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text-align: center; background-image: - url("images/i_031.jpg"); background-repeat: no-repeat;} - .plaintext {font-weight: normal; font-size: 80%;} - - .overlay1 {margin-left: 30%; margin-right: 10%; font-size: 110%;} - -.splittop {display:block;} - -.split { - float: left; - clear: left; - padding-right: 2%; - padding-left: 0; - padding-top: 0; - padding-bottom: 0; - } - -.splitr { - float: right; - clear: right; - padding-left: 2%; - padding-right: 0; - padding-top: 0; - padding-bottom: 0; - } -p.dropcapstory {margin-top: 0; padding-top:15px; text-indent: -1em;} -.dropcapstory:first-letter -{ text-indent: 0; - color: transparent; - visibility: hidden; - margin-left: -0.9em; -} -/*Drop caps*/ -.drop-cap { - text-indent: 0em; - text-align: justify; -} -.drop-cap:first-letter -{ - float: left; - margin: 0.15em 0.1em 0em 0em; - font-size: 250%; - line-height:0.5em; -} - -img.drop-cap -{ - float: left; - margin: 0 0.5em 0 0; -} -.drop-capi { margin-top: 6em; - text-indent: 0em; text-align: justify; -} -.drop-capi2 { margin-top: 1em; - text-indent: 0em; text-align: justify; -} -.drop-capi3 { margin-top: 4em; - text-indent: 0em; text-align: justify; -} -.drop-capi4 { margin-top: 11em; - text-indent: 0em; text-align: justify; -} - -.drop-capi:first-letter, .drop-capi2:first-letter, .drop-capi3:first-letter,.drop-capi4:first-letter -{ - color: transparent; - visibility: hidden; - margin-left: -0.9em; -} - -@media handheld -{ - .chapter - { - page-break-before: always; - } - - h2.no-break - { - page-break-before: avoid; - padding-top: 0; - } - - .poetry - { - display: block; - margin-left: 1.5em; - } - - img.drop-cap - { - display: none; - } - - .drop-cap:first-letter - { - color: inherit; - visibility: visible; - margin-left: 0; - } - - -} - - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of The American Girl's Handy Book, by -Lina Beard and Adelia B. Beard - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The American Girl's Handy Book - How to Amuse Youself and Others - -Author: Lina Beard - Adelia B. Beard - -Release Date: May 12, 2016 [EBook #52051] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE AMERICAN GIRL'S HANDY BOOK *** - - - - -Produced by Chris Curnow, Emmy and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - -<h1 class="faux">The American Girls Handy Book</h1> - -<div class="figcenter" style="width: 561px;"> -<img src="images/i_cover.jpg" width="561" height="800" alt="cover" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> -<div class="adtitle2">A COMPANION VOLUME<br /> -<span class="small">TO</span><br /> -The American Girl's Handy Book</div> -<div class="figcenter" style="width: 272px;"> -<img src="images/i_frontis.jpg" width="272" height="390" alt="ad for compainion book The American Boys Handy Book" /> -</div> - - - - -<p class="center"> -<i>NEW EDITION.</i><br /> -——————<br /> -1 Vol. Cloth. Price, $2.00.<br /> -——————<br /> -<span class="smcap">With Numerous Illustrations from<br /> -Drawings by the Author.</span><br /> -</p> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_i" id="Page_i">[i]</a></span></p> - - - -<div class="figcenter" style="width: 534px;"> -<img src="images/i_titlepage.jpg" width="534" height="800" alt="Title page" /> -</div> - -<div class="center">How to<br /> -Amuse<br /> -Yourself<br /> -and<br /> -Others</div> - -<div class="maintitle"><span class="smcap">The American Girls<br /> -Handy Book.</span></div> - -<div class="center"> -BY<br /> -<br /> -<span class="author">Lina Beard</span><br /> -and<br /> -<span class="author">Adelia B. Beard</span><br /> -<br /><br /><br /> -<span class="smcap">New York</span><br /> -Charles<br /> -Scribner’s<br /> -Sons<br /> -<br /> -1893<br /> -</div> -<hr class="chap" /> -<div class="chapter"></div> -<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[ii]</a></span></p> - - - - -<p class="copyright"> -<span class="smcap">Copyright by</span><br /> -CHARLES SCRIBNER’S SONS<br /> -1887<br /> -</p> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[iii]</a></span></p> - - - - -<h2>PREFACE.</h2> - - -<p>“<span class="smcap">I do</span> wish some one would write a book like that for -girls,” is the remark we have frequently heard when a new -book of sports for boys has made its appearance; but it was -not until the publication of the “American Boy’s Handy -Book” that it occurred to us to write a book for the American -boy’s neglected sisters, which should be equally original -and practical.</p> - -<p>In the “Girl’s Handy Book,” which it has been our endeavor -to make peculiarly American, we have sought to introduce -original and novel ideas, and by their aid to open new -avenues of enterprise and enjoyment.</p> - -<p>One of our objects is to impress upon the minds of the -girls the fact that they all possess talent and ability to achieve -more than they suppose possible, and we would encourage a -belief in the truth of the remark said to have been made by -a famous Frenchman: “When you Americans undertake anything -you never stop to ascertain if it be possible, you simply -<i>do it</i>.”</p> - -<p>We desire also to help awaken the inventive faculty, usually -uncultivated in girls, and, by giving detailed methods of new -work and amusements, to put them on the road which they -can travel and explore alone.</p> - -<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[iv]</a></span></p> - -<p>We know well the feeling of hopelessness which accompanies -vague directions, and, to make our explanations plain and lucid, -we have ourselves, with very few exceptions, made all of the -articles, played the games, and solved the problems described.</p> - -<p>The materials employed in the construction of the various -articles are within easy reach of all, and the outlay, in most -cases, little or nothing.</p> - -<p>We scarcely deem it necessary to point out the fact that in -supplying healthy, sensible work and amusement for leisure -hours, employment is given whose whole tendency is to refine -the tastes and ambitions of our American girls.</p> - -<p>A few of our chapters are taken from articles which were -written by us for, and published by, the <i>Youth’s Companion</i>, -<i>St. Nicholas</i>, <i>Harper’s Young People</i>, <i>Golden Days</i>, and <i>Wide -Awake</i>.</p> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_v" id="Page_v">[v]</a></span></p> - - - - -<h2>CONTENTS.</h2> - - - - -<div class="center"> -<table border="0" cellpadding="0" cellspacing="0" summary="Contents"> -<tr><td align="left"> </td> -<td align="right"><small>PAGE</small></td></tr> -<tr><td align="left">PREFACE</td> -<td align="right"><a href="#Page_iii">iii</a></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">SPRING</td></tr> -<tr><td align="center" colspan="2">—————— </td></tr> -<tr><td align="center" colspan="2">CHAPTER I.</td></tr> -<tr><td align="left"><span class="smcap">First of April</span></td> -<td align="right"><a href="#Page_3">3</a></td></tr> -<tr><td align="left"><div class="hang2">First of April Party, <a href="#Page_5">5</a>; Mirror Tableau, <a href="#Page_6">6</a>; Noah’s Ark Peep-show, <a href="#Page_8">8</a>; The Supper, <a href="#Page_10">10</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER II.</td></tr> -<tr><td align="left"><span class="smcap">Wild Flowers and Their Preservation</span></td> -<td align="right"><a href="#Page_13">13</a></td></tr> -<tr><td align="left"><div class="hang2">Transplanting Wild Flowers, <a href="#Page_14">14</a>; Cut Wild Flowers, <a href="#Page_15">15</a>; Sending Flowers by Mail, <a href="#Page_15">15</a>; Preserved Flowers, <a href="#Page_16">16</a>; Pressed Flowers and Leaves, <a href="#Page_18">18</a>; Leaves and Ferns for Decoration, <a href="#Page_19">19</a>; Color of Flowers Changed, <a href="#Page_19">19</a>: Natural Wax Flowers, <a href="#Page_20">20</a>; To Freshen Cut Flowers, <a href="#Page_20">20</a>; Crystallized Flowers, <a href="#Page_21">21</a>; How to Preserve the Perfume of Flowers, <a href="#Page_21">21</a>; Spring Flowers in Winter, <a href="#Page_23">23</a>; The Four-leaved Clover, <a href="#Page_23">23</a>; Several Methods of Preserving Flowers, <a href="#Page_24">24</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER III.</td></tr> -<tr><td align="left"><span class="smcap">The Walking Club</span></td> -<td align="right"><a href="#Page_27">27</a></td></tr> -<tr><td align="left"><div class="hang2">Rules to be Observed, <a href="#Page_31">31</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER IV.</td></tr> -<tr><td align="left"><span class="smcap">Easter</span></td> -<td align="right"><a href="#Page_33">33</a></td></tr> -<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a></span>Easter Customs in Other Lands, <a href="#Page_33">33</a>; Easter Egg Games, <a href="#Page_36">36</a>; Easter Egg Dolls, <a href="#Page_39">39</a>; Humpty Dumpty, <a href="#Page_42">42</a>; Miss Rolly-poly, <a href="#Page_45">45</a>; Mandolin, <a href="#Page_47">47</a>; Maple-wax Easter Eggs, <a href="#Page_49">49</a>; Bonbon Box, <a href="#Page_49">49</a>; Easter Cards, <a href="#Page_50">50</a>; Little Quakeress, <a href="#Page_52">52</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER V.</td></tr> -<tr><td align="left"><span class="smcap">How to Make a Lawn-Tennis Net</span></td> -<td align="right"><a href="#Page_55">55</a></td></tr> -<tr><td align="left"><div class="hang2">Rules for Lawn-Tennis, <a href="#Page_63">63</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER VI.</td></tr> -<tr><td align="left"><span class="smcap">May-Day</span></td> -<td align="right"><a href="#Page_71">71</a></td></tr> -<tr><td align="left"><div class="hang2">May-day Sports, <a href="#Page_72">72</a>; How to Make May-baskets, <a href="#Page_74">74</a>; May-day Combat, <a href="#Page_75">75</a>; The May-pole, <a href="#Page_77">77</a>; May-pole Dance, <a href="#Page_79">79</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">————————————</td></tr> -<tr><td align="center" colspan="2">SUMMER.</td></tr> -<tr><td align="center" colspan="2">——————</td></tr> -<tr><td align="center" colspan="2">CHAPTER VII.</td></tr> -<tr><td align="left"><span class="smcap">Midsummer Eve</span></td> -<td align="right"><a href="#Page_83">83</a></td></tr> -<tr><td align="left"><div class="hang2">The New Fern-leaf Game, <a href="#Page_85">85</a>; Fortune-telling: The Plaintain Test, <a href="#Page_86">86</a>; Fortune’s Wheel, <a href="#Page_88">88</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER VIII.</td></tr> -<tr><td align="left"><span class="smcap">Sea-side Cottage Decoration</span></td> -<td align="right"><a href="#Page_91">91</a></td></tr> -<tr><td align="left"><div class="hang2">Window Decorations, <a href="#Page_92">92</a>; Row-boat Book-shelves, <a href="#Page_95">95</a>; Crab-net Work-basket, <a href="#Page_96">96</a>; Hat-rack, <a href="#Page_98">98</a>; Marine Screen, <a href="#Page_99">99</a>; Horseshoe-crab Bag, <a href="#Page_102">102</a>; Sea-urchin Vase and Candlestick, <a href="#Page_102">102</a>; How to Dry Starfish and to Polish Shells, <a href="#Page_104">104</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER IX.</td></tr> -<tr><td align="left"><span class="smcap">A Girl’s Fourth of July</span></td> -<td align="right"><a href="#Page_105">105</a></td></tr> -<tr><td align="left"><div class="hang2">Interior Decoration, <a href="#Page_107">107</a>; In-door Illumination, <a href="#Page_108">108</a>; Out-of-door Decoration, <a href="#Page_109">109</a>; Fireworks, <a href="#Page_111">111</a>; Parachute, <a href="#Page_112">112</a>; Thunderbolts, <a href="#Page_112">112</a>; Whirls, and Winged Fancies, <a href="#Page_113">113</a>; Pin-wheels, <a href="#Page_114">114</a>; Bombs, <a href="#Page_115">115</a>; Declaration of Independence, <a href="#Page_117">117</a>; Toss, <a href="#Page_118">118</a>; Fourth of July Jackstraws, <a href="#Page_119">119</a>; Progressive Mining, <a href="#Page_119">119</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER X.</td></tr> -<tr><td align="left"><span class="smcap">Printing from Nature’s Types</span></td> -<td align="right"><a href="#Page_123">123</a></td></tr> -<tr><td align="left"><div class="hang2">Impression Album, <a href="#Page_123">123</a>; Winter Landscape, <a href="#Page_127">127</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XI.</td></tr> -<tr><td align="left"><span class="smcap">Picnics, Burgoos, and Corn-roasts</span></td> -<td align="right"><a href="#Page_131">131</a></td></tr> -<tr><td align="left"><div class="hang2">A Burgoo, <a href="#Page_132">132</a>; Burgoo Stew, <a href="#Page_133">133</a>; A Corn-roast, <a href="#Page_134">134</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XII.</td></tr> -<tr><td align="left"><span class="smcap">Botany as Applied to Art</span></td> -<td align="right"><a href="#Page_139">139</a></td></tr> -<tr><td align="left"><div class="hang2">The Peony Leaf, <a href="#Page_140">140</a>; A Bunch of Turnips, <a href="#Page_142">142</a>; Plant Cross-section Designs, <a href="#Page_144">144</a>; Flower Sprays, <a href="#Page_146">146</a>; Changing the Color, <a href="#Page_146">146</a>; Burs, <a href="#Page_147">147</a>; The Water-Lily, <a href="#Page_148">148</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XIII.</td></tr> -<tr><td align="left"><span class="smcap">Door-step Party and Quiet Games for Hot Weather</span></td> -<td align="right"><a href="#Page_151">151</a></td></tr> -<tr><td align="left"><div class="hang2">Five Minutes’ Conversation, <a href="#Page_153">153</a>; Blind Man’s Singing-school, <a href="#Page_155">155</a>; A Game of Noted Men, <a href="#Page_155">155</a>; What Will you Take to the Picnic? 156; Assumed Characters, <a href="#Page_157">157</a>; Shadow Verbs, <a href="#Page_157">157</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XIV.</td></tr> -<tr><td align="left"><span class="smcap">How to Make a Hammock</span></td> -<td align="right"><a href="#Page_159">159</a></td></tr> -<tr><td align="left"><div class="hang2">Materials, <a href="#Page_161">161</a>; Barrel Hammock, <a href="#Page_165">165</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XV.</td></tr> -<tr><td align="center" colspan="2">(For Little Girls.)</td></tr> -<tr><td align="left"><span class="smcap">Corn-Husk and Flower Dolls</span></td> -<td align="right"><a href="#Page_169">169</a></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XVI.</td></tr> -<tr><td align="left"><span class="smcap">How To Make a Fan</span></td> -<td align="right"><a href="#Page_177">177</a></td></tr> -<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_viii" id="Page_viii">[viii]</a></span>Butterfly Fan, <a href="#Page_178">178</a>; Mikado Fan, <a href="#Page_180">180</a>; Daisy Fan, <a href="#Page_182">182</a>; Cardboard Fan, <a href="#Page_183">183</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">————————————</td></tr> -<tr><td align="center" colspan="2">AUTUMN.</td></tr> -<tr><td align="center" colspan="2">——————</td></tr> -<tr><td align="center" colspan="2">CHAPTER XVII.</td></tr> -<tr><td align="left"><span class="smcap">All-Hallow-Eve</span></td> -<td align="right"><a href="#Page_187">187</a></td></tr> -<tr><td align="left"><div class="hang2">Halloween Parties, <a href="#Page_189">189</a>; Melted Lead, <a href="#Page_190">190</a>; Nutshell Boats, <a href="#Page_192">192</a>; “Three Luggies,” 193; Roasting Nuts, <a href="#Page_193">193</a>; Kaling, <a href="#Page_194">194</a>; The Magic Mirror, <a href="#Page_194">194</a>; Three Tin Cups, <a href="#Page_195">195</a>; The Ring Cake, <a href="#Page_195">195</a>; Bobbing for Apples, <a href="#Page_196">196</a>; The Ghostly Fire, <a href="#Page_197">197</a>; The Fairy’s Gifts, <a href="#Page_198">198</a>.</div></td></tr> -<tr><td align="center" colspan="2">CHAPTER XVIII.</td></tr> -<tr><td align="left"><span class="smcap">Nature’s Fall Decorations and How to Use Them</span></td> -<td align="right"><a href="#Page_201">201</a></td></tr> -<tr><td align="left"><div class="hang2">Fresh Autumn Wild Flowers, <a href="#Page_202">202</a>; Buckeye Portière, <a href="#Page_204">204</a>; Panel of Fall Decorations, <a href="#Page_205">205</a>; Louis Quinze Screen, <a href="#Page_206">206</a>; A Panel of Field Corn, <a href="#Page_209">209</a>; Ornamental Gourds, <a href="#Page_210">210</a>; Gourd-Dippers and Bowls, <a href="#Page_211">211</a>; Vases, <a href="#Page_212">212</a>; Small Decorations, <a href="#Page_214">214</a>; Brackets, <a href="#Page_214">214</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XIX.</td></tr> -<tr><td align="left"><span class="smcap">Nutting-Parties</span></td> -<td align="right"><a href="#Page_217">217</a></td></tr> -<tr><td align="left"><div class="hang2">“Little Brown Squirrel,” 218; Rules for Nutting-Parties, <a href="#Page_221">221</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XX.</td></tr> -<tr><td align="left"><span class="smcap">How to Make a Telephone</span></td> -<td align="right"><a href="#Page_224">224</a></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXI.</td></tr> -<tr><td align="left"><span class="smcap">How to Draw</span></td> -<td align="right"><a href="#Page_229">229</a></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXII.</td></tr> -<tr><td align="left"><span class="smcap">How to Paint in Water-Colors</span></td> -<td align="right"><a href="#Page_238">238</a></td></tr> -<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span>Materials for Water-Color Painting, <a href="#Page_238">238</a>; Flowers, <a href="#Page_239">239</a>; Landscapes, <a href="#Page_241">241</a>; Painting from Notes, <a href="#Page_244">244</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXIII.</td></tr> -<tr><td align="left"><span class="smcap">How to Paint in Oil-Colors</span></td> -<td align="right"><a href="#Page_249">249</a></td></tr> -<tr><td align="left"><div class="hang2">Materials, <a href="#Page_249">249</a>; Mediums, <a href="#Page_251">251</a>; Canvas, <a href="#Page_251">251</a>; The Light, <a href="#Page_252">252</a>; Setting the Palette, <a href="#Page_253">253</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXIV.</td></tr> -<tr><td align="left"><span class="smcap">How to Model in Clay and Wax</span></td> -<td align="right"><a href="#Page_257">257</a></td></tr> -<tr><td align="left"><div class="hang2">Materials, <a href="#Page_259">259</a>; How to Manage Clay, <a href="#Page_260">260</a>; Hints for Modelling a Head, <a href="#Page_262">262</a>; How to Model in Wax, <a href="#Page_263">263</a>; Modelling-wax, <a href="#Page_263">263</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXV.</td></tr> -<tr><td align="left"><span class="smcap">How to Make Plaster Casts</span></td> -<td align="right"><a href="#Page_267">267</a></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXVI.</td></tr> -<tr><td align="left"><span class="smcap">China Painting</span></td> -<td align="right"><a href="#Page_272">272</a></td></tr> -<tr><td align="left"><div class="hang2">List of Materials, <a href="#Page_272">272</a>; A Monochrome Painting, <a href="#Page_278">278</a>; Tinting, <a href="#Page_278">278</a>; New Method of Decorating China, <a href="#Page_279">279</a>; Tracing, <a href="#Page_280">280</a>; Mottled Grounds, <a href="#Page_281">281</a>; Snow Landscape, <a href="#Page_281">281</a>; How to Paint a Head on China, <a href="#Page_284">284</a>; How to Paint a Carp, Sea-weed, and Fish-net, on China, <a href="#Page_287">287</a>; Foliage on China made with a Sponge, <a href="#Page_289">289</a>; Mixing Colors, <a href="#Page_289">289</a>; Royal Worcester Ware, <a href="#Page_290">290</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXVII.</td></tr> -<tr><td align="left"><span class="smcap">A Chapter on Frames</span></td> -<td align="right"><a href="#Page_295">295</a></td></tr> -<tr><td align="left"><div class="hang2">Marine Picture Frame, <a href="#Page_296">296</a>; Decorated Frame, <a href="#Page_297">297</a>; Frame Covered with Tin-foil, <a href="#Page_298">298</a>; Cork Frame, <a href="#Page_299">299</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXVIII.</td></tr> -<tr><td align="left"><span class="smcap">Thanksgiving</span></td> -<td align="right"><a href="#Page_302">302</a></td></tr> -<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span>Impromptu Burlesque Tableaux, <a href="#Page_304">304</a>; Landing of the Pilgrims, <a href="#Page_305">305</a>; First Harvest, <a href="#Page_307">307</a>; Devastation by the Indians, <a href="#Page_308">308</a>; The Revolution, <a href="#Page_309">309</a>; Slavery, <a href="#Page_310">310</a>; Rebellion, <a href="#Page_310">310</a>; Peace and Plenty, <a href="#Page_310">310</a>; The Game of the Headless Turkey, <a href="#Page_312">312</a>; A Suggestion, <a href="#Page_313">313</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">————————————</td></tr> -<tr><td align="center" colspan="2">WINTER.</td></tr> -<tr><td align="center" colspan="2">——————</td></tr> -<tr><td align="center" colspan="2">CHAPTER XXIX.</td></tr> -<tr><td align="left"><span class="smcap">Christmas Festivities and Home-made Christmas Gifts</span></td> -<td align="right"><a href="#Page_317">317</a></td></tr> -<tr><td align="left"><div class="hang2">Julklapp, <a href="#Page_319">319</a>; Polish Custom, <a href="#Page_320">320</a>; The Bran Pie, <a href="#Page_321">321</a>; The Blind Man’s Stocking, <a href="#Page_321">321</a>; Home-made Christmas Gifts, <a href="#Page_322">322</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXX.</td></tr> -<tr><td align="left"><span class="smcap">Amusements and Games for the Christmas Holidays</span></td> -<td align="right"><a href="#Page_334">334</a></td></tr> -<tr><td align="left"><div class="hang2">New Game of Bubble Bowling, <a href="#Page_335">335</a>; Biographical Nonsense, <a href="#Page_339">339</a>; Comic Historic Tableaux, <a href="#Page_341">341</a>; Living Christmas Cards, <a href="#Page_342">342</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXXI.</td></tr> -<tr><td align="left"><span class="smcap">New Year’s and a Leap Year Party</span></td> -<td align="right"><a href="#Page_347">347</a></td></tr> -<tr><td align="left"><div class="hang2">Pantomime of an Enchanted Girl, <a href="#Page_348">348</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXXII.</td></tr> -<tr><td align="left"><span class="smcap">Home Gymnasium</span></td> -<td align="right"><a href="#Page_353">353</a></td></tr> -<tr><td align="left"><div class="hang2">Course of Exercises, <a href="#Page_356">356</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXXIII.</td></tr> -<tr><td align="left"><span class="smcap">A Decorative Language</span></td> -<td align="right"><a href="#Page_364">364</a></td></tr> -<tr><td align="left"><div class="hang2">The Field and the Points of Heraldry, <a href="#Page_366">366</a>; Divisions, <a href="#Page_367">367</a>; Colors, <a href="#Page_369">369</a>; How to Make a Design in Decorative Language, <a href="#Page_371">371</a>; Book-plates, <a href="#Page_377">377</a>; Floral Vocabulary, <a href="#Page_377">377</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXXIV.</td></tr> -<tr><td align="left"><span class="smcap">A Few Items on Old-fashioned Needlework, with Some New and Original Patterns</span></td> -<td align="right"><a href="#Page_380">380</a></td></tr> -<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span>Plain Sewing, <a href="#Page_380">380</a>; Button-holes, <a href="#Page_383">383</a>; How to Patch, to Sew on a Button, and to Mend a Kid Glove, <a href="#Page_386">386</a>; Fancy Stitches, <a href="#Page_387">387</a>; Drawn Work, <a href="#Page_389">389</a>; Applique and Original Designs for Portières, <a href="#Page_391">391</a>; Lace, <a href="#Page_393">393</a>; Ribbon Embroideries, <a href="#Page_393">393</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXXV.</td></tr> -<tr><td align="left"><span class="smcap">Scrap-book and Home-made Book-covers</span></td> -<td align="right"><a href="#Page_395">395</a></td></tr> -<tr><td align="left"><div class="hang2">Mother Goose Scrap-book, <a href="#Page_395">395</a>; Transformation Scrap-book, <a href="#Page_398">398</a>; An Album, <a href="#Page_400">400</a>; Home-made Book-cover, <a href="#Page_401">401</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXXVI.</td></tr> -<tr><td align="left"><span class="smcap">A Heap of Rubbish and What to Do with It</span></td> -<td align="right"><a href="#Page_403">403</a></td></tr> -<tr><td align="left"><div class="hang2">The Mirror, <a href="#Page_404">404</a>; The Table, <a href="#Page_406">406</a>; Lantern, <a href="#Page_408">408</a>; A Music Roll, <a href="#Page_410">410</a>; Work-basket, <a href="#Page_411">411</a>; Key and Button-hook Rack and Paper Weight, <a href="#Page_412">412</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXXVII.</td></tr> -<tr><td align="left"><span class="smcap">How to Make Attractive Booths at a Fair—A New Kind of Grab-bag</span></td> -<td align="right"><a href="#Page_413">413</a></td></tr> -<tr><td align="left"><div class="hang2">The Tables, <a href="#Page_413">413</a>; Flowers for Decorations, <a href="#Page_417">417</a>; The Months, <a href="#Page_420">420</a>; The Five Senses, <a href="#Page_421">421</a>; Walls, <a href="#Page_423">423</a>; Grab-bags, <a href="#Page_423">423</a>; The Lady of the Lake, <a href="#Page_425">425</a>; Fortune’s Wheel, <a href="#Page_426">426</a>; Rag-balls, <a href="#Page_427">427</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXXVIII.</td></tr> -<tr><td align="left"><span class="smcap">Window Decoration</span></td> -<td align="right"><a href="#Page_429">429</a></td></tr> -<tr><td align="left"><div class="hang2">Oriental Window-shade, <a href="#Page_430">430</a>; Ribbon-curtain, <a href="#Page_430">430</a>; Drapery of Very Small Scraps, <a href="#Page_431">431</a>; Painting Window-panes, <a href="#Page_432">432</a>; Painting on Lawn, <a href="#Page_434">434</a>; To Imitate Stained Glass, <a href="#Page_435">435</a>; Windows of Imitation Ground Glass, <a href="#Page_436">436</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XXXIX.</td></tr> -<tr><td align="left"><span class="smcap">Furniture, Old and New</span></td> -<td align="right"><a href="#Page_438">438</a></td></tr> -<tr><td align="left"><div class="hang2">The Bookcase, <a href="#Page_439">439</a>; The Chair, <a href="#Page_441">441</a>; The Bedstead, <a href="#Page_444">444</a>; A Dressing-table, <a href="#Page_444">444</a>; Washstand, <a href="#Page_446">446</a>; A Hall Seat, <a href="#Page_447">447</a>; Window Seat and Book-shelves, combined, <a href="#Page_448">448</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XL.</td></tr> -<tr><td align="left"><span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span><span class="smcap">Something about Mantle-pieces and Fire-places</span></td> -<td align="right"><a href="#Page_451">451</a></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XLI.</td></tr> -<tr><td align="left"><span class="smcap">Home-made Candy</span></td> -<td align="right"><a href="#Page_458">458</a></td></tr> -<tr><td align="left"><div class="hang2">Peanut Candy, Butter Scotch and Molasses Candy, <a href="#Page_459">459</a>; Walnut and Fruit Glacé, <a href="#Page_460">460</a>; Marsh-mallow Paste, <a href="#Page_460">460</a>; Chocolate Caramels, <a href="#Page_461">461</a>; Pop-corn Balls, <a href="#Page_462">462</a>.</div></td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="center" colspan="2">CHAPTER XLII.</td></tr> -<tr><td align="left"><span class="smcap">Saint Valentine’s Day</span></td> -<td align="right"><a href="#Page_464">464</a></td></tr> -<tr><td align="left"><div class="hang2">Valentine Party, <a href="#Page_465">465</a>.</div></td></tr> -</table></div> - -<hr class="chap" /> -<div class="chapter"></div> -<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> -<h2 class="faux">Spring</h2> -<div class="figcenter" style="width: 502px;"> -<img src="images/i_001.jpg" width="502" height="262" alt="Spring" /> -</div> -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p> - -<div class="figcenter" style="width: 294px;"> -<img src="images/i_002.jpg" width="294" height="592" alt="girl running in rain with rainbow behind her" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p> - - - - -<h2>The American Girl’s -Handy Book.</h2> - - - -<hr class="chap" /> -<div class="chapter"></div> -<h2>CHAPTER I.<br /> - -<small>FIRST OF APRIL.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_003-drop-t.jpg" width="255" height="209" alt="T" /> -</div> - -<p class="drop-capi">THIS is the children’s own day, and -no assumption of dignity on the -part of their elders can deter them -from exercising the privileges granted -to them by acknowledged custom and -precedent.</p> - -<p>“April fool! April fool!” cries -my little nephew, as he dances with delight to see his aunt -walk out of the room with a piece of white paper dangling -from a hooked pin, attached to her dress.</p> - -<p>“April fool! April fool!” shout the children in the street, -thus announcing the success of some practical joke.</p> - -<p>“April fool!” laughs everyone at the table, when some unfortunate -bites into a brown, wholesome-looking cruller, only -to find it a delusion and a snare, the coat of a cruller, but the -inside of cotton.</p> - -<p>“April fool! April fool!” is what even the little sparrows seem<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> -to chirp, as with a “s-w-h-e-r-r” they sweep down from the -tree and, frightening away the kitten, take forcible possession of -her bone. What does all this mean? Why is the first day of -April called “All-Fools-Day,” and when or where did the -custom of the day originate? Who can tell? No one seems -to know. Even the derivation of the word April does not appear -to have been definitely settled, and this saucy month, with -her mischievous tricks and pranks, her surprises and mysteries, -fools and puzzles our wisest men.</p> - -<p>Through many centuries the observance of All-Fools-Day -has descended to us. In many climes and many countries this -day is chosen as the proper time for playing tricks on the unsuspecting.</p> - -<p>“Festum Fatuorum,” or “Fools’ Holiday,” is what it was -called in England at the time of the arrival of the early Christians -in that country.</p> - -<p>Easily caught like the mackerel, which are plentiful on the -French coast in April and are said to be deficient in understanding, -the April fool in France derives his name from that -fish, and is called “Poisson d’Avril” or “April Fish,” and -again, “Silly Mackerel.” From the cuckoo, a bird that does not -know enough to build its own nest, the appellation of “gowk” -is taken, and is given to the foolish one in Scotland who allows -himself to be duped on this day.</p> - -<p>In India at the festival called Huli Festival held on the last -day of March, the natives make merry at the expense of their -friends, just as we do, and their fool is called “Huli Fool.”</p> - -<p>So in the East and in the West, in the North and in the South, -in the oldest nation as well as the youngest, is this ridiculous -custom observed, and, as if to make it still more ridiculous, no -one apparently knows why.</p> - -<p>Now, girls, since this holiday has descended to us from so far -back that its origin appears lost in the dim twilight of past ages,<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span> -there surely must be some reason for its existence, and that reason -may be, that “a little nonsense now and then is relished by the -wisest men,” and is therefore wholesome as an occasional diet. -So why not help to perpetuate it; not with rude, practical jokes, -but with comical surprises, and absurd, but unembarrassing, situations. -Much harmless fun can be derived from the privileges -of this day, devoted as it is to nonsense, and we introduce the -April Fool Party as an excellent means of concentrating the -fun, and furnishing plenty of merriment to the young folks who -are bent on having a good time.</p> - - -<h3><b>First of April Party.</b></h3> - -<p>I remember, when quite a little girl, I was granted the privilege -of celebrating my birthday, which came on the 1st of April, -with a candy-pull, and a few days previous to the event I -started joyfully off to invite my friends. The invitations were -laughingly given and accepted, and it did not occur to me that I -would be suspected of playing a joke, although the party was -to be on April-Fools-Day. It seems, however, that my good intentions -were doubted, and the children were undecided whether -to come or not. I had begun to suspect that a joke was to be -played on me by their all remaining away, before they finally -arrived in a body, having taken the precaution of coming in -that way, so that if the party were a hoax they would all be -fooled together.</p> - -<p>I relate this incident that warning may be taken from my experience, -and that it may be understood how important it is to -make the guests invited to your First of April party realize that -the invitations are given in good faith, and that your friends -are expected to be on hand at the appointed time.</p> - -<p>It is well, in giving a party of this kind, to have the whole -programme laid out beforehand, so that everything may go -smoothly and nothing be forgotten.<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span></p> - -<p>The few methods of April fooling given here need not constitute -the whole entertainment; the list may be added to by -the young hostess, who will, no doubt, have many ideas of her -own to carry out. We will head our list with the</p> - - -<h3><b>Mirror Tableau.</b></h3> - -<p>This novel tableau is made ready in the following manner:</p> - -<p>In a door-way, or bay-window draped with full curtains, -place a large mirror. Instead of having the curtains suspended -from the usual pole, it is best to stretch a wire across the space -and slip the curtain-rings upon that, as they will slide more -readily on the wire; and when it is time to draw back the drapery -it should be done quickly. A table placed before the curtains -will serve as a barricade, keeping the too curious from taking -a peep at the hidden mysteries before they are ready to be -revealed.</p> - -<p>At the time selected, remove the table, and request all those -desiring to see the tableau to arrange themselves in front of the -curtain, and to remain perfectly quiet, as any movement will disturb -those taking part.</p> - -<p>If the front rows of the audience can be induced to kneel or -sit upon the floor, those in the rear can obtain a better view, -and it will, at the same time, make the group more effective. -When perfect quiet is obtained, give the signal to your assistant, -who must stand opposite to you at the side of the curtain, and -with her help quickly draw aside the draperies, thus disclosing -the tableau of a group of young people, motionless, gazing into -the mirror with eager and expectant eyes. For an instant the -audience will be held spell-bound, scarcely realizing that they -themselves are forming the pretty tableau.</p> - -<p>“We are April Fools,” written with soap on the mirror near -the top, as shown in the illustration, tells what character the -actors are assuming, and gives a name to the tableau.</p> - -<p><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span></p> - -<div class="figcenter" style="width: 479px;"> -<img src="images/i_007.jpg" width="479" height="600" alt="two girls pulling back curtains on mirrored audience" /> -<div class="caption">The Mirror Tableau.</div> -</div> - -<p><span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>During the interval which should be allowed to intervene -before introducing the next thing on the programme, the guests -will find amusement in the many harmless practical jokes which -are awaiting the unwary in all manner of places.</p> - -<p>For instance, some boy will print APRIL FOOL in large -white letters on his own back, by simply resting for a moment -in a convenient chair upon whose snowy tidy the dreaded words -have previously been printed backwards with white chalk. On -the dark woolly surface of the coat, the white letters will be -perfectly transferred, and the boy, little knowing what he has -done, or the cause of the merriment, will join in the general -laughter his appearance creates.</p> - -<p>A treacherous divan can be provided by removing the top -of a low, flat packing-box, and putting in its place brown wrapping-paper, -tacking it down around the edges of the box. -With a piece of drapery thrown over it, entirely concealing the -box, and sofa pillows placed upon it, leaning against the wall, -the divan looks exceedingly comfortable and inviting. But woe -unto the person who mistakes appearances for reality, for to attempt -to sit upon this seeming substantial couch is but to break -through and sit upon the floor instead.</p> - -<p>The box used for the divan should not be more than twelve -inches high, so that the fall will be only funny, not dangerous.</p> - -<p>The next diversion may be a</p> - - -<h3><b>Noah’s Ark Peep-show.</b></h3> - -<p>Make the peep-show of a box about two and a half feet -long and one foot and a half high. Remove the top and both -of the end-pieces (Fig. 1). Cut from pasteboard a slide to -exactly fit the box, and place it in the middle, thus cutting off -the view from either end, as shown in Fig. 1. Make a curtain -in two pieces, and tack them around the upper edge of the<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> -box, letting them meet at each -end. Stout pieces of twine, -stretched across the openings at -the ends of the box, will serve to -attach the drapery at these points.</p> - -<div> - <img class="split" src="images/i_009a.jpg" alt="Noah’s Ark Peep-show. Fig. 1" width="520" height="233" /> - <img class="split" src="images/i_009b.jpg" alt="Noah’s Ark Peep-show." width="252" height="37" /> - <img class="split" src="images/i_009c.jpg" alt="Noah’s Ark Peep-show." width="230" height="73" /> - <img class="split" src="images/i_009d.jpg" alt="Noah’s Ark Peep-show." width="206" height="208" /> -</div> -<p>Almost any kind of material will -answer for this purpose, provided it -is not too thin and is of some bright -hue, for the peep-show should be -made to look as gay as possible. -Place the box upon a high stand, -and so arrange it that a strong -light will shine down into it, making -the interior, from end to end, perfectly -light.</p> - -<p>From a list, previously prepared, of the animals supposed -to be on exhibition, read the first two, and invite two persons, -a girl and a boy, for instance, to look into the peep-show. -We will suppose that the first animals on the list are the raven -and the dove. Inform your would-be audience that you have -two of Noah’s special pets to show them; that from the girls’ -point of view will be seen a raven, and from the boys’, a dove<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span>. -When taking their places at the box, one at each end, the two -spectators must part the curtain, and, putting their faces between, -hold the drapery together under their chins. This is -to keep the remainder of the company from obtaining a glimpse -into the wonderful show before their turns arrive.</p> - -<p>When all is ready, and the two wondering faces are hidden -between the folds of the peep-show curtains, with the words, -“Behold the pretty dove, and the mischievous raven,” remove -the slide, and expose to the astonished gaze of each spectator a -companion’s familiar face at the opposite end of the box. Of -course, upon retiring from the show, its secret must be kept, -otherwise the joke will be spoiled for those whose turns are yet -to come.</p> - -<p>Before the next two take their station at the box, replace -the slide and pretend to rearrange the show, to divert the suspicion -that the box is empty.</p> - - -<h3><b>The Supper</b></h3> - -<p class="unindent">can be made the means of perpetrating many practical jokes. -The shams must be so intermingled with the real delicacies that -one can never be sure what the consequences may be of partaking -too rashly of even the most tempting-looking morsel.</p> - -<p>Small blocks of wood covered with batter and browned in -the oven are excellent imitations of cakes. Dainty confectionery, -in crimped papers, can be made of small radishes covered -with icing of different colors. Button-moulds coated with chocolate -will readily be mistaken for candy.</p> - -<p>If a small pasteboard pill-box is first filled with flour, and -the top then covered with tissue-paper pasted down around the -edges, it will look, when iced, like a delicate little cake, and -will cause much merriment when anyone bites into it; for the -moment the paper cover is broken the flour will fly in every<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span> -direction. The fertile brain of girls, on mischief bent, will suggest -many more frauds of this kind, and enough surprises may -be prepared to make the supper as merry as anything else on -the evening’s programme.</p> - -<p>Before leaving this subject, once more let the caution be -given to keep the jokes entirely harmless. It is only poor fun -that can be obtained at the expense of injuring others, or by -running the slightest risk of hurting them in any way.</p> - -<p>The spirit of mischief must be kept within bounds even on -All-Fools-Day.</p> - -<div class="figcenter" style="width: 471px;"> -<img src="images/i_011.jpg" width="471" height="133" alt="APRIL Fool" /> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p> - -<div class="figcenter" style="width: 458px;"> -<img src="images/i_012.jpg" width="458" height="600" alt="children gathering flowers" /> -<div class="caption">Gathering Wild Flowers.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p> - - - - -<h2>CHAPTER II.<br /> - -<small>WILD FLOWERS AND THEIR PRESERVATION.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_013.jpg" width="114" height="172" alt="L" /> -</div> - -<p class="drop-capi">LONG before the first green leaves make their -appearance, while the snows of winter still -linger in the shaded nooks, and the branches -are still bare, though blushing with the full, -flowing sap that tinges their tips pink, yellow, -and red—when the air is filled with a sweet -freshness and delicate fragrance—it is charming -in our rambles to find scattered here and -there upon the hill-side, down among the roots of the great -trees, or under the hedges delicate little wild flowers waving -on their fragile stalks with the faintest passing breeze. They -are so exquisitely beautiful with their tender hues and graceful -shapes, that a longing comes to possess them.</p> - -<p>And why not keep them fresh at home? Plants live in -the earth and require light, air, and moisture. All of these -requirements can be and are fulfilled in thousands of homes -where plants are kept, all over the world. But these are -<i>wild flowers</i>. True, and they may need something to be -found only in the wild woods. What, then, is it? Let us -see. Earth, light, and air abound everywhere. Still, upon -inspection we discover that the soil around our timid wild -flowers is somewhat different from that to be found in our -door-yards. But what is simpler than to take the earth up -with the plant?</p> - -<p><span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span></p> - -<p>Be careful in</p> - - -<h3><b>Transplanting Wild Flowers</b></h3> - -<p class="unindent">to dig well all around and under the roots, so that the earth -surrounding and clinging to the plant may be taken up at the -same time (Fig. 2). After covering the -root and soil adhering to it with a layer -of clay, mud, or damp earth (Fig. 3) -set the root in a large leaf, and -tie it up with string or -a wisp of -grass (Fig -4), in order -to make -sure the soil -does not fall -off the plant. Thus secured -the specimens will -keep nicely until you -reach home; then plant -them in a shady place -and keep the ground moist. Beautiful little woodland gardens -are made in this way, where within a few steps of the door a -glimpse may be had of the fair forest flowers.</p> - -<div class="figcenter" style="width: 504px;"> -<img src="images/i_014.jpg" width="504" height="484" alt="flowers with rootballs" /> -</div> - -<p>Sweet-scented white violets, delicate little anemones, odd -yellow violets, and quaint jack-in-the-pulpits, with many others,<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> -not forgetting the graceful ferns, are now growing in the shaded -corner of the writer’s lawn, transplanted there from their home -in the woods, where she found them one lovely spring morning, -when out with a party of friends on a hunt for wild flowers.</p> - -<p>The day was perfect, filled with sunshine and the song of -birds. All nature appeared glad and joyous, and the trees -seemed veiled in the softest greens and pinks of budding -leaves.</p> - -<p>It was a happy party that went wandering into the forest, -straying here and there, and finding new treasures at nearly -every step, stopping to gather a few of the violets that gave a -purple tinge to the ground for yards around, then rambling on -to the spot that was covered with the fragile anemone, each girl -laden with the flowers she loved best. Some had taken them up -roots and all, while others preferred the</p> - - -<h3><b>Cut Wild Flowers.</b></h3> - -<p>For these it is best to use a tin box of convenient size and -form shutting closely. The flowers must be fresh and not at all -damp; in such a box they can be kept for days bright and unfading. -They may also safely be sent to friends at a distance, -though it is better, when</p> - - -<h3><b>Sending Flowers by Mail,</b></h3> - -<p class="unindent">if you wish to send a quantity, to pack them in a strong pad -or wooden box. First lay down a piece of oiled paper of -the proper size; spread a thin layer of damp paper on this; next -a layer of flowers, then one of thin wet paper; and so on until -the box is full. Over the last layer place a dry paper, and cover -this with oiled paper or tin-foil; put the lid on the box and tie -it down securely.</p> - -<p><span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span></p> - -<p>By this method a larger number of flowers can be sent in a -given space than when simply inclosed in a tin box.</p> - -<p>The writer has often sent daisies from New York to Cincinnati -where they arrived as fresh as when first gathered.</p> - -<p>For the benefit of those who wish directions for sending -flowers by mail, we give the following on authority of the -<i>American Agriculturist</i>.</p> - -<div class="blockquot"> - -<p>“The law passed some years since by Congress, allowing packages of -plants to be sent by mail, if not over four pounds in weight, was a capital -arrangement for those who lived at a distance from railroad and express -offices, but it is so hampered with the various constructions given by the -Post Office Department, that it is difficult to know what is required by the -officials. The law now is, we believe, as follows: A package, weighing four -pounds or less, can be sent at the rate of two cents per four ounces, but the -writing of the words “roots” or “plants” makes a letter of it, and is -charged letter postage. Nothing should be written except the address, and -the package must not be sealed, or contain any writing, and it must be so -fastened that the postmaster can examine the contents if he wishes. The -plants may, however, be numbered, and their names sent by letter.”</p></div> - -<p>Now let us think of some way in which these lovely blossoms -can be preserved.</p> - -<p>In Germany they excel in making decorations for rooms, -dinner-tables, etc., of</p> - - -<h3><b>Preserved Flowers.</b></h3> - -<p>Bright-colored flowers are best adapted to this method. White -flowers are apt to turn yellow. Jack-in-the-pulpits, clover, -roses, and daisies came out beautifully when the writer dried -them, and why should not many other kinds do just as well? -Try and see.</p> - -<p>Procure three or four quarts of fine sand; white scouring-sand -is the best; wash it perfectly clean. This can be tested by pouring -the water off until it looks quite clear; then dry the sand,<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> -by placing it in a clean tin in the oven. When it is dry—fully -dry and cool—pour enough -in a box to enable the flowers -to stand by themselves, their -stems embedded in the sand, -which should be a mass of -fine particles of uniform size.</p> - -<div class="figcenter" style="width: 506px;"> -<img src="images/i_017.jpg" width="506" height="596" alt="flowers in a vase iand in blxes" /> -<div class="caption">Preserved Flowers.</div> -</div> - -<p>If the flowers are cut so -that they all measure nearly -the same length from the tip -of the blossom to the end of -the stem, they can more -readily be covered with sand. -The flowers must be fresh and entirely free from moisture. -Place them stem downward in the sandy layer, and very gently<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -and slowly pour in the sand a little at a time, until each leaf -and petal is firmly held in place (Fig. 5); then fill the box -with sand nearly two inches above the level of the flowers.</p> - -<p>It is very essential that every particle of the flower rest in -the sand, and that in filling up, the smallest petal has not been -bent or crumpled.</p> - -<p>Take care not to shake the box lest the flowers inside be injured. -Set it in a warm, dry place, and let it stand at least two -weeks.</p> - -<p>This manner of preserving flowers retains the color, while -the shape of the leaves and petals remains unaltered. The flowers -will keep for years.</p> - -<p>There are other ways also of preserving flowers.</p> - - -<h3><b>Pressed Flowers and Leaves.</b></h3> - -<p>Although these are perfectly flat, they seldom fade and are -very pretty and useful. Have ready a large book or a quantity -of old newspapers and several weights. Use the newspapers -for leaves and ferns—blotting-paper is best for the flowers. -Both the flowers and leaves should be fresh and without moisture. -Place them as nearly in their natural positions as possible -in the book or papers, and press, allowing several thicknesses -of paper between each layer. Remove the specimens to dry -papers each day until perfectly dry.</p> - -<p>Some flowers must be immersed—all but the flower head—in -boiling water for a few minutes, before pressing, to prevent -them from turning black. Orchids are of this nature.</p> - -<p>If possible, it is well to obtain all parts of a plant, the roots -as well as the seeds, for a more interesting collection can thus -be made than from the flower and leaf alone.</p> - -<p>It is advisable to be provided with a blank book or, what is -still better, pieces of stiff white paper of uniform size on which<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -to mount the flowers or leaves when dried; also with a small -bottle of mucilage and a brush for fastening them, and some -narrow strips of court-plaster or gummed paper for the stems -and thicker parts of the plants. The sooner they can be -mounted the better. Place them carefully on the paper, writing -beneath the locality and date of finding. Flowers and -leaves thus prepared make beautiful herbariums. Should you desire</p> - - -<h3><b>Leaves and Ferns for Decoration,</b></h3> - -<p class="unindent">first press them nicely; then give them a coat of wax, by -ironing them on both sides with a hot iron over which a piece -of beeswax has first been rubbed. Cover the specimens completely -with wax, as this renders them quite pliable, and they -are no longer brittle nor easily broken. Sprays of small leaves -can be pressed entire.</p> - -<p>To heighten the effect, use dry colors, rubbing them in, and -selecting those corresponding with the color of the leaves when -first gathered.</p> - -<p>The colors must be put on before the coating of wax. -Ferns should be gathered when nearly full grown, and, after -they are pressed, painted light green with oil-colors; in that -case the beeswax is not used. The oil in the paint, like the -wax, makes the specimens more substantial, and they look -quite fresh and fair.