is it you say? You can
-really make a telephone? What fun! How far
-will it work? You think it can be heard a long
-distance? Very good. Could we manage to
-construct such a one? How, pray tell us?</p>
-<div class="figright" style="width: 110px;">
-<img src="images/i_225a.jpg" width="110" height="203" alt="Fig. 137" />
-</div>
-
-<div class="figleft" style="width: 141px;">
-<img src="images/i_225b.jpg" width="141" height="278" alt="Fig. 138" />
-</div>
-<p>The answer which came back over the line
-we give in a more concise form, as follows:</p>
-
-<p>The best way to make a simple telephone is to procure two
-round, medium-sized tin baking-powder boxes, and remove the
-bottoms with a pair of pinchers; then soak two pieces of
-Whatman’s drawing-paper, or any other strong paper, in a basin
-of water for a few moments, and when thoroughly wet take
-them out and place one smoothly over the end of each box.
-Fasten these down by winding a waxed cotton twine securely
-over the paper and box, and tying it tightly (Fig. 137). This
-done, allow the drums to become wholly dry, when they should
-be firm, even, and without wrinkles. Next cut away that portion
-of the paper which stands out, frill-like, beyond the string,
-and paste a narrow strip of paper around over the twine (Fig.
-138). Wax a piece of string of the desired length, and with a
-large needle or pin carefully punch a hole in the centre of each
-drum; thread one end of the waxed string through one of the
-holes and make a large knot in the end, then cautiously pull
-the string until the knot rests on the inside surface of the paper.<span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span>
-Connect the other box to the string in like manner, so that the
-twine will have a box fastened on each end.</p>
-
-<div class="figcenter" style="width: 506px;">
-<img src="images/i_225c.jpg" width="506" height="256" alt="Fig. 139" />
-</div>
-
-<p>The telephone is now ready for use; and if the distance is
-short, the line may be stretched taut from
-point to point. But should
-the space be great, supports
-will be needed and loops
-must be made of the twine
-and fastened at intervals on
-trees, corners of the houses,
-or any available points, with
-the connecting cord passed
-through these loops (Fig.
-139), which act as supports.
-Keep the course of the waxed string as
-straight as possible, and, as far as practicable,
-avoid sharp angles. This style of telephone we know,
-from personal experience, works perfectly at the distance of
-fifty yards, and doubtless it will do as well when the line is
-stretched much farther. Be particular, in selecting the tin<span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span>
-baking-powder boxes, to have them round and even; if they
-are old and battered the experiment may not prove satisfactory.
-We find the telephone very
-useful and convenient, besides
-affording any amount
-of amusement and fun; with
-its aid we converse with acquaintances,
-even though
-they be at a distance. The
-friendly little instrument carries
-the voice all along the
-slender line to the very ears
-of our best friend, and we
-can chat away as freely and
-almost as easily as if side by
-side. What a comfort to be
-able, when seated in your
-own room, to listen to the
-voice of some companion,
-living perhaps blocks away,
-and it is such a pleasure, too, to have questions answered
-immediately, which is impossible in communications made by
-letter. Nor is this a pleasure to be enjoyed at rare intervals,
-for as long as the telephone lasts it can be used at any time
-for a short or long talk, as one may feel inclined. The consultations,
-the plans, the sport, and merriment to be had with
-the telephone can scarcely be appreciated by one who is not
-the happy possessor of such an instrument.</p>
-
-<div class="figleft" style="width: 254px;">
-<img src="images/i_226.jpg" width="254" height="358" alt="girl seated holding can to ear" />
-<div class="caption">Listening.</div>
-</div>
-
-<p>When the weather will not permit of a walk or a visit, the
-telephone brings us, if not face to face, at least within speaking
-distance of those to whom we desire to talk.</p>
-
-<p>There are many other easy methods of making telephones.
-They can be manufactured as described without waxing the<span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span>
-string, or the boxes may be used unaltered, in which case the
-tin bottoms serve as drums, and the holes for the string are
-made in the centre of each by driving a small tack through.
-With these instruments the voice cannot be sent a great distance,
-but when only a short line is needed they succeed very
-well.</p>
-
-<p>More complicated telephones are made with the drums of
-bladder and the line of soft, flexible wire. Though good and
-serviceable, they are more
-difficult to make and require
-more time and labor.</p>
-
-<div class="figright" style="width: 282px;">
-<img src="images/i_227.jpg" width="282" height="454" alt="girl speaking into can" />
-<div class="caption">Speaking.</div>
-</div>
-
-<p>The two beef-bladders
-used for such a telephone
-must first be blown up, tied,
-and left about thirty hours,
-or until they are stretched,
-but not dried. When in
-proper condition, cut off the
-necks and portion of the
-ends, then soak them in
-warm water, and they will
-become very pliable and
-light in color. Having previously
-prepared two square
-pieces of board by very carefully
-cutting out a perfect
-circle in the centre of each,
-about as large as a medium-sized
-pie-pan or a tea-plate,
-place the bladders smoothly
-but not tightly over the
-openings, allowing the outside of the bladder to come on the
-bottom, and fasten it all around the circle, a little distance<span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span>
-from the edge, with tacks so driven in that they may be easily
-removed.</p>
-
-<p>Try the drums with your finger; if they stretch evenly they
-are correct, if they wrinkle, change them until they stretch perfectly
-smooth. Then tack a piece of firm tape securely around
-the edge of the circle, and cut off the bladder reaching beyond
-the tape. Next fasten four feet of soft, flexible wire to a large-sized
-gutta-percha button by threading it through the two opposite
-holes in the centre of the button; pass the other end of
-the wire through the middle of the bladder, bringing the button
-flat against its surface.</p>
-
-<p>After attaching a weight of about seven pounds to the end
-of the wire, place the drum in the sun until perfectly dry. Proceed
-with the other in the same manner, and when both are
-well dried, fasten one on each end of the line and attach the
-drum-wires to the principal wire by loops; then stretch it firm
-and tight. This telephone will also need loops for supports,
-which should be of wire. When the instrument is carefully
-and properly made it will carry the voice three or four miles or
-more, giving every word and tone distinctly and clearly.</p>
-
-<div class="figcenter" style="width: 451px;">
-<img src="images/i_228.jpg" width="451" height="182" alt="girl talking to animal on can-phone" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXI.<br />
-
-<small>HOW TO DRAW.<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a></small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_229a.jpg" width="148" height="247" alt="W" />
-</div>
-
-<p class="drop-capi3">WOULD you like to learn to draw, to sketch
-from nature? Don’t you think that it
-would be delightful to be able to take out
-your pencils and paper and copy some scene
-you want to remember, or produce a likeness
-of any bird or animal which strikes your
-fancy?</p>
-
-<p>Many will say, “I’d like it very well, but
-I <i>can’t</i> draw.”</p>
-
-<p>You can write, can hold a pencil, and
-trace lines upon the paper; and if you can
-do this, you can draw a little. A girl
-who can learn anything can learn to draw
-if she will give the same attention to it
-that she gives to other things.</p>
-
-<div class="figleft" style="width: 157px;">
-<img src="images/i_229b.jpg" width="157" height="156" alt="diagram of cube Fig. 140" />
-</div>
-
-<p>Now we are not going to talk about
-copying pictures which someone else has
-already drawn, for there is not much satisfaction
-in making imitations of other
-people’s work; it is much more gratifying to make the original
-drawings ourselves; but to do this we need some direction.</p>
-<p><span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span></p>
-<p>The reason it is easier
-to copy a picture than to draw
-the real object is because the
-lines to be copied are all laid
-out on the flat surface of the
-picture; but to draw the object
-we must find out where to trace
-the lines for ourselves.</p>
-
-<div class="figright" style="width: 233px;">
-<img src="images/i_230a.jpg" width="233" height="256" alt="Fig. 141" />
-</div>
-
-<p>For instance, suppose we are
-to draw a flower-pot and plant.
-If we have the picture before
-us, we can readily see where all
-the lines are placed upon the paper, but in viewing a real plant
-and pot we are apt to become confused in trying to discover the
-directions and proportions of the lines.</p>
-
-<div class="figleft" style="width: 450px;">
-<img src="images/i_230b.jpg" width="450" height="362" alt="man sitting on ground Fig. 142" />
-</div>
-
-<p><span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span></p>
-
-<p>Therefore we must learn <i>to see things as they appear</i>, not as
-they really are. This may seem strange to you, because one
-is apt to think that a thing must appear as it is; but let us look
-into the matter.</p>
-
-<p>We will take a square box (Fig. 140). Now, we know that
-all the sides are the same size, that the top is as large as the
-side, and that one side is as large as another;
-but if you try to draw it so, you will
-find it impossible, because, although you
-know that the top and sides are the same
-size as the front, they do not look so, and
-you draw things as they look, not as they
-really are.</p>
-
-<p>What would our cube look like if we
-tried to make the sides K and H just like
-the side I? Why, like Fig. 141. Don’t
-you see that would be no box at all?</p>
-
-<div class="figright" style="width: 140px;">
-<img src="images/i_231.jpg" width="140" height="405" alt="Fig. 143" />
-</div>
-
-<p>Take another example. We all know
-that a man’s leg is longer than his arm, but
-it doesn’t always appear so. Measure the
-arms and legs of Fig. 142, and you will see
-by actual measurement the arms are longer
-than the legs, and yet it looks right, because
-the legs are projected toward you;
-in other words, the legs are <i>fore-shortened</i>.</p>
-
-<p>The great secret of drawing from nature is to train the eye
-to see a real object just like a picture.</p>
-
-<p>Now let us return to our flower-pot again. We will suppose
-we are drawing from a real flower-pot and plant. We determine
-how large we will make our sketch, and begin operations by
-drawing a vertical line (a straight upright line). Along this line
-we will mark out the proportions of the plant and pot, as in
-Fig. 143.</p>
-
-
-<p><span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span></p>
-
-<p>We may easily discover that the plant is longer than the pot.
-This can be done by holding the pencil upright before the eye
-at arm’s length, as in Fig. 144, so that it will cover the pot, and
-measuring by the thumb the height of the pot, then raising the
-arm so as to cover the plant, and comparing the measurement
-of the pot with the plant. The lines drawn from the eye (Fig.
-144) show how the pencil makes the measurement on the object.</p>
-
-<div class="figleft" style="width: 414px;">
-<img src="images/i_232.jpg" width="414" height="303" alt="Fig. 144" />
-</div>
-
-<p>After settling the question of the height of the flower-pot
-and plant, we will mark the measurements on the line. And
-now we will draw in the pot, leaving the straight line through
-its centre.</p>
-
-<p>On observing the plant we will see that it is not exactly
-straight, and here again the straight line will be of assistance.</p>
-
-<p>By holding up our pencil, which represents the straight line,
-we will discover that the main stem of the plant leans considerably
-to the left. Guided by the line, we can get the curve of
-the stem about right. Now we sketch the stem. Along the
-straight line we again measure the distance from the top of each<span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span>
-leaf and flower to the pot, as in Fig. 145. We can see several
-leaves, each reaching a certain height. Observing the same
-plan of measurement, we find that the top of the lowest leaf is
-about the same height from the pot as the height of the pot itself,
-and again from the top of the lowest leaf to the top of the
-plant measures the same distance.</p>
-
-<div class="figright" style="width: 156px;">
-<img src="images/i_233.jpg" width="156" height="366" alt="Fig. 145" />
-</div>
-
-<p>By drawing another vertical line just touching the right side
-of the pot, we find that it touches the extreme
-edge of the leaf. Thus we find the
-exact situation of the leaf. By the same
-method we find the right places for the
-other leaves and flowers, and after we
-know just where they belong, we draw
-them in, and find that we have produced
-a very creditable outline from nature.</p>
-
-<p>We need not confine ourselves to one
-or two guiding lines in sketching an object;
-in fact, we may use as many straight
-lines as will help us to get the correct proportions;
-not only vertical and horizontal
-lines, but slanting lines will also assist us
-in most cases.</p>
-
-<p>The sketch of a dog (Fig. 146) will
-give an idea of the way to employ all
-lines necessary in sketching from nature.
-A few words will be all that is necessary to explain this illustration.</p>
-
-<p>There lies the dog on the floor, and we seat ourselves at a
-little distance from it with pencil and paper. We will start off
-with a horizontal line (A); then we can form some idea as to
-whether the little dog lies along a straight line, or in case the
-bottom line slants, how much it slants. Then draw the vertical
-line (B E). Now suppose we hold our pencil upright, in such a<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span>
-position as to touch the back of the knee-joint of the foreleg,
-we will find that it passes through the middle of the dog’s back,
-as represented by
-the line (B E); so
-we have found the
-places for these
-parts.</p>
-
-<div class="figleft" style="width: 351px;">
-<img src="images/i_234a.jpg" width="351" height="203" alt="Fig. 146" />
-</div>
-
-<p>Another horizontal
-line (C D)
-drawn above the
-first will touch just
-over the right eye,
-pass through the middle of the left ear, through the middle of
-the neck, cut off the foreleg, and run along the top of the two
-hind legs, passing through the knee of the left one. This will
-show us that the top of the right eye, the ear, and the top of
-both hindlegs are on a line. It will also help us to get the
-proportions above and below the line; then by drawing a line
-from D to the point F on the horizontal line A, we find that
-the lower edges of the left hind and fore legs
-are on the same line, which, if extended a
-little farther down, will touch the edge of
-the dog’s mouth. With these lines to guide
-us we cannot go far astray in our proportions.</p>
-
-<div class="figright" style="width: 142px;">
-<img src="images/i_234b.jpg" width="142" height="253" alt="Fig. 147" />
-</div>
-
-<p>One of the chief difficulties in following
-this method of drawing from nature is to
-hold our measuring-stick exactly vertical or
-horizontal. This difficulty can be overcome
-by providing yourself with a T-square (Fig.
-147) and attaching to it, at the point P, a
-string with a weight tied on the other end so that it will hang
-plumb. By using this we can be sure whether we hold it<span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span>
-straight or not, for in case we tip it too much on one side or the
-other the string will swerve from the middle of the upright stick.
-Of course, whenever we hold the T-square perfectly straight,
-the string will fall straight down the middle of the upright, and
-the top of the T will then give us a true horizontal line. A little
-thought and practice will lead you to thoroughly understand
-this method, and when you really understand it you will have
-an unerring guide to assist you. Of course, as the eye and
-hand become more trained, with practice and observation, the
-work will become easier, and you will not need the T-square.</p>
-
-<p>In beginning the practice of drawing from nature, we had
-better confine our first efforts to things that will stand still,
-for without a practised hand it will be almost impossible to
-sketch a restless subject; but if we attempt to do so, we
-should follow the methods before taught as nearly as possible.</p>
-
-<p>Now, suppose we step out of doors in search of something
-to sketch. The first moving object our eyes rest upon is a
-goose, and we decide to use him as a model.</p>
-
-<p>But he is so restless, will not keep still an instant. First we
-have a front view, then a side view, and again he turns his
-back upon us. If we really must have his picture, the only way
-is to catch him and tie him up.</p>
-
-<p>Yet even now he is a difficult subject, twisting and turning,
-and bobbing his head about. Determined on sketching him,
-however, we observe the position in which he remains the longest
-time, or assumes oftenest, and begin our work.</p>
-
-<p>We first note the general proportions. Is his body as thick
-as it is long? Is his neck as long as his body? Are his legs
-nearest the head or tail? Is the head as long as the neck?
-What part reaches the highest, or what part the lowest? We
-hastily but carefully consider these questions and determine in
-our own mind the answers, for we must get an idea of the proportions
-before we begin our sketch.</p>
-
-<p><span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span></p>
-
-<p>Now we draw a horizontal line along our paper, and then
-hold up our pencil horizontally, so that it will answer for a
-straight line drawn across the
-body of the real goose (Fig.
-148). This will represent the
-horizontal
-line on the
-paper. Noticing
-then
-the directions
-the
-outlines of
-the goose
-take from the horizontal line (represented by the pencil),
-we sketch them in on the paper, remembering
-that one of the most important things is to get the right directions
-of the lines.</p>
-
-<div class="figcenter" style="width: 427px;">
-<img src="images/i_236a.jpg" width="427" height="273" alt="Fig. 148" />
-</div>
-
-<p>Observe that in Fig. 149 the line G is directed to too high
-a point, and makes the body too thick and out of proportion.</p>
-
-<div class="figcenter" style="width: 474px;">
-<img src="images/i_236b.jpg" width="474" height="245" alt="Fig. 149 Fig. 150" />
-</div>
-
-<p>In sketching it is best to make all lines straight instead of
-curves, for in this way we are more likely to get the right directions.<span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span>
-Our first rough sketch of the goose ought to have something
-of the appearance of Fig. 150, and as we work it up more
-carefully it will become as nicely rounded as we could desire.</p>
-
-<p>One of the most common faults a beginner is apt to commit
-is to try to do too much, either by choosing too great a subject,
-such as a large landscape, or by putting too many little things
-into the composition. Take care of the large things, and the
-little things will take care of themselves.</p>
-
-<p>If our subject be a clump of trees at some distance, we
-should not attempt to draw in separate leaves, but endeavor to
-get the true shape of the tree, simply indicating the leaves by a
-few lines. Neither must we attempt, in our first sketches, to put
-in all the shadows we see; the strong principal ones are all that
-are necessary. A background of hills and trees should be
-merely suggested by a few lines, because the light striking upon
-them gives a very light appearance.</p>
-
-<p>Draw as simply as possible. Ten pictures are spoiled by
-putting in too much work, where one is spoiled by too little.</p>
-
-<p>Don’t be discouraged. Every effort will show improvement,
-if you really put your mind and heart in your work. As for</p>
-
-
-<h3><b>Materials,</b></h3>
-
-<p class="unindent">a sheet of drawing-paper, a No. 2 lead-pencil, and a piece of soft
-rubber are all you really need to commence with. Later it will
-be well to have a drawing-pad and several more pencils.</p>
-
-<div class="figcenter" style="width: 445px;">
-<img src="images/i_237.jpg" width="445" height="96" alt="cherub on drawing pencil" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXII.<br />
-
-<small>HOW TO PAINT IN WATER-COLORS.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_238.jpg" width="117" height="156" alt="T" />
-</div>
-
-<p class="drop-capi2">THERE is a certain charm in water-color painting—a
-charm distinctly its own—which lies, as
-Penley says, “in the beauty and truthfulness
-of its aerial tones.” Without this quality a
-water-color, as a water-color, is a failure.</p>
-
-<p>This transparency of effect does not depend
-alone upon the manner of painting or the colors
-employed, but much rests with the paper
-we use. In the days when our mothers and grandmothers
-were taught painting at school, the finest, smoothest cardboard
-was thought necessary; but we have since learned that the flat,
-smooth paper tends decidedly toward producing a flat, smooth
-effect in the picture painted upon it, while the rough, uneven
-surface of the paper now in use helps to produce depth and atmosphere.
-Therefore it is always best to have rough paper to
-paint upon. We give below the</p>
-
-
-<h3><b>Materials for Water-Color Painting.</b></h3>
-
-<p>1. A block of rough drawing or water-color paper.</p>
-
-<p>It is better to buy it in blocks than by the sheet, as it is
-much more easily handled, and is always ready for use.</p>
-
-<p>2. Brushes. The best brushes are made of sable, and although
-costing more to begin with, it is really more econom<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span>ical
-to purchase them than to choose the less expensive camel’s-hair;
-for the sable are by far the most satisfactory, and will last
-much longer. Three or four brushes are sufficient. As Devoe
-&amp; Co. number them, they should range between No. 3, which
-is small enough for ordinary painting, and No. 19, for clouds,
-backgrounds, etc.</p>
-
-<p>3. Colors. A tin sketching-box of moist colors, which also
-contains a palette, is very useful, but the colors can be bought
-separately in tubes or pans.</p>
-
-<p>Water-color painting seems by its qualities to be especially
-adapted to flowers and landscapes, and as this is to be a chapter,
-not a book, on water-colors, we will confine ourselves to
-the principal points to be observed in these two departments,
-and will commence with the</p>
-
-
-<h3><b>Flowers.</b></h3>
-
-<p>Few oil-paintings, however well executed, give the delicate,
-exquisite texture of a flower as nearly as water-colors.
-The semitransparency of a rose-petal, the juicy, translucent
-green of the young leaf, it is difficult to truthfully represent
-in other than these colors, whose essential quality is transparency.
-To preserve this transparency of color, everything about
-the painting must be kept exceedingly neat. The brushes
-must be thoroughly washed before using them for a different
-tint from that already upon them, and plenty of water, changed
-frequently, is necessary.</p>
-
-<p>Having arranged your materials conveniently upon a table,
-place your paper so that it will lie at an angle slanting toward
-you, not perfectly flat upon the table; this can be done by putting
-books under the edge farthest from you, thus raising it up.
-Stand the flowers you wish to copy in such a position that the
-light will fall upon them only from one direction and produce<span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span>
-decided shadows; the effect will then be much better than
-when the light is more diffused.</p>
-
-<div class="figcenter" style="width: 512px;">
-<img src="images/i_240.jpg" width="512" height="406" alt="Painting in Water-Colors" />
-</div>
-
-<p>Always arrange your model exactly as you want to paint it,
-and leave nothing to your idea of how it ought to look. If you
-do not intend to have any background other than the white paper,
-place something white behind your flowers. If you want
-a colored background, arrange the color you have chosen behind
-the flowers, and paint
-it as you see it. Commence
-your work by sketching
-lightly, as correctly and rapidly as you
-can, the outline of your flower. Try
-something simple at first; say a bunch of
-heart’s-ease or pansies, and when drawing
-them try to get the character of both flower
-and leaf. Observe how the stem curves
-where it is attached to the flower, and at what angles the stems
-of the flowers and the leaves join the main stalk. Given character,
-an outline drawing painted in flat tints will closely resemble
-nature; without it, the most beautifully finished painting
-will not look like the flower it is intended to represent.</p>
-
-<p>When your outline is drawn in, dip your largest brush
-in clear water, and go over the whole surface of your paper<span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span>,
-then place a piece of blotting-paper over the paper to soak up
-the water, leaving it simply damp, not wet.</p>
-
-<p>If you are using tube colors, have ready on a porcelain
-palette, or ordinary dinner-plate, these colors: crimson lake,
-cobalt blue, indigo, Prussian blue, and gamboge. Put in your
-lightest tints first, leaving the white paper for the highest light;
-then paint in your darker tints and shadows, and get the effect.</p>
-
-<p>If your flower is what we call the johnny-jump-up, the lowest
-petal will be yellow. Paint this in with a light wash of gamboge,
-leaving, as we have said, the white paper for touches of
-high light. The two upper petals will probably be a deep
-claret-color; this is made by mixing crimson lake and cobalt
-blue, the crimson lake predominating. The two central petals
-may be a bluish lavender, and this color is made by mixing a
-little crimson lake with cobalt blue. Use plenty of water; but
-do not let it run, and keep the colors of the petals distinct.</p>
-
-<p>Paint the stems and leaves, where they are a rich green, with
-a mixture of gamboge and Prussian blue, and where they appear
-gray as the light touches them, a pale wash of indigo will
-give the desired effect.</p>
-
-<p>Keep your shadows broad and distinct, and your tints as
-flat as you can. Leave out details altogether in your first
-paintings, and add them afterward only when you can do so
-without spoiling the effect.</p>
-
-<p>When a tinted background is desired, put it in quickly in a
-flat tint, before commencing the flowers. It is best not to bring
-the tint quite up to the outline, as a narrow edge of white left
-around the flower gives a pleasant, sketchy look to the painting.</p>
-
-
-<h3><b>Landscapes.</b></h3>
-
-<p>In your first studies from nature keep to simple subjects,
-and treat them simply, without any attempt at elaboration.<span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span>
-Choose, for instance, a picturesque corner of an old fence, with
-perhaps a bit of field and sky for the background. Sketch in
-the principal features in the foreground in outline, and indicate
-the horizon, if it comes in the picture.</p>
-
-<p>Penley says, in his “System of Water-Color Painting,”
-“White paper is too opaque to paint upon without some wash
-of color being first passed over it,” and he recommends a thin
-wash of <i>yellow ochre</i> and <i>brown madder</i>, which should be
-put all over the surface of the paper except on the high lights
-in the foreground, which are best left crisp and white.</p>
-
-<p>Notwithstanding what Penley says in this matter, it must be
-borne in mind that some artists do not believe in successive
-washes, but claim that the color desired should be put upon the
-white paper at once.</p>
-
-<p>If the yellow tint is used, let it become quite dry and then
-wash it over with a large brush and <i>clean</i> water; then, as in
-the flower painting, soak up the water with blotting-paper;
-the blotting-paper must also be quite clean. While the paper is
-damp, not wet, begin with a blue tint—a light wash of cobalt
-will give it—and put in the sky <i>in a flat tint</i>; bring the same
-color down all over your sketch except in the high lights. The
-blue tint gives atmosphere and distance. Let your paper again
-become quite dry, and then wash it over as before, in clear water.</p>
-
-<p>The process of laying on color and lightly washing over it
-afterward should be repeated several times, “and the result
-will be a transparent aerial tone.”</p>
-
-<p>Keep your extreme distance bluish, your middle distance
-warmer in tone, but not too strong, and the principal objects in
-your foreground strong.</p>
-
-<p>Leave out small objects, and with light and shade seek to
-obtain the effect.</p>
-
-<p>Keep your colors pure or your sketch will be dull.</p>
-
-<p>Contrast has much to do in producing strength and character.<span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span>
-Phillips says that, “in aiming at opposition of color, we must
-select that which gives force to the foreground, and consequently
-communicates the appearance of air in the distance.
-Thus, if the general tone of the light be warm and yellow, we
-should have blues and purples in the foreground; if the lights
-be cool, reds and yellows in the foreground give atmosphere to
-distance, as neither of these colors in a positive state is found
-in the middle or remote distance.”</p>
-
-<p>The three principal contrasts are blue opposed to orange,
-red to green, and yellow to purple; and “a good first lesson in
-sketching in color will be to put in your shadows with color opposite
-to the object in light; and by carrying out this principle
-of opposition throughout the scale you will obtain an endless
-variety of contrasts.” It is the general rule in most painting
-to have cool shadows to warm lights, and warm shadows to cool
-lights. We all know that a <i>green</i> picture is very disagreeable,
-and although a green field <i>is</i> green, it must not be made intensely
-so. An untrained eye will not see how nature tones
-down the vivid color with shadows, and softens it with the atmosphere;
-but when the eye has learned to look at nature in
-the right way this difficulty will be overcome. Howard says,
-“green must be sparingly used, even in landscapes, whose
-greatest charm consists of vegetation.”</p>
-
-<p>Foliage in some form will present itself in almost every
-landscape, and it is therefore necessary to have a few general
-principles to guide you in this important feature. In sketching
-trees be sure to get the character of their trunks, limbs,
-branches, and general form; also the texture of the bark, rough
-or smooth. You will see that the foliage appears in layers, one
-above another. Sketch in the outlines of the principal layers,
-where they are tipped with light; then go over the whole tree
-with a local color, and afterward separate the light from
-shadow. Each mass is edged with light, while its base is in<span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span>
-shadow, as a rule. Omit <i>details</i>, and keep to your <i>masses</i> of
-light and shade. If your tree is in the foreground, leave the
-white paper for crisp touches of high light. The tone of your
-fence will probably be gray, but do not take it for granted that
-it is <i>all</i> gray; look for other colors, and you will find brown,
-blue, green, and sometimes red. Put these in as you see them,
-letting the edges melt into each other, as they will do when
-the paper is damp; but have each color pure, and do not try to
-mix them.</p>
-
-
-<h3><b>Painting from Notes</b></h3>
-
-<p class="unindent">is not as difficult as one might imagine. With a little practice
-it is easily learned. The following directions will tell how to
-paint a sunset on the meadows, from notes made at sunset on
-the meadows on Long Island.</p>
-
-<div class="figcenter" style="width: 452px;">
-<img src="images/i_245.jpg" width="452" height="533" alt="Fogs. 151-158" />
-<div class="caption">How to Paint a Sunset in Water-Colors.</div>
-</div>
-
-<p>Take a piece of Whatman’s rough drawing-paper, or a kind
-that is termed egg-shell cartoon, the size decided upon for your
-picture. Have ready a large dish of clean water, brushes, and
-paints. Draw a pencil-line along the centre of your paper for
-your horizon, Fig. 151; then directly on the line paint a streak
-of vermilion. Put the color on quite damp, and make it about
-half an inch broad, extending one-fourth of an inch on either
-side of the horizon-line, Fig. 152. Next, quickly paint a yellow
-streak above and below the red one, making each streak of the
-same size and parallel, and leaving a little white paper between
-the different colors, Fig. 153. With a clean brush dipped in
-clean water carefully moisten the paper between the streaks,
-and allow the edges of the colors to mingle, Fig. 154. Before
-this has time to dry, paint a blue streak above and below,
-about half an inch from the yellow, Fig. 155; then with the
-clean brush dampen the white paper between, being careful not
-to get it too wet; there should be just enough moisture to enable
-the colors to flow and mingle at the edges, Fig. 156. This<span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span>
-may be aided by holding the paper first one side up and then
-the other, until the edges are evenly blended. Now, before
-the horizon is quite dry, while it is still damp enough to cause
-the paint to spread, fill a brush with Payne’s gray, which should
-be rather dark and not too wet, touch the point of your brush
-here and there along the horizon, now a little above and now a<span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span>
-little below, and you will find that the paint will spread and make
-excellent
-trees for the
-distance, Fig.
-157.</p>
-
-<div class="figcenter" style="width: 398px;">
-<img src="images/i_246a.jpg" width="398" height="288" alt="Fig. 159" />
-</div>
-
-<p>When
-your work is
-dry enough
-to paint over
-without
-spreading the
-color, mix
-some green
-and black,
-and green
-and brown; paint in the meadow, using the color made of green
-and black for the extreme and middle distance, the color made
-of green and
-brown for the
-foreground,
-leaving spaces
-for streams
-and ponds,
-and your sunset
-upon the
-meadow is
-finished. A
-pretty little
-sketch it is,
-too, Fig. 158.</p>
-
-<div class="figcenter" style="width: 394px;">
-<img src="images/i_246b.jpg" width="394" height="290" alt="diagram" />
-<div class="caption">Leaf from an Artist’s Note-Book.</div>
-</div>
-
-<p>A different
-composition
-can be made by proceeding as directed as far as Fig. 156<span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span>
-and then, instead of putting in trees on the horizon, hills running
-to points in the water can be painted in a flat tint with
-the Payne’s gray, and a vessel with masts painted in the foreground,
-as in Fig. 159. This also makes a pretty and effective
-little sketch.</p>
-
-<p>Fig. 160 shows sunset notes taken while aboard a ferryboat
-in the winter of 1886-87. From these you can see just how the
-notes are made; but you must make <i>your own notes</i>, because
-what is perfectly intelligible to the writer of the sunset memoranda
-is an enigma to another person. For example, in Fig.
-160, “Rose-tinted sky” may mean almost any shade of red, or
-blue and red mixed, but “Rose-tinted sky” no doubt brings
-before the mind’s eye of the writer of the notes the exact color
-of the sky at the time the notes were made.</p>
-
-<div class="figcenter" style="width: 504px;">
-<img src="images/i_247.jpg" width="504" height="137" alt="An Artist in Water" />
-</div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span></p>
-
-<div class="figcenter" style="width: 431px;">
-<img src="images/i_248.jpg" width="431" height="600" alt="girl painting" />
-<div class="caption">A Study in Oil.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXIII.<br />
-
-<small>HOW TO PAINT IN OIL-COLORS.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_249.jpg" width="142" height="138" alt="T" />
-</div>
-
-<p class="drop-capi2">THE difference between oil- and water-color
-painting lies in the fact that, although especially
-well adapted to the portrayal of some
-subjects, water-color has its limitations,
-while with oil-colors any subject, from the
-simplest study in still-life to the grandest
-conception of a great artist, can be represented, and no limit
-has yet been reached in its possibilities.</p>
-
-<p>But there are first steps to be taken in all things, and the
-greatest artist who ever lived had to make a beginning and learn
-the preliminaries of painting before he could produce a picture.
-To these steps, then, we will turn our attention, and the first
-will be the necessary</p>
-
-
-<h3><b>Materials.</b></h3>
-
-<p>The following list of colors, with their combinations, will be
-found sufficient for most purposes.</p>
-
-
-
-
-<div class="center">
-<table border="0" cellpadding="0" cellspacing="0" summary="colours">
-<tr><td align="center"><small>YELLOWS.</small></td>
-<td align="center"><small>REDS.</small></td>
-<td align="center"><small>BLUES.</small></td>
-<td align="center"><small>GREENS.</small></td>
-</tr>
-<tr>
-<td align="left">Yellow Ochre,</td>
-<td align="left">Vermilion,</td>
-<td align="left">Permanent Blue,&nbsp;&nbsp;&nbsp;&nbsp;</td>
-<td align="left">Terre Verte,</td>
-</tr>
-<tr>
-<td align="left">Naples Yellow,</td>
-<td align="left">Light Red,</td>
-<td align="left">Cobalt,</td>
-<td align="left">Emerald Green,</td>
-</tr>
-<tr>
-<td align="left">Light Cadmium,</td>
-<td align="left">Indian Red,</td>
-<td align="left">Antwerp Blue.</td>
-<td align="left">Light Zinnober Green.</td>
-</tr>
-<tr>
-<td align="left">Orange Cadmium.&nbsp;&nbsp;&nbsp;</td>
-<td align="left">Venetian Red,&nbsp;&nbsp;&nbsp;&nbsp;</td>
-</tr>
-<tr>
-<td align="left">&nbsp;</td>
-</tr>
-<tr>
-<td align="left" colspan="2"><span style="margin-left: 2em;">Burnt Sienna,</span></td>
-<td align="left" colspan="2"><span style="margin-left: 2em;">Rose Madder.</span></td>
-</tr>
-<tr>
-<td align="left">Silver White,</td>
-<td align="left">Raw Umber,</td>
-<td align="left">Vandyke Brown,</td>
-<td align="left">Ivory Black.</td>
-</tr>
-</table>
-</div>
-
-
-<p><span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span></p>
-
-<p>Winsor &amp; Newton’s colors are acknowledged by most artists
-to be the best, but the writer personally prefers German
-white, as in her opinion it is not so stiff, and mixes better with
-other colors than the Winsor &amp; Newton.</p>
-
-
-<h3><b>The Easel</b></h3>
-
-<p class="unindent">may be simply a pine one, which can be purchased from any
-dealer at the cost of about one dollar. More elaborate easels
-are, of course, more expensive; but as the merits of a picture do
-not depend upon the easel which holds it, a common pine one
-will do.</p>
-
-
-<h3><b>The Palette</b></h3>
-
-<p class="unindent">should be light in weight and not too small; oiled and not varnished.
-A very light-colored wood is not desirable; one of
-walnut or cedar, about eighteen inches long, is the best to use,
-and will cost from thirty to sixty cents.</p>
-
-
-<h3><b>Brushes,</b></h3>
-
-<p class="unindent">both of sable and bristles, are used, but we would advise a beginner
-to work with bristle brushes only, for the first attempt
-should be to obtain a broad style of painting, without the
-finished details which the sable brushes are used for.</p>
-
-<p>About four different sizes of flat bristle brushes are needed
-to commence with; there should be two of each size, the largest
-one inch wide, and the smallest not more than a quarter of
-an inch in width.</p>
-
-
-<h3><b>The Palette-Knife</b></h3>
-
-<p class="unindent">is used for taking up color on the palette, for cleaning the palette,
-and sometimes for scraping a picture after its first painting.<span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span>
-It should be flexible, but not too limber. The cost will be from
-twenty-five cents upward.</p>
-
-
-<h3><b>Oil-Cups</b></h3>
-
-<p class="unindent">are fastened on to the palette, and are used for oil and turpentine.
-The double ones range in price from eight cents to
-twenty. The single ones, without cover, can be bought for
-five cents.</p>
-
-
-<h3><b>A Paint-Box</b></h3>
-
-<p class="unindent">for holding colors, palette, and brushes will cost from one dollar
-and twenty-five cents up. It is convenient to have one, and
-necessary when going out sketching, but for painting at home
-any kind of tin box will answer for the paints. The palette can
-be hung up, and the brushes put in a vase or jar, handles downward,
-which will keep them nicely.</p>
-
-
-<h3><b>Mediums.</b></h3>
-
-<p>Boiled linseed-oil or poppy-oil, siccatif Courtray, and turpentine.</p>
-
-
-<h3><b>Canvas.</b></h3>
-
-<p>In selecting canvas choose that of a warm-gray or creamy tone,
-for it is difficult to give warmth to a picture painted on a cold-gray
-canvas. The German sketching-canvas is quite cheap,
-and does very well to commence on. It is best to buy it on the
-stretcher, as a girl’s fingers are seldom strong enough to stretch
-the canvas as tight as it should be. A very good sketching-canvas,
-18 × 24, can be bought in New York City for twenty-five
-cents.</p>
-
-<p>Several clean pieces of old white cotton-cloth are necessary
-for wiping brushes, cleaning knife and palette, etc.</p>
-
-<p><span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span></p>
-
-
-<h3><b>The Light</b></h3>
-
-<p class="unindent">in the studio, or room in which you paint, should come from one
-direction only, and fall from above. This can be managed
-by covering the lower sash of the window with dark muslin, or
-anything that will shut out the light. A shawl will answer for a
-temporary curtain.</p>
-
-<p>Most artists prefer that while painting the light should
-come from behind over the left shoulder.</p>
-
-<p>Our advice to beginners in all the departments of art is the
-same: commence with simple subjects.</p>
-
-<p>Your first study should be from still-life (which means any inanimate
-object used for artistic study), and let the object selected
-be of a shape that requires but little drawing; for your aim now
-is to learn to handle your colors, and it is not desirable to have
-your mind distracted by complicated drawing. A vase placed
-on a piece of drapery, which is also brought up to form the
-background, is a good subject; the drapery should be of one
-color, and of a tone that will contrast agreeably with the vase
-and give it prominence.</p>
-
-<p>Arrange whatever object you have decided to paint so that
-it will show decided masses of light and shade; place your easel
-at a sufficient distance from it to obtain the general effect of
-shape and color without seeing too much detail; arrange your
-canvas on the easel so that you will neither have to look up
-nor down upon it, but straight before you; then sketch in the
-object you are about to copy in outline. Observe the edges of
-the heaviest shadows, and draw them also in outline. Charcoal
-is better than a pencil for sketching on canvas, as it can
-be easily rubbed off with a clean cloth if the drawing is incorrect.
-When the sketch is finished, dust off the charcoal lightly
-and go over the lines again with a camel’s-hair brush and India
-ink.</p>
-
-<p><span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span></p>
-
-
-<h3><b>Setting the Palette</b></h3>
-
-<p class="unindent">is a term used for arranging the colors in a convenient manner
-upon the palette. The colors should always occupy the
-same position, so that, the places once learned, you will never
-be at a loss to find the color you want. Fig. 161 shows a convenient
-arrangement of colors, as well as
-the position of the oil-cans.</p>
-
-<div class="figleft" style="width: 517px;">
-<img src="images/i_253.jpg" width="517" height="378" alt="diagram" />
-<div class="caption">Fig. 161.—Manner of Arranging Colors on Palette.</div>
-</div>
-
-<p>Fill one of your oil-cans one-third full of turpentine, to which
-add enough siccatif Courtray to turn it the color of strong
-coffee. Dip one of your good-sized brushes in this mixture and
-scrape it off on the edge of the can, that the brush may not be
-too wet; then take up some burnt sienna on the brush and put
-it on your palette about an inch or so below the terre verte,
-add some terre verte, and mix the two with your brush. Lay
-in all the shadows of the vase, or whatever object you are about<span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span>
-to paint, in a flat, even tone with the color thus formed, keeping
-it thin with the turpentine and siccatif.</p>
-
-<p>Mix a tint as near the required color as you can, and go
-over the whole background without regard to light or shade;
-cover all the background; do not leave any white or bare canvas
-showing.</p>
-
-<p>The general effect being thus obtained, it is easier to see
-what colors are needed for further painting.</p>
-
-<p>Select a medium tint between the high lights and half-tones,
-and paint in the lights of the vase in a flat, even tint; then go
-over the shadows again with a medium tone, still keeping them
-in one flat, even mass. Should you lose the outline at any
-time, dip a rag in turpentine and wash off the paint that covers
-it.</p>
-
-<p>Having progressed this far, the painting should be left to
-dry.</p>
-
-<p>The turpentine and siccatif Courtray have such drying properties
-that by the next day you may work again on the study.</p>
-
-<p>Begin the second painting by putting in the half-tints. These
-unite the decided light and shade, and should be dragged over
-their edges, but not blended with them. Once more go over
-the shadows, strengthening them and putting in the reflected
-lights.</p>
-
-<p>Add more color in the lights where it is needed, and put in
-the high lights with clear, crisp touches. Work on your background
-in this second painting. Indicate the shadows, but do
-not make them strong, except the one which will probably be
-cast by the object; that can be strengthened, as it helps to set
-the object out from the background and gives the idea of space.
-Do not make the background strong; keep it toned down, that
-it may not become too prominent. Drag the background a little
-over the edges of the vase, or whatever it may be you are
-painting, and then paint over it again with the colors of the<span class="pagenum"><a name="Page_255" id="Page_255">[255]</a></span>
-vase. Do this while working around the edges of the vase, or
-object, to prevent its looking flat, as if it were pasted on.</p>
-
-<p>These directions are to be applied to painting any subject;
-but after you have learned how to manage the colors and wish
-to really paint a picture, the medium must be changed from turpentine
-and siccatif Courtray to oil, either linseed or poppy,
-using the turpentine only for the first effect of shadow.</p>
-
-<p>When oil is used it will require two or three days for the
-picture to dry. Many advise the use of but little oil, and there
-are artists who dissapprove of any medium at all.</p>
-
-<p>Before commencing the second painting, a coating of poppy-oil
-should be put all over the canvas with a large, flat camel’s-hair
-brush. Every bit should be covered without touching the
-brush twice to the same spot. This softens the first coat of
-paint sufficiently to allow of its blending with the next. If a
-raw potato be cut in half and rubbed over the painting before
-the oil is put on, it will prevent the oil from crawling, or separating
-into drops on the canvas.</p>
-
-<p>Do not use the same brushes for dark and light tints, but
-keep them separate. Mix your tints on your palette, the dark
-tint below the dark colors, and the light tint below the light colors.</p>
-
-<p>In putting away your work after painting, be sure that the
-tops are screwed on to all your color-tubes, and arrange them
-neatly in their box. Clean your palette with the palette-knife,
-and then wipe it off with a rag. Dip your brushes, one by one,
-in turpentine and wipe them on a rag; this removes most of
-the paint and makes them easier to wash. Warm, not hot,
-water should be used for washing the brushes. The best way
-is to hold several brushes in the right hand, their sticks being
-in an upright position, dip them in the water, rub them on a
-piece of common soap, and then scrub them round and round
-on the palm of the left hand; rinse them in clear water, and
-wipe dry with a clean rag.</p>
-
-<p><span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span></p>
-
-<p>Our limited space will not allow of our going more fully into
-the details of painting; but we hope that these directions will
-give some idea of how to make a beginning as a painter in oil-colors,
-and after you have made a start you will find two good
-professors at your elbow to help you along and encourage you—Prof.
-Judgment and Prof. Experience.</p>
-
-<div class="figcenter" style="width: 518px;">
-<img src="images/i_256.jpg" width="518" height="136" alt="girl painting plen air under a parasol" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_257" id="Page_257">[257]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXIV.<br />
-
-<small>HOW TO MODEL IN CLAY AND WAX.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_257.jpg" width="156" height="148" alt="A" />
-</div>
-
-<p class="drop-capi2">AN eminent artist once remarked within the writer’s
-hearing that, should he bring into his
-studio the first dozen boys he happened to
-meet on the street, taking them as they
-came, he would probably be able to teach
-at least half of them to model within six
-months, whereas there might not be one
-of them who could be taught to paint at all. Possibly none of
-these boys would ever become great sculptors, but they could
-learn to model moderately well. If that is the case with boys,
-who are apt to be so awkward and clumsy, how quickly could
-a girl’s deft fingers learn to mould and form the plastic clay or
-wax into life-like forms. In some of the institutions for the
-blind, deaf and dumb, modelling is taught with great success.
-Quickly the sensitive fingers of the young inmates run over the
-object to be copied, and skilfully they reproduce in their clay
-the form conveyed to them by touch alone. It is pleasant to
-think that these silent little workers have this new pleasure
-added to their somewhat limited stock; but at the same time
-the fact puts to shame some of us who, having all our faculties,
-the use of all our senses, and not infrequently artistic ability
-in addition, do so little with the talents intrusted to our care.</p>
-
-<p>Let us to work then, girls, and see if we cannot accomplish
-at least as much as our unfortunate sisters, who have neither
-sight nor hearing to guide them.<span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span></p>
-
-<div class="figright" style="width: 434px;">
-<img src="images/i_258.jpg" width="434" height="600" alt="girl sculpting" />
-<div class="caption">Modelling in Clay.</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_259" id="Page_259">[259]</a></span>The great difficulty we encounter in learning to draw—which
-is representing things as they appear, not as they really are—will
-not trouble us in this other department of art, for in modelling
-it must be our aim to do precisely the reverse, and reproduce
-an object exactly <i>as it is</i>, not as it appears.</p>
-
-<p>Modelling, besides its own worth, is of value as an aid to
-drawing, for it teaches form, and the shadows on an object can
-be drawn more intelligently and correctly when it is known just
-what formations produce them.</p>
-
-<p>A great deal can be done in modelling without the aid of a
-teacher. So, not waiting to look up a professor, suppose we
-commence by ourselves and see what we can do. It is very fascinating
-work, and if a few failures are the result of our first attempt,
-we need not be discouraged, for what others can do, we
-also can accomplish.</p>
-
-<p>The writer has lately been initiated into the mysteries of this
-art, and since, as they say, the person just graduated from a
-primary department is best fitted to teach in that department,
-perhaps the hints given here may be better suited to the understanding
-of beginners than if they were written by a great
-sculptor, who might forget that everyone does not know, as
-well as he does himself, the preliminary steps necessary even in
-accomplishing the grandest results.</p>
-
-<div class="figleft" style="width: 167px;">
-<img src="images/i_260.jpg" width="167" height="309" alt="Fig. 162" />
-<div class="caption">Modelling Tools</div>
-</div>
-<p>Instead of entering into the later and more artistically finished
-processes we will confine ourselves to the prelude or introduction
-to modelling; and then, girls, with the object before you,
-your only guide and instructor, you must work out the rest for
-yourselves.</p>
-
-<p>The first thing to do is to provide your</p>
-
-
-<h3><b>Materials,</b></h3>
-
-<p class="unindent">and here is a list of all you will need:</p>
-
-<p>1. Clay, such as is used by potters, perfectly free from grit.</p>
-
-<p><span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span>2. Modelling-tools. These can be bought at any artists’
-material store, and the simplest ones might be made at home
-of hard wood. Only a few tools are necessary
-for a beginner; Fig. 162 shows
-those most useful. The fingers and thumbs
-are the best of all tools, and a great deal
-can be done with them, though for fine,
-delicate modelling tools must be used.</p>
-
-<p>3. Modelling-stand. A regular modelling-stand
-with rotary platform will cost
-from eight to twelve dollars and the expense
-may be an objection; but the writer
-has found that an ordinary high office-stool
-with revolving seat makes a good
-substitute. If the stool is not high enough
-it can be raised by placing on the seat a
-drawing- or pastry-board, and on top of
-that a square wooden box about one foot
-high and broad enough to allow sufficient room for a good-sized
-head and bust.</p>
-
-<p>4. Basin of water and towel for washing and drying the
-hands.</p>
-
-
-<h3><b>How to Manage Clay.</b></h3>
-
-<p>Clay costs, near New York, from one to three cents per
-pound, and about fifty pounds will be required. If possible buy
-it moist, but if dry, put it into an earthenware jar, or anything
-that will hold water, and cover with clear water. Let it remain
-until thoroughly moistened; then with a stick stir the clay
-around as, when a small girl, you did the mud while making
-mud-pies, until it is free from lumps and is perfectly smooth;
-clear away from the sides of the jar and pile it up in the centre.</p>
-
-<p><span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span></p>
-
-<p>When it is dry enough not to be muddy and is still pliable,
-it is in a fit condition to work with. It is necessary to keep
-your hands perfectly clean and conveniences
-for washing them should be handy.</p>
-
-<p>Do not use muddy water or a dusty
-towel.</p>
-
-<p>Use any tools that will produce the
-result desired with the greatest ease; a
-little experience will soon determine
-what they are, but as a rule the largest
-are best.</p>
-
-<p>When leaving unfinished work cover
-it with a damp cloth to keep it moist.
-If you are working on a head, and the features have been commenced,
-stick a small wooden tool in the head just above the
-forehead to hold the cloth away from the face, for it is liable to
-soften the nose and push it out of shape if it rests upon it.</p>
-
-<div class="figleft" style="width: 183px;">
-<img src="images/i_261a.jpg" width="183" height="212" alt="Fig. 163" />
-</div>
-
-<p>A frame made of laths (Fig. 163) covered with oil-cloth or
-rubber (an old gossamer water-proof will be just the thing),
-placed over the modelling, will keep it better than the cloth, as
-it excludes the air and prevents its drying
-(Fig. 164). When using the frame,
-sprinkle your work by dipping a clean
-whisk-broom into water and shaking it
-over the clay. Remember, the clay
-must always be kept moist and pliable
-and never allowed to dry. If it does
-become dry and hard there is nothing to
-do but to put it back into the jar, and go
-through the process of damping it again.</p>
-
-<div class="figright" style="width: 183px;">
-<img src="images/i_261b.jpg" width="183" height="214" alt="Fig. 164" />
-</div>
-
-<p>Keep your tools clean, and do not
-allow the metal ones to become rusty, as they will if carelessly
-left on the modelling-stand when not in use. To avoid trouble<span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span>
-of this kind it is best to put your tools in a box where they
-will be perfectly dry. Unless you wish to go through one of
-the writer’s first experiences, when she was obliged to let her
-tools lie in a pan of kerosene oil for two days, and then clean
-them with knife-brick.</p>
-
-
-<h3><b>How to Preserve Modelled Clay.</b></h3>
-
-<p>If terra-cotta clay is used, it can be baked in a kiln, which
-will, while hardening, turn it a fine buff terra-cotta color, and
-make the object, if well modelled, ornamental enough for almost
-any use.</p>
-
-<p>From the other clay, plaster casts can be taken, and the article
-reproduced in plaster as many times as desired.</p>
-
-
-<h3><b>Hints for Modelling a Head.</b></h3>
-
-<p>Always work from a model, and it is best to try copying
-plaster casts before attempting to model from life.</p>
-
-<div class="figcenter" style="width: 515px;">
-<img src="images/i_262.jpg" width="515" height="203" alt="Fig. 165 Fig. 166 Fig. 167" />
-<div class="caption">How to Model a Head.</div>
-</div>
-
-<p>Place on the centre of your stand a wooden or tin box (a
-cigar-box will do) to form the base; cover this with clay in the
-form of Fig. 165, and stick a support in the middle, as shown in<span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span>
-diagram. The support may be a piece of kindling-wood eight
-inches long and about one inch thick.</p>
-
-<p>Build up the clay around this stick, as in Fig. 166, and with
-your hands mould the clay, piecing it out here, and cutting off
-there, until it bears some resemblance to a head, as in Fig. 167.</p>
-
-<p>Still using your hands, get the general proportions of the
-head, and then commence the features. Begin with the profile,
-using tools when necessary, and try for character without detail;
-then turn the head a little and work from that point of
-view; always look at your model from the same point of view
-as you do your work. Turn the head in the opposite direction
-and model the other side, keeping the face evenly balanced.
