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diff --git a/old/52051-0.txt b/old/52051-0.txt deleted file mode 100644 index 20fc44b..0000000 --- a/old/52051-0.txt +++ /dev/null @@ -1,13916 +0,0 @@ -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 -Lina Beard and Adelia B. 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