</p> - -<p>Sometimes the late autumn frosts will bleach the ferns perfectly -white; then are they even more delicate than before Nature -changed their color. We have seen the</p> - - -<h3><b>Color of Flowers Changed,</b></h3> - -<p class="unindent">and it is a very pretty experiment, very simple, too. Immerse -the flowers in ammonia, and you will be surprised to see white<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> -lilies change to a delicate yellow, pink roses turn a lovely -light green, while dark-red sweet-peas assume blue and rich -purple tints; and the change is so rapid it is almost like magic. -Another interesting experiment is making</p> - - -<h3><b>Natural Wax Flowers</b></h3> - -<p class="unindent">by dipping the fresh buds and blossoms in paraffine just sufficiently -hot to liquefy it; first the stems of the flowers; when -these have cooled and hardened, then the flowers or sprays, -holding them by the stalks and moving them gently. When -they are completely covered the flowers are removed and lightly -shaken, in order to throw off the superfluous wax. The flowers -are then suspended until perfectly dry, when they are found -hermetically sealed in a film of paraffine, while they still keep -their beautiful coloring and natural forms, and for a while even -their perfume. Now let us find what can be done</p> - - -<h3><b>To Freshen Cut Flowers.</b></h3> - -<p>When the heat has made them wilt, clip the stems and set -the flowers in cold water; in a few hours they will regain their -freshness and beauty.</p> - -<p>Some flowers, however, must be differently treated, such as -heliotrope and mignonette; these keep if placed <i>upon</i> damp -moss or cotton and set in a cold place at night.</p> - -<p>Rosebuds will retain their freshness for hours when not -placed in water, if the ends of the stems are snipped off, and -immediately tipped with melted sealing-wax; this excludes -the air, and so keeps the flowers from drooping.</p> - -<p>If roses are wilted before they can be placed in water, cut -off the ends of the stalks and immerse in very hot water for a -minute or two, and they will regain their pristine freshness.</p> - -<p>Another way to keep flowers fresh is to put a pinch of nitrate -of soda into the glass each time you change the water<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> -Nitrate of potash or saltpetre in a powder has nearly the same -effect, or a drop of hartshorn.</p> - -<p>If plants are chilled by frost, shower them with cold water, -and leave in a cool room; or set the pot in cold water and keep -in a moderately cool place. Now one word about</p> - - -<h3><b>Crystallized Flowers,</b></h3> - -<p class="unindent">that sparkle and look so beautiful. They must first be dried in -sand, then crystallized in the same way as dried grasses—the -rougher the surface the better will it crystallize. Dissolve as -much alum in boiling water as it will hold; when this is determined, -pour it off and boil the solution down to one-half.</p> - -<p>Suspend the flowers by a net-work of string tied across the -top of a pail into which they must hang; then pour into the -pail the boiling alum water, which must completely cover the -flowers, and leave it undisturbed twelve hours, or all night.</p> - -<p>The flowers should not touch each other or the sides of the -bucket. Be careful in removing them the next morning, as the -crystals are easily broken off.</p> - -<p>Flowers or sprays of grass may be beautifully frosted by -dipping them in a solution of gum-arabic and sprinkling them -with powdered isinglass.</p> - -<p>Flowers are not only very beautiful, but many of them possess -a fragrance so sweet that we would fain learn how to keep -the</p> - - -<h3><b>Perfume of Flowers.</b></h3> - -<div class="figleft" style="width: 151px;"> -<img src="images/i_022a.jpg" width="151" height="600" alt="pussy willows" /> -</div> - -<div class="figright" style="width: 226px;"> -<img src="images/i_022b.jpg" width="226" height="595" alt="catkins" /> -</div> - -<p>Rose-leaves are the most simply prepared. Take a covered -jar, fill it with sweet-scented rose-leaves, and scatter through them -some salt. Keep the jar closed tight, and when the petals have -dried the “scent of the roses will cling to them still,” so that -every time the jar is opened a delicious fragrance will fill the -air. Or you can cover the rose-leaves with melted lard, and -leave them for a day or two in some place at a temperature<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> -of about 140° F.; then cool -it and knead the lard in alcohol. -Pour off the alcohol in -fancy glass bottles -and use as -handkerchief perfume.</p> - -<p>For varieties we -find this method:</p> - -<div class="blockquot"> - -<p>“The delicate odor -of pinks and other flowers may be -obtained as follows: Get a glass -funnel, with the narrow end -drawn to a point; in this place -lumps of ice with salt, by which -a very low temperature is produced. -The funnel should be -supported on an ordinary retort-stand and placed -near the flowering plants, when water and the -ethereal odor of the blossom will be deposited on -the exterior of the glass funnel, and will trickle -down to the point, from which it drops at intervals -into a glass vessel below. The scent thus -obtained is very perfect, but is apt to become -sour in a few days unless some pure alcohol is -added. By this process many odors may be procured -for comparison and study. To obtain the -odor in perfection the blossom must be in its -prime.”</p></div> - -<p>Dry some sweet clover, and the fragrance -will be sweet and pleasant. Fill a -fancy bag of some thin sheer material with -the clover, and you will find that you have -imprisoned the fresh breath of summer.</p> - - -<p>Old-time lavender can be prepared in the same way.</p> - -<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p> - -<p>Our thoughts so far have been for the flowers in their season. -But did it ever occur to you that it is possible to have</p> - - -<h3><b>Spring Flowers in Winter?</b></h3> - -<p>If you search in the woods during December you may find, -tucked away in sheltered spots, little woodland plants which, -when taken up and carefully transplanted in a flower-pot and -set in a sunny window, will soon begin to grow, sending up -tender stems, and in about three weeks will blossom. The little -fairy-like flowers seem even more beautiful coming in the -cold wintry weather.</p> - -<p>Fruit-tree twigs and sprays from flowering shrubs will blossom -when the ground is white with snow, if cut from trees -about the first of February, placed in well-heated water in a -warm room, and the water changed every day for some that is -almost but not quite hot.</p> - -<p>The twigs being kept warm will blossom in a few weeks.</p> - -<p>It is quite a pretty idea to take up and plant in a little -flower-pot</p> - - -<h3><b>The Four-leaved Clover.</b></h3> - -<p>Very frequently you may find a tuft bearing only the mystic -number, and should it happen to have a five- or six-leaved clover -in with the others, they will add to the luck.</p> - -<p>If you possess one of these charmed plants, it is said “good -luck” will always be near at hand.</p> - -<p>Besides the foregoing directions for the preservation of -flowers, plants, etc., there are numerous other methods, which, -although not experimentally verified by the writer, are no -doubt as worthy of a place here as any of the former.</p> - -<p>The following recipes have been culled from various old -papers, books, etc.</p> - -<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p> - - -<h3><b>Some Old-fashioned Methods of Preserving Flowers.</b></h3> - -<p>The first of these ways is more properly intended for botanical -collections, and is often resorted to by collectors of rare -blossoms. It consists in placing</p> - - -<h3><b>Flowers in Alcohol,</b></h3> - -<p class="unindent">and possesses the great advantage of preserving the flowers for -years, and keeping their most delicate fibres uninjured. They -make invaluable specimens to sketch from, and though their -beauty may be somewhat impaired by loss of color, their outlines -remain perfect.</p> - -<p>Place the flowers in a wide-mouthed bottle, fill it to the top -with alcohol, cork it tightly, and cover the cork with plaster-of-Paris -or melted beeswax, thus hermetically sealing it. Do not -use sealing-wax, as experience has taught us that the fumes of -the alcohol soften the wax, and not only spoil the neat appearance -of the bottle, but allow the spirits to evaporate.</p> - -<p>Another way is to</p> - - -<h3><b>Bottle Flowers.</b></h3> - -<p>Carefully seal the ends of the stems with sealing-wax, place -them in an empty bottle—both flowers and bottle must be perfectly -dry—cork the bottle, and hermetically seal it with either -sealing-wax or beeswax.</p> - -<p>The next method has greater possibilities of beauty, and -consequently the reader will be more interested in learning</p> - - -<h3><b>How to Preserve a Vaseful of Flowers for a Year.</b></h3> - -<p>Take home your basket of wild flowers, “nodding violets,” -cowslips, bright-eyed anemones, and all the lovely offerings of -the woods, and before arranging them in the vase, carefully -seal the stem of each flower. Place a glass shade over the -vase; be careful that flowers, vase, and shade are perfectly<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> -dry; then fill up the groove in the wood, in which the shade -stands, with melted wax. By covering the wax with chenille -it can be perfectly hidden.</p> - -<p>Flowers kept in this way will last for a twelvemonth.</p> - -<p>The flowers preserved in an empty bottle may be taken -out, the wax cut from the stems, and, if arranged in a bouquet, -will last as long as perfectly fresh flowers.</p> - -<p>Those in the alcohol lose their color after being immersed -for a time, and will not last when removed from the alcohol.</p> - -<p>In following any of these directions be careful not to tie -the flowers. No string must be used. The flower stems must -be loose and separate from each other.</p> - -<p>A florist of much experience in preserving bouquets for an -indefinite period gives this recipe for</p> - - -<h3><b>Keeping Bouquets Fresh a Long Time.</b></h3> - -<p>When you receive a bouquet sprinkle it lightly with fresh -water, then put it into a vessel containing some soapsuds; this -will take the place of the roots and keep the flowers bright as -new. Take the bouquet out of the suds every morning, and lay -it sideways, the stems entering first, in clean water; keep it -there a minute or two, then take it out, and sprinkle the flowers -lightly by the hand with water; replace it in the soapsuds, -and it will bloom as fresh as when first gathered.</p> - -<p>The soapsuds need changing every three or four days. By -observing these rules a bouquet can be kept bright and beautiful -for at least a month, and will last longer in a very passable -state. From another source we learn how</p> - - -<h3><b>To Keep Flowers or Fruit a whole Year perfectly Fresh.</b></h3> - -<p>Mix one pound of nitre with two pounds of sal ammoniac -and three pounds of clean common sand; then in dry weather<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -take fruit of any sort which is not fully ripe, allowing the stalks -to remain, and put them one by one into an open glass until it -is quite full; cover the glass with oiled cloth, closely tied down. -Put the glass three or four inches down in the earth in a dry -cellar, and surround it on all sides to the depth of three or four -inches with the above mixture. The fruit will thus be preserved -quite fresh all the year round.</p> - -<p>In giving the following recipe for the manufacture of rose-water, -it may be as well to state that the original verse is given, -not for its merit as such, but simply because it is the form in -which the recipe reached the writer.</p> - - -<h3><b>Rose-water.</b></h3> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">“When the bushes of roses are full,</div> -<div class="verse"><span style="margin-left: 1.5em;">As most of them are about June,</span></div> -<div class="verse"><span style="margin-left: .5em;">’Tis high time to gather, or pull</span></div> -<div class="verse"><span style="margin-left: 1.5em;">The leaves of the flowers. As soon</span></div> -<div class="verse"><span style="margin-left: .5em;">As you’ve picked all you need for the time,</span></div> -<div class="verse"><span style="margin-left: 1.5em;">To each <i>quart of water</i> unite</span></div> -<div class="verse"><span style="margin-left: .5em;">A <i>peck of the leaves</i>, which, if prime—</span></div> -<div class="verse"><span style="margin-left: 1.5em;">And they will be, if pulled off aright—</span></div> -<div class="verse"><span style="margin-left: .5em;">May be <i>placed in a still</i> near at hand,</span></div> -<div class="verse"><span style="margin-left: 1.5em;">On a <i>very slow fire</i>. When done,</span></div> -<div class="verse"><span style="margin-left: .5em;">Bottle off, and permit it to <i>stand</i></span></div> -<div class="verse"><span style="margin-left: 1.5em;"><i>For three days</i> ere you cork down each one.”</span></div> -</div> -</div> - -<div class="figcenter" style="width: 482px;"> -<img src="images/i_026.jpg" width="482" height="196" alt="fairy in a flower" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p> - - - - -<h2>CHAPTER III.<br /> - -<small>THE WALKING CLUB.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_027.jpg" width="284" height="189" alt="A" /> -</div> - -<p class="drop-capi2">A SOUND of girlish voices is -suddenly heard in the -quiet village streets, as -our Walking Club, issuing -from the house of one of -its members, starts off on -the first tramp of the season. -The gay chatter -and bubbling laughter -blend with the twittering and chirping of the birds fluttering -among the budding trees, and all these merry sounds seem in -perfect harmony with the youthful gladness of the bright morning.</p> - -<p>There is a subtle power and exhilaration in the spring sunshine -that stimulates the blood, and sends it tingling through our -veins, as with light-springing steps we quickly leave the village -behind us and penetrate into the outlying country, stopping -now and then to secure a branch of the downy pussy willow -or brilliant red blossoms of the maple, and again to admire a -distant view where the trees seem enveloped in a hazy mist of -delicate color; on we go, exploring sequestered spots or entering -deep into the woods in search of early wild flowers.</p> - -<div class="figcenter" style="width: 600px;"> -<img src="images/i_028.jpg" width="600" height="382" alt="group of girls and a dog walking" /> -<div class="caption">The Walking Club.</div> -</div> - -<p>Although possibly timid as individuals, as a club we are -brave enough; for a party of fourteen or sixteen girls, including<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a><br /><a name="Page_29" id="Page_29">[29]</a></span> -our merry little chaperon, may go, with impunity, where it -would not be so pleasant for one to venture alone.</p> - -<p>Once a week all through that delightful spring the club might -have been seen, now upon a road leading in this direction, now -in that. And, often as we stepped aside to allow a carriage to -pass, its occupants would lean forward smiling, and waving their -hands in greeting; for the moment, perhaps, feeling in sympathy -with the vigorous young life that preferred this mode of locomotion -to being carried about on the downiest cushions of the -easiest of carriages. A ride which accorded with the unconventional -mood of our club was not despised however, for, urged on -by the girls, our little matron would make bold to accost some -countryman driving a vehicle sufficiently large, and persuade -him, in the terms of the country, to “give us a lift.” Jolting -about in a springless wagon or hay-cart was not in the least -enervating, and we experienced no indolent wish to continue our -journey on wheels when forced by diverging roads to leave our -equipage. It was not until the ever-increasing heat of the sun, -and our own languid disinclination to much exertion, warned us -that the mildness of spring had passed, that we concluded to disband -for the summer. In the fall we again fell into rank, and -came home from our walks laden with the gorgeous trophies of -autumn, as we had once carried in triumph the tasselled branches -and dainty flowers of spring.</p> - -<p>We continued our tramps into the early winter, when the -frosty crispness of the air made it very bracing, and the brisk -exercise of walking brought the healthy color to cheek and lip -of the young pedestrians.</p> - -<p>Such a club as this, which at the same time promotes health, -good spirits, and sociability, is one that most girls will enjoy -and derive benefit from.</p> - -<p>A closer acquaintance with Nature, which these walks afford, -is not the least of their benefits, and to her true lover, Nature has<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> -many delightful surprises and secrets to reveal; and as has -been said, even for those who cannot read her deeper -meanings she has a language which calls attention to her more -outward forms of beauty, and which one may study until gradually, -with slowly opening eyes, is seen more and more of the -exquisite perfection of her work, that long ago might have been -seen had one but chosen to look.</p> - -<p>As a society, the Walking Club is one of the most informal.</p> - -<p>No officers are needed, although a secretary may sometimes -be found useful when any word is to be sent to absent members.</p> - -<p>The membership of the club should be large enough to -insure the attendance of at least twelve or fourteen on each -walk; for in this case, as I have said, safety lies in numbers. -At a place of meeting previously appointed, the members -should assemble, and, before starting on their walk, the route -to be taken should be decided by vote; a decision on this -point will be more quickly arrived at if a chairman be appointed -to keep order.</p> - -<p>The first walk should not be too long. Three miles is a -good walk to start with; a mile and a half out and the same -home again. Gradually the distance can be lengthened, and -the club be able to take a ten-mile walk without feeling fatigue.</p> - -<div class="figcenter" style="width: 479px;"> -<img src="images/i_030.jpg" width="479" height="157" alt="hat and walking stick on grass" /> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p> - -<div class='center'> <table class="flowers" summary="flowers"> -<tr><td align='left'><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> -<div class="overlay1"><span class="smcap">To Make the Exercise of Walking -Healthful, and therefore -the more Enjoyable, these Rules should -be Observed.</span> -<div class="hangsection"><p><i>1st. Carry the body erect on the -hips, the shoulders thrown back, -the chest raised, and the head -square on the shoulders.</i></p> - -<p><i>2d. Breathe through the nose -while walking rapidly, otherwise -the mouth will become dry -and the breath short.</i></p> - -<p><i>3d. Wear loosely fitting clothes -that will permit a free motion -of the limbs, and shoes with -broad, moderately thick, soles -and low, broad heels. In all -cases a girl’s skirts should be -supported from the shoulders, -and in walking any distance it -is absolutely necessary for comfort -that there should be no -weight upon the hips.</i></p></div> -</div> -<br /><br /><br /><br /><br /><br /><br /></td> -</tr></table></div> - - - - - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span></p> - -<div class="figcenter" style="width: 544px;"> -<img src="images/i_032.jpg" width="544" height="751" alt="Easter Anthem" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p> - - - - -<h2>CHAPTER IV.<br /> - -<small>EASTER.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_033.jpg" width="138" height="188" alt="E" /> -</div> - -<p class="drop-capi3">EVERYWHERE the children are playing with -eggs; eggs colored in every hue—mottled, -striped, and gilded; real eggs and imitation -ones; sugar, glass, and wooden eggs; for -this is Easter-tide, and not only in America, -but in many far-away countries, where the -habits and customs are very different from -ours, does Easter bring to the children the highly prized, -gayly-colored -eggs.</p> - -<p>How nice it would be if we could take a peep into these -foreign countries, and discover what else Easter brings the little -ones besides the pretty eggs, and also how the people of such -widely differing nations keep this happy festival common to -all.</p> - -<p>If we could look into England now, we should find that the -ceremonies there begin on Palm Sunday (the last Sunday before -Easter), and on that day many people go a-palming, only -they do not, of course, find palm, but gather instead branches -of willow, which they stick into their hats and button-holes. -On Good-Friday we might see, on almost every breakfast-table, -those hot spicy cakes with a cross stamped on the face, known -to many of us as well as to our English cousins, as “hot cross -buns.” We should feel very much at home looking into the -churches on Easter Sunday, for we should find them beautifully<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> -decorated with flowers, and hear the Easter anthems chanted as -we might in our own country. I do not think we can see in -America, though, the ceremony which, on Easter Monday, is -performed by the charity school-children in England. Were we -among the spectators who, with shouts and merry laughter, -crowd around to watch this performance, we should see the -children take their places, with their backs against the outside -of the church, and then join hands until a circle is formed -around the building, thus completing what is called “clipping -the church.”</p> - -<p>It would be great fun to see the Easter celebration in Russia, -which includes many peculiar customs, and where the children -receive presents as we do at Christmas, besides more eggs -than any of us ever thought of possessing; some of the eggs -being beautifully made of glass or porcelain, and filled with -sugar-plums or small presents. How amusing it would be to -watch the people, following a custom always observed on -Easter Monday in this queer land, as they go about kissing -relations, friends, and acquaintances, wherever they happen to -meet them.</p> - -<p>If we were really in this great, cold, furry country, we -might go with the children to make their Easter visits, and, -on entering a house, hear the greeting, “Jesus Christ is -risen,” and the answer, “Yes, he is risen;” then after kissing -the inmates and exchanging eggs with them, go to visit -elsewhere.</p> - -<p>All this would seem very strange to American eyes; and -it would be a strange sight too, if we could look into the cities -of Spain and see the people in the streets shooting at stuffed -figures of Judas Iscariot.</p> - -<p>A passing glance at Ireland on Easter morning would show -us the people making haste to be out at sunrise to see the sun -dance in a pool or pail of clear water.</p> - -<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p> - -<p>It would be worth while to give more than a passing glance -into Germany at this season, for in this country, where the children’s -happiness is so much thought of and so well provided -for, Easter Monday is looked upon as a grand holiday, and -all the young people appear in their gala costumes ready for -any fun or frolic that may be going on. It is a pretty sight -when the little peasant-girls, in their quaint gowns and odd -little caps, dance on the green with the boys, whose costumes -are equally as picturesque; and it is also entertaining to -watch them as they play various games with their many-colored -eggs.</p> - -<p>In Germany, too, we should find that the children believe as -sincerely in the Easter hare as they do in Santa Claus in our -country; and the saying, that “the hares lay the Easter eggs,” -is never doubted by the little ones.</p> - -<p>After visiting in imagination all these foreign countries to -see their Easter celebrations, it may prove interesting to turn -our eyes toward home, for, since our country is so large—as -large almost as all Europe put together—perhaps some of our -little citizens who have never been in Washington do not -know how, in the capital of the United States, the children hold -high carnival on Easter Monday, nor how the grounds of the -White House and also of the Capitol are given up to them on -this day that they may frolic on the lawns and roll their eggs -down the hills. It would be as novel a sight to some of us as -any found abroad, to see several thousand children rolling and -tossing their eggs, while shells of every hue cover the grass in -all directions.</p> - -<p>The following newspaper item, cut from the <i>Evening -Star</i>, Washington, D. C., April 27, 1886, shows how these -rights of the little Americans are recognized and respected, -and how unmolested they enjoy the privileges of Easter Monday.</p> - -<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p> - - -<div class="blockquot"> - -<p class="center">“THE EASTER EGG-ROLLING.<br /><br /> -<small>“CHILDREN SHAKE HANDS WITH THE PRESIDENT.</small></p> - -<p>“The crowd in the White House grounds greatly increased yesterday -afternoon, so that the grounds were literally packed with children. The -crowd was the largest and best appearing that has collected there in many -years. The President and Colonel Lamont watched the children for some -time from the library window.</p> - -<p>At the President’s reception at half-past one o’clock hundreds of children -gave up their sport temporarily and thronged the East Room to shake -hands with the President.”</p></div> - - -<h3><b>Easter Egg Games.</b></h3> - -<p>In the game they play at Washington, on the hills sloping -from the White House, the child whose egg reaches the foot of -the hill in an unbroken condition takes the one worsted in the -journey down. Another game for two is played by knocking -the eggs together; each child holds an egg firmly in his hand -so that only the small end is visible, and then the two eggs are -struck against each other until one is cracked, when the victorious -player adds it to his stock, or devours it on the spot. I -would not like to state the number of eggs eaten on these -occasions, but there is a boy (<i>not a girl</i>) who once consumed -fourteen and lived to tell the tale.</p> - -<p>Sometimes the egg which breaks another is called “the -cock of one,” and when it has broken two it is “cock of two,” -and so on. When an egg which is cock of one or more is -broken, the number of trophies won by the victim is added to -the score of the conquering egg and it becomes “cock of three” -or more. Here is a game which comes from Germany, and although -in that country it is played exclusively by boys, there is -no reason why the girls should not participate in it as well. Two<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span> -baskets are necessary for this game, one large and shallow filled -with soft shavings, the other shallow also, but smaller, and filled -with eggs. The plan of the game is that one player is to run a -given distance, while another safely throws the eggs from one -basket to the other, she who completes her task first being the -winner. When the baskets are prepared, and the distance the -eggs are to be thrown decided upon, the two contestants draw -lots to determine who shall run and who shall throw. This -settled, the player who throws takes the basket of eggs, and one -after another quickly tosses them the length of the course and -into the basket of shavings, which is placed on the ground at the -end of the course opposite the thrower. In Germany this -basket is held by an assistant, but anyone occupying that position -might receive some severe blows from the hard eggs -thrown by unpractised hands, and it answers the purpose just -as well to place the basket on the ground. Meantime the -other player runs the distance (decided beforehand) to an appointed -goal, marks it as a proof of having touched it, and should -she succeed in returning before all the eggs are thrown, the victory -and prize are her reward; otherwise they belong to the -thrower.</p> - -<p>The game finished, a prize is presented to the successful contestant. -Should any of the eggs pitched by the thrower fail to -light in the basket, they must be gathered up and thrown again -before the runner returns, as the eggs must all be in the basket -before the thrower wins the game.</p> - -<p>“Bunching eggs” comes from Ireland, and is played in very -much the same manner as the game played with a slate and -pencil, and known to all children as “tit, tat, toe, three in a row.” -A pan or large dish filled with sand or sawdust is set upon a -table, around which the children stand, each supplied with eggs; -the eggs of each player must be all of one color, and unlike -those of any other player. The object of the game is for each<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -player to so place her eggs, standing them upright in the sand, -or sawdust, as to bring five in a row touching each other.</p> - -<p>In turn each player puts down an egg, sometimes filling -out a row for herself, at others cutting off the line of an opponent; -and the one who first succeeds in obtaining the desired -row sings out—</p> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">“The raven, chough, and crow,</div> -<div class="verse"><span style="margin-left: 0.5em;">Say five in a row.”</span></div> -</div> -</div> - -<p>Another pretty game from Ireland called “Touch” is played -in the following manner:</p> - -<p>Six eggs of the different colors—green, red, black, blue, -white, and gold are placed in a row in the sand used for the other -game. One of the players is blindfolded and given a light wand -or stick, with which she must touch one of the eggs, while at -the same time she recites these lines:</p> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">Peggy, Patrick, Mike, and Meg,</div> -<div class="verse">See me touch my Easter egg;</div> -<div class="verse">Green, and red, and black, and blue,</div> -<div class="verse">Count for six, five, four, and two.</div> -<div class="verse">If I touch an egg of white,</div> -<div class="verse">A forfeit then will be your right;</div> -<div class="verse">If I touch an egg of gold,</div> -<div class="verse">It is mine to have and hold.</div> -</div> -</div> - -<p>As is told in the rhyme, the eggs each have a different -value. Green counts six; red, five; black, four; and blue, -two; and the gold egg is worth more than all put together, for -when a player touches that, she wins the game and a forfeit of -an egg from each of the other players. The white egg is worth -less than nothing, since it not only has no value but whoever -touches it with the wand must pay a forfeit.</p> - -<p>Each player is in turn blindfolded and makes her trial, keeping -account of the value of the eggs she has touched. When the<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> -sum of twenty has been reached by anyone the game is ended, -without the aid of the gold egg. The position of the eggs are -changed after each trial, that the person about to touch them -may not know where it is best to place her wand.</p> - - -<h3><b>Easter Egg Dolls.</b></h3> - -<p>In some of the large confectionery stores in New York City -may be found at Easter-tide quaint little Easter offerings, looking -at first sight exactly like dolls’ heads surmounted by pretty -little head-dresses. As dolls are not peculiarly appropriate gifts -for Easter, one naturally examines them closer, to ascertain if -there is anything about them significant of the day, and in so -doing quickly discovers that the heads are not made of wax or -china, as was at first supposed, but are simply egg-shells from -which the eggs have been blown, leaving the shell perfect. -Little faces are painted upon these shells, and the cunning caps -or bonnets are made of tissue-paper.</p> - -<p>Now it is our purpose to teach the children who do not live -in New York and have never seen these pretty toys, and also -those who, having seen, cannot afford to purchase them, just how -to make some of these little men and women, and how to fashion -a variety of head-dresses not to be found in the stores.</p> - -<div class="figcenter" style="width: 491px;"> -<img src="images/i_040.jpg" width="491" height="678" alt="patterns" /> -<div class="caption">Patterns for Head-dresses.</div> -</div> - -<p>To begin with, select several nice large eggs, those of a -pinkish yellow are preferable, being something of a flesh-tint. -These eggs should be blown, or the shells emptied of their -contents; to blow them make a small hole in each end of the -shell, and, taking it gently between the thumb and forefinger, -put one hole to the lips; then blow, not too hard, but steadily, -until the egg has all run out of the other end.</p> -<div class="figleft" style="width: 200px;"> -<img src="images/i_041a.jpg" width="200" height="200" alt="egg nun" /> -<div class="caption">The Nun.</div> -</div> -<p>The face must be painted next, and to those who know -nothing of drawing this will seem no easy task, until by carefully -observing the following direction they will find that it is<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a><br /><a name="Page_41" id="Page_41">[41]</a></span> -in the power of anyone to produce as pretty a face as could -be wished for.</p> - - -<p>Among picture-cards, or in almost any juvenile book, may -be found many pretty faces of a suitable size which can be -transferred to the egg in this way. -Lay a piece of tracing-paper over the -head selected, and with a soft lead-pencil -trace carefully all the lines indicating -the features; then place the -paper on the shell so that the pencil-marks -are next to it, and with a hard -pencil, or ivory knitting-needle, go -over the lines again, thus transferring -the soft pencil-marks to the shell. -Touch up and strengthen the features -with a fine paint-brush and india-ink. Anyone understanding -painting may color the face in natural tints, but it looks very -nicely done merely in outline.</p> - -<div class="figright" style="width: 172px;"> -<img src="images/i_041b.jpg" width="172" height="209" alt="egg girl" /> -<div class="caption">The Old-fashioned Girl.</div> -</div> - -<p>The simplest arrangement for holding the little head erect -is a small pasteboard box turned upside down, and having a -hole cut in the bottom just large enough -to admit the small end of the shell; this -will support the head nicely, and also form -the shoulders.</p> - -<div class="figleft" style="width: 152px;"> -<img src="images/i_042.jpg" width="152" height="213" alt="egg gentleman" /> -<div class="caption">The Dude.</div> -</div> - -<p>Make the hair of raw cotton blackened -with ink, and fasten it on the head with -mucilage. When all of the foregoing directions -have been carried out it is time -to attend to the head-dresses, and we will -begin with the quaint and old-fashioned -poke-bonnet. Cut this bonnet from ordinary -brown wrapping-paper after the pattern shown in diagram; -sew together the ends of the “side of crown,” then sew<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> -the curved side (which is cut in slits as shown in pattern, and -folded back as indicated by dotted line) to the smallest part of -brim; fold in the strips marked on the straight “side of -crown” and fasten on the “top of crown” with mucilage. The -trimming for the bonnet consists of a fold and bow of colored -tissue paper.</p> - - -<p>Make the man’s hat of shiny black paper by the pattern in -diagram, and fasten together in the same -manner as the bonnet, rolling the sides of -the brim when finished. Black and white -tissue-paper folded to fit the head, as -shown by the dotted lines in the pattern, -forms the head-dress of the nun.</p> - -<p>By copying the head-dresses of different -nations, an odd and curious assembly -of these Easter-egg dolls can be formed; -but that must be worked out at some -future time, for we have yet to tell how -to construct some Easter toys that cannot be found in any -store. The</p> - - -<h3><b>Humpty Dumpty</b></h3> - -<p class="unindent">who “sat on a wall,” and the “Humpty Dumpty” who “had -a great fall,” must have been like the one I am about to describe, -made of an egg; for it is pretty certain that if he should -fall, “all the king’s horses and all the king’s men couldn’t put” -this “Humpty Dumpty together again” any more than they -could the other.</p> - -<div class="figcenter" style="width: 502px;"> -<img src="images/i_043.jpg" width="502" height="654" alt="diagram" /> -<div class="caption">Diagram of Humpty Dumpty.</div> -</div> - -<p>The diagram shows the frame of this little fellow and how it -is joined together. A large egg should be chosen; and when -the contents have been blown from the shell, four holes must -be pricked in it for the arms and legs to pass through, as shown -in the diagram. These limbs are made of rather fine bonnet-wire,<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a><br /><a name="Page_44" id="Page_44">[44]</a></span> -the piece used for the arms being about eight inches long. -The hand is made by bending up one end of the wire as in diagram, -and with softened beeswax covering the loop thus formed. -When one hand has been finished off in this way, the other end -of the wire, still straight, should be passed through one of the -holes near the small end of the shell and out through the one -opposite, then bent up into -a hand and arm in the -same manner as described.</p> - -<div class="figright" style="width: 298px;"> -<img src="images/i_044.jpg" width="298" height="293" alt="Humpty sitting" /> -<div class="caption">Humpty Dumpty.</div> -</div> - -<p>The wire for the legs -and feet must be ten inches -long. The diagram shows -how it is bent to form the -feet. On this frame, wax -can easily be modelled to -look like a foot; a coating -of red paint will add to the -appearance, as red boots -look well with the costume -to be worn. The wire for -the legs should be bent in -a curve in the middle (see diagram) before it is passed through -the shell. Again, as with the hands, one foot must be finished -and the legs fastened on before the other foot can be made.</p> - -<p>The figure of Humpty Dumpty being thus prepared, his face -must be painted; water-colors are the best for this purpose. -The jollier the expression of his face, the funnier the little man -will look.</p> - -<p>Patterns for trousers, jacket, and hat are shown in the diagrams. -The trousers should be cut from white cotton cloth two -and a half inches long and six inches wide. A slit an inch and -a half long, cut in the middle, separates the legs of the trousers, -which must, of course, be sewed up. Dotted lines at top and<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> -bottom show where a gathering thread should be run, the bottom -gathers forming ruffles around the ankles. White should -also be used for the jacket, cutting it three and a half inches -long and five inches wide. The shape of the jacket may be -seen in the diagram, dotted lines showing where the sleeves are -to be gathered around the wrist. Collar and pockets of red—the -patterns of which are given—finish the little garment. A -white hat four inches around the brim and two inches high is -decorated with a band of red, which should be sewed on the -edge and turned up.</p> - -<p>When dressing Humpty Dumpty, fasten his garments on to -his body here and there with glue, which will hold them securely -in place. The hat also should be glued to his head, as -it is difficult otherwise to keep it on.</p> - - -<h3><b>Miss Rolly-poly.</b></h3> - -<div class="figleft" style="width: 322px;"> -<img src="images/i_045.jpg" width="322" height="317" alt="egg woman" /> -<div class="caption">Miss Rolly-poly.</div> -</div> - -<p>Little Miss Rolly-poly, who decidedly -refuses to lie down, always regaining -an upright posture, no matter -in what position she is placed, is made -in the following manner: After the -contents have been blown from the -shell, the hole of the small end is enlarged -gradually until it is about a -half-inch in diameter; the shell is then -placed in an upright -position (a box with a -hole cut in it just large -enough to hold the egg -firmly makes a good -stand) and melted sealing-wax is poured in; on top of this -melted lead is poured, all the while care being taken to keep<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span></p> - -<p class="unindent">the shell perfectly steady, that the weight may fall exactly in -the centre and make a perfect balance. A small quantity of -lead is sufficient for the purpose, as the shell is so very light.</p> - -<div class="figcenter" style="width: 424px;"> -<img src="images/i_046.jpg" width="424" height="353" alt="diagram" /> -<div class="caption">Diagram of Miss Rolly-poly.</div> -</div> - -<p>Miss Rolly-poly requires no limbs; when her babyish face -is painted she is ready for her costume. The dress is simply -made of a strip of colored cloth, and is two inches long and -seven inches wide. The white apron is fastened to the dress as -shown in the diagram. Sleeves are made of pieces of the dress, -material about one inch long and one and a half inch wide. -They are rolled up and fastened with needle and thread, then -sewed on to the dress in the position shown in the diagram. -Pockets are made for the apron, and the ends of the sleeves -tucked in them, which makes it appear as though the hands -were hidden in the pockets. The cap, made of the same material, -or of a color harmonizing with the dress, is four inches<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span> -round the brim and one inch high; it is sewed together at the -two ends, and gathered into a pompon on top, as is shown by -the dotted lines in the diagram. A little glue should also be -used to fasten this dolly’s dress and cap on.</p> - - -<h3><b>Mandolin.</b></h3> - -<div class="figcenter" style="width: 456px;"> -<img src="images/i_047.jpg" width="456" height="132" alt="spoon-like diagram" /> -</div> -<div class="figright" style="width: 331px;"> -<img src="images/i_047b.jpg" width="331" height="434" alt="mandolin with ribbon" /> -<div class="caption">The Mandolin.</div> -</div> - -<p>A pretty little toy -mandolin is made of the -lengthwise half of an -egg-shell. To separate -the shell in -this way it is -necessary -to pierce -holes -with a needle along -the line where the division -is to be made, -which will cause it to break -evenly; or the egg may be -boiled hard and then cut in -half with a very sharp knife. -Fig. 6 is cut from stiff paper, -and the strings drawn with pen -and ink; then the shell is fastened -to it on the opposite side -by pasting a narrow strip of white tissue paper -over the edges of the shell and frame, joining -them together. The top of the handle -is bent down a little and a narrow ribbon -tied to it. To make the -mandolin still more complete, -paint the handle mahogany -color, with a fine needle stitch -on strings of yellow silk, and paint the egg-shell into pumpkin-like -divisions of yellow and mahogany.</p> - - - -<p><span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span></p> - - -<h3><b>The Owl.</b></h3> - -<div class="figleft" style="width: 92px;"> -<img src="images/i_048a1.jpg" width="92" height="163" alt="diagram" /> -<div class="caption">Wing.</div> -</div> - -<div class="figright" style="width: 154px;"> -<img src="images/i_048a2.jpg" width="154" height="210" alt="diagram" /> -<div class="caption">Diagram of Owl.</div> -</div> - -<p>To turn a hen’s egg into an owl has not before, I imagine, been -thought possible; yet it is easy enough, and requires but a very -short time to accomplish the transformation, when one knows -just how to go to work. No incubator is needed to hatch this -bird, as only the shell is used, the -contents having been disposed of -in the manner before described. -We commence the formation of -the little owl by making two holes -near the large end of the shell in -the position shown in diagram.</p> -<div class="figleft" style="width: 121px;"> -<img src="images/i_048a3.jpg" width="121" height="100" alt="legs and feet diagram" /> -</div> - -<p>By looking at the next diagram -the manner of making the feet and -legs may be seen. A short piece -of wire is bent in the shape given, -and is wrapped on to a longer -wire with strong thread, thus forming -three toes, which are quite -enough for a bird that will never walk. One foot made, the -wire is passed through the shell, having first been bent into a<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span> -curve, as in the description of Humpty Dumpty. When the -last foot has been fastened on, the wire should be pushed back -into the shell, allowing but little of the legs to show. The -wings are cut by the pattern given, and are painted to resemble -feathers as much as possible. Brown is the best color to use. -By the diagram may be seen how the head and body are painted.</p> -<div class="figcenter" style="width: 214px;"> -<img src="images/i_048b.jpg" width="214" height="262" alt="owl on branch" /> -<div class="caption">Owl Complete.</div> -</div> - - -<h3><b>Maple-wax Easter Eggs.</b></h3> - -<p>Empty the egg-shell of its contents and open a place at the -small end the size of a silver dime. Stand it in an upright position -with the largest opening on top, and leave it while you -prepare the maple-wax, or candy. Mix enough water with -some maple sugar to dissolve it, and set on the fire to cook; -when it will harden in cold water it is done. Carefully fill the -egg-shell with the hot maple-wax, and keeping it in an upright -position, set it on the ice to cool. When the wax is perfectly -cold and hard, paste an artificial daisy over the opening in the -shell. Maple-wax is the nicest kind of candy, and done up in -this way will remain firm and hard for a long while; and therefore -these maple-wax eggs make excellent Easter gifts to send -away to one’s friend at a distance. The best way to pack them -is to wrap them in cotton and then put them in a tin baking-powder -box, filling up the interstices with cotton to keep them -from knocking about.</p> - -<p>The box, of course, must be wrapped in paper and tied securely -with a string. Packed like this, they may travel safely -all over the United States. The writer sent several the distance -of over seven hundred miles, and they arrived at their destination -in as perfect condition as when they left her hands.</p> - - -<h3><b>Bonbon Box.</b></h3> - -<p>Select a box two or three inches high—a round one is best—which -has a lid that covers the entire box. Cut some straw<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span> -or hay in pieces long enough to reach from the top to the edge, -and glue it on the sides of the lid, covering them completely. -Prepare as many halves of egg-shells as will cover the top, allowing -a space one inch wide around the edge. Glue the shells -down, and fill up the spaces between with straw. Near the -edge, on the opposite sides, glue a loop of narrow white ribbon; -these loops are to lift it with. Then glue straw on all the -uncovered parts of the lid, making it a little thicker and higher -at the edges. When the box is finished it resembles a nest of -eggs, and makes an appropriate and acceptable Easter gift.</p> - - -<h3><b>Easter Cards.</b></h3> - - -<div class="figleft" style="width: 208px;"> -<img src="images/i_050.jpg" width="208" height="292" alt="Easter card" /> -</div> -<p>It is a very pretty custom, that of sending Easter cards, -altogether too pretty to be allowed to lapse into disuse, as many -customs which are merely the expression -of sentiment are apt to do -in this busy, practical country of -ours. One experiences a great deal -of pleasure in selecting from the -stock of beautiful cards found in the -stores just before Easter those that -seem suitable for one’s friends, but -more pleasure will be derived from -home-made Easter cards, both to -the sender and recipient; for it is -true that into everything we make -we put a part of ourselves, and into -many a home-made article is woven -loving thoughts which make the gift priceless, although the materials -of which it is composed may have cost little or nothing.</p> - -<p>Several years ago the writer was visiting a friend in the -country twenty miles from the nearest town where Easter cards<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> -could be purchased, but when Easter approached we sent off -our cards, just the same, and I am sure our friends were as -pleased with them, and more pleased, than if they had been of -the most expensive kind. This is how we made them:</p> - -<div class="figcenter" style="width: 460px;"> -<img src="images/i_051.jpg" width="460" height="325" alt="diagram" /> -<div class="caption">Pattern for the Chicken.</div> -</div> - -<p>It was an early spring, and the woods were filled with wild-flowers, -anemones and violets mostly; these we gathered, and -arranging them in small bunches, stuck the stems through little -slits cut in cards or pieces of heavy paper, as they are sometimes -fastened in books when pressed. Underneath the bouquet -we wrote the name of the person for whom it was intended, -with some friendly message appropriate to the season, and -signed our own names; then we carefully folded each in writing -paper, taking pains not to crumple the flowers, and enclosing -them in envelopes, sent them to their destination through -the mail. Any kind of flowers can be used for these Easter -cards, and instead of putting the stems through slits in the<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> -card, they may be tied to them with narrow ribbon. A card -to be sent only a short distance should be put in a box just -deep enough to leave room for the flowers, and fastened in -some way to keep it from moving about; in this way it will -reach its destination sweet and fresh.</p> - -<p>To those who can paint their Easter cards we have no suggestions -to offer, for they have an unlimited supply of designs at their -command, and with their power of decoration, may turn almost -anything into an Easter card, from a piece of satin ribbon, upon -which they sketchily paint a spray of flowers, to an elaborate -picture. A few suggestions are here given which our younger -readers may like to carry out, as the cards we describe are -easily made, and adapted to amuse the children.</p> - -<p>“Stepping through the White House” the first card is called, -and it represents a little chicken breaking through its shell. -The pattern of the chicken is given in the diagrams. Fig. 7, the -head and neck, is cut from yellow -flannel; Figs. 8, 9, and 10, the main -part and fragments of shell, are of -white paper, and Fig. 11, the feet, of -black paper. These are pasted to a -tinted card, as shown in illustration. -The eye and bill are made black -with ink or paint.</p> - - -<h3><b>Little Quakeress.</b></h3> - -<div class="figright" style="width: 210px;"> -<img src="images/i_052.jpg" width="210" height="281" alt="Quaker egg" /> -<div class="caption">The Little Quakeress.</div> -</div> - -<p>Half an egg-shell, with the face -and hair painted on it, forms the -head. The cap is made of white -tissue paper cut in four strips; one, for the crown, is six and a -half inches long, and a little over one and a half wide; another, -for the brim, is four and a half inches long and one inch wide;<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> -while the strings are each three and a half inches long, and one -and a half wide. The crown is plaited in the centre, the brim -folded lengthwise through the middle, and sewed to the crown. -The strings are fastened on either side of the cap, and crossed -in front; then the cap is pasted on the head, the surplus paper -folded back, and the whole glued on a card. The ends of the -strings are also fastened to the card, forming a Quaker kerchief.</p> - -<div class="figcenter" style="width: 486px;"> -<img src="images/i_053.jpg" width="486" height="128" alt="basket of eggs" /> -</div> -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p> - -<div class="figcenter" style="width: 600px;"> -<img src="images/i_054.jpg" width="600" height="434" alt="girls playing tennis" /> -<div class="caption">Lawn-Tennis with Our Own Net.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span></p> - - - - -<h2>CHAPTER V.<br /> - -<small>HOW TO MAKE A LAWN-TENNIS NET.