-Continue turning your work little by little, until each outline it
-presents is as near as you can get like the corresponding outline
-of your model, and then work up the detail.</p>
-
-<p>In modelling any object the same process, of viewing the
-model from all points, must be gone through with.</p>
-
-<p>Do not strive to obtain a likeness at first, but be careful to
-have all of your outlines correct, and the likeness will come of
-itself.</p>
-
-
-<h3><b>How to Model in Wax.</b></h3>
-
-<p>Modelling-wax prepared at home is much better than any
-that can be purchased. The following recipe is a very good
-one:</p>
-
-
-<h3><b>Modelling-wax.</b></h3>
-
-
-<ul class="ingredients">
-<li>1 pound pure yellow beeswax.</li>
-<li>½ pound corn-starch.</li>
-<li>4 ounces Venice turpentine.</li>
-<li>1½ ounce Venetian red powder.</li>
-<li>½ ounce sweet-oil.</li>
-</ul>
-
-<p>Put the wax on the stove in a saucepan and let it melt; <i>take<span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span>
-off</i> and pour in the turpentine. Never attempt to add this while
-the wax is near the fire, as it is extremely dangerous. It is
-a good idea, when buying
-the ingredients, to have the
-oil and turpentine put in the
-same bottle (which should
-have a wide neck), then they
-can be poured into the wax
-at the same time. Warm
-the bottle of oil and turpentine
-in hot water to soften
-before mixing with the wax.
-Keep stirring all the time.
-Pour in the corn-starch and
-Venetian red. When the
-corn-starch is dissolved the
-wax is ready for use.</p>
-
-<div class="figright" style="width: 268px;">
-<img src="images/i_264.jpg" width="268" height="578" alt="woman holding flowers" />
-<div class="caption">Bas-relief Figure in Wax.</div>
-</div>
-
-<p>Modelling-wax is much
-more expensive than clay; it
-is used principally for small
-objects and those that require
-fine workmanship. It
-is quite useful for sketchy
-work, as it may be carried
-about almost like a sketchbook,
-and being so much
-cleaner than clay, it can be
-used even in the parlor without
-damage to table or carpet.
-With the wax on a small
-board one can sit at a table
-and work very comfortably. The tools for clay modelling may
-also be used for wax; probably the smallest will be most useful.</p>
-
-<p><span class="pagenum"><a name="Page_265" id="Page_265">[265]</a></span></p>
-
-<div class="figleft" style="width: 328px;">
-<img src="images/i_265a.jpg" width="328" height="322" alt="gitl with hair down" />
-<div class="caption">Bas-relief Head in Wax.</div>
-</div>
-
-<p>As cold weather advances, we like to pass the evenings in
-some agreeable occupation, that may be carried on without disturbing
-the family
-group around the
-fireside. For such
-occasions, modelling
-in wax will make a
-pleasant pastime.
-Sitting quietly, taking
-part in the general
-conversation, or
-listening while someone
-reads aloud, one
-may model the wax
-into many pretty
-forms to be preserved
-afterward in plaster,
-or, obtaining a profile
-view, a likeness
-of one of the group may be done in bas-relief. If a slate is
-used to work on, it will make a good foundation, and the head
-can first be drawn on it in outline and the wax built over it,
-using the drawing as a guide. The slate is smooth and firm,
-and it is a good idea to use it as a foundation for all wax bas-relief,
-especially when plaster casts are to be taken from the
-modelling, for in that case the panel forming the background
-must be perfectly even.</p>
-
-<div class="figcenter" style="width: 502px;">
-<img src="images/i_265b.jpg" width="502" height="118" alt="toddlers making mudpies" />
-</div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span></p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_266.jpg" width="600" height="387" alt="girl making casts" />
-<div class="caption">Making Plaster Casts.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_267" id="Page_267">[267]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXV.<br />
-
-<small>HOW TO MAKE PLASTER CASTS.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_267.jpg" width="75" height="165" alt="I" />
-</div>
-
-<p class="drop-capi2">IT is not at all difficult; anyone can succeed in it who
-will take the pains to follow carefully the directions
-given here for making plaster casts. Without the
-knowledge of drawing or modelling you can in this
-way reproduce almost any article in a very short time.</p>
-
-<p>Casting in plaster is really so simple a process
-that even a child can soon learn to manage it nicely.</p>
-
-<p>You will need a board, about a foot and a half
-square, upon which to work, fifteen or twenty pounds of clay,
-five pounds of plaster-of-Paris, a cup of warm melted lard, and
-several small wooden pegs; these can be made of wooden
-tooth-picks or matches broken in two.</p>
-
-<p>Select an object with few angles and a smooth surface to experiment
-on; a firm round apple will do. Rub the lard all
-over the apple until every particle is greased; then lay it in
-the centre of your board. Take some clay and pack it around
-it just as high as the middle of the apple, forming a square, as in
-Fig. 168. Smooth the clay off on the edges and stick pegs in
-diagonal opposite corners (Fig. 168); then with more clay build
-a wall close around the apple and its case, making the sides one
-inch higher than the top of the apple (Fig. 169). Put a cupful
-of clear water into a pan or dish, and stir in enough plaster of
-Paris to make it like batter; pour the plaster over the apple,
-filling the clay box to the top. This makes a half mould of<span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span>
-clay and a half mould of
-plaster.</p>
-
-<div>
-  <img class="split" src="images/i_268a.jpg" alt="Fig. 168 Fig. 169" width="313" height="407" />
-  <img class="split" src="images/i_268b.jpg" alt="Fig. 170" width="506" height="266" />
-</div>
-
-<p>When the plaster is
-hard, which will be in a
-very short time, pull
-away your clay wall, and
-take out the apple and
-half plaster mould together,
-lifting the apple
-from its half clay mould.</p>
-
-<p>Remove the clay from
-your board and set the
-plaster mould containing
-the apple in the centre.
-Rub lard over the apple
-and upper edge of the
-mould, build around it
-the clay wall, as you did the first time; roll a small piece of
-clay into a slender conical shape and stand it upright on top of<span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span>
-the apple, as in Fig. 169. This will make a hole through which
-to pour the plaster when filling the completed mould, and it
-must stand high enough to reach above the top of the clay
-wall.</p>
-
-<p>Pour the plaster over the apple as at first, and let it set or
-harden. Take away the wall of clay once more, and carefully
-separate the two parts of the mould with the blade of a table-knife;
-remove the apple, and all is ready for the final cast which
-is to produce your plaster fruit (Fig. 170).</p>
-
-<p>Thoroughly grease the inside of your mould, fit the two
-parts together, and wrap and tie them with string to hold them
-in place.</p>
-
-<p>Pour in the plaster, through the hole left in one-half of the
-mould, until it is quite full; then gently shake it to send the
-plaster into all small crevices.</p>
-
-<p>Let your mould stand without moving again until sufficient
-time has elapsed for the plaster to harden; then gently separate
-the two parts and you will find a perfect cast of the
-apple.</p>
-
-<p>The ridge made by the joining of the mould you must
-scrape off with a sharp knife, or rub with sand-paper.</p>
-
-<p>In taking casts of almost any object not too complicated,
-this same method must be employed. The only difficulty lies
-in deciding just where to place the dividing-line, which must
-be exactly at the broadest part of your model, otherwise you
-will break your mould in taking the object out.</p>
-
-<p>In casting a hand the clay must be built up around each
-finger to precisely its widest part; therefore it is a good plan, before
-commencing, to mark on the hand, with a fine paint-brush
-and ink, the line that is to be observed.</p>
-
-<p>When making casts of long objects, or those that are larger
-at one end than the other, such as vases, always lay them on
-one side, as a much better mould can be obtained in that way.</p>
-
-<p><span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span></p>
-
-<p>I have read that if milk-and-water is used for mixing the
-plaster, or, after the cast has hardened, if a little oil, in which
-wax has been dissolved, be applied to the surface, it will take
-a high polish; and if left for a while in a smoky room it will
-acquire the look of old ivory.</p>
-
-<p>The same writer also states, without giving the proportions,
-that liquid gum-arabic and sufficient alum in solution, mixed and
-put into the slip or soft plaster, will make the cast so hard that
-it can be set as a panel in a cabinet.</p>
-
-<p>The dead white of plaster-casts is frequently objected to
-when they are wanted for ornaments; but that difficulty is
-easily overcome by mixing dry
-colors with the plaster before
-wetting it.</p>
-
-<div class="figright" style="width: 240px;">
-<img src="images/i_270.jpg" width="240" height="212" alt="Fig. 171 Fig. 172" />
-</div>
-
-<p>A small quantity of yellow
-ochre will make the plaster
-creamy or ivory-like; brown will
-give a wood color, and red a
-terra-cotta.</p>
-
-<p>Plaster-casts can also be
-bronzed with gold, red, or green
-bronze, which makes quite handsome
-ornaments of them. A plaster panel in bass-relief,
-bronzed with gold bronze and mounted on black or dark-colored
-velvet, is an exceedingly rich wall decoration.</p>
-
-<p>To mount a panel of this kind you must first secure a smooth,
-flat piece of board, not more than half an inch thick, and just
-large enough to allow about four inches of the background to
-show all around the panel when it is mounted. Cover the board
-with velvet or velveteen, bringing it smoothly over the edges,
-and tacking it down at the back. Fasten on it a small brass
-hook. Fig. 171 is the best kind to use, which is tacked to the
-board with small, brass tacks.</p>
-
-<p><span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span></p>
-
-<p>Make a ring or loop for hanging the panel in this way:</p>
-
-<p>Take a piece of wire about three inches long, form a small
-loop in the middle, and give the wire several twists; then bend
-the ends out on each side.</p>
-
-<p>Scrape a narrow place in the top edge of the panel, just
-long enough to admit the wire, and about half an inch deep;
-then place the wire in this little ditch and fill up the hole to the
-top with soft plaster. When this hardens the ring will be quite
-secure. Fig. 172.</p>
-
-<div class="figcenter" style="width: 468px;">
-<img src="images/i_271.jpg" width="468" height="158" alt="Fairy wearing a lion's head mask frighteining other fairies into breaking other plaster statues" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXVI.<br />
-
-<small>CHINA PAINTING.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_272.jpg" width="140" height="132" alt="C" />
-</div>
-
-<p class="drop-capi3">CERTAINLY you can paint on china; have
-confidence, and do not hesitate because you
-may never have studied art, but select the
-china you wish to decorate and we will go
-to work. First, take what is needed for
-present use from the following</p>
-
-
-<h3><b>List of Materials.</b></h3>
-
-
-<h4>PALETTE.</h4>
-
-<p>A common square, white china tile is the best palette for
-mineral colors; but in case you have no tile, an old white plate
-will answer the purpose.</p>
-
-
-<h4>BRUSHES.</h4>
-
-<p>These are of camel’s-hair, Figs. 173 and 174, are broad and
-flat, and are used in placing the color on the china when the surface
-is to be tinted. Fig. 175 is for blending the color after it is
-on the china; it is called a blender, and is useful where borders
-and surfaces are to be tinted. Figs. 176 and 178 are for general
-use. Fig. 177, with its long, slender point, is for gilding,
-another similar brush is needed for India-ink. Mark the two
-brushes in some way to distinguish them one from the other,
-and never use either for any paint except that for which it is<span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span>
-intended. Fig. 179 is a stipple for blending the colors when
-painting a face, a fish, the sky of a landscape, or wherever
-delicate, fine blending is needed.</p>
-
-<div class="figcenter" style="width: 420px;">
-<img src="images/i_273.jpg" width="420" height="251" alt="Figs. 172-179" />
-<div class="caption">Brushes for China Painting (about one-half actual size).</div>
-</div>
-
-<p>To clean the brushes after using: dip them in turpentine
-and wipe off the paint on a cotton cloth, repeating the operation
-until the brushes are perfectly clean; then dip them in fat
-oil, and bring them out smooth to a fine point. Do not allow
-the brushes to become bent over, if the box is not long enough
-for them to lie out straight, remove the quills from the wooden
-handles and they can easily be replaced when needed. Should
-the brushes seem a little stiff at the next painting, immerse
-them in turpentine; this will make them soft and pliable.</p>
-
-<div class="figleft" style="width: 218px;">
-<img src="images/i_274a.jpg" width="218" height="361" alt="Figs. 180-82" />
-<div class="caption">Horn Palette-knife.  Steel Palette-knife.  Steel Scraper.<br />
-
-<span class="plaintext">(Reduced sizes.)</span></div>
-</div>
-
-<p>To save the expensive gold paint, the gilder should be kept
-exclusively for gilding, and need not be cleaned, as it will not
-be injured if the hairs are carefully straightened out and the
-brush put away with the gold.</p>
-
-
-<h4>KNIVES.</h4>
-
-<p>Fig. 180 is a horn palette-knife for mixing Lacroix white,
-the yellows, and all such colors as are injured by contact with<span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span>
-metal. It is the only knife used with the mat paints for Royal
-Worcester decoration. Fig. 181 is a steel palette-knife for general
-use. Fig. 182 is a steel scraper
-for removing paint from the china
-when necessary. Always clean the
-knives after mixing one color, before
-using them for another.</p>
-
-
-<h4>PAD.</h4>
-
-<p>This is made of a ball of cotton
-tied in a piece of soft lining-silk,
-fine linen, or cotton-cloth (Fig. 183)
-and is used for tinting.</p>
-
-<div class="figright" style="width: 163px;">
-<img src="images/i_274b.jpg" width="163" height="203" alt="Fig. 183" />
-<div class="caption">Printer’s Pad.</div>
-</div>
-
-
-<h4>THE PAINTS</h4>
-
-<p class="unindent">are Lacroix’s colors; they come in
-tubes and should be squeezed out on
-the palette and used as in oil painting,
-with a little turpentine and fat
-oil when desired. To moisten the
-colors while
-painting dip your brush, carefully, without
-shaking or moving it around, into the
-turpentine or oil, and then in the color.
-Allow the paint to lie on the palette as it
-comes from the tube, except when two
-colors are mixed, or when using the stipple
-for blending one tint with another, or
-when tinting, then the paint must be mixed
-and rubbed down with oil and turpentine.
-Keep the colors in a <i>cool</i> place, and when
-returning them to the box, after you have finished painting, do
-not lay them back on the same side. Always remember to<span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span>
-turn them over so that the color will not separate from the oil.
-If you are careful and follow these hints, your colors will keep
-in a good condition. We would advise you to purchase the
-paints as they are needed, thereby avoiding all unnecessary
-expenditure.</p>
-
-
-<h4>OILS.</h4>
-
-<p>Fat oil is for general use in painting. Clove oil is used in
-its place when two or more tints are to be blended together, as
-in painting a face, etc. Capavia oil is always mixed with the
-colors for grounding.</p>
-
-
-<h4>TURPENTINE</h4>
-
-<p class="unindent">is in constant demand in china painting. It is used with all the
-different oils, paints, bronzes, and gilt, and should be poured in
-a small cup or any little vessel, and kept convenient while painting.</p>
-
-
-<h4>TAR PASTE</h4>
-
-<p class="unindent">comes in bottles, and is used to take the color off of tinted backgrounds,
-in order to leave a clean surface of the china in which
-to paint the design in different colors. The paste should be
-rubbed down smooth on the tile with the palette-knife; if it is
-too hard, a little tar oil may be added. A small brush is best
-to use for the paste in covering the design you wish to wash
-out; but be very careful to keep within the outlines, for this
-mixture will take off the color wherever it touches. When the
-tint is light the paste may be wiped off in a few moments; but
-when it is dark, the paste must be allowed to remain on for
-perhaps hours before the paint will be sufficiently softened to
-remove.</p>
-
-<p>Use small balls of raw cotton-batting in wiping off the paste,
-and take a fresh piece for every stroke. If any of the tar paste
-is left on the tile after using, scrape it off with your palette-knife,
-and return it to the bottle.<span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span></p>
-
-
-<h4>MAT GOLD</h4>
-
-<p class="unindent">is for gilding, and can be either burnished or highly polished.
-It comes on a little square of glass inclosed in a box. This
-gold can also be used as solid ornamentation or for delicate
-tracery, and is sometimes used over colors, greens excepted,
-but is then never so bright as when on the plain white
-china.</p>
-
-<p>The gold is prepared for painting on a tile kept expressly for
-the purpose, and which must not be used for any other paint.
-Place some of the gold on the palette with your palette-knife,
-and mix a little turpentine with it by dipping your palette-knife
-in the turpentine and rubbing down the gold with the
-turpentine on the knife. If more is needed, again dip your knife
-in the liquid, and do so as often as it is necessary; but you must
-use the utmost care not to have the gold too thin; gild with it
-as stiff as it can be smoothly applied.</p>
-
-<p>Should any gold remain on the palette after the gilding is
-finished, mix in a little turpentine and scrape it all up with
-your palette-knife, then replace the gold on the square of
-glass.</p>
-
-<p>Silver is used the same as gold.</p>
-
-<p>The bronzes are for handles and conventional flowers or
-figures; they are rich and pleasing in effect.</p>
-
-
-<h4>PURE GOLD</h4>
-
-<p class="unindent">cannot be employed for gilding plain white china. It also
-comes on a little square of glass and is used for gilding over
-colors. It can be applied over any mineral paint or relief, and
-may be polished or burnished as desired.</p>
-
-<p>This gold is mixed with turpentine, for use in the same manner
-as mat gold.</p>
-
-<p><span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span></p>
-
-
-<h4>RELIEF.</h4>
-
-<p>The best is mat relief, which comes in a powder, and is used
-for both tube and mat colors. It is prepared by mixing with a
-very little fat oil and turpentine, and should be applied stiff
-enough to make a raised line. It is useful where a small raised
-surface is desired, as on the edge of a leaf or the petals of
-flowers. A fish-net is much more effective if the gilt be put
-on over the relief. Should the relief dry and become too stiff
-while using, soften it from time to time with a little turpentine,
-always using the horn knife for mixing, as the steel knife should
-never be used with the relief, and the relief must always be
-fired before the gilt is applied.</p>
-
-<p>Enamel white can be mixed with delicate tints, turpentine,
-and a very little fat oil for raised flowers; or the white alone
-may be used for pearls, imitation of lace, or embroidery, but its
-use is limited and it will not stand two firings, so should always
-be the last paint applied.</p>
-
-
-<h4>MAT COLORS</h4>
-
-<p class="unindent">are for Royal Worcester decorations. They come in powders,
-and when mixed with a little oil and turpentine are used in the
-same way as the Lacroix tube paints.</p>
-
-
-<h4>BOX FOR MATERIALS.</h4>
-
-<p>Select a light wooden box, or one of strong pasteboard;
-have the box of a convenient size to contain all your painting
-materials.</p>
-
-
-<h4>PIECES OF SOFT, OLD MUSLIN,</h4>
-
-<p class="unindent">torn in different sizes, and plenty of them, are very essential for
-cleaning brushes and rubbing paint off the tile or china; the
-demand for clean pieces will be constant while painting.</p>
-
-<p><span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span></p>
-
-
-<h4>CHINA.</h4>
-
-<p>Have this of the very finest French ware, without spots or
-other imperfections of the surface, and never attempt to decorate
-china after it has been used, for it seldom proves satisfactory.</p>
-
-
-<h3><b>A Monochrome Painting.</b></h3>
-
-<p>For this we will need a tile, a pad, a broad flat brush (Fig.
-173), some turpentine, capavia, two tubes of paint—one copper-water
-green, the other brown green—a palette-knife, and some
-pieces of cotton cloth. Now be sure your china is perfectly
-clean and dry, then mix your copper-water green for</p>
-
-
-<h3><b>Tinting.</b></h3>
-
-<p>Place enough color on your palette to cover the entire surface
-to be tinted; dip your palette-knife in the capavia oil and
-tap it off the knife on the tile; in the same way place turpentine
-on the tile with the oil, and use your palette-knife to <i>thoroughly</i>
-mix the paint, oil, and turpentine. If the mixture seems too
-stiff add a little more oil and turpentine, but be careful not to
-have the paint too thin so that it will run; test its consistency
-with a brush on a clean place on the tile.</p>
-
-<p>As a rule, the proportions for tinting should be five drops
-of paint to three of capavia, mixed with a little turpentine.</p>
-
-<p>The paint being prepared, take the flat brush and begin to
-paint; rapidly cover the entire surface with color. Then go
-over the tinting with a pad, touching lightly and gently, not
-letting the pad rest a moment on the paint, nor touching it
-twice in the same place in succession. Continue going over and
-over it until the grounding is even and of a uniform tint.
-Then set the china away to dry, in a safe place, where it will be<span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span>
-free from dust. Always make a fresh pad every time you tint,
-and a separate one for each color used, as a pad cannot do
-service more than once.</p>
-
-<p>All tinted grounds and borders are made in this way, the
-capavia oil and turpentine being mixed with any of the grounding
-colors you may wish to use. Tinting is very easily and
-quickly done; but should anything happen to spot or mar
-the evenness of the grounding, the paint must all be washed off
-with turpentine, and the china tinted over again.</p>
-
-<p>When your green-tinted china is perfectly dry, gather
-some maple leaves and with the brown-green paint try a</p>
-
-
-<h3><b>New Method of Decorating China.</b></h3>
-
-<p>The leaves must be free from dust and moisture and perfectly
-fresh. Place a small quantity of paint on the palette, do
-not mix the paint with oil or turpentine, but rub it down well
-on the tile as it comes from the tube; make the paint perfectly
-smooth, now press a small clean pad down lightly, lifting and
-again pressing until the paint is smoothly distributed on the pad;
-next select a leaf and place it face or right side downward on a
-piece of folded newspaper, then press the pad down on the
-under side of the leaf, which is now lying upward, repeating
-the operation until the leaf is sufficiently covered with paint.
-This done, carefully place the leaf painted side downward on the
-china, over it lay a piece of common wrapping-paper, and rub
-your finger gently all over the covered leaf. Then remove the
-outside paper and very carefully take up the leaf, when an
-exact impress of the natural leaf will be printed on the china.
-Repeat the operation with another leaf either larger or smaller,
-and still another, using as many as you wish; connect the leaves
-to a central branch by making the stems and branch in the
-same color with a small paint-brush. To do this paint a long line<span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span>
-for the branch and other smaller ones for the stems of the
-leaves. Set the china away to dry, and it will be ready for
-firing. Very pretty effects may be secured by using two shades
-of one color for the tinting and designs. First tint the china,
-and when it is perfectly dry, ornament it with the same paint in
-the manner described, making the ground of a lighter tint than
-the decorations. The colors of fall leaves can be used on white
-china, or you may make the combinations and designs of whatever
-is most pleasing.</p>
-
-<p>It is well to have some idea of what your decoration is to be
-like before commencing with the leaves. If you desire a spray,
-try to place the leaves as they are on the natural spray, or as
-represented in some picture taken for a guide. The prints also
-look well used in a conventional style. As any kind of leaves
-or grasses that will print can be employed, your decorations
-will always be original and true to nature.</p>
-
-<p>Flowers are more difficult to print, yet when the impressions
-are successful they are very beautiful.</p>
-
-<p>You will find this new idea an interesting method of ornamenting
-china, while the decorations may be made in much less
-time than is usually required. The style is suitable for dinner-sets,
-vases, tiles, plaques, and lamps, and it requires no knowledge
-of drawing or painting to decorate china in this simple yet
-effective manner.</p>
-
-
-<h3><b>Tracing.</b></h3>
-
-<p>Lay a piece of tracing-paper over the design to be copied
-and trace the outlines very carefully with a hard lead-pencil.
-Then have your china perfectly clean and dry, and give it a
-wash all over with a clean cotton cloth wet with clear turpentine.
-Place a piece of red transfer-paper on the china, and having determined
-exactly where you wish the design, lay the tracing-paper
-over the transfer-paper on the space for decoration. Use<span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span>
-bits of gummed paper on the corners of the transfer- and tracing-paper
-to hold them in place, and carefully go over the lines
-with a lead-pencil, remove the papers, and the design will be
-clearly outlined on the ware. Now rub a little India-ink on a
-common individual butter-plate of white china, and using a fine
-brush, very carefully paint over the red marks with the India-ink,
-making your lines as distinct and delicate as possible.
-When this is finished, again wash the china with turpentine to
-remove any of the red coloring which may be apparent on its
-surface. Thus prepared the design can be painted, or the china
-may first be tinted and allowed to dry, when the outlines will
-be plainly visible through the tinting, and the color can be removed
-from the design with tar paste. Use the scraper to take
-the grounding off of minute spaces. For those skilled in drawing
-it will not be necessary to trace the design, as it can readily
-be sketched on the china with a lead-pencil after the ware has
-first received a coat of turpentine, and when tinted the decoration
-can be drawn on after the grounding has thoroughly dried,
-and the color may be removed as before.</p>
-
-
-<h3><b>Mottled Grounds.</b></h3>
-
-<p>Prepare the paint as for tinting, only make it more moist,
-and dab it lightly over the china by means of a piece of cotton
-cloth on the end of your finger; this will give the china a mottled
-appearance which in some cases is preferred to the plain
-grounding.</p>
-
-
-<h3><b>Snow Landscape.</b></h3>
-
-<p>We will take for example Fig. 184.</p>
-
-<div class="figleft" style="width: 454px;">
-<img src="images/i_282.jpg" width="454" height="486" alt="Fig. 184" />
-</div>
-
-<p>After tracing the design, paint a streak across the sky, just
-back and a little above the trees, with carnation No. 1 mixed
-with clove oil and turpentine, then another narrow streak above<span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span>
-it of a lighter shade, and another still lighter of the same color,
-allowing each tint to meet. Next mix light sky-blue with clove
-oil and turpentine, and paint as deep a tint as it will make
-across the sky at the top of the plate, graduating it down to the
-red; use the stipple immediately while the paint is wet to blend
-the colors and tints; this finished, make the reflections on the
-ice, beginning with carnation No. 1 for the ice nearest the castle,
-and ending near the bottom of the plate with the deepest shade
-of light sky-blue, using the colors mixed for the sky. Paint the<span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span>
-foliage in the background with neutral gray and sky-blue mixed
-with turpentine and fat oil for the darker tones, and turquoise-blue
-with neutral gray, turpentine and fat oil for the lighter
-parts, also for shading the darker portions of the snow. Then
-take brown No. 4 as it comes from the tube, with a little turpentine
-when necessary, for the shading of the trees in the foreground,
-the outlining of the castle, and the tufts of grass and
-edges of the ice in places where the copy requires it.</p>
-
-<p>Leave the white china for the high lights and the white
-snow on the roof of the castle, on the trees, and here and
-there on the ground.</p>
-
-<p>Paint the castle with neutral gray and yellow ochre mixed
-with turpentine and fat oil, and its windows with brown No.
-4, using the color as it comes from the tube. Now allow
-the plate to dry and then have it fired, after which mix carnation
-No. 1 with clove oil and turpentine, and touch up the
-sky and reflections on the ice, using the stipple if necessary;
-then mix light sky-blue with clove oil and turpentine and paint
-the sky where that color is required and the light shadows on
-the snow; then take yellow ochre for portions of the trees,
-places in the foreground, and touching up the castle; mix this
-color with fat-oil and turpentine.</p>
-
-<p>Again strengthen the trees and other places, where the painting
-requires it, with brown No. 4, unmixed, except with a little
-turpentine when necessary; for the last touches mix relief-white
-with fat oil and clean turpentine, using the horn-palette knife
-always when mixing the white; this is to be laid on, in little
-raised places, where the snow is whitest on the ground and
-where the snow has lodged in the trees.</p>
-
-<p>Now inclose the snow scene with a gilt band, using the
-stipple to make an uneven edge of gilt on the surrounding
-white rim; the gold next to the picture must be perfectly
-smooth and even; put this on with your fine long-haired brush;<span class="pagenum"><a name="Page_284" id="Page_284">[284]</a></span>
-then make a similar band on the edge of the plate and it will
-be finished and ready for its last firing.</p>
-
-<p>Almost any snow landscape with a sunset sky may be
-painted in this way.</p>
-
-<p>Often you can find Christmas cards which will furnish very
-good copies.</p>
-
-<div class="figright" style="width: 446px;">
-<img src="images/i_284.jpg" width="446" height="444" alt="Fig. 185" />
-</div>
-
-
-<h3><b>How to Paint a Head on China.</b></h3>
-
-<p>Select a pretty copy from some photograph, as in Fig.
-185; very carefully trace the head on a plate and go over the
-lines with Indian ink; next give the plate another wash with<span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span>
-turpentine, to remove all remains of the color from the transfer-paper;
-then mix thoroughly two parts of carnation No. 2 with
-one part of ivory-yellow, adding a little turpentine and clove
-oil; give the face and neck a wash with this color and touch
-up the cheeks with carnation No. 1 mixed with clove oil and
-turpentine; now lay on the shadows with neutral gray, five
-parts, mixed with deep chrome-green, one part, using clove oil
-and turpentine in mixing the colors; last, the deepest shadows
-with brown No. 4, two parts, to one of ivory-black, mixed together
-with clove oil and turpentine, and immediately before any
-of the paint dries use the stipple to blend the colors, making the
-face round out and have the blending soft and true to nature;
-set your copy before you and try to have the shadows on the
-face you paint correspond exactly with those in the copy.</p>
-
-<p>Now leave the face and neck, and place some brown No. 4
-on the tile; do not mix it with anything; use it as it comes
-from the tube, dipping your brush in turpentine when it becomes
-necessary to thin the paint a little; with this paint the shading
-of the hair and follow with your brush, as nearly as possible, the
-sway of the masses. That finished, paint the eyes, eyebrows,
-and nostrils with brown No. 4 and ivory-black mixed together
-as they come from the tubes, using when necessary a little
-turpentine; then mix a little carnation No. 1 with fat oil for
-the lips. Next turn your attention to the drapery; shade the
-white material with gray No. 1, unmixed, and gray No. 2 for
-the deeper shadows, mixed with fat oil and turpentine.</p>
-
-<p>For the handkerchief on the head mix emerald-green with
-fat-oil and turpentine; put it on in a light tint, so that the handkerchief
-can be shaded, when dry, with the same color.</p>
-
-<p>When the plate is dry, it is ready to be fired. After it has
-been fired touch up the shading on the face and neck with two
-parts of carnation No. 2 mixed with one of brown No. 4, using
-clove oil and turpentine while mixing; and for the deepest shadows<span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span>
-mix two parts of brown and one of ivory-black together with
-clove oil and turpentine. This must be put on carefully, so that
-the shadows will not be too dark. Use the stipple to blend the
-shadows; then give the hair a wash of yellow ochre all over, and
-touch up the handkerchief on the head with emerald green, the
-same you used before.</p>
-
-<p>For the background of the head mix light coffee, turpentine,
-and capavia oil; make it an even tint with the blender
-(Fig. 175); the brush must be clean and dry, and used in the
-same manner as the pad in tinting, then, for the outer border,
-mix celestial-blue with capavia and turpentine, and with your
-large flat brush paint the border and blend it to an even tint
-with your pad. When this is finished wipe off the paint around
-the edge as evenly as possible, so that the bare china may be
-left to receive a band of gold. Roll up a piece of white cotton
-cloth into a small point and with this remove the paint around
-the inner edge of the blue border, making an even narrow
-white band; this is also to be gilded.</p>
-
-<p>On a clean tile mix the mat gold with turpentine, and
-using the slender, fine, long-haired brush, carefully cover the
-white bands of china with gold; when this is finished the plate
-is ready for the second and last firing. If a fairer complexion be
-desired, make the flesh-tints of the same colors, only lighter in
-tint; try the paint on the edge of the tile until the tint is correct.
-Always try your colors this way when painting any design. For
-blue eyes use sky-blue shaded with black; the high light of the
-eye may be left the white of the china. If you wish the hair
-very light, take ivory-yellow and shade with sepia and black.</p>
-
-<p>Once more we say, be <i>very</i> careful in tracing not to get
-the head or features out of drawing, as so much depends upon
-the correct outlines. Before sending china to be fired, paint in
-small figures the date on which it was decorated and add your
-name or initials.</p>
-
-<p><span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span></p>
-
-
-<h3><b>How to Paint a Carp, Sea-weed, and Fish-net on China.</b></h3>
-
-<div class="figleft" style="width: 323px;">
-<img src="images/i_287.jpg" width="323" height="147" alt="Fig. 186" />
-</div>
-
-<p>Having traced in your design very carefully, mix one part
-of neutral gray with two parts of sky-blue, some clove oil, and
-turpentine; with this paint the upper edge of the back of the
-fish dark, graduating to white along near the centre of the fish;
-stipple this so that it will look even, soft, and rounding, keeping
-it dark on the edge and tinting down to the white china; paint
-the tail and dorsal fins a flat tint of gray No. 2 mixed with fat
-oil and turpentine; then mix carnation No. 2 with fat oil and
-turpentine for a flat tint on gills, mouth, and ventral fin; shade
-the mouth with the same color and paint the anal and pectoral
-fins a flat tint of carnation
-No. 2 mixed
-with sepia; when dry
-shade with the same
-color, and also shade
-the gills and fins
-painted carnation
-with carnation, and
-the dorsal fins and tail shade with ivory-black mixed with fat
-oil and turpentine; try the paint with your brush until you
-get rather a gray tint instead of black, and use this for the
-shading; now paint the rows of spots along the back of the fish
-ivory-black, making the dots smaller as they approach the tail;
-and with your eraser take the paint off of the eye, leaving a
-clean white spot of china; paint a fine circle around this in
-ivory-black; then paint a portion of the eye black, leaving the
-white china for the high lights; in painting the scales and
-lower part of the fish use gray No. 1 as it comes from the tube,
-mark an outline of gray along the lower edge of the fish and
-stipple it off in the white, remembering this gray must occupy
-only a narrow line along the lower edge of the fish.<span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span></p>
-
-<div class="figright" style="width: 329px;">
-<img src="images/i_288.jpg" width="329" height="144" alt="Fig. 187" />
-</div>
-
-<p>Commence to mark the scales in gray No. 1 by making a
-line of them with a fine-pointed brush downward across the
-body of the fish (Fig. 186) and this will be a guide to build out
-from (Fig. 187); after the painting has thoroughly dried begin
-again by marking, on the head and around the eye, the tiny
-scales in gray No. 2, with a little fat oil and turpentine, and paint
-a line along the upper edge of the head and back with brown
-No. 4, and another lighter line of the same color along the back
-just below and adjoining the first one; paint the eye and
-markings on the head brown and strengthen the tail and dorsal
-fins with gray No. 2; touch up around the gills with sky
-blue, also with yellow ochre where the copy requires it. Then
-turn your attention
-to the sea-weeds;
-mark the thread-like
-branches of these in
-different colors, using
-carnation, brown No.
-4, gray No. 2, and
-brown-green; paint
-each weed in one color, place the sea-weeds on one side or
-corner of the plate, making them branch out this way and that,
-as in nature. Now clean off your palette and mix some mat
-relief for the fish-net, which is to be placed over and across a
-portion of the plate; with a lead-pencil mark the netting on
-the plate, but do not touch the fish; then with a very fine
-brush follow the markings with the relief, when it is necessary
-to paint across the fish, your eye and the copy must be your
-guides, as it would take the paint off the fish to attempt any
-marking on it. The relief on the fish cannot be altered, so be
-careful to have it correct the first time. Should the line of relief
-be too broad in other places, remove it with your scraper
-and make another trial. When the plate is perfectly dry it<span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span>
-must be fired, after which put in a background of warm gray
-mixed with capavia and turpentine; bring this to an even tint
-with the blender, and if any paint blends over on the fish wipe
-it off while the color is damp; also remove the paint from the
-netting and set the china away to allow the color to thoroughly
-dry; next paint broad sweeps across the plate, but not over
-the fish, with gray No. 2 mixed with fat oil and turpentine, to
-represent the different tints of the water, and again remove the
-paint from the net; now touch up the sea-weed and the fish
-where they need strengthening, then give the fish a very light
-wash of gray No. 1.</p>
-
-<p>Here and there along the upper edges of the water colored
-gray No. 2 make a very fine line with enamel or relief-white
-mixed with a little fat oil and turpentine; gild the fish-net, using
-either pure gold or mat gold, cover the relief carefully with
-the gold, and put it on thick but in fine lines; this accomplished,
-finish by gilding the edges of the plate with mat gold, and when
-dry send it to be fired. To avoid mistakes when sending china
-to be fired, state whether you wish the gold burnished, dull,
-or polished.</p>
-
-
-<h3><b>Foliage on China Made With a Sponge.</b></h3>
-
-<p>Prepare the paint with fat oil and turpentine, rub it down
-smooth, then with a small sponge apply the colors, using different
-shades as the first dry, and touching up afterward with a
-brush; in this way you can also paint backgrounds which cannot
-be made with the brush.</p>
-
-
-<h3><b>Mixing Colors.</b></h3>
-
-<p>The best way to paint with safety when you are in doubt
-what colors will mix, is to test them yourself. For this purpose<span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span>
-take a French china plate and make experiments with
-different colors on the plate; at the same time write down a
-memorandum of the paints used and of those mixed, have the
-plate fired; then paste your memorandum on the back. Use
-this for reference, and with experience will come the full
-knowledge of the use of all the paints.</p>
-
-
-<h3><b>Royal Worcester Ware</b></h3>
-
-<p class="unindent">is very delicate and dainty and something quite novel for amateurs
-in the way of china decorations.</p>
-
-<p>Very beautiful pieces of this ware may be seen now in all
-the leading china establishments in New York City, and so
-choice is it that even some of the largest jewelry stores have
-rare Royal Worcester vases among their most valuable articles
-on exhibition.</p>
-
-<p>We know of no book that teaches this art of decoration, and
-although we have seen some amateur work which only an expert
-could distinguish from the genuine article itself, we think
-our exposition of the method is the first of its kind printed in
-this country; and girls, if you would know the secret, so that
-you also may be able to paint and gild in this beautiful fashion,
-you have only to listen while the writer tells how to decorate
-a Royal Worcester vase as she did; then you will have a practicable
-and detailed method which we know to be good, having
-tried it.</p>
-
-<div class="figleft" style="width: 238px;">
-<img src="images/i_291.jpg" width="238" height="482" alt="" />
-<div class="caption">Fig. 188.—Royal Worcester Vase.</div>
-</div>
-
-<p>Select a vase of the finest French china, and be sure that it
-is perfectly clean, dry, and free from dust. Then with a clean
-white cotton cloth give the vase a wash all over with clear turpentine,
-and having chosen your design, make a tracing of it
-on the vase, and it will be ready for grounding. Mix enough
-mat lemon-yellow to cover the entire surface of the vase. First
-place a little of the powder on the tile, then dip your palette-knife<span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span>
-in the capavia oil and tap it off on the tile; in the same
-way drop turpentine on the tile with the oil. Use a horn palette-knife
-and <i>thoroughly</i> mix the paint, oil, and turpentine;
-if the mixture seems too stiff, add a little more oil and turpentine,
-but be careful not to have
-the paint too thin, so that it will
-run; try the paint with a brush
-on a clean place on the tile to
-see if it is of the right consistency
-and shade; do not let the color
-be too intense; it should be of a
-delicate tint, and if it is too dark
-add a very little more oil. Take
-a broad, flat brush and begin to
-paint at the top of the vase, passing
-around with short strokes
-rapidly over its whole surface;
-go over the tinting with a pad,
-touching lightly and gently;
-then set the vase away to dry in
-a dry place free from dust. The
-Indian-ink outlines will be plainly
-visible through the paint, and
-when the grounding or tinting
-has <i>thoroughly</i> hardened, to remove
-the color from the design,
-mix a little of the tar paste upon
-a clean tile by working it with
-your palette-knife until it is smooth. Use a small brush and go
-over the design with this mixture, covering every part except
-the stems and fine grasses; be very careful not to go outside
-of the lines. When the design is all painted with the paste,
-begin at that first covered and wipe off the tar paste with small<span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span>
-pieces of cotton batting rolled into little balls, using a fresh wad
-for each stroke; clean it all off carefully and the vase will present
-vacant white china spots where the flowers, leaves, and bird
-are soon to appear. For a guide we will take Fig. 188. Now
-mix a little mat pink with fat oil and turpentine in the same way
-you prepared the grounding yellow, only this time fat oil takes
-the place of capavia; use the horn palette-knife as before; the
-steel knife should never be used with the Royal Worcester
-colors, as the metal is apt to rub in with the paint, dulling and
-spoiling the colors. Paint all the flowers a flat tint of light
-pink. Always try the color first on the tile until you have the
-desired shade. By the time all the flowers have received their
-tint of color, those first painted will be dry enough for shading.
-Observe attentively the copy, and notice where the different
-flowers are shaded; then shade yours with the same color, following
-as nearly as possible the copy before you.</p>
-
-<p>For painting the leaves, mix separately with turpentine and
-fat oil, mat light yellow-green, mat dark-green, and mat blue
-green. These colors can be used separately or any two mixed
-if desired. Shade the leaves with mat yellow-brown mixed
-with the different greens. Paint the body of the bird a flat tint
-of mat gold-yellow and the top of its head and back green;
-the edges of wing and tail and eye must be of mat black.
-When the bird is dry, shade its breast with broad sweeps of
-mat gold-yellow, according to the copy; then mix black with
-yellow-brown for the other shading on the bird’s breast, and
-mix black with blue for painting and shading the wings and
-tail.</p>
-
-<p>While the paint is drying on the vase mix the mat relief for
-the raised edges of bird, flowers, and stems. Mix the relief
-with turpentine and fat oil, making it as stiff as it can be used.
-With a very fine brush outline the bird, its wings, and tail; also
-a few strokes on its breast, tail, and back; be sure the relief is<span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span>
-stiff enough to make a fine raised line; then outline the flowers
-and the stems; the leaves are not raised on the edges. When
-this is finished the vase is ready for its first firing. Allow the
-ware to become perfectly dry before sending it to the firers.</p>
-
-<p>As great care should be taken with the firing of royal
-Worcester china, send your vase to the most reliable firers you
-know of, and when it is fired and returned, all that remains to be
-done is to carefully gild the vase. Mix pure gold with turpentine,
-but do not have it too thin, as the gold should be applied
-as thick as possible. For fine gilding use a fine small brush with
-long hairs; this will make a distinct thread-like line; first cover
-all the relief with the gold, next outline the leaves, veining them
-if necessary; then with thick gold make your grasses according
-to the copy. When the gold becomes too stiff work in a
-little more turpentine. After you have finished this gilding,
-mix some mat gold with turpentine and gild the top rim of the
-vase; use the small stipple brush cut off square at the end
-(Fig. 179), and bring the border down unevenly along its
-lower edge, making it the same way on the inside of the vase;
-then with the fine long-haired gilder cover the upper edge of
-the vase thick with gold. This finished, gild the bottom of the
-vase in like manner and make the handle solid gilt; after it is
-all dry the vase is ready for its second and last firing, and
-when it returns again from the firers you will have a piece of
-beautiful Royal Worcester ware similar to that seen at Tiffany’s.</p>
-
-<p>The mat colors used, remove all the gloss from the china,
-and when mat lemon-yellow forms the grounding, the china
-comes from the firing having the appearance of beautiful decorated
-ivory without any glaze.</p>
-
-<p>This ware must be seen to be appreciated, and is suitable for
-vases and ornaments, but the Royal Worcester colors cannot be
-used on table china, for any grease coming in contact with the
-colors would spoil them.</p>
-
-<p><span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span></p>
-
-<p>Exquisite little vases of all shapes are decorated in this manner;
-the delicate gold tracery and outlining brings the designs
-out effectively. In this style of painting the decoration is more
-conventional, and does not require the same amount of working
-up and shading, but is as a rule, treated simply, flat tints with a
-little shading being all that is required. Almost any floral design
-can be used on royal Worcester, when outlined with relief
-and gold; there are, however, copies which come expressly for
-the purpose.</p>
-
-<div class="figcenter" style="width: 444px;">
-<img src="images/i_294.jpg" width="444" height="114" alt="girl fallen down having dropped china" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXVII.<br />
-
-<small>A CHAPTER ON FRAMES.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_295.jpg" width="110" height="127" alt="A" />
-</div>
-
-<p class="drop-capi2">AFTER the foregoing chapters on drawing and painting,
-it is surely our duty to provide the means
-of framing the various pictures which we hope
-will be the result of their teachings. Unframed,
-a picture is apt to be tucked away out
-of sight, or it becomes rumpled and spoiled
-when left lying about, and a picture-frame, as a rule, is quite an
-expensive article; but with a little ingenuity and good taste
-almost any girl may manufacture frames, if not of equal finish,
-at least as durable and quite as artistic as any the dealer can
-produce.</p>
-
-<p>The cost? The cost is the price of a wooden stretcher and
-a bottle of gold paint.</p>
-
-<p>The first sketch shown here (Fig. 189) will give some idea
-of the appearance of a frame decorated appropriately for a
-marine picture. The articles necessary for this frame are a
-stretcher, some rope, a piece of fish-net, several dried starfish,
-and gold paint. The stretcher must first be gilded; then the
-rope, upon which the fish-net has been strung, should be fastened
-with small tacks around the outer edge, joining it at the
-corner, where the starfish will hide the ends. The net must
-be large enough to drape gracefully across one corner, along
-the top, and fall a short distance down the other side of the
-frame. When the starfish, graduating in size, are tacked<span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span>
-around the draped corner, and they, as well as the rope and net,
-are given a coat of gilt, a pretty, unique, and substantial frame
-is the result.</p>
-
-<p>If starfish are not to be had, sea-shells may be used instead
-(these of course will have to be glued in place), and if fish-net
-is also out of reach, a piece of fine netted hammock can be
-used as a substitute.</p>
-
-<div class="figcenter" style="width: 494px;">
-<img src="images/i_296.jpg" width="494" height="446" alt="painting" />
-<div class="caption">Original Design—Marine Picture Frame.</div>
-</div>
-
-<p>For the benefit of those who spend their summers at the
-sea-shore where such things are obtainable, I would advise that
-a small collection be made of the quaint and pretty products<span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span>
-of the place, as they will be found useful in various ways for
-decorative purposes.</p>
-
-<div class="figleft" style="width: 416px;">
-<img src="images/i_297.jpg" width="416" height="494" alt="corner of frame" />
-<div class="caption">Fig. 190.—Section of
-Decorated Frame</div>
-</div>
-
-<p>The next sketch (Fig. 190) shows a corner section of frame
-especially appropriate for a flower piece. The open lattice-like
-border is cut
-with a sharp
-penknife from
-stiff pasteboard
-and tacked
-along the edge
-of the frame.</p>
-
-<p>The pattern
-shown in diagram
-(Fig. 191) is simple,
-quite easily made,
-and well suited for a
-border, though other and
-more elaborate ones may
-be used. This border must,
-of course, be made in sections.
-The edges to be connected
-should be cut to fit exactly,
-then after tacking them upon
-the frame the whole may be laid
-upon a table, face downward, and
-strips of paper pasted across the joints
-(see Fig. 192), which will hold them
-securely together. If the work is
-neatly done, when the gilt is applied all traces of the joints will
-disappear. The decorations of this frame consist of a spray of
-artificial rosebuds and leaves, gilded and tacked on the upper
-left-hand corner. A few scattered rosebuds look well upon the
-lower part of the frame near the right-hand side.</p>
-
-<p><span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span></p>
-
-<div class="figright" style="width: 362px;">
-<img src="images/i_298a.jpg" width="362" height="316" alt="Fig. 191 Fig. 192" />
-<div class="caption">Section of Border for Decorated Frame.</div>
-</div>
-
-<p>Figure 193 is the
-section of a frame
-which will look well on
-almost any kind of picture.
-It is made by
-tacking a small rope
-around the inside edge
-and then covering
-it and the frame
-with crumpled
-tin-foil, which, after
-it is pressed
-to fit the rope, is
-brought around
-and tacked on the
-wrong side of the
-frame, joining that edge which is turned over the top. Care
-should be taken while handling the tin-foil not to flatten it, as
-its beauty depends upon
-its roughness. The
-pieces are joined by simply
-lapping one edge
-over the other, the uneven
-surface hiding all
-seams. This frame like
-the others must be gilded.</p>
-
-<p>A very effective rough
-surface on a frame can be
-produced by dabbing on
-it with a palette-knife the
-scrapings of the palette.
-Of course this frame cannot<span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span>
-be made in a day, but if every time the palette is cleaned
-the paint is used in this way it will not be long before the surface
-is covered and ready for gilding.</p>
-
-<div class="figleft" style="width: 301px;">
-<img src="images/i_298b.jpg" width="301" height="303" alt="corner on black background" />
-<div class="caption">Fig. 193.—Section of Frame covered with Tin-foil.</div>
-</div>
-
-<p>The cork paper used in packing bottles makes quite a handsome
-frame for black and white pictures or photographs (Fig.
-194). This paper is sprinkled all over with small bits of cork,
-making a rough surface and
-one admirably suited to the
-purpose.</p>
-
-<div class="figright" style="width: 261px;">
-<img src="images/i_299.jpg" width="261" height="380" alt="Fig. 194" />
-<div class="caption">Cork Frame.</div>
-</div>
-
-<p>First the foundation of the
-frame is cut of stiff pasteboard
-exactly the size and shape desired;
-then the cork paper is
-cut the width of the frame and
-glued securely to it, the corners
-being joined as in Fig.
-195. The frame is very pretty
-when left its natural color, as
-it resembles carved wood at
-a little distance, but it can be
-gilded if preferred.</p>
-
-<p>The inside mat is made of
-white or gray-tinted cardboard,
-cut with the open
-space for the picture, from
-half an inch to an inch smaller
-than the opening of the frame. The mat is pasted to the back
-of the frame and then the entire back is covered with strong
-paper pasted at the top and two side edges, and left open at
-the bottom until the picture is shoved in place, when the lower
-edge is fastened also. The mat will look well if the inside
-edge is gilded.</p>
-
-<div class="figleft" style="width: 195px;">
-<img src="images/i_300a.jpg" width="195" height="182" alt="diagram of corner" />
-<div class="caption">Fig. 195.</div>
-</div>
-
-<p>Another frame is made in the same manner as the one just<span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span>
-described, only instead of using cork paper a thick coating of
-glue is put all over the face of the foundation, and sand or small
-pebbles are sprinkled over the entire
-surface. This must be quickly done
-before the glue has time to harden.</p>
-
-
-<p>The writer has in her possession
-a pretty little winter landscape done in water-colors.
-It is a snow scene, and its light effect is well set off
-by the frame, which is made simply of two pieces of
-heavy brown strawboard or pasteboard. The two
-pieces are cut exactly the same size; then the centre
-is cut out of one, leaving a broad frame of equal width
-on all sides. The picture is placed between these two boards,
-which are then glued together. The cord for hanging it is fastened
-to two small brass rings which are attached to pieces of
-tape glued to the back of the frame, as in Fig. 196. Fig. 197
-shows how a piece of paper is pasted over the tape
-to hold it more securely.</p>
-
-<div class="figcenter" style="width: 186px;">
-<img src="images/i_300b.jpg" width="186" height="283" alt="Fig. 196 Fig. 197" />
-</div>
-
-<p>When making a frame of this kind the picture to
-be framed should first be measured and the width of
-the frame decided upon; then cutting
-a piece of paper the size the open
-space is to be, or one-half inch smaller
-all round than the picture, it must be
-laid upon the pasteboard and a mark
-drawn around it showing its exact size
-and proportion (Fig. 198). The width
-of the frame can then be measured from
-these lines, which will place the opening
-exactly in the centre (Fig. 199).
-The lines must be perfectly straight
-and the measurements correct or a lop-sided frame will be the
-result.<span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span></p>
-
-<div class="figcenter" style="width: 514px;">
-<img src="images/i_301a.jpg" width="514" height="363" alt="Fig. 198 Fig. 199" />
-</div>
-
-<p>In cutting out the frame a sharp knife should be used, and
-it will be a great help in keeping the lines straight if a ruler is
-held down firmly close to the line to be cut, and the knife
-guided by that.</p>
-
-<div class="figcenter" style="width: 501px;">
-<img src="images/i_301b.jpg" width="501" height="122" alt="differnt frames" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXVIII.<br />
-
-<small>THANKSGIVING.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_302.jpg" width="210" height="371" alt="N" />
-</div>
-
-<p class="drop-capi4">NOT to Pagan ancestors in far-away countries,
-but to our own Pilgrim Fathers
-do we trace the origin of Thanksgiving
-Day—as purely American as
-our Independence Day. Instituted
-by William Bradford, the Governor
-of Plymouth, and first observed by
-the Puritans, who, suffering from
-hunger and privation, were truly
-thankful when the first harvest
-brought them the means of support for the approaching winter,
-it has come to us as “the religious and social festival that converts
-every family mansion into a family meeting-house.”
-The pleasant New England custom of the gathering together
-of families to celebrate Thanksgiving is now observed in most
-of our States. From far and near they come, filling the cars
-with merry family parties, who chatter away of anticipated
-pleasures to be found in the old home. Little children taught
-to lisp grandma and grandpa are instructed by their mammas
-not to be afraid of the old gentleman who will meet them at
-the depot, nor the dear old lady who waits with open arms at
-the door of grandpa’s house.</p>
-
-<div class="figright" style="width: 330px;">
-<img src="images/i_303.jpg" width="330" height="506" alt="drawing" />
-<div class="caption">One Little Indian.</div>
-</div>
-<p>Children old enough to know what a Thanksgiving at grandpa’s
-is like are wild with delight at the prospect before them.<span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span>
-Their eyes brighten at the thought of the great pantry where
-grandma keeps her doughnuts and cookies; of the cellar with
-its bins of sweet and juicy apples; of the nuts and popcorn, all
-of which taste so much nicer at grandma’s than anywhere else.
-And then what fun
-the games will be
-which they will play
-with cousins, who,
-though rather shy at
-first, will soon make
-friends. The lovely
-young aunties, too,
-who help grandma
-entertain all these
-guests, will join in
-the games and suggest
-and carry out
-schemes of amusements
-which the children
-would never
-think of.</p>
-<div class="figleft" style="width: 229px;">
-<img src="images/i_304a.jpg" width="229" height="108" alt="Fig. 200" />
-<div class="caption">Pilgrim’s Spectacles.</div>
-</div>
-<p>What a happy
-holiday it is, how social
-and pleasant and
-comfortable and
-easy! How near and
-dear all the bright
-faces gathered around
-the long table at the
-Thanksgiving-dinner, seem to be. Truly, we should all be
-thankful that we have a Thanksgiving.</p>
-
-<p>However, this chapter is not written merely to generalize
-upon the pleasures of the day, but in order that we may offer<span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span>
-something new, in the way of amusement, which will add to
-the fund of merriment on this occasion.
-The series of</p>
-
-<div class="figright" style="width: 350px;">
-<img src="images/i_304b.jpg" width="350" height="466" alt="Figs. 201-205" />
-<div class="caption">Patterns of Pilgrim Father’s Hat and Collar.</div>
-</div>
-
-
-<h3><b>Impromptu Burlesque Tableaux</b></h3>
-
-<p class="unindent">illustrating some of the principal
-events in our history will be appropriate
-for this national holiday, and will prove a mirth-provoking
-entertainment.</p>
-
-<p>When two rooms
-are connected by
-folding-doors, a
-whole room may
-be used for the
-stage. In this case
-no curtains are
-necessary, as the
-doors take their
-place, and, for impromptu
-tableaux,
-answer very well.
-When there are no
-such connecting
-rooms, one end of
-a large room can be
-curtained off with
-sheets, or any kind
-of drapery, suspended
-from a rope
-or wire stretched
-from one wall to the other. It is best to keep the audience as<span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span>
-far away from this improvised stage as the room will admit of,
-for distance greatly assists the effect.</p>
-
-
-<h3><b>Landing of the Pilgrims.</b></h3>
-
-<div class="figleft" style="width: 186px;">
-<img src="images/i_305.jpg" width="186" height="399" alt="drawing" />
-<div class="caption">Costume of Pilgrim Father.</div>
-</div>
-<p><span class="smcap">Tableau</span> 1.—The good ship Mayflower has just touched
-Plymouth Rock. Pilgrim Father stands upon the rock, and
-reaches down to help Pilgrim Mother
-to land. A number of Indians sit upon
-the edge of the rock, fishing unconcernedly
-over the side, while the Pilgrims
-take possession. In the ship Pilgrim
-children are standing, with outstretched
-arms, waiting to be taken ashore.</p>
-
-
-<h4>COSTUMES.</h4>
-
-<p><span class="smcap">Pilgrim Father.</span>—Cape, a broad-brimmed,
-high-crowned hat and large,
-white collar, over ordinary boy’s dress,
-spectacles—cut from black paper (Fig.
-200). The cape may be of any material,
-so that it is of a dark color.</p>
-
-
-<p>The hat can be made by cutting
-from stiff brown paper a crown (Fig.
-201), fitting it around the crown of an
-ordinary flat-brimmed hat, bringing it
-into a conical shape, and pinning it in place (Fig. 202). The
-brim should be cut from the same paper in a large circle (Fig.
-203), the hole in the centre being just large enough to fit nicely
-around the crown, over which it is slipped, and pushed down
-until it rests upon the real hat-brim (Fig. 204). The paper
-brim should be about seven inches wide, and the crown nine<span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span>
-inches high. Figure 205 is the pattern of collar, which can be
-made of white
-paper or muslin.</p>
-
-<p><span class="smcap">Pilgrim
-Mother.</span>—Full,
-plain
-skirt, white
-kerchief, small
-white cap, and
-large spectacles.
-A gentleman’s
-linen handkerchief, put around the neck and crossed
-over the bosom, answers for a kerchief. The cap, too, can be
-made of a large handkerchief in
-this way.</p>
-
-<p>Fold the handkerchief in the
-manner shown in Fig. 206; lay
-it flat upon a table, and turn the
-folded corners over as in Fig.
-207; turn up the bottom edge
-over the other, and roll over
-about three times (Fig. 208);
-take the handkerchief up by the
-ends and the cap (Fig. 209) is
-made.</p>
-
-<div class="figcenter" style="width: 388px;">
-<img src="images/i_306a.jpg" width="388" height="192" alt="Figs. 206-209" />
-<div class="caption">Manner of Making Pilgrim Mother’s Cap.</div>
-</div>
-
-<div class="figright" style="width: 236px;">
-<img src="images/i_306b.jpg" width="236" height="362" alt="Drawing of woman by spinning wheel" />
-<div class="caption">Costume of Pilgrim Mother.</div>
-</div>
-
-<p><span class="smcap">Children.</span>—The young Pilgrims’
-costumes are like the
-others, on a smaller scale, but
-they wear no spectacles.</p>
-
-<p><span class="smcap">Indians.</span>—Bright-colored
-shawls for blankets, and feather-dusters
-for head-dresses. The duster is tied on to the back of<span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span>
-the Indian’s neck with a ribbon which passes under the chin,
-and the shawl is placed over the handle, partially covering the
-head and enveloping the figure.</p>
-
-
-<h4>PROPERTIES.</h4>
-
-<p>The ship is a large wash-tub, which is placed in the centre
-of the stage; its sail is a towel, fastened with pins to a stick,
-the stick being tied to a broom, as shown
-in illustration. It is held aloft by one of
-the children in the tub.</p>
-
-<div class="figleft" style="width: 354px;">
-<img src="images/i_307.jpg" width="354" height="418" alt="drawing" />
-<div class="caption">The Good Ship Mayflower.</div>
-</div>
-
-<p>Plymouth Rock is a table, occupying
-a position near the tub. On top of
-it is a chair, placed on its side to give
-an uneven surface, and over both
-chair and table is thrown a
-gray table-cover. The
-fishing-poles of the Indians
-are walking-canes
-with strings
-tied to the ends.</p>
-
-
-<h3><b>First Harvest.</b></h3>
-
-<p><span class="smcap">Tableau</span> 2.—Pilgrim families,
-grouped in the centre of
-the stage, examining an ear of
-corn and rejoicing over their
-first harvest.</p>
-
-
-<h4>PROPERTIES.</h4>
-
-<p>A broom, upon which is tied one ear of dried corn, or
-popcorn, it doesn’t matter which, and if neither is to be had,
-an imitation ear of corn can be made by rolling paper into the<span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span>
-shape of Fig. 210, cutting husks after the pattern Fig. 211, and
-putting them together like Fig. 212. The
-broom is held erect, with the handle resting
-on the floor, by Pilgrim Father.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 234px;">
-<img src="images/i_308a.jpg" width="234" height="195" alt="diagrams" />
-<div class="caption">Fig. 210.—Paper Ear of Corn.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 150px;">
-<img src="images/i_308ab.jpg" width="150" height="187" alt="diagrams" />
-<div class="caption">Fig. 211.—Pattern for Outside
-Husks of Corn.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 102px;">
-<img src="images/i_308ac.jpg" width="102" height="197" alt="drawing" />
-<div class="caption">Fig. 212.—Ear of Corn
-Finished</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-
-<h3><b>Devastation by the Indians.</b></h3>
-
-<div class="figleft" style="width: 157px;">
-<img src="images/i_308b.jpg" width="157" height="428" alt="broom wiht ear of corn attached" />
-<div class="caption">The Corn-field.</div>
-</div>
-
-<p><span class="smcap">Tableau</span> 3.—A long table reaches across
-centre of stage; upon it are empty dishes,
-and the remains of a feast.</p>
-
-<p>At each end and at back of table are
-grouped the Indians, who are gnawing large
-turkey-bones and eating huge pieces of
-bread and pie. The Pilgrim family stand at
-each side, and view with horror the destruction
-of their dinner.</p>
-
-
-<h4>PROPERTIES.</h4>
-
-<p>The table is a board placed across the
-backs of two chairs. In the centre of the
-table is a large pie-plate, with only a very
-small piece of pie remaining in it; most of
-the other dishes are empty.</p>
-
-<p><span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span></p>
-
-
-<h3><b>The Revolution.</b></h3>
-
-<p><span class="smcap">Tableau</span> 4.—This is represented by the revolution of a
-wheel. Pilgrim Mother stands in the centre of the stage, at a
-spinning-wheel, which is set in motion just as the curtain is
-parted.</p>
-
-
-
-<h4>PROPERTIES.</h4>
-
-<p>If a real spinning-wheel cannot be obtained, a velocipede,
-baby-carriage, or child’s wagon, turned upside down, will answer
-the purpose. In the illustration the curtain has been made
-transparent, to show how the two back wheels of a velocipede<span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span>
-are disposed of. A broom is fastened in an upright position to
-the velocipede, and on the handle is tied a piece of gray linen
-(a handkerchief will do), to represent flax. A string tied to the
-linen is held by Pilgrim Mother. The curtain must be dropped
-before the wheel ceases to revolve.</p>
-<div class="figcenter" style="width: 511px;">
-<img src="images/i_309.jpg" width="511" height="426" alt="drawing" />
-<div class="caption">The Spinning-wheel.</div>
-</div>
-
-
-<h3><b>Slavery.</b></h3>
-
-<p><span class="smcap">Tableau</span> 5.—Pilgrim Mother is bending over a wash-tub,
-with sleeves rolled up to shoulders, washing; a great pile of
-clothes lies on the floor at her side; she looks angrily at the
-Pilgrim Father, who sits opposite to her with his legs crossed,
-calmly reading a newspaper.<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a></p>
-
-
-<h4>PROPERTIES.</h4>
-
-<p>The tub used for the ship, placed on two chairs; a washboard
-and a pile of clothes, white predominating. A rocking-chair
-for the Pilgrim Father.</p>
-
-
-<h3><b>Rebellion.</b></h3>
-
-<p><span class="smcap">Tableau</span> 6.—Pilgrim Mother stands in defiant attitude, facing
-Pilgrim Father, who has just arisen from his chair.</p>
-
-<p>The tub and one of the chairs upon which it stands are tipped
-over, and the clothes are scattered about.</p>
-
-
-<h4>PROPERTIES.</h4>
-
-<p>Same as in preceding tableau.</p>
-
-<div class="figcenter" style="width: 503px;">
-<img src="images/i_311a.jpg" width="503" height="288" alt="drawing" />
-<div class="caption">The Festive Board.</div>
-</div>
-
-
-<h3><b>Peace and Plenty.</b></h3>
-
-<p><span class="smcap">Tableau</span> 7.—Table extending across the centre of stage is
-heaped with all sorts of edibles—whole pumpkins, vegetables,<span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span>
-fruit, and flowers. At one end of the festive board stands Pilgrim
-Father, at the other Pilgrim Mother, smiling at each other.
-Pilgrim Father holds a long carving-knife, as
-though about to carve a large pumpkin in
-front of him. Pilgrim
-Mother is in
-the act of cutting a
-huge pie. At the
-back of the table
-are ranged the Pilgrim
-children, each
-holding outstretched
-an empty plate, waiting to be served, and all smiling. At each
-side of the stage, extending to the front, is a line of Indians
-sitting on the floor, smoking the pipes of peace. The Indians
-also are smiling.</p>
-
-
-<h4>PROPERTIES.</h4>
-
-<p>Table same as in Tableau 3: Dishes, fruit, and vegetables.
-The Indians’ pipes are canes with bent handles.</p>
-
-<p>If, in arranging the stage, clothes-horses, with drapery thrown<span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span>
-over them, are placed at the back, they will not only form a background
-for the pictures presented, but the space behind makes
-a nice dressing-room or retiring-place for those taking part.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_311.jpg" width="600" height="172" alt="jack o'lantern from all sices" />
-<div class="caption">Fig. 213.—Pumpkin Lantern.</div>
-</div>
-
-<p>Pumpkin lanterns,
-set in a
-row on the floor
-just inside the
-curtain, will be
-funny substitutes
-for footlights.
-They
-will decorate the
-stage appropriately,
-and at the
-same time be
-quite safe. Fig.
-213 shows how
-they are made.
-The face is not
-cut through, but the features are scraped
-thin enough to allow the light inside to
-make them visible. If they were cut,
-as in ordinary pumpkin lanterns, the
-light would shine out from instead of
-on to the stage.</p>
-
-<div class="figright" style="width: 392px;">
-<img src="images/i_312.jpg" width="392" height="523" alt="drawing" />
-<div class="caption">Silhouette of the Headless Turkey.</div>
-</div>
-
-
-<h3><b>The Game of the Headless Turkey.</b></h3>
-
-<p>A large silhouette, representing a
-headless turkey, is cut from black, or
-dark colored paper-muslin, and fastened upon a sheet stretched
-tightly across a door-way. To each member of the party is
-given a pin and a muslin head, which, if rightly placed, will fit<span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span>
-the turkey. Then, one at a time, the players are blind-folded
-and placed at the end of the room opposite the sheet. After
-turning them around three times one way, then three times
-the other, they are started off to search for the turkey, that
-they may pin the head where they suppose it belongs. When
-the person going blindly about the room comes in contact
-with anything, no matter what, be it chair, table, wall, door, or
-another player, she must pin the turkey-head to the object
-touched. To the person who comes nearest to placing the
-head in its true place, a prize of a gilded wish-bone, tied to a
-card with a ribbon, is given. And she who makes the least successful
-effort is presented with a turkey-feather, which she
-must stick in her hair and wear for the remainder of the evening.</p>
-
-
-<h3><b>A Suggestion.</b></h3>
-
-<p>Amid all these bright and happy thoughts of feasting and
-merrymaking, comes an idea, so gently, yet persistently, forcing
-itself upon my notice, that it finally assumes the form of a definite
-plan which I will put to you in the form of a suggestion.</p>
-
-<p>At this time, when, thinking over the numerous blessings,
-that most of you find to be thankful for, how would it do,
-girls, to form a society among yourselves, to be called the
-Thanksgiving Society, whose object will be to provide a real
-Thanksgiving for other and less fortunate girls, by giving them
-something to be thankful for before next year’s Thanksgiving
-shall arrive?</p>
-
-<p>There need be no formality about the society. The only
-necessary officer will be a secretary, to keep a record of what is
-done by the society, individually and collectively; which report
-the secretary will read at the grand annual meeting on Thanksgiving
-Day.<span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span></p>
-
-<p>Many girls, young, like yourselves, to whom it is just as
-natural to be glad and happy, have little to make them so, and
-to bring some brightness into their lives would indeed be worth
-forming a society for.</p>
-
-<p>There are various ways in which kindness may be done
-these girls, and so many avenues will open to those seeking to
-benefit them, that it is needless to attempt any instruction as to
-what work may be performed by the society; if this suggestion
-is adopted, I know it will be safe to leave it to the quick sympathy
-and warm hearts of the girls to do the right thing at the
-right moment. What think you, girls, would it not be worth
-while to make of this last Thursday of November a Thanksgiving
-for others as well as for yourselves? and would not your
-own pleasures be doubly enhanced when sweetened with the
-thought of having done what you could to make someone else
-happy?</p>
-
-<div class="figcenter" style="width: 448px;">
-<img src="images/i_314.jpg" width="448" height="200" alt="Four Little “Injun” Boys" />
-</div>
-
-<hr class="full" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span></p>
-<h2 class="faux">Winter</h2>
-<div class="figcenter" style="width: 483px;">
-<img src="images/i_315.jpg" width="483" height="239" alt="Winter" />
-</div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span></p>
-
-
-<div class="figcenter" style="width: 371px;">
-<img src="images/i_316.jpg" width="371" height="460" alt="girl with sled" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXIX.<br />
-
-<small>CHRISTMAS FESTIVITIES AND HOME-MADE
-CHRISTMAS GIFTS.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_317.jpg" width="218" height="189" alt="A" />
-</div>
-
-<p class="drop-capi">AMONG all the days we celebrate Christmas
-stands first and foremost in our thoughts,
-the holiday of holidays. Coming in the
-season of frost and snow it brings a
-cheering warmth to our hearts that
-defies the icy atmosphere, and the
-feeling of kindliness and good will
-toward everyone, which it awakens, seems in response to the
-words the angels sang on our first Christmas, “On earth peace,
-good will toward men.”</p>
-
-<p>Christmas is not merely a day set apart for feasting, giving
-and receiving presents, and for merrymaking. The day on
-which we celebrate the birth of our Lord is a time of rejoicing
-for rich and poor alike, and Christmas is Christmas still, although
-we may receive and can offer no presents and our feast is humble
-indeed.</p>
-
-<p>Feeling this, let us keep the Christmas festival as it should
-be kept, right happily and merrily. Let us decorate our homes
-to the best of our ability in honor of the day, and supply all
-deficiencies with happy hearts and smiling faces.</p>
-
-<p>A friend of the writer’s once remarked, as she busied herself
-with some Christmas-cards she was preparing to send to the<span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span>
-hospitals, “I always like to tie a sprig of evergreen on each
-card; it looks and smells so Christmasy.” And so it does.
-Even a few pieces of evergreen, tacked over doorways or
-branching out from behind picture-frames, give a room a festive,
-Christmas-like appearance that nothing else can, and as
-evergreens are so plentiful here in America there are few
-houses that need be without their Christmas decorations.
-Holly, too, with its brilliant red berries peeping cheerily forth
-from their shelter of prickly leaves, adds brightness to the other
-adornments, and when the white-berried mistletoe can also be
-obtained all the time-honored materials for the Christmas decorations
-are supplied.</p>
-
-<p>Though we are Americans, our ancestors came from many
-nations, and we have therefore a right and claim to any custom
-we may admire in other countries. We may take our Christmas
-celebrations from any people who observe the day and
-combining many, evolve a celebration which in its variety will
-be truly American.</p>
-
-<p>From Germany we have already taken our Christmas-tree;
-from Belgium our Christmas-stocking; Santa Claus hails from
-Holland, and old England sends us the cheery greeting, Merry
-Christmas!</p>
-
-<p>The custom the French children have of ranging their shoes
-on the hearth-stone on Christmas-Eve for the Christ-child to fill
-with toys or sweetmeats, is too much like our own Christmas
-stocking to offer any novelty. The Presepio, or Holy Manger, of
-the Roman Catholic countries, which represents the Holy Family
-at Bethlehem, with small wooden or wax figures for the characters,
-is more suitable for the church celebration, but in Sweden
-and Denmark they have a peculiar method of delivering their
-Christmas-presents which we might adopt to our advantage, for
-it would be great fun to present some of our gifts in their novel
-manner.</p>
-
-<p><span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span></p>
-
-<p>Instead of describing this custom we will tell you just how
-to carry it out and will call it the</p>
-
-
-<h3><b>Julklapp,</b></h3>
-
-<p class="unindent">which in Denmark and Sweden means Christmas-box or
-gift.</p>
-
-<p>Before Christmas-Day arrives all the presents intended for
-the Julklapp delivery must be prepared by enclosing them in a
-great many wrappings of various kinds, none of which should
-in any way suggest their contents.</p>
-
-<p>If one of the presents is a pretty trinket, wrap it up in a
-fringed tissue paper, such as is used for motto candy or sugar-kisses;
-place it in a small box, and tie the box with narrow
-ribbon; then do it up in common, rough brown paper, and wrap
-the package with strips of cloth until it is round like a ball;
-cover the ball with a thin layer of dough, and brown in the
-oven. Pin it up in a napkin, wrap in white wrapping paper and
-tie with a pink string.</p>
-
-<p>The more incongruous the coverings, the more suitable they
-are for the Julklapp. You may enclose others gifts in bundles
-of hay, rolls of cotton or wool, and use your own pleasure in
-choosing the inner wrappings. It will be the wisest plan to
-always use something soft for the outside covering, the reason
-of which you will understand when the manner of delivery is
-explained. Each package must be labelled with the name of the
-person for whom it is intended, and if an appropriate verse,
-epigram, or proverb be added it will be the cause of fresh mirth
-and laughter.</p>
-
-<p>The Julklapp delivery may, and probably will commence
-very early Christmas morning, for the little folks, always early
-risers on this day, will no doubt be up betimes, and ready for
-the business of the day. The first intimation the less enterprising<span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span>
-members of the family will have that Christmas has
-dawned, will be a loud bang at the chamber door, followed by
-a thump of something falling on the bed or the sleeper’s chest.
-Then springing up and opening startled eyes, from which all
-sleep has been thus rudely banished, one will probably discover
-a large bundle of <i>something</i> on the bed or lying on the floor
-close beside it. It will be useless to rush to the door to find
-from whom or where this thing has come, for although a suppressed
-giggle may be heard outside the door just after feeling
-the thump, nothing will be met upon opening it, but dead silence,
-and nothing seen but the empty hall.</p>
-
-<p>At any time during the day or evening the Julklapps may arrive
-and when all look toward the door, as a loud rap is heard,
-whizz! something comes through the window and lands in the
-middle of the room. A sharp tap at the window is followed by
-the opening and closing of a door, and a bundle of straw, wool,
-paper, or cloth, as the case may be, lands in someone’s lap. In
-short the Julklapps may come from any and every direction, and
-when one is least expecting them, and so the surprises and excitement
-are made to last until, weary with the fun and gayety of
-the day, the tired merrymakers seek their beds on Christmas-night.</p>
-
-<p>If it has not been made plain enough who, or what causes
-the mysterious arrivals of the Julklapps we will say that the
-whole household join in the conspiracy, and the packages come
-from the hands of each of its members. The</p>
-
-
-<h3><b>Polish Custom</b></h3>
-
-<p class="unindent">of searching for Christmas gifts, which have previously been
-hidden in all manner of places in the house, is one the children
-will delight in, and one that, introduced at a Christmas party,
-will provoke no end of merriment and fun.</p>
-
-<p><span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span></p>
-
-
-<h3><b>The Bran Pie</b></h3>
-
-<p class="unindent">is an English dish, but is quite as well suited to the American
-taste. It is an excellent means of distributing trifling gifts and
-may be new to some of you.</p>
-
-<p>Use a large, deep brown dish for the pie. Put in it a gift
-for everyone who will be at the Christmas dinner, and cover
-them over thickly with bran, ornament the top by sticking a
-sprig of holly in the centre. After dinner have the bran pie
-put on the table with a spoon and plates beside it, and invite
-everyone to help her or himself, each spoonful bringing out
-whatever it touches. Comical little articles may be put in the
-pie, and the frequent inappropriateness of the gift to the receiver
-of it, helps to create laughter.</p>
-
-<p>The Bran Pie should be the secret of not more than two
-persons, for, like all things pertaining to Christmas gifts, the
-greater the surprise, the more pleasure there will be in it.</p>
-
-
-<h3><b>The Blind Man’s Stocking</b></h3>
-
-<p class="unindent">may also be used for small gifts, or it may hold only candy and
-bonbons. Make the stocking of white or colored
-tissue-paper like the pattern given in Fig. 214.</p>
-
-<div class="figleft" style="width: 182px;">
-<img src="images/i_321.jpg" width="182" height="213" alt="diagram" />
-<div class="caption">Fig. 214.—Paper Stocking.</div>
-</div>
-
-<p>First cut out one piece like the pattern, making
-the foot thirteen inches long and six inches
-from the sole to the top of the instep, and the leg
-of the stocking sixteen inches from the heel to
-the top; then cut another, one inch
-larger all around than the first. Place
-the two together fold the edge of the
-larger over the smaller piece and paste
-it down all around except at the top
-(Fig. 214). Fill the stocking with small gifts or sweetmeats,<span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span>
-tie a string around the top to keep it fast, and suspend it from
-the centre of a doorway. Blindfold each player in turn, put a
-long, light stick in her hand, a bamboo cane will do, and lead
-her up within reach of the stocking and tell her to strike it.
-When anyone succeeds in striking the stocking and a hole is
-torn in it, the gifts or candy will scatter all over the floor to be
-scrambled for by all the players. Each player should be allowed
-three trials at striking the stocking.</p>
-
-<p>Young children are always delighted with this Christmas
-custom, and the older ones by no means refuse to join in the
-sport.</p>
-
-
-<h3><b>Home-made Christmas Gifts.</b></h3>
-
-<div class="figright" style="width: 213px;">
-<img src="images/i_322.jpg" width="213" height="222" alt="drawing" />
-<div class="caption">Fig. 215.—Chamois for Eye-glasses.</div>
-</div>
-
-<p>That the children may do their share toward filling the
-Christmas stockings, adding to the fruit of the Christmas tree,
-helping with the Julklapps, contributing to the Bran Pie or
-Blind Man’s Stocking, we give these hints on home-made
-Christmas gifts, all of which are inexpensive
-and easily constructed.</p>
-
-
-<h3><b>Chamois for Eye-glasses.</b></h3>
-
-<p>Cut out two circular pieces of
-chamois-skin about the size of a silver
-half-dollar, bind the edges with
-narrow ribbon, and fasten the two
-pieces together with a bow of the
-same. Print with a lead pencil on
-one piece of the chamois-skin, “I
-Make all Things Clear,” and go over the lettering with a pen
-and India ink, or you may paint the letters in colors to
-match the ribbon. Fig. 215 shows how it should look when
-finished.</p>
-
-
-
-<p><span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span></p>
-
-
-<h3><b>Glove Pen-wiper.</b></h3>
-
-<p>Cut four pieces from thin, soft chamois-skin, like the outline
-of Fig. 216. Stitch one with silk on the sewing-machine, according
-to the dotted lines. Cut two slits at the wrist through
-all the pieces as shown in Fig. 216, and join them together by
-a narrow ribbon passed through the openings, and tied in a
-pretty bow, Fig. 217.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 265px;">
-<img src="images/i_323aa.jpg" width="265" height="94" alt="pattern" />
-<div class="caption">Fig. 216.—Pattern of Pen-wiper.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 265px;">
-<img src="images/i_323ab.jpg" width="265" height="164" alt="drawing of completed work" />
-<div class="caption">Fig. 217.—Pen-wiper.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-
-<h3><b>Sachet.</b></h3>
-
-<div class="figleft" style="width: 312px;">
-<img src="images/i_323b.jpg" width="312" height="194" alt="looks like a letter to Santa" />
-<div class="caption">Fig. 218—Sachet.</div>
-</div>
-
-<p>Open out an envelope, and cover it with white or cream-colored
-silk, refold carefully, joining the edges with stiff mucilage,
-using as little as
-possible. In place of a
-letter enclose a layer of
-cotton sprinkled with
-sachet-powder, fasten
-the envelope with sealing-wax
-as in an ordinary
-letter. Address it
-with pen and ink, to
-the one for whom it is
-intended. Print on it,
-like a stamp, “Christmas, December 25,” and fasten a cancelled<span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span>
-stamp, taken from an old letter, on one corner. The finished
-sachet is shown in Fig. 218.</p>
-
-
-<h3><b>A Book-mark.</b></h3>
-<div class="figright" style="width: 158px;">
-<img src="images/i_324a.jpg" width="158" height="340" alt="drawing" />
-<div class="caption">Fig. 219—Book-mark.</div>
-</div>
-<p>Cut out the corner of a full-sized, linen-lined
-envelope, making the piece four
-inches long, and one and a half inches
-wide. Write on one side with pen and
-ink, or paint the lettering in color, “A
-Fresh Mind Keeps the Body Fresh.”
-The book-mark will fit over the book-leaf
-like a cap, and is excellent for keeping the
-place. Fig. 219.</p>
-
-
-
-
-<h3><b>A Scrap-bag.</b></h3>
-
-
-<p>Scrap-bags have been fashioned in
-many shapes and sizes, and of all sorts of
-material, still it remains to be shown in what manner Christmas
-cards may add in decoration and beauty to these useful articles.<span class="pagenum"><a name="Page_325" id="Page_325">[325]</a></span>
-From your collection choose four cards of the same size, then
-on a piece of bright silk or cloth sew the cards at equal distances
-apart, as in Fig. 220, stitching
-them around the edges on the sewing-machine.
-At the dotted line fold over
-the top of the bag as if for a hem, making
-the narrow fold lap just cover the
-upper edge of the card; stitch this down
-to form a binding.</p>
-<div class="figcenter" style="width: 445px;">
-<img src="images/i_324b.jpg" width="445" height="259" alt="diagram" />
-<div class="caption">Fig. 220.—Pattern of Scrap-bag.</div>
-</div>
-
-<div class="figleft" style="width: 185px;">
-<img src="images/i_325a.jpg" width="185" height="381" alt="drawing of completed bag" />
-<div class="caption">Fig. 221.—Scrap-bag.</div>
-</div>
-
-<p>After joining the bag at the dotted
-lines on the sides, gather the bottom up
-tight and fasten to it a good-sized tassel;
-then sew on each side a heavy cord
-with tassels placed where the cord joins
-the bag, as seen in Fig. 221. The cord
-and tassels of the example were made of
-scarlet worsted.</p>
-<div class="figright" style="width: 164px;">
-<img src="images/i_325b.jpg" width="164" height="90" alt="diagram" />
-<div class="caption">Fig. 222.—Pattern of Turtle.</div>
-</div>
-
-<div class="figright" style="width: 169px;">
-<img src="images/i_325c.jpg" width="169" height="76" alt="drawing" />
-<div class="caption">Fig. 223.—Walnut-shell Turtle.</div>
-</div>
-
-<h3><b>A Walnut-shell Turtle.</b></h3>
-
-<p>For an ornament to be used on a
-pen-wiper, or simply as a pretty toy,
-the little turtle is appropriate. It is made
-of half an English walnut, which forms the
-turtle’s back or shell, glued on a piece of
-card-board cut after
-the diagram given
-in Fig. 222. Paint
-the card-board as nearly as possible the
-color of the shell, and the eyes black.
-When perfectly dry glue the shell securely
-to the card-board, bend down and out the feet a little,
-in order to make the turtle stand; bend the head up, and the
-tail down, as in Fig. 223.</p>
-
-
-
-<p><span class="pagenum"><a name="Page_326" id="Page_326">[326]</a></span></p>
-
-<p>Here are some home-made toys which the children can
-make to give to one another.</p>
-
-
-<h3><b>Miss Nancy.</b></h3>
-
-<p>Miss Nancy (Fig. 226) is fashioned from a piece of pith
-taken out of a dried cornstalk. Cut away the stalk until the
-pith is reached; then take a piece of the pith, about six inches
-long and whittle out one end to resemble a head as in Fig. 224,
-draw a face on the head with pen and ink, and glue half of a
-lead bullet on the lower end of the pith (Fig. 225). Make Miss
-Nancy’s costume of a skirt, composed of some bright-colored
-Japanese paper, a shawl made of a piece of soft ribbon or silk,
-and a cap of white swiss. The peculiarity of the little lady is
-that she insists upon always standing upright, no matter in
-what position she is placed.</p>
-
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 187px;">
-<img src="images/i_326a.jpg" width="187" height="348" alt="Fig. 224.   Fig. 225." />
-<div class="caption">Manner of Making Miss Nancy.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 295px;">
-<img src="images/i_326b.jpg" width="295" height="345" alt="doll" />
-<div class="caption">Fig. 226.—Miss Nancy.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p><span class="pagenum"><a name="Page_327" id="Page_327">[327]</a></span></p>
-
-<div class="figright" style="width: 162px;">
-<img src="images/i_327.jpg" width="162" height="417" alt="drawing" />
-<div class="caption">Fig. 227.—Paper Ball.</div>
-</div>
-<h3><b>A Soft Ball.</b></h3>
-
-<p>A very pretty and safe return ball for the little ones to
-play with may be made of paper (Fig. 227), which, being
-soft, precludes all danger of “thumps and
-bumps.”</p>
-
-
-
-<p>Take a piece of newspaper, and, using
-both hands, roll it and fold it into something
-of the required shape. Then place
-it in the centre of a square piece of bright-colored
-tissue paper; take the four corners
-of the tissue-paper up to the centre of the
-top of the ball, fold them over, also fold
-and smooth down what fulness there may
-be; next place a small round piece of gold,
-silver, or some contrasting colored paper
-on the top of the ball. Secure all by winding
-a string around the ball, making six
-or eight divisions; tie a piece of elastic to
-the string where it crosses on the top of
-the ball, then paste over this a small artificial
-flower. In the other end of the elastic,
-make a loop to fit over the finger, or
-tie on it a small brass ring.</p>
-
-<p>If a tiny sleigh-bell be placed in the
-centre when the ball is being made, it will give a cheerful little
-tinkling noise whenever the ball is thrown.</p>
-
-
-<h3><b>A Lively Rooster.</b></h3>
-
-<p>To make the rooster (Fig. 228), cut out of stiff cardboard
-Figs. 229, 230, 231, and 232. Tie on Figs. 229 and 230 each a
-piece of string seven and one-half inches long. Then attach<span class="pagenum"><a name="Page_328" id="Page_328">[328]</a></span>
-the head and tail to the body by running a string through holes
-at A in Fig. 230 and A in Fig. 231, and another through B in
-Fig. 229 and B in Fig. 231. Bring the head and tail up close
-to the body and fasten the ends of the strings down securely
-with court-plaster or pieces of paper pasted over them. Bend
-Fig. 231 at dotted line C; then on the space marked E, paste
-the portion of Fig. 232 marked E after bending it at dotted line
-O. Again bend Fig. 232 in the same direction at dotted line<span class="pagenum"><a name="Page_329" id="Page_329">[329]</a></span>
-P, and paste it across the space marked P, on Fig. 231. When
-all is fastened together, and the paste perfectly dry, paint the
-rooster to look as life-like as possible. Tie the strings of Figs.
-229 and 230 together four inches
-from where they are fastened on,
-then again about three inches lower
-down, and attach a weight to the
-ends. A common wooden top, with
-a tack in the head (Fig. 233), will
-answer the purpose nicely. To bring
-the rooster to life, place him on the mantel-piece, with a book
-serving as a weight on the projection of Fig. 232, swing the top
-and he will move his head and tail in the most amusing manner.</p>
-
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figleft" style="width: 242px;">
-<img src="images/i_328a.jpg" width="242" height="494" alt="drawing" />
-<div class="caption"><p>Fig. 228.—The Rooster.</p></div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 368px;">
-<img src="images/i_328b.jpg" width="368" height="484" alt="Figs. 229-233" />
-<div class="caption">Pattern of Rooster.</div>
-</div></td>
-</tr>
-</table>
-</div>
-<div class="figcenter" style="width: 522px;">
-<img src="images/i_329.jpg" width="522" height="541" alt="older girl making fairy dancers, toddler standing on chair to watch" />
-<div class="caption">Fairy Dancers.</div>
-</div>
-<p><span class="pagenum"><a name="Page_330" id="Page_330">[330]</a></span></p>
-
-
-<h3><b>Fairy Dancers.</b></h3>
-
-
-<div class="figleft" style="width: 264px;">
-<img src="images/i_330a.jpg" width="264" height="501" alt="drawing" />
-<div class="caption">Fig. 234.—A Fairy Dancer.</div>
-</div>
-
-<div class="figright" style="width: 175px;">
-<img src="images/i_330b.jpg" width="175" height="409" alt="diagram" />
-<div class="caption">Fig. 235.—Pattern of Fairy
-Dancer.</div>
-</div>
-
-<p>Among the gifts made by little hands, a box, containing a set
-of fairy dancers, will be a most novel and welcome addition.
-These little figures, when placed
-on the piano, will move as soon
-as the keys are touched, dancing
-fast or slow in perfect time
-to the music. They may all be
-made to resemble fairies as in Fig. 234,
-or a famous collection
-of figures in
-the costumes of
-different periods
-in history will be
-equally pretty and
-perhaps more interesting.
-Ladies
-in kirtles and tunics,
-gentlemen in
-slashed doublet
-and hose of the
-Tudor times,
-Queen Elizabeth’s
-starched ruffs and
-farthingales, etc.
-All these dresses
-can be more easily
-copied from pictures
-of the period than from any written
-description of them. The materials used
-for the costume must be of the lightest kind, for a heavy dress
-will weigh down the dancer and hamper its movements. To<span class="pagenum"><a name="Page_331" id="Page_331">[331]</a></span>
-make the fairy (Fig. 234) trace Fig. 235 on cardboard and cut
-it out, sew a piece of bonnet-wire down the back, as shown in
-diagram. Mark the slippers on the feet with
-ink or black paint, select a Christmas or advertising
-card representing a child, with a head
-of a suitable size, cut the head out and paste
-it on the fairy.</p>
-
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 205px;">
-<img src="images/i_331a.jpg" width="205" height="342" alt="diagram" />
-<div class="caption">Fig. 236.—Pattern of Chinaman</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 108px;">
-<img src="images/i_331b.jpg" width="108" height="254" alt="drawings of hair" />
-<div class="caption">Fig.&nbsp;237.&nbsp;Fig.&nbsp;238.<br />Chinaman’sQueue.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 200px;">
-<img src="images/i_331c.jpg" width="200" height="342" alt="drawing of back of completed Chinaman" />
-<div class="caption">Fig. 239.—The Chinaman.</div>
-</div></td>
-</tr>
-</table>
-</div>
-<div class="figleft" style="width: 189px;">
-<img src="images/i_332a.jpg" width="189" height="249" alt="diagram" />
-<div class="caption">Fig. 240.—Chinaman’s Sacque.</div>
-</div>
-
-<div class="figright" style="width: 102px;">
-<img src="images/i_332ba.jpg" width="102" height="99" alt="circle" />
-<div class="caption">Fig. 241.—Pattern
-of Chinaman’s
-Hat.</div>
-</div>
-
-<div class="figright" style="width: 92px;">
-<img src="images/i_332bb.jpg" width="92" height="85" alt="drawing" />
-<div class="caption">Fig. 242.—Chinaman’s
-Hat.</div>
-</div>
-<p>Gather two short skirts of tarlatan,
-make a waist of the same, sew with a
-few stitches to the doll, and cover the
-stitches with a sash of bright
-colored tissue paper; add a
-strip of tarlatan for a floating
-scarf, gluing it to the uplifted
-hands. Bend back the
-piece of cardboard projecting
-from the foot,
-and glue to it a small
-piece of bristle brush. The wire on
-the doll should be long enough to pass
-tightly around the brush, thus making
-it more secure.</p>
-
-<p>If you would like to have the
-Chinaman (Fig. 239) in your troupe of
-dancers, trace on cardboard Fig. 236,
-draw a face with slanting eyes, or paint it; then take several
-strands of black thread and tie them together in the centre with<span class="pagenum"><a name="Page_332" id="Page_332">[332]</a></span>
-another piece of thread (Fig. 237), bring the ends down together
-(Fig. 238), braid them and sew the braid to the back of the
-Chinaman’s head (239). Cut
-a loose sacque from pattern
-Fig. 240, fold at the waved
-lines and sew together at
-the dotted lines; cut an
-opening for the head as
-seen in pattern. Make the
-hat of dark green paper cut
-in the form of Fig. 241, and
-crimp it from the centre
-(Fig. 242). Sew the hat to
-the back of the Chinaman’s
-head, bend the cardboard
-projection at the feet and glue it to a piece of brush.</p>
-
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams and drawing">
-<tr>
-<td align="left"><div class="figcenter" style="width: 397px;">
-<img src="images/i_332c1.jpg" width="397" height="139" alt="Figs. 243-246" />
-<div class="caption">Butterfly Pattern.</div>
-</div></td>
-<td align="left"><div class="figright" style="width: 117px;">
-<img src="images/i_332c2.jpg" width="117" height="194" alt="Fig. 247" />
-<div class="caption">Butterfly.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>Butterflies of brilliant hues, all hovering and circling, may
-take the place of the fairies, or they may mingle with them in
-the dance, presenting a scene indeed fairy-like. To make a
-butterfly, trace the pattern given in Fig. 243, on
-brilliantly colored paper. Form a body by rolling
-a small piece of beeswax between the fingers until it assumes
-the desired shape (Fig. 244); then attach the wings to
-the body by softening the wax and sticking them to it. Wax<span class="pagenum"><a name="Page_333" id="Page_333">[333]</a></span>
-a piece of black thread to stiffen it, and make a knot in each
-end (Fig. 245), bend this in the middle and stick it on to the
-head to form the antennæ (Fig. 246). Fasten one end of a very
-fine wire securely in the middle of the wax body, and wrap the
-other end around a small piece of brush as seen in Fig. 247.
-A number of these butterflies placed on the pianoforte will
-move, bend and sway with the music as if endowed with life.</p>
-
-<p>Toys, also, which are small and light enough, can be made to
-“trip the light fantastic” in time to the music.</p>
-
-<p>Select those most suitable and glue them to pieces of brush
-in the way described for the other dancers.</p>
-
-<p>The children, generous little souls, always long to do their
-part towards making Christmas presents, and we hope that the
-suggestion we have offered will help them to manufacture,
-without other aid, many little gifts which their friends will
-prize the more highly for having been made by the loving little
-hands.</p>
-
-<div class="figcenter" style="width: 470px;">
-<img src="images/i_333.jpg" width="470" height="147" alt="steaming plum pudding" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_334" id="Page_334">[334]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXX.<br />
-
-<small>AMUSEMENTS AND GAMES FOR THE CHRISTMAS
-HOLIDAYS.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_334.jpg" width="127" height="200" alt="A" />
-</div>
-
-<p class="drop-capi2">A WINTER passed in-doors would be irksome indeed
-for a healthy, hearty girl, and even the
-most delicate are the better for an outing now
-and then. The keen northwest wind, the biting
-frosts, the crisp atmosphere and the glistening
-ice and snow are not without their attractions,
-and we hope that no American girl will
-neglect the opportunities this time of the year
-affords for healthy, enjoyable out-door pastime.
-It is well to follow the example of our Canadian sisters,
-and, clad in garments warm and appropriate, indulge in coasting,
-tobogganing, skating, sleighing, and walking.</p>
-
-<p>The country, wrapped in its winter mantle, is very attractive.
-Many of our small animals and birds that city people are apt to
-associate only with a summer landscape, are to be found abroad
-in mid-winter, and upon a bright sunny day the birds are not
-only to be seen, but heard twittering and even singing in the
-hedges; they do not feel the cold and are enjoying themselves
-heartily. The reason the birds and wild creatures are so comfortably
-content, is because they are prepared for the weather,
-their clothing is not only soft and warm, but fits them perfectly,
-without interfering with their movements. Take a lesson from
-them, girls, dress as becomingly as you choose, the birds always
-do that, but do not wear thin-soled shoes or anything that is<span class="pagenum"><a name="Page_335" id="Page_335">[335]</a></span>
-uncomfortable; wrap up warm and you can enjoy yourself out
-of doors in the coldest weather just as well as the birds. The
-cold winds will only bring the roses to your cheeks, and the
-keen, invigorating air, health and suppleness to your body.</p>
-
-<p>We do not think any person ever learned to skate, coast, or
-walk on snow-shoes from reading the directions that can be
-given in a book. It is for that reason we have no chapter
-devoted to these sports and not because we do not believe in,
-and enjoy them, too. Therefore we will direct our attention
-to indoor sports, for they can be learned in this way and are
-quite as important as the others in filling out the list of winter
-amusements.</p>
-
-<p>There are a great many days in winter when it is so stormy
-and disagreeable out-doors, one is glad enough to have the
-shelter of a roof and the warmth of a fire; these are the days
-and evenings when in-doors games are in demand, and during
-the holiday season, when work has been put aside, and you
-have nothing to do but enjoy yourself, any new diversion is
-always welcome. It is here then that we will insert the</p>
-
-
-<h3><b>New Game of Bubble Bowling.</b></h3>
-
-<p>When the game of Bubble Bowling was played for the first
-time, it furnished an evening’s entertainment, not only for the
-children, but for grown people also; even a well known general
-and his staff, who graced the occasion with their presence,
-joined in the sport, and seemed to enjoy it equally with their
-youthful competitors. Loud was the chorus of “Bravo!” and
-merry the laugh of exultation when the pretty crystal ball
-passed safely through its goal; and sympathy was freely expressed
-in many an “Oh!” and “Too bad!” as the wayward
-bubble rolled gayly off toward the floor, or, reaching the
-goal, dashed itself against one of the stakes and instantly vanished
-into thin air.</p>
-
-<p><span class="pagenum"><a name="Page_336" id="Page_336">[336]</a></span></p>
-
-<div class="figcenter" style="width: 526px;">
-<img src="images/i_336.jpg" width="526" height="447" alt="girl blowing soap bubbles" />
-<div class="caption">Bubble Bowling.</div>
-</div>
-
-<p>The game should be played upon a long, narrow table, made
-simply of a board about five feet long and eighteen inches wide,
-resting upon high wooden “horses.” On top of the table, and
-at a distance of twelve inches from one end, should be fastened
-in an upright position, two stakes, twelve inches high; the
-space between the stakes should be eight
-inches, which will make each stand four
-inches from the nearest edge of the
-table. When finished, the table
-must be covered with some sort
-of woollen cloth; an old shawl or a
-breadth of colored flannel will answer
-the purpose excellently. Small holes
-must be cut at the right distance for the stakes
-to pass through. The cloth should be allowed
-to fall over the edge of the table, and must not be
-fastened down, as it will sometimes be necessary to
-remove it in order to let it dry. It will be found more convenient,
-therefore, to use two covers, if they can be provided, as
-then there can always be a dry cloth ready to replace the one
-that has become too damp. The bubbles are apt to stick when
-they come upon wet spots, and the bowling can be carried on
-in a much more lively manner if the course is kept dry. Each
-of the stakes forming the goal should be wound with bright<span class="pagenum"><a name="Page_337" id="Page_337">[337]</a></span>
-ribbons of contrasting colors, entwined from the bottom up,
-and ending in a bow at the top. This bow can be secured in
-place by driving a small brass-headed tack through the ribbon
-into the top of the stake. If the rough pine legs of the
-table seem too unsightly, they can easily be painted, or a
-curtain may be made of bright-colored cretonne—any other
-material will do as well, provided the colors are pleasing—and
-tacked around the edge of the table, so as to fall in folds to the
-floor. The illustration shows the top of the table, when ready
-for the game.</p>
-
-<p>For an impromptu affair, a table can be made by placing a
-leaf of a dining-table across the backs of two chairs, and covering
-it with a shawl; lead pencils may be used for the stakes,
-and they can be held in an upright position by sticking them
-in the tubes of large spools. This sort of table the children
-can arrange themselves, and it answers the purpose very nicely.
-The other things to be provided for the game are a large bowl
-of strong soapsuds, made with hot water and common brown
-soap, and as many pipes as there are players.</p>
-
-<p>The prizes for the winners of the game may consist of
-any trinkets or small articles that fancy or taste may suggest.</p>
-
-<p>Bubble Bowling can be played in two ways. The first
-method requires an even number of players, and these must
-be divided into two equal parties. This is easily accomplished
-by selecting two children for captains, and allowing each captain
-to choose, alternately, a recruit for her party until the
-ranks are filled, or, in other words, until all the children have
-been chosen; then, ranked by age, or in any other manner
-preferred, they form in line on either side of the table. A pipe
-is given to each child, and they stand prepared for the contest.