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_055.jpg" width="197" height="182" alt="L" /> -</div> - -<p class="drop-capi2">LET us see; it was that old medical gentleman, -Galen the Greek, who first -wrote upon tennis, speaking of the -sport as healthy exercise, was it not? -Well, girls, it really does not matter -much to us whether he was the first -to write it up and the Greeks the -first to play it, or whether the game -originated in France in the fifteenth -century, as some claim. What <i>we</i> want to know is, can we -all learn to play tennis? Does it cost much? What kind of -gowns and shoes must we wear? And is it an enjoyable game?</p> - -<p>There is no doubt, we think, of its being a right royal -pastime, as it has been called both the “king of games” and -the “game of kings;” the latter because it was enjoyed by -princes and nobles—so much enjoyed, that in both England and -France edicts were published forbidding the common people to -play it.</p> - -<p>Girls, do you wonder if they always had the choice of courts, -and so never took part in the fun of spinning the racket in the -air while the adversary called out “rough” or “smooth;” or -whether they played as we do, taking their defeats pleasantly -and wearing their honors gracefully, while always doing their -very best?</p> - -<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p> - -<p>They must have played well, for it is said that Louis XI., -Henry II., and Charles IX., were experts, and that Henry VIII. -of England was extremely fond of the sport.</p> - -<p>We can easily learn to play this most popular and exhilarating -of games. But we must be suitably clothed in order to -thoroughly enjoy it and receive all the benefit the recreation -brings to both mind and body.</p> - -<p>Flannel seems to be the best material for a tennis suit—it is -so soft and yielding, and so well adapted for a defence against -either cold or heat. -Then, make your -tennis gown of flannel; -the skirt in -plaits, without drapery; -the postilion -basque of Jersey -cloth, soft and elastic, -matching the -skirt in color.</p> - -<p>Sew the skirt of -your gown on a -sleeveless waist, -made of lining or -muslin. The Jersey -will fit nicely over -this, and you can play better and feel far more comfortable -than when the weight is allowed to drag on the hips. For it -is nonsense to attempt to take part in any athletic game unless -you can have perfect freedom of action; in short, you should -be so dressed as to be utterly unconscious of your clothing.</p> - -<div class="figcenter" style="width: 341px;"> -<img src="images/i_056.jpg" width="341" height="289" alt="two birds on net" /> -<div class="caption">An Old Game.</div> -</div> - -<p>Either crochet a Tam O’Shanter hat or make one of the -dress material, as these are not so apt to fall off while running as -a straw hat. “Last, but not least,” come the shoes. Of course,<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span> -rubber-soled shoes are the best. But if these are not to be had, -remove the heels from an old pair of ordinary shoes, and they -will do very well; heels roughen and cut the courts.</p> - -<p>The actual cost of a lawn-tennis set need only be the price -of the rackets and balls, and rope and cord necessary when -you learn</p> - - -<h3><b>How to Make a Lawn-Tennis Net,</b></h3> - -<p class="unindent">which is not difficult.</p> -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 237px;"> -<img src="images/i_057a.jpg" width="237" height="36" alt="diagram" /> -<div class="caption">Stake.</div> -</div> -</td> -<td align="left"><div class="figright" style="width: 166px;"> -<img src="images/i_057b.jpg" width="166" height="41" alt="diagram" /> -<div class="caption">Peg.</div> -</div> -</td> -</tr> -</table> -</div> -<p>First procure two pieces of cotton rope, three-sixteenths of -an inch in size, each thirty-four feet long, costing about twenty-five -cents apiece. Then one and a half pound of hammock -twine or macrimé cord, No. 24, which will not cost more than -fifty cents. Next, two lengths of cotton rope for guy-ropes, -each five feet, price, both included, ten cents; making the total -amount $1.10 for a strong, firm, tennis -net which will prove serviceable and -last many a season.</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr><td align="left"><div class="figcenter" style="width: 184px;"> -<img src="images/i_057c.jpg" width="184" height="73" alt="diagram" /> -<div class="caption">Runner.</div> -</div></td><td align="left" rowspan="2" valign="middle"><div class="figcenter" style="width: 192px;"> -<img src="images/i_057e.jpg" width="192" height="56" alt="diagram" /> -<div class="caption">The Fid.</div> -</div></td></tr> -<tr><td align="left"><div class="figcenter" style="width: 163px;"> -<img src="images/i_057d.jpg" width="163" height="73" alt="diagram" /> -<div class="caption">Runner and Guy-rope.</div> -</div></td></tr> -</table></div> - -<p>The other -materials necessary are all home-made. -These consist -of two stakes, each five feet long (Fig. -12). Any kind of a strong pole, when -sharpened at one end and a notch cut -at the other, will answer the purpose. Four pegs, each one foot -long (Fig. 13). These may be easily made of old broomsticks. -Four runners (Fig. 14), each five inches long, one and a quarter -wide, and about half an inch thick, with holes bored near each<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> -end large enough to allow the guy-rope (Fig. 15) to pass -through. A fid or mesh-stick of any kind of wood (Fig. 16), -about a foot or ten inches long, with circumference measuring -three inches. A hammock-needle (Fig. 17), nine or ten inches -long and one wide, which may be bought for ten cents, or -whittled out of a piece of ash or hickory by some kind -brother. Tassels are not necessary, though -it is much better to have them, as they make -the top line of the net more distinct and add -to its appearance. Make about forty bright-colored -tassels of worsted, or bits of flannel -cut in very narrow strips, three inches long, allowing ten or -twelve strips to each tassel. Commence your tennis net by -first threading the needle; take it in the left hand, and use the -thumb to hold the end of the cord in place while looping it -over the tongue (see Fig. 18); pass the cord down under the -needle to the opposite side, and catch it over the tongue. Repeat -this until the needle is full.</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 50px;"> -<img src="images/i_058a.jpg" width="50" height="377" alt="diagram" /> -<div class="caption">Hammock-needle.</div> -</div> -</td> -<td align="left"><div class="figcenter" style="width: 121px;"> -<img src="images/i_058b.jpg" width="121" height="263" alt="diagram" /> -</div> -</td> -<td align="left"><div class="figcenter" style="width: 91px;"> -<img src="images/i_058c.jpg" width="91" height="229" alt="diagram" /> -</div> -</td> -<td align="left"><div class="figcenter" style="width: 94px;"> -<img src="images/i_058d.jpg" width="94" height="371" alt="diagram" /> -<div class="caption">Needle -Threaded</div> -</div> -</td> -</tr> -</table> -</div> - - - - - - - - -<div class="figcenter" style="width: 600px;"> -<img src="images/i_059.jpg" width="600" height="297" alt="diagram" /> -<div class="caption">Knots.</div> -</div> - -<p>Next, take a piece of rope thirty-four feet long, and make a<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span> -long loop in one end, tying the knot so that it can readily be -untied again. Throw -the loop over some -convenient hook or -door-knob (Fig. 19) -with the knot at the -knob or hook. Tie -the cord on the needle -to the loop, place the -fid or mesh-stick under -the cord close to -the loop (Fig. 20), -with the thumb on the -cord to hold it in place -(Fig. 25), while you -pass the needle around -the mesh-stick, and, -with its point toward -you, pass it through -the loop from the top, -bringing it over the -mesh-stick. This will -make the first half of -the knot (Fig. 21). -Pull this tight, holding -it in place with the -thumb while you -throw the cord over -your hand, which -forms the loop as seen -in Fig. 22. Then pass -the needle from under -through the loop, pulling it tight to fasten the knot. Hold it<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> -in place with the thumb, and repeat these movements for the -next knot. Fig. 23 shows a number of these knots finished. -A in Fig. 23 is a knot before it is drawn tight; B in Figs. 21, -22, 23 is the string that runs to the needle, C is the rope, and -D is the mesh-stick. About two hundred and sixty-four of -these knots or meshes will make the -net the regular length, thirty-three -feet.</p> - -<div class="figleft" style="width: 213px;"> -<img src="images/i_060.jpg" width="213" height="369" alt="diagrams" /> -</div> - -<p>In knitting across, the meshes will -accumulate on the fid; shove them -off to the left, a few at a time, to -make space for others. When the -desired number of meshes are finished -to form the first row, shove them all -off the fid, as shown in Fig. 24.</p> - -<p>Begin the next row by again placing -the fid under the cord (Fig. 24). -Take up the first mesh, drawing it -close to the mesh-stick, hold it in -place with the thumb while throwing -the cord over your hand, pass the needle -on the left-hand side of the mesh -from under through the loop (Fig. 25); -pull this tight, and you will have tied the common knitting-knot. -Repeat this with all the loops until the row is finished.</p> -<div class="figright" style="width: 226px;"> -<img src="images/i_061a.jpg" width="226" height="257" alt="diagrams" /> -</div> -<p>When it becomes necessary to thread or fill the needle, tie -the ends of the cord with the knot shown in Fig. 26, which, when -properly tightened, cannot slip. Wrap each end of the cord -from the knot securely to the main cord with strong thread, to -give the net a neat appearance.</p> - -<p>Continue netting until the net is three feet wide. Then untie -the rope, and spread the net by sliding the knots apart, and -fasten the second rope to the bottom of the net by tying the rope<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> -securely to the first mesh with the cord on the needle; then -carry the rope and cord to the next mesh, hold the rope, cord, -and mesh firmly in place, and throw the cord over your hand, -passing the needle down through the mesh under the rope and -cord out through the loop (Fig. -27). Pull this tight, and continue -in like manner, knitting each successive -mesh to the rope until the -net is all fastened on. Turn back -the end of the rope and -wrap it down neatly -with strong string -(Fig. 28). In the same way secure -the other end, and also the ends of -the first or top rope.</p> - - - -<div class="figleft" style="width: 81px;"> -<img src="images/i_061b.jpg" width="81" height="32" alt="knot" /> -<div class="caption">Fig. 26.</div> -</div> - -<p>This completes the lawn-tennis -net proper. The bright tassels can now be tied at intervals -along the top of the net, and four pieces of twine fastened on -each end of the net at equal distances apart. These are for -tying the net to the poles (Fig. 29).</p> - -<div class="figcenter" style="width: 504px;"> -<img src="images/i_061c.jpg" width="504" height="141" alt="Fig. 17 Fig. 18" /> -</div> - -<div class="figleft" style="width: 150px;"> -<img src="images/i_062b.jpg" width="150" height="250" alt="diagram" /> -</div> - -<p>To erect the lawn-tennis net, plant the two poles firmly -in the ground a little over thirty-three feet apart, tie the net to -the poles, then drive in the pegs, two to each pole, about five -feet from the pole (Fig. 30); slide a runner on each end of the -two guy-ropes by first threading the rope through one of the -holes in the runner, then pass the rope over the side down<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span> -through the other hole and fasten it with a -knot (Fig. 15). Next tie around the notch -in the top of the poles the guy-ropes, with -runners attached, and slip each loop made -by the runner over each peg (Fig. 31), allowing -the rope to fall in the groove A near -the top of the peg; tighten the rope by -pushing up the runners. The stakes are -thus held in position by ropes running out to -the pegs in the ground (Fig. 30).</p> - -<div class="figcenter" style="width: 600px;"> -<img src="images/i_062a.jpg" width="600" height="115" alt="drawing" /> -<div class="caption">Fig. 30.—The Home-Made Net.</div> -</div> - -<p>Now we understand how to make and -erect a lawn-tennis net; -but what shall we do -about the court? Of -course, that must be all -ready before we can set -up the net. We must -now learn how to lay -out a</p> - - -<h3><b>Lawn-Tennis Court.</b></h3> - -<p>The best ground for -this is turf, though it may be of asphalt, or -earth mixed with fine gravel; sometimes -wood is used.</p> - -<p>The diagram on <a href="#Page_64">page 64</a> (Fig. 32) shows -the construction of a lawn-tennis court for -two, three, or four-handed games.</p> - -<p>Lay out the court with a hundred-foot -measuring-tape, by marking the lines with -whitewash, chalk, paint, or plaster-of-Paris.</p> - -<div class="figright" style="width: 138px;"> -<img src="images/i_063.jpg" width="138" height="134" alt="fig. 31" /> -</div> - -<p>First the side line, seventy-eight feet,<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span> -AB. This gives you one side of your court. Then the base -line, thirty-six feet, AC, which, with their parallel lines CD and -DB, form the boundaries of a court for four-handed -games. Now lay off the side lines -of the single court, EG and FH, which are -parallel to the others and four and a half feet -inside of them. Divide the court across the -centre by the net, fastened to the poles O and -P. The lines EF and GH are called base -lines. Twenty-one feet from the net, mark the service lines, -MN and TV. Then make the central longitudinal line, IJ, and -the court is complete.</p> - -<p>Now everything is prepared for the game. Hold your racket -firmly, and try to keep the ball flying over the net, back and -forth, as often as possible.</p> - -<p>For the guidance of those who have had no opportunity of -learning to play lawn-tennis the following rules are given, as -adopted by the United States National Lawn-Tennis Association.</p> - -<p>First, however, we would say that it is not necessary always -to have an umpire or a referee, as spoken of in the</p> - - -<h3><b>Rules for Lawn-Tennis.</b></h3> - -<h4>THE GAME.</h4> - -<p>1. The choice of sides, and the right to serve in the first -game, shall be decided by toss; provided that, if the winner of -the toss choose the right to serve, the other player shall have -choice of sides, and <i>vice versa</i>. If one player choose the court, -the other may elect not to serve.</p> - -<p>2. The players shall stand on opposite sides of the net; the -player who first delivers the ball shall be called the <i>server</i>, and -the other the <i>striker-out</i>.</p> - -<p><span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span></p> - -<div class="figcenter" style="width: 359px;"> -<img src="images/i_064.jpg" width="359" height="693" alt="Fig. 32" /> -<div class="caption">LAWN-TENNIS COURT.</div> -</div> - -<p><span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span></p> - -<p>3. At the end of the first game the striker-out shall become -server, and the server shall become striker-out; and so on, alternately, -in all the subsequent games of the set, or series of -sets.</p> - -<p>4. The server shall serve with one foot on the base line, and -with the other foot behind that line, but not necessarily upon -the ground. He shall deliver the service from the right to the -left courts alternately, beginning from the right.</p> - -<p>5. The ball served must drop between the service line, half-court -line, and side line of the court, diagonally opposite to -that from which it was served.</p> - -<p>6. It is a <i>fault</i> if the server fail to strike the ball, or if the -ball served drop in the net, or beyond the service line, or out of -court, or in the wrong court; or if the server do not stand as -directed by law 4.</p> - -<p>7. A ball falling on a line is regarded as falling in the court -bounded by that line.</p> - -<p>8. A fault cannot be taken.</p> - -<p>9. After a fault the server shall serve again from the same -court from which he served that fault, unless it was a fault because -he served from the wrong court.</p> - -<p>10. A fault cannot be claimed after the next service is delivered.</p> - -<p>11. The server shall not serve till the striker-out is ready. -If the latter attempt to return the service he shall be deemed -ready.</p> - -<p>12. A service or fault, delivered when the striker-out is not -ready counts for nothing.</p> - -<p>13. The service shall not be <i>volleyed</i>, <i>i.e.</i>, taken, before it -has touched the ground.</p> - -<p>14. A ball is in play on leaving the server’s racket, except -as provided for in law 6.</p> - -<p>15. It is a good return, although the ball touch the net; but<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> -a service, otherwise good, which touches the net, shall count for -nothing.</p> - -<p>16. The server wins a stroke if the striker-out volley the service, -or if he fail to return the service or the ball in play; or if -he return the service or the ball in play so that it drops outside -of his opponent’s court; or if he otherwise lose a stroke, -as provided by law 18.</p> - -<p>17. The striker-out wins a stroke if the server serve two -consecutive faults; or if he fail to return the ball in play; or -if he return the ball in play so that it drops outside of his opponent’s -court; or if he otherwise lose a stroke as provided by -law 18.</p> - -<p>18. Either player loses a stroke if he return the service or -the ball in play so that it touches a post of the net; or if the -ball touch him or anything that he wears or carries, except -his racket in the act of striking; or if he touch the ball with his -racket more than once; or if he touch the net or any of its supports -while the ball is in play; or if he volley the ball before it -has passed the net.</p> - -<p>19. In case any player is obstructed by any accident, the -ball shall be considered a <i>let</i>.</p> - -<p>20. On either player winning his first stroke, the score is -called 15 for that player; on either player winning his second -stroke, the score is called 30 for that player; on either player -winning his third stroke, the score is called 40 for that player; -and the fourth stroke won by either player is scored game for -that player, except as below: If both players have won three -strokes, the score is called <i>deuce</i>; and the next stroke won by -either player is scored <i>advantage</i> for that player. If the same -player wins the next stroke, he wins the game; if he loses the -next stroke the score returns to deuce; and so on, until one -player wins the two strokes immediately following the score of -deuce, when game is scored for that player.</p> - -<p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p> - -<p>21. The player who first wins six games wins the set; except -as follows: If both players win five games, the score is -called <i>games all</i>; and the next game won by either player is -scored <i>advantage game</i> for that player. If the same player wins -the next game, he wins the set; if he loses the next game, the -score returns to games all; and so on, until either player wins -the two games immediately following the score of games all, -when he wins the set. But individual clubs, at their own tournaments, -may modify this rule at their discretion.</p> - -<p>22. The players shall change sides at the end of every set; -but the umpire, on appeal from either player, before the toss for -choice, may direct the players to change sides at the end of -every game of each set, if, in his opinion, either side have a distinct -advantage, owing to the sun, wind, or any other accidental -cause; but if the appeal be made after the toss for choice, the -umpire can only direct the players to change sides at the end of -every game of the odd or deciding set.</p> - -<p>23. When a series of sets is played, the player who served in -the last game of one set shall be striker-out in the first game of -the next.</p> - -<p>24. The referee shall call the game after an interval of five -minutes between sets, if either player so order.</p> - -<p>25. The above laws shall apply to the three-handed and -four-handed games, except as below:</p> - -<p>26. In the three-handed game, the single player shall serve -in every alternate game.</p> - -<p>27. In the four-handed game, the pair who have the right to -serve in the first game shall decide which partner shall do so; -and the opposing pair shall decide in like manner for the second -game. The partner of the player who served in the first game -shall serve in the third, and the partner of the player who served -in the second game shall serve in the fourth; and the same order -shall be maintained in all the subsequent games of the set.</p> - -<p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p> - -<p>28. At the beginning of the next set, either partner of the -pair which struck out in the last game of the last set may serve, -and the same privilege is given to their opponents in the second -game of the new set.</p> - -<p>29. The players shall take the service alternately throughout -the game; a player cannot receive a service delivered to his -partner; and the order of service and striking out once established -shall not be altered, nor shall the striker-out change -courts to receive the service, till the end of the set.</p> - -<p>30. It is a fault if the ball served does not drop between the -service line, half-court line, and service side line of the court, -diagonally opposite to that from which it was served.</p> - -<p>31. In matches, the decision of the umpire shall be final. -Should there be two umpires, they shall divide the court between -them, and the decision of each shall be final in his share -of the court.</p> - - -<h4>ODDS.</h4> - -<p>A <i>bisque</i> is one point which can be taken by the receiver of -the odds at any time in the set except as follows:</p> - -<p>(<i>a</i>) A bisque cannot be taken after a service is delivered.</p> - -<p>(<i>b</i>) The server may not take a bisque after a fault, but the -striker-out may do so.</p> - -<p>One or more bisques may be given to increase or diminish -other odds.</p> - -<p><i>Half fifteen</i> is one stroke given at the beginning of the -second, fourth, and every subsequent alternate game of a set.</p> - -<p><i>Fifteen</i> is one stroke given at the beginning of every game -of a set.</p> - -<p><i>Half thirty</i> is one stroke given at the beginning of the -first game, two strokes given at the beginning of the second -game; and so on, alternately, in all the subsequent games of -the set.</p> - -<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span></p> - -<p><i>Thirty</i> is two strokes given at the beginning of every game -of a set.</p> - -<p><i>Half forty</i> is two strokes given at the beginning of the -first game, three strokes given at the beginning of the second -game; and so on, alternately, in all the subsequent games of -the set.</p> - -<p><i>Forty</i> is three strokes given at the beginning of every game -of a set.</p> - -<p><i>Half court:</i> The players may agree into which half court, -right or left, the giver of the odds shall play; and the latter -loses a stroke if the ball returned by him drops outside any of -the lines which bound that half court.</p> - - -<h4>THE BALLS.</h4> - -<p>The balls shall measure not less than 2-15/32 inches, nor more -than 2½ inches in diameter; and shall weigh not less than 1-15/16 -oz., nor more than 2 oz.</p> - -<div class="figcenter" style="width: 477px;"> -<img src="images/i_069.jpg" width="477" height="135" alt="one cherub pulling another one seated on a tennis racket" /> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span></p> - -<div class="figcenter" style="width: 505px;"> -<img src="images/i_070.jpg" width="505" height="715" alt="drawing of children dancing round May pole" /> -<div class="caption">The May-Pole Dance.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span></p> - - - - -<h2>CHAPTER VI.<br /> - -<small>MAY-DAY.</small></h2> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">Ho! the merrie first of Maie</div> -<div class="verse">Bryngs the daunce and blossoms gaie,</div> -<div class="verse">To make of lyfe a holiday.</div> -</div> -</div> - - -<div> - <img class="drop-cap" src="images/i_071.jpg" width="190" height="247" alt="I" /> -</div> - -<p class="drop-capi2">IN the merry heart of youth the old song -still finds an echo, and this day, with -its relics of pagan customs, celebrating, -in the advent of spring, nature’s -renewed fertility, is a festival full of -fun for the children.</p> - -<p>Some of the ceremonies of May-day, -handed down from generation to -generation, were brought to America -in old colonial days by the English, -but owing, perhaps, to the stern puritanical -training of most of the early -settlers, the customs did not thrive here as in the mother country, -and many of them have died out altogether.</p> - -<p>May-day is one of the many holidays still celebrated, that -originated among the pagans ages ago, and it is said that the -practice of choosing a May-queen and crowning her with flowers -is a remnant of the ceremonies in honor of Flora, the goddess -of flowers, which were held in Rome the last four days of April -and the first of May.</p> - -<p>There was, at one time, a very pretty custom observed in<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> -Merrie England of fastening bunches of flowering shrubs and -branches of sycamore and hawthorn upon the doors of those -neighbors whose good lives and kindly habits were thus recognized -by their friends.</p> - -<p>The maids and matrons of England formerly had a way of -their own of observing the day. On the first of May they would -all go trooping out with the earliest rays of the morning sun, -to bathe their faces in the magic dew, which glistened upon the -grass once a year only, and was supposed to render the features -moistened with it beautiful for the next twelve months.</p> - -<p>When the writer was a wee little girl there lived next door -to her home two old maiden ladies, who always kept a bottle -of May-dew among their treasures. Although the ladies in -question had long since passed that period when maidens are -supposed to be lovely, superstitious persons might have found -confirmation of a belief in the power of the dew, when they -looked upon the sweet and kindly faces of these old maids. -Faith in the fabled efficacy of May-dew will probably lose its -last adherents when the two old ladies, very aged now, leave -this world; but other pretty customs, from which all the superstitious -elements seem to have departed, should not be allowed -to die out, and we intend this chapter on May-day sports as a -reminder that May-day is a holiday and should be fittingly celebrated -by the older girls as well as the little children, who, in -these times, seem to be the only ones to remember the day.</p> - - -<h3><b>May-day Sports.</b></h3> - -<p>A May-day custom, and a very pretty one, still survives -among the children in our New England States. It is that of -hanging upon the door-knobs of friends and neighbors pretty -spring-offerings in the shape of small baskets filled with flowers, -wild ones, if they can be obtained; if not, the window-gardens<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span> -at home are heavily taxed to supply the deficiency. When the -dusky twilight approaches, it is time for the merry bands of -young folks to start out on this lovely errand of going from -house to house, leaving behind them the evidence of their flying -visit in these sweetest of -May-offerings. Silently approaching -a door, they hang -a May-basket upon the knob -and, with a loud rap, or ring -of the bell, scamper off, and -flee as though for life.</p> - -<div class="figleft" style="width: 155px;"> -<img src="images/i_073b.jpg" width="155" height="225" alt="diagram of three sticks" /> -<div class="caption">Fig. 33.</div> -</div> - -<div class="figright" style="width: 277px;"> -<img src="images/i_073.jpg" width="277" height="492" alt="drawing" /> -<div class="caption">The Straw Basket</div> -</div> - -<p>These little Mayers are -sometimes pursued, but few -are ever caught, for the recipients -of the baskets know -that to capture a child, carry -her into the house and treat her to sweetmeats, usually dear to -the youthful palate, will not compensate the little prisoner for -being held captive and thereby missing the fun going on among -the other children.</p> - -<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p> - - -<h3><b>How to Make May-baskets.</b></h3> - -<p>The dainty little baskets which are used by the Mayers are -generally of home manufacture. They are made of almost any -material, and in a variety of shapes. Some, constructed of card-board, -are covered with crimped tissue-paper, or with gilt, -silver, or colored paper. They are never large unless flowers -are plentiful, and even in that case a small basket is prettier.</p> - -<p>Our first illustration represents a May-basket made of straws. -Fig. 33 shows the frame of this basket, for which three straws -seven inches long are required; these are sewed together, two -and one-half inches from the bottom, forming a tripod. For -the sides eighteen straws are necessary, six on each side, of -graduating lengths; the three top straws being five inches long -and the lowest ones three and one-half inches. These are sewed -to the frame, log-cabin fashion, one upon another.</p> - -<p>The bottom of the basket is made of a three-cornered piece -of card-board cut to fit; three straws, two and one-half inches -long, hold the base of the frame in position. A handle formed -of three ribbons finishes off this May-basket very prettily; a -ribbon is tied to each corner of the basket; the other ends -meeting form a bow, as shown in the illustration.</p> - -<div class="figcenter" style="width: 472px;"> -<img src="images/i_075.jpg" width="472" height="458" alt="Fig 34. " /> -<div class="caption">The Birch-bark Basket.</div> -</div> - -<h3><b>Birch-bark Baskets</b></h3> - -<p class="unindent">are quite appropriate for wild flowers, and one in the shape of a -canoe can be made from a strip of bark six and one-half inches -long and four inches wide. Fig. 34 gives the pattern of this -basket. The dotted lines show where the ends are to be sewed -together; a ribbon sewed to each end of the canoe serves for a -handle.</p> - - -<h3><b>Card-board Baskets,</b></h3> - -<p class="unindent">cut after the pattern Fig. 35, can be covered with gilt, silver, or -crimped tissue-paper as desired; paper lace or fringe is sometimes<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span> -placed around the edges of baskets of this kind, as a -border to rest the flowers upon. The card-board basket shown -in illustration is joined together by button-hole stitching of colored-silk -floss; slits are cut in two sides and a ribbon slipped -through, the ends of which are tied in bow-knots to hold them -in place.</p> - - - -<h3><b>May-day Combat.</b></h3> - -<div class="figleft" style="width: 298px;"> -<img src="images/i_076a.jpg" width="298" height="414" alt="drawing" /> -<div class="caption">The Card-board Basket.</div> -</div> -<p>This game, although suggested by the ceremonies which, according -to Waldron, usher in the month of May in the Isle of<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span> -Man, is entirely new and bids fair to become popular, as it combines -the elements of beauty, sentiment and mirth.</p> - -<p>A number of young people separate into two parties, each -having its queen; one the Queen of May, the other Queen of -Winter. The May-queen and her attendants should be decked -with flowers, Winter and her retinue being without decoration. -Equipped with the appropriate -implements of -warfare between the two -seasons, namely, a wreath -of flowers for spring and a -ball of raw cotton, or wool, -representing snow, for winter, -the contending forces -draw up in opposing lines, -the space between being -about twelve feet. Each -line is headed by its respective -queen, who holds -her missile in her hand.</p> - - -<div class="figright" style="width: 162px;"> -<img src="images/i_076.jpg" width="162" height="98" alt="diagram" /> -<div class="caption">Fig. 35.</div> -</div> - -<p>The game is commenced by the two queens simultaneously -tossing the wreath and ball to someone in the opposite line, -whose name is called as the missile is thrown. Should the person -to whom it is thrown fail to catch it, she is made prisoner -and must do battle on the other side, being released only when -she succeeds in catching the missile belonging to her own party.</p> - -<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p> - -<p>When the wreath and ball are caught, they are instantly -tossed back to the opposite rank, and so the game goes on. -Hostilities must cease when prisoners are being taken or released, -to be recommenced when both sides announce themselves ready.</p> - -<p>If either queen is captured she is ransomed by the return of -all the prisoners taken on her side; should she have no prisoners -to release, the game is ended.</p> - -<p>If the May-queen and her forces are defeated, they must -strip off their floral decorations and give them to the victors, -who, decked in these trophies, become the representatives of -Spring, and the Queen of Winter is made Queen of May and is -crowned by her vanquished and dethroned opponent. The former -May-queen and her retinue, after offering their congratulations, -must serve as attendants on the triumphant queen and do -her bidding.</p> - -<p>When the May-queen proves victorious the programme is -reversed, and Winter and her party become the subjects of May.</p> - - -<h3><b>The May-pole.</b></h3> - -<p>An old writer, speaking of the May-games held in England, -says, “Their cheefest jewell is their Maie-poole,” and to leave -the May-pole out of our list of May-sports would indeed deprive -the day of one of its most important and prettiest features. The -appropriate place for the May-pole is, of course, out of doors; -yet the climate in most of our Northern States is so changeable -and uncertain it may be found necessary for comfort to hold the -festivities in the house, and in that case the following directions -for erecting the pole in a room of moderate dimensions will be -found useful.</p> - - -<h3><b>How to Erect a May-pole in the House.</b></h3> - -<p>A May-pole from ten to twelve feet high is as tall as the -ceilings of most rooms will admit.</p> - -<p><span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span></p> - -<p>The pole should be round, smooth, and about five inches in -diameter at the base, growing gradually smaller toward the -top.</p> - -<div class="figcenter" style="width: 285px;"> -<img src="images/i_078.jpg" width="285" height="136" alt="diagram" /> -<div class="caption">Fig. 36.</div> -</div> - - -<div class="figright" style="width: 285px;"> -<img src="images/i_079.jpg" width="285" height="401" alt="diagram" /> -<div class="caption">Fig. 37.</div> -</div> - -<p>For its support a wooden box is necessary, the average size -being three feet long, two feet wide, and one foot high. Remove -the top of the box, -and directly in the centre -of it cut a hole large enough -to admit the pole. Take -two sticks, two inches wide, -and long enough to fit -lengthwise in the box, and -two shorter ones fitting the -box crosswise, and nail them securely in the position shown in -Fig. 36, driving the nails from the outside of the box. Slip the -pole through the hole which has been cut in the top, and then -stand it in an upright position between the four sticks in the -centre of the box (Fig. 37). Be sure that the pole stands perfectly -straight; then, before nailing down the top, fill the box -with sand, bricks, or stones, packing them tightly around the -pole; this will give sufficient weight to prevent its tipping. -Nail the top on, and cover the box with moss or green cloth, -and bank it up with flowers.</p> - - -<h3><b>How to Dress a May-pole.</b></h3> - -<p>In olden times the May-poles were painted in alternate -stripes of yellow and black, but a white pole is prettier and -shows the decorations to better advantage. Tack the ends of -eight or ten variously colored ribbons, one and one-half inch -wide, around the pole near the top. For a pole ten feet high -the ribbons should be four yards long. Around where the -ribbons are fastened on, suspend a wreath of flowers, as shown<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span> -in Fig. 38. Decorate the extreme tip of the pole with gaily -colored streamers, or small flags.</p> -<div class="figleft" style="width: 253px;"> -<img src="images/i_080a.jpg" width="253" height="419" alt="drawing of ribbon top" /> -<div class="caption">Fig. 38.</div> -</div> - -<h3><b>May-pole Dance.</b></h3> - -<p>An even number of persons are required for this dance; -half the number take the end of a ribbon in the right hand and -half in the left; they then -stand facing alternately right -and left. When the dance -commences, each dancer facing -the right passes under -the ribbon held by the one -opposite facing the left; she -then allows the next person -going to the left to pass under -her ribbon, and so, tripping -in and out, under and -over, the ribbons are woven -around the pole.</p> - -<p>After continuing for a -while, according to the above -directions, the dancers separate -into two equal divisions, -and each party, independent -of the other, plaits -a strip which hangs loosely -from the pole.</p> - - -<p>In performing this variation the two parties stand on either -side of the pole, and all those facing the right pass on in that -direction, going in and out as at first, until the last person going -to the right has passed the last person going to the left in -her division; then, transferring the ribbons to their other hands,<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span> -they all turn and reverse the order. Thus they continue, going -back and forth until the plait is -about a foot in length, when another -change is made by the two -parties joining forces again; this -time, all those facing the left -proceed in that direction, passing -under the ribbons of all the -others who are going to the right, -thus forming two circles, one -within the other. After going -twice around the pole in this -order, the dancers composing -the inner circle take the outside -and the others pass beneath their -ribbons, again circling the pole -twice; then, after going through -the first figure once more the -dance may be ended, or the -whole order may be reversed, -and the ribbons, in that way, be -unplaited again.</p> - -<p>An appropriate song, with words set to a dancing air, should -be sung by those taking part in the May-pole dance.</p> - -<div class="figcenter" style="width: 483px;"> -<img src="images/i_080b.jpg" width="483" height="146" alt="flower basket" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p> -<h2 class="faux">Summer</h2> -<div class="figcenter" style="width: 524px;"> -<img src="images/i_081.jpg" width="524" height="369" alt="SUMMER" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span></p> - -<div class="figcenter" style="width: 467px;"> -<img src="images/i_082.jpg" width="467" height="464" alt="girl on shore" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span></p> - - - - -<h2>CHAPTER VII.<br /> - -<small>MIDSUMMER EVE.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_083.jpg" width="222" height="247" alt="I" /> -</div> - -<p class="drop-capi">IN the minds of most of us, midsummer is -associated with dry, dusty roads, -parched vegetation, the shrill cry of -the locust,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> the shriller notes of the -mosquitoes, and the hum of myriads -of other insects; but, girls, midsummer -does not come at this time: -astronomy fixes the date at June -21st, the longest day of the year, -when the leaves are still glossy green with the fresh sap circulating -through their veins, giving them that healthy, juicy -look so refreshing to the eye, and the heat of the sun has not -yet dried to a white powder the firm country roads over which -we delight to wander.</p> - -<p>Ages ago the Pagans used to celebrate the day with rejoicing, -because old Sol’s bright face had broken loose from the -clouds of winter, and the rain and mists of spring. They -symbolized the revolution of the season by rolling great -wooden wheels down the hill-sides; sometimes attaching straw -to the outer circle and setting fire to it at night, making a -miniature midnight sun as it dashed down the steep incline.</p> - -<p>The people also believed that ill-luck rolled away from them -with the fiery wheel, and to this day you will see Fortune or<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a><br /><a name="Page_85" id="Page_85">[85]</a></span> -Misfortune represented as travelling, like an acrobat at a circus, -upon a wheel.</p> - -<div class="figcenter" style="width: 526px;"> -<img src="images/i_084.jpg" width="526" height="716" alt="drawing" /> -<div class="caption">Midsummer-eve Party.</div> -</div> - -<div class="blockquot">“Ye vertue of a rare cole that is to be -found at Midsummer Eve under ye -root of plantane and of mugwort -Ye effects whereof are wonderful -Whosoever weareth or beareth ye -same about with them shall be freed -from ye plague lightning and all ills”</div> - -<p>All the elves, brownies, and fays were supposed to be on -hand at midsummer night, and it is this old superstition that -Shakespeare has so beautifully illustrated in his “Midsummer -Night’s Dream.”</p> - -<p>It was on midsummer eve that the supposed invisible seeds -of the fern could be gathered which rendered the fortunate -possessor invisible whenever he chose to carry them about with -him. Among other strange and some quite pretty superstitions, -there is a tradition that a coal, found attached to the roots of -the mugwort or plantain on midsummer eve, will keep away -misfortune and insure good luck to the finder.</p> - -<p>The girls of to-day who, although advanced enough to discard -the superstitious element, can appreciate the poetic ideas -symbolized by these ancient rites, may take hints for the entertainment -of themselves and friends from the old belief in the -mysteries and charms of midsummer eve.</p> - -<p>Games can be invented, and pretty keepsakes and souvenirs -exchanged upon this night, that will translate ancient paganism -into modern good feeling and fellowship.</p> - - -<h3><b>The New Fern-leaf Game.</b></h3> - -<p>Some one who has charge of the games shows to the assembled -girls and boys a fern-leaf, and explains to them the legend -connected with it, and the power of the seed to render the -possessor invisible. Next she blindfolds them all; then, choosing -one from among them, she removes the bandage from the -player’s eyes without allowing the others to know who has -been selected to be the bearer of the magic fern. After giving -the fern-leaf into the keeping of the chosen one, she places the -latter in the centre of a ring formed by the rest of the players, -who take hold of hands and circle round; then, still holding<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span> -hands, they forward to the centre and return; letting go hands, -they forward again, this time the fern-bearer joins in the ranks. -Once more the ring is formed and they circle round, singing -these lines:</p> - -<div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> -<div class="verse">Round goes the wheel,</div> -<div class="verse">Round goes the year,</div> -<div class="verse">For woe or for weal,</div> -<div class="verse">Midsummer is here.</div> - </div> - <div class="stanza"> -<div class="verse">To the one who finds</div> -<div class="verse">The seeds of the fern,</div> -<div class="verse">Misfortune and evil</div> -<div class="verse">To good luck will turn.</div> -</div> -</div> -</div> - -<p>At the word “turn,” each player seizes another and cries -out, “fern, fern!” at the same time removing the handkerchief -from the eyes.</p> - -<div class="figright" style="width: 268px;"> -<img src="images/i_087.jpg" width="268" height="511" alt="plant and candy on end" /> -<div class="caption">Magic Plantain.</div> -</div> - -<p>To the one who really has captured the magic fern a pretty -card or silk badge, bearing a pictured fern and some appropriate -motto, is given, as a token that the entire company wish all -possible good luck to the possessor.</p> - - -<h3><b>The Plantain Test.</b></h3> - -<p>To test fortune in this way, fill a large pan or bowl with -clean dry sand; provide as many plantain-plants as there are -players, and to the roots of all but one tie, with a narrow ribbon, -a bonbon which contains within its wrapper a verse indicating -that the wrong plant has been chosen. To the one reserved -from the rest attach a small piece of coal, or charcoal, wrapped -in a bonbon paper which also encloses a verse describing the -magic powers of the coal. Place all of the plants in the sand, -making them look as though growing there. All this should -be prepared before the party assembles, that no one may know -to which plant the coal is fastened.</p> - -<p>When the appointed time arrives, explain to the company -that to the root of one of the plants in the bowl is fastened a -coal which, according to old superstition, will secure to the -finder perfect health for life. Then let each person in turn pull<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span> -from the sand one of the plants. The one who finds the -coal should be heartily congratulated, as she is supposed -to have gained the good will of fortune and to be exempt -from all the ills that flesh is heir to. The plantain is -not difficult to secure, as it -grows in almost every grass-plot, -much to the annoyance -of those who take pride in -their lawns. Should the -name be unfamiliar to some -of our readers, the accompanying -illustration will help -them recognize the weed.</p> - -<p>A pretty charm for the -watch-chain can be made of -the coal which is to bring the -finder such good luck,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> by -having it cut to a proper size -and shape, and a gold or silver -band put around it. This -will make it a souvenir, carrying -out the old idea that the -magic coal should be worn -upon the person to bring -the coveted good fortune.</p> - -<p>Rhymes to be enclosed in the paper with the magic coal:</p> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">Where my roots are intertwined</div> -<div class="verse">Lo, the magic coal you find.</div> -<div class="verse">Buried deep beneath the sand,</div> -<div class="verse"><span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span>Waiting for your favored hand,</div> -<div class="verse">I have held it free from harm;</div> -<div class="verse">Take, and wear the mystic charm.</div> -<div class="verse">From the lightning’s deadly stroke,</div> -<div class="verse">From the fire it may invoke,</div> -<div class="verse">From all illness, pain, and strife,</div> -<div class="verse">May it guard thee safe through life.</div> -</div> -</div> - -<p>Rhymes to be enclosed in bonbons tied to the roots of plantains -which do not bring good luck:</p> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">Though ye seek, ye seek in vain</div> -<div class="verse">Fortune’s favor thus to gain,</div> -<div class="verse">For I bring to you no coal</div> -<div class="verse">To write your name on Fortune’s roll.</div> -<div class="center">—————</div> -<div class="verse">Pity ’tis you thought it best</div> -<div class="verse">To pick out me from all the rest,</div> -<div class="verse">For no root of mine comes near</div> -<div class="verse">The coal that brings good fortune here.</div> -<div class="center">—————</div> -<div class="verse">Chance capricious, captures choice;</div> -<div class="verse">Fickle Fortune favors few;</div> -<div class="verse">When deaf to love, or reason’s voice,</div> -<div class="verse">What makes you think she’ll favor you?</div> -<div class="center">—————</div> -<div class="verse">I am no messenger of fate,</div> -<div class="verse">You find this out, alas! too late;</div> -<div class="verse">I bring no magic coal with me,</div> -<div class="verse">From pains and ills to set you free.</div> -</div> -</div> - -<p>Any bright girl can scribble off little jingles of this sort that -will do very well for the plantain test, or appropriate quotations -may be selected for the purpose.</p> - - -<h3><b>Fortune’s Wheel.</b></h3> - -<p>Just where Fortune will fail each member of the company -present is discovered in the following game:<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span></p> - -<p>The entire party forms into a circle, standing about two feet -apart; then a wheel or hoop is started around the inside of the -ring, and kept going by each one giving it a gentle push with -the hand, sending it to the person next in the circle. As the -wheel goes around the players sing these lines, pronouncing a -word as each player touches the wheel, as if counting out.</p> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">Fortune’s wheel we speed along</div> -<div class="verse">The while we sing our mystic song.</div> -<div class="verse">Bring happiness, fame, power, and wealth,</div> -<div class="verse">True love, long life, good friends, and health,</div> -<div class="verse">Success in music, poetry, art,</div> -<div class="verse">And with it all a merry heart</div> -</div> -</div> - -<p>When the wheel drops at the feet of anyone as a gift of Fortune -is being sung, or if they fail to strike it as it passes, or, -striking, they send it into the centre of the ring instead of to -their next neighbor, it denotes that Fortune will withhold that -special gift from them, and they must leave the circle, for good -luck has deserted them.</p> - -<p>The game continues until only one player remains, and this -person, who has succeeded in keeping the wheel moving, is -Fortune’s favorite, and will possess all the gifts the mythical -Goddess can bestow.</p> - -<div class="figcenter" style="width: 507px;"> -<img src="images/i_089.jpg" width="507" height="210" alt="a witch, a black cat, a crescent moon rising" /> -</div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></p> - -<div class="figcenter" style="width: 510px;"> -<img src="images/i_090.jpg" width="510" height="700" alt="drawing" /> -<div class="caption">Starfish Portière</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span></p> - - - - -<h2>CHAPTER VIII.<br /> - -<small>SEA-SIDE COTTAGE DECORATION.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_091.jpg" width="217" height="245" alt="S" /> -</div> - -<p class="drop-capi2">SIMPLY to enter a house is enough -to start some people to planning -how it can, might, or should be -decorated. The love of beauty -seems to be inherent in the feminine -character, and it is the nature -of most girls to make their surroundings -as beautiful as circumstances -will permit. Those who -have taste and ability for decoration -can see no barren or homely -room without being seized with -the desire to banish its uncomeliness, and substitute grace and -beauty in its stead.</p> - -<p>The ordinary cottage at the sea-shore is a boon to such -natures, for it is peculiarly well adapted to amateur decoration. -Its ceiled walls offer plain, even, flat tinted surfaces for any -kind of ornamentation, and the absence of plaster makes it possible -to drive nails wherever it is desirable to have them.</p> - -<div class="figright" style="width: 194px;"> -<img src="images/i_092a.jpg" width="194" height="208" alt="Fig. 39" /> -<div class="caption">Diagram of Ring.</div> -</div> - -<p>During a summer spent in one of these cottages on the coast -of Maine, its many possibilities in the way of decoration were -revealed, and personal experience has demonstrated that even -the plainest of these temporary abiding-places is capable of being -greatly beautified in a short time, and with materials usually<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> -close at hand, being obtainable from the fishermen and from the -sea itself.