-One of the captains first takes her place at the foot of the table,
-where she must remain while she is bowling, as a bubble passing<span class="pagenum"><a name="Page_338" id="Page_338">[338]</a></span>
-between the stakes is not counted unless blown through the
-goal from the end of the table.</p>
-
-<p>The bowl of soapsuds is placed upon a small stand by the
-side of the bowling-table, and the next in rank to the captain,
-belonging to the same party, dips her pipe into the suds and blows
-a bubble, not too large, which she then tosses upon the table in
-front of the captain, who, as first bowler, stands ready to blow
-the bubble on its course down through the goal. Three successive
-trials are allowed each player; the bubbles which break
-before the bowler has started them, are not counted.</p>
-
-<p>The names of all the players, divided as they are into two
-parties, are written down on a slate or paper, and whenever a
-bubble is sent through the goal, a mark is set down opposite
-the name of the successful bowler.</p>
-
-<p>When the captain has had her three trials, the captain on
-the other side becomes bowler, and the next in rank of her own
-party blows the bubbles for her. When this captain retires,
-the member of the opposite party, ranking next to the captain,
-takes the bowler’s place and is assisted by the one whose name
-is next on the list of her own side; after her the player next to
-the captain on the other side; and so on until the last on the
-list has her turn, when the captain then becomes assistant and
-blows the bubbles.</p>
-
-<p>The number of marks required for either side to win the
-game, must be decided by the number of players; if there are
-twenty—ten players on each side—thirty marks would be a
-good limit for the winning score.</p>
-
-<p>When the game has been decided, a prize is given to that
-member of the winning party who has the greatest number of
-marks attached to her name showing that she has sent the bubble
-through the goal a greater number of times than any player
-on the same side. Or, if preferred, prizes may be given to
-every child belonging to the winning party. The other way in<span class="pagenum"><a name="Page_339" id="Page_339">[339]</a></span>
-which Bubble Bowling may be played is simpler, and does not
-require an even number of players as no sides are formed.</p>
-
-<p>Each bowler plays for herself, and is allowed five successive
-trials; if three bubbles out of the five be blown through
-the goal the player is entitled to a prize. The child acting as
-assistant becomes the next bowler, and so on until the last in
-turn becomes bowler, when the one who began the game takes
-the place of assistant.</p>
-
-<p>When the evening lamps are lighted and the young folks,
-gathered cosily around the cheerful fire, begin to be at a loss
-how to amuse themselves, let them try the game of</p>
-
-
-<h3><b>Biographical Nonsense.</b></h3>
-
-<p>A paper must be written by one of the players which will
-read like the following:</p>
-
-
-<ul class="ingredients"><li>The name of a noted man.</li>
-<li>A date between the flood and the present year.</li>
-<li>The name of a noted man.</li>
-<li>A country.</li>
-<li>The name of some body of water or river.</li>
-<li>Some kind of a vessel.</li>
-<li>A country.</li>
-<li>A country.</li>
-<li>The name of a school.</li>
-<li>A city.</li>
-<li>A city, town, or country.</li>
-<li>A city, town, or country.</li>
-<li>A number.</li>
-<li>The names of two books.</li>
-<li>The name of one book.</li>
-<li>A wonderful performance.</li>
-<li><span class="pagenum"><a name="Page_340" id="Page_340">[340]</a></span>The name of a well-known person.</li>
-<li>A profession or trade.</li>
-<li>A term expressing the feeling entertained for another person.</li>
-<li>A term descriptive of someone’s appearance.</li>
-<li>A word denoting size.</li>
-<li>A term describing form.</li>
-<li>A color.</li>
-<li>A word denoting size.</li>
-<li>The name of an article of some decided color.</li>
-<li>The name of any article.</li>
-<li>The name of any article.</li>
-<li>A number of years.</li>
-</ul>
-
-
-<p>This paper is to be passed to each member of the party who
-in turn will fill up the blanks left, with the words, terms, and
-names indicated.</p>
-
-<p>When the blanks have been filled, one player must read the
-following, and another supply the words, when she pauses, from
-the paper just prepared, being sure to read them in their true
-order.</p>
-
-<h4>A BIOGRAPHY.</h4>
-
-<p>—— was born in —— the same year when —— discovered ——,
-by sailing through the —— in a ——. His
-father was a native of ——; his mother of ——. He was
-educated at ——, in the city of ——. His first voyage,
-which was a long one, was from —— to ——. He wrote
-three books before he was —— years of age. They are
-——, and ——. He performed the miraculous feat of
-—— with ——. He was a great ——, and one we shall
-ever ——. In appearance he was —— being rather ——
-of stature. His nose was ——, his eyes ——, his mouth
-——, and hair the color of —— adorned his head. He
-invariably carried in his hand a —— and a ——, by which<span class="pagenum"><a name="Page_341" id="Page_341">[341]</a></span>
-he was always known, and with which he is represented to this
-day. He died at the advanced age of ——-.</p>
-
-<p>The ridiculous combinations found in this game make it
-very funny.</p>
-
-
-<h3><b>Comic Historical Tableaux</b></h3>
-
-<p class="unindent">are very amusing, and being impromptu require no preparation
-beforehand.</p>
-
-<p>As in charades, the company must divide into two parties.
-But instead of acting as in charades, one party decides what
-event in history they will represent, and then they form a tableau
-to illustrate the event, making it as ridiculous as possible.
-The other party must try and guess what the tableau is; if they
-are successful, it is their turn to produce a tableau, if not, the
-first party must try another subject, and continue to do so until
-the subject of their tableau is correctly guessed.</p>
-
-<p>We will give a few suggestions for the tableaux.</p>
-
-
-<h4>BALBOA DISCOVERING THE PACIFIC OCEAN.</h4>
-
-<p>Place a pan of water on the floor in plain sight of the audience;
-then let someone dress up in a long cloak and high-crowned
-hat to personate Balboa, and stand on a table in the
-middle of the floor, while the rest of the performers, enveloped
-in shawls, crouch around. When the curtain is drawn aside,
-Balboa must be seen looking intently through one end of a tin
-horn, or one made of paper, at the pan of water.</p>
-
-
-<h4>NERO AT THE BURNING OF ROME.</h4>
-
-<p>Nero, in brilliant robes made of shawls, sits on a table, surrounded
-by his courtiers, who are also in fantastic costumes.
-Nero is in the act of fiddling, his fiddle being a small fire shovel<span class="pagenum"><a name="Page_342" id="Page_342">[342]</a></span>,
-and the bow a poker. On the floor in front of the group is
-placed a large shallow pan or tray, in which is set a small
-house, which has been hastily cut from paper. A lighted match
-is put to the paper house
-just as the curtains are
-parted.</p>
-
-<p>These two suggestions
-will no doubt be
-sufficient to show what
-the tableaux should be
-like and we need give
-no further illustrations.</p>
-
-
-<h3><b>Living Christmas
-Cards.</b></h3>
-
-<div class="figright" style="width: 319px;">
-<img src="images/i_342.jpg" width="319" height="451" alt="drawing" />
-<div class="caption">Fig. 248.—Manner of Holding
-Card.</div>
-</div>
-<p>To impart seeming
-life to the little figures
-painted on the Christmas
-cards, is a performance intensely
-amusing to the little
-ones. A moving toy whose
-actions are life-like is always of great
-interest; but when a little flesh-and-blood
-head is seen nodding and twisting
-upon the shoulders of a figure painted on a
-card, the children fairly shout with delight.</p>
-
-<p>Here is the method of bringing life into the bits of pasteboard.</p>
-
-<p>Select cards with pretty or comical figures, whose faces are
-the size of the ends of your first or second finger. Carefully
-cut the face out of a card; then with ink mark the features on
-your finger, and put it through the opening, as in Fig. 248.
-Place on this little live head a high peaked tissue-paper cap, and<span class="pagenum"><a name="Page_343" id="Page_343">[343]</a></span>
-the effect will be exceedingly ludicrous (Fig. 249). A little
-Santa Claus who can really nod and bow to the children will be
-very amusing, and there are quite a number of Christmas cards
-which portray the funny, jolly little fellow.</p>
-
-<div class="figleft" style="width: 326px;">
-<img src="images/i_343.jpg" width="326" height="505" alt="drawing" />
-<div class="caption">Fig. 249.—Live Head with Peaked Cap.</div>
-</div>
-<p>Floral cards may have nodding fairies peeping out from
-among the petals of the flowers, whose heads are crowned
-with queer little fairy caps, as in Fig. 250. If among
-your collection you
-have a card with a
-picture of a house on
-it, it will be amusing
-to thrust a little head
-wearing a night-cap,
-out of one of the windows.
-Round holes
-will, of course, have
-to be cut in the cards
-wherever the heads
-are to appear.</p>
-
-<p>Still another way
-of managing these
-living puppets is to
-cut in a piece of cardboard,
-five inches
-long and two inches
-wide, three round
-holes a little more
-than half an inch
-apart. Sew around
-the edge of the cardboard
-a gathered curtain of any soft material six inches deep.
-Sketch faces on three of your fingers, pass them under the
-curtain and through the holes in the cardboard. The curtain<span class="pagenum"><a name="Page_344" id="Page_344">[344]</a></span>
-will fall around and conceal your hand, leaving the three
-heads appearing above (Fig. 251). On these heads place any
-kind of head-dress you choose, making them of paper; or
-caps of white swiss look quaint, and wee doll hats may be
-worn.</p>
-
-<div class="figcenter" style="width: 455px;">
-<img src="images/i_344.jpg" width="455" height="550" alt="drawing" />
-<div class="caption">Fig. 250—Nodding Fairies.</div>
-</div>
-
-<p>It is best to use a little mucilage or paste in fastening the hats<span class="pagenum"><a name="Page_345" id="Page_345">[345]</a></span>
-on, that there may be no danger of their falling off with the
-movement of the fingers.</p>
-
-<p>The hair may be inked, or little wigs made of cotton can be
-used.</p>
-
-<div class="figcenter" style="width: 499px;">
-<img src="images/i_345a.jpg" width="499" height="312" alt="drawing" />
-<div class="caption">Fig. 251.—Living Puppets.</div>
-</div>
-
-<p>If the little faces are painted with water colors, giving color
-to the cheeks and lips, the life-like appearance will be enhanced.</p>
-
-<p>These little personages can be made to carry on absurd
-conversations, and a great deal of expression be given to the
-bobbing and turning of their heads. One person can easily
-manage the whole thing, and entertain a roomful with the performance
-of the living puppets.</p>
-
-<div class="figcenter" style="width: 460px;">
-<img src="images/i_345b.jpg" width="460" height="114" alt="box of games" />
-</div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_346" id="Page_346">[346]</a></span></p>
-
-<div class="figcenter" style="width: 374px;">
-<img src="images/i_346.jpg" width="374" height="600" alt="fairy and a pie" />
-<div class="caption">Happy New Year</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_347" id="Page_347">[347]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXXI.<br />
-
-<small>NEW YEAR’S AND A LEAP YEAR PARTY.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_347.jpg" width="274" height="188" alt="M" />
-</div>
-
-<p class="drop-capi2">MY earliest recollection of New
-Year’s day is of being
-awakened at midnight by
-the clangor of the fire
-bells, and the ringing of
-the church bells, as they
-swung and rocked in their
-high steeples and cupolas,
-shouting, Happy New
-Year! from their brazen throats to all the sleeping town. Not
-being thoroughly conversant with bell language, I was very
-much alarmed because they seemed to say “Come, get up—Come,
-get up—House on fire—House on fire!” but, upon
-opening my eyes, I was assured that they were ringing in the
-New Year, and, as I again fell asleep, the bells were saying
-distinctly, “Wish you Happy New Year—Wish you Happy
-New Year.”</p>
-
-<p>Next day the table was decked with flowers, and was laden
-with roast turkey, fruits, salads, and mince-pies. Oh, my! what
-delicious mince-pies they were! None since have ever tasted
-as good as those made and baked by my grandmother.</p>
-
-<p>I often wonder if the next generation of grandmammas will
-make such cookies, mince pies, and doughnuts as ours did;
-but this was in Kentucky, and you know that we still observed<span class="pagenum"><a name="Page_348" id="Page_348">[348]</a></span>
-the old-fashioned customs, and all day long the gentlemen came
-dropping in by twos and fours, and such handshaking and
-laughing, and such courtly compliments, and such a bowing and
-a wishing of Many Happy New Years, it does me good to think
-of. Who knows but that so many kind wishes of a long and
-happy life, sincerely given, may really help to bring it to pass.</p>
-
-<p>Small as I was at the time, and little as I understood the
-customs or conversation, the spirit of the whole day was intelligible
-and appealed to the little child, perhaps more forcibly
-than to the grown-up people.</p>
-
-<p>It is really too bad that the crowded states of our large cities
-tend to lead to the gradual decline of the custom of New Year’s
-calls, so that now many people confine themselves to sending
-and receiving cards, making the always stiff and formal bits of
-engraved pasteboard, do all the calling and receiving; but</p>
-
-
-<h3><b>New Year’s Parties</b></h3>
-
-<p class="unindent">are not out of date, so we will have one on New Year’s Eve, because
-then young and old are privileged to sit up all night, that
-is, until after twelve o’clock midnight, and have all the fun possible.
-Let us begin our frolic with a</p>
-
-
-<h3><b>Pantomime of an Enchanted Girl.</b></h3>
-
-<p>For this a damp sheet must be fastened up across the room
-or between the folding doors of the parlor. First, fasten the
-corners of the sheet, next, the centre of each of the four sides,
-in order that the cloth may be perfectly smooth; then place a
-lighted candle on the floor, about four or five feet from the centre
-of the curtain. When the lights in the room occupied by
-the audience are turned out, leaving it in total darkness, so the
-shadows of the actors behind the curtain may be seen on the
-screen, someone, standing outside of the curtain and facing the<span class="pagenum"><a name="Page_349" id="Page_349">[349]</a></span>
-audience, should explain or relate the story of the play: of how
-a young girl, while walking out on the last day in November,
-meets Halloween, who presents her with three gifts to try her
-fortune, and how, when she is about to do so, a witch enchants
-her, etc. After the story is finished, and a lively overture has
-been performed on some musical instrument, the pantomime is
-played as follows:</p>
-
-<p>The young girl personating the enchanted one, comes gayly
-forward from the side, when almost across the curtain she meets
-Halloween, who approaches from the opposite side, arrayed in
-short dress, with wings made of newspaper folded fan fashion,
-and fastened on the shoulders; in her hand she carries a cane
-with a silhouette of a cat, or two or three stars and a crescent cut
-of stiff, brown paper and pasted on the end; the cane is so held
-that the profiles of the figures are kept toward the curtain.
-Seeing this queer being the young girl clearly demonstrates, by
-her actions, that she is alarmed. When Halloween quiets her
-fears, by surely and plainly indicating with slow movements of
-the head, and downward motions of the arms that no harm is
-intended, they shake hands; then Halloween shows the maiden
-three gifts, an apple, a hand-mirror, and an unlighted candle.
-Before presenting them she illustrates by gestures, the use to be
-made of each. Holding the mirror in front of her face, she bites
-the apple, then looks quickly around, as if expecting to see
-someone, and, again holding up the mirror in one hand and the
-candle in the other, she takes a few steps backward, when a boy
-enters by jumping over the light, which gives the appearance of
-his having fallen down from the sky, Halloween looks around,
-and the boy quickly disappears in the same manner as he came.</p>
-
-<p>All this time the girl stands transfixed, with her hands raised
-and all the fingers spread out in astonishment; she receives the
-presents which are given with many nods and gestures. As Halloween
-walks away the fortune-seeker turns and watches her<span class="pagenum"><a name="Page_350" id="Page_350">[350]</a></span>
-with a telescope made of a roll of paper she finds at her feet on
-the floor. The maiden then proceeds to examine the gifts; as
-she takes up the apple and mirror, her hand is stayed by a
-witch with flowing hair, who has approached unperceived,
-carrying under one arm a broom, and wearing on her head an
-ordinary hat with a piece of newspaper rolled up and pinned on
-to form a peaked crown. She motions to the girl to be seated;
-then stands over her and makes passes in the air, and taking up
-her broom from the floor makes grand flourishes and departs
-walking back towards the candle, which causes her shadow to
-grow larger and larger. The poor girl looks anxiously around
-and discovers she has been enchanted, for there are three girls
-instead of one; this effect is produced by two more lighted
-candles being placed on the floor on either side of the first candle,
-and every movement the girl makes is mimicked by her
-other selves. The candles are removed and the Old Year instantly
-appears, his figure bent, a piece of fringed paper pasted
-on his chin for a flowing beard, and carrying in his hand a cane
-with a piece of stiff paper fastened on to represent a scythe.
-Discovering him the girl runs forward to tell her sorrows, and
-finds that it is only when alone that she is enchanted, for when
-she attempts to point out her other selves they have disappeared;
-making many gestures she looks here and there for
-them, but in vain, then as the Old Year leaves she bids him a
-sorrowful adieu. Again alone, the facsimiles reappear and she
-grows desperate, so do the other two selves, she throws her arms
-about, skips, jumps, and dances wildly around, the other selves
-do likewise, and at the same time they are made to pass and
-repass her, by two persons taking up the two extra lights, and,
-keeping the lights facing the curtain, walking back and forth,
-passing, and repassing each other but never stepping in front of
-the candle on the floor. In the midst of the dancing the two
-extra candles are taken away and immediately the little New<span class="pagenum"><a name="Page_351" id="Page_351">[351]</a></span>
-Year enters, crowned with a paper star and wearing wings of
-paper. The young girl rushes to meet the New Year with a
-hearty greeting, she then tells him of her enchantment, counting
-the three selves by holding up the first finger of the right hand
-three times in succession, and while the New Year makes gestures
-that indicate advice the maiden listens with her hand to
-her ear, and, promising by signs to be a good girl, she kneels
-down, and the little New Year raises both hands above her
-head, then, kissing her hand to the maiden, departs.</p>
-
-<p>The glad New Year has disenchanted her, she carefully
-looks this way and that, but seeing all is well she tosses her
-head, dances around, makes a courtesy, kisses both hands to
-the audience and disappears.</p>
-
-<p>When the play is over, and just as the clock strikes twelve,
-the party can instantly change its character if it is leap-year
-and become a</p>
-
-
-<h3><b>Leap-Year Party</b></h3>
-
-<p class="unindent">for the remaining hour or so, thereby creating a great deal
-more merriment and sport; the novelty of the fact that the girls
-exchange places with the boys makes everything appear
-strange. And when the music commences for dancing the
-girls look from one to another, no one at first having the courage
-to invite a partner to dance, so unaccustomed are they to
-even the thought of such a thing. The boys of course laugh,
-and make no move to assist their timid, would-be partners in
-the part they must play, but quietly await the expected invitation.
-When, however, someone takes the initiative step, the
-others follow, and all goes merrily.</p>
-
-<p>The supper presents a new phase, but here the girls do their
-part perfectly, providing all the boys with a plentiful repast, and
-each one is made to feel that his presence is necessary to the success
-of the party, thereby insuring a happy, pleasant time for all.</p>
-
-<p><span class="pagenum"><a name="Page_352" id="Page_352">[352]</a></span></p>
-
-<p>In giving a leap-year party it is very essential that all the
-guests understand perfectly that the idea of the entertainment
-is to have the girls take upon themselves all the duties and
-courtesies properly belonging to the boys, and that the boys
-shall wait for an invitation before dancing, promenading, or
-partaking of refreshments, and that a boy should not cross the
-floor unattended, but wait for some fair friend to escort him.
-The girls are at liberty to go and come as they like, though they
-must remember not to leave a partner standing after the dance
-is over, but politely conduct him to a seat, and the girls must
-also endeavor to make the party pleasant and agreeable to all.
-The chaperons, of course, should have charge of the boys during
-the entertainment.</p>
-
-<p>The leap-year party need not necessarily be a dancing
-party, as any social gathering can take the form of a leap-year
-party.</p>
-
-<p>When an entertainment is given on the eve of a new leap-year,
-with a view to dancing the old year out and the new year
-in, just as the clock strikes twelve the party can immediately
-change into a leap-year party as described, or should the New
-Year be a common year, then as the time flies and the hands
-of the clock approach the hour of twelve all are on the qui vive
-to be the first to have the pleasure of greeting their friends with
-a Happy New Year.</p>
-
-<div class="figcenter" style="width: 470px;">
-<img src="images/i_352.jpg" width="470" height="164" alt="Baby New Year leapfrogging over Father Time" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_353" id="Page_353">[353]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXXII.<br />
-
-<small>HOME GYMNASIUM.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_353.jpg" width="177" height="172" alt="E" />
-</div>
-
-<p class="drop-capi3">EVERYONE <i>must</i> exercise to keep healthy
-and strong, for life is motion and activity.
-It is natural to be well and happy,
-and to keep so we must exercise all our
-muscles, as well as our moral and intellectual
-faculties, or they will dwindle
-and wither. The arm of the Hindoo
-devotee, not being used, at length becomes
-completely paralyzed, and fish in the Mammoth Cave
-having no use for eyes pass their life without them; so we find
-that <i>use</i> is the foundation of all things, otherwise they would
-cease to exist; then, girls, it lies within your power to become
-stronger and more graceful each day by regular and graduated
-bodily exercise, which will bring life and energy to every part
-of your system by causing the blood to circulate freely through
-all the body.</p>
-
-<p>There are some simple methods of carrying this into effect
-in the most agreeable and salutary manner, but the exercises
-must be very light at first, and as you advance they may be
-increased a little each time, but always stop before you feel
-fatigued, for when the calisthenics cease to give pleasure it is
-doubtful if they are beneficial.</p>
-
-<div class="figcenter" style="width: 440px;">
-<img src="images/i_354.jpg" width="440" height="600" alt="girl with ball" />
-</div>
-
-<p>The best time for exercising is in the morning after having
-partaken of some light refreshments, though any time will do<span class="pagenum"><a name="Page_354" id="Page_354">[354]</a><br /><a name="Page_355" id="Page_355">[355]</a></span>
-except directly after hearty meals. Try and have a regular
-time set apart each day for your physical culture. Commence
-by exercising five or ten minutes, then for a little longer period
-next time, and so on until you can exercise with ease for half an
-hour or longer. You will feel refreshed, invigorated, and better
-prepared for the duties and pleasures which await you. Your
-clothing must not incommode the free action of the body, and
-it is essential that it be comfortable. What is suitable for lawn
-tennis is also well adapted for the gymnasium. An ordinary
-bathing-dress answers the purpose very well, as it is made for
-exercise.</p>
-
-<p>The Egyptian water-carrier, with the jug of water poised so
-prettily on her head, and her figure so straight and beautiful,
-has always challenged admiration; her carriage is dignified,
-erect, and graceful, something worth striving for, especially
-when we have the certainty of success if we will only be faithful
-and persevering. The peasantry of foreign countries who
-carry all their burdens balanced on their heads have their
-reward in healthy, strong, straight figures, even in old age
-they do not stoop. Witness the emigrants landing at Castle
-Garden who carry their possessions done up in huge bundles
-on their heads with the utmost ease; of this class, three generations—a
-grandmother, mother, and grown daughter—with
-baggage of the same weight on their heads, were lately seen
-at a New York ferry, each equally upright, strong, and vigorous.</p>
-
-<p>A good straight back is an excellent thing; and when the
-head is properly carried and all the movements are buoyant
-and elastic, then we may walk as it was intended we should,
-every step bringing a glow to the cheek and a sparkle to the
-eye. It requires only a few minutes’ regular daily exercise for
-any girl to attain a carriage equal to that of the Egyptian
-water-carrier, and the only apparatus needed for</p>
-
-<p><span class="pagenum"><a name="Page_356" id="Page_356">[356]</a></span></p>
-
-
-<div class="figleft" style="width: 187px;">
-<img src="images/i_356.jpg" width="187" height="401" alt="drawing" />
-<div class="caption">Fig. 252.—Balancing a Roll of
-Paper.</div>
-</div>
-
-<h3><b>Exercise First</b></h3>
-
-<p class="unindent">is a roll of paper. Now stand with your heels together, toes
-out, and shoulders well back; then place on your head the roll
-of paper; if your position is not perfectly erect the roll will fall
-off; keep your chin straight and back against your neck, for it
-is the <i>chin</i> which determines the poise
-of the body. You cannot stand straight
-unless the chin is straight; throw out
-your chin and your shoulders will stoop
-forward, have your chin straight and
-your back will be straight; bear this in
-mind in all your exercises. Now walk,
-keeping the roll balanced on your head
-(Fig. 252). Practice this walking back
-and forth until you can do so without
-the paper rolling off; then try a tin cup
-full to the brim with water. Walk erect
-or the water will wash over, down on
-your head, and it will feel cold as it
-trickles through your hair; soon, however,
-you will be able to carry the cup
-of water with ease and no danger of its
-spilling. But do not discontinue the
-practice on that account; try something
-else in its place, until you are able to
-carry anything you wish on your head
-with no fear of it falling. The exercise affords amusement, and at
-the same time you will be acquiring a beautiful, dignified, and
-graceful carriage.</p>
-
-
-<h3><b>Exercise Second</b></h3>
-
-<p class="unindent">is for gaining agility, suppleness, quickness of eye, hand, and
-foot. Standing as far from the wall as possible, take a common<span class="pagenum"><a name="Page_357" id="Page_357">[357]</a></span>
-rubber hand-ball and toss it against the wall, catching it as it
-rebounds (see illustration), and again toss it against the wall.
-Vary this by allowing the ball to strike the floor, catching it
-on the rebound; then try keeping the ball in constant motion
-by using first one hand and then the other as a bat for returning
-the ball to the wall. The exercise
-can also be changed by striking
-the ball against the floor, and on its
-return bound again striking it, thus
-keeping it in motion. You will find
-that activity is necessary, and the
-work so quick that it will keep you
-on the jump all through the exercise.</p>
-
-
-<h3><b>Exercise Third</b></h3>
-
-<p class="unindent">is with a broom-handle. Saw or cut off
-the broom and smooth down the sharp
-ends of the handle, and it will be ready
-for use. Stand erect, heels together, toes
-out, chin well back and straight, so as to
-throw out and expand the chest. Now
-grasp firmly each end of the broomstick
-and bring it up over the head (Fig. 253);
-repeat this motion six or seven times;
-then change by carrying the broomstick
-over back of the head down across and
-back of the shoulders; then up above the head again, repeating
-this, and all other motions in your calisthenics, half a
-dozen times. Another exercise is holding the stick down in
-front of you with both hands and bringing it up over the head
-and down back of the shoulders without stopping.</p>
-
-<div class="figright" style="width: 216px;">
-<img src="images/i_357.jpg" width="216" height="399" alt="drawing" />
-<div class="caption">Fig. 253.—Broom-handle
-Exercise.</div>
-</div>
-
-<p>The side motion is made by grasping the broomstick at
-each end, holding it down in front of you, and swinging it sideways,<span class="pagenum"><a name="Page_358" id="Page_358">[358]</a></span>
-thus bringing the right hand up when the left is down,
-and <i>vice versa</i>. Another way is to hold the stick by both ends
-above your head and swing it from one side to the other,
-which will cause the right arm to come in contact with the
-right side of the head, while the left arm is extended out horizontally
-to the left. Next carry the stick back of and against
-the shoulders; then swing it from right to left, which gives
-another side movement. Vary all the movements in as many
-different ways as you can think of.</p>
-
-
-<h3><b>Exercise Fourth.</b></h3>
-
-<p>Stand erect always when in position for exercising, according
-to the directions given—heels together, toes out, etc. Now
-allow your arms to hang naturally down at your sides, raise
-your heels, and stand on your toes; now lower the heels and
-repeat the motion; then close your hands tightly and raise
-your arms out sideways at right angles with your body, next up
-straight above your head, and down again to the level of the
-shoulders, then back down to your sides as at first.</p>
-
-<p>Again take position, close your hands tightly, and raise them
-up under the arms, bringing the elbows out to a level with the
-shoulders; then bring your hands down at your sides again and
-repeat the movement vigorously; resume position, firmly close
-your hands and carry them up to the shoulders, next extend
-them up straight above your head, down again to your shoulders,
-and back to the first position. A very good exercise is to
-extend both arms straight out in front of you, close your hands
-and bring them back to your chest, which will cause the bent
-elbows to project beyond your back.</p>
-
-
-<h3><b>Exercise Fifth.</b></h3>
-
-<p>Assume position, close your hands, and take one long step
-forward with your right foot, bend the right knee and stand<span class="pagenum"><a name="Page_359" id="Page_359">[359]</a></span>
-with your weight resting on the right foot; then extend your
-arms out sideways straight from the shoulders, now bring your
-hands together in front of you, still
-keeping the arms on a level with the
-shoulders, and while doing so throw
-the body back, straightening the
-right knee and bending the left so
-the weight of the body will rest on
-the left foot; repeat this and vary it
-by taking one step forward with the
-left foot and going through with the
-same motions.</p>
-
-<p>Resume position, and place your
-hands on your hips, with your thumbs
-turned forward and fingers backward.
-Now take a long step forward with your
-right foot, throwing the weight on that
-foot, then back again in position, and in
-the same manner step forward with your
-left foot and back again; next take a step
-backward with your right foot, resume
-position, and then with your left.</p>
-
-<p>Again stand with your hands on your
-hips, thumbs turned forward, and without
-bending your knees move the body, first
-bending it forward, then backward, and
-resuming an upright position, bend over to the right and to the
-left.</p>
-
-<div class="figleft" style="width: 215px;">
-<img src="images/i_359.jpg" width="215" height="473" alt="drawing" />
-<div class="caption">Fig. 254.—Balancing
-Broom-handle.</div>
-</div>
-
-
-<h3><b>Exercise Sixth.</b></h3>
-
-<p>In this the broomstick is used for balancing; hold it in an
-upright position, and first try balancing it on the palm of your
-hand; then on the back of your hand, next on each of the fingers
-in succession, commencing with the first finger (Fig. 254); be<span class="pagenum"><a name="Page_360" id="Page_360">[360]</a></span>
-cautious, and when the stick wavers do not let it fall, but catch
-it with the other hand, and again balance it. This is an interesting,
-light, and diverting exercise, requiring all your attention,
-and, for the time being, your thoughts are concentrated on the
-effort to keep the broomstick properly balanced.</p>
-
-
-<h3><b>Exercise Seventh.</b></h3>
-
-<p>Pure blood means good health, and to purify the blood and
-keep the complexion clear it is essential that you breathe a
-sufficient quantity of <i>pure</i> air, and you cannot take in a proper
-amount of air unless your lungs are wholly extended. So take
-position with your hands correctly placed on your hips; then
-very slowly draw in your breath until your chest and lungs are
-fully expanded; next slowly exhale your breath, and repeat
-the exercise.</p>
-
-
-<h3><b>Exercise Eighth.</b></h3>
-
-<p>Screw in two large, <i>strong</i> hooks in the woodwork on each
-side of the doorway; place the hooks as far above your head
-as you can conveniently reach; slide the broomstick in so that
-it will extend across the doorway and be supported by the
-hooks; have the apparatus on that side of the doorway where
-it will not interfere with the opening and closing of the door, and
-be sure that it is perfectly secure before attempting to exercise;
-each time before commencing a new movement examine the stick,
-and be certain that it is not in any danger of slipping from the
-hooks. Unless you can be perfectly safe from liability to hurts
-or falls, do not include this in your list of exercises.</p>
-
-<p>For the first movement grasp the bar firmly with both
-hands and swing the body forward and backward, standing first
-on the toes, then on the heels; next, still grasping the bar, raise
-up on your toes, then back again. Change the movements in<span class="pagenum"><a name="Page_361" id="Page_361">[361]</a></span>
-as many ways as you like, but do not try anything that may
-strain or hurt you. Now screw in two more hooks, on either
-side of the woodwork, below the first ones, placing them about
-two feet and eight inches from the floor; take the stick from
-its elevated position and slide it across the doorway so it will
-rest securely on the two lower hooks. Standing in front
-of it, grasp the bar firmly with both hands and try to raise
-yourself up, feet and all, from the floor by bearing your weight
-down on the bar; then
-let yourself gently back
-again. When you have
-finished exercising, remove
-the stick and put
-it away.</p>
-
-<div class="figright" style="width: 317px;">
-<img src="images/i_361.jpg" width="317" height="328" alt="diagram" />
-<div class="caption">Fig. 255.—The Swing.</div>
-</div>
-
-
-<h3><b>Exercise Ninth.</b></h3>
-
-<p>In the top part of
-the framework of the
-doorway fasten a very
-strong hook by screwing
-it into the wood;
-then take a broomstick
-and, after shortening it
-so that when held in a
-horizontal position it will readily pass through the doorway,
-cut notches in each end and securely tie the two ends of a rope
-across the notches; suspend this swing by slipping the centre
-of the rope over the hook in the doorway (Fig. 255); have
-the apparatus strong and firm, capable of any amount of wear
-and tear. Stand facing the stick, which should be at the height
-of the chest, and take hold of it with both hands; now bend
-the knees until they are within a short distance of the floor,<span class="pagenum"><a name="Page_362" id="Page_362">[362]</a></span>
-then rise and repeat the exercise. Next, with both hands on
-the stick, take a long step forward with the right foot, throwing
-the weight on that foot; return to your position and go through
-the same exercise with your left foot. Try different movements
-which suggest themselves, and select those you like best. When
-not in use the swing can be slipped off the hook and put out of
-the way.</p>
-
-
-<h3><b>Exercise Tenth.</b></h3>
-
-<p>To develop a weak voice and make it clear and sweet, and to
-strengthen the lungs, reading aloud is an excellent exercise; as
-it requires both mental and muscular exertion and performs a
-double duty, it should receive a full share of time and attention.
-Begin with something you are interested in, then you
-will find it much easier to read aloud than if you undertook a
-book or an article which might be full of merit, but lack interest
-for you. When commencing this exercise read only ten minutes
-or less at a sitting, increasing the time as you practise and
-the reading grows less difficult. Do not be discouraged if your
-voice sounds a little husky while reading; stop a moment, and
-then go on again. After a few trials you will have no more
-trouble in that way, for your voice will grow clear and distinct,
-and the exercise will become a great pleasure as well as an attractive,
-useful accomplishment.</p>
-
-<p>Let your reading matter be very choice and of the best; do
-not condescend to waste your time on other writings.</p>
-
-<p>From the ten different exercises given, select those best
-adapted to your size, age, and liking, and practise them for a
-short time daily; you can hardly realize the great advantage they
-will prove to be. In this way all parts of the system may be
-strengthened and harmoniously developed. But the constitution
-cannot be hurried: all must be accomplished little by little.
-Allow yourselves to be happy and merry; be ready to enjoy<span class="pagenum"><a name="Page_363" id="Page_363">[363]</a></span>
-the little pleasures of life, and this, with kind and generous feelings
-for others, will do a great deal toward keeping you well
-and strong.</p>
-
-<p>Out-of-door exercise is always to be preferred to in-door
-when one has a choice. Walking, tennis, archery, horseback,
-and swimming are some of the athletic sports for girls, and they
-all have their attractions. But there are times when we are denied
-the pleasure of these pastimes, and then we are glad of a
-little exercise in-doors, which also affords enjoyment and recreation.</p>
-
-<div class="figcenter" style="width: 478px;">
-<img src="images/i_363.jpg" width="478" height="146" alt="fairies somersaulting" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_364" id="Page_364">[364]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXXIII.<br />
-
-<small>A DECORATIVE LANGUAGE.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_364.jpg" width="184" height="239" alt="W" />
-</div>
-
-<p class="drop-capi">WHEN in olden times the warriors went
-around the country dressed in suits of
-clothes made by a blacksmith instead
-of a tailor, their hats were manufactured
-at the forge also, and had <i>iron
-front doors</i> that moved upon hinges.
-When danger was nigh these doors
-were closed, locked, and barred over
-the poor men’s heads, leaving only a
-loop-hole or two for them to peep through. At such times in
-meeting Mr. Brown it was impossible to distinguish him from
-Mr. Smith, who was arrayed in like manner, and it might happen
-that Mr. Smith was the last man in the world that one
-cared to meet, not being on speaking terms or some such
-reason. Well, as we were saying, there was no chance whatever
-of telling one man from another unless he wore a distinguishing
-mark of some kind.</p>
-
-<p>So to prevent such uncomfortable mistakes and to distinguish
-friend from foe, every gentleman had to be marked and
-labelled, like an express package, so one might read as he ran,
-“I am Earl Jenkins, of Thunderland, who married a Rhazor, of
-Stropshire.” These names and addresses were not painted in
-words on their owners with a marking-brush, but worked and
-embroidered in translatable designs on cloaks, saddle-housings,<span class="pagenum"><a name="Page_365" id="Page_365">[365]</a></span>
-and silken banners, or emblazoned on the shield they carried
-with which to meet the advances of their neighbors. Since that
-time our more recent ancestors in England have taken great
-pride in preserving and handing down from generation to generation
-these distinguishing marks, as a guarantee to their children
-that they came of gentle birth, which is very interesting
-and gratifying for European girls, but American girls need
-nothing of the kind; it is sufficient that we are Americans.</p>
-
-<p>Of course, some of us do take pleasure in knowing that our
-great-great-grandparents came over in the Mayflower, or that
-the name of an ancestor is among the signatures upon that Declaration
-of Independence which made such a stir a century ago,
-for that proves us to be Columbia’s daughters.</p>
-
-<p>When there was no other method of distinguishing a man
-his label became a very important item; so these family devices
-were reduced to a science and protected by law.</p>
-
-<p>The old countries’ coats of arms may remain abroad, where
-they belong, but the ingenious scheme, that was gradually
-evolved, of picturing ideas, mottoes, and pretty sentiments we
-will adopt as our inheritance, with many thanks to our mediæval
-ancestors with the metallic clothes, who bequeathed them
-to us.</p>
-
-<p>We propose to revive enough of this neglected knowledge
-of chivalry to serve our purpose in suggesting a method of designing
-devices which will not only be artistic decorations, but
-to the initiated can be made to portray almost any sentiment
-or set of principles the artist may choose.</p>
-
-<p>The many uses to which these designs can be applied will,
-we hope, at once be seen by the quick-witted American girls,
-and we trust will interest the reader as much as they do the
-writer, who in this chapter can only give a few necessary, brief
-hints upon the subject, sufficient, however, to explain the application
-that can be made of this beautiful and perfect system of</p>
-
-<p><span class="pagenum"><a name="Page_366" id="Page_366">[366]</a></span></p>
-
-
-<h3><b>Decorative Language.</b></h3>
-
-<p>In the following directions anyone can learn how to make
-a device which will not only be a decoration, artistic in form and
-color, but will at the same time express the peculiar traits, characteristics,
-and virtues of the friend for whom it is intended, or
-the precept, code, proverb, or creed of the designer. All technical
-terms, as far as practicable, are discarded, but the rules of
-heraldry strictly adhered to, with such simplifications
-as are necessary to render it intelligible.</p>
-<div class="figleft" style="width: 121px;">
-<img src="images/i_366a.jpg" width="121" height="118" alt="diagram" />
-<div class="caption">Fig. 256.—The Field.</div>
-</div>
-
-<h3><b>The Field.</b></h3>
-
-<p>The surface on which the design is portrayed
-is called the field. This may be of any shape;
-originally it was supposed to represent a warrior’s shield, but
-you may use a circle, oval, square, diamond, or any other form.</p>
-
-
-
-
-<h3><b>The Points</b></h3>
-
-<p class="unindent">on the surface of the shield locate the exact spot where a
-design or object in heraldry may be placed.
-Refer by numbers to Fig. 257.</p>
-
-<div class="figright" style="width: 117px;">
-<img src="images/i_366b.jpg" width="117" height="115" alt="diagram" />
-<div class="caption">Fig. 257.—Points.</div>
-</div>
-
-
-<ul class="ingredients"><li>1. Fess point.</li>
-<li>2. Honor point.</li>
-<li>3. Nombril point.</li>
-<li>4. Dexter chief point.</li>
-<li>5. Middle or chief point.</li>
-<li>6. Sinister chief point.</li>
-<li>7. Dexter base point.</li>
-<li>8. Middle base point.</li>
-<li>9. Sinister base point.</li></ul>
-
-
-
-<p>If you desire to place a flower on the fess point, you find
-that it means the exact centre of the shield, and so on.</p>
-
-<p>The devices take significance in accordance with the more
-or less importance of their position on the shield; the honor<span class="pagenum"><a name="Page_367" id="Page_367">[367]</a></span>
-point holds the highest grade, next to it the middle or chief
-point, and the right or dexter side is of more importance than
-the left or sinister.</p>
-
-<p>The field may be divided, if desired, in any of the following</p>
-
-
-<h3><b>Divisions,</b></h3>
-
-<p class="unindent">each of which has a significance, suggested generally by the
-form:</p>
-
-<p>Fig. 258, the Chief, occupying the top or head of the
-shield, indicates pre-eminence, main object, intelligence, first
-principle.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 115px;">
-<img src="images/i_367a1.jpg" width="115" height="120" alt="diagram" />
-<div class="caption">Fig. 258.—Chief.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 111px;">
-<img src="images/i_367a2.jpg" width="111" height="115" alt="diagram" />
-<div class="caption">Fig. 259.—Fess.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 116px;">
-<img src="images/i_367a3.jpg" width="116" height="120" alt="diagram" />
-<div class="caption">Fig. 260.—Parted per Fess.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>Fig. 259, the Fess, denotes cause and effect, the central
-band containing the means by which the ends, in the other
-spaces, are accomplished.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 118px;">
-<img src="images/i_367b.jpg" width="118" height="116" alt="diagram" />
-<div class="caption">Fig. 261.—Pale.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 118px;">
-<img src="images/i_367b2.jpg" width="120" height="121" alt="diagram" />
-<div class="caption">Fig. 262.—Parted per Pale.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 117px;">
-<img src="images/i_367b3.jpg" width="117" height="117" alt="diagram" />
-<div class="caption">Fig. 263.—Bend.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>Fig. 260 is a partition, and partakes of the meaning of the
-division, it is denoted by the term, parted per fess.</p>
-
-<p><span class="pagenum"><a name="Page_368" id="Page_368">[368]</a></span></p>
-
-<p>Fig. 261, the Pale, represents rectitude, uprightness; also
-union, the object in the central division uniting whatever occupies
-the dexter and sinister sides.</p>
-
-<p>Fig. 262 is parted per pale.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 124px;">
-<img src="images/i_368a1.jpg" width="124" height="122" alt="diagram" />
-<div class="caption">Fig. 264.—Parted per Bend.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 116px;">
-<img src="images/i_368a2.jpg" width="116" height="119" alt="diagram" />
-<div class="caption">Fig. 265.—Chevron.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 116px;">
-<img src="images/i_368a3.jpg" width="116" height="117" alt="diagram" />
-<div class="caption">Fig. 266.—Cross.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>Fig. 263, the Bend, is auspicious, meaning prosperity, success.</p>
-
-<p>Fig. 264 is parted per bend.</p>
-
-<p>Fig. 265, the Chevron, is indicative of aid, assistance, support.</p>
-
-<p>Fig. 266, the Cross, suggests humility, devotion, patience,
-perseverance.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 117px;">
-<img src="images/i_368b1.jpg" width="117" height="117" alt="diagram" />
-<div class="caption">Fig. 267.—Saltire.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 116px;">
-<img src="images/i_368b2.jpg" width="116" height="119" alt="diagram" />
-<div class="caption">Fig. 268.—Pile.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 121px;">
-<img src="images/i_368b3.jpg" width="121" height="117" alt="diagram" />
-<div class="caption">Fig. 269.—Canton.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>Fig. 267, the Saltire, a variation of the cross, is recognized
-as order, discipline.</p>
-
-<p>Fig. 268, the Pile, being in the form of a wedge, means
-penetration, incision, entering to divide or distribute.</p>
-
-<p>Fig. 269, the Canton, denotes an additional, separate idea
-or principle; also some characteristic that is added to the original
-design.</p>
-
-<p><span class="pagenum"><a name="Page_369" id="Page_369">[369]</a></span></p>
-
-
-<h3><b>Colors.</b></h3>
-
-<p>These also have symbolical meanings.</p>
-
-<p>Fig. 270.—Gold or yellow is expressed in black and white
-by means of dots, and is used in the sense of wealth, ability,
-or knowledge.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 116px;">
-<img src="images/i_369a1.jpg" width="116" height="116" alt="diagram" />
-<div class="caption">Fig. 270.—Gold.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 115px;">
-<img src="images/i_369a2.jpg" width="115" height="119" alt="diagram" />
-<div class="caption">Fig. 271.—Silver.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 120px;">
-<img src="images/i_369a3.jpg" width="120" height="117" alt="diagram" />
-<div class="caption">Fig. 272.—Red.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>Fig. 271.—Silver or white is represented by a plain white
-surface, and being the color of light, signifies brightness, purity,
-virtue, innocence.</p>
-
-<p>Fig. 272.—Red, represented by perpendicular lines, means
-ardent affection, love.</p>
-
-<p>Fig. 273.—Blue is represented by horizontal lines; like the
-color in the heavens, it is truth, freedom, eternity.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 115px;">
-<img src="images/i_369b1.jpg" width="115" height="116" alt="diagram" />
-<div class="caption">Fig. 273.—Blue.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 113px;">
-<img src="images/i_369b2.jpg" width="113" height="118" alt="diagram" />
-<div class="caption">Fig. 274.—Purple.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 115px;">
-<img src="images/i_369b3.jpg" width="115" height="116" alt="diagram" />
-<div class="caption">Fig. 275.—Green.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>Fig. 274.—Purple, represented by diagonal lines from sinister
-chief to dexter base, being the royal color, is understood as
-authority, power, grandeur.</p>
-
-<p>Fig. 275.—Green is represented by lines running diagonally
-across the shield from dexter chief to sinister base. Like
-spring foliage, it suggests hope, life, vitality, youth, freshness.</p>
-
-<p><span class="pagenum"><a name="Page_370" id="Page_370">[370]</a></span></p>
-
-<p>Fig. 276.—Orange is represented by horizontal lines crossed
-by diagonal lines from dexter base to sinister chief. It is the
-color of the king of beasts and signifies strength, honor, generosity.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 136px;">
-<img src="images/i_370a.jpg" width="136" height="132" alt="diagram" />
-<div class="caption">Fig. 276.—Orange.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 134px;">
-<img src="images/i_370b.jpg" width="134" height="131" alt="diagram" />
-<div class="caption">Fig. 277.—Crimson.</div>
-</div></td>
-<td align="left">
-<div class="figcenter" style="width: 128px;">
-<img src="images/i_370c.jpg" width="128" height="125" alt="diagram" />
-<div class="caption">Fig. 278.—Black.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>Fig. 277.—Crimson, or blood-color, is represented by diagonal
-lines from dexter chief and sinister chief, crossing each
-other. It denotes boldness, enthusiasm, impetuosity.</p>
-
-<p>Fig. 278.—Black is represented by horizontal and perpendicular
-lines crossed. It means darkness, doubt, ignorance,
-uncertainty.</p>
-
-<p>To the principal design portrayed on the shield can be
-added such appendages as are appropriate—crest over the top
-and a scroll with a motto beneath the shield—but they are supplementary,
-and not of great importance; their colors should be
-those of the shield.</p>
-
-<p>Thus far our plans have followed the exact science of
-heraldry, but at this point comes a departure, for in the place
-of other armorial devices we shall place Dame Nature’s sweetest
-thoughts—flowers.</p>
-
-<p>If we now add to the significance of the forms and colors
-already given the accepted and authentic language of flowers,
-we shall have a possibility of combinations practically inexhaustible,
-and with such a dictionary of symbols to draw upon,
-we can successfully translate almost any terse sentiment into a
-unique decorative design.</p>
-
-<p><span class="pagenum"><a name="Page_371" id="Page_371">[371]</a></span></p>
-
-<p>In order to give all the assistance in our power we have
-culled from the most generally accepted authorities and authentic
-sources a short floral vocabulary, and now that we have the
-material at hand let us test the system and learn</p>
-
-
-<h3><b>How to Make a Design in Decorative Language.</b></h3>
-
-<p>Suppose our Natural History Society desires an appropriate
-pin or badge.</p>
-
-<p>First we turn to the floral vocabulary and there find that
-the magnolia means love of nature. The flower has a good
-decorative form, its sentiment
-is exactly appropriate,
-and we unhesitatingly
-adopt it.</p>
-
-<div class="figright" style="width: 287px;">
-<img src="images/i_371.jpg" width="287" height="381" alt="TRUE LOVE OF NATURE" />
-<div class="caption">Fig. 279.</div>
-</div>
-
-<p>After trying various
-forms for the shield, we
-select a very plain one that
-the effect of the decorative
-form of the magnolia may
-not be lessened by too ornate
-surroundings, and to
-show the large size of the
-blossom we must have it
-occupy the entire field
-without any divisions.
-Next, as to color; let us
-think. White, meaning
-brightness, purity, etc.?
-No. Yellow or gold, signifying
-wealth, ability, or—ah! here we have it—<i>knowledge?</i>
-Yes, that will do nicely—a love of nature on a field of knowledge;
-that certainly is appropriate. But the top of the shield<span class="pagenum"><a name="Page_372" id="Page_372">[372]</a></span>
-being so square and plain gives the device an unfinished appearance.
-Suppose we try a bar over it, and something not a flower.
-As we wish this design to remain simple, a leaf of some kind
-would be best; so we return to the floral vocabulary, and after
-trying many and almost taking several, finally decide that the
-oak leaf is just the form needed to give a finish to the top, and
-its meaning, strength, will be an excellent element in the society.
-There, our insignia is complete, good in form, attractive in color,
-and appropriate in its meaning; but some of us prefer having
-the motto written out in plain English, so we will add a decorative
-scroll, with the meaning of the design inscribed “True Love
-of Nature.” (See Fig. 279.)</p>
-
-<div class="figleft" style="width: 326px;">
-<img src="images/i_373a.jpg" width="326" height="287" alt="Wealth is the Reward of INDUSTRY" />
-<div class="caption">Fig. 280. </div>
-</div>
-
-<p>To familiarize ourselves with the working of the method let
-us try another experiment, and take the sentiment, “Wealth is
-the Reward of Industry,” to illustrate.</p>
-
-<p>After deciding on the form of the shield, we turn to the divisions,
-and running them slowly over for something suitable, stop
-at Fig. 259, the Fess, meaning cause and effect. That sounds
-promising. Industry is the means by which the end, wealth,
-is accomplished. Good so far. We can now see that a floral
-emblem to represent industry should be placed in the central
-division, and whatever signifies wealth on the other two spaces.
-Among our legends of flowers we find industry portrayed by the
-bee orchid, and wealth and prosperity are symbolized by wheat.
-That is plain and easy. Now we have only to decide upon appropriate
-colors for the field to complete the design. Gold
-would mean wealth, but that we have in the wheat; besides the
-yellow of the wheat would not show well on the gold background,
-while on white or silver the contrast is strong and the appearance
-agreeable. Silver denotes innocence and virtue, which
-are so necessary that without them wealth would be undesirable.
-Therefore silver or virtue shall be the groundwork for our wealth,
-and for industry we will select purple as meaning power. Industry<span class="pagenum"><a name="Page_373" id="Page_373">[373]</a></span>
-possesses the power to acquire wealth. Thus we complete
-the emblematical design, as seen in Fig. 280.</p>
-
-<div class="figright" style="width: 282px;">
-<img src="images/i_373b.jpg" width="282" height="392" alt="drawing with blank ribbon" />
-<div class="caption">Fig. 281.</div>
-</div>
-<p>The following is a problem given to us for solution: On a
-gold chevron in a black field
-is a scarlet lily, to which is
-added as a crest a sunflower,
-and under all a blank scroll.
-On this we must write a motto
-that will be appropriately symbolized
-by the design.</p>
-
-<p>It would be excellent practice
-for the student in this
-new motif in decorative art
-to try, by application of the
-foregoing instructions, to decipher
-the meaning of this
-design before reading the
-analysis.</p>
-
-<p><span class="smcap">Solution of Fig. 281.</span>
-—We do not think this is
-put together as scientifically
-as the system would admit of,
-but still it can be deciphered.</p>
-
-
-
-<p>The scarlet lily (high-souled
-aspirations) on a gold (knowledge) chevron, which is
-aid, assistance, in a field of black (ignorance), surmounted by<span class="pagenum"><a name="Page_374" id="Page_374">[374]</a></span>
-the sunflower (pure and lofty thoughts), freely translated, might
-be read: Aspirations after knowledge help to illumine the
-darkness of ignorance
-with pure and lofty
-thoughts. Aspirations
-(lily) after knowledge (gold)
-help (chevron) to illumine
-(the gold chevron and lily
-brighten up the dulness of
-the black field) the darkness
-of ignorance (black) with
-pure and lofty thoughts
-(sunflower).</p>
-
-<div class="figleft" style="width: 317px;">
-<img src="images/i_374a.jpg" width="317" height="290" alt="drawing" />
-<div class="caption">Fig. 282.</div>
-</div>
-
-<p>For younger girls the
-plain shield of one color with
-an appropriate flower had
-best be used, which they may vary <i>ad infinitum</i>. A simple
-yet pretty shield can be made by placing a four-leaved clover,
-symbolical of good-luck, on a shield of one color, silver, meaning
-purity, innocence, showing that innocence, combined with
-the language of the clover, expresses good-fortune.</p>
-
-
-
-<p>We might go on forming innumerable designs, each more
-beautiful than the last, but enough hints have been given to enable<span class="pagenum"><a name="Page_375" id="Page_375">[375]</a></span>
-the young people to make any style of design in this decorative
-language which may best suit their purpose. Young
-girls can decorate menu cards, having
-each motto exactly suited to every separate
-guest, the sentiment being indicative
-of some feeling or quality peculiar
-to each person. Invitations for parties,
-also orders of dances or games, may be
-designed in the same way.</p>
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
-<tr>
-<td align="left"><div class="figright" style="width: 222px;">
-<img src="images/i_374ba.jpg" width="222" height="176" alt="drawing" />
-<div class="caption">Fig. 283.</div>
-</div></td>
-<td align="left"><div class="figright" style="width: 173px;">
-<img src="images/i_374bb.jpg" width="173" height="148" alt="drawing" />
-<div class="caption">Fig. 284</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>This beautiful combination of flowers
-and heraldry is appropriate for ornamental
-needlework, to be embroidered
-on chairs, worked on screens, painted
-on velvet, wrought on scarfs, and adapted in innumerable ways
-to add to the refinement and attractiveness of home.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
-<tr>
-<td align="left"><div class="figcenter" style="width: 490px;">
-<img src="images/i_375a.jpg" width="490" height="353" alt="fan" />
-<div class="caption">Fig. 285.</div>
-</div></td>
-<td align="left"><div class="figright" style="width: 192px;">
-<img src="images/i_375b.jpg" width="192" height="327" alt="chair" />
-<div class="caption">Fig. 286.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p><span class="pagenum"><a name="Page_376" id="Page_376">[376]</a></span></p>
-
-<p>The idea can be utilized in stained-glass effects and in china painting.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
-<tr>
-<td align="left"><div class="figleft" style="width: 309px;">
-<img src="images/i_376aa.jpg" width="309" height="212" alt="satchel" />
-<div class="caption">Fig. 287.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 196px;">
-<img src="images/i_376ab.jpg" width="196" height="212" alt="tidy" />
-<div class="caption">Fig. 288.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>The chosen motto may be a decoration in marking personal
-possessions, such as table china (Figs. 282, 283, 284), fan (Fig.
-285), chair-back (Fig. 286), travelling satchel (Fig. 287), tidy
-(Fig. 288), handkerchief (Fig. 289), and sofa-cushion (Fig. 290).</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
-<tr>
-<td align="left"><div class="figcenter" style="width: 151px;">
-<img src="images/i_376b1.jpg" width="151" height="111" alt="handkerchief" />
-<div class="caption">Fig. 289.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 278px;">
-<img src="images/i_376b2.jpg" width="278" height="185" alt="cushion" />
-<div class="caption">Fig. 290.</div>
-</div>
-</td>
-</tr>
-</table>
-</div>
-
-
-<p>These are only a few examples of the many articles which
-can be beautified and stamped with your individual mark. Portières
-offer a good ground for applique or embroidery in decorative
-language.</p>
-
-<p><span class="pagenum"><a name="Page_377" id="Page_377">[377]</a></span></p>
-
-
-<h3><b>Book-Plates</b></h3>
-
-<p class="unindent">seem to be regaining their popularity and usefulness. These
-book-plates are tablets in any
-style, which, when gummed
-inside on the front covers of
-books, have been used for
-many years to designate to
-whom the books belong.</p>
-
-<p>There is a certain book-plate
-more interesting to us
-than all others. To the design
-on it we are indebted for our
-national shield and our Stars
-and Stripes. It was used by
-the Father of our Country, and
-we are glad to be able to give
-a print of the original in Fig.
-291.</p>
-
-<div class="figcenter" style="width: 245px;">
-<img src="images/i_377.jpg" width="245" height="336" alt="George Washington's" />
-<div class="caption">Fig. 291.</div>
-</div>
-
-<p>In the decorative language
-any style of book-plate can be
-designed, which, when pasted in a favorite book, will add to the
-value of the already treasured volume.</p>
-
-
-<h3><b>Floral Vocabulary.</b></h3>
-
-
-
-<div class="center">
-<table border="0" cellpadding="0" cellspacing="0" summary="Language of flowers">
-<tr><td align="left">Apple-blossom</td><td align="left">Preference.</td></tr>
-<tr><td align="left">Almond</td><td align="left">Hope.</td></tr>
-<tr><td align="left">Acanthus</td><td align="left">Art.</td></tr>
-<tr><td align="left">Arbor vitæ</td><td align="left">Unchanging friendship.</td></tr>
-<tr><td align="left">Bulrush</td><td align="left">Docility.</td></tr>
-<tr><td align="left">Balm</td><td align="left">Social intercourse.</td></tr>
-<tr><td align="left">Balsamine</td><td align="left">Impatience. <span class="pagenum"><a name="Page_378" id="Page_378">[378]</a></span></td></tr>
-<tr><td align="left">Blue violet</td><td align="left">Faithfulness.</td></tr>
-<tr><td align="left">Bay wreath</td><td align="left">Glory.</td></tr>
-<tr><td align="left">Box</td><td align="left">Constancy.</td></tr>
-<tr><td align="left">Broom</td><td align="left">Humility.</td></tr>
-<tr><td align="left">Buttercup</td><td align="left">Riches.</td></tr>
-<tr><td align="left">Camellia japonica</td><td align="left">Unpretending excellence.</td></tr>
-<tr><td align="left">Cherry</td><td align="left">A good education.</td></tr>
-<tr><td align="left">Canterbury-bell</td><td align="left">Gratitude.</td></tr>
-<tr><td align="left">Chestnut</td><td align="left">Do me justice.</td></tr>
-<tr><td align="left">China aster</td><td align="left">Love of variety.</td></tr>
-<tr><td align="left">Cabbage</td><td align="left">Profit.</td></tr>
-<tr><td align="left">Coreopsis</td><td align="left">Always cheerful.</td></tr>
-<tr><td align="left">Clover, red</td><td align="left">Industry.</td></tr>
-<tr><td align="left">Cowslip</td><td align="left">Winning grace.</td></tr>
-<tr><td align="left">Clover, white</td><td align="left">I promise.</td></tr>
-<tr><td align="left">Daffodil</td><td align="left">Uncertainty.</td></tr>
-<tr><td align="left">Dahlia</td><td align="left">Elegance and dignity.</td></tr>
-<tr><td align="left">Dandelion</td><td align="left">Coquetry.</td></tr>
-<tr><td align="left">Fennel</td><td align="left">Strength.</td></tr>
-<tr><td align="left">Geranium</td><td align="left">Gentility.</td></tr>
-<tr><td align="left">Grass</td><td align="left">Submission.</td></tr>
-<tr><td align="left">Heliotrope</td><td align="left">Devotion.</td></tr>
-<tr><td align="left">House-leek</td><td align="left">Domestic economy.</td></tr>
-<tr><td align="left">Hollyhock</td><td align="left">Ambition.</td></tr>
-<tr><td align="left">Ivy</td><td align="left">Dependence.</td></tr>
-<tr><td align="left">Laurestine</td><td align="left">A token.</td></tr>
-<tr><td align="left">Lichen</td><td align="left">Solitude.</td></tr>
-<tr><td align="left">Lettuce</td><td align="left">Cold-hearted.</td></tr>
-<tr><td align="left">Lemon-blossom</td><td align="left">Discretion.</td></tr>
-<tr><td align="left">Lilac, purple</td><td align="left">Fastidiousness.</td></tr>
-<tr><td align="left">Lily, white</td><td align="left">Purity.</td></tr>
-<tr><td align="left">Mullein</td><td align="left">Good-nature.</td></tr>
-<tr><td align="left">Mignonette</td><td align="left">Worth.<span class="pagenum"><a name="Page_379" id="Page_379">[379]</a></span></td></tr>
-<tr><td align="left">May-flower</td><td align="left">Welcome.</td></tr>
-<tr><td align="left">Nasturtium</td><td align="left">Patriotism.</td></tr>
-<tr><td align="left">Oats</td><td align="left">Music.</td></tr>
-<tr><td align="left">Olive</td><td align="left">Peace.</td></tr>
-<tr><td align="left">Ox-eye</td><td align="left">Patience.</td></tr>
-<tr><td align="left">Poppy, white</td><td align="left">Dreams.</td></tr>
-<tr><td align="left">Snowdrop</td><td align="left">Consolation.</td></tr>
-<tr><td align="left">Straw</td><td align="left">United.</td></tr>
-<tr><td align="left">Sensitive-plant</td><td align="left">Sensitiveness.</td></tr>
-<tr><td align="left">Star of Bethlehem</td><td align="left">Reconciliation.</td></tr>
-<tr><td align="left">Sweetbrier</td><td align="left">Simplicity.</td></tr>
-<tr><td align="left">Thyme</td><td align="left">Thriftiness.</td></tr>
-<tr><td align="left">Thorn-apple</td><td align="left">Disguise.</td></tr>
-<tr><td align="left">Tulip-tree</td><td align="left">Fame.</td></tr>
-<tr><td align="left">Witch-hazel</td><td align="left">A spell.</td></tr>
-<tr><td align="left">Winged seeds of all kinds&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Messengers.</td></tr>
-<tr><td align="left">White violet</td><td align="left">Modesty.</td></tr>
-<tr><td align="left">White rose</td><td align="left">Silence.</td></tr>
-</table></div>
-
-
-<div class="figcenter" style="width: 474px;">
-<img src="images/i_379.jpg" width="474" height="167" alt="princess with a heraldic shield" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_380" id="Page_380">[380]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXXIV.<br />
-
-<small>A FEW ITEMS ON OLD-FASHIONED NEEDLE-WORK,
-WITH SOME NEW AND ORIGINAL
-PATTERNS.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_380.jpg" width="164" height="183" alt="C" />
-</div>
-
-<p class="drop-capi2">“COME around early this afternoon and bring
-your fancy-work; we will have a nice,
-cosey time; all the girls will be there, and
-we can read that last new book.” Such
-is the familiar and welcome invitation
-given and received, from time to time, by
-most young girls, and they find quiet but
-real recreation in these informal meetings,
-where, while listening to a friend read
-aloud, they believe it much easier to keep their minds on the
-subject if their hands are employed with dainty needle-work.
-Then, too, sewing is a real pleasure when one becomes interested
-in the work, and anyone who thoroughly understands
-plain sewing can with ease learn fancy stitches of all kinds, for
-good old-fashioned</p>
-
-
-<h3><b>Plain Sewing</b></h3>
-
-<p class="unindent">is the foundation—the A B C—of all the more elaborate drawn
-work, embroideries, and some of the laces. As a rule we think</p>
-
-
-<h4>OVERHANDING</h4>
-
-<p class="unindent">comes first on the list of plain stitches; this is exactly the same
-as sewing over and over. Hold the two edges of the material<span class="pagenum"><a name="Page_381" id="Page_381">[381]</a></span>
-firmly together between the first finger and thumb of the left
-hand, while with the right hand you take the stitches very close
-together and as near the edge as possible, sewing from right
-to left (Fig. 292). It is well to keep the edge nearest to you a
-little tighter than the outer edge, to prevent its puckering.
-Always baste the seam before sewing, and when the seam is
-finished open it and flatten out the stitches (Fig. 293), so that
-the edges of the material will not overlap, but just meet together
-and lie smooth and flat.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr><td align="left"><div class="figcenter" style="width: 218px;">
-<img src="images/i_381a.jpg" width="218" height="190" alt="diagram" />
-<div class="caption">Fig. 292.—Overhanding; or Sewing
-over and over.</div>
-</div></td><td align="left"><div class="figcenter" style="width: 270px;">
-<img src="images/i_381b.jpg" width="270" height="203" alt="diagram" />
-<div class="caption">Fig. 293—Overhanding. The seam opened with
-stitches flattened out.</div>
-</div></td></tr>
-</table></div>
-
-
-
-
-
-<h4>OVERCASTING</h4>
-
-<p class="unindent">is the same as overhanding, except the stitches slant, are farther
-apart, taken down deeper in the material, and the seam is not
-opened.</p>
-
-
-<h4>HEMMING.</h4>
-
-<p>First turn in the raw edge four or five threads, according to
-the kind of goods to be hemmed, then turn it down again to
-the desired width; this done, baste the hem down evenly and
-neatly—it must be of the same width throughout—hold the<span class="pagenum"><a name="Page_382" id="Page_382">[382]</a></span>
-sewing over the first finger of your left hand, and have the
-stitches small, even, and
-very near the edge of the
-hem (Fig. 294).</p>
-
-<div class="figcenter" style="width: 302px;">
-<img src="images/i_382a.jpg" width="302" height="172" alt="diagram" />
-<div class="caption">Fig. 294.—Hemming.</div>
-</div>
-
-
-<h4>RUNNING.</h4>
-
-<p>Pass the needle in and
-out of the material in a
-straight line (Fig. 295),
-making all the stitches
-the same size. We believe the rule is to take up two threads
-and leave two; but the length of the stitch should be regulated
-by the kind of material used.</p>
-
-<div class="figcenter" style="width: 309px;">
-<img src="images/i_382b.jpg" width="309" height="178" alt="diagram" />
-<div class="caption">Fig. 295.—Running.</div>
-</div>
-
-
-<h4>BASTING</h4>
-
-<p class="unindent">is to take long stitches in the same manner as running.</p>
-
-
-<h4>GATHERING</h4>
-
-<p class="unindent">does not differ much from running; the stitches are taken on the
-needle in the same manner, but in this case two threads are
-taken up and four left; the line should be kept perfectly straight.</p>
-
-<p>If you wish to gather
-an apron or a skirt divide
-it into halves, then
-into quarters, in order
-to make the fulness
-even on each half of the
-band; mark the four
-places and gather on the
-right side; when finished
-draw the stitches
-tightly together on the thread and stroke down evenly with a<span class="pagenum"><a name="Page_383" id="Page_383">[383]</a></span>
-needle. To sew in the
-gathers, back-stitch each
-one in separately.</p>
-
-
-<h4>STITCHING.</h4>
-
-<p>Take two threads
-back of the needle and
-two before, having each
-stitch meet the last one, as in Fig. 296; keep the stitches even
-and in a straight line.</p>
-
-<div class="figcenter" style="width: 299px;">
-<img src="images/i_383a.jpg" width="299" height="167" alt="diagra" />
-<div class="caption">Fig. 296.—Stitching.</div>
-</div>
-
-
-<h4>BACK-STITCHING.</h4>
-
-<p>Proceed as in stitching, only make the stitches longer and
-do not have them meet.</p>
-
-
-<h4>FELLING.</h4>
-
-<p>First baste up the seam, allowing the upper edge to extend
-five threads beyond the lower edge (Fig. 296); then back-stitch
-or stitch the two edges together; next turn the upper
-edge down over the lower one and lay open the seam so that
-the fell will lie down flat
-like a hem (Fig. 297);
-then hem it down neatly.</p>
-
-<div class="figcenter" style="width: 289px;">
-<img src="images/i_383b.jpg" width="289" height="171" alt="diagram" />
-<div class="caption">Fig. 297.—Felling.</div>
-</div>
-
-
-<h3><b>Button-holes.</b></h3>
-
-<p>Fig. 298 shows how
-to take the proper stitch.
-Be careful in cutting
-button-holes to make the
-slit even to a thread and cut the outer corner rounded; bar
-the inner corner by taking two stitches across it, and overcast<span class="pagenum"><a name="Page_384" id="Page_384">[384]</a></span>
-the button-hole around three or four threads deep from the
-edge, or if the material is not inclined to ravel run it with
-thread, either double
-or single, drawing it
-a trifle tight; then
-begin at the left-hand
-corner to work the
-button-hole, leaving
-one thread between
-each stitch; keep the stitches exactly the same depth and the
-loop or pearl of the button-hole on the upper edge.</p>
-
-<div class="figcenter" style="width: 325px;">
-<img src="images/i_384a.jpg" width="325" height="126" alt="diagram" />
-<div class="caption">Fig. 298.—Button-hole Stitch.</div>
-</div>
-
-
-<h4>HERRING-BONE OR CAT’S-TOOTH STITCH</h4>
-
-<p class="unindent">is used to keep the seams in flannel spread open and fastened
-neatly down. Fig. 299 shows how to take the stitch; make the
-stitches all even and of the same size.</p>
-
-<div class="figcenter" style="width: 314px;">
-<img src="images/i_384b.jpg" width="314" height="169" alt="diagram" />
-<div class="caption">Fig. 299.—Herring-bone Stitch.</div>
-</div>
-
-<p>We have now given all the stitches which properly belong
-to plain sewing, and
-our next step will be</p>
-
-
-<h3><b>Darning and Mending.</b></h3>
-
-<p>“A stitch in time
-saves nine;” this much
-most of us know from
-experience, and it is
-wise to devote a little time on a certain day each week to looking
-over the wardrobe and making any repairs that may be
-needed; the little care and time thus bestowed will prove a
-true economy, and it is a real comfort to have all one’s clothing
-in perfect order.</p>
-
-<p><span class="pagenum"><a name="Page_385" id="Page_385">[385]</a></span></p>
-<div class="figcenter" style="width: 207px;">
-<img src="images/i_385a.jpg" width="207" height="150" alt="diagram" />
-<div class="caption">Fig. 300.—Jersey or Stocking Darn.</div>
-</div>
-
-<h4>TO DARN A JERSEY OR A STOCKING.</h4>
-
-<p>With a needle and thread carefully draw out the uneven
-ravelled edges of the hole, in order to diminish its size as much
-as possible, and bring the loops and
-ends back in their proper places;
-then place under it a wooden egg or
-anything that will answer the purpose,
-and using thread of the same
-texture and shade of color as the
-garment to be mended, run back
-and forth across the hole as far as
-the material is worn thin, leaving a
-loop at the end of each turn. In crossing the threads, take up
-every other thread alternately each way (Fig. 300), and make
-the darn of an irregular shape, as one of an even outline does
-not wear well; when the weaving or darning is finished the loops
-can be cut off.</p>
-
-<div class="figcenter" style="width: 235px;">
-<img src="images/i_385b.jpg" width="235" height="158" alt="diagram" />
-<div class="caption">Fig. 301.—Tear Darn.</div>
-</div>
-
-
-<h4>TO DARN A TEAR.</h4>
-
-<p>Carefully bring the ragged edges together and baste the
-tear as nearly as possible in its original position; then, if it is
-delicate muslin or dress material
-to be mended, use ravellings of
-the same instead of thread to
-darn with, and weave it in and
-out across the edges of the rent,
-as in Fig. 301; if the darn needs
-strengthening, baste a piece of
-the same material under the rent
-before darning, and catch down
-the edges of the piece on the under side of the goods. In
-mending broadcloth or like material, darn it on the wrong<span class="pagenum"><a name="Page_386" id="Page_386">[386]</a></span>
-side, and when the darn is finished, ruff up the nap with the
-point of the needle at the edges of the tear on the right side to
-cover the stitches; then dampen the darn, and after laying a
-thin clean cloth over it, press with a moderately hot flat-iron;
-this should make the darn almost, if not quite, imperceptible.</p>
-
-
-<h3><b>How to Patch.</b></h3>
-
-<p>If possible cut the piece intended as a patch of the same
-goods as the garment to be mended, and if there is a pattern
-be careful to so cut and place the patch that it will match exactly;
-baste and hem down the patch on the right side of the
-worn part of the garment; then cut out the old material on the
-wrong side, leaving enough edge to form a firm hem; sew this
-to the patch, taking care that the stitches do not show on the
-right side.</p>
-
-
-<h3><b>How to Sew on a Button.</b></h3>
-
-<p>Should much strain come on the button, as in little children’s
-clothes, first hem down a small double piece of muslin,
-on the wrong side of the garment, at the exact spot where the
-button is to be placed, and with strong thread take a stitch on
-the right side; then sew the button through about four times,
-being careful not to let the stitches spread on the wrong side;
-wind the thread three times around the shank of the button
-formed by the stitches, drawing the thread a little tight, pass
-the needle through and fasten the thread neatly on the wrong
-side; the extra piece of muslin can be omitted when not needed.</p>
-
-
-<h3><b>To Mend a Kid Glove.</b></h3>
-
-<p>If the glove is merely ripped, and there is no strain on the
-portion to be mended, sew the two edges together over and
-over on the right side with fine thread or sewing-silk matching<span class="pagenum"><a name="Page_387" id="Page_387">[387]</a></span>
-in color the glove to be mended; if, however, there <i>is</i> liability
-of its tearing out again, strengthen the edges by first working a
-button-hole stitch on each; then sew them together over and
-over, passing the needle in and out of the loops of the button-hole
-stitch, so forming a narrow net-work of thread between the
-two pieces of kid. Should the glove need a patch, carefully cut
-a piece of kid out of the best part of an old kid glove corresponding
-in color to the
-one needing repairs;
-make the patch exactly
-the shape and size of the
-hole, and button-hole
-stitch all around the edge
-of the hole and the edge
-of the patch; then sew in
-the patch over and over,
-catching together the
-loops of the button-hole stitches; this makes the mending firm,
-neat, and strong.</p>
-
-
-<h3><b>Fancy Stitches.</b></h3>
-
-<p>These are in many varieties of style; one of the most useful
-is known as the</p>
-
-
-<h4>FEATHER STITCH.</h4>
-
-<p>Fig. 302 gives the position of the needle and the manner of
-taking the stitch. Remember to make all the stitches of an
-exact length and the same distance apart, first one on this side
-and then one on that, keeping them in a straight, even line.</p>
-
-<div class="figcenter" style="width: 305px;">
-<img src="images/i_387.jpg" width="305" height="168" alt="diagram" />
-<div class="caption">Fig 302.—Feather Stitch.</div>
-</div>
-
-
-<h4>CHAIN STITCH</h4>
-
-<p class="unindent">sometimes takes the place of braiding; it is the same stitch
-as that used in the old-fashioned tambouring (Fig. 303);<span class="pagenum"><a name="Page_388" id="Page_388">[388]</a></span>
-many Persian embroideries are made in silk with the chain-stitch.</p>
-
-<div class="figcenter" style="width: 305px;">
-<img src="images/i_388a.jpg" width="305" height="92" alt="diagram" />
-<div class="caption">Fig. 303.—Chain Stitch.</div>
-</div>
-
-
-<h4>A NEW IDEA IN OUTLINE STITCH.</h4>
-
-<p>The stitch (Fig. 304) is used for outline embroidery, and
-when made with fine black sewing-silk resembles pen-and-ink
-work. We have seen
-figures outlined on linen
-with the drapery worked
-in colors, while the face,
-hands, and feet were
-simply in black and
-white; being finely outlined, the effect was novel and artistic,
-for in this way the features were made as true as if drawn on
-paper with a pencil.</p>
-
-<p>For filling in the solid colors take the common running
-stitch, but make the stitches long on the right side of the embroidery
-and very short on the wrong side, so as to give the
-appearance of
-the colored
-fabric copied.</p>
-
-<div class="figcenter" style="width: 385px;">
-<img src="images/i_388b.jpg" width="385" height="120" alt="diagram" />
-<div class="caption">Fig. 304.—Outline Stitch.</div>
-</div>
-
-<p>Use filo-silk;
-and English
-or French
-embroidery
-cottons, when
-colors are needed in the work. Always soak the silks and
-cottons in strong salt and water before using; this sets the
-color and keeps it from running when washed.</p>
-
-
-<h4>HEM-STITCHING.</h4>
-
-<p>Decide upon the width of the hem and the width of the
-space for drawn threads; carefully draw out the thread at one<span class="pagenum"><a name="Page_389" id="Page_389">[389]</a></span>
-edge of the space, then the thread at the other edge; next
-all the intervening threads; this finished, fold and baste down
-the hem, allowing it to meet the edge of the drawn work, and
-taking five threads running
-lengthwise in the space, bind
-them together at the edge of
-the hem; at the same time
-stitch them to the hem, as in
-Fig. 305.</p>
-
-<div class="figcenter" style="width: 254px;">
-<img src="images/i_389a.jpg" width="254" height="186" alt="diagram" />
-<div class="caption">Fig. 305.—Hem-stitching.</div>
-</div>
-
-
-<h3><b>Drawn Work</b></h3>
-
-<p class="unindent">always looks well and is very
-serviceable when made of
-linen. Scarfs for buffets, bureaus, or tables, and tea-cloths,
-tidies, or chair-backs, can be made of crash, butchers’ linen,
-and linen sheeting; it is better to have doylies of very fine linen.</p>
-
-<div class="figcenter" style="width: 263px;">
-<img src="images/i_389b.jpg" width="263" height="139" alt="diagram" />
-<div class="caption">Fig. 306.—Fagotting Stitch.</div>
-</div>
-
-<p>In making drawn work, if the article is to be fringed, first
-draw out a few threads to measure the depth of the fringe,
-and at the opening thus made hem-stitch all around the edge
-of the material, leaving the
-ravelling out of the fringe until
-the drawn work is finished;
-proceed to draw the threads
-wherever spaces are desired,
-and before working the pattern
-always hem-stitch both
-edges of the spaces. In Fig.
-306 the pattern marked B
-shows the stitch called fagotting, made by crossing every other
-group of threads back over the one preceding and drawing the
-linen thread through in such a way as to keep the groups
-twisted; the two lines marked A, in the Fig. 306, are intended<span class="pagenum"><a name="Page_390" id="Page_390">[390]</a></span>
-more as a finish to some elaborate design than as a pattern in
-themselves; these are made by
-hem-stitching down a number
-of threads to each group. Fig.
-307 gives a favorite pattern; for
-this count the threads, so that
-the spaces may be equal and
-regular; draw the threads in
-all the spaces running one way
-first; then draw the threads in
-the spaces crossing the first one
-and run linen threads diagonally
-across from the top of the
-right-hand corner to the bottom of the left, dividing each
-linen square into two
-equal parts; cross these
-by threads also running
-diagonally across from the
-top of the left-hand corner
-to the bottom of the right,
-again dividing the linen
-squares, making four equal
-parts; then weave threads
-through all the spaces running both horizontally and perpendicularly,
-using the fagotting stitch
-(Fig. 306), and when crossing the
-threads in the open spaces tie the
-centres of each in turn, as in Figs.
-308, 309; finish the pattern by running
-a thread in and out several
-times around the knots in the
-centres of the wheels and fasten the ends by tying neatly.
-Another pattern is given in Fig. 310.</p>
-
-<div class="figcenter" style="width: 253px;">
-<img src="images/i_390a.jpg" width="253" height="214" alt="diagram" />
-<div class="caption">Fig. 307.—Drawn Work.</div>
-</div>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 136px;">
-<img src="images/i_390b1.jpg" width="136" height="152" alt="diagram" />
-<div class="caption">Fig. 308.—First Knot.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 156px;">
-<img src="images/i_390b2.jpg" width="156" height="141" alt="diagram" />
-<div class="caption">Fig. 309.—Second Knot.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<div class="figcenter" style="width: 232px;">
-<img src="images/i_390c.jpg" width="232" height="117" alt="diagram" />
-<div class="caption">Fig. 310.—Border in Drawn Work.</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_391" id="Page_391">[391]</a></span></p>
-
-<p>Outline work is often combined with drawn work; fast colors,
-in either cotton, linen or silk, are used for the outline design.
-When the article worked is intended for daily use and must
-frequently be laundried, it is better to substitute in place of the
-fringe a wide hem-stitched hem edged with firm linen lace.</p>
-
-<p>Very dainty fancy aprons are made of common scrim with
-spaces drawn and narrow ribbons of different colors simply
-woven in and out of the threads, running crosswise through the
-spaces.</p>
-
-
-<h3><b>Applique and Original Designs for Portières.</b></h3>
-
-<p>The pattern in this work is cut from one material and sewed
-on another.</p>
-
-<p>Almost any kind of fabric can be used as either applique or
-foundation; velvet and plush are suitable for applique, but
-make poor groundwork, owing to the long nap; both materials
-in dark rich colors are handsome when used as a border
-on portières or table-covers. To applique a pattern of velvet
-or plush cut the design very exact and cover the wrong side
-with a slight coating of gum, being careful to have the gum
-thin on the edges so that it will not spread on the groundwork;
-then lay the velvet on the place it is to occupy, and
-after pressing it down very gently and lightly with your hand,
-allow it to dry; this accomplished, the edges of the pattern
-may be hemmed down neatly on the foundation. If a further
-finish is desired, outline the design by sewing all around the
-edge a small gold or silken cord.</p>
-
-
-<h3><b>Portières.</b></h3>
-
-<p>We give an original applique design for a portière in Fig.
-311, representing Day. The foundation is of soft dark-blue
-momie-cloth, the sun a round piece of bright yellow or orange<span class="pagenum"><a name="Page_392" id="Page_392">[392]</a></span>
-satin, and the rays are of gold or heavy yellow silk thread
-merely run in stitches of various lengths; the cloud is of light
-blue crape or crazy cloth, and the bird is one of those which
-come prepared expressly for applique by the Japanese, and can
-be purchased at almost any Japanese or fancy store; if possible
-a lark should be selected in preference to other birds. The
-border is a band of old gold velvet. Our other design (Fig.
-312) represents Night; the foundation and band are the same as
-those for the “Day” portière; the star is of white silk, the
-moon of very pale Nile green silk, and the cloud of dark pearl
-gray crape or crazy cloth, much darker than the blue momie-cloth.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 239px;">
-<img src="images/i_392a.jpg" width="239" height="330" alt="diagram" />
-<div class="caption">Fig. 311.—Portière. Day.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 235px;">
-<img src="images/i_392b.jpg" width="235" height="330" alt="diagram" />
-<div class="caption">Fig. 312.—Portière. Night.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>The applique work must be done very carefully. First cut
-out the designs, next turn in the raw edges evenly and smoothly,
-and with a very fine thread and needle baste the edges down;<span class="pagenum"><a name="Page_393" id="Page_393">[393]</a></span>
-then baste the designs carefully on the foundations, and, with a
-fine needle and sewing-silk matching in color the piece to be
-appliqued, hem each one down neatly, making the stitches
-almost invisible. The band of velvet can be sewed on the bottom
-edge of the momie-cloth, then turned up like a hem and
-hemmed down.</p>
-
-
-<h3><b>Lace.</b></h3>
-
-<p>Very beautiful lace is made by cutting out the heavy patterns
-which are still perfect, from old and worn laces and embroideries,
-and transferring the designs to new fine wash-net.
-After first basting them on, hem them down to the netting with
-a fine needle and thread; in this way the embroideries last as
-long again and look as well as when new.</p>
-
-
-<h3><b>Ribbon Embroideries.</b></h3>
-
-<p>We can give a clearer idea of this work by means of an example,
-and we will take the common white daisy as an illustration.</p>
-
-<p>Thread a long-eyed coarse needle with very narrow white ribbon,
-and beginning at the centre of the flower, pass the needle
-from the wrong side up through your material, drawing the
-ribbon out nearly its full length and leaving only a short piece
-on the wrong side to be fastened down; now take a stitch
-straight out the length of a daisy petal and pass the needle
-through to the wrong side; then, taking a very short stitch,
-draw the needle out through on the right side; next take another
-long stitch back to the centre of the daisy, thus forming
-the second petal; continue in the same manner, making the
-petals radiate out in a circle from the centre of the flower. Work
-the centres of the daisies with yellow silk and the stems in
-dark-green silk; the leaves can be either worked or appliqued.<span class="pagenum"><a name="Page_394" id="Page_394">[394]</a></span>
-For half-blown daisies make only about a quarter of a circle of
-petals, and in place of the yellow centre, work a green calyx.
-Ox-eyed daisies can be made in the same way with soft, thin
-yellow ribbon, a little broader than the ribbon used for white
-daisies. The work is rapid and pleasing, and almost any
-flower can be imitated very perfectly with ribbon embroidery.</p>
-
-<div class="figcenter" style="width: 477px;">
-<img src="images/i_394.jpg" width="477" height="131" alt="girl and cherub sewing with gigantic needle and thread out of doors" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_395" id="Page_395">[395]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXXV.<br />
-
-<small>SCRAP-BOOK AND HOME-MADE BOOK-COVERS.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_395.jpg" width="179" height="165" alt="T" />
-</div>
-
-<p class="drop-capi2">THE fashion of collecting pictured advertising
-cards, so much in vogue among
-the children a few years ago, seems to
-have run its course, and dying out, it
-has left on the young collectors’ hands
-more cards than they know well what
-to do with. Many of the collections
-have been pasted in scrap-books, of
-which the children have long since tired. While examining
-one of these volumes with its row after row of cards, it occurred
-to me that these advertisements might be utilized in a
-new way by dividing and combining them. The experiment
-proved a success, and I will now try to show you how, with
-the aid of scissors and mucilage, the pictures which have become
-so familiar may be made to undergo changes that are
-indeed wonderful, and how from them may be formed a</p>
-
-
-<h3><b>Mother Goose Scrap-book.</b></h3>
-
-<p>The nursery scrap-books made of linen or paper cambric
-are, perhaps, familiar to most of our readers; but for the benefit
-of those who may not yet have seen these durable little
-books, we will give the following directions for making one:
-Cut from a piece of strong linen, colored paper cambric, or<span class="pagenum"><a name="Page_396" id="Page_396">[396]</a></span>
-white muslin, four squares twenty-four inches long by twelve
-inches wide. Button-hole stitch the edges all around with
-some bright-colored worsted, then place the squares neatly together
-and stitch them directly through the centre with strong
-thread (Fig. 313). Fold them over, stitch again, as in Fig.
-314, and your book is finished and ready for the pictures.</p>
-
-<p>It is in the preparation of these pictures that you will find
-the novelty of the plan we propose. Instead of pasting in those
-cards which have become too familiar to awaken much interest,
-let the young book-makers design and form their own pictures
-by cutting special figures, or parts of figures, from different
-cards, and then pasting them together so as to form new combinations.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 294px;">
-<img src="images/i_396a.jpg" width="294" height="149" alt="diagram" />
-<div class="caption">Fig. 313.—Scrap-book Opened and Stitched through
-the Centre.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 149px;">
-<img src="images/i_396b.jpg" width="149" height="146" alt="diagram" />
-<div class="caption">Fig. 314.—Scrap-book Folded
-and again Stitched</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>Any subject which pleases the fancy can be illustrated in
-this way, and you will soon be deeply interested in the work
-and delighted at the strange and striking pictorial characters
-that can be produced by ingenious combinations.</p>
-
-<p>Stories and little poems may be very nicely and aptly illustrated;
-but the “Mother Goose Melodies” are, perhaps, the
-most suitable subjects with which to interest younger children,
-as they will be easily recognized by the little folk. Take, for
-instance, the “Three Wise Men of Gotham,” who went to sea
-in a bowl. Will not Fig. 315 serve very well as an illustration<span class="pagenum"><a name="Page_397" id="Page_397">[397]</a></span>
-of the subject? Yet these figures are cut from advertising
-cards, and no
-two from the
-same card.
-Fig. 316 shows
-the materials,
-Fig. 315 the
-result of combining
-them.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="center" colspan="2"><div class="figcenter" style="width: 378px;">
-<img src="images/i_397a.jpg" width="378" height="229" alt="drawing" />
-</div>
-</td>
-</tr>
-<tr><td align="center"><div class="caption">Fig. 315.—“Three Wise Men<br />
-of Gotham.”</div></td>
-<td align="center" valign="top"><div class="caption">Fig. 318.—“Little Jack Horner.”</div></td></tr>
-</table>
-</div>
-<div class="figleft" style="width: 113px;">
-<img src="images/i_397b.jpg" width="113" height="342" alt="drawings of men and tub" />
-<div class="caption">Fig. 316.—Figures
-cut from Advertising
-Cards.</div>
-</div>
-
-<div class="figright" style="width: 140px;">
-<img src="images/i_397c.jpg" width="140" height="261" alt="drawings of jack pie and ribbon" />
-<div class="caption">Fig. 317.—Figures cut
-from Christmas Cards</div>
-</div>
-
-<p>Again, the
-little man
-dancing so
-gayly (Fig.
-317) is turned
-into “Little Jack Horner” eating his Christmas
-pie (Fig. 318), by merely cutting off his legs
-and substituting a dress-skirt
-and pair of feet clipped from
-another card. The Christmas
-pie in his lap is from still another
-card.</p>
-
-<p>In making pictures of this
-kind, figures that were originally
-standing may be forced to
-sit; babies may be placed in
-arms which, on the cards they
-were stolen from, held only
-cakes of soap, perhaps, or
-boxes of blacking; heads may
-be ruthlessly torn from bodies
-to which they belong, and as ruthlessly clapped
-upon strange shoulders; and you will be surprised
-to see what amusing, and often excellent, illustrations<span class="pagenum"><a name="Page_398" id="Page_398">[398]</a></span>
-present themselves as the result of a little ingenuity in clipping
-and pasting. Another kind, which we shall call the</p>
-
-
-<h3><b>Transformation Scrap-Book,</b></h3>
-
-<p class="unindent">will be found exceedingly amusing on account of the various
-and ever-changing pictures it presents.</p>
-
-<p>Unlike any other, where the picture once pasted in must
-remain ever the same, the transformation scrap-book alters
-one picture many times.
-To work these transformations
-a blank book is
-the first article required;
-one eight inches long by
-six and a half or seven
-wide is a good size.</p>
-
-<div class="figright" style="width: 293px;">
-<img src="images/i_398.jpg" width="293" height="200" alt="diagram" />
-<div class="caption">Fig. 319.—Transformation Scrap-book with Pages
-cut.</div>
-</div>
-
-<p>Cut the pages of this
-book across, one-third of
-the way down. Fig. 319
-shows how this should be
-done. The three-cornered piece cut out near the binding allows
-the pages to be turned without catching or tearing. Leave the
-first page uncut; also the one in the middle of the book.</p>
-
-<p>Cut from picture-cards, or old toy-books which have colored
-illustrations, the odd and funny figures of men and women,
-boys and girls, selecting those which will give a variety of costumes
-and attitudes.</p>
-
-<p>Paste a figure of a woman or girl on the first page, placing
-it so that when the lower part of the next page is turned, the
-upper edge of it will come across the neck of the figure where it
-is joined on to the shoulders.</p>
-
-<div class="figcenter" style="width: 496px;">
-<img src="images/i_399.jpg" width="496" height="627" alt="six drawings of figures with lines across their necks" />
-<div class="caption">Leaves from a Transformation Scrap-book.</div>
-</div>
-
-<p>Cut the heads from the rest of the pictured women, and
-choosing a body as different as possible from the one just used,<span class="pagenum"><a name="Page_399" id="Page_399">[399]</a></span>
-paste it upon the lower part of the next page, directly under
-the head belonging to the first body. Upon the upper part of<span class="pagenum"><a name="Page_400" id="Page_400">[400]</a></span>
-the same page paste any one of the other heads, being careful
-to place it so that it will fit the body. Continue in this way,
-pasting the heads upon the upper, and the bodies on the lower,
-part of the page, until the space allowed for the women is filled
-up; then, commencing at the page left in the middle of the book,
-paste upon it the figure of a man, and continue in the same manner
-as with the woman, until the spaces are all used and the
-book is complete.</p>
-
-<p>The combinations formed in this way are very funny. Old
-heads with young bodies; young heads with old bodies; then
-one head with a great variety of bodies, and so on.</p>
-
-<p>The first picture may represent a man, tall and thin, dressed
-in a rowing costume, as shown in the illustration. Turn the
-lower part of the next page, and no longer is he thin and tall,
-but short and stout, the position of this body giving the expression
-of amazement, even to the face. The next page turned
-shows him to be neither tall nor short, thick nor thin, but a
-soldier, well-proportioned, who is looking over his shoulder in
-the most natural manner possible.</p>
-
-<p>The figures in the illustration were cut from advertising cards,
-and the head belongs to none of the bodies.</p>
-
-<p>A curious fact in arranging the pictures in this way is that
-the heads all look as though they might really belong to any of
-the various bodies given them.</p>
-
-<p>Instead of having but one figure on a page, groups may be
-formed of both men and women, and in the different arrangement
-of the figures they can be made very ludicrous indeed.</p>
-
-<p>A scrap-book for older girls, which might be termed more
-fitly</p>
-
-
-<h3><b>An Album,</b></h3>
-
-<p class="unindent">can be made by mounting engravings, wood-cuts, photographs,
-and water-colors on pieces of thin card-board all of the same size.<span class="pagenum"><a name="Page_401" id="Page_401">[401]</a></span>
-If any one subject be chosen, and such pictures selected as tend
-in some way to illustrate that subject, the book will prove more
-interesting in the making, and will be quite valuable when finished.</p>
-
-<p>There will be no difficulty in mounting the pictures; simply
-paste them on the card-board with good flour-paste, and press
-under a heavy weight, keeping them perfectly neat and free
-from smears of paste on the edges. When two or more are
-mounted at the same time, place clean pieces of blotting-paper
-between, pile one upon another, and put the heavy weight on
-top.</p>
-
-<p>Such a scrap-book should be bound in a</p>
-
-
-<h3><b>Home-made Book-cover,</b></h3>
-
-<p class="unindent">which is made in this way:</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 178px;">
-<img src="images/i_401a.jpg" width="178" height="197" alt="diagram" />
-<div class="caption">Fig. 320.—One Side of Book-cover
-with Holes cut near the Edge.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 116px;">
-<img src="images/i_401b.jpg" width="116" height="195" alt="diagram" />
-<div class="caption">Fig. 321.—Book-cover
-Tied with Ribbons.</div>
-</div></td>
-<td align="left"><div class="figcenter" style="width: 112px;">
-<img src="images/i_401c.jpg" width="112" height="198" alt="diagram" />
-<div class="caption">Fig 322.—Book-cover
-Laced together with
-Silk Cord.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>Take two pieces of heavy card-board a trifle larger than the
-book you wish to cover, make three holes near the edge of
-each (Fig. 320) and corresponding holes in the edges of the
-book, which must not be too thick—that is, contain too many
-leaves; pass narrow ribbons through these holes and tie in
-bow-knots, as in Fig. 321. If the leaves of the book are thin,<span class="pagenum"><a name="Page_402" id="Page_402">[402]</a></span>
-more holes can be made in the back and the covers laced together
-with silk cord (Fig. 322).</p>
-
-<p>These book-covers may be beautifully decorated by anyone
-who can paint in water-colors, and tinted card-board can also
-be used for them. They are pretty, and suitable as covers for
-manuscript poems or stories, or for a collection of autographs.</p>
-
-<p>In making any kind of scrap-book it is very necessary that
-the paste used should be good. If the paste is poor, the pictures
-will peel off or the paste turn sour. The recipe given
-below we can recommend as an excellent one for</p>
-
-
-<h3><b>Flour-paste.</b></h3>
-
-<p>Mix one-half cup of flour with enough cold water to make a
-very thin batter, which must be smooth and free from lumps;
-put the batter on top of the stove—not next to the fire—in a tin
-sauce-pan, and stir continually until it boils; then remove from
-the stove, add three drops of oil of cloves, and pour the paste
-into a cup or tumbler. This will keep for a long time and will
-not become sour.</p>
-
-<div class="figcenter" style="width: 465px;">
-<img src="images/i_402.jpg" width="465" height="88" alt="three cherubs lying about looking at pictures for scrapbooks" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_403" id="Page_403">[403]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXXVI.<br />
-
-<small>A HEAP OF RUBBISH, AND WHAT TO DO
-WITH IT.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_403.jpg" width="103" height="146" alt="I" />
-</div>
-
-<p class="drop-capi2">IN almost every house there is an attic, and in almost
-every attic may be found a room where
-trunks are stored, where broken toys and disabled
-furniture are put out of sight, and where
-all articles not worth selling or giving away
-gradually accumulate until this attic room contains,
-literally, a heap of rubbish. Entering one
-of these lumber-rooms not long ago, and glancing over the
-medley which comprised so much, from a tin can to a piece of
-broken bric-à-brac, the thought occurred to me that something
-might be done with it, some use be made of at least a few of
-the articles consigned to the place as utterly useless.</p>
-
-<p>That was rather a thrifty thought. Do you not think so,
-girls? Then let us make the most of it and together venture
-back into that mysterious and somewhat dusty chamber, and
-see if there really is anything there worth the making over.</p>
-
-<p>In imagination we will stand in our attic lumber-room and
-begin to look about us with eyes and mind open to perceive
-possibilities.</p>
-
-<p>On one side of the room, leaning against the wall, we see
-what was once a handsome old-fashioned mirror, quite large and
-of heavy plate-glass. It’s poor dusty face, reflecting dimly its
-barren surroundings, is shattered in many pieces, and at first<span class="pagenum"><a name="Page_404" id="Page_404">[404]</a></span>
-sight it seems hopeless to attempt to restore it to the plane of
-beauty or usefulness; but do not let us be hasty; we will examine
-it more closely. Yes, here is a piece of glass large
-enough to frame. Never mind its uneven shape and rough
-edges; we will work out that problem later. Now we must put
-it carefully aside and continue our investigations.</p>
-
-<p>Here is a large tin can, which can be made into a lantern to
-hang in the hall, and this baking-powder can may be of some
-use, so we will take it also.</p>
-
-<p>The tops of three cheese-boxes; something should be done
-with them. Perhaps they can be used for a table; put them
-with the other chosen things.</p>
-
-<p>A croquet-ball! That will make a fine key-rack. This box
-of silks and ribbons we may need, and the large pasteboard-box
-will do for the foundation of our mirror frame.</p>
-
-<p>We must have this piece of old brass chain, this handful of
-large nails, the pasteboard roll which has been used for sending
-engravings through the mail, and that old broad-brimmed
-straw hat; also these three broomsticks and the piece of nice
-dark-gray hardware paper.</p>
-
-<p>Now, seated in our own room, let us see what we can do with
-this rather unpromising array of objects spread around us.
-First we will try</p>
-
-
-<h3><b>The Mirror,</b></h3>
-
-<p class="unindent">and must cast about us for the ways and means of framing it.