</p> - -<div class="figleft" style="width: 116px;"> -<img src="images/i_092b.jpg" width="116" height="301" alt="Fig. 40" /> -<div class="caption">Looping for Curtains.</div> -</div> - -<p>The windows first claim our attention in any house and our -little cottage is no exception to the rule. With, or without, the -regulation shades, windows should -always be draped; the formality of -their straight lines and angles can be -subdued in no other way.</p> - -<p>Light, airy curtains are suitable -for summer, and the prettiest, most -graceful window-drapery imaginable -can be made of ordinary -fish-net. An -oar for a pole; rings -made of rope (Fig. -39); the looping -formed of a rope tied in a sailor’s knot; and a -wooden hoop, such as is used to attach the sail -to the mast on a sail-boat (Fig. 40) are all that -are necessary for the completion of this nautical -curtain. Small rings screwed into the oar, with -corresponding hooks in the window-frame just -above the window, will hold the oar securely in -place. The looping should hang from a hook -fastened in the wall near the window. The illustration -given here will aid the imagination in -picturing the effect of a window treated in this -simple manner. Another pretty curtain may -be made of unbleached cotton, with bands of blue at top and -bottom covered with the ever-decorative fish-net.</p> - -<p>Gray linen curtains, with strips of the net set in as insertion -at top and bottom, will also be found extremely -pretty and serviceable; or they may be composed of strips<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span> -of linen and net, of equal width, running the length of the -curtain. Made up in either way the effect is excellent.</p> - -<div class="figcenter" style="width: 479px;"> -<img src="images/i_093.jpg" width="479" height="626" alt="drawing" /> -<div class="caption">Sea-side Cottage Window.</div> -</div> - -<div class="figleft" style="width: 250px;"> -<img src="images/i_094a.jpg" width="250" height="267" alt="Fig. 41" /> -<div class="caption">Diagram of Tying Knot.</div> -</div> - -<div class="figright" style="width: 293px;"> -<img src="images/i_094b.jpg" width="293" height="113" alt="Fig. 42" /> -<div class="caption">Fastening End of Rope.</div> -</div> -<p>From window-drapery we will turn to that suitable for the -door-ways. Portières, in a room where the prevailing tints are<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span> -gray and light wood-color, should not present too violent a contrast -to those subdued tones. A curtain of wood-brown, neither -too dark nor too light, will give the -needed strength and decision, without -destroying the harmonious coloring. -One -can be -quickly and easily made of brown -canton flannel and decorated with -dried starfish, as shown in the illustration -of the starfish portière. The -starfish are soft enough to admit of -being sewed to the curtain, and they -should be placed with the underside -out, as that is much prettier than the -back, showing as it does two shades -of color. A heavy rope with a knot -at each end, stretched taut across the -door-way and held in place with two -hooks, will answer for a pole, and the -drapery can be hung from it with iron -rings. If the rope is very heavy the -ends will have to be parted into strands before the knots can -be tied. Figs. 41 and 42 show the manner of tying the knot -and fastening the end of a moderately heavy rope.</p> - - -<div class="figleft" style="width: 201px;"> -<img src="images/i_094c.jpg" width="201" height="352" alt="Fig. 43" /> -<div class="caption">Diagram of Book-shelves.</div> -</div> - -<p><span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span></p> - -<p>Book-shelves made of half of a flat-bottomed row-boat is not -only an appropriate piece of furniture -for a cottage by the sea, but also a very -useful one. The fact of -its shape allowing it to -occupy a corner makes it a welcome addition to the furnishing, -since there are so few things adapted to fill that angle. Fig. 43<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span> -shows half of boat with cleats nailed on to hold the shelves, -which must be made to fit the boat. The shelves, when resting -on the cleats, are secure enough, and need not be fastened in -any other way. If the book-shelves, when finished, are painted -black, unvarnished, they will have the appearance of being -ebonized.</p> - -<p>The evidence of a womanly presence in the shape of a dainty -work-basket always gives a home-like look to a room, and when -this useful trifle happens to be prettily designed it contributes -not a little to the decorations. The standing work-basket represented -here is manufactured of a crab-net, with the handle -removed, fastened to a tripod stand.</p> -<div class="figcenter" style="width: 517px;"> -<img src="images/i_095.jpg" width="517" height="643" alt="drawing of room" /> -<div class="caption">Row-boat Book-shelves.</div> -</div> - - -<div class="figcenter" style="width: 516px;"> -<img src="images/i_096.jpg" width="516" height="372" alt="Fig. 44 Fig. 45 Fig. 46 Fig. 47" /> -<div class="caption">Diagram of Crab-net Work-basket.</div> -</div> - -<div class="figleft" style="width: 232px;"> -<img src="images/i_097.jpg" width="232" height="398" alt="net in tripod stand" /> -<div class="caption">Crab-net Work-basket.</div> -</div> - -<p>The tripod may be made of bamboo, or any kind of straight -sticks about the length of a walking-cane. Upon one of the<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span> -sticks two notches must be cut; one exactly in the centre, and -the other at one side just below (see Fig. 44). The second stick -needs but one notch, which should match the upper one on the -first stick (Fig. 45). The third stick has no notches.</p> -<div class="figright" style="width: 283px;"> -<img src="images/i_098a.jpg" width="283" height="422" alt="Fig. 48" /> -<div class="caption">Diagram of Hat-rack.</div> -</div> -<p>To fasten them together, Fig. 45 must be laid across Fig. 44 -as in Fig. 46, and the two fastened together with screws. The -third stick must then be placed -across the others, fitting in the -two upper notches; this must be -secured with two screws, one passing -through each of the other -sticks (Fig. 47).</p> - -<p>The stand when finished -should be painted black, and the -crab-net, which has previously -been gilded, fastened in place by -tying it on to each stick with a -cord and tassel made of rope and -gilded. Notches cut in the sticks, -about three inches from the top, -will afford a resting-place for the -cord and keep it from slipping.</p> - -<div class="figright" style="width: 290px;"> -<img src="images/i_098b.jpg" width="290" height="429" alt="drawing" /> -<div class="caption">Hat-Rack.</div> -</div> - -<p>The hat-rack, which our drawing -represents, makes an excellent -and convenient hall-decoration. -The materials used in its -construction are a small mirror, -which can be procured at any country store; four boards, -whose length and breadth depend upon the size of the mirror; -two oars, with one-third of each handle sawed off; one dozen -large-sized nails, or small spikes, and a piece of rope about -twelve feet long. The frame is made by nailing the boards together -as shown in illustration, placing the end-boards on top.<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span> -The opening left in the centre should be one inch smaller than -the mirror. When eight of the spikes have been driven into -the frame at regular distances -the mirror must be fastened -on the back with strips of -leather or sail-cloth, as shown -in diagram (Fig. 48). The diagram -also shows how the -oars are held in place and -the rope attached. The knot -in which the rope is tied is -called a true-lover’s knot, -and can readily be fashioned -by studying the diagram. -Small nails driven -through the rope where it -crosses the back of the oar -will keep the loops from -slipping out of place. The -remaining four spikes are to suspend the hat-rack from, and -must be driven into the wall so that two will hold the top<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span> -loop, and the others the extreme upper corners of the side -loops.</p> - -<p>The frame and oars may be painted black and the spikes and -ropes gilded, or the whole will look well painted yellow or brown.</p> - -<p>A handsome screen can be made in the following manner: -Procure a nice, firm clothes-horse, saw off the legs close to the -bottom cross-piece, then cover the whole neatly, on both sides, -with dark green cambric. Next tack smoothly on one side of -each fold light-brown wrapping-paper, which comes quite wide, -and may be bought by the yard. For the border use dark-green -canton flannel cut in strips eight inches wide. Tack this -around each fold of the screen with gimp-tacks, and paste the -inside edges smoothly over the paper.</p> - -<p>The decorations of the screen shown in the illustration are -composed entirely of products of the sea.</p> - -<p>Two panels are shown. One is decorated with sea-weed, -dried starfish, and shells. Sea-weed and shells also are used -on the other, but a group of horseshoe crabs take the place of -the starfish.</p> - -<p>Sea-weed of various kinds suitable for this use can be found -along the coast, and they may be gathered and dried in this -way. Loosen the sea-weed from whatever it is attached to, and -while still in the water slip a piece of stiff paper beneath it and -lift it out. Quite a number can be carried on the same paper, -but they should be taken home as soon as possible and placed -in a tub of fresh water. The tub will give the larger kinds room -to spread out, when a smaller vessel would cramp and rumple -them. On sheets of paper, of the kind used for the screen, -carefully lift each sea-weed out of the water, and with a small -camel-hair brush straighten the parts that are too much folded, -and separate those that lie too closely together. Should a plant -be very much crumpled when taken out, quickly replace it in -the water and try again.</p> - -<p><span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span></p> - -<div class="figcenter" style="width: 529px;"> -<img src="images/i_100.jpg" width="529" height="716" alt="Diagram" /> -<div class="caption">Marine Screen.</div> -</div> - -<p><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span></p> -<div class="figleft" style="width: 286px;"> -<img src="images/i_101.jpg" width="286" height="544" alt="crasing" /> -<div class="caption">Horseshoe Crab Bag.</div> -</div> -<p>When they have all been satisfactorily spread on the paper -and have become partially dry, they must be pressed by laying -the paper which holds the sea-weed on a piece of blotting-paper -or folded newspaper, and -over it a piece of linen or -fine cotton cloth; then -over that another piece of -blotting-, or news-paper; -then again the paper with -sea-weed, and so on; when -all are finished the entire -heap should be placed between -two boards with a -moderately heavy weight -on top. When the sea-weed -is quite dry—which -it will be in three or four -days—it will be found that -some varieties will cling -closely to the paper on -which they have been -spread, while others can -readily be removed. Do -not try to separate the first-mentioned -kind from the -paper, but with sharp -scissors neatly trim off the -edges around the weed; -the paper underneath being -the same as that of the -screen on which it is to be pasted, it will not show. The other -sea-weed can be taken from the paper and fastened to the -screen with mucilage.</p> - - - -<p><span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span></p> - -<p>Before commencing the decoration some idea of the design, -or the effect to be produced, should -be decided upon; then with deft fingers -the articles used can be glued -in place. When the glue is dry the -whole must be given a coat of white -varnish. This will help to hold things -in place, and will also keep the sea-weed -from chipping off.</p> - -<p>An odd little bag for holding -fancy work is made of two large -horseshoe crab shells, with a satin -bag fastened between them and tied -at the top with a bow of ribbon. The main part of the bag can -be of cambric the color of the satin, cut to fit the shells, the -puff showing at the sides -being of the satin.</p> - -<div class="figright" style="width: 195px;"> -<img src="images/i_102a.jpg" width="195" height="225" alt="stacked dried anemomes" /> -<div class="caption">Vase.</div> -</div> - -<div class="figleft" style="width: 291px;"> -<img src="images/i_102b.jpg" width="291" height="331" alt="Anemoney candlesick holder on dried starfish" /> -<div class="caption">Candlestick.</div> -</div> - -<p>A pretty little vase can -be made of the shells of -three sea-urchins, of graduating -sizes, placed one -upon another, the smallest -on top. The small hole -in the bottom of the largest -one should be filled up -with damp plaster-of-Paris—which -will harden very -quickly. The other two -shells must have the small -holes enlarged to the size -of the one at the top; they -can then be joined together -with the plaster, and the vase be used for flowers or vines.<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span> -A sea-urchin and good-sized starfish make the prettiest kind -of a candlestick, and the addition of a brass-headed tack on -every point but one of the starfish gives it a nice finish and -furnishes feet for it to stand on; the point left without a foot -forms the handle by which it may be carried. The tacks -should be stuck into the fish first, and then the sea-urchin -fastened on with plaster-of-Paris. Not more than ten minutes -are consumed in making a candlestick of this kind, and -it will be found to be quite as useful as it is pretty and -unique.</p> - -<p>The walls of the cottage can be decorated in many ways -with the beautiful ornaments the sea furnishes. Over one of -the doors in the cottage alluded to at the beginning of this -chapter there was an ornamentation that looked exactly like -wood-carving, but was only a group of starfish arranged and -tacked on the wall in a decorative form. The fish being nearly -the exact color of the background, the deception was almost -perfect.</p> - -<p>If the walls of a room are divided off into panels, and each -panel decorated in the manner described for the screen, the -effect will be most exquisite.</p> - -<p>On entering such a room one might almost imagine oneself -to be a mermaid, and this a lovely chamber beneath the -sea.</p> - -<p>So much can be done by one’s own hands it depends greatly, -if not entirely, upon the taste or time one is willing to devote -to it what this sea-side habitation shall be; whether the -little cottage shall be in harmony with its surroundings, seemingly -a part of the place, or whether it shall be only a cheap -frame-structure, looking as though it belonged in a country -town and had been carried to the coast in a capricious gale of -wind, with decorations, if it has any, inappropriate and unsuited -to the sea-shore.</p> - -<p><span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span></p> - - -<h3><b>How to Dry Starfish.</b></h3> - -<p>Collect the most perfect specimens of all sizes, wash them in -fresh water, and then spread on a board in a dry place (not in -the sun) and leave them undisturbed for a few days, or until -thoroughly dried.</p> - - -<h3><b>How to Polish Shells.</b></h3> - -<p>Wash your shells in clean, fresh water; procure a small -quantity of muriatic acid and have in readiness two-thirds as -much water as acid. Place the shells in a basin, pour the water -upon them, then the acid; let them remain a few minutes, then -take them out and wash again in clear water. Rub each shell -with a soft woollen cloth. A fine enamelled surface can be given -by rubbing them with a little oil and finely powdered pumice-stone, -and then with a chamois-skin.</p> - -<p>To bleach fresh-water shells to a snowy whiteness, wash -them perfectly clean and then put them in a jar containing a solution -of chloride of lime, place the vessel in the sun, and, when -the shells are sufficiently bleached, remove and wash them in -clear water. Polish them in the manner before described.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_104.jpg" width="450" height="143" alt="mermaids and fish" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span></p> - - - - -<h2>CHAPTER IX.<br /> - -<small>A GIRL’S FOURTH OF JULY.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_105.jpg" width="256" height="263" alt="D" /> -</div> - -<p class="drop-capi3">DECORATIONS are seen here, -there, and everywhere. How -beautifully the flags and -streamers look as they wave -in the breeze. All the houses -and streets are gay with bunting. -We listen with a thrill -of patriotic excitement to the -national airs played by bands -of music as the different parades -pass our doors.</p> - -<p>The spirit of independence -fills the very air we breathe. Whiz! zip! bang! go the firearms. -The noise is enchanting and the smell of powder delightful.</p> - -<p>This is our grand national holiday, the glorious Fourth, -when all the United States grows enthusiastic, and in various -appropriate ways manifests its patriotism.</p> - -<div class="figcenter" style="width: 530px;"> -<img src="images/i_106.jpg" width="530" height="704" alt="party" /> -<div class="caption">The Fourth of July Party.</div> -</div> - -<p>The celebration, commencing in the early morn and lasting -until late in the evening, gives ample time for fireworks, -games, and illuminations. And the girls can take active part -in, and enjoy these martial festivities, help to decorate the house -and grounds, and in the evening do their part toward the illumination. -Then there are the beautiful daylight fireworks to<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a><br /><a name="Page_107" id="Page_107">[107]</a></span> -be sent off, and games to be played; all adding to the enjoyment -and making up their celebration of Independence Day.</p> - -<p>Although</p> - - -<h3><b>Interior Decoration</b></h3> - -<p class="unindent">for the Fourth of July has not been considered as necessary as -the decoration for the outside of the house, still it is appropriate -and used to some extent, especially when the house is -thrown open to guests. Then, with a little thought and care -the home may be decked and adorned in the most attractive -manner.</p> - -<p>If you chance to be the happy possessor of the portrait of -some revolutionary ancestor, let this form the centre of your -decorations.</p> - -<p>Bring forward any relics of the colonial times and make -them hold a prominent place, for all such things are historical -and of great interest, though of course they are not essential. -Strips of bunting, cheese-cloth, or tissue-paper, in red and -white and blue are necessary, and must do their part in adding -to the gayety of the scene. These can be arranged in festoons, -and made into wreaths, stars etc., to be used as ornaments on -the wall.</p> - -<p>There is nothing, perhaps, more appropriate for decoration -than flags, though it requires some ingenuity to decorate with -our American flag on account of the blue being in one corner. -However we will try. Take two flags without staffs and baste -them together as in Fig. 49, bringing the blues side by side; -pleat up the top of each to the centre and you will have Fig. -50 with the stripes at the bottom running from end to end.</p> - -<p>Now take two more flags reversed, the stripes being at the -top the stars at the base, and pleat them in the centre, it gives -the same idea in another form. For this style of adornment use -the flags which may be had at any dry-goods store; they come<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span> -by the bolt, cost but a few cents each, and are much softer and -fold better than the more expensive glazed ones. Other modes -of draping the stars-and-stripes will suggest themselves: place -the “colors” in different positions until some good design is -found, and you will enjoy it all the more for having made the -combination yourself.</p> - -<div class="figcenter" style="width: 371px;"> -<img src="images/i_108a.jpg" width="371" height="133" alt="two flags back to back" /> -<div class="caption"><i>Fig. 49</i></div> -</div> - -<div class="figcenter" style="width: 441px;"> -<img src="images/i_108b.jpg" width="441" height="161" alt="flag bunting" /> -<div class="caption"><i>Fig. 50</i></div> -</div> - -<p>Tiny flags fastened to the chandeliers, and pinned in groups -on the curtains give to the room quite a holiday appearance. -This is for the daylight. In the evening we will have</p> - - -<h3><b>In-door Illumination,</b></h3> - -<p class="unindent">which can be made very brilliant by simply using a number of -lighted candles.</p> - -<p>Should you desire to have it more elaborate, the words -Liberty and Independence can be printed on the windows by -cutting the letters forming the words from thick paper and gumming<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span> -them to the window-panes, so when the room is lighted -they will show plainly from the outside.</p> - -<p>You may also make of tissue-paper a Liberty-bell, Goddess -of Liberty, American Eagle, and flags. Gum these on the -edges and fasten them to the windows; place a bright light -behind them and the tints of the paper will shine out in all -their brilliancy. The Goddess of Liberty’s face, the feathers -on the eagle, and the lettering on the bell must all be drawn -with a paint-brush and ink or black paint.</p> - -<p>In making any or all of these, it will be of great assistance if -you secure a picture of the object to copy from.</p> - -<p>Having provided for the inside of the house it now behooves -us to turn our attention to</p> - - -<h3><b>Out-of-door Decoration</b></h3> - -<p class="unindent">consisting principally of flags raised on poles, hung from windows, -and disposed in numerous and various ways.</p> - -<p>The many devices representative of our country may be -used with good effect. Thus, a large United States shield can -be made of colored paper or inexpensive cloth tacked on a -piece of card-board, cut in the desired shape, and the shield suspended -from the window flat against the house, as a picture is -hung on the wall. Other emblems can be manufactured in the -same way.</p> - -<p>Small trees or tall bushes covered all over from top to bottom -with flags and streamers look beautiful, and all the gayer, -when the wind blows, causing them to wave and flutter.</p> - -<p>Fasten the flags and streamers on the tree with string.</p> - -<p>Some girls think that the</p> - - -<h3><b>Illumination in the Open Air</b></h3> - -<p class="unindent">is best of all, for then they can give their fancy free play, and -create all sorts of odd and novel designs.</p> - -<p><span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></p> - -<p>The bright-colored Chinese lanterns are very decorative. -Suppose we begin with these. Fasten securely here and there, -on the lawn, large paper Japanese umbrellas in upright positions. -This is accomplished by binding the handles of the umbrellas -securely to poles which have been sharpened at one end, and -planting the pointed end of the poles firmly in the ground.</p> - -<p>From every other rib of the umbrella suspend a lighted<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span> -Chinese lantern by a wire long enough to prevent any danger -of setting the little canopy on fire. The effect produced is -both novel and pretty.</p> - -<p>A popular method of arranging the lanterns is stringing -them on wires, stretched from house to house, or from tree to -tree, so forming, as it were, a fringe of lights.</p> - -<p>Again, they may be placed at intervals on the ground, fastened -to trees or hung on the piazza, some in groups of twos or -threes, others singly, these being of many odd shapes and -sizes. Piazzas are very good sites for the display of colored -umbrellas, which may hang, inverted, from the ceiling, with a -tiny lighted Chinese lantern suspended from each rib. Let me -repeat, be careful not to have the wires so short that the light -is in dangerous proximity to the umbrella.</p> - -<p>Another pleasing illumination is to make a large flag of colored-paper -with strong pieces of tape pasted along both top -and bottom, the ends of the tape extending beyond the flag. -Tie the tape to two trees, poles, or pillars of the porch, and -place a light back of the flag, to bring out the colors clearly -and distinctly.</p> - - -<div class="figcenter" style="width: 403px;"> -<img src="images/i_110a.jpg" width="403" height="249" alt="Frame" /> -</div> - -<p>Illuminated tents are made by placing poles in the fashion -of Fig. 51, and using large flags, low-priced colored cloth or -strong paper as a covering, Fig. 52. The corners are tied -down to pegs in the ground, and, when two or three candles -are set in the tent, the effect is very pleasing.</p> - -<div class="figcenter" style="width: 498px;"> -<img src="images/i_110b.jpg" width="498" height="246" alt="tent up" /> -</div> - -<p>All young people delight in the noise and excitement of</p> - - -<h3><b>Fireworks,</b></h3> - -<p class="unindent">and here are some pyrotechnics which any girl can easily make. -They are daylight fireworks, and most of them may be sent -off from a balcony or window, and all with no danger of fire -or burns.</p> - -<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span></p> - -<p>One of the simplest to try is the</p> - - -<h3><b>Parachute.</b></h3> - -<div class="figleft" style="width: 334px;"> -<img src="images/i_112a.jpg" width="334" height="223" alt="Fig. 53 Fig. 54" /> -<div class="caption">Parachutes.</div> -</div> - -<p>Cut a piece of tissue-paper five inches square, twist each corner -and tie with a piece of thread eight inches long, Fig. 53; -wrap a small pebble -in a piece of paper -and tie the four -pieces of thread securely -to the pebble, -Fig. 54. This -makes a light airy -little parachute, -which, when sent -out from the window, -will, with a -favorable wind, sail -up and off over the house-tops. Make a number of parachutes -in different colors and send them off one after another in succession. -Next we will have what -we call</p> - - -<h3><b>Thunderbolts</b></h3> - -<div class="figright" style="width: 216px;"> -<img src="images/i_112b.jpg" width="216" height="204" alt="Fig. 55 Fig. 56" /> -<div class="caption">Thunderbolts</div> -</div> - -<p class="unindent">fashioned of bright-colored tissue-paper. -Cut the paper in pieces -four inches wide and eight inches -long. Then cut each piece into -strips reaching about one-third of -the length of the piece of paper -(Fig. 55), pinch the uncut end of -the paper together and twist it -tightly so that it will not become undone (Fig. 56). Open -the window and throw these out a few at a time. They will<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span> -turn heavy end down and dart off with the fringed end fluttering. -Now and then they will waver a moment in one spot, and -then dart off in another direction; so they go whirling, zigzagging -and bowing as if they were alive.</p> - -<p>Something different from these are the comical little</p> - - -<h3><b>Whirls,</b></h3> - -<div class="figleft" style="width: 229px;"> -<img src="images/i_113.jpg" width="229" height="165" alt="Fig. 57 Fig. 58" /> -<div class="caption">Whirls.</div> -</div> -<p class="unindent">made by cutting circular pieces of writing- or common wrapping-paper -into simple spiral forms (Fig. 57). The centre of the -spirals are weighted by small -pieces of wood, or other not too -heavy substance gummed on the -paper.</p> - -<p>When a number of these are -freed in mid-air the weight will -draw the spirals out, and present -a curious sight, as with serpentine -motion they all come wriggling -and twisting toward the -ground (Fig. 58). In these paper fire-works, we know of nothing -prettier than the</p> - - -<h3><b>Winged Fancies,</b></h3> - -<div class="figright" style="width: 327px;"> -<img src="images/i_114a.jpg" width="327" height="256" alt="Fig. 59" /> -<div class="caption">The Bird.</div> -</div> -<p class="unindent">consisting of birds and butterflies.</p> - -<p>The birds may be cut out of wrapping-paper, measuring -seven and a half inches long and ten inches from tip to tip of -the wings (Fig. 59), a burnt match stuck in and out of the neck, -will give the bird sufficient weight. When tossed from a height -these paper swallows fly and skim through the air in the most -delightful birdlike fashion.</p> - -<p>Both birds and butterflies are folded through the centre -lengthwise, then unfolded and straightened out, this helps to -give them form and they fly better.</p> - -<p><span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p> - -<p>The patterns here given are possibly not as graceful in shape -as could be made, but the writer drew the patterns from the -best fliers among an -experimental lot of -winged fancies, having -found them better -than others that could -boast of more beauty.</p> - -<p>Butterflies are -made of bright colored -tissue-paper cut -from the pattern (Fig. -60), and have short -pieces of broom-straws -as weights. -These also should be -lightly thrown from a height, when they will flutter and fly -downward, sometimes settling on a tree or bush as if seeking -the sweets of flowers, -and appearing very -bright and pretty as -they float hither and -thither on the air.</p> - -<div class="figcenter" style="width: 305px;"> -<img src="images/i_114b.jpg" width="305" height="197" alt="Fig. 60" /> -<div class="caption">The Butterfly.</div> -</div> - -<p>A ring of the ever-twirling</p> - - -<h3><b>Pin-wheels</b></h3> - -<div class="figleft" style="width: 165px;"> -<img src="images/i_115.jpg" width="165" height="428" alt="Fig. 61" /> -<div class="caption">Pin-wheel.</div> -</div> - -<p class="unindent">is gay and attractive, -just the thing for the -lawn on the Fourth of July. To manufacture one, select a nice -firm barrel-hoop, and nail it securely on one end of a clothes-pole -or broom-stick (Fig. 61), sharpen the other end of the pole<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span> -to a point; if the hoop seems inclined to split when nailing, -first bore holes with a gimlet or burn them -with a red-hot nail or wire for the nails to -pass through.</p> - -<p>Cover the barrel-hoop several inches -deep with straw, lay the straw on and tie -it down with string.</p> - -<p>Prepare a number of pin-wheels by -cutting squares of red and white and blue -paper, fold them twice diagonally through -the centre and cut the folds up within a -short distance of the middle. Turn over -every other point to meet the centre, -pierce the four points and the centre with -a pin, then fasten the pin firmly to the -end of a stick. The pin must be left long -enough to allow the paper to turn easily.</p> - -<p>Stick the straw wreath full of pin-wheels, -then plant the pole securely in the -ground and you will have a ring of Fourth -of July pin-wheels which will look pretty -all day long.</p> - -<p>Be sure to place the wreath facing -the breeze, so the pin-wheels may be kept in constant motion. -Reserve the</p> - - -<h3><b>Bombs</b></h3> - -<div class="figright" style="width: 363px;"> -<img src="images/i_116a.jpg" width="363" height="365" alt="Fig. 62" /> -</div> - -<p class="unindent">until the last. They are simple in construction, but quite startling -when they go off.</p> - -<p>Fasten together two very stiff flat pieces of steel (Fig. 62), -those sold for the back of dress-skirts work well, and use -a strong string many yards long to tie them with. Bring -up the four ends of the steels and tie them with a slip knot<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span> -(Fig. 63), in order that it may easily fly open. Place the cage -thus formed in the centre of a square piece of tissue-paper.</p> - - -<p>Now cut strips of different colored tissue-paper, four inches -long, and twist each piece at one end.</p> -<div class="figleft" style="width: 257px;"> -<img src="images/i_116b.jpg" width="257" height="230" alt="Fig. 63" /> -</div> - -<p>Put these in the centre of the cage and bring up the four -corners of the -square of paper, -allowing the -string to come -out of the top. -Twist the corners -together and close -up the small openings -by folding -over the edges of -the paper. This -makes a bomb somewhat resembling -a common torpedo -enlarged to many times its -original size.</p> - -<p>Pass the string through a -screw-eye which has been screwed in the end of a flag-pole or -broomstick, and place the pole out of the window. Then drop -the end of the string down to the lawn below. Fasten one end -of the pole in the window by binding it firmly to a strong, -heavy chair, or secure it in any other way most convenient so -there will not be the slightest danger of its falling.</p> - -<p><span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p> - -<p>Everything being ready, descend to the lawn, and pull the -string so the bomb will rise slowly up to the pole.</p> - -<p>When it is within a short distance of the screw-eye, give the -twine a sudden sharp jerk which will cause the bomb to come -in contact with the pole with sufficient force to untie the slip-knot, -the elastic-metal ribs will fly back causing the bomb to -burst and fill the air with bright shreds, flying, gliding, and -darting everywhere in the most eccentric manner, making the -air brilliant with floating colors.</p> - -<p>Let your Fourth of July</p> - - -<h3><b>Lawn Party</b></h3> - -<p class="unindent">partake of the patriotic traditions, and as far as possible help to -celebrate our Nation’s birthday in an appropriate manner.</p> - -<p>Paper fire-works may form part of the entertainment, it -being optional with the hostess whether they come before or -after the games, or are interspersed between them.</p> - -<p>The party opens with the signing of the</p> - - -<h3><b>Declaration of Independence.</b></h3> - -<p>To each guest is given a brown-paper bag, and when all have -assembled on the lawn, the hostess steps forward facing the -company, and asks all to kindly keep quiet and listen for a -few moments while she reads or repeats their Declaration of -Independence, she then reads:</p> - -<p>We girls are, and of right should be, free and independent -of all boys’ sports, having resources and amusements befitting -the celebration of the Fourth of July, independent of all those -belonging exclusively to boys.</p> - -<p>Then follows the signing of the same, by each in turn writing -her name beneath the declaration. This accomplished, the -hostess gives the signal and each guest fills her bag with air, by<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span> -holding it close to her mouth, gathering it tightly around, and -blowing into it, then grasping it firmly in the right hand, being -careful not to let any air escape.</p> - -<p>At another signal, all simultaneously bring their hands -forcibly and quickly together, striking the paper bags with the -left hand, which bursts the bags and causes a report almost -equal to that of pistols.</p> - -<p>All the bags exploding at one time, gives a salute worthy of -the name and creates much merriment.</p> - -<p>The salute may be varied by bursting the bags in quick succession, -so that it will sound something like a volley of musketry.</p> - -<p>This introduction is followed by games to be played on the -lawn.</p> - -<p>For the new game of</p> - - -<h3><b>Toss,</b></h3> - -<p class="unindent">make nine disks of card-board, painted or covered with paper, -red and white and blue, three of each color.</p> - -<p>Place in the centre of the lawn a fancy waste-basket, and let -each player in turn stand at a distance of six feet from the basket. -It is better to have the station marked by a stone or stick, -at the place designated.</p> - -<p>If played by sides, two stations, one on either side of the -basket will be necessary.</p> - -<p>The object of the game is to throw the disks into the basket, -and they are valued according to color; red counts one, white -two, and blue three.</p> - -<p>If played by sides, each side should play five rounds, ninety -being the highest possible tally for any one player.</p> - -<p>This is an easy and pleasant game, and may be played with -or without sides. The hostess keeps account, and at the end of -the game gives a knot of red, white, and blue ribbons as a prize -to the one having the highest score.</p> - -<p><span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span></p> - -<p>We hardly recognize our old friends in the new and gigantic</p> - - -<h3><b>Fourth of July Jackstraws.</b></h3> - -<p>These are all in holiday attire, and so much larger than any we -have seen that they are even more attractive, and afford greater -amusement than those which we have hitherto enjoyed.</p> - -<p>It does not take long to make them. Cover a number of -light slender sticks, three or four feet long, with paper or cloth, -some red, some white, and others blue. The colors count respectively, -red one, white two, and blue three. Provide another -longer stick with a hook in one end to be used in taking the jackstraws -from the pile.</p> - -<p>Stand the sticks up so as to meet at the top, and spread out -like a tent at the bottom. Each player then takes the hook in -turn and tries to remove a jackstraw, without shaking or throwing -down any of the others. The one scoring the highest, wins -the game and is entitled to the prize.</p> - -<p>Progressive games seem to be very -popular, and deservedly so, as they -possess an interest peculiarly their own.</p> - -<p>Here is a new and novel one, called</p> - - -<h3><b>Progressive Mining.</b></h3> - -<div class="figright" style="width: 148px;"> -<img src="images/i_119.jpg" width="148" height="274" alt="flag in a pot Fig. 64" /> -</div> - -<p>It is played with flower-pots filled with -sand or loose earth, called mines. A -small flag on a slender staff is placed -upright in the centre of each flower-pot -(Fig. 64). The staff should be stuck -down in the sand only just far enough -to keep it steady in its position. Each player in turn removes -a little sand from the mine with a stick called a wand, taking<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span> -great care not to upset the flag; for the one causing the flag -to fall loses the game. The number -of mines needed will depend upon -the number of persons playing, as -one flower-pot is required for every -two players.</p> - -<div class="figleft" style="width: 196px;"> -<img src="images/i_120.jpg" width="196" height="648" alt="Fig. 65" /> -</div> - -<p>Each one taking part in the game, -is provided with a wand. Slender -bamboo canes make excellent wands, -and may be decorated with red, white -and blue ribbons, tied on the handles. -Should the canes be difficult to procure, -then any kind of light slender -stick will serve the purpose.</p> - -<p>The hostess should prepare blank -envelopes, each containing a ribbon -badge, or score sheet, of different -colors, two of each; these are all -numbered, the figures being painted -or pasted on the ribbons to designate -the place to be taken, thus two reds -are marked 1, meaning that they are -to occupy the first or prize mine. The -blues are marked 2, showing that -they take the second mine, and so on. -The last or lowest place is called the -booby mine. Each badge should -have a small pocket attached (Fig. -65), for holding stamps; these are cut -in any desired form from gold and -silver paper, which has previously -been covered with mucilage on the under side, like a common -postage-stamp.</p> - -<p><span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span>The hostess passes around the envelopes, each guest takes -one, and upon opening it discovers where and with whom she -is to play.</p> - -<p>The preliminaries being settled, and all having taken their -places, the hostess starts the game by ringing a little bell.</p> - -<p>When one of the players at the prize mine upsets the flag, -the other calls out <i>prize</i>, and if the flags have not already fallen -in the other mines, the couples play as quickly as possible until -all the flags are down.</p> - -<p>The winner at the prize mine fastens a gold stamp on her -ribbon badge, while the loser at the booby mine, ornaments -hers with silver seal.</p> - -<p>The game is now rearranged, the winner at the prize mine -remains at her station, and the loser goes down to the booby -mine, while all those winning at the other mines move up, each -one respectively to the next higher mine, for it is only at the -prize mine where the loser moves her place and the victor remains -stationary.</p> - -<p>When these details are settled, the flag-staffs are again planted -in the flower-pots and the signal given for a new game.</p> - -<p>The player with the largest number of gold stamps on her -score-sheet, receives the victor’s prize, and the one having the -most silver stamps is entitled to the booby prize.</p> - -<p>The prizes are given when the game is ended. They should -consist of some pretty little article made by the hostess herself, -and, if practicable, appropriate to the day, such as a delicate -satin sachet in the form of a Liberty bell, with the lettering -painted on it.</p> - -<p>A pretty pin-cushion, with a cover made of a miniature silken -flag, or a dainty pen-wiper in the shape of Liberty’s cap. Other -more expensive gifts are not in good taste.</p> - -<p>The booby prize should be something grotesque or comical.</p> - -<p>As the mothers and sisters of 1776 took a full share in the<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span> -hardships and trials of the Revolution, and actively assisted in -gaining our independence, it is eminently fit and proper that -American girls should show their appreciation of such bravery -and heroism by assisting in the annual celebration of our -famous Independence Day.</p> - -<p>Fourth of July seems heretofore to have been considered -altogether too exclusively a boy’s holiday, and it is with a -hope of stimulating a renewed activity, and awakening in the -heart of every girl in the United States a sense of proprietary -interest in the day, that we suggest new methods of celebrating -our national holiday.</p> - -<div class="figcenter" style="width: 477px;"> -<img src="images/i_122.jpg" width="477" height="137" alt="dog and cat" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></p> - - - - -<h2>CHAPTER X.<br /> - -<small>PRINTING FROM NATURE’S TYPES.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_123.jpg" width="207" height="202" alt="L" /> -</div> - -<p class="drop-capi3">LAST summer we made some lovely -impressions of flowers, leaves, and -sprays; then we tried landscapes -and all sorts of beautiful designs.</p> - -<p>It is really delightful and fascinating -work. You are led on and -on, always with a fancy to try something -else to see how it will come -out, and seldom, if ever, is it a disappointment -or failure, a new interest being felt with every -fresh print made. Moreover, you are sure of having your picture -original and the only one of its kind, for as no two flowers -or leaves are precisely alike, so no print can be an exact copy -of another. And then it takes only a few moments for the work -which could not be accomplished in thrice the time should a -drawing be made of the same design.</p> - -<p>Let me tell you how to make an “Impression Album” a -book of printed flowers and leaves. You who have houseplants -will find it a delightful winter recreation, a novel pleasure, -and you can enjoy the pretty work even more during your -summer vacation, with wild flowers at your command.</p> - -<div class="figcenter" style="width: 520px;"> -<img src="images/i_124.jpg" width="520" height="728" alt="drawing of leaves and stalks of plants with girls in background" /> -<div class="caption">Making Prints.</div> -</div> - -<div class="figright" style="width: 185px;"> -<img src="images/i_125a.jpg" width="185" height="424" alt="print" /> -<div class="caption">Pink Oxalis.</div> -</div> -<p>The “prints” are taken from the natural flowers or leaves -themselves. Girls who have no knowledge at all of drawing -or of printing can with little trouble make these Impression Albums,<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a><br /><a name="Page_125" id="Page_125">[125]</a></span> -and students of botany will find the work supplies valuable -memoranda of leaves and plants, as the print preserves details -of the form, fibre and veining of -foliage and petal such as no drawing or -photograph can. The printing can be -made wholly -accurate, giving -all the -minutiæ of -construction.</p> -<div class="figleft" style="width: 192px;"> -<img src="images/i_125b.jpg" width="192" height="212" alt="print" /> -<div class="caption">Smilax.</div> -</div> - -<p>The tools -required to -make these -print-pictures -are simple, and consist of a piece of -glass, a palette-knife or table-knife and -some printers’ ink which comes in -small tin boxes and can be procured at -any stationery store, and a pad made -of a ball of cotton -tied in a piece of -soft silk or satin.</p> - - - -<div class="figleft" style="width: 130px;"> -<img src="images/i_125c.jpg" width="130" height="224" alt="print" /> -<div class="caption">Evergreen Moss.</div> -</div> - -<p>The printers’ -pad used by the -writer for spreading -the ink, was -manufactured -of the satin lining taken from a gentleman’s -old hat, and answered the purpose -admirably, being a good size, measuring -nearly four inches in diameter. The album -itself may be a common blank-book, with every other leaf cut -out, in order to make room for the prints, which are on pieces<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span> -of blank unruled paper of uniform size, and small enough to fit -in the album and leave a margin all around the piece inserted, -so that the book when opened may be neat and attractive. -Having all your tools at hand, select the leaves you wish to -print. These must be free from dust or dew and perfectly fresh.</p> -<div class="figright" style="width: 239px;"> -<img src="images/i_126.jpg" width="239" height="314" alt="print" /> -<div class="caption">Skeleton Geranium Leaves.</div> -</div> -<p>First, with your knife, place a small quantity of printers’ ink -on the piece of glass and smooth it as evenly as possible over -the surface. Then press the printers’ pad down lightly, lifting, -and again pressing, until the -ink is evenly distributed on the -pad; next, select a leaf and -place it face, or right side, downward -on a piece of folded newspaper; -press the inked pad down -on the under side of the leaf, -which is now, of course, lying -upward, repeating the operation -until the leaf is sufficiently covered -with ink. Carefully place -the leaf, inked side down, on -the centre of the piece of paper -you have previously cut for the -album; over this lay a piece of -common yellow wrapping-paper, -or any paper that is not too thick or stiff, and rub the finger -gently all over the covered leaf. Remove the outside paper -and very <i>carefully</i> take up the leaf. You will find an exact -impress of the natural green leaf showing every one of the delicate -fibres.</p> - - - -<p>The picture is now ready to be pasted in the album, with a -thin, delicate paste, touching only the corners. It is a good -plan to write under each leaf the name of the plant or tree from -which it was taken, with the date, and such facts as you would<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span> -like to recall. Very valuable botanical collections can thus be -made. Flowers are more difficult to print than leaves, owing -to less “relief” in the films; -still they make charming pictures -when successfully -treated, sometimes -having the appearance of photographs of flowers with all the -lights and shadows.</p> - -<div class="figcenter" style="width: 516px;"> -<img src="images/i_127.jpg" width="516" height="600" alt="landscape in prints" /> -<div class="caption">A Winter Landscape.<br /> -<span class="plaintext">Printed from Nature’s Type.</span></div> -</div> - -<p><span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span></p> - -<p>When printing flowers, proceed in the same manner as with -the leaves. Sweet peas, roses, daisies, wild carrot, clover, and -verbenas, all make beautiful impressions which look like photographs. -Grasses of various kinds also print well.</p> - -<p>In making a spray, it is best to have a definite idea of the -form you desire it to take. If possible secure as a copy a natural -spray of the kind you wish to print. Then first print all -the leaves in the positions they are to occupy, and connect them -by drawing in the branch with pen and India-ink.</p> - -<div class="figcenter" style="width: 531px;"> -<img src="images/i_128.jpg" width="531" height="305" alt="print" /> -<div class="caption">Maple Leaves.<br /> -<span class="plaintext">Printed from Nature’s Type.</span></div> -</div> - -<p>The Winter Landscape is printed from dried twigs, grasses, -and little leafless plants, so arranged as to resemble trees and -shrubbery.</p> - -<p>Only have a little confidence and you can make etchings -from nature. Should you not understand drawing or composition, -do not be discouraged; obtain a picture to copy, and -then hunt up little plants and soft twigs as nearly as possible -corresponding in shape and character to the trees in the copy; -in this way you can produce very creditable landscapes.</p> - -<p><span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span></p> - -<p>Botanical impressions maybe used for “fancy work” by -being printed on satin, and the decorated satin made up as -though it were painted or embroidered; patches for silk quilts -have been prettily decorated by this process. The printings -also make beautiful patterns for outline work, much truer to -nature than those made in any other manner and afford infinite -variety for “borders” and “corners.” Even satin dresses can -be beautifully ornamented with impressions of leaves instead of -the “hand painting” so long in use. You can, of course, see -that should several colors of printers’ ink be used, beautiful -combinations and pleasing variety would be obtained, and that -probably some unique and novel decorations would be secured.</p> - -<p>Letter-paper ornamented with a delicate design printed from -nature’s types is very dainty and pretty, and in many other -forms can these simple and beautiful decorations be used.</p> - -<p>Then bring leaves and blossoms from the woods or door-yard, -and half an hour may be delightfully spent in printing -“impressions” which will teach a lesson in botany, while the -great variety of leaf forms, difference in texture, fibre, veining -and finish cannot fail to attract your attention and call forth -your admiration.</p> - -<div class="figcenter" style="width: 478px;"> -<img src="images/i_129.jpg" width="478" height="188" alt="leaves" /> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p> - -<div class="figcenter" style="width: 440px;"> -<img src="images/i_130.jpg" width="440" height="600" alt="drawing" /> -<div class="caption">Corn Roast.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span></p> - - - - -<h2>CHAPTER XI.<br /> - -<small>PICNICS, BURGOOS AND CORN-ROASTS.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_131.jpg" width="301" height="313" alt="T" /> -</div> - -<p class="drop-capi">TRACES of foreign ancestors -are apparent occasionally -in most of us, -true Americans though -we be. It is perhaps a -spice of gypsy blood in -our veins that sets our -pulses throbbing with -pleasant excitement -when, seated in an old hay-wagon, we go bumping and thumping -down the road prepared for a delightful holiday.</p> - -<p>With camp-kettle swinging beneath, and coffee-pot stowed -safely away within the wagon, do we not feel able to provide as -savory dishes for our picnic dinner as any concocted by the gypsies -themselves? Surely no coffee is ever so delicious as that -cooked over the camp-fire, albeit it tastes somewhat smoky -when prepared by hands inexperienced in the art of out-door -cooking; but if the fish we broil is a little burned, and the -baked potatoes rather hard in the middle, who cares? Hearty, -healthy appetites, which the early morning drive through the -fresh, exhilarating air has developed, laugh at such trifles and<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span> -dinner is voted a success in spite of sundry mistakes and mishaps -in its preparation.