-The large pasteboard-box we have already decided will make a
-good foundation. After tearing off the sides, we will cut an
-even square from the bottom, which is smooth and unwarped.</p>
-
-<div class="figleft" style="width: 170px;">
-<img src="images/i_405a.jpg" width="170" height="167" alt="drawing" />
-<div class="caption">Fig. 323.—Brown Paper Pasted
-on Mirror and Pasteboard for
-Home-made Mirror-frame.</div>
-</div>
-
-<div class="figright" style="width: 126px;">
-<img src="images/i_405b.jpg" width="126" height="127" alt="drawing" />
-<div class="caption">Fig. 324.—Bevel of
-Hardware Paper
-on Frame.</div>
-</div>
-
-<div class="figleft" style="width: 192px;">
-<img src="images/i_405c.jpg" width="192" height="187" alt="diagram" />
-<div class="caption">Fig. 325.—The Outside Covering
-for Mirror-frame.</div>
-</div>
-
-<div class="figright" style="width: 127px;">
-<img src="images/i_405d.jpg" width="127" height="121" alt="diagram" />
-<div class="caption">Fig. 326.—Back of
-Frame with Tape
-Attached.</div>
-</div>
-
-<p>Next laying the piece of mirror on the square of pasteboard
-we must cut, out of ordinary brown wrapping-paper, a square
-two inches larger all around than the pasteboard, make a hole
-in the centre as large as the shape of the mirror will allow, and<span class="pagenum"><a name="Page_405" id="Page_405">[405]</a></span>
-paste it down on the mirror and pasteboard
-(Fig. 323). Then, after clipping
-out the corners, we will turn the edges
-over on to the back of the pasteboard
-foundation and paste them down. Cutting
-four strips of the hardware paper,
-about two inches wide, we will fold them
-through the centre lengthwise and paste
-them around the glass,
-lapping them just a little
-over the edge of the other paper, the folded
-side being next to the glass (Fig. 324). This
-will form a bevel for our frame. From the
-same paper we will now cut a square, three
-inches larger on all
-sides than the foundation;
-then, exactly
-in the centre, mark a square half an
-inch larger all around than the square
-of mirror showing. In the centre of
-the square marked out we must insert
-our scissors, cut it like Fig. 325, and
-after clipping off the points, as indicated
-by the dotted lines L, M, O, N,
-turn back the four
-pieces at the dotted lines, P, Q, R, S, leaving
-an open square. Then placing it over the
-mirror so that the same width of bevelled
-edge shows on all sides of the mirror, we
-must paste it down. Clipping out the corners,
-as shown in diagram, we will bring the
-edges over and paste them down securely to
-the back of the frame. A piece of hardware paper, cut in a<span class="pagenum"><a name="Page_406" id="Page_406">[406]</a></span>
-square one inch smaller than the frame, we will paste on the
-back to finish it off and hide the edges of the paper where they
-have been turned over
-(Fig. 326).</p>
-
-<p>We must fasten
-on a piece of tape by
-which to hang the
-mirror, by pasting
-down the ends of the
-tape on the frame
-(letter T, Fig. 326),
-and pasting over each
-a strip of the hardware
-paper (letter
-U, Fig. 326). When
-the frame is quite dry
-we will paint a branch
-of dog-wood or some
-light-colored flower
-across it, and have as pretty a little mirror as anyone could
-wish for.</p>
-
-<div class="figcenter" style="width: 331px;">
-<img src="images/i_406.jpg" width="331" height="327" alt="drawing" />
-<div class="caption">Home-made Mirror-frame.</div>
-</div>
-<div class="figright" style="width: 222px;">
-<img src="images/i_407b.jpg" width="222" height="487" alt="drawing" />
-<div class="caption">Bric-à-brac Table.</div>
-</div>
-<div class="figleft" style="width: 48px;">
-<img src="images/i_407a1.jpg" width="48" height="157" alt="diagram" />
-<div class="caption">Fig. 327.—Narrow
-Grooves Cut
-around Broomstick
-for Table-leg.</div>
-</div>
-
-<div class="figleft" style="width: 107px;">
-<img src="images/i_407a2.jpg" width="107" height="56" alt="diagram" />
-<div class="caption">Fig. 328.—Holes
-Bored in a Box-lid
-Used as a
-Table-shelf.</div>
-</div>
-
-<div class="figleft" style="width: 103px;">
-<img src="images/i_407a3.jpg" width="103" height="160" alt="diagram" />
-<div class="caption">Fig. 329.—Manner
-of Fastening
-a Shelf to
-Table-leg.</div>
-</div>
-
-<div class="figleft" style="width: 83px;">
-<img src="images/i_407a4.jpg" width="83" height="99" alt="diagram" />
-<div class="caption">Fig. 330.—Table-shelf
-and Leg
-Fastened securely
-together
-by Wire.</div>
-</div>
-<p>The next thing to commence will be</p>
-
-
-<h3><b>The Table,</b></h3>
-
-<p class="unindent">which you can make yourselves by following these directions:</p>
-
-<p>The three cheese-box lids will answer nicely as shelves for
-a work- or bric-à-brac table, and the broomsticks, which are
-all the same length, will do for the legs.</p>
-
-<p>Upon each broomstick mark the distances for placing the
-shelves, allowing six inches from each end of the stick for the
-top and bottom, and the exact centre between these points
-for the middle shelf. With a pocket-knife cut narrow grooves<span class="pagenum"><a name="Page_407" id="Page_407">[407]</a></span>
-around each stick, one-half inch on either side of
-the points marked on them (Fig. 327). This will
-make six grooves on each stick. Now measure
-the box-lids to find their circumferences, and divide
-them into thirds,
-marking the distances
-on the rim to obtain
-the true position for the
-legs. At these points
-bore four holes with a
-gimlet, one inch apart,
-two above and two below
-(Fig. 328). Through
-one of the top holes
-pass a piece of pliable
-wire, place one of the
-broomsticks against the
-rim of the lid, pass the
-wire back through the
-other upper hole (Fig.
-329), fit it into the
-upper groove of the
-stick, and draw it tight.
-Twice the wire must be
-put through the upper
-holes and around the
-stick in the top groove;
-then, bringing it down
-on the inside of the lid, you must put it twice
-through the lower holes and around the stick in
-the lower groove; then twist the ends and tuck
-them under the wire on the inside of the lid (Fig.
-330). In this way each leg will have to be fastened<span class="pagenum"><a name="Page_408" id="Page_408">[408]</a></span>
-to each shelf. When the table is all put together paint it
-black, and, as soon as it is dry, tie a bright ribbon on one of the
-sticks at the top, and a charming little bric-à-brac table will be
-the result of your labor.</p>
-
-<p>You can make a very pretty</p>
-
-
-<h3><b>Lantern</b></h3>
-
-<p class="unindent">of the old tin can; but first you must have some tools to work
-with; not many, only a piece of wood, rounded on one side to
-fit into the can, a hatchet or heavy hammer, and a few wrought
-iron nails. If the piece of wood is not large enough to fit the
-can, another stick can be put in to hold the first one firmly
-against the can. That being arranged, you must decide upon
-some kind of a pattern to be made by the holes, and indicate
-it on the can with a small paint-brush and paint or ink; then,
-laying the can on its side, the rounded piece of wood being at
-the top, with one of the wrought iron nails puncture the holes
-where you have indicated the pattern. With the hammer drive
-the nail through the tin into the wood; then draw it out, make
-another hole, and so on until all the holes you wish are driven
-through that part of the can held in place by the rounded
-piece of wood.</p>
-<div class="figright" style="width: 127px;">
-<img src="images/i_409b.jpg" width="127" height="419" alt="drawing" />
-<div class="caption">Lantern.</div>
-</div>
-<p>This wood, you see, keeps the can from bending when the
-nail is being driven through. In moving the wood as the work
-progresses, you must always keep it under that part of the can
-being punctured. To make the large hole, you will have to put a
-number of the small holes close together, and then drive the nail
-through the partitions, cutting them away. The pattern being
-completed, puncture three holes, close to the top of the can, at
-equal distances apart. These are for the chains to pass through,
-by which to suspend the lantern. In the cover of the baking-powder
-can make three holes at equal distances; then divide<span class="pagenum"><a name="Page_409" id="Page_409">[409]</a></span>
-the chain, which is about one yard and a quarter long, into
-three equal lengths, separating the pieces by prying open the
-links. Put an end of each piece through the holes made for
-them at the top of the can, and fasten them
-by hooking the open links through the links
-of the chain a little farther up, and hammering
-them together again.</p>
-
-<p>Now pass the ends of the chains through
-the holes made in the lid of the baking-powder
-can, and, bringing the ends together,
-fasten them by joining the
-links.</p>
-
-<div class="center">
-<table border="0" cellpadding="1" cellspacing="0" summary="diagrams">
-<tr>
-<td align="center" colspan="2"><div class="figcenter" style="width: 147px;">
-<img src="images/i_409a.jpg" width="147" height="165" alt="drawings" />
-</div></td>
-</tr>
-<tr><td align="left"><div class="caption">Fig. 331.</div></td>
-<td align="left"><div class="caption">Fig. 332.</div></td>
-</tr>
-<tr>
-<td align="center" colspan="2"><div class="caption">Stand
-in Lantern, with<br />
-Nails for Holding Candle.</div></td>
-</tr>
-</table>
-</div>
-
-
-
-<p>Paint the lantern, chain
-and all, black, and while it is
-drying make a stand for the candle which is to
-furnish the light. A square piece of thin board,
-just large enough to fit into the can without
-touching the sides will do for the stand. Drive
-four small nails in the centre to hold the candle
-(Fig. 331).</p>
-
-<p>Make handles for lifting the stand in and
-out of the lantern, by bending two pieces of
-wire like Fig. 331, and fastening them to the
-board with staple tacks (Fig. 332).</p>
-
-<p>When the paint on the lantern is dry, paste
-red tissue-paper all around the inside to give a
-cheerful red glow to the light, which will shine
-through it. If you would like it to resemble a
-jewelled lantern, paste different colored papers
-over the large holes and leave the small ones
-open. An S hook passed through the loop
-made by the three chains will serve to connect them to the
-chain which should suspend the lantern from the ceiling.</p>
-
-<p><span class="pagenum"><a name="Page_410" id="Page_410">[410]</a></span></p>
-
-<div class="figleft" style="width: 102px;">
-<img src="images/i_410a1.jpg" width="102" height="98" alt="diagarm" />
-<div class="caption">Fig. 333.—Paper
-Covering for
-End of Music-roll</div>
-</div>
-
-
-<h3><b>A Music-Roll</b></h3>
-
-<p class="unindent">can be made of the pasteboard roll.</p>
-<div class="figright" style="width: 75px;">
-<img src="images/i_410a2.jpg" width="75" height="102" alt="diagarm" />
-<div class="caption">Fig. 334.—Paper
-Pasted
-over End of
-Music-roll.</div>
-</div>
-<p>Cut a round piece of pasteboard just the size to fit into one
-end of the roll; then cut out another round piece, this time of
-paper, one inch larger than that made of pasteboard. Clip the
-edges (Fig. 333) and paste it over
-the end of the roll which is filled
-in with the round of pasteboard
-(Fig. 334).</p>
-
-
-
-<p>Among the scraps of silk and
-ribbons you will, perhaps, find a
-good-sized piece of dark-green or
-brown silk; use this for the case,
-which must cover the roll neatly. To make the case fit the
-end of the roll you have just filled up, mark on a piece of the
-silk a circle the size of that end of the roll. This can be
-done by standing the roll on the silk, and running a pencil
-around the edge. When cutting out the silk leave a margin of
-a quarter of an inch on the outside of the pencil-mark for the
-seam. Cut the silk for covering
-the roll three inches longer
-than the roll,
-and wide
-enough to
-allow for a
-quarter of an
-inch seam.
-Sew up the long seam, and then sew the round of silk into the
-end of the case. Hem the other end of the case, and run in a
-narrow ribbon about an inch from the edge. This is for a
-draw-string.</p>
-
-<div class="figcenter" style="width: 393px;">
-<img src="images/i_410b.jpg" width="393" height="140" alt="drawing" />
-<div class="caption">Music-roll.</div>
-</div>
-
-<p>When the roll is fitted snugly in its case, tie a ribbon,<span class="pagenum"><a name="Page_411" id="Page_411">[411]</a></span>
-matching it in color, around the roll, making a loop to form
-the handle. Fasten the ribbon by taking a few stitches under
-the bows, catching them on to the silk.</p>
-
-<div class="figleft" style="width: 239px;">
-<img src="images/i_411a.jpg" width="239" height="240" alt="drawing" />
-<div class="caption">Fig. 335.—Straw Hat Tied in Shape for a
-Work-basket.</div>
-</div>
-<p>The old straw hat can be transformed into a dainty</p>
-
-
-<h3><b>Work-Basket.</b></h3>
-
-<div class="figright" style="width: 258px;">
-<img src="images/i_411b.jpg" width="258" height="293" alt="diagram" />
-<div class="caption">Work-basket.</div>
-</div>
-<div class="figleft" style="width: 152px;">
-<img src="images/i_412aa.jpg" width="152" height="380" alt="drawing" />
-<div class="caption">Key Rack.</div>
-</div>
-<p>It is stiff and harsh at present, but pour boiling water over
-it and the straw will become soft and pliable, and can be bent
-into any shape you like. When dry, it will be again stiff, and
-will retain the form you have given it. After scalding the hat
-bend the brim in toward the centre, in four different places, at
-equal distances apart. This will make a fluted basket. You
-must tie it in shape (Fig. 335) and leave until perfectly dry;
-then bronze the basket, line it with silesia, and sew silk or
-satin around the top to form a bag. Run a draw-string of
-narrow ribbon near the top of the bag, and the pretty little
-work-basket is finished.</p>
-
-
-<p><span class="pagenum"><a name="Page_412" id="Page_412">[412]</a></span></p>
-
-<p>The croquet ball you can make into a</p>
-
-
-<h3><b>Key and Button-Hook Rack.</b></h3>
-
-<p>First you must gild it, and then around the middle of the
-ball, at regular intervals, insert small brass hooks. A yellow ribbon
-and bow, tacked on the top with small tacks,
-will serve to suspend it by, and completes the rack.</p>
-
-<p>With the gilt left from gilding the ball, and a
-piece of bright ribbon you can make a</p>
-
-<div class="figright" style="width: 362px;">
-<img src="images/i_412ab.jpg" width="362" height="160" alt="drawing" />
-<div class="caption">Paper-weight.</div>
-</div>
-
-
-<h3><b>Paper-Weight</b></h3>
-
-<p class="unindent">of six of the large nails. Gild each nail separately,
-let them dry, and then tie them securely together
-with a piece of ribbon.</p>
-
-
-
-
-
-<p>All the articles brought from the attic have now been turned
-to some use, but there are many other things to be found there
-which we have not space to mention, and which with little
-trouble can be so transformed that no one would ever suppose
-they were taken originally from a heap of rubbish.</p>
-
-<div class="figcenter" style="width: 461px;">
-<img src="images/i_412b.jpg" width="461" height="87" alt="cherubs going through rubbish" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_413" id="Page_413">[413]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXXVII.<br />
-
-<small>HOW TO MAKE ATTRACTIVE BOOTHS AT A
-FAIR—A NEW KIND OF GRAB-BAG.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_413.jpg" width="323" height="254" alt="D" />
-</div>
-
-<p class="drop-capi">DECIDING to have our fair unlike
-those which have preceded
-it, we must do away with
-monotony and introduce not
-only variety, but originality as
-well. New ideas, something
-different from that which has
-served us heretofore,
-is what we strive for.
-Novelties are always
-attractive, let them
-be decorative also,
-and help to make the room or hall as inviting as possible.</p>
-
-<div class="figcenter" style="width: 425px;">
-<img src="images/i_414.jpg" width="425" height="600" alt="drawing" />
-<div class="caption">The Fair.</div>
-</div>
-
-<div class="figleft" style="width: 238px;">
-<img src="images/i_415a.jpg" width="238" height="343" alt="diagram" />
-<div class="caption">Fig. 336.—Framework for the Canopy of
-a Booth at a Fair.</div>
-</div>
-
-<div class="figright" style="width: 168px;">
-<img src="images/i_415b.jpg" width="168" height="205" alt="diagram" />
-<div class="caption">Fig. 337.—Block of
-Wood Fastened on
-the side of Table.</div>
-</div>
-
-
-<h3><b>The Tables</b></h3>
-
-<p class="unindent">being the most important item, we will give them our first
-attention. Have each table or booth canopied in a style differing
-from all others, and make the canopy extend up as high
-as practicable, in order to avoid the flat, blank appearance so
-common in small fairs. If tables are arranged in this fashion,
-they will go far toward decorating the hall. Fig. 336 shows
-one style in which a framework for the roof or covering may
-be constructed. At the four corners of the table, where the
-top projects over the sides, fit in blocks of wood according to
-Fig. 337; the dotted lines represent the block. Nail the wood<span class="pagenum"><a name="Page_414" id="Page_414">[414]</a><br /><a name="Page_415" id="Page_415">[415]</a></span>
-fast to the table, so that the uprights may stand perfectly
-straight. Use laths or similar sticks for the four uprights, and
-screw or nail them at the corners
-of the table according to Fig.
-336; then with small screws fasten
-a stick across the top of the
-laths at each side, and at the top
-of the sticks on the front of the
-table tie the two ends of a barrel-hoop
-to form the arch; also attach
-another hoop at the back to
-the other two uprights, and connect
-the top centre of each by a
-wire running across. The hoops
-are fastened to the laths by binding
-the ends of the hoops to the
-ends of the laths with strong
-twine, or wire, wound around in
-notches which have previously
-been cut
-in the ends of both sticks and hoops.
-Should the barrel-hoops be too short for
-the arch, take children’s large-sized toy
-wooden hoops, and fasten them up in the
-same manner. Fig. 338 is another way
-to arrange the framework. The four upright
-sticks are attached to the table as described in Fig.
-336; then in the top of each is driven a very large-sized
-tack, and a strong flexible wire is stretched from
-lath to lath and wound around each tack, thus connecting the
-four uprights together.<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> Flags, shawls, drapery curtains, sheets,<span class="pagenum"><a name="Page_416" id="Page_416">[416]</a></span>
-and inexpensive cheese-cloth make good canopies; undressed
-cambric and canton flannel in desirable colors drape nicely,
-and can also be used for the purpose.
-Where you wish to produce light,
-airy effects, tarlatan, in one or more
-colors, will be found useful; again,
-let some of the tables have only a
-suggestion of a roof, made by ornamenting
-the framework with flowers,
-or whatever is most suitable, according
-to the style of table and the place
-it is to occupy.</p>
-
-<p>Try and have a variety of shapes
-and sizes in the booths, and avoid
-sombre dulness and monotony. Let
-the room fairly sparkle and shine
-with light and color.</p>
-
-<div class="figright" style="width: 211px;">
-<img src="images/i_416a.jpg" width="211" height="313" alt="diagram" />
-<div class="caption">Fig. 338.—Construction of Framework
-for the Canopy of a Table
-at a Fair.</div>
-</div>
-
-<p>To make a tent-like covering,
-firmly bind a large-sized Japanese
-umbrella to a pole, and fasten the pole in the centre of the
-table. To hold it securely, make a bench of two pieces of
-board, with a hole through the centre of each, and join them
-together by a block of
-wood nailed in each end
-(Fig. 339). The bench
-can be made fast to
-the table by screws put
-through from the under
-side of the top of the
-table</p>
-
-<div class="figleft" style="width: 304px;">
-<img src="images/i_416b.jpg" width="304" height="144" alt="diagram" />
-<div class="caption">Fig. 339.—Bench for Holding a Pole as a Support for
-a Canopy of a Booth.</div>
-</div>
-
-<p>In erecting the canopy
-place the end of the pole in the bench and it will be steady
-and firm. Attach pieces of string to several ribs on each side<span class="pagenum"><a name="Page_417" id="Page_417">[417]</a></span>
-of the umbrella, stretch the strings down and fasten the ends
-securely to the table; paste over the strings bright-colored
-tissue-paper fringe (Fig. 340). Cut the paper four or six thicknesses,
-and when pasted on turn the fringe part uppermost, so
-it will look fluffy and not hang down in a tame, fringe fashion.
-When a red umbrella is used, and the strings are covered with
-fringe of the same hue, it looks very pretty. Be extremely careful
-that no light comes dangerously near the tissue-paper, or
-any other inflammable material; all the decorations must be
-arranged with a view to perfect safety from contact with gas,
-lamp, or candle.</p>
-
-<p>In decorating the room remember to mass your color so the
-effect may
-be broad.
-If the colors are too much
-mingled the effect will be
-weakened, and in some cases
-lost entirely.</p>
-
-<div class="figcenter" style="width: 413px;">
-<img src="images/i_417.jpg" width="413" height="158" alt="drawing" />
-<div class="caption">Fig. 340.—Tissue-paper Fringe.</div>
-</div>
-
-<p>Paper-flowers and plants
-in great abundance will be
-needed, and if you can persuade
-all your friends, as well as those actively interested in the
-fair, to make paper-flowers or plants, they will prove very acceptable,
-and after the fair is over the floral decorations can
-be safely stored away to do service again on like occasion.
-Large, showy flowers, like peonies, dog-wood, and magnolias,
-as well as large-leaved plants, are best to use, though the
-smaller ones look well in a few places.</p>
-
-<p>In making</p>
-
-
-<div class="figright" style="width: 178px;">
-<img src="images/i_418a.jpg" width="178" height="185" alt="pattern" />
-<div class="caption">Fig. 341.—Dog-wood.</div>
-</div>
-
-<h3><b>Flowers for Decorations</b></h3>
-
-<p class="unindent">we aim at general effect, with less regard to detail than if the
-blossoms were to be used in other ways. Fig. 341 is a pattern<span class="pagenum"><a name="Page_418" id="Page_418">[418]</a></span>
-of the dog-wood. Cut the flowers of white writing paper
-and make them quite large. Use wire to fasten them to a
-natural branch, and imitate nature as
-nearly as possible in the arrangement of
-the blossoms.</p>
-
-<div class="figleft" style="width: 136px;">
-<img src="images/i_418b.jpg" width="136" height="177" alt="drawing" />
-<div class="caption">Fig. 342.—Peony Petal
-Gathered through the
-Centre.</div>
-</div>
-
-<p>If you fold the paper a number of
-times and then place your pattern over
-it, you can cut out six or eight flowers
-at once, and save both time and labor.</p>
-
-<div class="figright" style="width: 157px;">
-<img src="images/i_418c.jpg" width="157" height="132" alt="diagram" />
-<div class="caption">Fig. 343.—Peony Petal
-Folded over.</div>
-</div>
-
-<p>Peonies are made of white, pink, or
-red tissue-paper, cut in squares of about
-eight inches each and pinked on the two
-opposite edges. Twelve squares are needed
-for one flower. With your fingers gather the
-squares up in the centre (Fig. 342); then fold
-over the pieces, as in Fig. 343; when all are
-ready string them on a wire and shape the
-bunch to resemble a peony; twist the wire
-up tight and fasten the petals together, leaving
-a length of wire for a stem.</p>
-
-<div class="figleft" style="width: 67px;">
-<img src="images/i_419a1.jpg" width="67" height="65" alt="pattern" />
-<div class="caption">Fig. 344.—Cherry
-Blossom.</div>
-</div>
-
-<div class="figright" style="width: 81px;">
-<img src="images/i_419a2.jpg" width="81" height="145" alt="pattern" />
-<div class="caption">Fig. 345.—Green
-Leaf
-of Cherry
-Tree.</div>
-</div>
-<p>Make the cherry-blossoms (Fig. 344) in
-clusters of five or seven each, and attach green
-leaves (Fig. 345) cut in different sizes. Fig.
-346 shows the method of giving the leaf a
-pretty, crimped appearance. By holding
-the point of the leaf firmly under the head
-of the pin with your left hand, and with
-the right hand pushing the leaf up toward
-the head of the pin, you can crimp the
-leaves very rapidly, and they look much
-more natural than when left plain.</p>
-
-<p>All the materials necessary for the manufacture of flowers
-for fair decorations will be paper, wire, and paste. The buds<span class="pagenum"><a name="Page_419" id="Page_419">[419]</a></span>
-of different flowers can be imitated by pinching together the
-petals of open blossoms. Figs. 347, 348, 349 are the petals
-of the magnolia; the inside petals are five and one-half
-inches long, the others in proportion. Cut three
-of each size. No. 347 forms the innermost petals,
-No. 348 the next, and No. 349 the outermost;
-these last should be double; make
-the outside of pink tissue-paper and the
-inside white, all the other petals are white;
-cut three, from Fig. 350, of green paper to
-form the calyx.</p>
-
-
-<div class="figcenter" style="width: 380px;">
-<img src="images/i_419b.jpg" width="380" height="79" alt="drawing" />
-<div class="caption">Fig. 346.—Method of Crimping Leaf.</div>
-</div>
-
-<p>Other ornamental flowers may be manufactured
-from these hints. Patterns can
-be cut from any natural flowers, and
-they may be
-made without
-the aid of further
-directions. When natural blossoms can be obtained, they
-are far preferable,
-though the paper
-plants make splendid
-substitutes and
-at a little distance
-cannot be distinguished
-from the
-natural ones.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
-<tr>
-<td align="left"><div class="figcenter" style="width: 115px;">
-<img src="images/i_419c1.jpg" width="115" height="224" alt="pattern" />
-<div class="caption">Fig. 347.</div>
-</div></td>
-<td align="left" valign="bottom"><div class="figcenter" style="width: 103px;">
-<img src="images/i_419c2.jpg" width="103" height="221" alt="pattern" />
-<div class="caption">Fig. 348.</div>
-</div></td>
-<td align="left" valign="bottom"><div class="figcenter" style="width: 75px;">
-<img src="images/i_419c3.jpg" width="75" height="167" alt="pattern" />
-<div class="caption">Fig. 349.</div>
-</div></td>
-<td align="left" valign="bottom"><div class="figcenter" style="width: 42px;">
-<img src="images/i_419c4.jpg" width="42" height="95" alt="pattern" />
-<div class="caption">Fig.&nbsp;350.</div>
-</div></td>
-</tr>
-</table>
-</div>
-
-<p>If the fair comes
-off in the season
-when the trees are
-leafless, bare
-branches with green paper leaves wired on will help very much
-where foliage is needed.</p>
-
-<p>An excellent scheme in the arrangement of a fair is to divide<span class="pagenum"><a name="Page_420" id="Page_420">[420]</a></span>
-the tables into twelve separate booths and let each one represent
-one month in the year. They should contain articles appropriate
-only to the month represented, and when planned in this
-way each month should be of appropriate color. For example:</p>
-
-
-<h3><b>December</b></h3>
-
-<p class="unindent">can be all white, with tufts of cotton scattered about for snow,
-and mica or isinglass sprinkled around and over places to represent
-frost and ice. Icicles, varying in size, depending from
-the arch or canopy, add to the effect. The icicles are made of
-strips of paper first rolled up like paper-lighters, then completely
-covered with tallow from the dripping of a lighted
-candle; the tallow being allowed to harden on in raised places
-makes the twisted paper resemble in form a real icicle; the
-tallow icicle is next covered with a wash of mucilage, and
-powdered mica or isinglass is sprinkled all over it, so that it
-sparkles and shines.</p>
-
-<p>In place of the usual grab-bag at this booth, there should be
-a Christmas-tree without lights and burdened with little gifts
-tied up in colored tissue-paper. Santa Claus must have charge
-of the tree.</p>
-
-
-<h3><b>July</b></h3>
-
-<p class="unindent">calls for flags and decorations of red, white, and blue, as well as
-flowers, fruits, and green foliage; the table should be presided
-over by Columbia.</p>
-
-
-<h3><b>May.</b></h3>
-
-<p>Deck this table in spring blossoms and make the canopy of
-a slender May-pole. Pass the pole through the holes in the
-bench (Fig. 339) and screw the bench tight on the centre of
-the table; fasten a wreath of flowers and the ends of a number
-of ribbons at the top of the pole; bring the ribbons down and<span class="pagenum"><a name="Page_421" id="Page_421">[421]</a></span>
-tack them to the sides of the table. Give the Queen of May
-care of the booth.</p>
-
-
-<h3><b>November</b></h3>
-
-<p class="unindent">may be gay with late fall leaves and berries, and a very large
-pumpkin, which has been previously scraped out and lined
-with paper, can serve as a receptacle for odds and ends. A
-little Puritan maid should be in charge of the booth.</p>
-
-
-<h3><b>June</b></h3>
-
-<p class="unindent">is all rose color, with the queen of flowers, the rose, holding the
-post of honor. This month is very suitable for the flower-table,
-and Flora, the Goddess of Flowers, may preside over it.</p>
-
-<p>We have chosen these few months only as suggestions of
-the manner in which the idea can be carried out.</p>
-
-<p>Those in charge of the different booths might wear as a
-badge a conspicuous sign of the zodiac appropriate to the
-month represented.</p>
-
-
-<h3><b>The Five Senses</b></h3>
-
-<p class="unindent">can be illustrated by five booths, each one bearing its proper
-symbol as a sign. To represent</p>
-
-
-<h4>HEARING,</h4>
-
-<p class="unindent">make a large pasteboard ear-trumpet and cover it with silver
-paper; fasten this on the highest point of the booth and place the
-word Hearing in large letters under the trumpet; have these
-signs in plain sight, where none can fail to see and read. The
-articles on the table should consist of everything pertaining to
-the sense of hearing, such as sheet-music, musical instruments,
-telephones, and suitable toys.</p>
-
-<p>It would be a great addition if a phonograph could be<span class="pagenum"><a name="Page_422" id="Page_422">[422]</a></span>
-rented or borrowed for the occasion, and a certain sum charged
-to each one speaking in the instrument and hearing the echo of
-his own words and tones ground out to him again.</p>
-
-<p>An oracle would be a capital thing at this table, each person
-consulting it paying so much a question.</p>
-
-
-<h4>SEEING</h4>
-
-<p class="unindent">likewise must be labelled with a sign in the shape of a very large
-pair of spectacles cut out of stiff pasteboard and placed over the
-lettering.</p>
-
-<p>The goods offered here for sale should pertain to the sense
-of sight; and could be such articles as pictures, decorated
-candles, kaleidoscopes, and common blue glasses. All things
-pleasing to look upon may find place at the Seeing Table.
-Any kind of a peep-show can be used, five cents being required
-from every curious person wishing for a peep behind the curtain.</p>
-
-
-<h4>FEELING</h4>
-
-<p class="unindent">is more difficult to portray. Perhaps an ordinary riding-whip
-will answer the purpose, with the word Feeling in large type
-under it.</p>
-
-<p>Sofa-cushions, quilts, mittens, canes, muffs, fancy toilet
-articles, and almost anything adding to our personal comfort,
-or pleasant to handle, are suitable for the Feeling booth.</p>
-
-
-<h4>TASTING.</h4>
-
-<p>As an emblem for this booth make a huge cornucopia for
-candy, with the sign “Tasting” beneath, and the booth can be
-the candy-table.</p>
-
-
-<h4>SMELLING</h4>
-
-<p class="unindent">naturally suggests perfumes and sweet-scented flowers. This
-sense will most fitly be represented by an immense bouquet<span class="pagenum"><a name="Page_423" id="Page_423">[423]</a></span>
-fastened up over the table. The booth, of course, must be the
-flower-table.</p>
-
-<p>If you have only a few tables, make four booths of them, and
-let each booth represent a season. They should be decorated
-in keeping with the time represented, and the idea fully carried
-out in all the details.</p>
-
-<p>When the booths stand for different nations there is a great
-field for variety and beautiful decoration. But in this, as in all
-cases where an attempt is made to carry out an idea, it must be
-faithfully adhered to, or the effect will not be that intended.</p>
-
-<p>When it is necessary to decorate the</p>
-
-
-<h3><b>Walls</b></h3>
-
-<p class="unindent">use flags, bright, soft draping cloth, and large palm leaves;
-also branches of leaves, showy flowers, and anything that can
-be arranged to look well. As rooms differ so
-much in size and style, it is impossible to give
-any but general directions, leaving it to the taste
-of the decorator to carry out the
-details.</p>
-
-<div class="figleft" style="width: 109px;">
-<img src="images/i_423a.jpg" width="109" height="177" alt="diagram" />
-<div class="caption">Fig. 351.—Grab-bag
-of a Sheet
-with Holes Cut
-for Face and
-Arms.</div>
-</div>
-
-<div class="figright" style="width: 108px;">
-<img src="images/i_423b.jpg" width="108" height="178" alt="diagram" />
-<div class="caption">Fig. 352.—Apron
-Skirt Sewed on
-Sheet.</div>
-</div>
-
-
-<h3><b>Grab-Bags.</b></h3>
-
-<p>On a narrow sheet hung up in
-a door-way, and fastened securely
-at the sides, or attached to a
-frame, cut a hole large enough to
-allow of a false face being fitted
-in (Fig. 351 A). The flaps of the
-cloth are left for pasting inside the face; now
-cut two more holes for the arms to pass through
-(Fig. 351 B). In these holes sew sleeves of the same material
-as the skirt, which is made of bright-colored cambric in the<span class="pagenum"><a name="Page_424" id="Page_424">[424]</a></span>
-form of an apron, and
-sewed on the sheet
-(Fig. 352). The sides
-of the skirt are basted
-down on the sheet.
-When pasting in the
-false face, first cover
-the flaps, left at the
-opening for the face
-with stiff paste; then
-paste these flaps down
-into the inside of the
-false face, which will
-bring it up close
-against the sheet. If
-small openings are left,
-or the sheet puckers a
-little after the face is
-fastened on, never
-mind, as all defects
-can be covered by
-sewing on a thin white
-frill all
-around
-the face,
-to form a cap, and making a collar of the same
-material (Fig. 353).</p>
-
-<div class="figleft" style="width: 325px;">
-<img src="images/i_424a.jpg" width="325" height="506" alt="diagram" />
-<div class="caption">Fig. 353.—Grab-bag.</div>
-</div>
-
-<div class="figright" style="width: 109px;">
-<img src="images/i_424b.jpg" width="109" height="180" alt="diagram" />
-<div class="caption">Fig. 354.—Inside of
-Sheet for Grab-bag.</div>
-</div>
-
-<p>Leave an opening, or pocket-hole, through
-the sheet at one side of the dress, so that the
-hand can be slipped through to get the packages,
-which are placed within reach at the back of the
-curtain. Fig. 354 shows the inside of the sheet,
-and C the opening for the hand. Someone must<span class="pagenum"><a name="Page_425" id="Page_425">[425]</a></span>
-stand or be seated behind this curtain, and slip her arms into the
-sleeves, then she can look out through the mask and see with
-whom she is talking. In one hand she may hold a package,
-while she receives the money with the other.</p>
-
-<p>On the sheet print these words: “Five cents for what is in
-my pocket.”</p>
-
-
-<h3><b>The Lady of the Lake.</b></h3>
-
-<p>You will need a tin bath-tub for the lake, the longest one you
-can find, and a toy boat which will not easily tip or turn over.
-Place tiny flags in the bow and stern, and in one end of the
-boat glue a doll dressed like the “Lady of the Lake” in Scott’s
-poem. Attach a pulley to each end of the tub, and fasten the
-string to the boat, as it must be run back and forth by means of
-the pulleys. Fill the tub nearly full of water, then cover the
-edges with moss and vines. The bath-tub must be completely
-disguised, and surrounded by plants and foliage, with an opening
-left at one end for purchasers, and another small one near the
-other end for the boat to pass through to those stationed behind
-the shrubbery, who have charge of the boat, and where the
-parcels are kept. At the store-room end the screen of vines
-or leaves should be so arranged that those in charge can see
-all that is going on outside without being seen themselves.</p>
-
-<p>The boat should be stationed at the farther end of the lake,
-and whoever wishes to make a purchase must give the doll five
-cents; then the boat may immediately leave, sail across the
-lake, and disappear behind the screen, only to emerge again
-laden with a parcel in place of the money, and lightly skimming
-over the water arrive at her destination, when the purchaser
-can relieve the “Lady of the Lake” of her package.</p>
-
-<p>The Bubble Range described on <a href="#Page_335">page 335</a> can be used in a
-fair with advantage. Unless the fair is very small, it is better
-to have two Bubble Ranges, to prevent the tiresome waiting<span class="pagenum"><a name="Page_426" id="Page_426">[426]</a></span>
-for a turn, and give all who wish to try their skill the opportunity
-to enjoy the sport.</p>
-
-
-<h3><b>Fortune’s Wheel.</b></h3>
-<div class="figleft" style="width: 124px;">
-<img src="images/i_426a.jpg" width="124" height="142" alt="pattern" />
-<div class="caption">Fig. 355.—Circle for
-Fortune’s Wheel.</div>
-</div>
-<div class="figright" style="width: 58px;">
-<img src="images/i_426b.jpg" width="58" height="112" alt="diagram" />
-<div class="caption">Fig. 356.—Fortune’s Wheel.</div>
-</div>
-<p>Cut of stiff pasteboard a large circle (Fig. 355) with a point
-on the edge at the end of one of the spokes, for the circle must
-be painted to resemble a wheel. With a large
-round nail fasten the wheel through the centre
-to a board, which has previously
-had numbers painted
-on in a circle somewhat
-larger than the circumference
-of the wheel (Fig.
-356); the wheel should
-turn around easily on
-the nail. Hang the board up flat
-against the wall. The gypsy in
-charge of the Fortune’s Wheel
-should be stationed by its side,
-holding a basket filled with many
-envelopes numbered to correspond
-to the figures on the board, each
-envelope containing some appropriate
-fortune-telling lines; and
-when the people come to seek
-their fortunes the gypsy must allow
-each in turn to give the wheel
-a twirl, sending it around rapidly,
-and then hand to the fortune-seeker
-an envelope whose number
-corresponds with the figure at which the wheel pointed when it
-stopped turning.</p>
-
-<p><span class="pagenum"><a name="Page_427" id="Page_427">[427]</a></span></p>
-
-
-<h3><b>Rag-Balls.</b></h3>
-
-<p>Prepare a number of carpet-rag balls with a small gift in the
-centre of each one. These sell rapidly, and it is very amusing
-to see the buyers unwinding their balls to discover the contents,
-which may prove to be a thimble, a bundle of jackstraws, a
-grotesque Japanese toy, or any little comical conceit which can
-be hidden in the odd receptacle.</p>
-
-<p>The same idea might be applied to the always pleasing popcorn
-balls; then the knick-knacks must be first wrapped in soft
-paper to protect them from the candy used in making the balls.</p>
-
-<p>Pleasant mysteries and surprises are always popular at fairs,
-and the more that can be invented the better.</p>
-
-<div class="figcenter" style="width: 468px;">
-<img src="images/i_427.jpg" width="468" height="119" alt="fair with tents and Chinese lanterns" />
-</div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_428" id="Page_428">[428]</a></span></p>
-
-<div class="figcenter" style="width: 461px;">
-<img src="images/i_428.jpg" width="461" height="600" alt="drawing" />
-<div class="caption">Window Decorated with Imitation Stained Glass and Dutch Curtain.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_429" id="Page_429">[429]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXXVIII.<br />
-
-<small>WINDOW DECORATION.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_429.jpg" width="178" height="204" alt="N" />
-</div>
-
-<p class="drop-capi3">NOW, girls, we must have practicable
-ideas in regard to our decorations;
-they should consist of something which
-we <i>know</i> will be easy to make and at
-the same time look well; the materials
-employed must be within possible
-reach of all, and nothing expensive
-or difficult to obtain allowed to enter
-into their manufacture. What are commonly
-called Dutch curtains are very popular; they are short
-curtains of some thin, transparent fabric, fastened with rings to
-a slender rod of bamboo, and when drawn, cover the lower part
-of the window without intercepting the light. The curtains
-are very useful, but, while they do not obstruct the light, they
-do obstruct the vision.</p>
-<div class="figright" style="width: 140px;">
-<img src="images/i_430b.jpg" width="140" height="358" alt="drawing" />
-<div class="caption">Fig. 358.—Fringe of
-Macaroni and Beads.</div>
-</div>
-<p>We all know that the front window is just the place to sit
-when sewing or doing fancy-work, and although few ladies care
-to be seen by every passer-by, yet they all like to see what is
-going on outside, and while their deft fingers ply the needle
-their bright eyes take in the landscape out of doors and derive
-amusement and entertainment from the birds and flowers,
-if it be in the country, or the ever-moving throng, if in the
-city.</p>
-
-<p>An ornamental screen, therefore, that will shield one and<span class="pagenum"><a name="Page_430" id="Page_430">[430]</a></span>
-yet not interfere with the view is desirable. What might be
-termed the</p>
-
-
-<h3><b>Oriental Window-Shade</b></h3>
-
-<p class="unindent">not only comes up to the above requirements, but is inexpensive,
-and not difficult to construct.</p>
-
-<div class="figleft" style="width: 242px;">
-<img src="images/i_430a.jpg" width="242" height="152" alt="diagram" />
-<div class="caption">Fig. 357.—Manner of
-Making Fringe for
-Oriental Window-shade.</div>
-</div>
-
-
-
-<p>Make a small lawn-tennis net, long enough to reach across
-the width of the window and about eight inches deep; make
-loops of the rope on the ends for
-hanging the screen to knobs or
-hooks screwed in the framework
-of the window; spread the net
-out and fasten it up on a door,
-between two chairs, or any convenient place;
-then cut a number of pieces of fine twine, about
-four feet long, and attach
-them, a quarter of an inch
-apart, along the bottom rope
-(Fig. 357); A shows a loosened loop and B the
-tightened ones. The ends of the twine hang
-free. On each double strand string glass beads
-and slender pieces of bamboo, reeds, painted
-clay pipe-stems, or macaroni broken in pieces of
-equal length and used in their natural color, or
-painted with oil-paints to any desired tint. Have
-the reeds four inches long, and thread them on
-alternately with the beads (Fig. 358); or you can
-form a design by cutting the reeds into different
-lengths; at the end of each strand fasten a large
-bead or glass button. A very simple</p>
-
-
-<h3><b>Ribbon-Curtain</b></h3>
-
-<div class="figleft" style="width: 65px;">
-<img src="images/i_431a.jpg" width="65" height="105" alt="diagram" />
-<div class="caption">Fig. 359.</div>
-</div>
-
-<div class="figright" style="width: 89px;">
-<img src="images/i_431b.jpg" width="89" height="162" alt="diagram" />
-<div class="caption">Fig. 360.—Beads
-on the
-Ends of Ribbons</div>
-</div>
-<p class="unindent">is of red, blue, yellow, and black ribbons all cut
-the same length and sewed, a quarter of an inch<span class="pagenum"><a name="Page_431" id="Page_431">[431]</a></span>
-apart, on a narrow strip of black cloth long enough to reach
-across the window. The strip may be used as a band, or attached
-to a slender pole by means of small brass rings.
-The ribbons should be silk, and thin enough to admit
-of the light shining through; they hang down fringe-like,
-with three glass beads fastened on the end of
-each ribbon (Fig. 359 or Fig. 360). If you
-prefer to have the shade all one color make
-it yellow, which gives a pleasant, mellow
-light. Any pattern you choose can be made by
-taking short pieces of ribbon and joining them together
-with glass beads. In this way bits of ribbon
-could be utilized, but those used must be semi-transparent,
-showing the color when held up to the
-light. Even smooth pieces of silk with their edges
-neatly hemmed might do service, only be very careful
-to join either ribbon or silk with the beads in
-such a manner as to prevent its twisting; the beads must be
-heavy enough to keep the fringe straight.</p>
-
-<p>Nearly all homes have their bags of silk and worsted pieces,
-and from these can be made a handsome</p>
-
-
-<h3><b>Drapery of Very Small Scraps.</b></h3>
-
-<p>Cut the pieces of silk or worsted into squares about an inch
-each way, using any and all colors; then take a piece of twine
-of the length you desire your curtain, and with a large needle
-string the bright bits on the twine until the whole string is
-completely and closely covered; next fasten the twine well to
-prevent its slipping, and with a large pair of scissors trim off the
-rough edges of the silken strand until the surface is rounded and
-even; on one end attach a small brass curtain-ring, and on the
-other a heavy bead or button; make as many strands as you<span class="pagenum"><a name="Page_432" id="Page_432">[432]</a></span>
-will need to hang across the window and fasten them to a pole
-in which small hooks have been screwed.</p>
-
-<p>This drapery resembles chenille; it is rich in color, will wear
-well, and is best adapted for full-length curtains.</p>
-
-<p>As a substitute for stained glass we give directions for</p>
-
-
-<h3><b>Painting Window-Panes.</b></h3>
-
-<p>These are very pretty and satisfactory. If good designs are
-chosen the window will surpass in beauty your expectations.</p>
-
-<p>The materials necessary are: some of Winsor &amp; Newton’s
-transparent colors, such as rose-madder, Prussian blue, raw
-and burnt umber, burnt sienna, ultramarine, gamboge, ivory-black,
-viridian green, and orient yellow. Any transparent
-color can be used. For purple, mix rose-madder with Prussian
-blue.</p>
-
-<p>Prepare the paints to be used by mixing each color separately
-with a little oil and siccatif Courtray. Almost any brush
-will do to paint with, but one of medium size made for oil-colors
-is the best, and another smaller one is necessary for the
-outlining, which takes the place of leading in stained glass.
-The dabber is a ball of raw cotton tied in a piece of fine cotton-cloth,
-and the manner of tinting or grounding is exactly the
-same as in china-painting; lac-varnish will be needed as a wash
-after the painting has dried.</p>
-
-<p>When you have an opportunity, carefully examine real
-stained-glass windows, and you will see that each window is
-one complete design. The corners and borders are usually in
-rich, dark colors, while the central portion is of lighter tints or
-clear glass.</p>
-
-<div class="figcenter" style="width: 510px;">
-<img src="images/i_433a.jpg" width="510" height="329" alt="drawing" />
-<div class="caption">Fig. 361.—Border Pattern.</div>
-</div>
-
-<div class="figleft" style="width: 213px;">
-<img src="images/i_433b.jpg" width="213" height="132" alt="diagram" />
-<div class="caption">Fig. 362.—Cracked Glass.</div>
-</div>
-
-<p>Always make your corners and borders first, and if you desire
-a centre-piece, it should be placed in position next, and the
-space between it and the border filled in afterward. A Gothic<span class="pagenum"><a name="Page_433" id="Page_433">[433]</a></span>
-window may be imitated by painting the corners black, thus
-making it arched at the top. Very often good patterns can be
-found in the many art and fashion papers. One copy may
-serve for an entire border, if it be pasted at the four corners to
-one pane of glass, and, when that is outlined, removed and
-gummed to the next, and so on until the border is finished.
-Fig. 361 is intended as a border.
-Fig. 362 is a very simple pattern
-of cracked glass, which you can
-readily make without any copy.
-Place a ruler across the woodwork
-of the window-pane, first one way,
-then another, and with its aid paint
-your straight lines, being careful
-not to have any two run parallel. A conventional design is always
-to be preferred. Should any mistakes occur during the<span class="pagenum"><a name="Page_434" id="Page_434">[434]</a></span>
-progress of the work, remove the paint with a cloth dampened
-with turpentine and try again. The painting is not difficult,
-and the only delays are in waiting for the colors to dry.</p>
-
-<p>First decide on your design, then trace it, making the outlines
-heavy and black; gum the pattern by the four corners to
-the outside of the window-pane, which it is essential to have
-perfectly clean and dry; close the window, and with a small
-brush dipped in black paint follow the outlines of your copy,
-keeping the lines of equal thickness throughout; when this is
-finished remove the pattern. In the same manner go over all
-the outlines you wish to make on the window, then leave the
-color to harden and dry, which will probably require hours.
-Begin again by laying on flat washes of paint to match the prevailing
-colors of the copy, and use the dabber in tinting each
-color as it is applied, so the surface may be even and uniform.
-While the decoration is drying it is best to protect it from dust
-by pinning up a newspaper or a large piece of cloth on the
-window-frame. When dry, the painting can be touched up if
-necessary.</p>
-
-<p>After the last color has entirely dried apply a wash of white
-lac-varnish; when this is dry give the window another coat of
-lac-varnish and then it will be finished. Should your copies be
-in black and white, use your own taste in coloring the glass.</p>
-
-<p>Another method of imitating stained glass is</p>
-
-
-<h3><b>Painting on Lawn,</b></h3>
-
-<p class="unindent">batiste, or any kind of sheer white muslin. For this you will
-need the same paints that are used for painting on glass; these
-are mixed only with turpentine and the color put on as a stain.</p>
-
-<p>Cut a piece of new thin white batiste large enough to cover
-a window-sash, with a margin left for turning in, and make
-an outline on it of the exact size of the sash; then select<span class="pagenum"><a name="Page_435" id="Page_435">[435]</a></span>
-your pattern and place the lawn over it, when the outlines
-should show through; trace these carefully with gum-arabic dissolved,
-but made <i>very</i> stiff, and when the entire design has been
-traced let the gum dry; then go over it with ivory-black unmixed;
-this latter makes the leading; be careful to keep the
-lines even and of the same size. When the outlines have dried
-fill in the spaces with the stains made of paint and turpentine;
-the gum prevents the colors from spreading. When the paint
-has dried you may add a few touches where they are needed,
-and the stained-glass design will be ready to place on the
-window. Use stiff mucilage or tiny tacks to keep it in place,
-having first turned in the margin left for the purpose.</p>
-
-<p>An attractive window can be made with the upper sash of
-imitation stained glass, while the lower one is screened by a
-Dutch curtain, as in the illustration.</p>
-
-<p>For the benefit of those who prefer sewing to painting we now
-tell how to</p>
-
-
-<h3><b>Imitate Stained Glass</b></h3>
-
-<div class="figright" style="width: 238px;">
-<img src="images/i_436a.jpg" width="238" height="155" alt="diagram" />
-<div class="caption">Fig. 363.—Imitation of Ground Glass.</div>
-</div>
-<p class="unindent">with a piece of stiff white rice-net, such as is commonly used for
-bonnet-frames, and some pieces of thin batiste, or lawns, of the
-requisite colors. Cut the rice-net the proper size and lay it over
-your design; then carefully trace off the pattern; when all the
-outlines are finished cut the different-colored lawns of the shape
-and size to correspond to the different portions of the design;
-baste these on in the places they must occupy; then sew them
-on with the Automatic Sewing-machine, following with coarse
-black thread the outlines on the wrong side of the foundation, so
-that the chain-stitch will appear on the right side to form the
-leading; or the stitching may be made by hand, or a very narrow
-black braid can be used as leading. When all the batiste is
-sewed on, cut out the net back of the design to allow the light
-to shine through.</p>
-
-<p><span class="pagenum"><a name="Page_436" id="Page_436">[436]</a></span></p>
-
-<p>We have seen such an imitation of stained glass, and when
-placed up against the window it was very good; but care must
-be taken to have the colored
-lawns thin and of the right
-shades; if too heavy they obstruct
-the light and the colors do
-not look bright.</p>
-
-<p>For full-length window-drapery
-of inexpensive material
-there may be had at any of the
-leading dry-goods stores beautiful
-soft fabrics, in yellows and different colors, the designs
-of which equal those of much higher-priced goods. These
-draperies hang in graceful folds and come as low as ten cents a
-yard; some of them are also well adapted for the useful Dutch
-curtains.</p>
-
-
-<div class="figcenter" style="width: 300px;">
-<img src="images/i_436b.jpg" width="300" height="55" alt="diagram" />
-<div class="caption">Fig. 364.—Folded Paper with Diamond Pattern for
-Imitation of Ground Glass.</div>
-</div>
-
-<div class="figcenter" style="width: 295px;">
-<img src="images/i_436b2.jpg" width="295" height="59" alt="diagram" />
-<div class="caption">Fig. 365.—Paper Marked with Design for Imitation
-of Ground Glass.</div>
-</div>
-
-
-<h3><b>Windows of Imitation Ground Glass</b></h3>
-
-<p class="unindent">can be made of white tissue-paper, cut in simple patterns and
-fastened on the inside of the glass with white lac-varnish.
-The window must be
-perfectly clean and dry.
-If possible have the
-pieces of tissue-paper
-exactly the same size as
-the window-panes, fold and refold the paper lengthwise until it
-is an inch or so in width;
-then cut from stiff cardboard
-your pattern. If it
-be a diamond, as in Fig.
-363, have it exact, and
-cut it in halves; use one-half as a pattern, place this on the
-edge of the paper, as in Fig. 364, and with a lead pencil draw a<span class="pagenum"><a name="Page_437" id="Page_437">[437]</a></span>
-line around it; remove the pattern and place it lower down
-about a quarter of an inch from the first tracing, and again
-mark around the edge. Continue in the same way until you
-have the pattern marked on the entire length of the tissue-paper.