</p> - -<p>There are <i>picnics</i> and <i>picnics</i>. When one drives out in a -fine carriage to meet a fine company, and partake of a fine lunch -prepared by fine servants, is one kind.</p> - -<p>When one goes with a large party, on a boat, and takes a -lunch of sandwiches, cake, pickles, hard-boiled eggs, etc., -which is spread on the grass at the landing and eaten as quickly -as possible, is another kind; but the picnic most enjoyed by -young people who are not afraid of a little work, which is only -play to them, is the one where the raw materials for the dinner -are taken and the cooking, or most of it, is done, gypsy fashion, -by the picnickers themselves.</p> - -<p>A pleasant innovation in the ordinary routine of a picnic is</p> - - -<h3><b>A Burgoo.</b></h3> - -<p>Thirty or forty years ago the men of Kentucky, in celebration -of a holiday, would get up what they called a burgoo. In -character it was very much like the clam-bake of to-day, but -instead of chowder, or baked clams, the company prepared and -partook of a soup or stew made of almost everything edible. -Early in the morning the party would meet at the appointed -place and decide what each should contribute toward the making -of this most delectable stew.</p> - -<p>Those who were fond of hunting would go forth in search of -birds, squirrels, rabbits, and game of all kinds, with which the -woods were filled. Some caught fish, and others provided fowl, -pork, vegetables, and condiments.</p> - -<p>As the ingredients were brought in, those who had charge of -the cooking prepared and dropped them into an immense pot -which, half full of water, was suspended over a roaring fire.</p> - -<p>When everything of which the stew was composed was<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span> -cooked to shreds, the burgoo was pronounced done, and was -served in tin cups, and eaten with shell spoons, made by splitting -a stick and wedging a mussel-shell in the opening.</p> - -<p>That this was a most appetizing feast I know from an old -gentleman who has frequently attended the burgoos and partaken -of the stew. Of course at a picnic composed of girls and -boys, it would not do to depend upon the game which might -be shot and the fish which might be caught, for the dinner, but -the burgoo should be adapted to the ways and means of the -party, and each member should provide something for the stew. -The following recipe will make enough for fifteen or twenty -persons.</p> - - -<h3><b>Burgoo Stew.</b></h3> -<div class="figleft" style="width: 270px;"> -<img src="images/i_133.jpg" width="270" height="315" alt="coffee pot on rocks on fire" /> -</div> -<p>Two pounds of salt pork, the same of lean beef; two good-sized -chickens, or fowls of any kind; two quarts of oysters, the -same of clams; twelve potatoes, -four turnips, one onion, -two quarts of tomatoes, and -any other vegetables which -may be obtainable. Make a -bouquet of parsley, celery, -and a very little bay-leaf, -thyme and hyssop, tied together -with thread.</p> - - - -<p>Put the beef, fowl, pork, -oysters, clams and a handful -of salt in a large iron kettle, -three-quarters full of water; -skim it before it begins to -boil hard, and add the other -ingredients; keep the kettle covered and boil until the bones -fall from the meat. Serve hot with crackers. Wild game and<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span> -fish may also be added to the recipe. When a burgoo is -decided upon, it is best to prepare a light lunch to be eaten -about eleven o’clock, and have the heartier meal at four or -five in the afternoon, as it requires some time for the stew to -cook.</p> - -<p>Our illustration shows four ways of suspending the kettle -over the fire. While the girls are preparing the ingredients for -the stew, the boys will build a fire in some such fashion as is -shown upon <a href="#Page_135">page 135</a>, and put the kettle on. The best way to -boil coffee is to make or build a kind of little stove of stones -and mud, and set the coffee-pot on top, as shown in Fig. 66; -this will prevent the smoky taste it is apt to have when placed -directly on the fire.</p> - - -<h3><b>A Corn-roast.</b></h3> - -<p>During the season when green corn is plentiful, there is no -better way of having a real jolly time than by getting up a corn-roast. -It is not as elaborate an affair as the burgoo. Some -green corn, a long pole sharpened at one end, for each member -of the party and a large fire built in some open space where -there will be no danger of causing conflagration makes us ready -for the corn-roast.</p> - -<p>Several summers ago a gay party of friends from New -York and vicinity took possession of and occupied for a few -months a little cottage at a place on the coast of Maine called -Ocean Point.</p> - -<div class="figcenter" style="width: 600px;"> -<img src="images/i_135.jpg" width="600" height="399" alt="types of fires; Then The Boys will Build The Fire In Some Such Fashion and Put The Kettle on." /> -</div> - -<p>Toward the end of August, when all places of interest had -been explored, when the stock of shells, starfish, and such like -treasures had grown beyond the accommodation of an ordinary -trunk, and the minds of the sojourners were beginning to be -filled with thoughts of a speedy return home, green corn, for -the first time that summer, made its appearance. This was -hailed with delight, and a farewell lark, in the form of a corn-roast,<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a><br /><a name="Page_136" id="Page_136">[136]</a></span> -was promptly proposed and almost as promptly carried -into execution.</p> -<div class="figright" style="width: 394px;"> -<img src="images/i_136.jpg" width="394" height="269" alt="corn on a stick" /> -</div> - -<p>The place selected on which to build the fire was a large -rock jutting out into a little cove called “Grimes Cove.” -Here the party met about three o’clock in the afternoon, each -member bringing only such dishes as were considered necessary -for his or her own use. It is needless to say that the -supply was not very plentiful, many limiting themselves to a -cup and spoon; still as the supper was to consist merely of -roasted corn, bread and coffee, these -answered every purpose.</p> - -<p>Not only was the corn roasted on -the ends of the long poles, but bread -was toasted, and in true American fashion -it was eaten piping hot. One of -the gentlemen, much to the amusement -of the rest of -the party, produced -a piece -of breakfast -bacon, which -he fastened on -to the end of his pole and toasted over the glowing embers, declaring -that it was better cooked in that way than in any other.</p> - -<p>Yes, corn-roasts are great fun, and they can be held almost -any place where a large fire can be safely built. It is best to -allow the fire to burn down until it is a glowing pile of coals; -then sticking the sharp end of a pole into an ear of corn (Fig. 67), -and standing as far from the fire as the length of the pole will -permit, it can be held close to the hot embers until thoroughly -cooked; then with butter and salt this roasted corn is excellent -eating.</p> - - - -<p>Enough corn should be provided to allow several ears to<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span> -each member of the party, as mishaps are liable to occur, and -the tempting ear of corn may be devoured by the flames, instead -of the person for whom it was intended.</p> - -<p>The poles, about six feet in length, should be as light as -possible, for if too heavy they will tire the hands and arms of -those holding them.</p> - -<div class="figcenter" style="width: 457px;"> -<img src="images/i_137.jpg" width="457" height="124" alt="geese eating spilled stew" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span></p> - -<div class="figcenter" style="width: 430px;"> -<img src="images/i_138.jpg" width="430" height="600" alt="diagram" /> -<div class="caption">White Clover Design.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span></p> - - - - -<h2>CHAPTER XII.<br /> - -<small>BOTANY AS APPLIED TO ART.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_139.jpg" width="213" height="257" alt="T" /> -</div> - -<p class="drop-capi2">THERE is a book of most lovely designs -open to everyone whose eyes -are open to see.</p> - -<p>Grasses, leaves, blossoms, and -even buds and seed-vessels supply -material for beautiful patterns.</p> - -<p>We need not look far for suggestions. -Truly “that is best -which lieth nearest; shape from -that thy work of art.”</p> - -<p>At your very doorway the wonders -of botany may be studied. -Carefully inspect the tree blossoms in the early spring; the -maple, willow, birch, any in fact which happen to be convenient, -and you will find suggestions of rare designs.</p> - -<p>Clover, plantain, pepper-grass, dandelions, vines and twigs, -offer ideas which can be adapted to ornamental art.</p> - -<p>A love of nature will quicken and stimulate the faculties; -take the flowers and plants for instructors, and they will teach -and guide you.</p> - -<p>Though there cannot be found an exact duplicate of any -blossom or leaf, still these may be conventionalized by arranging -them in all sorts of symmetrical designs.</p> - -<p>There is no mystery about the matter, for all the designs<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span> -are conceived upon the most simple of geometric laws. We -are now following in the steps of the old masters, and an unlimited -field of new combinations opens before us.</p> - -<p>When making designs for this chapter, the writer did not -select the objects she thought would be most decorative, but -anything which chanced to fall in the way; and what she has -done you can do, provided, of course, that you have ordinary -skill with the pencil.</p> - - -<h3><b>The Peony Leaf.</b></h3> - -<p>Suppose you do not know how to draw at all! Even then -you can design. Take the first thing you see, which in this -case happens to be a peony leaf (Fig. 68). That is, assuming -that you are seated by the side of the writer.</p> - - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="drawings"> -<tr><td align="left"><div class="figcenter" style="width: 195px;"> -<img src="images/i_140.jpg" width="195" height="216" alt="drawing" /> -<div class="caption">Fig. 68.</div> -</div></td><td align="left"><div class="figright" style="width: 193px;"> -<img src="images/i_140b.jpg" width="193" height="202" alt="" /> -<div class="caption">Fig. 69.</div> -</div></td></tr> -</table></div> - - -<div class="figright" style="width: 278px;"> -<img src="images/i_141a.jpg" width="278" height="306" alt="drawing" /> -<div class="caption">Fig. 70.</div> -</div> - -<p>Now watch! We will pull it apart thus (Fig. 69). Next -with a pair of scissors, a knife, or fingers snip off the stems, -and group the leaves in any way we chose. We will try this -combination (Fig. 70). If you do not understand drawing, -we must fasten the leaves down upon a piece of paper as they -are arranged, and trace around them, following their edges<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span> -with a pencil until the outline is complete (Fig. 70). By simply -repeating this figure at regular intervals we have a very -pretty border design and -one that is truly original, -for the writer had no more -idea than you, what was -to be the result of this experiment. -In order to -make the pattern exact, -draw lines as in Fig. 71, -for a guide; then draw -the figure according to the -foundation lines (Fig. 72). -When finished, erase the -lines and the design stands -a conventionalized peony -leaf, Fig. 73. By making -a tracing of the first pattern, -you can repeat it any -number of times. It requires no great or peculiar genius to -design well, and it is a mistaken, old-fashioned idea to suppose -because you never have done any original work in art that you -never can. Do not slavishly follow other people, but believe<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span> -that there is implanted in you -the same elements that belong -to those whose designs you admire, -then commence and design -for yourself. That you -may have a start in your new -art, we will try something else, -a vegetable this time, for here -comes the green-grocery man -with a basket full of as quaint -decorations as are ever painted -with bamboo-handled -brush by the Japanese.</p> -<div class="figcenter" style="width: 489px;"> -<img src="images/i_141b.jpg" width="489" height="174" alt="Fig. 71 Fig. 72 Fig. 73" /> -</div> - - -<h3><b>A Bunch of Turnips.</b></h3> - -<div class="figcenter" style="width: 260px;"> -<img src="images/i_142a.jpg" width="260" height="377" alt="drawing" /> -<div class="caption">Bunch of Turnips</div> -</div> - -<div class="figcenter" style="width: 459px;"> -<img src="images/i_142b.jpg" width="459" height="449" alt="drawing of four turnip bunches" /> -<div class="caption">Fig. 75.</div> -</div> - -<p>Take the first bunch -of vegetables on the top -of the basket. What are -they? turnips? Well -that requires a little skill -as a draughtsman, but -we will sketch this one -and you can copy it (Fig. -74). Now repeat it (Fig. -75), or place the bunches -in a row and you will -have another border -design. After a few -experiments you will -see that anything will -make a decoration -even the humble -kitchen vegetables.</p> - -<p><span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span></p> - - -<h3><b>Decorative Lines.</b></h3> - -<div class="figcenter" style="width: 315px;"> -<img src="images/i_143a.jpg" width="315" height="150" alt="Fig. 78. Fig. 76. Fig. 77." /> -</div> - -<div class="figcenter" style="width: 288px;"> -<img src="images/i_143b.jpg" width="288" height="143" alt="Fig. 79." /> -</div> - -<p>Figs. 76 and 77 are simply graceful curves, such as anyone -can make with a pen or pencil, and may be used in many -ways: cross them and they form Fig. 78, use this as half the -design, duplicating it for the other half and it gives Fig. 79. -We now have graceful and beautiful foundation lines on which -any vine or flower may be placed as ornamentation. We will -select the rose, allowing the lines to form the stems and using -as ornament the bud, flower and seed-vessels, remembering<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span> -that one side must be an exact duplicate of the other (see Fig. -80).</p> - -<div class="figcenter" style="width: 327px;"> -<img src="images/i_143c.jpg" width="327" height="151" alt="Fig. 80" /> -</div> - -<p>With these curves invent new designs by placing them together -in different ways, and choose for decoration anything -which may strike your fancy.</p> - - -<h3><b>Plant Cross-section Designs.</b></h3> - -<p>Have you ever noticed how curiously some leaves are curled -before opening? Watch them as they commence to expand -and grow, and you will be delighted with the great variety and -unique designs formed by the folding and rolling of these leaf-buds.</p> - -<p>Cut a bud square across in the centre with a sharp knife, -and this will show the nicety of arrangment of the young -leaves. The leaf-bud of the sage (Fig. 81), rosemary (Fig. -82), apricot (Fig. 83), and still another variety of pattern (Fig. -84), are all singular natural designs.</p> - -<div class="figcenter" style="width: 499px;"> -<img src="images/i_144.jpg" width="499" height="251" alt="Fig. 81 Fig. 82 Fig. 83 Fig. 8" /> -</div> - -<p>The petals of flower-buds are also folded in many ways, -affording odd designs; if cut in like manner as the leaves, the<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span> -cross-sections will be as beautiful. Fig. 85, the lilac bud, and -the oleander (Fig. 86), give some idea of these odd designs. -Submit all kinds of buds to the test by cutting them in halves, -and carefully examining the two parts, observe how nicely and -orderly the leaves are folded together. In this way you will -find many natural ornamental patterns.</p> - -<div class="figcenter" style="width: 511px;"> -<img src="images/i_145a.jpg" width="511" height="218" alt="Fig. 85 Fig. 86" /> -</div> - -<p>Nor must we neglect the seed-vessels; when these in their<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span> -turn are cut open, they present excellent designs. Fig. 87 is a -cross-section of the seed-vessel of the harebell. Other seeds -will furnish queer forms and figures to be obtained in no other -way.</p> - -<div class="figcenter" style="width: 292px;"> -<img src="images/i_145b.jpg" width="292" height="300" alt="Fig. 87" /> -</div> - - -<h3><b>Flower Sprays.</b></h3> - -<div class="figright" style="width: 232px;"> -<img src="images/i_146.jpg" width="232" height="248" alt="Fig. 88" /> -</div> - -<p>The common white clover with its trefoil leaf is very pretty, -and if a few sprays are placed together in a graceful manner it -is surprising how readily they -lend themselves to decoration. -Experiment with these, gather -a few blossoms and leaves, -group them on the centre of a -piece of paper, and make an -outline of the group; then -trace it off in order to repeat -the copy at equal intervals -from the central figure (see illustration, -<a href="#Page_138">page 138</a>); this -makes a very simple and yet -beautiful design for embroidery, needle-work, or wall-paper -pattern. In the same manner try grasses and different kinds -of flowers.</p> - -<p>Conventional designs can also be formed by simply inclosing -a natural spray in a geometrical figure. Fig. 88 is a circle, but -a square, triangle, diamond, oval, or any geometrical figure -may take the place of the circle.</p> - - -<h3><b>Changing the Color</b></h3> - -<p class="unindent">of a natural object gives still another style of ornamental art. -A spray of flowers and leaves in one color on a background of -different tint is an example. The spray may be brown on a<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span> -yellow background, or a dull blue on white background, either -way it will be conventionalized. So you see that by merely -making natural objects all in one tint, you can have a great variety -of designs suitable for china, embroidery, -wall paper, and many other decorations. -It is instructive to examine the panels, -screens, or painted china of the Japanese. -There is a freedom and crispness about their -ornamental art, which is very attractive.</p> - -<p>The method the Japanese -frequently employ is to diminish -the size of the fruit or flowers while increasing -the size of the leaves, and vice-versa; in this way -they invent designs without losing the character -of the object they copy, and it is really a very -simple, yet effective method.</p> - -<p>Suppose you try and see what you can make -with it. The next time you have an opportunity, -notice how the Oriental artists carry out this idea -in their decorations, and it will -help you in making your designs.</p> - - -<h3><b>Burs.</b></h3> -<div class="figright" style="width: 150px;"> -<img src="images/i_147a.jpg" width="150" height="158" alt="Fig. 89" /> -</div> - -<div class="figleft" style="width: 93px;"> -<img src="images/i_147b.jpg" width="93" height="370" alt="Fig. 90" /> -</div> - -<p>The tenacious little burs found -clinging to your dress after a -country walk, when grouped together -are not without beauty. -Fig. 89 is formed of four of these burs placed at right angles -making an ornament, and when the ornament is repeated at -regular intervals as in Fig. 90, it forms a border design.</p> - - -<div class="figright" style="width: 113px;"> -<img src="images/i_147c.jpg" width="113" height="177" alt="Fig. 91" /> -</div> - -<p>Seeds with downy or feathery tails are well adapted for decorations; -three grouped together (Fig. 91), is a design of itself,<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span> -which may also be re-duplicated (Fig. 92). The horse-chestnut -or buckeye is decorative, and makes an odd design (Fig. -93). Also the seed-vessel of the -Velvet-leaf or Abutilon avicennæ -(Figs. 94 and 95).</p> - -<div class="figcenter" style="width: 214px;"> -<img src="images/i_148a.jpg" width="214" height="210" alt="Fig. 92" /> -</div> - - -<h3><b>The Water-Lily.</b></h3> - -<p>In the illustration of the water-lily, -the writer has conventionalized -it by curving the stem around the -flower and duplicating the same, always -making the stem meet the next -lily, then inclosing the flowers in two straight lines, so forming -a water-lily border. Now, girls, you can realize how very simple -it is to apply botany to art, and make for -yourselves new and original designs.</p> - -<div class="figcenter" style="width: 516px;"> -<img src="images/i_148b.jpg" width="516" height="92" alt="Fig. 93" /> -</div> - -<div class="figleft" style="width: 125px;"> -<img src="images/i_148c.jpg" width="125" height="127" alt="Fig. 94." /> -</div> - - -<p>The knowledge of plants is not only interesting -but useful in connection with art, -in selecting and determining appropriate designs -for wood-carving, hammered brass, or -any kind of ornamentation or decoration. The cross-section of -some trees will furnish very good designs and the differently<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span> -formed roots of plants and flowers will aid you in ornamental -art.</p> -<div class="figcenter" style="width: 469px;"> -<img src="images/i_148d.jpg" width="469" height="78" alt="Fig. 95" /> -</div> - -<p>So we find that Nature offers us exquisite designs, in many -shapes and forms, and we have only to stretch out our hand -and take what we want.</p> - -<div class="figcenter" style="width: 487px;"> -<img src="images/i_149a.jpg" width="487" height="209" alt="Fig. 96" /> -</div> - -<p>“Beauty doth truly inhabit everywhere,” for “it is mind -alone that is beautiful, and in perceiving beauty, we only contemplate -the shadow of our own affections.”</p> - -<div class="figcenter" style="width: 508px;"> -<img src="images/i_149b.jpg" width="508" height="160" alt="palette and ribbons" /> -</div> - -<p><span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span></p> -<hr class="chap" /> -<div class="figcenter" style="width: 535px;"> -<img src="images/i_150.jpg" width="535" height="731" alt="A Door-Step Party quiet games for Hot Weather" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span></p> - - - - -<h2>CHAPTER XIII.<br /> - -<small>DOOR-STEP PARTY AND QUIET GAMES FOR -HOT WEATHER.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_151.jpg" width="308" height="322" alt="I" /> -</div> - -<p class="drop-capi2">IN the State of Kentucky, in one of whose -towns the writer’s early childhood was -spent, the summers are long, and frequently -very hot spells occur when even in -the early morning hours there is no -refreshing coolness in the air. As -the sun rises higher and higher -in the heavens, its rays -grow fiercer and fiercer, until -by afternoon, the heat is -so intense that few persons -care to venture out -of doors, unless compelled -by business or necessity to do so.</p> - -<p>At dusk, however, after the heat of -the day is spent, and the air, although not cool, is a degree or -two less hot, the population of the town makes itself visible. -Ladies and children clad in the thinnest of white and light -colored muslin gowns, emerge from the houses to sit upon piazza -and door-step, and there welcome the husband, father, and -brothers of the family upon their return from business; that -business which is never neglected no matter what the thermometer -may register. After tea the door-steps are once more<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span> -taken possession of, and to enter the house again until ready -to retire for the night, is not to be thought of. Friends and -neighbors making social calls are received and entertained informally -upon the door-steps, and sometimes when the party -becomes too large for the steps to accommodate, chairs are -placed upon the pavement immediately in front of the door, -and no one feels, while occupying one of these seats, that the -position is at all public or conspicuous.</p> - -<p>Hatless and bonnetless as all of the ladies and children are, -the warmth of the evenings making all head coverings and extra -wraps unnecessary and uncomfortable, the streets present a -gay and fête-like appearance seldom seen in our eastern towns.</p> - -<p>At least this is as it was when, as one of the band of merry -children, I played “Oats-peas-beans” and “Come Philanders,” -upon the sidewalk, and I do not think these customs have -changed much since then.</p> - -<p>Later, when I and my young friends had outgrown the -“ring-around-arosy” games, we used to gather upon the door-step, -and there chatter away about the day’s doings, or whatever -interested us at the time. When tired of talking, we would -amuse ourselves by playing quiet games or telling stories. -Sometimes the thoughtful mother of our young hostess would -add to our enjoyment by serving some light refreshment, such -as ice-cream or fruit. The greatest treat, and the one most appreciated, -was when we were invited to partake of a great crisp -frozen water-melon, whose blood-red core, sweet as sugar and -cold as ice, quickly melted away between the rosy lips of the -little guests. We were not always thus favored, however; the -refreshments were ever a pleasant surprise, but the pleasure of -our evening was not marred by their absence.</p> - -<p>The remembrance of what very pleasant times we used to -have at these impromptu little parties, urges me to devote some -pages of this book to the description of a door-step party, that<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span> -by acting upon the suggestion, others may enjoy them even as -did that group of little Kentucky girls.</p> - -<p>Now is just the time for a door-step party; now when the -beauty of the evening lures us from the lighted parlor to the -shadowy piazza whose coolness is so attractive after the long, -hot summer day. Here soft breezes fan our cheeks, and here, -perhaps, the moonlight filtering through vine and trellis, is carpeting -the floor with lacy shadows, and with its soft mysterious -light is casting a glamour over all familiar things.</p> - -<p>It is a modest little fête, this door-step party, a simple way -of entertaining one’s friends of a summer evening when the heat -will not permit of the exertion of active games. The delightful -out-door surroundings give it a novel charm and make it -entirely different from the frolics usually indulged in during -the winter season.</p> - -<p>Because the entertainment is not noisy it need not be the less -enjoyable, and a party of bright, merry girls will derive plenty -of amusement and fun from the quiet games of a door-step -party. The following will give an idea of what games are suitable -for an occasion of this kind.</p> - - -<h3><b>Five Minutes’ Conversation</b></h3> - -<p class="unindent">is not exactly a game, although there are rules which must be -obeyed in order to make it interesting.</p> - -<p>A programme with small pencil attached, like the one shown -in Fig. 97, should be given to each guest upon her arrival. -The engagements for five minutes’ conversation are made by -putting your name down on your friend’s card opposite the -time chosen for your conversation with her.</p> - -<p>Five minutes only are allowed for one conversation.</p> - -<p>Two or more consecutive engagements with one person are -not allowable. When engagements are made and programmes<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span> -filled, the hostess, or anyone willing to be time-keeper, must -ring a bell giving notice that the conversation is to begin.</p> - -<p>At the end of five minutes the bell is to be rung again, when -all talking must instantly cease, the exchange of positions be -quickly made, and a new conversation be commenced.</p> - -<div class="figcenter" style="width: 404px;"> -<img src="images/i_154.jpg" width="404" height="477" alt="Fig. 97" /> -</div> - -<p>The time-keeper should be strictly attentive to her duties, for -the bell must be rung regularly at the end of every five minutes.</p> - -<p>The hour allotted to this new mode of conversation will pass -very quickly, and cannot become in the least tiresome, as the -time spent in talking to any one person is so very short.</p> - -<p><span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span></p> - - -<h3><b>Blind-man’s Singing-school.</b></h3> - -<p>One of the party must be blindfolded to take the part of -teacher. The class composed of the rest of the players should -sit in a line facing her.</p> - -<p>The teacher informs her scholars that they will begin the -lesson by singing the scales. Then the head girl, or the one at -the top of the line, sings ah! and the next, ah! a little higher or -lower, and so it goes down the line; each one in turn uttering -ah! in any key or note she please; in a high shrill voice, or the -deepest tone a girlish throat is capable of. The teacher should -listen attentively, and when she thinks she recognizes a voice -she must command the class to stop while she makes some criticism -on the manner in which the note is sung, at the same time -calling the singer by name.</p> - -<p>When one of the players is named correctly, she must be -blindfolded and become teacher, while the former teacher takes -her place in the class.</p> - -<p>A general exchange of seats is made before the singing lesson -recommences, that the voices may not be guessed by the -direction from which they come. To give variety to this game -the second teacher may direct the class to sing a song, selecting -some well-known nursery rhyme; then, beginning at the top -of the line as before, each player must sing the word which -comes to her to supply. It is the privilege of each teacher to -direct the class to sing whatever she may choose, either song -or exercise.</p> - - -<h3><b>A Game of Noted Men,</b></h3> - -<p class="unindent">is played in this way: The hostess begins the game by saying, -I know a celebrated poet; the first part of his name is very -black, and the last is an elevation. Whoever gives the right -name, which is Coleridge (coal, ridge), in her turn describes the<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span> -name of some noted person. She may choose Shakespeare -and say, I give the name of a noted author and poet; the first -part is something people are apt to do when they are cold, the -last is a weapon of warfare.</p> - -<p>There are quite a number of names which will do nicely for -this game; a few of them are—</p> - - -<ul class="booklist"><li>Wordsworth—words, worth.</li> -<li>Cornwall—corn, wall.</li> -<li>Howitt—how, it.</li> -<li>Milman—mill, man.</li> -<li>Shelley—shell, lea.</li> -<li>Washington—washing, ton.</li> -<li>Fillmore—fill, more.</li> -<li>Longfellow—long, fellow.</li></ul> - - - -<p>When giving a name to be guessed, the profession of the -man, whether poet, author, statesman, or soldier, must be given, -but nothing else should be told about him.</p> - - -<h3><b>What will You Take to the Picnic?</b></h3> - -<p class="unindent">can be played very nicely while the party are enjoying some -light refreshments.</p> - -<p>The hostess alone should be in the secret, and these directions -are addressed only to her.</p> - -<p>Commence the game by announcing that you propose to -give a picnic, that it depends upon what your guests will bring -for lunch whether they will be allowed to attend, and that each -one must furnish two articles of food. Then ask the person -nearest you, What will you take to the picnic? If the name of -neither of the articles she mentions commences with the initial -letter of her Christian name or surname tell her she cannot go, -and put the question to the next person, asking each in turn, -What will you take to the picnic?</p> - -<p>For example, we will suppose that the name of one of the -party is Susan Davis, and she says she will take crackers and -lemons, she cannot go, as neither of her names commence with<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span> -C or L; but if she proposes to take salmon and doughnuts, -she will be doubly welcome, since S and D are both her initials. -Should she say sugar and cream, she could go for one of -her names commences with S.</p> - -<p>Continue to put the question to each player until all, or -nearly all, have discovered why their proposed contribution to -the lunch secures them a welcome, or debars them from attending -the picnic.</p> - - -<h3><b>Assumed Characters.</b></h3> - -<p>In this game some well-known novelist is selected—Dickens, -for instance—and each player chooses one of his characters to -personate, telling no one her choice. Then one of the players -relates the life as though it were her own, and portrays with -voice and gesture the character she has assumed. Of course no -names must be mentioned.</p> - -<p>The person who first guesses what character is being personated -has the privilege of deciding who shall be the next to -tell her story.</p> - -<p>The game of Assumed Characters will prove to be very entertaining -if each player does her part and makes her narrative -as amusing and interesting as possible.</p> - - -<h3><b>Shadow Verbs.</b></h3> - -<p>A white sheet is fastened tightly across a French window, or -doorway opening upon the piazza, and a large lamp set behind it.</p> - -<p>The company separates into two parties; one enters the -house, while the other remains seated upon the piazza facing -the suspended sheet.</p> - -<p>The outside party chooses a verb which the others are to -guess and perform. When their decision is made they call the -leader of the inside party and say, “The verb we have chosen<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span> -rhymes with rake,” or whatever it may rhyme with. The -leader then joins her followers and consults with them what the -first guess shall be. It is best to take the verbs which rhyme -with the noun given in alphabetical order. Bake would come -first for rake, and if it is decided that they shall act this, several -of the party step before the lamp, which casts their shadows on -the sheet and, without speaking, go through the motions of -making and baking bread. If the guess is right (that is if to -bake was the verb chosen) the spectators clap their hands; if -wrong, they cry, No, no.</p> - -<p>When they hear the no, no, the actors retire and arrange -what to do next. Make, quake, take, wake are all acted in -turn, until the clap of approval announces that they have been -successful in guessing the verb. Then the actors take the seats -vacated by the spectators, who in their turn enter the house -to become shadows and act the verbs chosen by the other party, -and the game goes on as before. A little ingenuity on the part -of the players in producing funny and absurd shadows makes -the whole thing very laughable and causes great amusement.</p> - -<p>There are an unlimited number of games that may be -played, but the object of this chapter is not so much to describe -the games as it is to illustrate those that are appropriate -to the quiet and delightful entertainment known as a door-step -party.</p> - -<div class="figcenter" style="width: 521px;"> -<img src="images/i_158.jpg" width="512" height="126" alt="A Door-step party; little girl lying on door-step with doll" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span></p> - - - - -<h2>CHAPTER XIV.<br /> - -<small>HOW TO MAKE A HAMMOCK.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_159.jpg" width="133" height="191" alt="U" /> -</div> - -<p class="drop-capi2">UNDERNEATH the spreading branches of the -cool, shady tree swings our hammock.</p> - -<p>Through the intertwining boughs the golden -sunlight is sifted in bright little dashes on -the leafy foliage below. Lying ensconced -in its lacy meshes idly listening to the hum -of the busy bumble-bees at work among the -red clover, or gazing up through the leafy -canopy to the blue heavens where now and -then fleecy white clouds float softly past, or watching a flight -of birds skim o’er the distant horizon, who would not be lulled -by the harmony of the summer day! A delightful languor -steals over us and we unconsciously drift into the land of -dreams where perfect rest is found. We awaken refreshed, to -again gently swing back and forth and vaguely wonder who -could have first thought of this most delightful invention. It is -said that we owe the luxury to the Athenian, General Alcibiades, -who, in 415 <span class="smcap">B.C.</span> first made the swinging bed. The word -hammock is taken from hamacas or hamac, an Indian word -which Columbus relates as being used by the Indians to signify -a hanging bed composed of netting. What these uncivilized -red men made with their rude implements, we ought to -be able with our modern facilities to accomplish very easily -and quickly.</p> - -<p><span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span></p> - -<div class="figcenter" style="width: 600px;"> -<img src="images/i_160.jpg" width="600" height="424" alt="girl in hammock" /> -<div class="caption">Home-made Comforts.</div> -</div> - -<p><span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span></p> - -<div class="figcenter" style="width: 470px;"> -<img src="images/i_161a.jpg" width="470" height="106" alt="Fig. 98 Fig. 99" /> -<div class="caption">Mesh-sticks..</div> -</div> - -<p>It is not difficult to make a hammock; anyone can soon knit -one that is strong and comfortable, and it should not cost more -than fifty cents. The materials required will be one hammock-needle -about nine inches long (this can be whittled out of hickory -or ash, or purchased for ten cents); two -iron rings two and one-half inches in diameter, -which will cost about five cents each; -two mesh-sticks or fids, one twenty inches -long and eight inches wide bevelled on both edges (Fig. 98): the other nine inches long and two and one-half -inches wide, bevelled on the long edge (Fig. 99); these -you can easily make yourself from any kind of wood.</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 96px;"> -<img src="images/i_161b.jpg" width="96" height="371" alt="diagram" /> -<div class="caption">Fig. 100.—Hammock Needle.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 115px;"> -<img src="images/i_161ca.jpg" width="115" height="253" alt="diagram" /> -<div class="caption">Fig. 101.—The Loop.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 92px;"> -<img src="images/i_161cb.jpg" width="92" height="233" alt="diagram" /> -<div class="caption">Fig. 102.—Small Fid and Loop.</div> -</div></td> -</tr> -</table> -</div> - -<p><span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>One pound of Macremé cord number twenty-four, or hammock -twine of the same number, which can be had for less than -thirty cents; colored -cord comes five -cents extra.</p> - -<p>Wind the cord in -balls, as it is then -more convenient to -handle, and begin -making your hammock. -First, thread -the needle by taking -it in the left hand -and using the thumb -to hold the end of -the cord in place, -while looping it -over the tongue -(Fig. 100); pass the -cord down under -the needle to the -opposite side and -catch it over the -tongue; repeat this -until the needle is -full.</p> - -<div class="figcenter" style="width: 600px;"> -<img src="images/i_162.jpg" width="600" height="322" alt="Fig. 103.—First Half of Knot. Fig. 104.—Construction of Knot. Fig. 105.—A Number of Knots." /> -</div> -<div class="figleft" style="width: 197px;"> -<img src="images/i_163a.jpg" width="197" height="367" alt="Diagram" /> -<div class="caption">Fig. 106.—Meshes.</div> -</div> -<p>Next, make a -loop of a piece of -cord two yards long -and fasten this to -any suitable place -(Fig. 101)—a door-knob will do very well; then tie the cord -on your needle three inches from the end to this loop. Place<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span> -the small fid under the cord, the bevelled edge close to the -loop (Fig. 102). With your thumb on the cord to hold it in -place while you pass the needle around the -fid, and with its point toward you, pass it -through the loop from the top, bringing it -over the fid, so forming the first half of the -knot (Fig. 103). Pull this taut, holding it -in place with your thumb while throwing -the cord over your hand, which forms the -loop as in (Fig. 104). Then pass the needle -from under through the loops, drawing it -tight to fasten the knot. Hold it in place -with your thumb, and repeat the operation -for the next knot. Fig. 105 -shows a number of these knots finished. -A is a loosened knot, making -plain its construction. B, in Figs. 103, -104, and 105, is -the cord running -to the needle, -and D is the fid. -When thirty meshes are finished shove -them off the fid (Fig. 106), as this number -will make the hammock sufficiently -wide.</p> - -<div class="figright" style="width: 221px;"> -<img src="images/i_163b.jpg" width="221" height="240" alt="digarm" /> -<div class="caption">Fig. 107.—Commencing the Second -Row.</div> -</div> - -<p>Commence the next row by -again placing the fid under the -cord, and take up the first mesh, -drawing it close to the fid; hold -it in place with your thumb while -throwing the cord over your hand; pass the needle on the left -hand-side of the mesh from under through the loop thrown -over your hand (Fig. 107); pull this tight and you will have<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span> -tied the common knitting-knot; proceed in like manner with -all the loops in rotation until the row is finished. When it is -necessary to thread or fill your needle, -tie the ends of the cord with the fisherman’s -knot shown in Fig. 108, which -cannot slip when properly tightened. -Wrap each end of the cord from the knot -securely to the main cord with strong -thread to give a neat appearance -to the hammock.</p> - -<div class="figleft" style="width: 348px;"> -<img src="images/i_164aa.jpg" width="348" height="131" alt="knot" /> -<div class="caption">Fig. 108.—Fisherman’s Knot.</div> -</div> - -<p>Continue knitting until thirty -rows are finished.</p> - -<p>Then use the large fid, knitting -one row on the short side -first, next one on the long side. -This accomplished, knit the -meshes to the ring by passing -the needle through it from the -top, knitting them to the ring in -rotation as if they were on the -mesh-stick or fid (Fig. 109). When -finished tie the string securely to -the ring, and one end of your -hammock is finished.</p> -<div class="figleft" style="width: 171px;"> -<img src="images/i_164ab.jpg" width="171" height="505" alt="Fig. 109" /> -<div class="caption">On the Ring.</div> -</div> -<p>Cut the loop on which the -first row was knitted, and -draw it through the knots. -Tie the end of the cord on -your needle to the same -piece used in fastening -the end of the first needleful to the loop (Fig. 110), and knit -the long meshes to the other ring as described. This completed, -the hammock is finished.</p> - -<div class="figright" style="width: 117px;"> -<img src="images/i_164b.jpg" width="117" height="445" alt="Fig. 110" /> -</div> - -<p><span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span></p> - -<p>To swing it, secure two pieces of strong rope and fasten -them firmly to the iron rings, the length of the rope depending -upon the space between the two points from which you wish -it to hang. These should be if possible twelve or fifteen feet -apart and at least ten feet high, to give your hammock sufficient -room to swing freely.</p> - -<p>This suspended bed will furnish a welcome retreat when the -weather is too warm to admit of games, walks, or other amusements. -Then, with some favorite book, or if even reading is -too much of an exertion, simply to lie indolently in the hammock -is a comfort, so restful and quiet that the time quickly -passes, and we are made better and brighter for our short, passive -repose.</p> - -<p>Very decorative nets, and useful ones of many kinds, including -fish-nets and minnow-seines, are made with the same stitch -as that used in the hammock. The size of the mesh is regulated -by the circumference of the fid, and the twine used is fine -or coarse, according to the style of net desired.</p> - - -<h3><b>Barrel Hammock.</b></h3> -<div> - <img class="splitr" src="images/i_166a.jpg" alt="The Way it Is" width="488" height="392" /> - <img class="splitr" src="images/i_166b.jpg" alt="The Way it Is" width="135" height="37" /> - <img class="splitr" src="images/i_166c.jpg" alt="The Way it Is" width="212" height="40" /> - <img class="splitr" src="images/i_166d.jpg" alt="The Way it Is" width="299" height="232" /> -</div> -<p>When in the Catskills last summer the writer saw for the -first time a hammock made of a barrel. It was painted red -and looked very cheery and inviting hanging under the green -boughs; the two colors, being complementary, harmonized -beautifully.</p> - -<p>This hammock was made of a piece of strong rope twenty -feet long threaded in and out of barrel staves, and was substantial -and durable. The construction of such a hammock is -very simple. Remove the top and bottom hoops and nails -from a firm, clean barrel. Then before taking off the remaining -hoops draw a pencil-line around both ends of the barrel, -being careful to have the marking three inches from and parallel<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span> -to the edges; this is for a guide -when making the two holes in -each end of all the staves. Bore -the holes with a five-eighth -of an inch augur -or a red-hot poker, -using the pencil-line as -a centre; leave an equal -margin on both sides of -the staves, and at the -same time enough space -in the centre to preclude -all danger of breakage.</p> - -<p>Fasten the staves together -by threading the rope through the hole from the out<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span> -side of the first stave, then across the inside of the stave down -through the other hole (see illustration). Continue threading -until one side is finished, then in like manner thread the other -side. Knock off the remaining hoops and the staves will appear -as shown at bottom of illustration. Tie the two ends of -the rope together and fasten loops of rope on both ends; these -should be of sufficient length to conveniently swing the hammock. -When threading the staves let the rope be loose -enough to leave a space of an inch or so between each stave -when the barrel is spread out in the form of a hammock.</p> - -<p>In this way you can have a serviceable hammock, the cost -of which will be about twenty-five cents and a little labor.</p> - -<div class="figcenter" style="width: 475px;"> -<img src="images/i_167.jpg" width="475" height="167" alt="cozy nest for a fairy" /> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span></p> - -<div class="figcenter" style="width: 518px;"> -<img src="images/i_168.jpg" width="518" height="723" alt="two girls playing with corn dolls" /> -<div class="caption">Grandmamma’s Dolls.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p> - - - - -<h2>CHAPTER XV.<br /> - -<span class="small">(<i>FOR LITTLE GIRLS.</i>)</span><br /> - -<small>CORN-HUSK AND FLOWER DOLLS.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_169.jpg" width="254" height="319" alt="N" /> -</div> -<div class="figright" style="width: 109px;"> -<img src="images/i_170a.jpg" width="109" height="354" alt="Fig. 111" /> -<div class="caption">Head Commenced.</div> -</div> -<p class="drop-capi3">NO such beautiful dolls as delight -the hearts of the children of -to-day, ever peeped forth from -the Christmas-stockings of our -grandmothers or great-grandmothers -when they were little -girls. In those times there -were not, as there are now, -thousands of people doing -nothing but making toys for -the entertainment and pleasure -of the little ones, and the -motherly little hearts were -fain to content themselves -with lavishing unlimited affection -and care upon a rag, wooden, or corn-husk baby, made -and dressed at home. Since then almost every child tired of, -and surfeited with handsome and expensive toys, has been -glad at times to get grandma to make for her a real old-fashioned -dollie which might be hugged in rapturous moments of -affection without fear of dislocating some of its numerous -joints, or putting out of order its speaking or crying apparatus;<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span> -and might in times of forgetfulness be dropped on the floor -and suffer no injury thereby. Such a doll is just the kind to -adopt for the summer. The fine French doll with -its delicate wax or china face, silky hair, and -dainty toilets, is more suited to the elegances of -the parlor than to the wear and tear of out-door -life, and everyone knows that summer holidays -spent in the country are far too precious to be -wasted taking care of anyone’s complexion, let -alone a doll’s; so it is best to leave the city doll -in her city home, safe out of harm’s way, and -manufacture, from materials to be found in the -country, one more suited to -country surroundings.</p> -<div class="figleft" style="width: 154px;"> -<img src="images/i_170b.jpg" width="154" height="355" alt="Fig. 112" /> -<div class="caption">The Corn Husk.</div> -</div> -<p>Corn-husks, corn-cobs, -and ordinary garden flowers -can be made into dolls which, -although not quite so pretty -nor so shapely as those produced -from more costly material, -yet possess a charm -of their own which the children are not slow -to perceive.</p> - -<p>Little Indian girls, to whom store babies -are unknown, make the most complete and -durable corn-husk dolls, and the following -directions tell just how to construct them:</p> - -<p>Provide yourself with the husks of several -large ears of corn, and from among -them select the soft white ones which grow -closest to the ear. Place the stiff ends of -two husks together, fold a long, soft husk in a lengthwise strip, -and wind it around the ends so placed as in Fig. 111. Select<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span> -the softest and widest husk you can find, fold it across the centre -and place a piece of strong thread through it (as in Fig. -112), draw it in, tie it securely -(Fig. 113), place it -entirely over the husks -you have wound, then -bring it down smoothly -and tie with thread underneath -(Fig. 114); this will form the -head and neck. To make the arms, -divide the -husks below -the -neck in -two equal -parts, fold -together -two or -more -husks and -insert -them in -the division -(Fig. 115). Hold the arms in -place with one hand, while with the -other you fold alternately over each -shoulder several layers of husks, allowing -them to extend down the -front and back. When the little -form seems plump enough, use -your best husks for the topmost -layers and wrap the waist with strong thread, tying it securely -(Fig. 116). Next divide the husks below the waist and make<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span> -the legs by neatly wrapping each portion with thread, trimming -them off evenly at the feet. Finally, twist the arms -once or twice, tie, and trim them off at the hands. The features -can be drawn on the face with pen and ink, or may be formed -of small thorns from the rose-bush. Fig. 117 shows the doll -complete, minus its costume, which may be of almost any style -or material, from the pretty robe of a civilized lady to the more -scanty garments of its originator, the Indian. The doll is represented -in full Indian costume in Fig. 118. The war-paint and -tomahawk are not necessary here, as he is smoking a pipe of -peace. His apparel is composed of one garment, which is cut -from a broad, soft corn-husk, after the pattern given in Fig. 119. -A narrow strip of husk tied about his waist forms the belt.</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 127px;"> -<img src="images/i_171a1.jpg" width="127" height="374" alt="Fig. 113" /> -<div class="caption">Corn-husk Tied.</div> -</div> -</td> -<td align="left"><div class="figcenter" style="width: 291px;"> -<img src="images/i_171b.jpg" width="291" height="408" alt="Fig. 115" /> -<div class="caption">Head and Arms.</div> -</div> -</td> -<td align="left"><div class="figcenter" style="width: 104px;"> -<img src="images/i_171a2.jpg" width="104" height="405" alt="Fig. 114" /> -<div class="caption">Head Finished.</div> -</div> -</td> -</tr> -</table> -</div> - -<p>His head-dress is made of small chicken feathers stuck at<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span> -regular intervals into a strip of husk. The corn-silk hair is -placed on his head, and on top of that one end of the head-dress -is fastened with a thorn.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 258px;"> -<img src="images/i_172a.jpg" width="258" height="346" alt="Fig. 116" /> -<div class="caption">Head, Arms, and Body.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 234px;"> -<img src="images/i_172b.jpg" width="234" height="291" alt="Fig. 117" /> -<div class="caption">Finished Doll.</div> -</div> -</td> -</tr> -</table> -</div> - -<p>A small twig is used for the stem of his pipe, and two rose-bush -thorns form the bowl. Instead of using a thorn for his -mouth, a round hole is punched in the face and the stem of -the pipe inserted.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 208px;"> -<img src="images/i_173a.jpg" width="208" height="369" alt="Fig. 118" /> -<div class="caption">A Real Indian Doll.</div> -</div> -</td> -<td align="left"><div class="figcenter" style="width: 136px;"> -<img src="images/i_173b.jpg" width="136" height="366" alt="Fig. 119" /> -<div class="caption">The Indian’s Dress.</div> -</div></td> -</tr> -</table> -</div> - -<h3><b>Mary Jane.</b></h3> - -<p>Here is another way of making a doll which is very easy and -simple. First find a young ear of corn, one on which the silk -has not turned brown; then with a crab-apple for a head and -a leaf of the corn to dress her with, you have your material.<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span> -Cut off squarely that end of the ear where the husks are puckered, -to join the stalk, and carefully take the silk from the other -end, disturbing as little as possible the closely wrapped husks.</p> - -<p>Roll part of the leaf (as indicated in Fig. 120) for the arms, -then with a small twig fasten the head to the arms; stick the -other end of the twig into the small end of the corn-cob, and -the doll is ready for dressing. Her bonnet is made of the leaf -just where it joins the stalk (Fig. 121), and is fastened to her -head with a thorn. Before adjusting the bonnet, however, the -silk must be placed on the head to form the hair.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 392px;"> -<img src="images/i_174a.jpg" width="392" height="449" alt="Fig. 120 Fig. 121 Fig. 122" /> -<div class="caption">Material and Parts of Doll.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 171px;"> -<img src="images/i_174b.jpg" width="171" height="428" alt="doll" /> -<div class="caption">Mary Jane.</div> -</div></td> -</tr> -</table> -</div> - -<p><span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span></p> - -<p>Make the scarf of part of the leaf (Fig. 122), fold it around -the shoulders, and secure it with thorns.</p> - -<p>The features also are made of thorns.</p> - -<p>When her toilet is complete, you can but acknowledge that -this rosy-cheeked little maid, peeping from beneath her poke-bonnet, -is very cunning indeed.</p> - - -<h3><b>Flower Dolls.</b></h3> - -<div class="figcenter" style="width: 541px;"> -<img src="images/i_175.jpg" width="541" height="389" alt="two dolls one with baby, one with flower parasol" /> -</div> - -<p>The flower lady with the baby is made of a yellow gourd -flower; the small gourd attached, which has just begun to -form, serves for her head; a green gourd leaf is used for her -shawl, and her bonnet is made of a smaller leaf folded to fit her -head. The baby is a white gourd bud, with a cap made of a<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span> -leaf. A small twig stuck through part of the lady’s shawl, -through the baby, and into the lady doll, holds the child in -place and makes it appear as though clasped in the mother’s -arms.</p> - -<p>The features of both dolls are scratched on with a pin and -then inked. To make the lady stand erect, a small twig is stuck -into the heart of the flower, and the other end into the top of a -small paste-board-box lid.</p> - -<p>The other flower doll is made of the common garden flowers. -The underskirt is a petunia; a Canterbury-bell forms the over-skirt -and waist; small twigs, or broom-straws stuck through -buds of the phlox, are the arms, and the head is a daisy with -the petals cut off to look like a bonnet. The features are made -with pen and ink on the yellow centre. A reversed daisy forms -the parasol.</p> - -<p>If the flowers named are not at hand, those of a similar -shape will answer just as well.</p> - -<p>Gaily dressed little ladies can be made of the brilliantly -tinted hollyhocks, and many other flowers can also be transformed -into these pretty though perishable dolls.</p> - -<div class="figcenter" style="width: 441px;"> -<img src="images/i_176.jpg" width="441" height="154" alt="girl sitting on cob of corn" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span></p> - - - - -<h2>CHAPTER XVI.<br /> - -<small>HOW TO MAKE A FAN.</small></h2> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">“That graceful toy whose moving play</div> -<div class="verse"><span style="margin-left: .5em;">With gentle gales relieves the sultry day.”</span></div> -</div> -</div> - - -<div> - <img class="drop-cap" src="images/i_177.jpg" width="266" height="279" alt="A" /> -</div> -<div class="figright" style="width: 351px;"> -<img src="images/i_178.jpg" width="351" height="566" alt="drawing" /> -<div class="caption">Butterfly Fan.</div> -</div> -<p class="drop-capi">A FAN is only a pretty trifle, -yet it has been made rather -an important one. To manage -a fan gracefully was some -time ago considered very essential -by fair dames of society, -and in the dainty hand -of many a famous beauty it -has played a conspicuous -part. Queen Elizabeth regarded it with so much favor that -she was called the “Patron of Fans,” and she made a rule that -no present save a fan should be accepted by English queens -from their subjects.</p> - - -<p>Although held in such high esteem, it is only since the influx -of any and every thing Japanese that we have had fans in -such profusion, and have discovered how effective they are -when used for decorative purposes.</p> - -<div class="figleft" style="width: 510px;"> -<img src="images/i_179a.jpg" width="510" height="213" alt="diagram" /> -<div class="caption">Diagram of One-half of Butterfly Fan</div> -</div> - -<div class="figright" style="width: 212px;"> -<img src="images/i_179b.jpg" width="212" height="307" alt="Fig. 123 Fig. 125" /> -<div class="caption">Folded Fans.</div> -</div> - -<p>A brilliantly tinted fan is of equal value in giving just the -right touch of color to a costume or the decorations of a room, -and this chapter will show how the girls can make the fans<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span> -themselves, and have for use or for the adornment of their -rooms those of various shapes, sizes, and colors. The first fan -represented here is -made in the form -of a butterfly. The -principal articles -necessary for its -manufacture are a -strip of smooth, -brown wrapping-paper, -stiff enough -to keep its folds, -and two sticks for -handles. The ribbon -which, in the -illustration, ties the -handles together -looks pretty, but is -not indispensable; -an elastic band, or -one made of narrow -ribbon, slipped -over the sticks will -do as well.</p> - -<p>The paper must -be twenty-eight -inches long and five -and one-half inches -wide. In order to -fold it evenly it -should be ruled across with lines one-half inch apart, as shown -in diagram of butterfly (<a href="#Page_179">page 179</a>). When the paper is prepared -the pattern can be copied from the diagram, which is<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span> -half of the butterfly. By counting the lines and using them as -guides for obtaining the proportions, an exact reproduction of -this pattern can be made. The outlines being drawn, the paper -must be plaited, one fold on top of -another, until twenty-seven plaits -have been laid. Smoothing out the -paper again, the butterfly should be -painted with water-colors in flat, -even tints.</p> - - -<p>The lower part of diagram is the -body of the insect and is of a light-brown -color, also the space just below -the head, which is surrounded -by a strip of black.</p> - -<div class="figcenter" style="width: 503px;"> -<img src="images/i_179c.jpg" width="503" height="46" alt="Fig. 124" /> -<div class="caption">Handle.</div> -</div> - -<p>The head and eyes are black, -the eyes having a half-circle of -white to separate them from the -head. The main part of the wings<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span> -are a brownish purple, next to which comes a border of very -dark purple with light-blue spots. The outer border is light -yellow. When the paint is quite dry the extra paper at the -top of the butterfly is to be cut away. Again the fan must be -plaited in the -folds already -formed, and -the plaits -fastened together -at one -end with a -strong needle -and thread, as -shown in diagram -(Fig. 123). -Fig. 124 shows -the shape of the -handles, two of -which are required; -they -should be about -nine inches -long, one-third -of an inch wide, -and one-eighth of an inch thick. A handle must -be glued to the last fold at each end of the fan (see -Fig. 125). The fan should be kept closed until the -glue is dry, when it may be opened and used at pleasure.</p> - -<div class="figcenter" style="width: 393px;"> -<img src="images/i_180.jpg" width="393" height="498" alt="The Mikado Fan" /> -</div> - -<p>Our next sketch is that of the Mikado fan, and represents a -Japanese lady who, with her fan held aloft, is making a bowing -salutation.</p> - -<p>This fan is made of the same paper as that used for the butterfly, -and is cut the same width; there are, however, twenty-nine<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span> -plaits instead of twenty-seven, as in the other. The diagram -gives the pattern in two parts, and the colors it is to be -painted; the face and hands should be of a flesh-tint and the -features done with black in outline. The directions for putting -together the butterfly apply as well to the Mikado fan.</p> - -<div class="figcenter" style="width: 507px;"> -<img src="images/i_181.jpg" width="507" height="407" alt="diagrams" /> -<div class="caption">Pattern of Mikado Fan.</div> -</div> - -<p>The third illustration shows a fan made in the shape of a -daisy. Diagram on <a href="#Page_183">page 183</a> shows a section of the pattern.</p> -<div class="figright" style="width: 348px;"> -<img src="images/i_182.jpg" width="348" height="551" alt="drawying" /> -<div class="caption">Daisy Fan.</div> -</div> - -<p>White paper should be used, and it must be laid in thirty-four -plaits, which will give the flower fifteen whole and two -half petals, the half petals being at each end.</p> - -<p>The tinted part of pattern indicates where it is painted yellow -to form the centre of the daisy.<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p> - -<p>For a plain round fan no pattern is needed. It is made -simply of a strip of paper, of the width used for the other fans, -and has about thirty plaits. When fans of this kind are made -of colored paper in -solid tints they are -very pretty. Pieces -of bright, figured -wall-paper left from -papering a room -can be utilized, and -quite effective fans -be made of them to -use for decoration.</p> - - -<div class="figleft" style="width: 322px;"> -<img src="images/i_183a.jpg" width="322" height="229" alt="drawing" /> -<div class="caption">Pattern for Daisy Fan.</div> -</div> -<p>Another style of -fan is represented -in our last illustration. -It is made of -twenty slats of cardboard -cut after pattern -Fig. 126. These -slats are joined together -at the top and centre with narrow ribbon -passed through the slits cut for it, as shown in -Fig. 127. Over the ribbon where it passes through -the top slits, on the wrong side of the fan, square -pieces of paper are pasted, which hold the ribbon -down securely at these points. The paper is pasted -only at each end of the ribbon in the middle row. It is -best to leave one end of this ribbon loose until the fan is -joined at the bottom; then opening the fan, and drawing the -ribbon until it fits the fan smoothly, it can be cut the right -length and the loose end fastened down. A ribbon is also -used to hold the slats together at the bottom; a bow at each<span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span> -side keeps them in place (see Fig. 128). When a large fan for -decoration is desired, the slats should be about eighteen inches -long, two and a half -inches wide at the -top, and one and a -half inch wide at the -bottom. The fan -may be larger still, -in which case it can -be used as a screen to -set before an empty -fire-place. For this -purpose the slats -have to be two feet -long, four inches wide at the top, and two and a half inches -wide at the bottom.</p> -<div class="figleft" style="width: 303px;"> -<img src="images/i_183b.jpg" width="303" height="256" alt="diagram" /> -<div class="caption">Construction of Cardboard Fan.</div> -</div> - -<p>The proportions of the slats for a small hand-fan are eight -and a half inches long, -one and a half inch wide -at the top, and one inch -wide at the bottom. -The large fans should -be made of heavier cardboard -or pasteboard -than that used for smaller -ones.</p> - - -<div class="figright" style="width: 328px;"> -<img src="images/i_184a.jpg" width="328" height="389" alt="drawing" /> -<div class="caption">Cardboard Fan</div> -</div> -<p>Colored cardboard, -which can be bought at -almost any stationer’s, is -the best to use, but the -slats of ordinary white -cardboard may be covered with colored paper if more convenient.</p> - -<p><span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span></p> - -<p>These fans may be varied to suit the taste of the girls who -make them. Instead of a solid color, one can be made with -alternate slats of red -and white, blue and -yellow, or any other -colors that harmonize. -Another may -show all the tints of -the rainbow, and for -use on the Fourth of -July one might display -the red, white, -and blue.</p> - - - -<p>Some will look -especially handsome -if prettily painted. -A dark-red fan with -a branch of dogwood-blossoms -painted -across it makes a -charming wall decoration, -as does also one of light blue with pine-branch and -cone painted in brown or black.</p> - -<p>A gilt fan lightens up a dusky corner beautifully; it can -be curved around to fit the place, and catching and reflecting -the light at all angles, as it does, it is quite effective.</p> - -<div class="figcenter" style="width: 472px;"> -<img src="images/i_184b.jpg" width="472" height="104" alt="fan and cherubs" /> -</div> - -<hr class="full" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span></p> -<h2 class="faux">AUTUMN</h2> -<div class="figcenter" style="width: 498px;"> -<img src="images/i_185.jpg" width="498" height="201" alt="AUTUMN." /> -</div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span></p> - -<div class="figcenter" style="width: 403px;"> -<img src="images/i_186.jpg" width="403" height="464" alt="girl reading under umbrella on shore" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span></p> - - - - -<h2>CHAPTER XVII.<br /> - -<small>ALL-HALLOW-EVE.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_187.jpg" width="133" height="170" alt="R" /> -</div> - -<p class="drop-capi3">RADIANT and beautiful October, whose -changing color heralds the approach of winter, -gives us our first autumn holiday, if -Halloween can now be called a holiday.</p> - -<p>Before the Christian era, in the days of -the ancient Celts and their priests, the -Druids, the eve of the first of November -was the time for one of the three principal festivals of the year. -The first of May was celebrated for the sowing; the solstice on -the twenty-first of June for the ripening, and the eve of the first -of November for the harvesting. At each of these festivals -great fires were built on the hill-tops in honor of the sun, which -the people worshipped. When Christianity took the place of -the heathen religion, the Church, instead of forbidding the celebration -of these days, gave them different meanings, and in -this way the ancient harvest-festival of the Celts became All-Hallow-Eve, -or the eve of All-Saints-Day, the first day of November -having been dedicated to all of the saints.</p> - -<div class="figcenter" style="width: 435px;"> -<img src="images/i_188.jpg" width="435" height="600" alt="two girls stepping outdoors blindfolded" /> -<div class="caption">Kaling.</div> -</div> - -<p>For a long while most of the old customs of these holidays -were retained; then, although new ceremonies were gradually -introduced, Hallow-Eve remained the night of the year for wild, -mysterious, and superstitious rites. Fairies and all supernatural -beings were believed to be abroad at this time, and to -exercise more than their usual power over earthly mortals. Because -the fairy folk were believed to be so near us on Halloween,<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a><br /><a name="Page_189" id="Page_189">[189]</a></span> -it was considered the best evening of the season for the -practice of magic, and the customs observed on this night became -mostly those of divination, by the aid of which it was -thought the future might be read.</p> - -<p>Before proceeding further with this subject we desire our -readers to appreciate and fully understand that we are far from -wishing to inculcate any superstitious belief in the power of -charms to forecast future events; that we regard all fortune-telling -as nonsense, pure and simple, and only insert it here, -as we would any other game, for the sake of the amusement it -affords. Although, to make our descriptions more intelligible, -we announce the results of charms as facts, we would not have -it understood that they are to be taken as such.</p> - -<p>Nowadays, so practical has the world become, no fairy, -witch, or geni could we conjure up, were we to practice all the -charms and spells ever known to soothsayer or seer. Our busy, -common-sense age allows no fairies to interfere with its concerns, -and these creatures, who existed only in the belief of the people, -must needs vanish, to return no more, when that belief is gone.</p> - -<p>A few fortune-telling games are all that now remain of the -weird ceremonies that once constituted the rites of Halloween, -and the spirit of this old heathen holiday is once more changed, -for it is now considered only an occasion for fun and frolic.</p> - -<p>It was the custom for quite a number of years of some -friends of the writer to give a Halloween party on each recurring -Halloween; and merrier, jollier parties than those were, -it would not be easy to devise. The home which opened wide -its hospitable doors to the favored few on this night is a country-house, -large and spacious; there is a basement under the whole -lower floor, which is divided into kitchen, laundry, and various -store-rooms intersected with passages, and this basement, deserted -by the servants, was given up to the use of the Halloween -revellers. The rooms and passage-ways were decorated<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span> -with and lighted by Chinese lanterns, which produced a subdued -glow in their immediate vicinity, but left mysterious -shadows in nooks and corners.</p> - -<p>Putting aside conventionality and dignity as we laid aside -our wraps, ready for any fun or mischief that might be on -hand, we proceeded down-stairs and into the kitchen, where -a large pot of candy was found bubbling over the fire. This -candy, poured into plates half-full of nuts, was eaten at intervals -during the evening, and served to keep up the spirits of -those who were inclined to be cast down by the less pleasing -of Fortune’s decrees. With plenty of room and no fear of -breaking or destroying anything, which is apt to put a check -upon frolics in the parlor, the company could give full vent to -their high spirits. Now in this room, now in that, again flitting -through the dim passages and around dark corners, each person -seemed to be everywhere at once, and although the party was -limited to about twenty-five, there appeared to be at least twice -that number present. Bursts of merry laughter and little -screams of pretended terror would announce, now and then, that -some charm was being gone through with and someone’s fortune -being told. All sorts of games were played, and the variety -of our entertainment made the evening pass very quickly. -All too soon the hands of the kitchen clock warned the guests -that to reach home at a seasonable hour they must put an end -to their Halloween festivities. A number of the following -methods of telling fortunes were tried at these parties, one -might say with success, for we certainly succeeded in accomplishing -our main object, which was, to have a good time. By</p> - - -<h3><b>Melted Lead</b></h3> - -<p class="unindent">we used to ascertain what the occupation of one’s future husband -would be. The fortune is told in this way: Each girl, in<span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span> -turn, holds a door-key in one -hand, while with the other -hand she pours the melted -lead, from an iron spoon or -ladle, through the handle -of the key into a pan of -cold water.</p> - -<div class="figcenter" style="width: 600px;"> -<img src="images/i_191.jpg" width="600" height="830" alt="lead dripping off spoon into tub" /> -</div> - -<p>In the fanciful -shapes the lead -assumes can be -traced resemblances -to -all sorts -of things. -Sometimes -it is a sword -or gun, which -indicates that a -soldier will win the -fair prize; again, -traces of a ship -may be seen: then -the favored one is to be a sailor; -a plough suggests a farmer; -a book, a professor, or perhaps a minister; -and -when the -lead forms -only drops, -it seems to mean -that the gentle inquirer -will not<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span> -marry, or if she does, her husband will be of no profession.</p> - - -<h3><b>Nutshell Boats</b></h3> - -<p class="unindent">foretell in a general way what their owner’s future life will be. -They should be prepared beforehand in this manner: Split an -English walnut directly in half, remove the -kernel, and clear away any of the partitions -which may remain in the shell; then place a -short piece of heavy cotton string in the shell -and pour around it melted beeswax. Mould -the wax into a cone shape around the string, -as shown in Fig. 129, allowing the end to -come out at the top. Fig. 130 shows what -it is like when finished.</p> - -<div class="figleft" style="width: 146px;"> -<img src="images/i_192.jpg" width="146" height="233" alt="Fig. 129 Fig. 130" /> -</div> - -<p>The tapers first being lighted, several of -these little craft are launched at the same -time, by their respective owners, upon the sea of life, or, in -other words, in a tub of water.</p> - -<p>When a light burns steadily until the wax is all melted, -and the frail bark safely rides the waves (which are occasioned -by stirring the water with a stick, or shaking the tub -from side to side), a happy life is predicted, and a long one.</p> - -<p>When two boats come in contact, it means that their owners -will meet and have mutual interests some time during their lives.</p> - -<p>If one boat crosses another’s path, it denotes that their -owners will do the same.</p> - -<p>If two boats come together and continue to sail about side -by side, their owners will in some way pass much of their lives -together.</p> - -<p>When a boat clings closely to the sides of the tub, refusing -to sail out into the centre, it shows that its owner will be a stay-at-home.</p> - -<p><span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span></p> - -<p>Touching often at the side of the tub is indicative of short -voyages; and extended travel is predicted when a boat seldom -touches the tub.</p> - -<p>It depends a good deal upon the fancy and imagination of -those testing their fate how the antics of the little fleet are interpreted, -and the meanings given to the movements of the -boats create no end of fun.</p> - - -<h3>“<b>Three Luggies.</b>”<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a></h3> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">“In order, on the clean hearth-stane,</div> -<div class="verse"><span style="margin-left: 1.5em;">The luggies three are ranged,</span></div> -<div class="verse"><span style="margin-left: 0.5em;">And ev’ry time great care is ta’en</span></div> -<div class="verse"><span style="margin-left: 1.5em;">To see them duly changed.”</span></div> -</div> -</div> - -<p>The three bowls, or dishes, one containing clear water, one -milky, and the other nothing at all, are placed in a row on the -hearth-stone or table, and the girl wishing to try her fortune is -blindfolded and led up to where the dishes stand. She is then -told to put her left hand into one of the bowls. If she dips her -fingers in the clear water, she will marry a bachelor; if in the -milky water, a widower; and if into the empty bowl, it is a sure -sign that she will live in single blessedness all her days.</p> - -<p>This ceremony must be gone through with three times, and -the hand be dipped twice in the same bowl, in order to make -the prediction of any value.</p> - - -<h3><b>Roasting Nuts</b></h3> - -<p class="unindent">is the charm by which the friendship of anyone may be tested. -The applicant for knowledge on this point names two nuts, one -for her friend and the other for herself, and then places them -side by side upon the grate, or a shovel held over the fire. If -they burn quietly, it is prophetic of a long and happy friendship<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span> -kept up by both parties; but if in roasting they burst with -a loud report and fly apart, they are decidedly uncongenial, -and should not seek much intercourse. The movements of the -nuts while heating are closely watched, for the tempers of the -persons for whom they are named is said to be thus revealed.</p> - - -<h3><b>Kaling</b></h3> - -<p class="unindent">is a mode of telling one’s fortune not as well known, perhaps, -as the foregoing methods. The ceremony is carried out in the -following manner: Two girls are blindfolded and started off on -the path to the kitchen-garden and cabbage-patch, where each -pulls up the first stalk she finds. They then return at once to -the house, where the bandages are removed and the mysterious -stalks examined.</p> - -<p>According to the state of the stalk, so will be the gatherer’s -fate. If it is straight or crooked, large or small, so will the -future husband be; if it has a pleasant taste, or the reverse, -the character of the person will correspond, and the quantity -of earth clinging to the roots denotes whether their riches -will be little or great.</p> - -<p>When there are no cabbages at hand, almost any other garden -vegetable will answer; and if there be objections to going -out-of-doors, vegetables of various kinds, such as turnips, beets, -and parsnips, may be placed on a table, and the persons blindfolded -can choose from them. No doubt the charm will work -as well with the plants upon a table as when they are pulled -from a kitchen-garden.</p> - - -<h3><b>The Magic Mirror,</b></h3> - -<p class="unindent">which is simply a hand-glass on ordinary occasions, and gains its -mysterious power only on Halloween, divulges, under certain -conditions, the delightful secret of how many bits of good-fortune -will fall to one’s share during the ensuing year. The conditions<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span> -are that the person wishing to know how bright her -prospects are shall go to an open window or door from which -the moon is visible, and, standing with her face in-doors, hold -her mirror so that the moon will be reflected in it. The number -of moons she sees there betokens the number of times something -pleasant will happen to her before the advent of another -Halloween.</p> - - -<h3><b>Three Tin Cups</b></h3> - -<p class="unindent">partially filled with water are balanced on the small ends of three -funnels, which are placed in a row on the floor, about two feet -apart. Over these cups, one after another, each member of the -party must leap in turn. Whoever succeeds in leaping over all -three cups without knocking any of them off will make an early -marriage. The person who knocks over one will marry when -not so young. The marriage of the one who tips over two cups -will be deferred until late in life, and she who leaps none of -them safely will not be married at all.</p> - -<p>To guard against wet feet very little water should be put in -the cups—only enough to make the players careful about tipping -them over.</p> - - -<h3><b>The Ring Cake</b></h3> - -<p class="unindent">is always an object of interest at Halloween parties. The cake -itself is made like the ordinary kind, but before it is baked a -plain gold ring is hidden in the dough, not to be taken out -until the cake is cut and it falls to the share of the fortunate -person in whose slice it happens to be found. The ring is -sometimes put in a flour-cake, which is simply flour packed into -a cake-mould so firmly that when it is turned out it retains the -shape of the mould and can be sliced off with a knife. Each -member of the party cuts her or his own section of flour, and -whoever secures the ring, it is confidently stated, will be the first -of the group to marry.</p> - -<p><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span></p> - -<p>Some Halloween games apparently have no particular -meaning attached to them, but seem to be devised for the purpose -of creating as much fun as possible.</p> - - -<h3><b>Bobbing for Apples</b></h3> - -<p class="unindent">is, perhaps, familiar to most of our readers, but we give a description -of it here for the benefit of the few who may not know -the game so well.</p> - -<p>In a large tub full of fresh, cold water several apples are -placed, and it is the object of the participators to take them out -of the water with their teeth.</p> - -<p>As the rosy-cheeked, tempting fruit bobs about within easy -reach, it looks simple enough to secure a prize; but the apples -are so round and slippery, so aggravatingly illusive, that, unless -you thrust your head and neck beneath the cold water, regardless -of consequences, and drive an apple to the bottom, the feat -cannot be accomplished. The girls can seldom be induced to -try their luck in this game, but usually content themselves -with looking on, immensely enjoying the frantic endeavors of -the boys to succeed at any cost.</p> - - -<h3><b>The Apple and Candle Game</b></h3> - -<p class="unindent">is another favorite sport for Halloween, and is played as follows: -From the ceiling is suspended a stout cord, the lower end of -which is securely tied to the centre of a stick about a foot and -a half long. On one end of the stick is fastened an apple, on -the other a lighted candle. The string is set in motion, swinging -back and forth like a pendulum, and the contestants for the -prize stand ready, each in turn, to make a grab for the apple, -which must be caught in the teeth before it can be won. Frequently -the candle is caught instead of the apple, which mishap -sends the spectators off into shouts of merriment; but although -funny, it is at the same time a little dangerous to catch a lighted<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span> -candle in one’s teeth, and we would suggest that a bag made of -cheese-cloth, or like thin material, be filled with flour and tied -to the stick in place of the candle. When the person essaying -to snatch the fruit is struck in the face with the bag, and is -covered with flour instead of the glory anticipated, as much -mirth will result as can possibly arise when the old and dangerous -practice of using a candle is clung to.</p> - - -<h3><b>The Ghostly Fire</b></h3> - -<p class="unindent">should not be lit unless all of the party have strong nerves, for -the light it produces is rather unearthly, and may affect some -members unpleasantly. We, at our Halloween parties, never -omitted this rite, however, its very weirdness proving its strongest -attraction. Salt and alcohol were put in a dish, with a few -raisins, and set on fire. As soon as the flame leaped up we -clasped hands and gayly danced around the table, upon which -burned our mystic fire. The laughing eyes and lips looked in -strange contrast to the pale faces of their owners, from which -the greenish light had taken every vestige of color. The dance -was not prolonged, for it was our duty, before the fire was -spent, to snatch from the flames the raisins we had put in the -dish. This can be done, if one is careful, without as much as -scorching the fingers, and I never knew of anyone burning -themselves while making the attempt.</p> - - -<h3><b>Trying for a Raisin</b></h3> - -<p class="unindent">is a very laughable performance. The raisin, which must be a -good-sized one, is strung on and pushed exactly to the middle -of a soft cotton string about one yard long. Two aspirants for -the prize then take each an end of the string, which they put in -their mouths and commence to chew, taking it up as fast as -they can—the raisin falling to the share of the person who succeeds -in reaching it first.</p> - -<p><span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span></p> - - -<h3><b>A Lighted Candle</b></h3> - -<p class="unindent">is again used in a game which is exceedingly amusing. The -candle is placed upon a table in full view of everyone; then -one of the players is blindfolded, turned around several times, -and set free to seek for the candle and blow out the light, if -possible.</p> - -<p>To see girls, with their hands clasped behind them, going -crazily about the room, blowing at anything and everything, is -very ludicrous. They seldom find the candle, and even when -the table is reached it is difficult to blow in such a direction as -to extinguish the flame.</p> - - -<h3><b>The Fairy’s Gifts</b></h3> - -<p class="unindent">are suggested as a new and original ending of a Halloween frolic.</p> - -<p>The Fairy Godmother, in Mother Hubbard costume, carries -a large basket under her cloak or shawl. She enters the room -and announces that she has a certain number of gifts which she -proposes to distribute among the company. After cautioning -all that the contents must be kept secret, she passes to each person -a folded paper. On one is written “<i>Wealth</i>,” on another -“<i>Honor</i>,” on the third “<i>Fame</i>,” etc., and some of the papers -are left blank.</p> - -<p>Those whose papers contain the names of gifts are then -blindfolded, preparatory to receiving their behests.</p> - -<p>The first is led up and made to kneel before the Fairy Godmother, -to whom she repeats these words:</p> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">Most gracious Fairy, the gift you give</div> -<div class="verse">I shall treasure and keep as long as I live.</div> -</div> -</div> - -<p>Then the paper containing the name of the gift is handed the -Fairy, who reads it aloud very solemnly: “<i>Wealth</i>”—and, turning -to her basket, she takes from it a new dust-pan, to which is -attached a ribbon-loop, at the same time reciting these lines:</p> - -<p><span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span></p> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">Your choice is bad when you intrust</div> -<div class="verse">Your happiness where moth and rust,</div> -<div class="verse">In time, turn all your wealth to dust.</div> -</div> -</div> - -<p>From a paper-bag the Fairy pours a small amount of dust -over the kneeling girl, and hangs the dust-pan around her neck.</p> - -<p>The next person who has drawn a prize is then brought forward -and the performance is repeated, only altering the Fairy’s -speech. For “<i>Honor</i>,” she will say:</p> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">Your honor crowds shall loud declare,</div> -<div class="verse">But in your heart, no crowd is there,</div> -<div class="verse">You’ll find, like <i>Falstaff</i>, “honor’s air.”</div> -</div> -</div> - -<p>The present here is a pair of bellows, from which the Fairy -blows a blast on the bowed head before her as she utters the -word <i>air</i>. The bellows, like the dust-pan, are hung by a ribbon -around the recipient’s neck.</p> - -<p>For “<i>Fame</i>,” the Fairy gives a wreath of roses, and says, as -she adjusts the crown:</p> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">When Fame doth weave a laurel-wreath,</div> -<div class="verse">He weaves this subtle charm beneath;</div> -<div class="verse">“For every evil thought that’s born</div> -<div class="verse">The laurel grows a prickly thorn;</div> -<div class="verse">But where pure thought and love reposes,</div> -<div class="verse">The laurel-wreath’s a wreath of roses.”</div> -</div> -</div> - -<div class="figcenter" style="width: 447px;"> -<img src="images/i_199.jpg" width="447" height="186" alt="two women holding candles" /> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span></p> - -<div class="figcenter" style="width: 437px;"> -<img src="images/i_200.jpg" width="437" height="600" alt="drawing" /> -<div class="caption">Buckeye Portière.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span></p> - - - - -<h2>CHAPTER XVIII.<br /> - -<small>NATURE’S FALL DECORATIONS, -AND HOW TO -USE THEM.</small></h2> - - -<div> - <img class="splittop" src="images/i_201a.jpg" alt="T" width="194" height="126" /> - <img class="split" src="images/i_201b.jpg" alt="" width="119" height="29" /> - <img class="split" src="images/i_201c.jpg" alt="" width="100" height="73" /> - <img class="split" src="images/i_201d.jpg" alt="" width="61" height="78" /> -</div> - -<p class='dropcapstory'>THESE beautiful decorations are free to -all who care to possess them. Every -autumn comes to us laden with ornaments -which no skilled workman can rival. The -graceful golden-rod, so rich in color, sways and -bends over the low stone walls, and in the fields -wild flowers of all kinds grow in great profusion. -White, spreading wild carrot, yellow and white daisies, -light and dark purple asters, and sumach, with -its varied hues, give color to the landscape on our -bright fall days. There are also the queer-shaped pods and -feathery, silky seeds peculiar to some wild plants; among others -the poor “vagabond thistle,” which has donned its robe of -glistening white, although some of its tribe still wear their -faded purple gowns. The latter may be gathered for thistle-puffs, -and all the objects mentioned can be used in home decorations.</p> - -<p>We cannot pass by unnoticed the brown milk-weed pods, -for within the shells, full well we know, are hidden the silvery, -downy seeds which make such pretty milk-weed balls. Here, -too, we notice the rich coloring of bark as well as foliage, the -bright scarlet berries contrasting with the brown, yellow, and -green leaves. The vine, once a fresh green, is now changed to<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span> -deep crimson; even the tiny leaves of the wild strawberry and -some grasses have touches of red on their edges.</p> - -<p>How the rich coloring of autumn differs from the delicate -tints of spring, when the promise was made in bud and leaf, -which is now realized in the bountiful harvests!</p> - -<p>Having such a wealth to glean from, we scarcely know what -to take first; but for decorations to last only a few hours it would -be difficult to imagine anything more brilliantly appropriate than</p> - - -<h3><b>Fresh Autumn Wild Flowers</b></h3> - -<p class="unindent">and small branches of brilliant fall leaves. At the time of this -writing wild flowers are very popular; one of our daily papers -records a wedding which recently took place, where the display -of wild flowers was beautiful in the extreme. Curtains of wood-ferns -were caught back with golden-rod, and a bower of holly -and oak was fringed with clusters of scarlet bitter-sweet berries. -Daisies were also used in abundance, while the beauty of the -little church was enhanced by the masses of white blossoms and -oak-branches.</p> - -<p>This idea can be used advantageously in decorating the -house for evening parties and receptions, or afternoon teas and -coffees. Have the flowers and foliage in masses, the effect is -much better; and if you gather very large, hardy ferns with their -roots attached they will make exceedingly graceful decorations, -and placed in water or wet sand they will remain fresh for days.</p> - -<p>When golden-rod is gathered in its prime it will keep nearly -all winter without fading. Do not put it in water; all that is -necessary is to keep it dry. The rich brown cat-tails should -be treated in the same manner; these must be gathered at their -best, before they are too ripe. Bitter-sweet berries will last for -months and retain a bright red. The old-fashioned honesty, -with its white, satiny pods, keeps perfectly for any length of<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span> -time. The wild rose-bush in the fall is decked with seed-coverings, -which closely resemble scarlet berries; these will -last for many weeks. The -wild clematis, with its -festoons of hazy fluff, will -keep for a long time, and -always looks well when -thrown over and on the -top corner of a portière -and allowed to hang naturally -down a little on -one side, or arranged in a -similar manner over the -tops of windows, doors, -pictures, or wherever it -will look graceful. It should -hang out of harm’s way, as it -is brittle and easily broken when dry.</p> - -<div class="figright" style="width: 311px;"> -<img src="images/i_203a.jpg" width="311" height="427" alt="tree" /> -</div> -<div class="figright" style="width: 509px;"> -<img src="images/i_203b.jpg" width="509" height="194" alt="A Young Decorator." /> -</div> - -<p>For entertainments, the more elaborate -and bountiful the decorations of fresh -wild flowers the more beautiful will the house -appear; but for every-day life during the cold -weather, when we have only the dried fall plants, -we may almost make up for the -lack of fresh flowers by using judgment -and taste in arranging the -dried ones. Though wild flowers<span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span> -are beautiful, you must use taste in their arrangement and not -mingle them together promiscuously, but make a judicious selection, -for where a light bunch of golden-rod would be the -very thing needed to give color to a particular spot, should -the dark cat-tails be placed there the effect might be lost. -There are places where some high, stiff decoration would look -best, and others where the soft, swaying clematis seems to belong. -As with everything else, so with our decorations, we -must seek to have harmony.</p> - -<p>Who has not admired the dark-brown, glossy buckeyes and -horse-chestnuts, and wondered what use could be made of them? -Children love to gather them and come home with their pockets -and baskets full, only to play with them for awhile, and -then the pretty dark balls, each marked with a spot of light -cream-color, are thrown away or lost.</p> - -<p>Now, the next time the buckeyes are collected save every -one and make a</p> - - -<h3><b>Buckeye Portière.</b></h3> - -<p>The writer assures you that you will find it much easier to do -this than she did to make a picture of the curtain, for it is difficult -with a pen-and-ink drawing to give an idea of the richness -of color in the handsome hangings these horse-chestnuts make -when properly fashioned into a portière for hall or doorway. -Two full bushels of buckeyes will be needed to make a curtain -two yards and a half long and one yard and a quarter wide.</p> - -<p>Take a very large, long needle and a strong, waxed thread -a little longer than you desire to have your curtain, make a -large knot in the end of the thread, and commence to string -your buckeyes in the same way as stringing beads or buttons. -Continue until the thread in the needle is exhausted, then tie -the thread in a large knot close to the last buckeye, leaving a -length of three inches of thread. Make your other strands in<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span> -the same way. When all are finished, fasten as many small -screw-eyes in a straight line on a curtain-pole, or a rustic pole -if desired, as there are strands of buckeyes, and tie securely to -each screw-eye one string of buckeyes. When all are fastened -on, your portière is finished and ready to be hung. This is easily -accomplished if the pole used is a regular curtain-pole, as they -always come with brackets; but should your pole be rustic, it -must be supported by bands of strong birch-bark, or leather, as -in Fig. 131. Our illustration shows over the portière a</p> - -<div class="figcenter" style="width: 341px;"> -<img src="images/i_205.jpg" width="341" height="58" alt="Fig. 131" /> -<div class="caption">Birch-Bark Support for Pole.</div> -</div> - - -<h3><b>Panel of Fall Decorations.</b></h3> - -<p>These also look handsome over windows and doors, and you -are at liberty to use ornaments of all styles, for the panels are -placed where there is no danger of anything coming in contact -with them to break off the decorations or mar their beauty. -Any kind of board will do for the panel, rough or smooth, as -you like. Paint the board a pure white, then decide on your -ornaments, which may be a chestnut-branch with bursting burs -attached, sprays of common wayside velvet-leaf with clusters -of pods clinging to them, a piece of black-berry vine with its -twigs, thorns, and dried berries, or branches of buckeyes with -some of the nuts falling from their horned shells.</p> - -<p>Select according to your fancy, and gild the decorations -chosen, then tack them on the panel. It is best to place the -ornaments on the board while the paint is soft and wet, for then -it will help to fasten the decoration more securely; if the paint -be put on thick where the ornaments are to be placed, they will<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span> -lie partially embedded in the paint, and when it dries they will -appear as if carved from the wood.<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a></p> - -<p>A white and gold panel made in this way is very pretty and -inexpensive.</p> - -<p>The fall decorations also enable us to make a very effective</p> - - -<h3><b>Louis Quinze Screen.</b></h3> - -<div class="figleft" style="width: 204px;"> -<img src="images/i_206.jpg" width="204" height="373" alt="Fig. 132" /> -<div class="caption">Hinge for Louis Quinze Screen.</div> -</div> - -<div class="figright" style="width: 472px;"> -<img src="images/i_207.jpg" width="472" height="239" alt="Fig. 133" /> -<div class="caption">Hoops Fastened Together for Louis Quinze Screen.</div> -</div> - -<p>For this it is necessary to have two small wooden hoops, such -as children roll along the streets; fasten these together with a -strong piece of white tape, two or -three inches wide, cut the end of -the tape bias, tack this on the side -of one of the hoops, bring it around -between and over the other hoop, -and tack it again, repeat the operation -and the hinge will be finished -(Fig. 132). If you look at the hinge -on a wooden clothes-horse you will -understand how to make one. Fig. -133 shows the hoops fastened together. -Now cut two pieces of coarse, -strong cotton cloth, a little larger -around than the hoops, and place -one of the pieces smoothly over one -of the hoops; tack it down, driving -the tacks in far apart, and so that -they can be easily extracted; if the -cloth wrinkles, keep changing it until -the surface is perfectly even; when this is accomplished carefully -tack the covering securely down, keeping it smooth and<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span> -without wrinkles. In like manner tack the remaining piece of -cloth on the other hoop. Next get four broomsticks and cut a -notch on each one, at exactly the same distance from the top, for -the hoops to fit in. Then measure where you wish the hoops to -be placed and cut another notch on each stick a certain distance -from the bottom; all the sticks must be of the same length and -have the notches cut in the same places, so each one may be a -duplicate of the others. Mark the hoops where the sticks are -to fit, and then fasten them firmly on with small screws. Make -the screen strong, so that there will not be any danger of its -coming apart. Give each cloth a sizing of common flour-paste -on both sides, then scrape off all the paste with a knife; in this -way the cloth will be starched and prepared to receive the paint. -When the screen is thoroughly dry, sew a branch across one of -the disks and some waxed fall leaves in the places where they -would naturally lie on the branch; when these are securely attached, -decorate the other disk with something different; acorns -can be used if cut in halves; but never place any ornaments on -the screen which will not lie flat, for if they stand out they will<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span> -be broken off or injured by persons passing and brushing against -them. Now give the screen a coat of white paint all over, including -the branch and leaves, but do not paint the hinge. Set the -screen away until it is perfectly dry, then gild the branches and -leaves, connecting the latter with the twigs by painting a line of -gold between the two. Gild a ring around each pole near the -top and another near the bottom, and cover the edges of the -hoops where the cloth has been fastened on by tacking white -gimp around each one, using fancy brass-headed tacks and -placing them at equal distances apart; this completes the ornamental -screen.</p> - -<div class="figcenter" style="width: 514px;"> -<img src="images/i_208.jpg" width="514" height="433" alt="drawing" /> -<div class="caption">Louis Quinze Screen.</div> -</div> -<div class="figright" style="width: 363px;"> -<img src="images/i_209.jpg" width="363" height="719" alt="A Panel of -Field-Corn" /> -</div> -<p><span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span>Should you desire -it, the screen -can be painted -black or any -other color, and -the decorations -bronzed instead -of gilded. The -bronzes come in -different shades, -and the color of -real bronze can -be easily copied.</p> - - -<h3><b>A Panel of -Field-Corn</b></h3> - -<p>As an ornament -for the dining-room -is very decorative -and easy to make. -When the corn -ripens, select -some nice, firm, -golden ears, with -husks and without; -then break -off pieces of cornstalk -and group -them together, as -in the illustration; -cover a board of<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span> -requisite size with a piece of old black velvet; if you have no -velvet, paint the board black, and after tying the corn firmly -together, tack it securely on the board, and the dark background -will bring out the many yellow tints of the decoration -beautifully; fasten two screw-eyes in the back of the board, by -which to attach the wire, and the panel will be ready to hang -on the wall.</p> - -<p>The corn can also be fastened to a rough board of the desired -size and the panel and decoration bronzed, using green -bronze for the background and portions of the group, while all -the edges and prominent points should be of copper-colored -bronze.