-Make the same pattern on the other edge of the paper
-(Fig 365). Cut out the pattern, then unfold the paper and
-smooth it free of wrinkles; give the window-pane a thin coating
-of white lac-varnish, and apply the paper, being very careful
-to have it <i>perfectly</i> smooth when on the glass. Sometimes
-it is necessary to join two or more pieces of paper, but if you
-are careful to make the edges come <i>exactly</i> together, the joins
-will not be noticeable.</p>
-
-<p>Lac-varnish dries very quickly, and it takes only a short time
-to decorate a window in this manner.</p>
-
-<p>When all the panes of glass are covered with tissue-paper,
-finish by varnishing each one with the white lac-varnish; at
-a little distance it is difficult to distinguish a window so covered
-from one really formed of ground glass.</p>
-
-<p>For bath-rooms, or where the window is rather out of the
-way and the outlook not agreeable, the imitation of ground
-glass is suitable and useful.</p>
-
-<div class="figcenter" style="width: 471px;">
-<img src="images/i_437.jpg" width="471" height="141" alt="window" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_438" id="Page_438">[438]</a></span></p>
-
-
-
-
-<h2>CHAPTER XXXIX.<br />
-
-<small>FURNITURE OLD AND NEW.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_438.jpg" width="155" height="209" alt="O" />
-</div>
-
-<p class="drop-capi3">ONLY the other day we were appealed to by
-a friend for suggestions on how to furnish
-a room prettily, and at the same time inexpensively,
-and we know that there are
-many girls like this friend who, loving to
-surround themselves with beauty and comfort,
-have not the means of doing so in the
-ordinary way; but must depend largely
-upon their own skill and ingenuity for the
-gratification of this taste. After all, there
-is more real pleasure in planning and contriving the furnishing
-of one’s room, even with only a small sum for outlays,
-than there is in ordering a set from the furnishers which is
-exactly like a hundred others. In the former case we make
-our room expressive of our individuality; in the latter we walk
-in the beaten track of those who have little or no individuality
-to express.</p>
-
-<p>So much for the sentiment of the idea. Now let us turn to
-the practical side, and find the best way of carrying it out, and
-putting our theories into practice.</p>
-
-<p>In mentioning old furniture in the heading of this chapter,
-we do not allude to the antiques in such high favor just now;
-they are unique and handsome enough in themselves, requiring
-no contriving to beautify them; but there are few families who
-do not possess furniture that is out of date, old-fashioned without<span class="pagenum"><a name="Page_439" id="Page_439">[439]</a></span>
-being antique; furniture that time and hard usage has reduced
-to a state of shabbiness anything but beautiful, yet not worth
-sending to the cabinet-makers to be furbished up. It is the
-renovation of such furniture that will help much toward making
-a room pretty and attractive.</p>
-
-<p>We need not attempt to restore the furniture to its original
-state, that would be impracticable. But we can work wonders in
-transforming it; in turning a homely article into one that will
-be an adornment instead of a blemish.</p>
-
-
-<h3><b>Bookcase.</b></h3>
-<div class="figleft" style="width: 188px;">
-<img src="images/i_439.jpg" width="188" height="298" alt="diagram" />
-<div class="caption">Fig. 366.—Diagram of Book-shelves.</div>
-</div>
-<p>Take, for instance, an old bureau
-belonging to a cottage set. The mirror,
-perhaps, is broken, or if it is not it can
-be used to better advantage elsewhere.
-Removing that, there is left merely a
-chest of drawers, which we will proceed
-to convert into a bookcase by the addition
-of shelves placed on top. If you
-have a brother who is handy with his
-tools the matter is simple enough;
-without him a carpenter may have to
-be employed to make the shelves, or,
-by taking the plan and measurements
-to a carpenter-shop the materials can be obtained ready for
-use, and all you will have to do will be to put them together.
-Although there is a saying that “a girl can never drive a nail
-straight,” we have reason to believe the contrary, and feel sure
-that a little practice will enable most girls to do many bits of
-light carpentry work as well as the boys. Three feet is the
-height of a bureau belonging to an ordinary set of cottage furniture,
-so we will take that as our standard for measurement, and
-make our shelves according to it.</p>
-
-
-
-<p><span class="pagenum"><a name="Page_440" id="Page_440">[440]</a></span></p>
-
-<p>Fig. 366 is the diagram for the frame of the shelves. The
-side pieces are made of boards three feet four inches long and
-nine inches wide; the top of each of these boards is sawed
-into a point as shown in diagram. Four cleats made of sticks
-eight inches long and one inch thick are nailed to the side of
-each board, the distance between being nine inches.</p>
-
-<p>The frame at the back is composed of two boards five and
-one half feet long and seven inches wide, and two, three feet three
-inches long (the width of the bureau) and seven inches wide.
-One of these short boards is nailed across the top ends of the
-long boards, and the other twenty-four inches below. The side
-pieces are nailed to the back as shown in diagram, the nails
-being driven through the back board into the edge of the side
-piece.</p>
-
-<p>When the frame is made it is placed on the bureau, the sides
-resting on the top and the long back boards reaching down behind
-where they are nailed or screwed to the bureau. The
-shelves are thirty-seven inches long and nine inches wide.
-They rest on the cleats and are not nailed to the frame.</p>
-
-<p>Screws may in some places, answer better than nails.</p>
-
-<p>When the shelves have been adjusted, the whole is painted
-a dark olive green.</p>
-
-<p>If the knobs are removed from the drawers before the
-bureau is painted, and brass handles substituted afterward, it
-will add materially to its appearance.</p>
-
-<p>The bookcase shown in our illustration is finished off with
-curtains, which hang by brass rings from a slender bamboo pole.
-The pole is slipped through brass hooks screwed into the side
-pieces near the top.</p>
-
-<p>Curtains of canton-flannel, or any soft material, are suitable
-for this bookcase. The colors may be a combination of olive
-green with old blue, yellow, cherry, copper color, dark red,
-or light brown.</p>
-
-<p><span class="pagenum"><a name="Page_441" id="Page_441">[441]</a></span></p>
-
-
-<h3><b>The Chair</b></h3>
-
-<p class="unindent">in the same illustration is an ordinary rocking-chair painted
-olive green, with cushions at the back and in the seat stuffed
-with excelsior, covered with bright cretonne, and tied to the
-chair with ribbons.</p>
-
-<div class="figcenter" style="width: 493px;">
-<img src="images/i_441.jpg" width="493" height="526" alt="drawing" />
-<div class="caption">Bureau Transformed into a Bookcase.</div>
-</div>
-<div class="figright" style="width: 35px;">
-<img src="images/i_442a.jpg" width="35" height="181" alt="diagram" />
-<div class="caption">Fig. 367.</div>
-</div>
-<p><span class="pagenum"><a name="Page_442" id="Page_442">[442]</a></span>Chairs of this kind look well painted almost any color; one
-of yellow, with yellow cushions and ribbons, is exceedingly
-pretty.</p>
-
-<p>If the chair to be remodelled is bottomless, reseat
-it in this way: Cut some strips of strong cotton cloth
-about one inch wide and sew them together, lapping
-one piece over another, as in Fig. 367; fasten an end
-on to the edge of the chair with a tack, and then pass
-the cloth back and forth across, each time putting it
-under and bringing it over the edge of the chair.</p>
-
-<div class="figleft" style="width: 238px;">
-<img src="images/i_442b.jpg" width="238" height="281" alt="diagram" />
-<div class="caption">Fig. 368.—How to Reseat a Chair.</div>
-</div>
-<p>When the seat is filled up with the strips going one
-way, cut the cloth and tack the end to the chair; then,
-commencing at the side, cross
-these strips, passing the cloth
-in and out as if darning. Fig.
-368 shows just how it is done.
-Be sure to draw the strip as
-tightly as you can every time
-it crosses the chair, for if too
-loose it will sag as soon as the
-chair is used. The edge of the
-chair may be covered with the
-cretonne, or a ruffle which is
-sewed around the cushion.</p>
-
-
-<p>Fig. 369 is an old settee fitted
-up with cushions, and a sociable,
-comfortable seat it is. It offers
-plenty of room for two, and ensconced thereon the girls may
-rock and talk to their hearts’ content.</p>
-
-<p>These settees are not often seen in the city, but are to be
-found in many a farm-house and country town. The one from
-which our sketch is taken is painted black, but, like the chair,
-it would look well any color.</p>
-
-<p><span class="pagenum"><a name="Page_443" id="Page_443">[443]</a></span></p>
-
-<p>Fresh, dainty prettiness should be the principal feature of a
-young girl’s room, and this can be obtained at very little expense,
-much less than most persons suppose.</p>
-
-<div class="figcenter" style="width: 510px;">
-<img src="images/i_443.jpg" width="510" height="403" alt="drawing of girl on long rocking chair" />
-<div class="caption">Fig. 369.—Come and Sit Here.</div>
-</div>
-
-<p>Fig. 370 shows what can be done with the commonest
-kind of furniture. This can be bought at the manufacturer’s
-unpainted, and may be left its natural color and simply
-varnished, or, following the present fashion, it can be
-painted white, and decorated with slender bands or circles of
-gold.</p>
-
-<p><span class="pagenum"><a name="Page_444" id="Page_444">[444]</a></span></p>
-
-<p>As in the illustration,</p>
-
-
-<h3><b>The Bedstead</b></h3>
-
-<p class="unindent">should have drapery suspended over it. This gives a soft,
-pretty effect, and takes away its stiffness. Dotted swiss or
-thin cottage drapery answers the purpose nicely.</p>
-
-<p>Ten yards of material cut in two breadths of five yards each
-are required for these curtains. The breadths must be sewed
-together lengthwise and then passed through a small wooden
-hoop which has been gilded or painted white.</p>
-
-<p>When the hoop is directly in the middle of the breadths, the
-material must be brought together close to the hoop and two
-of the edges sewed or basted together. This seam is to go
-at the back and keep the curtain from parting and hanging
-in two strips.</p>
-
-<p>A ruffle of the same material, or lace, sewed on the edge
-and across the ends of the drapery gives it a soft, lacy effect.
-The ribbons which loop the curtains at either side should be of
-the prevailing colors of the room. If the furniture is white and
-gold, they should be yellow.</p>
-
-<p>The hoop can hang from a brass chain fastened to a hook
-in the ceiling.</p>
-
-<p>The bureau belonging to this style of furniture is too clumsy
-for our use, although without the mirror it will be convenient
-as a chest of drawers. Brass handles in place of knobs will improve
-it.</p>
-
-<div class="figcenter" style="width: 511px;">
-<img src="images/i_445.jpg" width="511" height="591" alt="drawing of bedroom" />
-<div class="caption">Fig. 370.—What can be done with Common Unpainted Furniture.</div>
-</div>
-<h3><b>A Dressing-table</b></h3>
-
-<p class="unindent">to take its place, like the one shown in Fig. 370, can be made
-of a small kitchen-table. The mirror suspended over it should
-have a broad flat frame of white pine, varnished or painted to
-match the furniture. Almost any cabinet-maker can frame a
-mirror in this way. Bracket candlesticks made of brass, which<span class="pagenum"><a name="Page_445" id="Page_445">[445]</a></span>
-are very inexpensive, should be fastened to the frame on either
-side of the glass with brass nails or brass-headed tacks.</p>
-
-<div class="figright" style="width: 304px;">
-<img src="images/i_446.jpg" width="304" height="496" alt="drawing of washstand" />
-<div class="caption">Fig. 371.—The Ordinary Unpainted Washstand in a
-New Light.</div>
-</div>
-
-<p>With a brass handle on the drawer, a pretty scarf of linen
-crash, ornamented with drawn work or outline, thrown over the<span class="pagenum"><a name="Page_446" id="Page_446">[446]</a></span>
-table and hanging down at each end, and the addition of pin-cushion
-and toilet articles, this toilet-table looks very attractive
-and readily challenges
-admiration.</p>
-
-
-<h3><b>Washstand.</b></h3>
-
-<p>A piece of white matting
-bound at top and
-bottom, with yellow cotton
-cloth for a splasher,
-as in Fig. 371, and a
-pretty scarf and toilet-set,
-presents this most
-ordinary washstand in a
-new light.</p>
-
-<p>Three common kitchen-chairs
-and one rocker,
-when painted white or
-varnished, as the case
-may be, and cushioned
-in pretty light-colored
-cretonne, completes this
-novel, pretty, and remarkably
-inexpensive set
-of furniture.</p>
-
-<p>The curtains next to
-the windows should be of the same material as that used for
-the bed-drapery, with the inner one of cretonne like the chair-cushions.</p>
-
-<p>White matting is suitable for the floor in summer, and during
-the cold weather it can be mostly covered with a pretty
-ingrain rug or art square, as it is called.</p>
-
-<p><span class="pagenum"><a name="Page_447" id="Page_447">[447]</a></span></p>
-
-<p>Instead of using gilt, the rings and bands on the furniture
-may be blue or red, in which case the trimmings of the room
-should correspond.</p>
-
-<div class="figcenter" style="width: 510px;">
-<img src="images/i_447.jpg" width="510" height="474" alt="drawing of bench" />
-<div class="caption">Fig. 372.—Hall Seat Made of a Common Wooden Bench.</div>
-</div>
-
-
-<h3><b>A Hall Seat.</b></h3>
-
-<p>As another illustration of what can be done with the most
-ordinary piece of furniture, we have chosen a common wooden
-bench, and by painting it black and giving it a dark-red cushion
-with tassels at each corner, have transformed it into quite an
-elegant hall-seat. Fig. 372 gives the effect.</p>
-
-<p><span class="pagenum"><a name="Page_448" id="Page_448">[448]</a></span></p>
-
-<div class="figcenter" style="width: 507px;">
-<img src="images/i_448.jpg" width="507" height="592" alt="drawing" />
-<div class="caption">Fig. 373.—Window Seat and Book-shelves Combined, Made of Boxes.</div>
-</div>
-
-<p>Fig. 373 shows a</p>
-
-
-<h3><b>Window Seat and Book-shelves Combined,</b></h3>
-
-<p class="unindent">made of boxes. Eight soap-boxes of the same size are required
-for the shelves, and a packing-box about two feet high, two<span class="pagenum"><a name="Page_449" id="Page_449">[449]</a></span>
-feet in width, and as long as the window is wide, for the
-seat.</p>
-
-<p>Remove the tops and two sides of the soap-boxes, and bore
-holes with a red-hot poker in one corner of the bottoms of six
-of the boxes, and in two of the tops which have been removed,
-making the holes one inch from either edge (Fig. 374). In
-the other two boxes bore in the same place, but not entirely
-through, making the holes about half an inch deep.</p>
-
-<p>Place these last two on the floor and pile the others on top
-of them, three on each, nailing the
-bottom of each box to the top edge
-of the one beneath it. On the two
-upper boxes nail the tops in which
-the holes have been made.</p>
-
-<p>Have ready two slender bamboo
-rods about four feet long. Insert a
-rod in the hole in the top of an
-upper box and let it pass down,
-slipping it through the holes in the
-bottoms of the other boxes and fitting it in the cavity in the
-lower box.</p>
-
-<div class="figleft" style="width: 205px;">
-<img src="images/i_449.jpg" width="205" height="167" alt="diagram" />
-<div class="caption">Fig. 374.—Hole in Corner of Box
-for Book-shelves.</div>
-</div>
-
-<p>In like manner put the other rod in place through the other
-pile of boxes.</p>
-
-<p>If the packing-box has a cover, it should be fastened on
-with hinges, so that it may be used for a shoe-box as well as a
-seat; if it has not, turn it upside down, place the soap-boxes at
-each end and nail them to it.</p>
-
-<p>Paint the shelves black or the color of the wood-work in the
-room, and upholster the seat and the boxes on either side of it
-with cushions made of strong muslin stuffed with excelsior and
-covered with cretonne.</p>
-
-<p>Fasten the edges of the side cushions to the boxes with
-gimp braid and tacks. Make a deep plaiting of the cretonne<span class="pagenum"><a name="Page_450" id="Page_450">[450]</a></span>
-and tack it across the front of the large box. When there is a
-lid a narrow plaiting must be tacked across its front edge, which
-will, when the box is closed, lap over the top of the deeper
-plaiting.</p>
-
-<p>That this combination of window-seat and shelves is both
-comfortable and convenient, one may easily imagine, and that
-it adds not a little to the furnishing of a room, we leave to
-our illustration to show.</p>
-
-<div class="figcenter" style="width: 471px;">
-<img src="images/i_450.jpg" width="471" height="181" alt="man carrying belongings including a chair on back" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_451" id="Page_451">[451]</a></span></p>
-
-
-
-
-<h2>CHAPTER XL.<br />
-
-<small>SOMETHING ABOUT MANTEL-PIECES AND
-FIRE-PLACES.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_451.jpg" width="159" height="161" alt="T" />
-</div>
-
-<p class="drop-capi3">THE spirit of hospitality and comfort presides
-over the ruddy blaze of an open
-fire; yet, as we gather cosily around and
-bask in the delightful warmth and radiance,
-its cheerful influence is too often
-retarded by its very unattractive surroundings.
-This lovely household spirit
-should have a more fitting habitation than
-the one frequently accorded it. The fire-place should at least
-be pleasant to look upon, and not depend wholly upon the
-bright fire to make it inviting.</p>
-
-<p>The ordinary marble and marbleized slate or iron mantel-pieces
-are the reverse of beautiful, but they may be very much
-improved at the expense of a small outlay of money, time, and
-trouble.</p>
-
-<p>The examples we give here of the treatment of commonplace
-mantel-pieces are simple, and can easily be managed by
-the girls themselves, with but trifling aid from a carpenter.</p>
-
-<p>In a room occupied at one time by a young friend of the
-writer, there was an old-fashioned white-pine mantel-piece.
-It was stiff and plain, with no attempt at ornamentation, and
-the border of white marble, about five inches wide around the
-fire-place, was apparently inserted to protect the wood from<span class="pagenum"><a name="Page_452" id="Page_452">[452]</a><br /><a name="Page_453" id="Page_453">[453]</a></span>
-the heat of the fire, and not for beauty. A hint from the
-writer was sufficient to set this girl’s brain and fingers to work.
-Soon the white-marble border was transformed into a row of
-blue and white tiles, which were not only pretty and appropriate,
-but were also the means of dispelling the impressions of
-coldness and hardness the marble gave.</p>
-
-<div class="figcenter" style="width: 486px;">
-<img src="images/i_452.jpg" width="486" height="600" alt="drawing" />
-<div class="caption">Fig. 375.—Shelves over Mantel-Piece.</div>
-</div>
-
-<p>The manner of effecting this transformation was simple
-enough. First the marble was divided into squares, the lines
-being painted black; then conventional patterns were sketched
-with a pencil on the squares and painted in blue, oil-paints
-being used for the purpose.</p>
-
-<p>How the mantel-piece was otherwise reformed, the writer
-never saw, but it might have been greatly improved and altered
-by the addition of shelves above, or a suitable lambrequin upon
-the mantel-shelf. However that may or might have been, the
-tiles were a successful bit of work, and the painting of them
-within the capabilities of almost anyone. Then why should we
-long in vain for a tiled mantel-piece, when we have it in our
-power to gratify the wish?</p>
-
-<p>On a plain white-marble mantel a border around the fire-place
-may be marked out, and a set of tiles painted, which will
-look just as pretty as any that can be bought.</p>
-
-<p>If the rest of the marble is painted black or brown, the tiles
-will look as though they were set in, and the contrast will make
-them more effective.</p>
-
-<p>Fig. 375 illustrates our suggestion of putting shelves over
-the mantel-piece. The braces can be bought at any hardware-store,
-and the shelves may be of black-walnut or pine boards,
-stained or painted to match the mantel-piece.</p>
-
-<p>Fig. 376 shows the effect of a mantel-shelf covered with enamel-cloth
-made in imitation of leather. The color of the material
-used for the one from which our sketch is taken is dark red,
-and has a dull, soft finish like Russian leather. It is ornamented<span class="pagenum"><a name="Page_454" id="Page_454">[454]</a></span>
-with small brass curtain-rings sewed on in points or pyramids;
-a strip of enamel-cloth is also put behind the shelf, and at the
-top edge a piece of narrow gilt moulding is tacked.</p>
-
-<div class="figcenter" style="width: 508px;">
-<img src="images/i_454.jpg" width="508" height="547" alt="drawing" />
-<div class="caption">Fig. 376.—Mantel-Shelf covered with Enamel-Cloth ornamented with Brass Curtain-Rings.</div>
-</div>
-
-<p>A mantel-board of pine, two inches longer and two inches
-wider than the shelf, is always necessary when there is to be a
-lambrequin, for upon this the lambrequin is tacked.</p>
-
-<p><span class="pagenum"><a name="Page_455" id="Page_455">[455]</a></span></p>
-
-<p>First, the board must be neatly covered with the material,
-enamel-cloth or whatever is used, the edges of the cloth being
-brought over and tacked under the edge of the shelf; then the
-strip composing the lambrequin must be turned in at the top
-edge and tacked across the front and two ends of the board
-with brass-headed tacks. It looks better if the corners of the
-board are rounded as
-shown in illustration.</p>
-<div class="figright" style="width: 345px;">
-<img src="images/i_455.jpg" width="345" height="298" alt="diagram" />
-<div class="caption">Fig. 377.—Enamel-Cloth ornamented with Brass Rings.</div>
-</div>
-<p>The piece at the
-back of the shelf
-should be about
-eighteen inches deep
-and must be tacked
-at top and bottom
-with small tacks, the
-edge at each end
-being turned in and
-tacked to the wall
-with brass-headed
-tacks.</p>
-
-<p>Fig. 377 is the
-diagram of enamel-cloth
-ornamented with brass rings, and shows a section of the
-pattern. The bottom row of rings should be sewed on first,
-and the edge of the cloth turned up as the rings are fastened
-on. The stitches which hold the rings catch the hem also.
-This first row of rings should extend half way below the edge
-of the cloth, as shown in Fig. 377. Strong yellow embroidery-silk
-or saddlers’ silk is the best to sew them on with.</p>
-
-
-
-<p>The gilt moulding can be bought by the foot and small
-headless nails are furnished to tack it with.</p>
-
-<p>Another mantel is treated in very much the same manner
-as Fig. 376, the difference being that, instead of enamel-cloth,<span class="pagenum"><a name="Page_456" id="Page_456">[456]</a></span>
-the covering for the shelf and the piece at the back are dark-red
-canton-flannel, and around the edge of the shelf is tacked a
-worsted fringe, about six inches deep, matching the canton-flannel
-in color. This has a warm, comfortable look and is quite
-appropriate for a bedroom, while the other should be used only
-in a library or dining-room.</p>
-
-<div class="figcenter" style="width: 450px;">
-<img src="images/i_456.jpg" width="450" height="475" alt="diagram" />
-<div class="caption">Fig. 378.—Shelves around Projecting Chimney.</div>
-</div>
-
-<p>The writer was once invited into a young girl’s room which
-was very attractive in its daintiness. It was not pretty in shape,
-and an uncompromising chimney, in which there was no fire-place,<span class="pagenum"><a name="Page_457" id="Page_457">[457]</a></span>
-projected into the room; but taste had overcome these
-difficulties, and the effect produced was decidedly pleasing.</p>
-
-<p>Pretty wall-paper and the arrangement of the furniture helped
-very much, but the greatest triumph was in subduing the awkwardness
-of that chimney by surrounding it with a set of shelves
-for holding pretty bits of bric-à-brac.</p>
-
-<p>In case another girl may have the same difficulty to surmount
-in decorating her room, we give an outline drawing of
-the shelves (Fig. 378) that she may see and profit thereby.</p>
-
-<div class="figcenter" style="width: 482px;">
-<img src="images/i_457.jpg" width="482" height="225" alt="mantle" />
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_458" id="Page_458">[458]</a></span></p>
-
-
-
-
-<h2>CHAPTER XLI.<br />
-
-<small>HOME-MADE CANDY.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_458.jpg" width="196" height="160" alt="W" />
-</div>
-
-<p class="drop-capi2">WE have noticed that in none of the
-books we have seen, which were written
-especially for the amusement and
-entertainment of girls, has there been
-any directions or recipes for making
-candy. Knowing by experience that
-most girls consider candy-making one
-of their prime winter enjoyments, we
-consider the omission to be quite an important one, and we
-will in this chapter endeavor to supply the much-wished-for information.</p>
-
-<p>Though cooking in general may not be regarded with much
-favor by the average school-girl, she is always anxious to learn
-how to make candy, and hails a new recipe as a boon.</p>
-
-<p>The following recipes for peanut-candy, butter-scotch, and
-molasses-candy were obtained from a friend who makes the
-best home-made candy it has ever been our good-fortune to
-taste, and as she recommends them, we may rely upon their
-being excellent. We give them, with her comments, just as she
-wrote them.</p>
-
-
-<div class="blockquot">
-
-<h3><b>Delicious Peanut-Candy.</b></h3>
-
-<p>Shell your peanuts and chop them fine; measure them in a cup, and
-take just the same quantity of granulated sugar as you have peanuts. Put
-the sugar in a skillet, or spider, on the fire, and keep moving the skillet<span class="pagenum"><a name="Page_459" id="Page_459">[459]</a></span>
-around until the sugar is dissolved; then put in the peanuts and pour into
-buttered tins.</p>
-
-<p>This is <i>delicious</i>, and <i>so</i> quickly made.</p>
-
-
-<h3><b>Butter-Scotch.</b></h3>
-
-
-<ul class="ingredients"><li>2 cups of brown sugar.</li>
-<li>½ cup of butter.</li>
-<li>4 tablespoonfuls of molasses.</li>
-<li>2 tablespoonfuls of water.</li>
-<li>2 tablespoonfuls of vinegar.</li></ul>
-
-
-
-<p>Boil until it hardens when dropped into cold water, then pour into buttered
-tins.</p>
-
-
-<h3><b>Molasses-Candy.</b></h3>
-
-<ul class="ingredients">
-<li>2 cups of brown sugar.</li>
-<li>½ cup of New Orleans molasses.</li>
-<li>⅔ cup of vinegar and water mixed.</li>
-<li>A piece of butter half the size of an egg.</li>
-</ul>
-
-
-<p>When the candy hardens in cold water, pour into shallow buttered tins,
-and as soon as it is cool enough to handle, pull it until it is of a straw-color.
-<i>Splendid!</i></p></div>
-
-<p>Here are two recipes which another friend has kindly sent
-us:</p>
-
-
-<div class="blockquot">
-
-<h3><b>Chocolate-Creams.</b></h3>
-
-<p>To the white of 1 egg add an equal quantity of cold water. Stir in 1
-pound of confectioner’s sugar. Flavor with vanilla. Stir until fine and
-smooth; then mould into balls and drop into melted chocolate.</p></div>
-
-<p>To melt the chocolate, scrape and put it in a tin-cup or small
-sauce-pan over a kettle where it will steam. Let the chocolate
-be melting while the cream is being prepared.</p>
-
-
-<div class="blockquot">
-
-<h3><b>Walnut-Creams.</b></h3>
-
-<p>Make the cream as for chocolate-drops and mould into larger balls.
-Place the half of an English walnut on either side and press them into the
-cream.</p></div>
-
-<p><span class="pagenum"><a name="Page_460" id="Page_460">[460]</a></span></p>
-
-<p>The cream prepared in this way, we have found, can be used
-for various kinds of candy.</p>
-
-<p>Small pieces of fruit of any kind and nuts can be enclosed in
-the cream, making a great variety. Chocolate may be mixed
-with it; and if strong, clear coffee is used in place of the water,
-the candy will have the coffee flavor and color which some
-people like.</p>
-
-
-<h3><b>Walnut and Fruit Glacé.</b></h3>
-
-<p>Put 1 cup of sugar and ½ cup of water in a sauce-pan and
-stir until the sugar is all dissolved; then place it over the fire
-and let it boil until it hardens and is quite crisp when dropped
-in cold water. Do not stir it after it is put on the fire.</p>
-
-<p>When cooked sufficiently, dip out a spoonful at a time and
-drop in buttered tins, leaving a space of an inch or so between
-each spoonful. Place on each piece of candy the half of a walnut,
-or the fruit which has previously been prepared, and pour
-over them enough candy to cover them, always keeping each
-piece separate.</p>
-
-<p>Any kind of fruit can be made into glacé. When using
-oranges, quarter them and remove the seeds. Strawberries, in
-their season, and peaches also make delicious glacé.</p>
-
-<p>The remainder of our recipes have been taken from family
-recipe-books, and although we have not tested them ourselves,
-we think it may be safely said that they are good ones.</p>
-
-
-<h3><b>Marsh-mallow Paste.</b></h3>
-
-<p>Dissolve 1 pound of clean white gum-arabic in one quart
-of water; strain, add 1 pound of refined sugar, and place over
-the fire. Stir continually until the syrup is dissolved and the
-mixture has become of the consistency of honey. Next add
-gradually the beaten whites of 8 eggs; stir the mixture all<span class="pagenum"><a name="Page_461" id="Page_461">[461]</a></span>
-the time until it loses its thickness and does not adhere to the
-finger. Flavor with vanilla or rose. Pour into a tin slightly
-dusted with powdered starch, and when cool divide into squares
-with a sharp knife.</p>
-
-
-<h3><b>Toasted Marsh-mallows.</b></h3>
-
-<p>Tie a string on the end of a cane or stick, fasten a bent pin
-on the end of the string, and stick the pin into a marsh-mallow-drop.
-Hold the marsh-mallow suspended over an open fire and
-let it gradually toast. When it begins to melt and run down it
-is done.</p>
-
-<p>For a small party toasting marsh-mallows will be found quite
-a merry pastime, and a great many persons consider the candy
-much better for being thus cooked the second time.</p>
-
-
-<h3><b>Molasses Peanut-Candy.</b></h3>
-
-<ul class="ingredients">
-<li>2 cups of molasses.</li>
-<li>1 cup of brown sugar.</li>
-<li>1 tablespoonful of butter.</li>
-<li>1 tablespoonful of vinegar.</li>
-</ul>
-
-
-<p>While the candy is boiling remove the shells and brown
-skins from the peanuts, lay the nuts in buttered pans, and when
-the candy is done pour it over them. While it is still warm cut
-in blocks.</p>
-
-
-<h3><b>Chocolate-Caramels.</b></h3>
-
-<ul class="ingredients">
-<li>2 cups of sugar.</li>
-<li>1 cup of molasses.</li>
-<li>1 cup of milk.</li>
-<li>1 tablespoonful of butter.</li>
-<li>1 tablespoonful of flour.</li>
-<li>½ pound of Baker’s chocolate.</li>
-</ul>
-
-
-<p>Grease your pot, put in sugar, molasses, and milk; boil fifteen<span class="pagenum"><a name="Page_462" id="Page_462">[462]</a></span>
-minutes, and add butter and flour stirred to a cream. Let
-it boil five minutes, then add the chocolate, grated, and boil until
-quite thick. Grease shallow pans and pour in the candy
-half an inch thick, marking it in squares before it becomes
-hard.</p>
-
-
-<h3><b>Pop-Corn Balls.</b></h3>
-
-
-<ul class="ingredients">
-<li>6 quarts of popped corn.</li>
-<li>1 pint of molasses.</li>
-</ul>
-
-<p>Boil the molasses about fifteen minutes; then put the corn
-into a large pan, pour the molasses over it, and stir briskly until
-thoroughly mixed. Then, with clean hands, make into balls
-of the desired size.</p>
-
-<div class="figcenter" style="width: 475px;">
-<img src="images/i_462.jpg" width="475" height="132" alt="children eating enormous candy" />
-</div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_463" id="Page_463">[463]</a></span></p>
-
-<div class="figcenter" style="width: 476px;">
-<img src="images/i_463.jpg" width="476" height="600" alt="drawing of someone wearing a fake beard holding a Valentine" />
-<div class="caption">Saint Valentine.</div>
-</div>
-
-<hr class="chap" />
-<div class="chapter"></div>
-<p><span class="pagenum"><a name="Page_464" id="Page_464">[464]</a></span></p>
-
-
-<h2>CHAPTER XLII.<br />
-
-<small>Saint Valentine’s Day.</small></h2>
-
-
-<div>
-  <img class="drop-cap" src="images/i_464.jpg" width="130" height="160" alt="D" />
-</div>
-
-<p class="drop-capi3">DID it never occur to any of you to wonder who
-Saint Valentine was, and why we should
-commemorate his day by sending cards or
-letters containing all sorts of nonsense, like
-true-lovers’ knots, hearts pierced with arrows,
-etc.?</p>
-
-<p>It is easy enough to tell you about the
-saint, but what he had to do with the popular
-observances of the day dedicated to him is a matter for
-conjecture.</p>
-
-<p>Saint Valentine, they say, was a grave and earnest bishop,
-who was put to death in Rome on the fourteenth day of February,
-about the year 270 <span class="smcap">A.D.</span>, for his too zealous efforts in
-converting the heathen. When he was canonized, the day of
-the month on which he died was dedicated to him.</p>
-
-<p>The customs of Saint Valentine’s Day are, no doubt, derived
-from those practised at some of the Pagan festivals, for
-they are of very ancient origin. In olden times, in England, it
-was kept as a great gala day, and all the houses were decked
-with evergreen in honor of it. Ben Jonson says:</p>
-
-<div class="poetry-container">
-  <div class="poetry">
-<div class="verse">“Get some fresh hay, then, to lay under foot,</div>
-<div class="verse"><span style="margin-left: 0.5em;">Some holly and ivy to make fine the posts;</span></div>
-<div class="verse"><span style="margin-left: 0.5em;">Is’t not Saint Valentine’s Day?”</span></div>
-</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_465" id="Page_465">[465]</a></span></p>
-
-<p>The principal feature of the ceremonies was always the
-choice of a valentine for the ensuing year. The cavalier was
-expected to wait upon his lady, execute all of her commands,
-and act as her escort at all social gatherings.</p>
-
-<p>The choice of a valentine was generally left to chance,
-one of the methods being that the first unmarried member of
-the opposite sex a person saw on Saint Valentine’s morning
-should be his or her valentine.</p>
-
-<p>Of course you have all had some experience in sending and
-receiving valentines, and perhaps consider that the only way of
-celebrating the day; but don’t you think it would be a good
-idea to invite some friends to your house and have a</p>
-
-
-<h3><b>Valentine-Party?</b></h3>
-
-<p>We will give several suggestions upon what to do at a valentine-party,
-that you may have some idea how the affair should
-be conducted.</p>
-
-<p>In the first place, let each guest, upon his or her arrival, deposit
-a valentine in a large bag placed in the hall for that purpose.
-The valentines must be addressed to no particular person,
-but the girls should write on theirs, “To my cavalier,”
-and the boys address the ones they send, “To my lady.” On
-one corner of each valentine (not the envelope) the sender’s
-name must be written.</p>
-
-<p>When all the guests have assembled, someone disguised as
-Saint Valentine, in a skull-cap, long white beard, made of cotton
-or wool, and long cloak, should enter the parlor, carrying on his
-back the sack of valentines. He must stand in the centre of
-the room and auction off each valentine as he takes it from his
-pack.</p>
-
-<p>All sorts of bids can be made, such as the promise of a dance,
-a necktie, her share of ice-cream at supper, by a girl. A compliment,<span class="pagenum"><a name="Page_466" id="Page_466">[466]</a></span>
-the first favor asked of him, a paper of bonbons, by a
-boy. To make fun the bids should be as ridiculous as possible.
-Saint Valentine is to be at liberty
-to accept whatever bid he
-chooses. The payment of the
-debt must be rigidly exacted
-by the sender of a valentine,
-whose identity is revealed when
-the valentine is opened.</p>
-
-<div class="figleft" style="width: 249px;">
-<img src="images/i_466a.jpg" width="249" height="147" alt="patterns" />
-<div class="caption">Fig. 379.—Cupid’s Bow and Arrow.</div>
-</div>
-
-<p>If unable to comply immediately
-with the demand, the debtor must give the creditor a card
-or slip of paper on which is written “I O U a favor,” or whatever
-it may be that is owed. This I O U entitles the creditor
-to claim payment of the debt at any time during the year.</p>
-
-<p>Another feature of the party should be Cupid’s bow and arrow,
-which must be suspended from the chandelier or placed
-in some prominent position. The device is to be used for delivering
-such valentines as may be addressed to particular persons.
-The valentine must be stuck onto the
-point of the arrow, and no one may remove it
-save the person to whom it is addressed. At
-any time during the evening the arrow may be
-found to bear a missive, and we would advise
-the hostess to provide a valentine, to be delivered
-in this way, for each of her guests, that none may
-feel neglected. The rest of the party can, to be
-sure, send as many valentines as they like.</p>
-
-<div class="figright" style="width: 108px;">
-<img src="images/i_466b.jpg" width="108" height="243" alt="patten" />
-<div class="caption">Fig. 380.—Notch in
-End of Feather.</div>
-</div>
-
-<p>Make Cupid’s bow and arrow of heavy pasteboard,
-like Fig. 379. Let the bow measure about
-sixteen inches from tip to tip. Make the arrow
-twelve inches long, with a point or head three
-inches, and the feathers two inches, in length on the outside
-edge. Cut a notch in the feathered end, as shown in Fig. 380.<span class="pagenum"><a name="Page_467" id="Page_467">[467]</a></span>
-Strengthen the arrow by gluing a thin stick of wood along
-it to within one inch of the point. Gild both the bow and arrow,
-tie a silk cord to the tips of the bow, leaving
-it slack, and force the head of a worsted-needle
-into the point of the arrow (Fig. 381). Adjust
-the arrow by fitting the cord in the notch and
-pulling it back until the cord is taut; then fasten
-it to the bow by taking a few stitches with yellow
-silk through the bow and over the arrow. Fig.
-382 shows how it should appear when in place.</p>
-
-<div class="figleft" style="width: 98px;">
-<img src="images/i_467a.jpg" width="98" height="244" alt="pattern" />
-<div class="caption">Fig. 381.—Manner
-of fastening
-Needle in
-Arrow-head.</div>
-</div>
-
-<p>To determine how the guests shall be paired
-off for supper, place the names of all the girls,
-written on slips of paper, in a bag; then let each
-boy in turn take out a slip, and the girl whose
-name it bears he shall escort to the supper-room
-and serve like a true cavalier.</p>
-
-<div class="figright" style="width: 244px;">
-<img src="images/i_467b.jpg" width="244" height="182" alt="diagram" />
-<div class="caption">Fig. 382.—Cupid’s Bow with Arrow in
-Position.</div>
-</div>
-
-<p>At a valentine-party the valentines should, if
-possible, all be original, or at least contain appropriate quotations.