</p> - -<p>Early in November the many varieties of gourds ripen, and -their odd and fantastic forms seem like nature’s suggestions of -the unique in ornamentation. So suggestive are they that it -needs but little originality to make them into many useful and -beautiful articles. As a decoration for looping over the poles -of portières, and for holding back draperies, these</p> - - -<h3><b>Ornamental Gourds</b></h3> - -<p class="unindent">are convenient. They must first be allowed to become perfectly -dry; then they can be made into tasselled festoons. Take six -mock-oranges, which imitate so closely our real oranges in -color, size, and form, and cut a hole about the size of a silver -dime in the top and bottom of each one; then shake out the -seeds. To make the openings in the gourds, first bore a small -hole with the point of a large needle, then twist the needle -around and around until it will easily pass through. Next, -carefully enlarge the opening with a sharp penknife until it is -of the stated size. Make a rope two yards and a half long of -Persian colored wools or worsted; on the end fasten a slender -tassel, six or seven inches long, made of the same worsted; now<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span> -string one of the bright orange-gourds on the rope down against -the tassel, which should be large enough to prevent the gourd -from slipping off; make another similar tassel, and attach it to -the rope about twelve inches from the first one, and thread another -gourd on the rope, bringing it down against the second -tassel; proceed in like manner with the remaining gourds, -making a tassel for each one, and you will have a decoration -unlike any to be found elsewhere.</p> - -<p>We are all more or less familiar with the</p> - - -<h3><b>Gourd-Dippers</b></h3> - -<p class="unindent">so common in the South, where, in olden times, scarcely a spring -bubbled in a rustic nook that was not supplied with its drinking-gourd. -These dippers are made by sawing an opening in the -large part of the gourd, scraping out the contents, and making -the inside as smooth as possible with sand-paper. They need -no ornamentation.</p> - -<p>The kind of gourds resembling flattened globes can be made -into graceful and unique</p> - - -<h3><b>Bowls.</b></h3> - -<p>The gourds must be sawed into two parts, with the inside of -each sand-papered, and flowers painted, with oil-colors, on the -outside. After they have thoroughly dried, give a coat of white -varnish to both the inside and outside. A pretty</p> - - -<h3><b>Bonbon-Box</b></h3> - -<p class="unindent">can be fashioned of one of these gourds. Saw off the top, which -will serve as a lid, and fasten it to the bowl with narrow ribbons -tied through holes at the back of each; line both lid and box -with satin by gluing it along the edges with stiff glue put on<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span> -sparingly, and cover the raw edge of the satin with chenille; -this is also put on with a little glue. Do not allow the chenille -to interfere with the closing of the box, but place it along the -inside edge of the box and lid.</p> - -<p>Another form is the</p> - - -<h3><b>Bottle-Gourd.</b></h3> - -<p>Ornament this with ivy-leaves painted as if twined around -bowl and neck, and when the paint is dry varnish the gourd -all over; if you wish it for use as well as decoration, saw off -the top about two or three inches deep, shake out the seeds, -then fit a cork in the piece cut off, and so glue it in that the -cork may extend an inch downward to fit in the bottle.</p> - -<p>The large egg-shaped gourds look well as</p> - - -<h3><b>Vases.</b></h3> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> - -<td align="left" rowspan="2"><div class="figcenter" style="width: 201px;"> -<img src="images/i_212.jpg" width="201" height="194" alt="Fig. 134" /> -<div class="caption">Wire Twisted for Feet of Gourd-Vase.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 147px;"> -<img src="images/i_212b.jpg" width="147" height="71" alt="Fig. 135" /> -<div class="caption">Foot Bent Down.</div> -</div></td> -</tr> -<tr> -<td align="left"><div class="figcenter" style="width: 257px;"> -<img src="images/i_212c.jpg" width="257" height="147" alt="Fig. 136" /> -<div class="caption">Finished Wire Feet for Gourd-Vase.</div> -</div></td> -</tr> -</table> -</div> - - - -<p>Select a deep-colored gourd, saw off the top and scrape out -the inside; then varnish the vase and mount it on feet of -twisted wire, made according to Fig. 134; bend down the feet, -as in Fig. 135, when the wire will be formed into Fig. 136. To<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span> -fasten this on the vase, first bore holes in the bottom of the -gourd, then sew the feet firmly on, passing the needle through -the holes previously made and bending the wire a little to fit to -the gourd. Gild the wire feet, and your vase is finished. Another<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span> -way is to save the top sawed off, fasten an ornament of -twisted wire on the top of it, and then, after making the vase -as the one just described, add bands of gilded cardboard made -to fit the gourd, fastening them to the vase with glue. Handles -can also be fashioned of cardboard and sewed to the upper -band before it is glued to the vase, as in the illustration.</p> -<div class="figcenter" style="width: 376px;"> -<img src="images/i_213.jpg" width="376" height="574" alt="drawing" /> -<div class="caption">Ornamental and Useful Gourds.</div> -</div> - -<p>There are many other ways of utilizing gourds, but we will -leave it to your ingenuity to think up new and pretty conceits.</p> - -<p>Pine-cones, large and small, acorns, and balls from the sweet-gum -tree, can be used as</p> - - -<h3><b>Small Decorations.</b></h3> - -<p>Never try to fasten them by the natural stems, for these -will soon break off, but place in each one a small screw-eye, -and when tied in groups they form ornaments for waste-baskets -and fancy baskets of all kinds. We have seen chandeliers -with gilded cones hanging from the different points, -and being the identical color of the chandelier, they seemed -of the same metal, and added novelty and grace to its appearance.</p> - -<p>There are some varieties of the tree-fungi which make dark, -rich-colored</p> - - -<h3><b>Brackets.</b></h3> - -<p>Use heavy cardboard or thin board as a covering for the -back; have this fit the fungus perfectly, and fasten it securely -in position with very stiff glue or nails. Paint the back the -same color as the fungus, and on either side of the upper edge -place screw-eyes by which to fasten up the bracket.</p> - -<p>Many of the curiously formed galls and oak-apples to be -found on different trees can also be employed as ornaments.</p> - -<p>Nothing can be finer than our brilliant autumn season, which<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span> -is said to be more beautiful in this than in other countries, with -its crisp mornings and bright sunny afternoons.</p> - -<p>When the weather is too lovely to remain in-doors, and all -nature invites us out, then is the time to gather our fall decorations.</p> - -<div class="figcenter" style="width: 443px;"> -<img src="images/i_215.jpg" width="443" height="105" alt="a paintbox on a branch" /> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span></p> - -<div class="figcenter" style="width: 448px;"> -<img src="images/i_216.jpg" width="448" height="600" alt="drawing of girl sitting on fence under branch with squirrel on it" /> -<div class="caption">The Little Brown Squirrel.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span></p> - - - - -<h2>CHAPTER XIX.<br /> - -<small>NUTTING-PARTIES.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_217.jpg" width="204" height="206" alt="O" /> -</div> - -<p class="drop-capi2">OFF they go with bright, laughing eyes and -glowing cheeks, each one carrying -a light little basket or fancy bag -slung carelessly on her arm. The -girls are full of life and spirits as -they walk briskly along toward -the woods in the delightful fall -weather, talking and laughing in -a happy, thoughtless fashion, now -telling where the best nuts are to -be found, the shortest route to take, or where the prettiest walks -lead, and again lingering or stopping to admire the many wonderful -beauties of autumn. Leaving the road they enter the -woods, where the dry leaves rustle pleasantly beneath their feet, -and in some places the gold and brown leaves through which -they walk lie ankle-deep.</p> - -<p>All this is fully enjoyed by the party as they proceed on -their way discussing the best place for lunch, which consideration -is quite important, as it is necessary, if possible, to be near -a clear, cool spring; otherwise the water must be transported.</p> - -<p>Arriving at the selected spot about noon, all bring forward -their baskets and bags to contribute the contents to their -“nutting-dinner.” Soon the white cloth is laid and the tempting -feast spread, when the hungry but merry maidens gather<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span> -around to relish their repast in the forest, where, all about, are -seen sure signs of coming winter.</p> - -<p>The airy dining-hall is carpeted with the softest moss, and the -gorgeous coloring of the surrounding foliage is far more beautiful -than the most costly tapestry, while the sky forming the -roof is of the serenest blue.</p> - -<p>Now and then the sound of falling nuts is heard as they drop -from the trees. This is music in the ears of the girls, and they -hurry through their lunch, collect the empty baskets, and are -soon busy gathering the glossy brown chestnuts, which are -thrashed down from the branches by some of the party, who -use long poles for the purpose. Down comes the shower of nuts -and burs, and away the party scamper to patiently wait until it -is over, as the prickly burs are things to be avoided. Some wise -girls have brought tweezers to use in pulling open these thorny -coverings. Others have their hands well protected by heavy -gloves which cannot easily be penetrated with the bristling -spikes.</p> - -<p>It does not take long to fill their bags, and the one who first -succeeds in the feat receives the title of “Little Brown Squirrel.” -Then all the others, for the rest of the day, obey her wishes. -Nor is this difficult, for their Little Brown Squirrel is blithe -and gay, generous and kind, and does all in her power to -render her subjects happy.</p> - -<p>As they turn their faces homeward the girls plan for another -nutting-party to come off soon, for they wish to make the most of -the glorious Indian summer, which belongs, we claim, exclusively -to our country, and which may last a week or only a few days.</p> - -<p>The chestnuts are brought home, where in the evening some -are eaten raw, others have the shells slit and are then roasted -or boiled, making a sort of chestnut festival, as in the North of -Italy, only of course on a very much smaller scale, for there the -peasants gather chestnuts all day long and have a merry-making<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span> -when the sun goes down. This harvest -lasts over three weeks and is a -very important one to the dark-eyed -Italians, who dry the nuts and grind -them to flour, which is used for bread -and cakes during the barren season. -The harvest in the Apennines is quite -an event, as the trees are plentiful, -the fruit is good, and the people gladly -celebrate the season.</p> - -<p>Our thin, white-shelled shag-bark -hickory-nut is peculiarly American, -and many a nutting-party have found -its delicate and agreeable flavor very -welcome when, gathered around a -large rock, they crack a few to sample -their fruit before returning home. -These nuts are only cooked by covering the kernels with hot -candy, and thus prepared, they make a delicious sweetmeat.</p> - -<div class="figright" style="width: 200px;"> -<img src="images/i_219a.jpg" width="200" height="362" alt="catkin" /> -</div> -<div class="figright" style="width: 502px;"> -<img src="images/i_219.jpg" width="502" height="253" alt="drawing" /> -<div class="caption">Blossom and Fruit of the Chestnut-Tree.</div> -</div> -<p>When cracking hickory-nuts, hold each nut firmly by the<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span> -flat sides, bringing uppermost one of the narrow sides; strike -this and the nut will open so that the halves fall out, or may -be easily extracted, and occasionally the kernels will come out -whole. We have seen quaint little figures, with the heads -made of hickory-nuts, the pointed end forming the nose, and -the eyes and mouth marked with ink, giving a comical expression -to the peaked face.</p> - -<p>The neat little three-cornered beech-nut is easy and pleasant -to gather, making a desirable change for the “nutters” after -going for other kinds, and the trees with their beautiful foliage -render the scene very attractive. But not more so than do the -lofty and stately walnut-trees with their rich, brown fruit encased -in such rough shells, whose outside covering is so juicy -that, unless we are very cautious, it will stain our hands its own -dark color. The black-walnut tree (J. nigra) is indigenous to -the United States, and we are informed that a celebrated specimen -is still standing at Roslyn, L. I., where the seed was -planted in 1713. The tree measures twenty-five feet in circumference -at three feet from the ground.</p> - -<p>Butter-nuts, so significant during our civil war, also belong to -America; the meat, though quite oily, is sweet and agreeable.</p> - -<p>Butter-nuts will repay anyone for gathering them, though, -like the walnut, the outer husk is apt to stain the fingers; but -this may be avoided by wearing gloves while handling the -fruit. The cross-sections of the shells, when properly polished, -make pretty ornaments.</p> - -<p>Although we are all fond of the round little hazel-nut, they do -not seem to be as plentiful as could be wished, and it is seldom -we have the pleasure of going hazel-nutting, yet when the opportunity -occurs, it is rare sport and an event to be talked of -afterward.</p> - -<p>Nuts are to be found in all portions of the country, and the -varieties depend upon the section in which you live.</p> - -<p><span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span></p> - - -<h3><b>Rules for Nutting-Parties.</b></h3> - -<p>1. In selecting the members of a nutting-party be careful -to choose only those on whom you can safely depend for cheerfulness, -kindly -feeling, and a -willingness on -their part to -do all in their -power to assist, -should occasion -arise, in letting -down the bars of a fence, -going for water, or anything -which might happen to require -their services.</p> - -<div class="figleft" style="width: 424px;"> -<img src="images/i_221.jpg" width="424" height="577" alt="drawing" /> -<div class="caption">Pea-Nut Vine and Fruit.</div> -</div> - -<p>2. Decide by majority any case of -controversy in regard to destination, the best -place and way of crossing a brook, which -route to take, or in fact any question -concerning the comfort and -pleasure of the party, until the -“Little Brown Squirrel” wins her -title. Then she rules -absolutely and settles all -questions according -to her best -judgment, giving -council and friendly -advice to -those who -ask it. All -differences being referred to her, the decision is considered<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span> -final, and the party must obey when their Little Brown Squirrel -directs.</p> - -<p>3. The one who gathers the greatest quantity of nuts in a -given time wins, and receives the above much-desired title. -The standard of measure being previously decided upon by the -party, the time may be either long or short, as desired.</p> - -<p>4. The badge given to the successful competitor may consist -of fall leaves or nuts tied with a brown ribbon. This she keeps -in remembrance of the delightful day spent nutting in the woods -when she was a Little Brown Squirrel.</p> - -<p>Select, if possible, a day in Indian summer for your nutting-party, -and it is well to wear a gown that will not easily tear, -catch the dust, or spot—not that these accidents are always to -be met with on such excursions, but they might happen, and -we must be on the safe side, so that no thought or anxiety -need be given to the clothing.</p> - -<p>If your party contemplates a series of nutting-picnics, propose -that they shall go for different varieties each time. This -will add novelty and zest to the excursions; and should the -distance in some cases be too great for a walk, secure a vehicle -with a good reliable driver, and the ride will be particularly -enjoyed. This mode of travelling procures another change in -the programme, which should be as varied as you can make it. -Let the plates for your dinner be of wood or paper, to avoid -the necessity of carrying them home. A table-cloth made of -large sheets of white paper is a good substitute for damask, and -after doing service the paper may be thrown away, leaving -your baskets entirely empty to be filled with nuts.</p> - -<p>There grows a nut, highly prized, that is never gathered by -nutting-parties. Nor could they see it if they examined every -tree throughout the country. Yet it flourishes in this climate, -and may be seen any day at the fruit-stores and corner-stands. -The shells of these furnish odd fancies for little trifles made by<span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span> -girlish fingers. Cut in the shape of slippers and glued to a -card, they seem suitable for a wood-nymph, and the card is -used as a birthday or <i>menu</i> card. Strung together with needle -and thread, and dressed in costume with black thread for -hair, they make quite a good-looking Japanese.</p> - -<p>Glued on a twig and marked with ink in representation of -the birds, they look not unlike owls perched on a limb. When -divided in halves the shells are transformed into tiny boats with -tissue-paper sails. This nut boasts of four names: gouber, pindar, -ground-nut, and the familiar name of pea-nut.</p> - -<div class="figcenter" style="width: 439px;"> -<img src="images/i_223.jpg" width="439" height="135" alt="tiny boy on limb picking nut, squirrel behind him" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span></p> - - - - -<h2>CHAPTER XX.<br /> - -<small>HOW TO MAKE A TELEPHONE.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_224.jpg" width="96" height="148" alt="H" /> -</div> - -<p class="drop-capi3">HELLO! Hello! What is it you say? You can -really make a telephone? What fun! How far -will it work? You think it can be heard a long -distance? Very good. Could we manage to -construct such a one? How, pray tell us?</p> -<div class="figright" style="width: 110px;"> -<img src="images/i_225a.jpg" width="110" height="203" alt="Fig. 137" /> -</div> - -<div class="figleft" style="width: 141px;"> -<img src="images/i_225b.jpg" width="141" height="278" alt="Fig. 138" /> -</div> -<p>The answer which came back over the line -we give in a more concise form, as follows:</p> - -<p>The best way to make a simple telephone is to procure two -round, medium-sized tin baking-powder boxes, and remove the -bottoms with a pair of pinchers; then soak two pieces of -Whatman’s drawing-paper, or any other strong paper, in a basin -of water for a few moments, and when thoroughly wet take -them out and place one smoothly over the end of each box. -Fasten these down by winding a waxed cotton twine securely -over the paper and box, and tying it tightly (Fig. 137). This -done, allow the drums to become wholly dry, when they should -be firm, even, and without wrinkles. Next cut away that portion -of the paper which stands out, frill-like, beyond the string, -and paste a narrow strip of paper around over the twine (Fig. -138). Wax a piece of string of the desired length, and with a -large needle or pin carefully punch a hole in the centre of each -drum; thread one end of the waxed string through one of the -holes and make a large knot in the end, then cautiously pull -the string until the knot rests on the inside surface of the paper.<span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span> -Connect the other box to the string in like manner, so that the -twine will have a box fastened on each end.</p> - -<div class="figcenter" style="width: 506px;"> -<img src="images/i_225c.jpg" width="506" height="256" alt="Fig. 139" /> -</div> - -<p>The telephone is now ready for use; and if the distance is -short, the line may be stretched taut from -point to point. But should -the space be great, supports -will be needed and loops -must be made of the twine -and fastened at intervals on -trees, corners of the houses, -or any available points, with -the connecting cord passed -through these loops (Fig. -139), which act as supports. -Keep the course of the waxed string as -straight as possible, and, as far as practicable, -avoid sharp angles. This style of telephone we know, -from personal experience, works perfectly at the distance of -fifty yards, and doubtless it will do as well when the line is -stretched much farther. Be particular, in selecting the tin<span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span> -baking-powder boxes, to have them round and even; if they -are old and battered the experiment may not prove satisfactory. -We find the telephone very -useful and convenient, besides -affording any amount -of amusement and fun; with -its aid we converse with acquaintances, -even though -they be at a distance. The -friendly little instrument carries -the voice all along the -slender line to the very ears -of our best friend, and we -can chat away as freely and -almost as easily as if side by -side. What a comfort to be -able, when seated in your -own room, to listen to the -voice of some companion, -living perhaps blocks away, -and it is such a pleasure, too, to have questions answered -immediately, which is impossible in communications made by -letter. Nor is this a pleasure to be enjoyed at rare intervals, -for as long as the telephone lasts it can be used at any time -for a short or long talk, as one may feel inclined. The consultations, -the plans, the sport, and merriment to be had with -the telephone can scarcely be appreciated by one who is not -the happy possessor of such an instrument.</p> - -<div class="figleft" style="width: 254px;"> -<img src="images/i_226.jpg" width="254" height="358" alt="girl seated holding can to ear" /> -<div class="caption">Listening.</div> -</div> - -<p>When the weather will not permit of a walk or a visit, the -telephone brings us, if not face to face, at least within speaking -distance of those to whom we desire to talk.</p> - -<p>There are many other easy methods of making telephones. -They can be manufactured as described without waxing the<span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span> -string, or the boxes may be used unaltered, in which case the -tin bottoms serve as drums, and the holes for the string are -made in the centre of each by driving a small tack through. -With these instruments the voice cannot be sent a great distance, -but when only a short line is needed they succeed very -well.</p> - -<p>More complicated telephones are made with the drums of -bladder and the line of soft, flexible wire. Though good and -serviceable, they are more -difficult to make and require -more time and labor.</p> - -<div class="figright" style="width: 282px;"> -<img src="images/i_227.jpg" width="282" height="454" alt="girl speaking into can" /> -<div class="caption">Speaking.</div> -</div> - -<p>The two beef-bladders -used for such a telephone -must first be blown up, tied, -and left about thirty hours, -or until they are stretched, -but not dried. When in -proper condition, cut off the -necks and portion of the -ends, then soak them in -warm water, and they will -become very pliable and -light in color. Having previously -prepared two square -pieces of board by very carefully -cutting out a perfect -circle in the centre of each, -about as large as a medium-sized -pie-pan or a tea-plate, -place the bladders smoothly -but not tightly over the -openings, allowing the outside of the bladder to come on the -bottom, and fasten it all around the circle, a little distance<span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span> -from the edge, with tacks so driven in that they may be easily -removed.</p> - -<p>Try the drums with your finger; if they stretch evenly they -are correct, if they wrinkle, change them until they stretch perfectly -smooth. Then tack a piece of firm tape securely around -the edge of the circle, and cut off the bladder reaching beyond -the tape. Next fasten four feet of soft, flexible wire to a large-sized -gutta-percha button by threading it through the two opposite -holes in the centre of the button; pass the other end of -the wire through the middle of the bladder, bringing the button -flat against its surface.</p> - -<p>After attaching a weight of about seven pounds to the end -of the wire, place the drum in the sun until perfectly dry. Proceed -with the other in the same manner, and when both are -well dried, fasten one on each end of the line and attach the -drum-wires to the principal wire by loops; then stretch it firm -and tight. This telephone will also need loops for supports, -which should be of wire. When the instrument is carefully -and properly made it will carry the voice three or four miles or -more, giving every word and tone distinctly and clearly.</p> - -<div class="figcenter" style="width: 451px;"> -<img src="images/i_228.jpg" width="451" height="182" alt="girl talking to animal on can-phone" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span></p> - - - - -<h2>CHAPTER XXI.<br /> - -<small>HOW TO DRAW.<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a></small></h2> - - -<div> - <img class="drop-cap" src="images/i_229a.jpg" width="148" height="247" alt="W" /> -</div> - -<p class="drop-capi3">WOULD you like to learn to draw, to sketch -from nature? Don’t you think that it -would be delightful to be able to take out -your pencils and paper and copy some scene -you want to remember, or produce a likeness -of any bird or animal which strikes your -fancy?</p> - -<p>Many will say, “I’d like it very well, but -I <i>can’t</i> draw.”</p> - -<p>You can write, can hold a pencil, and -trace lines upon the paper; and if you can -do this, you can draw a little. A girl -who can learn anything can learn to draw -if she will give the same attention to it -that she gives to other things.</p> - -<div class="figleft" style="width: 157px;"> -<img src="images/i_229b.jpg" width="157" height="156" alt="diagram of cube Fig. 140" /> -</div> - -<p>Now we are not going to talk about -copying pictures which someone else has -already drawn, for there is not much satisfaction -in making imitations of other -people’s work; it is much more gratifying to make the original -drawings ourselves; but to do this we need some direction.</p> -<p><span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span></p> -<p>The reason it is easier -to copy a picture than to draw -the real object is because the -lines to be copied are all laid -out on the flat surface of the -picture; but to draw the object -we must find out where to trace -the lines for ourselves.</p> - -<div class="figright" style="width: 233px;"> -<img src="images/i_230a.jpg" width="233" height="256" alt="Fig. 141" /> -</div> - -<p>For instance, suppose we are -to draw a flower-pot and plant. -If we have the picture before -us, we can readily see where all -the lines are placed upon the paper, but in viewing a real plant -and pot we are apt to become confused in trying to discover the -directions and proportions of the lines.</p> - -<div class="figleft" style="width: 450px;"> -<img src="images/i_230b.jpg" width="450" height="362" alt="man sitting on ground Fig. 142" /> -</div> - -<p><span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span></p> - -<p>Therefore we must learn <i>to see things as they appear</i>, not as -they really are. This may seem strange to you, because one -is apt to think that a thing must appear as it is; but let us look -into the matter.</p> - -<p>We will take a square box (Fig. 140). Now, we know that -all the sides are the same size, that the top is as large as the -side, and that one side is as large as another; -but if you try to draw it so, you will -find it impossible, because, although you -know that the top and sides are the same -size as the front, they do not look so, and -you draw things as they look, not as they -really are.</p> - -<p>What would our cube look like if we -tried to make the sides K and H just like -the side I? Why, like Fig. 141. Don’t -you see that would be no box at all?</p> - -<div class="figright" style="width: 140px;"> -<img src="images/i_231.jpg" width="140" height="405" alt="Fig. 143" /> -</div> - -<p>Take another example. We all know -that a man’s leg is longer than his arm, but -it doesn’t always appear so. Measure the -arms and legs of Fig. 142, and you will see -by actual measurement the arms are longer -than the legs, and yet it looks right, because -the legs are projected toward you; -in other words, the legs are <i>fore-shortened</i>.</p> - -<p>The great secret of drawing from nature is to train the eye -to see a real object just like a picture.</p> - -<p>Now let us return to our flower-pot again. We will suppose -we are drawing from a real flower-pot and plant. We determine -how large we will make our sketch, and begin operations by -drawing a vertical line (a straight upright line). Along this line -we will mark out the proportions of the plant and pot, as in -Fig. 143.</p> - - -<p><span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span></p> - -<p>We may easily discover that the plant is longer than the pot. -This can be done by holding the pencil upright before the eye -at arm’s length, as in Fig. 144, so that it will cover the pot, and -measuring by the thumb the height of the pot, then raising the -arm so as to cover the plant, and comparing the measurement -of the pot with the plant. The lines drawn from the eye (Fig. -144) show how the pencil makes the measurement on the object.</p> - -<div class="figleft" style="width: 414px;"> -<img src="images/i_232.jpg" width="414" height="303" alt="Fig. 144" /> -</div> - -<p>After settling the question of the height of the flower-pot -and plant, we will mark the measurements on the line. And -now we will draw in the pot, leaving the straight line through -its centre.</p> - -<p>On observing the plant we will see that it is not exactly -straight, and here again the straight line will be of assistance.</p> - -<p>By holding up our pencil, which represents the straight line, -we will discover that the main stem of the plant leans considerably -to the left. Guided by the line, we can get the curve of -the stem about right. Now we sketch the stem. Along the -straight line we again measure the distance from the top of each<span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span> -leaf and flower to the pot, as in Fig. 145. We can see several -leaves, each reaching a certain height. Observing the same -plan of measurement, we find that the top of the lowest leaf is -about the same height from the pot as the height of the pot itself, -and again from the top of the lowest leaf to the top of the -plant measures the same distance.</p> - -<div class="figright" style="width: 156px;"> -<img src="images/i_233.jpg" width="156" height="366" alt="Fig. 145" /> -</div> - -<p>By drawing another vertical line just touching the right side -of the pot, we find that it touches the extreme -edge of the leaf. Thus we find the -exact situation of the leaf. By the same -method we find the right places for the -other leaves and flowers, and after we -know just where they belong, we draw -them in, and find that we have produced -a very creditable outline from nature.</p> - -<p>We need not confine ourselves to one -or two guiding lines in sketching an object; -in fact, we may use as many straight -lines as will help us to get the correct proportions; -not only vertical and horizontal -lines, but slanting lines will also assist us -in most cases.</p> - -<p>The sketch of a dog (Fig. 146) will -give an idea of the way to employ all -lines necessary in sketching from nature. -A few words will be all that is necessary to explain this illustration.</p> - -<p>There lies the dog on the floor, and we seat ourselves at a -little distance from it with pencil and paper. We will start off -with a horizontal line (A); then we can form some idea as to -whether the little dog lies along a straight line, or in case the -bottom line slants, how much it slants. Then draw the vertical -line (B E). Now suppose we hold our pencil upright, in such a<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span> -position as to touch the back of the knee-joint of the foreleg, -we will find that it passes through the middle of the dog’s back, -as represented by -the line (B E); so -we have found the -places for these -parts.</p> - -<div class="figleft" style="width: 351px;"> -<img src="images/i_234a.jpg" width="351" height="203" alt="Fig. 146" /> -</div> - -<p>Another horizontal -line (C D) -drawn above the -first will touch just -over the right eye, -pass through the middle of the left ear, through the middle of -the neck, cut off the foreleg, and run along the top of the two -hind legs, passing through the knee of the left one. This will -show us that the top of the right eye, the ear, and the top of -both hindlegs are on a line. It will also help us to get the -proportions above and below the line; then by drawing a line -from D to the point F on the horizontal line A, we find that -the lower edges of the left hind and fore legs -are on the same line, which, if extended a -little farther down, will touch the edge of -the dog’s mouth. With these lines to guide -us we cannot go far astray in our proportions.</p> - -<div class="figright" style="width: 142px;"> -<img src="images/i_234b.jpg" width="142" height="253" alt="Fig. 147" /> -</div> - -<p>One of the chief difficulties in following -this method of drawing from nature is to -hold our measuring-stick exactly vertical or -horizontal. This difficulty can be overcome -by providing yourself with a T-square (Fig. -147) and attaching to it, at the point P, a -string with a weight tied on the other end so that it will hang -plumb. By using this we can be sure whether we hold it<span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span> -straight or not, for in case we tip it too much on one side or the -other the string will swerve from the middle of the upright stick. -Of course, whenever we hold the T-square perfectly straight, -the string will fall straight down the middle of the upright, and -the top of the T will then give us a true horizontal line. A little -thought and practice will lead you to thoroughly understand -this method, and when you really understand it you will have -an unerring guide to assist you. Of course, as the eye and -hand become more trained, with practice and observation, the -work will become easier, and you will not need the T-square.</p> - -<p>In beginning the practice of drawing from nature, we had -better confine our first efforts to things that will stand still, -for without a practised hand it will be almost impossible to -sketch a restless subject; but if we attempt to do so, we -should follow the methods before taught as nearly as possible.</p> - -<p>Now, suppose we step out of doors in search of something -to sketch. The first moving object our eyes rest upon is a -goose, and we decide to use him as a model.</p> - -<p>But he is so restless, will not keep still an instant. First we -have a front view, then a side view, and again he turns his -back upon us. If we really must have his picture, the only way -is to catch him and tie him up.</p> - -<p>Yet even now he is a difficult subject, twisting and turning, -and bobbing his head about. Determined on sketching him, -however, we observe the position in which he remains the longest -time, or assumes oftenest, and begin our work.</p> - -<p>We first note the general proportions. Is his body as thick -as it is long? Is his neck as long as his body? Are his legs -nearest the head or tail? Is the head as long as the neck? -What part reaches the highest, or what part the lowest? We -hastily but carefully consider these questions and determine in -our own mind the answers, for we must get an idea of the proportions -before we begin our sketch.</p> - -<p><span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span></p> - -<p>Now we draw a horizontal line along our paper, and then -hold up our pencil horizontally, so that it will answer for a -straight line drawn across the -body of the real goose (Fig. -148). This will represent the -horizontal -line on the -paper. Noticing -then -the directions -the -outlines of -the goose -take from the horizontal line (represented by the pencil), -we sketch them in on the paper, remembering -that one of the most important things is to get the right directions -of the lines.</p> - -<div class="figcenter" style="width: 427px;"> -<img src="images/i_236a.jpg" width="427" height="273" alt="Fig. 148" /> -</div> - -<p>Observe that in Fig. 149 the line G is directed to too high -a point, and makes the body too thick and out of proportion.</p> - -<div class="figcenter" style="width: 474px;"> -<img src="images/i_236b.jpg" width="474" height="245" alt="Fig. 149 Fig. 150" /> -</div> - -<p>In sketching it is best to make all lines straight instead of -curves, for in this way we are more likely to get the right directions.<span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span> -Our first rough sketch of the goose ought to have something -of the appearance of Fig. 150, and as we work it up more -carefully it will become as nicely rounded as we could desire.</p> - -<p>One of the most common faults a beginner is apt to commit -is to try to do too much, either by choosing too great a subject, -such as a large landscape, or by putting too many little things -into the composition. Take care of the large things, and the -little things will take care of themselves.</p> - -<p>If our subject be a clump of trees at some distance, we -should not attempt to draw in separate leaves, but endeavor to -get the true shape of the tree, simply indicating the leaves by a -few lines. Neither must we attempt, in our first sketches, to put -in all the shadows we see; the strong principal ones are all that -are necessary. A background of hills and trees should be -merely suggested by a few lines, because the light striking upon -them gives a very light appearance.</p> - -<p>Draw as simply as possible. Ten pictures are spoiled by -putting in too much work, where one is spoiled by too little.</p> - -<p>Don’t be discouraged. Every effort will show improvement, -if you really put your mind and heart in your work. As for</p> - - -<h3><b>Materials,</b></h3> - -<p class="unindent">a sheet of drawing-paper, a No. 2 lead-pencil, and a piece of soft -rubber are all you really need to commence with. Later it will -be well to have a drawing-pad and several more pencils.</p> - -<div class="figcenter" style="width: 445px;"> -<img src="images/i_237.jpg" width="445" height="96" alt="cherub on drawing pencil" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span></p> - - - - -<h2>CHAPTER XXII.<br /> - -<small>HOW TO PAINT IN WATER-COLORS.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_238.jpg" width="117" height="156" alt="T" /> -</div> - -<p class="drop-capi2">THERE is a certain charm in water-color painting—a -charm distinctly its own—which lies, as -Penley says, “in the beauty and truthfulness -of its aerial tones.” Without this quality a -water-color, as a water-color, is a failure.</p> - -<p>This transparency of effect does not depend -alone upon the manner of painting or the colors -employed, but much rests with the paper -we use. In the days when our mothers and grandmothers -were taught painting at school, the finest, smoothest cardboard -was thought necessary; but we have since learned that the flat, -smooth paper tends decidedly toward producing a flat, smooth -effect in the picture painted upon it, while the rough, uneven -surface of the paper now in use helps to produce depth and atmosphere. -Therefore it is always best to have rough paper to -paint upon. We give below the</p> - - -<h3><b>Materials for Water-Color Painting.</b></h3> - -<p>1. A block of rough drawing or water-color paper.</p> - -<p>It is better to buy it in blocks than by the sheet, as it is -much more easily handled, and is always ready for use.</p> - -<p>2. Brushes. The best brushes are made of sable, and although -costing more to begin with, it is really more econom<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span>ical -to purchase them than to choose the less expensive camel’s-hair; -for the sable are by far the most satisfactory, and will last -much longer. Three or four brushes are sufficient. As Devoe -& Co. number them, they should range between No. 3, which -is small enough for ordinary painting, and No. 19, for clouds, -backgrounds, etc.</p> - -<p>3. Colors. A tin sketching-box of moist colors, which also -contains a palette, is very useful, but the colors can be bought -separately in tubes or pans.</p> - -<p>Water-color painting seems by its qualities to be especially -adapted to flowers and landscapes, and as this is to be a chapter, -not a book, on water-colors, we will confine ourselves to -the principal points to be observed in these two departments, -and will commence with the</p> - - -<h3><b>Flowers.</b></h3> - -<p>Few oil-paintings, however well executed, give the delicate, -exquisite texture of a flower as nearly as water-colors. -The semitransparency of a rose-petal, the juicy, translucent -green of the young leaf, it is difficult to truthfully represent -in other than these colors, whose essential quality is transparency. -To preserve this transparency of color, everything about -the painting must be kept exceedingly neat. The brushes -must be thoroughly washed before using them for a different -tint from that already upon them, and plenty of water, changed -frequently, is necessary.</p> - -<p>Having arranged your materials conveniently upon a table, -place your paper so that it will lie at an angle slanting toward -you, not perfectly flat upon the table; this can be done by putting -books under the edge farthest from you, thus raising it up. -Stand the flowers you wish to copy in such a position that the -light will fall upon them only from one direction and produce<span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span> -decided shadows; the effect will then be much better than -when the light is more diffused.</p> - -<div class="figcenter" style="width: 512px;"> -<img src="images/i_240.jpg" width="512" height="406" alt="Painting in Water-Colors" /> -</div> - -<p>Always arrange your model exactly as you want to paint it, -and leave nothing to your idea of how it ought to look. If you -do not intend to have any background other than the white paper, -place something white behind your flowers. If you want -a colored background, arrange the color you have chosen behind -the flowers, and paint -it as you see it. Commence -your work by sketching -lightly, as correctly and rapidly as you -can, the outline of your flower. Try -something simple at first; say a bunch of -heart’s-ease or pansies, and when drawing -them try to get the character of both flower -and leaf. Observe how the stem curves -where it is attached to the flower, and at what angles the stems -of the flowers and the leaves join the main stalk. Given character, -an outline drawing painted in flat tints will closely resemble -nature; without it, the most beautifully finished painting -will not look like the flower it is intended to represent.</p> - -<p>When your outline is drawn in, dip your largest brush -in clear water, and go over the whole surface of your paper<span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span>, -then place a piece of blotting-paper over the paper to soak up -the water, leaving it simply damp, not wet.</p> - -<p>If you are using tube colors, have ready on a porcelain -palette, or ordinary dinner-plate, these colors: crimson lake, -cobalt blue, indigo, Prussian blue, and gamboge. Put in your -lightest tints first, leaving the white paper for the highest light; -then paint in your darker tints and shadows, and get the effect.</p> - -<p>If your flower is what we call the johnny-jump-up, the lowest -petal will be yellow. Paint this in with a light wash of gamboge, -leaving, as we have said, the white paper for touches of -high light. The two upper petals will probably be a deep -claret-color; this is made by mixing crimson lake and cobalt -blue, the crimson lake predominating. The two central petals -may be a bluish lavender, and this color is made by mixing a -little crimson lake with cobalt blue. Use plenty of water; but -do not let it run, and keep the colors of the petals distinct.</p> - -<p>Paint the stems and leaves, where they are a rich green, with -a mixture of gamboge and Prussian blue, and where they appear -gray as the light touches them, a pale wash of indigo will -give the desired effect.</p> - -<p>Keep your shadows broad and distinct, and your tints as -flat as you can. Leave out details altogether in your first -paintings, and add them afterward only when you can do so -without spoiling the effect.</p> - -<p>When a tinted background is desired, put it in quickly in a -flat tint, before commencing the flowers. It is best not to bring -the tint quite up to the outline, as a narrow edge of white left -around the flower gives a pleasant, sketchy look to the painting.</p> - - -<h3><b>Landscapes.</b></h3> - -<p>In your first studies from nature keep to simple subjects, -and treat them simply, without any attempt at elaboration.<span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span> -Choose, for instance, a picturesque corner of an old fence, with -perhaps a bit of field and sky for the background. Sketch in -the principal features in the foreground in outline, and indicate -the horizon, if it comes in the picture.</p> - -<p>Penley says, in his “System of Water-Color Painting,” -“White paper is too opaque to paint upon without some wash -of color being first passed over it,” and he recommends a thin -wash of <i>yellow ochre</i> and <i>brown madder</i>, which should be -put all over the surface of the paper except on the high lights -in the foreground, which are best left crisp and white.</p> - -<p>Notwithstanding what Penley says in this matter, it must be -borne in mind that some artists do not believe in successive -washes, but claim that the color desired should be put upon the -white paper at once.</p> - -<p>If the yellow tint is used, let it become quite dry and then -wash it over with a large brush and <i>clean</i> water; then, as in -the flower painting, soak up the water with blotting-paper; -the blotting-paper must also be quite clean. While the paper is -damp, not wet, begin with a blue tint—a light wash of cobalt -will give it—and put in the sky <i>in a flat tint</i>; bring the same -color down all over your sketch except in the high lights. The -blue tint gives atmosphere and distance. Let your paper again -become quite dry, and then wash it over as before, in clear water.</p> - -<p>The process of laying on color and lightly washing over it -afterward should be repeated several times, “and the result -will be a transparent aerial tone.”</p> - -<p>Keep your extreme distance bluish, your middle distance -warmer in tone, but not too strong, and the principal objects in -your foreground strong.</p> - -<p>Leave out small objects, and with light and shade seek to -obtain the effect.</p> - -<p>Keep your colors pure or your sketch will be dull.</p> - -<p>Contrast has much to do in producing strength and character.<span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span> -Phillips says that, “in aiming at opposition of color, we must -select that which gives force to the foreground, and consequently -communicates the appearance of air in the distance. -Thus, if the general tone of the light be warm and yellow, we -should have blues and purples in the foreground; if the lights -be cool, reds and yellows in the foreground give atmosphere to -distance, as neither of these colors in a positive state is found -in the middle or remote distance.”</p> - -<p>The three principal contrasts are blue opposed to orange, -red to green, and yellow to purple; and “a good first lesson in -sketching in color will be to put in your shadows with color opposite -to the object in light; and by carrying out this principle -of opposition throughout the scale you will obtain an endless -variety of contrasts.” It is the general rule in most painting -to have cool shadows to warm lights, and warm shadows to cool -lights. We all know that a <i>green</i> picture is very disagreeable, -and although a green field <i>is</i> green, it must not be made intensely -so. An untrained eye will not see how nature tones -down the vivid color with shadows, and softens it with the atmosphere; -but when the eye has learned to look at nature in -the right way this difficulty will be overcome. Howard says, -“green must be sparingly used, even in landscapes, whose -greatest charm consists of vegetation.”</p> - -<p>Foliage in some form will present itself in almost every -landscape, and it is therefore necessary to have a few general -principles to guide you in this important feature. In sketching -trees be sure to get the character of their trunks, limbs, -branches, and general form; also the texture of the bark, rough -or smooth. You will see that the foliage appears in layers, one -above another. Sketch in the outlines of the principal layers, -where they are tipped with light; then go over the whole tree -with a local color, and afterward separate the light from -shadow. Each mass is edged with light, while its base is in<span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span> -shadow, as a rule. Omit <i>details</i>, and keep to your <i>masses</i> of -light and shade. If your tree is in the foreground, leave the -white paper for crisp touches of high light. The tone of your -fence will probably be gray, but do not take it for granted that -it is <i>all</i> gray; look for other colors, and you will find brown, -blue, green, and sometimes red. Put these in as you see them, -letting the edges melt into each other, as they will do when -the paper is damp; but have each color pure, and do not try to -mix them.</p> - - -<h3><b>Painting from Notes</b></h3> - -<p class="unindent">is not as difficult as one might imagine. With a little practice -it is easily learned. The following directions will tell how to -paint a sunset on the meadows, from notes made at sunset on -the meadows on Long Island.</p> - -<div class="figcenter" style="width: 452px;"> -<img src="images/i_245.jpg" width="452" height="533" alt="Fogs. 151-158" /> -<div class="caption">How to Paint a Sunset in Water-Colors.</div> -</div> - -<p>Take a piece of Whatman’s rough drawing-paper, or a kind -that is termed egg-shell cartoon, the size decided upon for your -picture. Have ready a large dish of clean water, brushes, and -paints. Draw a pencil-line along the centre of your paper for -your horizon, Fig. 151; then directly on the line paint a streak -of vermilion. Put the color on quite damp, and make it about -half an inch broad, extending one-fourth of an inch on either -side of the horizon-line, Fig. 152. Next, quickly paint a yellow -streak above and below the red one, making each streak of the -same size and parallel, and leaving a little white paper between -the different colors, Fig. 153. With a clean brush dipped in -clean water carefully moisten the paper between the streaks, -and allow the edges of the colors to mingle, Fig. 154. Before -this has time to dry, paint a blue streak above and below, -about half an inch from the yellow, Fig. 155; then with the -clean brush dampen the white paper between, being careful not -to get it too wet; there should be just enough moisture to enable -the colors to flow and mingle at the edges, Fig. 156. This<span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span> -may be aided by holding the paper first one side up and then -the other, until the edges are evenly blended. Now, before -the horizon is quite dry, while it is still damp enough to cause -the paint to spread, fill a brush with Payne’s gray, which should -be rather dark and not too wet, touch the point of your brush -here and there along the horizon, now a little above and now a<span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span> -little below, and you will find that the paint will spread and make -excellent -trees for the -distance, Fig. -157.