-The more absurd the rhyme, the more fun it will create,
-and when one is unable to make a rhyme a bit of prose
-can be made to serve. As
-funny as you please let the valentines
-be, but remember to
-omit anything that is in the
-least rude, or calculated to hurt
-another’s feelings.</p>
-
-<p>With Saint Valentine’s Day
-ends our vacation-calendar and
-with it we also bring this book
-to a close, for a whole year of
-holidays, sports, and entertainments are now contained within
-its covers. If we may hope that our work has not been without<span class="pagenum"><a name="Page_468" id="Page_468">[468]</a></span>
-profit, as well as entertainment, if we have been successful
-in opening any new avenues of enterprise and enjoyment for
-you, we are satisfied. If we have done more, and with any of
-our suggestions have prompted the thought of adding to the
-comfort and happiness of others, we have achieved a success,
-and the mission of the <span class="smcap">American Girl’s Handy Book</span> is
-accomplished.</p>
-
-<div class="figcenter" style="width: 473px;">
-<img src="images/i_468.jpg" width="473" height="107" alt="cherubs and Valentines" />
-</div>
-
-<hr class="full" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_469" id="Page_469">[469]</a></span></p>
-
-
-
-
-<h2>INDEX.</h2>
-
-
-<div class="unindent">
-A<br />
-<br />
-Album, an, <a href="#Page_400">400</a><br />
-<br />
-All-Hallow-Eve; see <a href="#Halloween">Halloween</a><br />
-<br />
-Appliqué designs, <a href="#Page_391">391</a><br />
-<br />
-April, first of, <a href="#Page_3">3</a>;<br />
-<span style="margin-left: 1em;">April-fool’s Day party, <a href="#Page_5">5</a>;</span><br />
-<span style="margin-left: 1em;">games, <a href="#Page_6">6</a> et seq.</span><br />
-<br />
-<br />
-B<br />
-<br />
-Back-stitching, <a href="#Page_383">383</a><br />
-<br />
-Ball, soft, <a href="#Page_327">327</a><br />
-<br />
-Balls, lawn-tennis, <a href="#Page_69">69</a><br />
-<br />
-Basket, May, <a href="#Page_74">74</a>;<br />
-<span style="margin-left: 1em;">birch-bark, ib.;</span><br />
-<span style="margin-left: 1em;">cardboard, ib.;</span><br />
-<span style="margin-left: 1em;">crab-net, <a href="#Page_97">97</a></span><br />
-<br />
-Basting, <a href="#Page_382">382</a><br />
-<br />
-Bedstead, <a href="#Page_444">444</a><br />
-<br />
-Beech-nuts, <a href="#Page_220">220</a><br />
-<br />
-Biographical nonsense, <a href="#Page_339">339</a><br />
-<br />
-Bladder telephone, <a href="#Page_227">227</a><br />
-<br />
-Blind, taught modelling, <a href="#Page_257">257</a><br />
-<br />
-Blind-man’s singing-school, <a href="#Page_155">155</a><br />
-<br />
-Blind-man’s stocking, <a href="#Page_321">321</a><br />
-<br />
-Bombs, <a href="#Page_115">115</a><br />
-<br />
-Bonbon box, <a href="#Page_49">49</a><br />
-<br />
-Bookcase, <a href="#Page_439">439</a><br />
-<br />
-Book-covers, home-made, <a href="#Page_401">401</a><br />
-<br />
-Book-mark, <a href="#Page_324">324</a><br />
-<br />
-Book-shelves, marine, <a href="#Page_94">94</a><br />
-<br />
-Booths at a fair, <a href="#Page_413">413</a>;<br />
-<span style="margin-left: 1em;">tables for, ib.;</span><br />
-<span style="margin-left: 1em;">flowers for, <a href="#Page_417">417</a>;</span><br />
-<span style="margin-left: 1em;">arrangement of, <a href="#Page_420">420</a></span><br />
-<br />
-Botany as applied to art, <a href="#Page_139">139</a>;<br />
-<span style="margin-left: 1em;">conventionalizing plant forms, ib.;</span><br />
-<span style="margin-left: 1em;">the peony-leaf, <a href="#Page_140">140</a>;</span><br />
-<span style="margin-left: 1em;">a bunch of turnips, <a href="#Page_142">142</a>;</span><br />
-<span style="margin-left: 1em;">decorative lines, <a href="#Page_143">143</a>;</span><br />
-<span style="margin-left: 1em;">cross-section plant designs, <a href="#Page_144">144</a>;</span><br />
-<span style="margin-left: 1em;">flower-sprays, <a href="#Page_146">146</a>;</span><br />
-<span style="margin-left: 1em;">changing color and form, <a href="#Page_147">147</a>;</span><br />
-<span style="margin-left: 1em;">burs, ib.;</span><br />
-<span style="margin-left: 1em;">water-lily conventionalized, <a href="#Page_148">148</a>;</span><br />
-<span style="margin-left: 1em;">fern-leaf, <a href="#Page_85">85</a></span><br />
-<br />
-Bouquets, to preserve fresh, <a href="#Page_25">25</a><br />
-<br />
-Brackets, <a href="#Page_214">214</a><br />
-<br />
-Bradford, Governor William, <a href="#Page_302">302</a><br />
-<br />
-Bran pie, <a href="#Page_321">321</a><br />
-<br />
-Brushes for oil-colors, <a href="#Page_250">250</a>;<br />
-<span style="margin-left: 1em;">for china painting, <a href="#Page_270">270</a></span><br />
-<br />
-Bubble-blowing, <a href="#Page_335">335</a><br />
-<br />
-Buckeye Portière, <a href="#Page_204">204</a><br />
-<br />
-“Bunching eggs,” <a href="#Page_37">37</a><br />
-<br />
-Burgoos, <a href="#Page_132">132</a><br />
-<br />
-Butter-Scotch, <a href="#Page_459">459</a><br />
-<br />
-Butter-nuts, <a href="#Page_220">220</a><br />
-<br />
-Button, how to sew on a, <a href="#Page_386">386</a><br />
-<br />
-Button-holes, <a href="#Page_383">383</a><br />
-<br />
-Bureau transformed into a bookcase, <a href="#Page_441">441</a><br />
-<br />
-<br />
-C<br />
-<br />
-Candlestick, marine, <a href="#Page_103">103</a><br />
-<br />
-Candy, home-made, <a href="#Page_458">458</a><br />
-<br />
-Canvas for painting, <a href="#Page_251">251</a><br />
-<br />
-Cards, Easter, <a href="#Page_50">50</a><br />
-<br />
-<span class="pagenum"><a name="Page_470" id="Page_470">[470]</a></span>Cards, living Christmas, <a href="#Page_342">342</a><br />
-<br />
-Chair, <a href="#Page_441">441</a>;<br />
-<span style="margin-left: 1em;">how to reseat, <a href="#Page_442">442</a></span><br />
-<br />
-Chestnuts, <a href="#Page_218">218</a><br />
-<br />
-China-painting, <a href="#Page_272">272</a>;<br />
-<span style="margin-left: 1em;">materials, <a href="#Page_273">273</a>;</span><br />
-<span style="margin-left: 1em;">China, <a href="#Page_278">278</a>;</span><br />
-<span style="margin-left: 1em;">monochrome painting, ib.;</span><br />
-<span style="margin-left: 1em;">tinting, <a href="#Page_273">273</a>;</span><br />
-<span style="margin-left: 1em;">new method of decorating china, <a href="#Page_279">279</a>;</span><br />
-<span style="margin-left: 1em;">tracing, <a href="#Page_280">280</a>;</span><br />
-<span style="margin-left: 1em;">mottled ground, <a href="#Page_281">281</a>;</span><br />
-<span style="margin-left: 1em;">snow landscape, ib.;</span><br />
-<span style="margin-left: 1em;">head-painting, <a href="#Page_284">284</a>;</span><br />
-<span style="margin-left: 1em;">sea-weed, fish, etc., <a href="#Page_287">287</a>;</span><br />
-<span style="margin-left: 1em;">mixing colors, <a href="#Page_289">289</a>;</span><br />
-<span style="margin-left: 1em;">painting royal Worcester ware, <a href="#Page_290">290</a></span><br />
-<br />
-Chocolate-caramels, <a href="#Page_461">461</a><br />
-<br />
-Chocolate-creams, <a href="#Page_459">459</a><br />
-<br />
-Christmas festivities, <a href="#Page_317">317</a>;<br />
-<span style="margin-left: 1em;">customs, <a href="#Page_318">318</a></span><br />
-<br />
-Clay, for modelling, <a href="#Page_259">259</a>;<br />
-<span style="margin-left: 1em;">how to manage, <a href="#Page_261">261</a>;</span><br />
-<span style="margin-left: 1em;">how to preserve, <a href="#Page_262">262</a></span><br />
-<br />
-Clover, four-leaved, <a href="#Page_23">23</a><br />
-<br />
-Color painting, <a href="#Page_241">241</a>, <a href="#Page_244">244</a>, <a href="#Page_246">246</a><br />
-<br />
-Conventionalized plant forms, <a href="#Page_141">141</a><br />
-<br />
-Court, for lawn-tennis, <a href="#Page_62">62</a><br />
-<br />
-Cross-section plant designs, <a href="#Page_144">144</a><br />
-<br />
-Crystallizing flowers, <a href="#Page_21">21</a><br />
-<br />
-Curtain fixtures, marine, <a href="#Page_92">92</a><br />
-<br />
-<br />
-D<br />
-<br />
-Dancers, fairy, <a href="#Page_330">330</a><br />
-<br />
-Darning and mending, <a href="#Page_384">384</a><br />
-<br />
-Declaration of Independence, <a href="#Page_117">117</a><br />
-<br />
-Decoration, sea-side cottage, <a href="#Page_92">92</a><br />
-<br />
-Decorations, natural, <a href="#Page_201">201</a>;<br />
-<span style="margin-left: 1em;">of autumn wild flowers, <a href="#Page_202">202</a>;</span><br />
-<span style="margin-left: 1em;">buckeye portière, <a href="#Page_204">204</a>;</span><br />
-<span style="margin-left: 1em;">of horse-chestnuts, ib.;</span><br />
-<span style="margin-left: 1em;">of corn, <a href="#Page_209">209</a>;</span><br />
-<span style="margin-left: 1em;">ornamental gourds, <a href="#Page_210">210</a></span><br />
-<br />
-Decorative language, <a href="#Page_365">365</a>;<br />
-<span style="margin-left: 1em;">how to make a design in, <a href="#Page_371">371</a></span><br />
-<br />
-Dolls, corn-husk, <a href="#Page_169">169</a>;<br />
-<span style="margin-left: 1em;">with crab-apple heads, <a href="#Page_173">173</a>;</span><br />
-<span style="margin-left: 1em;">flower, <a href="#Page_175">175</a></span><br />
-<br />
-Drapery of small scraps, <a href="#Page_431">431</a><br />
-<br />
-Draw, how to, <a href="#Page_229">229</a><br />
-<br />
-Drawing plant forms, <a href="#Page_141">141</a><br />
-<br />
-Drawn work, <a href="#Page_389">389</a><br />
-<br />
-Dressing-table, <a href="#Page_444">444</a><br />
-<br />
-<br />
-E<br />
-<br />
-Easel, <a href="#Page_250">250</a><br />
-<br />
-Easter, <a href="#Page_33">33</a>;<br />
-<span style="margin-left: 1em;">how celebrated in England, ib.;</span><br />
-<span style="margin-left: 1em;">in Russia, ib.;</span><br />
-<span style="margin-left: 1em;">in Ireland, <a href="#Page_34">34</a>;</span><br />
-<span style="margin-left: 1em;">in Germany, <a href="#Page_35">35</a>;</span><br />
-<span style="margin-left: 1em;">in Washington, D. C, ib.</span><br />
-<br />
-Easter cards, <a href="#Page_50">50</a><br />
-<br />
-Easter eggs, <a href="#Page_33">33</a>;<br />
-<span style="margin-left: 1em;">games with, <a href="#Page_36">36</a>;</span><br />
-<span style="margin-left: 1em;">dolls made of, <a href="#Page_39">39</a>;</span><br />
-<span style="margin-left: 1em;">toys formed of, <a href="#Page_42">42</a>;</span><br />
-<span style="margin-left: 1em;">maple wax eggs, <a href="#Page_49">49</a>;</span><br />
-<span style="margin-left: 1em;">bonbon box, ib.</span><br />
-<br />
-Enchanted girl, pantomime of, <a href="#Page_348">348</a><br />
-<br />
-Exercising, best time for, <a href="#Page_353">353</a>;<br />
-<span style="margin-left: 1em;">balancing weights on the head, <a href="#Page_356">356</a>;</span><br />
-<span style="margin-left: 1em;">broom-handle exercise, <a href="#Page_357">357</a></span><br />
-<br />
-<br />
-F<br />
-<br />
-Fairy dancers, <a href="#Page_330">330</a><br />
-<br />
-Fan, how to make a, <a href="#Page_177">177</a>;<br />
-<span style="margin-left: 1em;">butterfly fan, <a href="#Page_178">178</a>;</span><br />
-<span style="margin-left: 1em;">Mikado fan, <a href="#Page_180">180</a>;</span><br />
-<span style="margin-left: 1em;">daisy fan, <a href="#Page_182">182</a>;</span><br />
-<span style="margin-left: 1em;">card-board fan, <a href="#Page_183">183</a></span><br />
-<br />
-Felling, <a href="#Page_383">383</a><br />
-<br />
-Ferns for decoration, <a href="#Page_19">19</a><br />
-<br />
-Fid, <a href="#Page_57">57</a>, <a href="#Page_161">161</a><br />
-<br />
-Five minutes’ conversation, <a href="#Page_154">154</a><br />
-<br />
-Fish-painting on china, <a href="#Page_286">286</a><br />
-<br />
-Floral vocabulary, <a href="#Page_377">377</a><br />
-<br />
-Flowers, wild, <a href="#Page_14">14</a>;<br />
-<span style="margin-left: 1em;">transplanting, ib.;</span><br />
-<span style="margin-left: 1em;">how to keep cut, <a href="#Page_15">15</a>;</span><br />
-<span style="margin-left: 1em;">sending by mail, <a href="#Page_16">16</a>;</span><br />
-<span style="margin-left: 1em;">preserving, in sand, <a href="#Page_16">16</a>;</span><br />
-<span style="margin-left: 1em;">pressed, <a href="#Page_18">18</a>;</span><br />
-<span style="margin-left: 1em;">herbariums of, <a href="#Page_19">19</a>;</span><br />
-<span style="margin-left: 1em;">for decoration, ib.;</span><br />
-<span style="margin-left: 1em;">color of, changed, ib.;</span><br />
-<span style="margin-left: 1em;">waxed, <a href="#Page_20">20</a>;</span><br />
-<span style="margin-left: 1em;">to freshen cut, ib.;</span><br />
-<span style="margin-left: 1em;">crystallized, <a href="#Page_21">21</a>;</span><br />
-<span style="margin-left: 1em;">frosted, ib.;</span><br />
-<span style="margin-left: 1em;">perfume of, preserved, ib.;</span><br />
-<span style="margin-left: 1em;">spring flowers in winter, <a href="#Page_23">23</a>;</span><br />
-<span style="margin-left: 1em;">preserving, in alcohol, <a href="#Page_24">24</a>;</span><br />
-<span style="margin-left: 1em;">in an empty bottle, ib.;</span><br />
-<span style="margin-left: 1em;">under glass, ib.;</span><br />
-<span class="pagenum"><a name="Page_471" id="Page_471">[471]</a></span><span style="margin-left: 1em;">to keep bouquets fresh, <a href="#Page_25">25</a>;</span><br />
-<span style="margin-left: 1em;">to keep flowers or fruit fresh for a year, ib.;</span><br />
-<span style="margin-left: 1em;">painting, in water-colors, <a href="#Page_239">239</a></span><br />
-<br />
-Fortune-telling, by melted lead, <a href="#Page_190">190</a>;<br />
-<span style="margin-left: 1em;">by nutshell boats, <a href="#Page_192">192</a>;</span><br />
-<span style="margin-left: 1em;">by “three luggies,” <a href="#Page_193">193</a>;</span><br />
-<span style="margin-left: 1em;">by roasting nuts, ib.;</span><br />
-<span style="margin-left: 1em;">Kaling, <a href="#Page_194">194</a>;</span><br />
-<span style="margin-left: 1em;">by the magic mirror, ib.;</span><br />
-<span style="margin-left: 1em;">by three tin cups, by the ring cake, <a href="#Page_195">195</a></span><br />
-<br />
-Fortune’s wheel, <a href="#Page_88">88</a>, <a href="#Page_426">426</a><br />
-<br />
-“Fore-shortening,” <a href="#Page_231">231</a><br />
-<br />
-Fourth of July, celebration, interior decoration for, <a href="#Page_107">107</a>;<br />
-<span style="margin-left: 1em;">indoor illumination, <a href="#Page_108">108</a>;</span><br />
-<span style="margin-left: 1em;">out-door decoration and illumination, <a href="#Page_109">109</a>;</span><br />
-<span style="margin-left: 1em;">fireworks for girls, <a href="#Page_111">111</a>;</span><br />
-<span style="margin-left: 1em;">parachute, <a href="#Page_112">112</a>;</span><br />
-<span style="margin-left: 1em;">thunderbolts, ib.;</span><br />
-<span style="margin-left: 1em;">whirls, <a href="#Page_113">113</a>;</span><br />
-<span style="margin-left: 1em;">winged fancies, ib.;</span><br />
-<span style="margin-left: 1em;">pin-wheels, <a href="#Page_114">114</a>;</span><br />
-<span style="margin-left: 1em;">bombs, <a href="#Page_115">115</a>;</span><br />
-<span style="margin-left: 1em;">lawn party, <a href="#Page_117">117</a>;</span><br />
-<span style="margin-left: 1em;">declaration of independence, ib.;</span><br />
-<span style="margin-left: 1em;">game of toss, <a href="#Page_118">118</a>;</span><br />
-<span style="margin-left: 1em;">jackstraws, <a href="#Page_119">119</a>;</span><br />
-<span style="margin-left: 1em;">progressive mining, ib.</span><br />
-<br />
-Frames for pictures, <a href="#Page_295">295</a>;<br />
-<span style="margin-left: 1em;">designs for, <a href="#Page_296">296</a>;</span><br />
-<span style="margin-left: 1em;">decorated, <a href="#Page_297">297</a>;</span><br />
-<span style="margin-left: 1em;">cork frame, <a href="#Page_299">299</a></span><br />
-<br />
-Furniture, old and new, <a href="#Page_438">438</a><br />
-<br />
-<br />
-G<br />
-<br />
-Game of headless turkey, <a href="#Page_312">312</a><br />
-<br />
-Game and fish stew, <a href="#Page_133">133</a><br />
-<br />
-Games, quiet, for hot weather, <a href="#Page_151">151</a>;<br />
-<span style="margin-left: 1em;">door-step party, <a href="#Page_152">152</a>;</span><br />
-<span style="margin-left: 1em;">five minutes’ conversation, <a href="#Page_153">153</a>;</span><br />
-<span style="margin-left: 1em;">blind-man’s singing-school, <a href="#Page_155">155</a>;</span><br />
-<span style="margin-left: 1em;">game of noted men, ib.;</span><br />
-<span style="margin-left: 1em;">what will you take to the picnic? 156;</span><br />
-<span style="margin-left: 1em;">assumed characters, <a href="#Page_157">157</a>;</span><br />
-<span style="margin-left: 1em;">shadow verbs, ib.;</span><br />
-<span style="margin-left: 1em;">Halloween games, <a href="#Page_196">196</a> et seq.</span><br />
-<br />
-Games for Christmas holidays, bubble-bowling, <a href="#Page_335">335</a>;<br />
-<span style="margin-left: 1em;">biographical nonsense, <a href="#Page_339">339</a>;</span><br />
-<span style="margin-left: 1em;">comic historical tableaux, <a href="#Page_341">341</a>;</span><br />
-<span style="margin-left: 1em;">living Christmas cards, <a href="#Page_342">342</a></span><br />
-<br />
-Gathering, <a href="#Page_382">382</a><br />
-<br />
-Glass, stained, imitated, <a href="#Page_435">435</a><br />
-<br />
-Glove pen-wiper, <a href="#Page_323">323</a><br />
-<br />
-Glove, to mend a kid, <a href="#Page_386">386</a><br />
-<br />
-Gold, mat, <a href="#Page_276">276</a>;<br />
-<span style="margin-left: 1em;">pure, ib.</span><br />
-<br />
-Gourds, ornamental, <a href="#Page_210">210</a><br />
-<br />
-Grab-bags, <a href="#Page_423">423</a><br />
-<br />
-Ground glass, imitation of, <a href="#Page_436">436</a><br />
-<br />
-Gymnasium, home, <a href="#Page_353">353</a><br />
-<br />
-<br />
-H<br />
-<br />
-Hall seat, <a href="#Page_447">447</a><br />
-<br />
-<a id="Halloween"></a>Halloween, <a href="#Page_187">187</a>;<br />
-<span style="margin-left: 1em;">origin of, ib.;</span><br />
-<span style="margin-left: 1em;">party, <a href="#Page_189">189</a>;</span><br />
-<span style="margin-left: 1em;">fortune-telling on, <a href="#Page_190">190</a> et seq.;</span><br />
-<span style="margin-left: 1em;">games, <a href="#Page_196">196</a> et seq.</span><br />
-<br />
-Hammock, how to make a, <a href="#Page_159">159</a>;<br />
-<span style="margin-left: 1em;">materials required, <a href="#Page_161">161</a>;</span><br />
-<span style="margin-left: 1em;">barrel hammock, <a href="#Page_165">165</a></span><br />
-<br />
-Hat-rack, sea-side, <a href="#Page_98">98</a><br />
-<br />
-Hazel-nuts, <a href="#Page_220">220</a><br />
-<br />
-Headless turkey, game of, <a href="#Page_312">312</a><br />
-<br />
-Hemming, <a href="#Page_381">381</a><br />
-<br />
-Heraldry, <a href="#Page_366">366</a>;<br />
-<span style="margin-left: 1em;">field of, <a href="#Page_266">266</a>;</span><br />
-<span style="margin-left: 1em;">the points, ib.;</span><br />
-<span style="margin-left: 1em;">divisions, <a href="#Page_267">267</a></span><br />
-<br />
-Herbariums, <a href="#Page_19">19</a><br />
-<br />
-Herring-bone stitch, <a href="#Page_384">384</a><br />
-<br />
-Hickory-nuts, <a href="#Page_219">219</a><br />
-<br />
-Historical tableaux, <a href="#Page_341">341</a><br />
-<br />
-Home gymnasium, <a href="#Page_353">353</a><br />
-<br />
-Home-made candy, <a href="#Page_458">458</a><br />
-<br />
-Horseshoe crab-bag, <a href="#Page_101">101</a><br />
-<br />
-“Huli Fool,” <a href="#Page_4">4</a><br />
-<br />
-<br />
-I<br />
-<br />
-Impression album, how to make an, <a href="#Page_123">123</a>;<br />
-<span style="margin-left: 1em;">tools required, <a href="#Page_125">125</a>;</span><br />
-<span style="margin-left: 1em;">printing from leaves, <a href="#Page_126">126</a>;</span><br />
-<span style="margin-left: 1em;">from flowers, <a href="#Page_127">127</a>;</span><br />
-<span style="margin-left: 1em;">landscapes, <a href="#Page_128">128</a>;</span><br />
-<span class="pagenum"><a name="Page_472" id="Page_472">[472]</a></span><span style="margin-left: 1em;">other uses for botanical impressions, <a href="#Page_129">129</a></span><br />
-<br />
-<br />
-J<br />
-<br />
-Jackstraws, Fourth of July, <a href="#Page_119">119</a><br />
-<br />
-Julklapp, <a href="#Page_319">319</a><br />
-<br />
-<br />
-K<br />
-<br />
-Kaling, <a href="#Page_194">194</a><br />
-<br />
-Key-rack, <a href="#Page_412">412</a><br />
-<br />
-<br />
-L<br />
-<br />
-Lace, <a href="#Page_393">393</a><br />
-<br />
-Lady of the Lake, <a href="#Page_425">425</a><br />
-<br />
-Landscape painting in water-colors, <a href="#Page_241">241</a><br />
-<br />
-Language, a decorative, <a href="#Page_364">364</a><br />
-<br />
-Lantern, <a href="#Page_408">408</a><br />
-<br />
-Lawn, painting on, <a href="#Page_434">434</a><br />
-<br />
-Lawn party, <a href="#Page_117">117</a><br />
-<br />
-Lawn-tennis, <a href="#Page_55">55</a>;<br />
-<span style="margin-left: 1em;">lawn-tennis suits, <a href="#Page_56">56</a>;</span><br />
-<span style="margin-left: 1em;">how to make a lawn-tennis net, <a href="#Page_57">57</a>;</span><br />
-<span style="margin-left: 1em;">materials for, ib.;</span><br />
-<span style="margin-left: 1em;">court, <a href="#Page_62">62</a>;</span><br />
-<span style="margin-left: 1em;">rules for the game, <a href="#Page_63">63</a></span><br />
-<br />
-Leap-year party, <a href="#Page_351">351</a><br />
-<br />
-Leaves and ferns for decoration, <a href="#Page_19">19</a><br />
-<br />
-Light, <a href="#Page_252">252</a><br />
-<br />
-<br />
-M<br />
-<br />
-Mailing parcels, directions for, <a href="#Page_16">16</a><br />
-<br />
-Mantle-cloth, <a href="#Page_454">454</a><br />
-<br />
-Mantle-piece, <a href="#Page_451">451</a><br />
-<br />
-Maple-wax Easter eggs, <a href="#Page_49">49</a><br />
-<br />
-Marsh-mallow paste, <a href="#Page_460">460</a>;<br />
-<span style="margin-left: 1em;">toasted, <a href="#Page_461">461</a></span><br />
-<br />
-Mat colors, <a href="#Page_277">277</a><br />
-<br />
-May Day, <a href="#Page_71">71</a>;<br />
-<span style="margin-left: 1em;">sports, <a href="#Page_72">72</a>;</span><br />
-<span style="margin-left: 1em;">May baskets, <a href="#Page_74">74</a>;</span><br />
-<span style="margin-left: 1em;">May-pole, <a href="#Page_77">77</a>;</span><br />
-<span style="margin-left: 1em;">May-pole dance, <a href="#Page_79">79</a></span><br />
-<br />
-Midsummer Eve, <a href="#Page_83">83</a>;<br />
-<span style="margin-left: 1em;">the games of, <a href="#Page_85">85</a> et seq.</span><br />
-<br />
-Mirror tableau, <a href="#Page_6">6</a><br />
-<br />
-Mirror, the, <a href="#Page_404">404</a><br />
-<br />
-Model, arrangement of, in water-color painting, <a href="#Page_240">240</a><br />
-<br />
-Modelling in clay and wax, <a href="#Page_257">257</a>;<br />
-<span style="margin-left: 1em;">value of, <a href="#Page_259">259</a>;</span><br />
-<span style="margin-left: 1em;">much can be learned without a teacher, ib.;</span><br />
-<span style="margin-left: 1em;">materials, ib.;</span><br />
-<span style="margin-left: 1em;">clay, <a href="#Page_260">260</a>;</span><br />
-<span style="margin-left: 1em;">general directions, <a href="#Page_261">261</a></span><br />
-<br />
-Modelling wax, <a href="#Page_263">263</a><br />
-<br />
-Modelling stand, <a href="#Page_260">260</a><br />
-<br />
-Molasses candy, <a href="#Page_459">459</a><br />
-<br />
-Monochrome painting, <a href="#Page_278">278</a><br />
-<br />
-Music-roll, a, <a href="#Page_410">410</a><br />
-<br />
-<br />
-N<br />
-<br />
-Nancy, Miss, <a href="#Page_326">326</a><br />
-<br />
-Nature’s types, <a href="#Page_125">125</a><br />
-<br />
-Needle, hammock, <a href="#Page_58">58</a>; 161<br />
-<br />
-Needle-work, <a href="#Page_380">380</a><br />
-<br />
-Net, lawn-tennis, <a href="#Page_57">57</a><br />
-<br />
-New Year’s Day, <a href="#Page_347">347</a>;<br />
-<span style="margin-left: 1em;">New Year’s parties, <a href="#Page_348">348</a></span><br />
-<br />
-Noah’s ark peep-show, <a href="#Page_8">8</a><br />
-<br />
-Nutting parties, <a href="#Page_218">218</a>;<br />
-<span style="margin-left: 1em;">rules for, <a href="#Page_221">221</a></span><br />
-<br />
-<br />
-O<br />
-<br />
-Overhanding, <a href="#Page_380">380</a><br />
-<br />
-Oil-cups, <a href="#Page_251">251</a><br />
-<br />
-Oils for china-painting, <a href="#Page_275">275</a><br />
-<br />
-Overcasting, <a href="#Page_380">380</a><br />
-<br />
-<br />
-P<br />
-<br />
-Paint-box, <a href="#Page_251">251</a><br />
-<br />
-Painting in water-colors, <a href="#Page_238">238</a>;<br />
-<span style="margin-left: 1em;">materials for, ib.;</span><br />
-<span style="margin-left: 1em;">flower-painting, <a href="#Page_239">239</a>;</span><br />
-<span style="margin-left: 1em;">model, <a href="#Page_240">240</a>;</span><br />
-<span style="margin-left: 1em;">landscapes, <a href="#Page_241">241</a>;</span><br />
-<span style="margin-left: 1em;">general directions, <a href="#Page_242">242</a>;</span><br />
-<span style="margin-left: 1em;">painting from notes, <a href="#Page_244">244</a></span><br />
-<br />
-Painting in oil-colors, <a href="#Page_249">249</a>;<br />
-<span style="margin-left: 1em;">materials, ib.;</span><br />
-<span style="margin-left: 1em;">the light, <a href="#Page_252">252</a>;</span><br />
-<span style="margin-left: 1em;">setting the palette, <a href="#Page_253">253</a></span><br />
-<br />
-Painting on lawn, <a href="#Page_434">434</a><br />
-<br />
-Painting window-panes, <a href="#Page_432">432</a><br />
-<br />
-Paints, for china-painting, <a href="#Page_274">274</a><br />
-<br />
-Palette, <a href="#Page_250">250</a>;<br />
-<span style="margin-left: 1em;">setting the, <a href="#Page_253">253</a></span><br />
-<br />
-Palette-knife, <a href="#Page_250">250</a>;<br />
-<span class="pagenum"><a name="Page_473" id="Page_473">[473]</a></span><span style="margin-left: 1em;">of horn, <a href="#Page_273">273</a></span><br />
-<br />
-Panel decorations, <a href="#Page_205">205</a>, <a href="#Page_209">209</a>, <a href="#Page_270">270</a><br />
-<br />
-Panel of field-corn, <a href="#Page_209">209</a><br />
-<br />
-Pantomime of an enchanted girl, <a href="#Page_348">348</a><br />
-<br />
-Paper-weight, <a href="#Page_412">412</a><br />
-<br />
-Parachute, <a href="#Page_112">112</a><br />
-<br />
-Party, First of April, <a href="#Page_5">5</a>;<br />
-<span style="margin-left: 1em;">Fourth of July, <a href="#Page_117">117</a>;</span><br />
-<span style="margin-left: 1em;">door-step, <a href="#Page_151">151</a>;</span><br />
-<span style="margin-left: 1em;">Halloween, <a href="#Page_189">189</a>;</span><br />
-<span style="margin-left: 1em;">nutting, <a href="#Page_218">218</a></span><br />
-<br />
-Paste, how to make, <a href="#Page_402">402</a><br />
-<br />
-Patch, how to, <a href="#Page_386">386</a><br />
-<br />
-Peanut-candy, <a href="#Page_458">458</a><br />
-<br />
-Peanuts, <a href="#Page_223">223</a><br />
-<br />
-Perfumes, to prepare from flowers, <a href="#Page_21">21</a><br />
-<br />
-Picnics, burgoos and corn-roasts, <a href="#Page_131">131</a>;<br />
-<span style="margin-left: 1em;">how to make a burgoo stew, <a href="#Page_133">133</a>;</span><br />
-<span style="margin-left: 1em;">a corn-roast, <a href="#Page_134">134</a></span><br />
-<br />
-Picture-frames, <a href="#Page_295">295</a><br />
-<br />
-Pilgrims, landing of, tableau, <a href="#Page_305">305</a> et seq.<br />
-<br />
-Pin-wheels, <a href="#Page_114">114</a><br />
-<br />
-Plain sewing, <a href="#Page_380">380</a>;<br />
-<span style="margin-left: 1em;">overhanding, ib.;</span><br />
-<span style="margin-left: 1em;">overcasting, <a href="#Page_381">381</a>;</span><br />
-<span style="margin-left: 1em;">hemming, ib.;</span><br />
-<span style="margin-left: 1em;">running, <a href="#Page_382">382</a>;</span><br />
-<span style="margin-left: 1em;">basting, ib.;</span><br />
-<span style="margin-left: 1em;">gathering, ib.;</span><br />
-<span style="margin-left: 1em;">stitching, <a href="#Page_383">383</a>;</span><br />
-<span style="margin-left: 1em;">back-stitching, ib.;</span><br />
-<span style="margin-left: 1em;">felling, ib.;</span><br />
-<span style="margin-left: 1em;">button-holes, ib.;</span><br />
-<span style="margin-left: 1em;">herringbone, or cat’s-tooth stitch, <a href="#Page_384">384</a></span><br />
-<br />
-Plantain test, <a href="#Page_86">86</a><br />
-<br />
-Plaster casts, <a href="#Page_268">268</a>;<br />
-<span style="margin-left: 1em;">to harden, <a href="#Page_270">270</a>;</span><br />
-<span style="margin-left: 1em;">to color, ib.</span><br />
-<br />
-“Poisson d’Avril,” <a href="#Page_4">4</a><br />
-<br />
-Pop-corn balls, <a href="#Page_462">462</a><br />
-<br />
-Portières, designs for, <a href="#Page_391">391</a>;<br />
-<span style="margin-left: 1em;">buckeye, <a href="#Page_204">204</a></span><br />
-<br />
-Postal regulations for packages, <a href="#Page_16">16</a><br />
-<br />
-Progressive mining, <a href="#Page_119">119</a><br />
-<br />
-<br />
-R<br />
-<br />
-Rag-balls, <a href="#Page_427">427</a><br />
-<br />
-Ribbon embroideries, <a href="#Page_393">393</a><br />
-<br />
-Ribbon curtain, <a href="#Page_430">430</a><br />
-<br />
-Rooster, a lively, <a href="#Page_327">327</a><br />
-<br />
-Rose-water, recipe for, <a href="#Page_26">26</a><br />
-<br />
-Rubbish, what to do with, <a href="#Page_403">403</a><br />
-<br />
-Running, <a href="#Page_382">382</a><br />
-<br />
-<br />
-S<br />
-<br />
-Sachet, <a href="#Page_323">323</a><br />
-<br />
-Saint Valentine’s Day, <a href="#Page_464">464</a><br />
-<br />
-Scrap-bag, <a href="#Page_324">324</a><br />
-<br />
-Scrap drapery, <a href="#Page_431">431</a><br />
-<br />
-Scrap-book, <a href="#Page_395">395</a><br />
-<br />
-Screen, marine, <a href="#Page_99">99</a>;<br />
-<span style="margin-left: 1em;">Louis Quinze, <a href="#Page_206">206</a></span><br />
-<br />
-Settee, <a href="#Page_442">442</a><br />
-<br />
-Shells, how to polish, <a href="#Page_104">104</a><br />
-<br />
-Shelves around chimney, <a href="#Page_456">456</a><br />
-<br />
-Siccatif Courtray, <a href="#Page_253">253</a><br />
-<br />
-“Silly mackerel,” <a href="#Page_4">4</a><br />
-<br />
-Spring flowers in winter, <a href="#Page_23">23</a><br />
-<br />
-“Squirrel, little brown,” <a href="#Page_218">218</a>, <a href="#Page_221">221</a>, <a href="#Page_222">222</a><br />
-<br />
-Stained glass, imitation of, <a href="#Page_435">435</a><br />
-<br />
-Starfish, candlestick made of, <a href="#Page_102">102</a>;<br />
-<span style="margin-left: 1em;">ornaments of, <a href="#Page_103">103</a>;</span><br />
-<span style="margin-left: 1em;">how to dry, <a href="#Page_104">104</a></span><br />
-<br />
-Stitches, fancy, <a href="#Page_387">387</a><br />
-<br />
-Stitching, <a href="#Page_383">383</a><br />
-<br />
-<br />
-T<br />
-<br />
-T-square, <a href="#Page_234">234</a><br />
-<br />
-Table, a bric-à-brac, <a href="#Page_406">406</a>;<br />
-<span style="margin-left: 1em;">at a fair, <a href="#Page_413">413</a></span><br />
-<br />
-Tableau, mirror, <a href="#Page_6">6</a><br />
-<br />
-Tableaux, burlesque, <a href="#Page_304">304</a>;<br />
-<span style="margin-left: 1em;">historical, <a href="#Page_341">341</a></span><br />
-<br />
-Tar paste, <a href="#Page_275">275</a><br />
-<br />
-Telephone, how to make a, <a href="#Page_224">224</a><br />
-<br />
-Tent, illuminated, <a href="#Page_111">111</a><br />
-<br />
-Thanksgiving, celebration of, <a href="#Page_302">302</a><br />
-<br />
-Thunderbolts, <a href="#Page_112">112</a><br />
-<br />
-Tiles, painted on marble mantle, <a href="#Page_453">453</a><br />
-<br />
-Tin telephone, <a href="#Page_225">225</a><br />
-<br />
-Tints in water-color painting, <a href="#Page_242">242</a><br />
-<br />
-Toss, <a href="#Page_118">118</a><br />
-<br />
-Tracing, <a href="#Page_280">280</a><br />
-<br />
-<span class="pagenum"><a name="Page_474" id="Page_474">[474]</a></span>Transformation scrap-book, <a href="#Page_398">398</a><br />
-<br />
-<br />
-U<br />
-<br />
-Urchin, sea, vase made of, <a href="#Page_102">102</a><br />
-<br />
-<br />
-V<br />
-<br />
-Valentine party, <a href="#Page_465">465</a><br />
-<br />
-Vase, marine, <a href="#Page_102">102</a><br />
-<br />
-<br />
-W<br />
-<br />
-Walking Club, the, <a href="#Page_27">27</a>;<br />
-<span style="margin-left: 1em;">membership of, <a href="#Page_30">30</a>;</span><br />
-<span style="margin-left: 1em;">length of walks, ib.;</span><br />
-<span style="margin-left: 1em;">rules to be observed, <a href="#Page_31">31</a></span><br />
-<br />
-Walnuts, <a href="#Page_220">220</a><br />
-<br />
-Walnut creams, <a href="#Page_459">459</a>;<br />
-<span style="margin-left: 1em;">glacé, <a href="#Page_460">460</a></span><br />
-<br />
-Walnut-shell turtle, <a href="#Page_325">325</a><br />
-<br />
-Washstand, <a href="#Page_446">446</a><br />
-<br />
-Water-colors, <a href="#Page_238">238</a><br />
-<br />
-Wax-modelling, home-made, <a href="#Page_263">263</a><br />
-<br />
-Wedding decorations, wild flowers for, <a href="#Page_202">202</a><br />
-<br />
-Whirls, <a href="#Page_113">113</a><br />
-<br />
-Wild flowers, <a href="#Page_13">13</a><br />
-<br />
-Window decorations, <a href="#Page_92">92</a><br />
-<br />
-Window-panes, decoration of, <a href="#Page_432">432</a><br />
-<br />
-Window-seat, <a href="#Page_448">448</a><br />
-<br />
-Winged fancies, <a href="#Page_113">113</a><br />
-<br />
-Work-basket, crab-net, <a href="#Page_97">97</a><br />
-<br />
-Work-basket, <a href="#Page_411">411</a><br />
-<br />
-Worcester, royal, ware, <a href="#Page_290">290</a><br />
-</div>
-
-
-<hr class="full" />
-
-<div class="footnotes"><h3>FOOTNOTES:</h3>
-
-<div class="footnote">
-
-<p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1">[A]</a> <i>Cicada</i>, commonly known among children as the locust.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2">[B]</a> Cannel coal is the best to use, for it is hard, will take a high polish
-like jet, and can be carved with a pen-knife.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3">[C]</a> Dishes.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4">[D]</a> For this work the staple-tacks used for tacking down matting will be
-found very convenient.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5">[E]</a> The material for this chapter is from an article written by Professor
-Frank Beard for Harper’s Young People. By permission of Harper &amp;
-Brothers.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6">[F]</a> Of course we all know that our Pilgrim fathers did not have the daily
-papers, but this fact makes it the more absurd.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7">[G]</a> If the uprights seem to need it, brace them with cross-sticks in place of wire.</p></div></div>
-
-
-<hr class="chap" />
-<div class="chapter"></div>
-
-<p><span class="pagenum"><a name="Page_475" id="Page_475">[475]</a></span></p>
-
-
-<div class="adtitle1">CHARLES SCRIBNER’S SONS BOOKS<br />
-FOR YOUNG READERS</div>
-
-
-<div class="adtitle2">A NEW BOOK BY KIRK MUNROE</div>
-
-<p class="center"><b>THE WHITE CONQUERORS OF MEXICO</b></p>
-
-<p class="unindent">By <span class="smcap">Kirk Munroe</span>. With 8 full-page illustrations by <span class="smcap">W. S. Stacey</span>. 12mo, $1.25.</p>
-
-<p class="unindent">A powerful and fascinating historical story, the scene of which is laid in Mexico
-when Cortez made his famous conquests. The story possesses a peculiar interest
-in that it is related from the stand-point of the native races, the hero, Huetzin, being
-not one of the “White Conquerors,” but a native, the son of Tlahuicol, a Toltec,
-and a war chief of the Tlascalan race. In warring against Montezuma, King of
-the Aztecs, Tlahuicol is captured, and after a long imprisonment, is cruelly put to
-death. His son is also ordered to be killed, but effects a miraculous escape, and
-makes his way to the army of Cortez, which is advancing against Montezuma.
-Animated by a Toltec’s hatred for the Aztecs, who have murdered his father, he
-effects an alliance between Cortez and his own race, and the united forces march
-against the Aztec King. In the various engagements he distinguishes himself by
-his valor, several times narrowly escaping death, and is prominent in the final overthrow
-of the Aztecs, and in the triumph that follows. The book is full of the life
-and color of a most interesting and romantic period, and the narrative fairly glows
-with thrilling battle scenes and incidents of exciting adventure.</p>
-
-
-<div class="adtitle2">ROBERT GRANT’S<br />
-
-TWO BOOKS FOR BOYS</div>
-
-<p class="center"><b>JACK HALL;</b></p>
-
-<p class="unindent"><span class="smcap">Or, The School Days of an American Boy. By Robert Grant.</span> Illustrated by
-<span class="smcap">Frances G. Attwood.</span> 12mo., $1.25.</p>
-
-<p class="unindent">“A better book for boys has never been written. It is pure, clean, and healthy,
-and has throughout a vigorous action that holds the reader breathlessly.”—<i>Boston
-Herald.</i></p>
-
-<p class="unindent">“A capital story for boys, wholesome and interesting. It reminds one of Tom
-Brown.”—<i>Boston Transcript.</i></p>
-
-
-<p class="center"><b>JACK IN THE BUSH;</b></p>
-
-<p class="unindent"><span class="smcap">Or, A Summer on a Salmon River. By Robert Grant.</span> Illustrated by <span class="smcap">F. T.
-Merrill.</span> 12mo., $1.25.</p>
-
-<p class="unindent">“A clever book for boys. It is the story of the camp life of a lot of boys, and is destined
-to please every boy reader. It is attractively illustrated .”—<i>Detroit Free
-Press.</i></p>
-
-<p class="unindent">“An ideal story of out-door life and genuine experiences.”—<i>Boston Traveller.</i></p>
-
-
-<h3><span class="pagenum"><a name="Page_476" id="Page_476">[476]</a></span></h3>
-
-
-
-
-<div class="adtitle2">NEW BOOKS BY G. A. HENTY</div>
-
-<p class="unindent">For the season of 1893-94 Mr. Henty adds to his list of fascinating stories of adventure
-three new books—<span class="smcap">Through the Sikh War, a Tale of the Conquest Of
-The Punjaub; a Jacobite Exile, Being the Adventures of a Young Englishman
-In the Service of Charles XII of Sweden</span>; and <span class="smcap">St. Bartholomew’s Eve,
-A Tale of the Huguenot Wars</span>.</p>
-
-<p class="unindent"><i>“No country nor epoch of history is there which Mr. Henty does not cover, and
-what is really remarkable is that he always writes well and interestingly. Boys
-like stirring adventures and Mr. Henty is a master of this method of composition.”</i>—<span class="smcap">New
-York Times</span>.</p>
-
-<p class="unindent"><b>THROUGH THE SIKH WAR.</b> <span class="smcap">A Tale of the Conquest of the Punjaub</span>.
-By G. A. <span class="smcap">Henty</span>. With 12 full-page illustrations by HAL HURST, and a map. Crown
-8vo, handsomely bound, olivine edges, $1.50.</p>
-
-<p class="unindent">Percy Groves, a plucky, high spirited boy, the son of an English officer, loses his
-parents at an early age, and joins his uncle residing on his estate in India, situated
-in the very center of the troubles that developed later into the Sikh war. The hero
-and his uncle become involved in the dangers and intrigues that surround them,
-and take active part in the war, passing through many thrilling experiences and
-adventures during the two notable campaigns that resulted in the conquest of the
-Punjaub. It is one of Mr. Henty’s most interesting and powerful stories.</p>
-
-<p class="unindent"><b>ST. BARTHOLOMEW’S EVE.</b> <span class="smcap">A Tale of the Huguenot Wars</span>. By G. A.
-<span class="smcap">Henty</span>. With 12 full-page illustrations by H. J. <span class="smcap">Draper</span>, and a map. Crown 8vo,
-handsomely bound, olivine edges, $1.50.</p>
-
-<p class="unindent">A story of a lad of English birth but Huguenot parentage, who visits relatives in
-France at the time when the feeling between the Catholics and Huguenots was
-bitterest, and the country was disturbed by religious strife and dissension. His
-relatives being leaders in the Huguenot party, the hero devotes himself heart and
-soul to the Protestant cause, following it faithfully through the varied and exciting
-scenes that preceded and led up to the terrible massacre of St. Bartholomew’s day.
-No boy could resist the fascination of this strong, vivid narrative. It is intense and
-absorbing, while presenting a true picture of the times, full of life and color.</p>
-
-<p class="unindent"><b>A JACOBITE EXILE.</b> Being the Adventures of a young Englishman in the service
-of Charles XII of Sweden. By G. A. <span class="smcap">Henty</span>. With 8 full-page illustrations
-by <span class="smcap">Paul Hardy</span>, and a map. Crown 8vo, handsomely bound, olivine edges, $1.50.</p>
-
-<p class="unindent">The events of the present story take place during the reign of William of Orange.
-The father of the hero is a Jacobite gentleman who, to avoid arrest, is compelled to
-flee to Sweden. Here the hero, Charlie Carstairs, and a young companion, engage
-in the service of Charles XII, taking part in the wars between Sweden and Poland.
-The hero, acting as a scout, falls into the hands of Polish bandits. After numerous
-exciting adventures and hair-breadth escapes, he finally secures his release and returns
-to Sweden. Then he serves for a time under Marlborough in France, and
-distinguishes himself signally. A final return to England, where his father is pardoned,
-supplies a satisfactory close to a story remarkable for its thrilling adventures,
-its varied scenery, and its interesting historical pictures.</p>
-
-<p><span class="pagenum"><a name="Page_477" id="Page_477">[477]</a></span></p>
-
-
-<p class="unindent"><b>BERIC THE BRITON:</b> <span class="smcap">A Story of the Roman Invasion.</span> By <span class="smcap">G. A. Henty</span>.
-With 12 full-page illustrations by <span class="smcap">W. Parkinson</span>. Crown 8vo, $1.50.</p>
-
-<p class="unindent">“It is a powerful and fascinating romance founded on the Roman invasion of
-England, and abounds with the prowess of valiant warriors and the triumphs of
-magnanimous victors, with war and war-like scenes, and with women like Boadicea,
-as heroic as their brothers.”—<i>Boston Post.</i></p>
-
-
-<p class="unindent"><b>IN GREEK WATERS:</b> <span class="smcap">A Story of the Grecian War of Independence</span> (1821-1827).
-By <span class="smcap">G. A. Henty</span>. With 12 full page illustrations by <span class="smcap">W. S. Stacey</span>, and a
-map. Crown 8vo, $1.50.</p>
-
-<p class="unindent">“It reproduces the spirit and describes many of the events of the Greek War, so
-that no boy can fail to remember considerable about it which is worth knowing.
-Moreover it is a stirring narrative, wholesome and stimulating.”—<i>Congregationalist.</i></p>
-
-
-<p class="unindent"><b>CONDEMNED AS A NIHILIST:</b> <span class="smcap">A Story of Escape from Siberia </span>. By <span class="smcap">G. A.
-Henty</span>. With 8 full-page illustrations by <span class="smcap">Walter Paget</span>. Crown, 8vo, $1.50.</p>
-
-<p class="unindent">“Godfrey Bullen, the young hero, suspected of Nihilism, is sent with convicts to
-Siberia. His final escape from prison life, after many exciting adventures, affords
-material for a narrative absorbing and thrilling. The scenes of Siberian prison life
-give the book a peculiar value.”—<i>Christian Advocate.</i></p>
-
-
-<p class="unindent"><b>REDSKIN AND COWBOY.</b> <span class="smcap">A Tale of the Western Plains</span>. By <span class="smcap">G. A. Henty</span>.
-With 12 full-page illustrations by <span class="smcap">Alfred Pearse</span>. Crown 8vo, $1.50.</p>
-
-<p class="unindent">“This book is said to be founded on the experiences of a young English friend of
-the author, and though it is full of hair-breadth escapes none of the incidents are
-improbable. It is needless to say that the English lad’s adventures are well told.”—<i>San
-Francisco Chronicle.</i></p>
-
-
-<p class="unindent"><b>THE DASH FOR KHARTOUM.</b> <span class="smcap">A Tale of the Nile Expedition</span>. By <span class="smcap">G. A.
-Henty.</span> With 10 full-page illustrations by <span class="smcap">John Schönberg</span> and <span class="smcap">J. Nash</span>, and 4
-plans. Crown 8vo, $1.50.</p>
-
-<p class="unindent">“The author has provided a stirring book for young readers, and the episodes of
-battle, capture, rescue, deeds of daring, and other exciting features in which boys
-delight, are in great abundance.”—<i>Boston Saturday Evening Gazette.</i></p>
-
-
-<p class="unindent"><b>HELD FAST FOR ENGLAND.</b> <span class="smcap">A Tale of the Siege of Gibraltar.</span> By <span class="smcap">G. A.
-Henty</span>. With 8 full-page illustrations by <span class="smcap">Gordon Browne</span>. Crown 8vo, $1.50.</p>
-
-<p class="unindent">“It is an historical novel, the siege of Gibraltar by the combined forces of France
-and Spain, in the latter part of the eighteenth century, being the foundation on
-which Mr. Henty’s clever fiction rests. It is a story of pluck and adventure on sea
-and land.”—<i>Newark Advertiser.</i></p>
-
-<p><b><big>⁂</big></b> <i>The above are Mr. Henty’s latest books. A full descriptive list containing
-all of Mr. Henty’s books—now 41 in number—will be sent to any address on application.
-They are all attractively illustrated and handsomely bound.</i></p>
-
-
-<h3><span class="pagenum"><a name="Page_478" id="Page_478">[478]</a></span></h3>
-
-
-
-
-<div class="adtitle2">RECENT STORIES<br />
-
-BY FRANK R. STOCKTON</div>
-
-
-<p class="unindent"><b>THE CLOCKS OF RONDAINE</b> <span class="smcap">and Other Stories</span>. By <span class="smcap">Frank R. Stockton</span>.
-With 24 illustrations by <span class="smcap">E. H. Blashfield, W. A. Rogers, D. C. Beard</span> and
-others. Square 8vo, $1.50.</p>
-
-<p class="unindent">“His books for boys and girls are classics. In this one we have seven of the most
-delightful tales imaginable.”—<i>Newark Daily Advertiser.</i></p>
-
-<p class="unindent">“Short tales in Mr. Stockton’s usual clever, distinctive style. They are all extremely
-entertaining.”—<i>The Churchman.</i></p>
-
-<p class="unindent">“Marked by that attractive originality which is the author’s peculiar possession,
-and in which quaint and piquant humor and simple pathos are deftly and fascinatingly
-mingled. It is charming reading. It is beautifully printed and illustrated.”—<i>Boston
-Saturday Evening Gazette.</i></p>
-
-<p class="unindent"><b>PERSONALLY CONDUCTED.</b> By <span class="smcap">Frank R. Stockton</span>. With 46 illustrations
-by <span class="smcap">Joseph Pennell, Alfred Parsons</span> and others. One volume, square 8vo, $2.00.</p>
-
-<p class="unindent">“In Frank Stockton, the boys and girls have a cicerone skilled in the art of conversation,
-a traveler conversant with all the curious and characteristic things of the
-Old World, and a story teller renowned for the audacity of his stories.”—<i>Critic.</i></p>
-
-
-<div class="adtitle2">STOCKTON’S OTHER BOOKS</div>
-
-
-<p class="unindent"><b>The Story of Viteau.</b> With 16 full-page illustrations by R. B. <span class="smcap">Birch</span>. 12mo,
-extra cloth, $1.50.</p>
-
-<p class="unindent">“It is as romantic and absorbing as any boy could wish for, full of adventure and
-daring, and yet told in excellent spirit and with a true literary instinct.”—<i>Christian
-Union.</i></p>
-
-
-<p class="unindent"><b>A Jolly Fellowship.</b> With 20 illustrations. 12mo, $1.50.</p>
-
-<p class="unindent">“We can think of no book published the present season which will more delight
-the wide-awake, adventure-loving boy. It is, to borrow the adjective from the
-title, just ‘jolly.’”—<i>Boston Transcript.</i></p>
-
-
-<p class="unindent"><b>The Floating Prince and Other Fairy Tales.</b> With illustrations. Square 8vo,
-$1.50.</p>
-
-<p class="unindent">“These tales are full of the quaintest conceits and the oddest fancies, and the
-strange adventures in which the different characters engage are just the kind to
-excite the intense interest of children.”—<i>Philadelphia Bulletin.</i></p>
-
-
-<p class="unindent"><b>The Ting-A-Ling Tales.</b> With numerous illustrations. 12mo, $1.00.</p>
-
-<p class="unindent">“It would be difficult to find anything more dainty, fanciful and humorous than
-these tales of magic, fairies, dwarfs and giants. There is a vein of satire in them,
-too which adult readers will enjoy.”—<i>N. Y. Herald.</i></p>
-
-
-<p class="unindent"><b>Roundabout Rambles in Lands of Fact and Fiction.</b> With 200 illustrations.
-Square 8vo, $1.50.</p>
-
-
-<p class="unindent"><b>Tales Out of School.</b> With nearly 200 illustrations. Square 8vo, $1.50.</p>
-
-<p class="unindent">“The volumes are profusely illustrated and contain the most entertaining sketches
-in Mr. Stockton’s most entertaining manner.”—<i>Christian Union.</i></p>
-
-
-<h3><span class="pagenum"><a name="Page_479" id="Page_479">[479]</a></span></h3>
-
-
-
-
-<div class="adtitle2">HENRY M. STANLEY’S<br />
-
-NEW BOOK FOR BOYS, NOW IN PRESS</div>
-
-
-<p class="unindent">The volume consists of legends and folk-tales communicated to the explorer by his
-native followers during his long and perilous journeys through the great forests of
-the Dark Continent. They are fascinating stories of strange scenes and incidents
-among the tribes of Central Africa, and are narrated in the authors’ well-known,
-graphic, picturesque style, and attractively illustrated.</p>
-
-
-<div class="adtitle2">MY KALULU</div>
-
-<p class="unindent"><span class="smcap">Prince, King and Slave.</span> A story of Central Africa. By <span class="smcap">Henry M. Stanley</span>.
-One volume, 12mo., new edition, with many illustrations, $1.50.</p>
-
-<p class="unindent">“A fresh, breezy, stirring story for youths, interesting in itself and full of information
-regarding life in the interior of the continent in which its scenes are laid.”—<i>The
-New York Times.</i></p>
-
-
-<div class="adtitle2">HEROES OF THE OLDEN TIME</div>
-
-<p class="unindent">By <span class="smcap">James Baldwin</span>. Three volumes, 12mo., each beautifully illustrated. Singly,
-$1.50. The set, $4.00.</p>
-
-
-<p class="unindent"><b>A STORY OF THE GOLDEN AGE.</b> Illustrated by <span class="smcap">Howard Pyle</span>.</p>
-
-<p class="unindent">“It is redolent with the spirit of the Odyssey, that glorious primitive epic, fresh
-with the dew of the morning of time. It is an unalloyed pleasure to read his recital
-of the adventures of the wily Odysseus. Howard Pyle’s illustrations render the
-spirit of the Homeric age with admirable felicity.”—<span class="smcap">Prof. H. H. Boyesen.</span></p>
-
-
-<p class="unindent"><b>THE STORY OF ROLAND.</b> Illustrated by <span class="smcap">Reginald B. Birch</span>.</p>
-
-<p class="unindent">“Mr. Baldwin has culled from a wide range of epics, French, Italian and German,
-and has once more proved his aptitude as a story teller for the young, while conveying
-information for which many of their elders will be thankful.”—<i>The Nation.</i></p>
-
-
-<p class="unindent"><b>THE STORY OF SIEGFRIED.</b> Illustrated by <span class="smcap">Howard Pyle</span>.</p>
-
-<p class="unindent">“The story of ‘Siegfried’ is charmingly told. The author makes up the story from
-the various myths in a fascinating way which cannot fail to interest. It is as enjoyable
-as any fairy tale. The writer’s style is simple and very attractive, and the book
-is in every way an excellent one for young readers.”—<i>Hartford Courant.</i></p>
-
-
-
-<div class="adtitle2">TWO JUVENILES BY EDWARD EGGLESTON</div>
-
-
-<p class="unindent"><b>THE HOOSIER SCHOOL-BOY.</b> 12mo. With full-page illustrations, $1.00.</p>
-
-<p class="unindent">“‘The Hoosier School-Boy’ depicts some of the characteristics of boy life years
-ago on the Ohio. The story presents a vivid and interesting picture of the difficulties
-which in those days beset the path of the youth aspiring for an education. These
-obstacles, which the hero of the story succeeds by his manliness and force of character
-in surmounting, are just such as a majority of the most distinguished Americans,
-including Lincoln and Garfield, have had to contend with, and which they
-have made the stepping-stone to their future greatness.”—<i>Chicago Inter-Ocean.</i></p>
-
-
-<p class="unindent"><b>QUEER STORIES FOR BOYS AND GIRLS.</b> 12mo, $1.00.</p>
-
-<p class="unindent">“A very bright and attractive little volume for young readers. The stories are
-fresh, breezy and healthy, with a good point to them and a good sound American
-view of life and of the road to success. The book abounds in good feeling and good
-sense and is written in a style of homely art.”—<i>Independent.</i></p>
-
-
-<h3><span class="pagenum"><a name="Page_480" id="Page_480">[480]</a></span></h3>
-
-
-
-
-<div class="adtitle2">TWO BOOKS FOR BOYS AND GIRLS</div>
-
-
-<p class="unindent">Mr. Beard has added sixty new drawings to his “American Boy’s Handy Book,” to
-illustrate the new games, sports, and mechanical contrivances which he has
-incorporated in this latest edition. The Misses Beard’s companion volume, “The
-American Girl’s Handy Book,” is reduced in price, all the features being retained.
-Both are profusely illustrated with hundreds of pictures and designs.</p>
-
-<p class="unindent"><b>THE AMERICAN BOY’S HANDY BOOK:</b> <span class="smcap">Or, What To Do and How To
-Do It</span>. By <span class="smcap">Daniel C. Beard</span>. With over 360 illustrations by the Author. One
-volume, square 8vo, $2.00.</p>
-
-<p class="unindent">“The book has this great advantage over its predecessors, that most of the games,
-tricks, and other amusements described in it are new. It treats of sports adapted to
-all seasons of the year; it is practical, and it is well illustrated.”—<i>N. Y. Tribune.</i></p>
-
-
-<p class="unindent"><b>THE AMERICAN GIRL’S HANDY BOOK:</b> <span class="smcap">Or, How To Amuse Yourself
-And Others</span>. By <span class="smcap">Lena</span> and <span class="smcap">Adelia B. Beard</span>. With over 500 illustrations by
-the Authors. One volume, square 8vo, $2.00.</p>
-
-<p class="unindent"><span class="smcap">Grace Greenwood Wrote</span>:—“It is a treasure which, once possessed, no practical
-girl would willingly part with. It is an invaluable aid in making a home attractive,
-comfortable, artistic and refined. The book preaches the gospel of cheerfulness,
-industry, economy and comfort.”</p>
-
-
-<div class="adtitle2">JULES VERNE’S GREATEST WORK</div>
-
-<p class="unindent"><b>THE EXPLORATION OF THE WORLD.</b> The three vols. in a set, $7.50;
-singly, $2.50.</p>
-
-<p class="unindent">“M. Verne’s scheme in this work is to tell fully how man has made acquaintance
-with the world in which he lives, to combine into a single work in three volumes
-the wonderful stories of all the great explorers, navigators and travellers who have
-sought out, one after another, the once uttermost parts of the earth.”—<i>New York
-Evening Post.</i></p>
-
-<p class="unindent"><b>Famous Travels and Travellers.</b> With over 100 full-page illustrations, maps,
-etc., 8vo, $2.50.</p>
-
-
-<p class="unindent"><b>The Great Navigators of the XVIIIth Century.</b> With 96 full-page illustrations
-and nineteen maps. 8vo, $2.50.</p>
-
-
-<p class="unindent"><b>The Great Explorers of the XIXth Century.</b> With over 100 full-page illustrations,
-fac-similies, etc. 8vo, $2.50.</p>
-
-<p class="unindent">“The Prince of Story Tellers.”—<i>London Times.</i></p>
-
-
-
-<div class="adtitle2">JULES VERNE’S STORIES</div>
-
-<p class="unindent"><i>Uniform Illustrated Edition.</i> 9 vols., 8vo, extra cloth, with over 750 full-page illustrations.
-Price, per set, in a box, $17.50. Sold also in separate volumes.</p>
-
-
-<p class="unindent"><b>Michael Strogoff; or, the Courier of the Czar.</b> $2.00. <b>A Floating City and
-the Blockade Runners.</b> $2.00. <b>Hector Servadac.</b> $2.00. <b>A Journey to the
-Centre of the Earth.</b> $2.00. <b>From the Earth to the Moon Direct in Ninety-seven
-Hours, Twenty Minutes; and a Journey Around it.</b> $2.00. <b>Dick
-Sands.</b> $2.00. <b>The Steam House.</b> $2.00. <b>The Giant Raft.</b> $2.00. <b>The Mysterious
-Island.</b> $2.50.</p>
-
-
-<hr class="full" />
-<div class="tnote"><div class="center">
-<b>Transcriber’s Notes:</b></div>
-
-<p>Obvious punctuation errors repaired. Text spells the more usual macramé as both
-Macremé and macrimé.</p>
-
-<p>Page 30, repeated word “for” deleted from text (even for those who)</p>
-
-<p>Page 69, “drop” changed to “drops” (by him drops outside)</p>
-
-<p>Page 157, “proproses” changed to “proposes” (proposes to take salmon)</p>
-
-<p>Page 338, word “the” added to text (to the same party)</p>
-
-<p>Page 406, “Bric-a-brac” changed to “Bric-à-brac” on illustration caption
-(Bric-à-brac table)</p></div>
-
-
-
-
-
-
-
-
-
-
-
-<pre>
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