</p> - -<div class="figcenter" style="width: 398px;"> -<img src="images/i_246a.jpg" width="398" height="288" alt="Fig. 159" /> -</div> - -<p>When -your work is -dry enough -to paint over -without -spreading the -color, mix -some green -and black, -and green -and brown; paint in the meadow, using the color made of green -and black for the extreme and middle distance, the color made -of green and -brown for the -foreground, -leaving spaces -for streams -and ponds, -and your sunset -upon the -meadow is -finished. A -pretty little -sketch it is, -too, Fig. 158.</p> - -<div class="figcenter" style="width: 394px;"> -<img src="images/i_246b.jpg" width="394" height="290" alt="diagram" /> -<div class="caption">Leaf from an Artist’s Note-Book.</div> -</div> - -<p>A different -composition -can be made by proceeding as directed as far as Fig. 156<span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span> -and then, instead of putting in trees on the horizon, hills running -to points in the water can be painted in a flat tint with -the Payne’s gray, and a vessel with masts painted in the foreground, -as in Fig. 159. This also makes a pretty and effective -little sketch.</p> - -<p>Fig. 160 shows sunset notes taken while aboard a ferryboat -in the winter of 1886-87. From these you can see just how the -notes are made; but you must make <i>your own notes</i>, because -what is perfectly intelligible to the writer of the sunset memoranda -is an enigma to another person. For example, in Fig. -160, “Rose-tinted sky” may mean almost any shade of red, or -blue and red mixed, but “Rose-tinted sky” no doubt brings -before the mind’s eye of the writer of the notes the exact color -of the sky at the time the notes were made.</p> - -<div class="figcenter" style="width: 504px;"> -<img src="images/i_247.jpg" width="504" height="137" alt="An Artist in Water" /> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span></p> - -<div class="figcenter" style="width: 431px;"> -<img src="images/i_248.jpg" width="431" height="600" alt="girl painting" /> -<div class="caption">A Study in Oil.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span></p> - - - - -<h2>CHAPTER XXIII.<br /> - -<small>HOW TO PAINT IN OIL-COLORS.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_249.jpg" width="142" height="138" alt="T" /> -</div> - -<p class="drop-capi2">THE difference between oil- and water-color -painting lies in the fact that, although especially -well adapted to the portrayal of some -subjects, water-color has its limitations, -while with oil-colors any subject, from the -simplest study in still-life to the grandest -conception of a great artist, can be represented, and no limit -has yet been reached in its possibilities.</p> - -<p>But there are first steps to be taken in all things, and the -greatest artist who ever lived had to make a beginning and learn -the preliminaries of painting before he could produce a picture. -To these steps, then, we will turn our attention, and the first -will be the necessary</p> - - -<h3><b>Materials.</b></h3> - -<p>The following list of colors, with their combinations, will be -found sufficient for most purposes.</p> - - - - -<div class="center"> -<table border="0" cellpadding="0" cellspacing="0" summary="colours"> -<tr><td align="center"><small>YELLOWS.</small></td> -<td align="center"><small>REDS.</small></td> -<td align="center"><small>BLUES.</small></td> -<td align="center"><small>GREENS.</small></td> -</tr> -<tr> -<td align="left">Yellow Ochre,</td> -<td align="left">Vermilion,</td> -<td align="left">Permanent Blue, </td> -<td align="left">Terre Verte,</td> -</tr> -<tr> -<td align="left">Naples Yellow,</td> -<td align="left">Light Red,</td> -<td align="left">Cobalt,</td> -<td align="left">Emerald Green,</td> -</tr> -<tr> -<td align="left">Light Cadmium,</td> -<td align="left">Indian Red,</td> -<td align="left">Antwerp Blue.</td> -<td align="left">Light Zinnober Green.</td> -</tr> -<tr> -<td align="left">Orange Cadmium. </td> -<td align="left">Venetian Red, </td> -</tr> -<tr> -<td align="left"> </td> -</tr> -<tr> -<td align="left" colspan="2"><span style="margin-left: 2em;">Burnt Sienna,</span></td> -<td align="left" colspan="2"><span style="margin-left: 2em;">Rose Madder.</span></td> -</tr> -<tr> -<td align="left">Silver White,</td> -<td align="left">Raw Umber,</td> -<td align="left">Vandyke Brown,</td> -<td align="left">Ivory Black.</td> -</tr> -</table> -</div> - - -<p><span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span></p> - -<p>Winsor & 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.</p> - - -<h3><b>The Easel</b></h3> - -<p class="unindent">may be simply a pine one, which can be purchased from any -dealer at the cost of about one dollar. More elaborate easels -are, of course, more expensive; but as the merits of a picture do -not depend upon the easel which holds it, a common pine one -will do.</p> - - -<h3><b>The Palette</b></h3> - -<p class="unindent">should be light in weight and not too small; oiled and not varnished. -A very light-colored wood is not desirable; one of -walnut or cedar, about eighteen inches long, is the best to use, -and will cost from thirty to sixty cents.</p> - - -<h3><b>Brushes,</b></h3> - -<p class="unindent">both of sable and bristles, are used, but we would advise a beginner -to work with bristle brushes only, for the first attempt -should be to obtain a broad style of painting, without the -finished details which the sable brushes are used for.</p> - -<p>About four different sizes of flat bristle brushes are needed -to commence with; there should be two of each size, the largest -one inch wide, and the smallest not more than a quarter of -an inch in width.</p> - - -<h3><b>The Palette-Knife</b></h3> - -<p class="unindent">is used for taking up color on the palette, for cleaning the palette, -and sometimes for scraping a picture after its first painting.<span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span> -It should be flexible, but not too limber. The cost will be from -twenty-five cents upward.</p> - - -<h3><b>Oil-Cups</b></h3> - -<p class="unindent">are fastened on to the palette, and are used for oil and turpentine. -The double ones range in price from eight cents to -twenty. The single ones, without cover, can be bought for -five cents.</p> - - -<h3><b>A Paint-Box</b></h3> - -<p class="unindent">for holding colors, palette, and brushes will cost from one dollar -and twenty-five cents up. It is convenient to have one, and -necessary when going out sketching, but for painting at home -any kind of tin box will answer for the paints. The palette can -be hung up, and the brushes put in a vase or jar, handles downward, -which will keep them nicely.</p> - - -<h3><b>Mediums.</b></h3> - -<p>Boiled linseed-oil or poppy-oil, siccatif Courtray, and turpentine.</p> - - -<h3><b>Canvas.</b></h3> - -<p>In selecting canvas choose that of a warm-gray or creamy tone, -for it is difficult to give warmth to a picture painted on a cold-gray -canvas. The German sketching-canvas is quite cheap, -and does very well to commence on. It is best to buy it on the -stretcher, as a girl’s fingers are seldom strong enough to stretch -the canvas as tight as it should be. A very good sketching-canvas, -18 × 24, can be bought in New York City for twenty-five -cents.</p> - -<p>Several clean pieces of old white cotton-cloth are necessary -for wiping brushes, cleaning knife and palette, etc.</p> - -<p><span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span></p> - - -<h3><b>The Light</b></h3> - -<p class="unindent">in the studio, or room in which you paint, should come from one -direction only, and fall from above. This can be managed -by covering the lower sash of the window with dark muslin, or -anything that will shut out the light. A shawl will answer for a -temporary curtain.</p> - -<p>Most artists prefer that while painting the light should -come from behind over the left shoulder.</p> - -<p>Our advice to beginners in all the departments of art is the -same: commence with simple subjects.</p> - -<p>Your first study should be from still-life (which means any inanimate -object used for artistic study), and let the object selected -be of a shape that requires but little drawing; for your aim now -is to learn to handle your colors, and it is not desirable to have -your mind distracted by complicated drawing. A vase placed -on a piece of drapery, which is also brought up to form the -background, is a good subject; the drapery should be of one -color, and of a tone that will contrast agreeably with the vase -and give it prominence.</p> - -<p>Arrange whatever object you have decided to paint so that -it will show decided masses of light and shade; place your easel -at a sufficient distance from it to obtain the general effect of -shape and color without seeing too much detail; arrange your -canvas on the easel so that you will neither have to look up -nor down upon it, but straight before you; then sketch in the -object you are about to copy in outline. Observe the edges of -the heaviest shadows, and draw them also in outline. Charcoal -is better than a pencil for sketching on canvas, as it can -be easily rubbed off with a clean cloth if the drawing is incorrect. -When the sketch is finished, dust off the charcoal lightly -and go over the lines again with a camel’s-hair brush and India -ink.</p> - -<p><span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span></p> - - -<h3><b>Setting the Palette</b></h3> - -<p class="unindent">is a term used for arranging the colors in a convenient manner -upon the palette. The colors should always occupy the -same position, so that, the places once learned, you will never -be at a loss to find the color you want. Fig. 161 shows a convenient -arrangement of colors, as well as -the position of the oil-cans.</p> - -<div class="figleft" style="width: 517px;"> -<img src="images/i_253.jpg" width="517" height="378" alt="diagram" /> -<div class="caption">Fig. 161.—Manner of Arranging Colors on Palette.</div> -</div> - -<p>Fill one of your oil-cans one-third full of turpentine, to which -add enough siccatif Courtray to turn it the color of strong -coffee. Dip one of your good-sized brushes in this mixture and -scrape it off on the edge of the can, that the brush may not be -too wet; then take up some burnt sienna on the brush and put -it on your palette about an inch or so below the terre verte, -add some terre verte, and mix the two with your brush. Lay -in all the shadows of the vase, or whatever object you are about<span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span> -to paint, in a flat, even tone with the color thus formed, keeping -it thin with the turpentine and siccatif.</p> - -<p>Mix a tint as near the required color as you can, and go -over the whole background without regard to light or shade; -cover all the background; do not leave any white or bare canvas -showing.</p> - -<p>The general effect being thus obtained, it is easier to see -what colors are needed for further painting.</p> - -<p>Select a medium tint between the high lights and half-tones, -and paint in the lights of the vase in a flat, even tint; then go -over the shadows again with a medium tone, still keeping them -in one flat, even mass. Should you lose the outline at any -time, dip a rag in turpentine and wash off the paint that covers -it.</p> - -<p>Having progressed this far, the painting should be left to -dry.</p> - -<p>The turpentine and siccatif Courtray have such drying properties -that by the next day you may work again on the study.</p> - -<p>Begin the second painting by putting in the half-tints. These -unite the decided light and shade, and should be dragged over -their edges, but not blended with them. Once more go over -the shadows, strengthening them and putting in the reflected -lights.</p> - -<p>Add more color in the lights where it is needed, and put in -the high lights with clear, crisp touches. Work on your background -in this second painting. Indicate the shadows, but do -not make them strong, except the one which will probably be -cast by the object; that can be strengthened, as it helps to set -the object out from the background and gives the idea of space. -Do not make the background strong; keep it toned down, that -it may not become too prominent. Drag the background a little -over the edges of the vase, or whatever it may be you are -painting, and then paint over it again with the colors of the<span class="pagenum"><a name="Page_255" id="Page_255">[255]</a></span> -vase. Do this while working around the edges of the vase, or -object, to prevent its looking flat, as if it were pasted on.</p> - -<p>These directions are to be applied to painting any subject; -but after you have learned how to manage the colors and wish -to really paint a picture, the medium must be changed from turpentine -and siccatif Courtray to oil, either linseed or poppy, -using the turpentine only for the first effect of shadow.</p> - -<p>When oil is used it will require two or three days for the -picture to dry. Many advise the use of but little oil, and there -are artists who dissapprove of any medium at all.</p> - -<p>Before commencing the second painting, a coating of poppy-oil -should be put all over the canvas with a large, flat camel’s-hair -brush. Every bit should be covered without touching the -brush twice to the same spot. This softens the first coat of -paint sufficiently to allow of its blending with the next. If a -raw potato be cut in half and rubbed over the painting before -the oil is put on, it will prevent the oil from crawling, or separating -into drops on the canvas.</p> - -<p>Do not use the same brushes for dark and light tints, but -keep them separate. Mix your tints on your palette, the dark -tint below the dark colors, and the light tint below the light colors.</p> - -<p>In putting away your work after painting, be sure that the -tops are screwed on to all your color-tubes, and arrange them -neatly in their box. Clean your palette with the palette-knife, -and then wipe it off with a rag. Dip your brushes, one by one, -in turpentine and wipe them on a rag; this removes most of -the paint and makes them easier to wash. Warm, not hot, -water should be used for washing the brushes. The best way -is to hold several brushes in the right hand, their sticks being -in an upright position, dip them in the water, rub them on a -piece of common soap, and then scrub them round and round -on the palm of the left hand; rinse them in clear water, and -wipe dry with a clean rag.</p> - -<p><span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span></p> - -<p>Our limited space will not allow of our going more fully into -the details of painting; but we hope that these directions will -give some idea of how to make a beginning as a painter in oil-colors, -and after you have made a start you will find two good -professors at your elbow to help you along and encourage you—Prof. -Judgment and Prof. Experience.</p> - -<div class="figcenter" style="width: 518px;"> -<img src="images/i_256.jpg" width="518" height="136" alt="girl painting plen air under a parasol" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_257" id="Page_257">[257]</a></span></p> - - - - -<h2>CHAPTER XXIV.<br /> - -<small>HOW TO MODEL IN CLAY AND WAX.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_257.jpg" width="156" height="148" alt="A" /> -</div> - -<p class="drop-capi2">AN eminent artist once remarked within the writer’s -hearing that, should he bring into his -studio the first dozen boys he happened to -meet on the street, taking them as they -came, he would probably be able to teach -at least half of them to model within six -months, whereas there might not be one -of them who could be taught to paint at all. Possibly none of -these boys would ever become great sculptors, but they could -learn to model moderately well. If that is the case with boys, -who are apt to be so awkward and clumsy, how quickly could -a girl’s deft fingers learn to mould and form the plastic clay or -wax into life-like forms. In some of the institutions for the -blind, deaf and dumb, modelling is taught with great success. -Quickly the sensitive fingers of the young inmates run over the -object to be copied, and skilfully they reproduce in their clay -the form conveyed to them by touch alone. It is pleasant to -think that these silent little workers have this new pleasure -added to their somewhat limited stock; but at the same time -the fact puts to shame some of us who, having all our faculties, -the use of all our senses, and not infrequently artistic ability -in addition, do so little with the talents intrusted to our care.</p> - -<p>Let us to work then, girls, and see if we cannot accomplish -at least as much as our unfortunate sisters, who have neither -sight nor hearing to guide them.<span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span></p> - -<div class="figright" style="width: 434px;"> -<img src="images/i_258.jpg" width="434" height="600" alt="girl sculpting" /> -<div class="caption">Modelling in Clay.</div> -</div> - -<p><span class="pagenum"><a name="Page_259" id="Page_259">[259]</a></span>The great difficulty we encounter in learning to draw—which -is representing things as they appear, not as they really are—will -not trouble us in this other department of art, for in modelling -it must be our aim to do precisely the reverse, and reproduce -an object exactly <i>as it is</i>, not as it appears.</p> - -<p>Modelling, besides its own worth, is of value as an aid to -drawing, for it teaches form, and the shadows on an object can -be drawn more intelligently and correctly when it is known just -what formations produce them.</p> - -<p>A great deal can be done in modelling without the aid of a -teacher. So, not waiting to look up a professor, suppose we -commence by ourselves and see what we can do. It is very fascinating -work, and if a few failures are the result of our first attempt, -we need not be discouraged, for what others can do, we -also can accomplish.</p> - -<p>The writer has lately been initiated into the mysteries of this -art, and since, as they say, the person just graduated from a -primary department is best fitted to teach in that department, -perhaps the hints given here may be better suited to the understanding -of beginners than if they were written by a great -sculptor, who might forget that everyone does not know, as -well as he does himself, the preliminary steps necessary even in -accomplishing the grandest results.</p> - -<div class="figleft" style="width: 167px;"> -<img src="images/i_260.jpg" width="167" height="309" alt="Fig. 162" /> -<div class="caption">Modelling Tools</div> -</div> -<p>Instead of entering into the later and more artistically finished -processes we will confine ourselves to the prelude or introduction -to modelling; and then, girls, with the object before you, -your only guide and instructor, you must work out the rest for -yourselves.</p> - -<p>The first thing to do is to provide your</p> - - -<h3><b>Materials,</b></h3> - -<p class="unindent">and here is a list of all you will need:</p> - -<p>1. Clay, such as is used by potters, perfectly free from grit.</p> - -<p><span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span>2. Modelling-tools. These can be bought at any artists’ -material store, and the simplest ones might be made at home -of hard wood. Only a few tools are necessary -for a beginner; Fig. 162 shows -those most useful. The fingers and thumbs -are the best of all tools, and a great deal -can be done with them, though for fine, -delicate modelling tools must be used.</p> - -<p>3. Modelling-stand. A regular modelling-stand -with rotary platform will cost -from eight to twelve dollars and the expense -may be an objection; but the writer -has found that an ordinary high office-stool -with revolving seat makes a good -substitute. If the stool is not high enough -it can be raised by placing on the seat a -drawing- or pastry-board, and on top of -that a square wooden box about one foot -high and broad enough to allow sufficient room for a good-sized -head and bust.</p> - -<p>4. Basin of water and towel for washing and drying the -hands.</p> - - -<h3><b>How to Manage Clay.</b></h3> - -<p>Clay costs, near New York, from one to three cents per -pound, and about fifty pounds will be required. If possible buy -it moist, but if dry, put it into an earthenware jar, or anything -that will hold water, and cover with clear water. Let it remain -until thoroughly moistened; then with a stick stir the clay -around as, when a small girl, you did the mud while making -mud-pies, until it is free from lumps and is perfectly smooth; -clear away from the sides of the jar and pile it up in the centre.</p> - -<p><span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span></p> - -<p>When it is dry enough not to be muddy and is still pliable, -it is in a fit condition to work with. It is necessary to keep -your hands perfectly clean and conveniences -for washing them should be handy.</p> - -<p>Do not use muddy water or a dusty -towel.</p> - -<p>Use any tools that will produce the -result desired with the greatest ease; a -little experience will soon determine -what they are, but as a rule the largest -are best.</p> - -<p>When leaving unfinished work cover -it with a damp cloth to keep it moist. -If you are working on a head, and the features have been commenced, -stick a small wooden tool in the head just above the -forehead to hold the cloth away from the face, for it is liable to -soften the nose and push it out of shape if it rests upon it.</p> - -<div class="figleft" style="width: 183px;"> -<img src="images/i_261a.jpg" width="183" height="212" alt="Fig. 163" /> -</div> - -<p>A frame made of laths (Fig. 163) covered with oil-cloth or -rubber (an old gossamer water-proof will be just the thing), -placed over the modelling, will keep it better than the cloth, as -it excludes the air and prevents its drying -(Fig. 164). When using the frame, -sprinkle your work by dipping a clean -whisk-broom into water and shaking it -over the clay. Remember, the clay -must always be kept moist and pliable -and never allowed to dry. If it does -become dry and hard there is nothing to -do but to put it back into the jar, and go -through the process of damping it again.</p> - -<div class="figright" style="width: 183px;"> -<img src="images/i_261b.jpg" width="183" height="214" alt="Fig. 164" /> -</div> - -<p>Keep your tools clean, and do not -allow the metal ones to become rusty, as they will if carelessly -left on the modelling-stand when not in use. To avoid trouble<span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span> -of this kind it is best to put your tools in a box where they -will be perfectly dry. Unless you wish to go through one of -the writer’s first experiences, when she was obliged to let her -tools lie in a pan of kerosene oil for two days, and then clean -them with knife-brick.</p> - - -<h3><b>How to Preserve Modelled Clay.</b></h3> - -<p>If terra-cotta clay is used, it can be baked in a kiln, which -will, while hardening, turn it a fine buff terra-cotta color, and -make the object, if well modelled, ornamental enough for almost -any use.</p> - -<p>From the other clay, plaster casts can be taken, and the article -reproduced in plaster as many times as desired.</p> - - -<h3><b>Hints for Modelling a Head.</b></h3> - -<p>Always work from a model, and it is best to try copying -plaster casts before attempting to model from life.</p> - -<div class="figcenter" style="width: 515px;"> -<img src="images/i_262.jpg" width="515" height="203" alt="Fig. 165 Fig. 166 Fig. 167" /> -<div class="caption">How to Model a Head.</div> -</div> - -<p>Place on the centre of your stand a wooden or tin box (a -cigar-box will do) to form the base; cover this with clay in the -form of Fig. 165, and stick a support in the middle, as shown in<span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span> -diagram. The support may be a piece of kindling-wood eight -inches long and about one inch thick.</p> - -<p>Build up the clay around this stick, as in Fig. 166, and with -your hands mould the clay, piecing it out here, and cutting off -there, until it bears some resemblance to a head, as in Fig. 167.</p> - -<p>Still using your hands, get the general proportions of the -head, and then commence the features. Begin with the profile, -using tools when necessary, and try for character without detail; -then turn the head a little and work from that point of -view; always look at your model from the same point of view -as you do your work. Turn the head in the opposite direction -and model the other side, keeping the face evenly balanced. -Continue turning your work little by little, until each outline it -presents is as near as you can get like the corresponding outline -of your model, and then work up the detail.</p> - -<p>In modelling any object the same process, of viewing the -model from all points, must be gone through with.</p> - -<p>Do not strive to obtain a likeness at first, but be careful to -have all of your outlines correct, and the likeness will come of -itself.</p> - - -<h3><b>How to Model in Wax.</b></h3> - -<p>Modelling-wax prepared at home is much better than any -that can be purchased. The following recipe is a very good -one:</p> - - -<h3><b>Modelling-wax.</b></h3> - - -<ul class="ingredients"> -<li>1 pound pure yellow beeswax.</li> -<li>½ pound corn-starch.</li> -<li>4 ounces Venice turpentine.</li> -<li>1½ ounce Venetian red powder.</li> -<li>½ ounce sweet-oil.</li> -</ul> - -<p>Put the wax on the stove in a saucepan and let it melt; <i>take<span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span> -off</i> and pour in the turpentine. Never attempt to add this while -the wax is near the fire, as it is extremely dangerous. It is -a good idea, when buying -the ingredients, to have the -oil and turpentine put in the -same bottle (which should -have a wide neck), then they -can be poured into the wax -at the same time. Warm -the bottle of oil and turpentine -in hot water to soften -before mixing with the wax. -Keep stirring all the time. -Pour in the corn-starch and -Venetian red. When the -corn-starch is dissolved the -wax is ready for use.</p> - -<div class="figright" style="width: 268px;"> -<img src="images/i_264.jpg" width="268" height="578" alt="woman holding flowers" /> -<div class="caption">Bas-relief Figure in Wax.</div> -</div> - -<p>Modelling-wax is much -more expensive than clay; it -is used principally for small -objects and those that require -fine workmanship. It -is quite useful for sketchy -work, as it may be carried -about almost like a sketchbook, -and being so much -cleaner than clay, it can be -used even in the parlor without -damage to table or carpet. -With the wax on a small -board one can sit at a table -and work very comfortably. The tools for clay modelling may -also be used for wax; probably the smallest will be most useful.</p> - -<p><span class="pagenum"><a name="Page_265" id="Page_265">[265]</a></span></p> - -<div class="figleft" style="width: 328px;"> -<img src="images/i_265a.jpg" width="328" height="322" alt="gitl with hair down" /> -<div class="caption">Bas-relief Head in Wax.</div> -</div> - -<p>As cold weather advances, we like to pass the evenings in -some agreeable occupation, that may be carried on without disturbing -the family -group around the -fireside. For such -occasions, modelling -in wax will make a -pleasant pastime. -Sitting quietly, taking -part in the general -conversation, or -listening while someone -reads aloud, one -may model the wax -into many pretty -forms to be preserved -afterward in plaster, -or, obtaining a profile -view, a likeness -of one of the group may be done in bas-relief. If a slate is -used to work on, it will make a good foundation, and the head -can first be drawn on it in outline and the wax built over it, -using the drawing as a guide. The slate is smooth and firm, -and it is a good idea to use it as a foundation for all wax bas-relief, -especially when plaster casts are to be taken from the -modelling, for in that case the panel forming the background -must be perfectly even.</p> - -<div class="figcenter" style="width: 502px;"> -<img src="images/i_265b.jpg" width="502" height="118" alt="toddlers making mudpies" /> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span></p> - -<div class="figcenter" style="width: 600px;"> -<img src="images/i_266.jpg" width="600" height="387" alt="girl making casts" /> -<div class="caption">Making Plaster Casts.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_267" id="Page_267">[267]</a></span></p> - - - - -<h2>CHAPTER XXV.<br /> - -<small>HOW TO MAKE PLASTER CASTS.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_267.jpg" width="75" height="165" alt="I" /> -</div> - -<p class="drop-capi2">IT is not at all difficult; anyone can succeed in it who -will take the pains to follow carefully the directions -given here for making plaster casts. Without the -knowledge of drawing or modelling you can in this -way reproduce almost any article in a very short time.</p> - -<p>Casting in plaster is really so simple a process -that even a child can soon learn to manage it nicely.</p> - -<p>You will need a board, about a foot and a half -square, upon which to work, fifteen or twenty pounds of clay, -five pounds of plaster-of-Paris, a cup of warm melted lard, and -several small wooden pegs; these can be made of wooden -tooth-picks or matches broken in two.</p> - -<p>Select an object with few angles and a smooth surface to experiment -on; a firm round apple will do. Rub the lard all -over the apple until every particle is greased; then lay it in -the centre of your board. Take some clay and pack it around -it just as high as the middle of the apple, forming a square, as in -Fig. 168. Smooth the clay off on the edges and stick pegs in -diagonal opposite corners (Fig. 168); then with more clay build -a wall close around the apple and its case, making the sides one -inch higher than the top of the apple (Fig. 169). Put a cupful -of clear water into a pan or dish, and stir in enough plaster of -Paris to make it like batter; pour the plaster over the apple, -filling the clay box to the top. This makes a half mould of<span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span> -clay and a half mould of -plaster.</p> - -<div> - <img class="split" src="images/i_268a.jpg" alt="Fig. 168 Fig. 169" width="313" height="407" /> - <img class="split" src="images/i_268b.jpg" alt="Fig. 170" width="506" height="266" /> -</div> - -<p>When the plaster is -hard, which will be in a -very short time, pull -away your clay wall, and -take out the apple and -half plaster mould together, -lifting the apple -from its half clay mould.</p> - -<p>Remove the clay from -your board and set the -plaster mould containing -the apple in the centre. -Rub lard over the apple -and upper edge of the -mould, build around it -the clay wall, as you did the first time; roll a small piece of -clay into a slender conical shape and stand it upright on top of<span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span> -the apple, as in Fig. 169. This will make a hole through which -to pour the plaster when filling the completed mould, and it -must stand high enough to reach above the top of the clay -wall.</p> - -<p>Pour the plaster over the apple as at first, and let it set or -harden. Take away the wall of clay once more, and carefully -separate the two parts of the mould with the blade of a table-knife; -remove the apple, and all is ready for the final cast which -is to produce your plaster fruit (Fig. 170).</p> - -<p>Thoroughly grease the inside of your mould, fit the two -parts together, and wrap and tie them with string to hold them -in place.</p> - -<p>Pour in the plaster, through the hole left in one-half of the -mould, until it is quite full; then gently shake it to send the -plaster into all small crevices.</p> - -<p>Let your mould stand without moving again until sufficient -time has elapsed for the plaster to harden; then gently separate -the two parts and you will find a perfect cast of the -apple.</p> - -<p>The ridge made by the joining of the mould you must -scrape off with a sharp knife, or rub with sand-paper.</p> - -<p>In taking casts of almost any object not too complicated, -this same method must be employed. The only difficulty lies -in deciding just where to place the dividing-line, which must -be exactly at the broadest part of your model, otherwise you -will break your mould in taking the object out.</p> - -<p>In casting a hand the clay must be built up around each -finger to precisely its widest part; therefore it is a good plan, before -commencing, to mark on the hand, with a fine paint-brush -and ink, the line that is to be observed.</p> - -<p>When making casts of long objects, or those that are larger -at one end than the other, such as vases, always lay them on -one side, as a much better mould can be obtained in that way.</p> - -<p><span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span></p> - -<p>I have read that if milk-and-water is used for mixing the -plaster, or, after the cast has hardened, if a little oil, in which -wax has been dissolved, be applied to the surface, it will take -a high polish; and if left for a while in a smoky room it will -acquire the look of old ivory.</p> - -<p>The same writer also states, without giving the proportions, -that liquid gum-arabic and sufficient alum in solution, mixed and -put into the slip or soft plaster, will make the cast so hard that -it can be set as a panel in a cabinet.</p> - -<p>The dead white of plaster-casts is frequently objected to -when they are wanted for ornaments; but that difficulty is -easily overcome by mixing dry -colors with the plaster before -wetting it.</p> - -<div class="figright" style="width: 240px;"> -<img src="images/i_270.jpg" width="240" height="212" alt="Fig. 171 Fig. 172" /> -</div> - -<p>A small quantity of yellow -ochre will make the plaster -creamy or ivory-like; brown will -give a wood color, and red a -terra-cotta.</p> - -<p>Plaster-casts can also be -bronzed with gold, red, or green -bronze, which makes quite handsome -ornaments of them. A plaster panel in bass-relief, -bronzed with gold bronze and mounted on black or dark-colored -velvet, is an exceedingly rich wall decoration.</p> - -<p>To mount a panel of this kind you must first secure a smooth, -flat piece of board, not more than half an inch thick, and just -large enough to allow about four inches of the background to -show all around the panel when it is mounted. Cover the board -with velvet or velveteen, bringing it smoothly over the edges, -and tacking it down at the back. Fasten on it a small brass -hook. Fig. 171 is the best kind to use, which is tacked to the -board with small, brass tacks.</p> - -<p><span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span></p> - -<p>Make a ring or loop for hanging the panel in this way:</p> - -<p>Take a piece of wire about three inches long, form a small -loop in the middle, and give the wire several twists; then bend -the ends out on each side.</p> - -<p>Scrape a narrow place in the top edge of the panel, just -long enough to admit the wire, and about half an inch deep; -then place the wire in this little ditch and fill up the hole to the -top with soft plaster. When this hardens the ring will be quite -secure. Fig. 172.</p> - -<div class="figcenter" style="width: 468px;"> -<img src="images/i_271.jpg" width="468" height="158" alt="Fairy wearing a lion's head mask frighteining other fairies into breaking other plaster statues" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span></p> - - - - -<h2>CHAPTER XXVI.<br /> - -<small>CHINA PAINTING.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_272.jpg" width="140" height="132" alt="C" /> -</div> - -<p class="drop-capi3">CERTAINLY you can paint on china; have -confidence, and do not hesitate because you -may never have studied art, but select the -china you wish to decorate and we will go -to work. First, take what is needed for -present use from the following</p> - - -<h3><b>List of Materials.</b></h3> - - -<h4>PALETTE.</h4> - -<p>A common square, white china tile is the best palette for -mineral colors; but in case you have no tile, an old white plate -will answer the purpose.</p> - - -<h4>BRUSHES.</h4> - -<p>These are of camel’s-hair, Figs. 173 and 174, are broad and -flat, and are used in placing the color on the china when the surface -is to be tinted. Fig. 175 is for blending the color after it is -on the china; it is called a blender, and is useful where borders -and surfaces are to be tinted. Figs. 176 and 178 are for general -use. Fig. 177, with its long, slender point, is for gilding, -another similar brush is needed for India-ink. Mark the two -brushes in some way to distinguish them one from the other, -and never use either for any paint except that for which it is<span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span> -intended. Fig. 179 is a stipple for blending the colors when -painting a face, a fish, the sky of a landscape, or wherever -delicate, fine blending is needed.</p> - -<div class="figcenter" style="width: 420px;"> -<img src="images/i_273.jpg" width="420" height="251" alt="Figs. 172-179" /> -<div class="caption">Brushes for China Painting (about one-half actual size).</div> -</div> - -<p>To clean the brushes after using: dip them in turpentine -and wipe off the paint on a cotton cloth, repeating the operation -until the brushes are perfectly clean; then dip them in fat -oil, and bring them out smooth to a fine point. Do not allow -the brushes to become bent over, if the box is not long enough -for them to lie out straight, remove the quills from the wooden -handles and they can easily be replaced when needed. Should -the brushes seem a little stiff at the next painting, immerse -them in turpentine; this will make them soft and pliable.</p> - -<div class="figleft" style="width: 218px;"> -<img src="images/i_274a.jpg" width="218" height="361" alt="Figs. 180-82" /> -<div class="caption">Horn Palette-knife. Steel Palette-knife. Steel Scraper.<br /> - -<span class="plaintext">(Reduced sizes.)</span></div> -</div> - -<p>To save the expensive gold paint, the gilder should be kept -exclusively for gilding, and need not be cleaned, as it will not -be injured if the hairs are carefully straightened out and the -brush put away with the gold.</p> - - -<h4>KNIVES.</h4> - -<p>Fig. 180 is a horn palette-knife for mixing Lacroix white, -the yellows, and all such colors as are injured by contact with<span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span> -metal. It is the only knife used with the mat paints for Royal -Worcester decoration. Fig. 181 is a steel palette-knife for general -use. Fig. 182 is a steel scraper -for removing paint from the china -when necessary. Always clean the -knives after mixing one color, before -using them for another.</p> - - -<h4>PAD.</h4> - -<p>This is made of a ball of cotton -tied in a piece of soft lining-silk, -fine linen, or cotton-cloth (Fig. 183) -and is used for tinting.</p> - -<div class="figright" style="width: 163px;"> -<img src="images/i_274b.jpg" width="163" height="203" alt="Fig. 183" /> -<div class="caption">Printer’s Pad.</div> -</div> - - -<h4>THE PAINTS</h4> - -<p class="unindent">are Lacroix’s colors; they come in -tubes and should be squeezed out on -the palette and used as in oil painting, -with a little turpentine and fat -oil when desired. To moisten the -colors while -painting dip your brush, carefully, without -shaking or moving it around, into the -turpentine or oil, and then in the color. -Allow the paint to lie on the palette as it -comes from the tube, except when two -colors are mixed, or when using the stipple -for blending one tint with another, or -when tinting, then the paint must be mixed -and rubbed down with oil and turpentine. -Keep the colors in a <i>cool</i> place, and when -returning them to the box, after you have finished painting, do -not lay them back on the same side. Always remember to<span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span> -turn them over so that the color will not separate from the oil. -If you are careful and follow these hints, your colors will keep -in a good condition. We would advise you to purchase the -paints as they are needed, thereby avoiding all unnecessary -expenditure.</p> - - -<h4>OILS.</h4> - -<p>Fat oil is for general use in painting. Clove oil is used in -its place when two or more tints are to be blended together, as -in painting a face, etc. Capavia oil is always mixed with the -colors for grounding.</p> - - -<h4>TURPENTINE</h4> - -<p class="unindent">is in constant demand in china painting. It is used with all the -different oils, paints, bronzes, and gilt, and should be poured in -a small cup or any little vessel, and kept convenient while painting.</p> - - -<h4>TAR PASTE</h4> - -<p class="unindent">comes in bottles, and is used to take the color off of tinted backgrounds, -in order to leave a clean surface of the china in which -to paint the design in different colors. The paste should be -rubbed down smooth on the tile with the palette-knife; if it is -too hard, a little tar oil may be added. A small brush is best -to use for the paste in covering the design you wish to wash -out; but be very careful to keep within the outlines, for this -mixture will take off the color wherever it touches. When the -tint is light the paste may be wiped off in a few moments; but -when it is dark, the paste must be allowed to remain on for -perhaps hours before the paint will be sufficiently softened to -remove.</p> - -<p>Use small balls of raw cotton-batting in wiping off the paste, -and take a fresh piece for every stroke. If any of the tar paste -is left on the tile after using, scrape it off with your palette-knife, -and return it to the bottle.<span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span></p> - - -<h4>MAT GOLD</h4> - -<p class="unindent">is for gilding, and can be either burnished or highly polished. -It comes on a little square of glass inclosed in a box. This -gold can also be used as solid ornamentation or for delicate -tracery, and is sometimes used over colors, greens excepted, -but is then never so bright as when on the plain white -china.</p> - -<p>The gold is prepared for painting on a tile kept expressly for -the purpose, and which must not be used for any other paint. -Place some of the gold on the palette with your palette-knife, -and mix a little turpentine with it by dipping your palette-knife -in the turpentine and rubbing down the gold with the -turpentine on the knife. If more is needed, again dip your knife -in the liquid, and do so as often as it is necessary; but you must -use the utmost care not to have the gold too thin; gild with it -as stiff as it can be smoothly applied.</p> - -<p>Should any gold remain on the palette after the gilding is -finished, mix in a little turpentine and scrape it all up with -your palette-knife, then replace the gold on the square of -glass.</p> - -<p>Silver is used the same as gold.</p> - -<p>The bronzes are for handles and conventional flowers or -figures; they are rich and pleasing in effect.</p> - - -<h4>PURE GOLD</h4> - -<p class="unindent">cannot be employed for gilding plain white china. It also -comes on a little square of glass and is used for gilding over -colors. It can be applied over any mineral paint or relief, and -may be polished or burnished as desired.</p> - -<p>This gold is mixed with turpentine, for use in the same manner -as mat gold.</p> - -<p><span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span></p> - - -<h4>RELIEF.</h4> - -<p>The best is mat relief, which comes in a powder, and is used -for both tube and mat colors. It is prepared by mixing with a -very little fat oil and turpentine, and should be applied stiff -enough to make a raised line. It is useful where a small raised -surface is desired, as on the edge of a leaf or the petals of -flowers. A fish-net is much more effective if the gilt be put -on over the relief. Should the relief dry and become too stiff -while using, soften it from time to time with a little turpentine, -always using the horn knife for mixing, as the steel knife should -never be used with the relief, and the relief must always be -fired before the gilt is applied.</p> - -<p>Enamel white can be mixed with delicate tints, turpentine, -and a very little fat oil for raised flowers; or the white alone -may be used for pearls, imitation of lace, or embroidery, but its -use is limited and it will not stand two firings, so should always -be the last paint applied.</p> - - -<h4>MAT COLORS</h4> - -<p class="unindent">are for Royal Worcester decorations. They come in powders, -and when mixed with a little oil and turpentine are used in the -same way as the Lacroix tube paints.</p> - - -<h4>BOX FOR MATERIALS.</h4> - -<p>Select a light wooden box, or one of strong pasteboard; -have the box of a convenient size to contain all your painting -materials.</p> - - -<h4>PIECES OF SOFT, OLD MUSLIN,</h4> - -<p class="unindent">torn in different sizes, and plenty of them, are very essential for -cleaning brushes and rubbing paint off the tile or china; the -demand for clean pieces will be constant while painting.</p> - -<p><span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span></p> - - -<h4>CHINA.</h4> - -<p>Have this of the very finest French ware, without spots or -other imperfections of the surface, and never attempt to decorate -china after it has been used, for it seldom proves satisfactory.</p> - - -<h3><b>A Monochrome Painting.</b></h3> - -<p>For this we will need a tile, a pad, a broad flat brush (Fig. -173), some turpentine, capavia, two tubes of paint—one copper-water -green, the other brown green—a palette-knife, and some -pieces of cotton cloth. Now be sure your china is perfectly -clean and dry, then mix your copper-water green for</p> - - -<h3><b>Tinting.</b></h3> - -<p>Place enough color on your palette to cover the entire surface -to be tinted; dip your palette-knife in the capavia oil and -tap it off the knife on the tile; in the same way place turpentine -on the tile with the oil, and use your palette-knife to <i>thoroughly</i> -mix the paint, oil, and turpentine. If the mixture seems too -stiff add a little more oil and turpentine, but be careful not to -have the paint too thin so that it will run; test its consistency -with a brush on a clean place on the tile.</p> - -<p>As a rule, the proportions for tinting should be five drops -of paint to three of capavia, mixed with a little turpentine.</p> - -<p>The paint being prepared, take the flat brush and begin to -paint; rapidly cover the entire surface with color. Then go -over the tinting with a pad, touching lightly and gently, not -letting the pad rest a moment on the paint, nor touching it -twice in the same place in succession. Continue going over and -over it until the grounding is even and of a uniform tint. -Then set the china away to dry, in a safe place, where it will be<span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span> -free from dust. Always make a fresh pad every time you tint, -and a separate one for each color used, as a pad cannot do -service more than once.</p> - -<p>All tinted grounds and borders are made in this way, the -capavia oil and turpentine being mixed with any of the grounding -colors you may wish to use. Tinting is very easily and -quickly done; but should anything happen to spot or mar -the evenness of the grounding, the paint must all be washed off -with turpentine, and the china tinted over again.</p> - -<p>When your green-tinted china is perfectly dry, gather -some maple leaves and with the brown-green paint try a</p> - - -<h3><b>New Method of Decorating China.</b></h3> - -<p>The leaves must be free from dust and moisture and perfectly -fresh. Place a small quantity of paint on the palette, do -not mix the paint with oil or turpentine, but rub it down well -on the tile as it comes from the tube; make the paint perfectly -smooth, now press a small clean pad down lightly, lifting and -again pressing until the paint is smoothly distributed on the pad; -next select a leaf and place it face or right side downward on a -piece of folded newspaper, then press the pad down on the -under side of the leaf, which is now lying upward, repeating -the operation until the leaf is sufficiently covered with paint. -This done, carefully place the leaf painted side downward on the -china, over it lay a piece of common wrapping-paper, and rub -your finger gently all over the covered leaf. Then remove the -outside paper and very carefully take up the leaf, when an -exact impress of the natural leaf will be printed on the china. -Repeat the operation with another leaf either larger or smaller, -and still another, using as many as you wish; connect the leaves -to a central branch by making the stems and branch in the -same color with a small paint-brush. To do this paint a long line<span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span> -for the branch and other smaller ones for the stems of the -leaves. Set the china away to dry, and it will be ready for -firing. Very pretty effects may be secured by using two shades -of one color for the tinting and designs. First tint the china, -and when it is perfectly dry, ornament it with the same paint in -the manner described, making the ground of a lighter tint than -the decorations. The colors of fall leaves can be used on white -china, or you may make the combinations and designs of whatever -is most pleasing.</p> - -<p>It is well to have some idea of what your decoration is to be -like before commencing with the leaves. If you desire a spray, -try to place the leaves as they are on the natural spray, or as -represented in some picture taken for a guide. The prints also -look well used in a conventional style. As any kind of leaves -or grasses that will print can be employed, your decorations -will always be original and true to nature.</p> - -<p>Flowers are more difficult to print, yet when the impressions -are successful they are very beautiful.</p> - -<p>You will find this new idea an interesting method of ornamenting -china, while the decorations may be made in much less -time than is usually required. The style is suitable for dinner-sets, -vases, tiles, plaques, and lamps, and it requires no knowledge -of drawing or painting to decorate china in this simple yet -effective manner.</p> - - -<h3><b>Tracing.</b></h3> - -<p>Lay a piece of tracing-paper over the design to be copied -and trace the outlines very carefully with a hard lead-pencil. -Then have your china perfectly clean and dry, and give it a -wash all over with a clean cotton cloth wet with clear turpentine. -Place a piece of red transfer-paper on the china, and having determined -exactly where you wish the design, lay the tracing-paper -over the transfer-paper on the space for decoration. Use<span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span> -bits of gummed paper on the corners of the transfer- and tracing-paper -to hold them in place, and carefully go over the lines -with a lead-pencil, remove the papers, and the design will be -clearly outlined on the ware. Now rub a little India-ink on a -common individual butter-plate of white china, and using a fine -brush, very carefully paint over the red marks with the India-ink, -making your lines as distinct and delicate as possible. -When this is finished, again wash the china with turpentine to -remove any of the red coloring which may be apparent on its -surface. Thus prepared the design can be painted, or the china -may first be tinted and allowed to dry, when the outlines will -be plainly visible through the tinting, and the color can be removed -from the design with tar paste. Use the scraper to take -the grounding off of minute spaces. For those skilled in drawing -it will not be necessary to trace the design, as it can readily -be sketched on the china with a lead-pencil after the ware has -first received a coat of turpentine, and when tinted the decoration -can be drawn on after the grounding has thoroughly dried, -and the color may be removed as before.</p> - - -<h3><b>Mottled Grounds.</b></h3> - -<p>Prepare the paint as for tinting, only make it more moist, -and dab it lightly over the china by means of a piece of cotton -cloth on the end of your finger; this will give the china a mottled -appearance which in some cases is preferred to the plain -grounding.</p> - - -<h3><b>Snow Landscape.</b></h3> - -<p>We will take for example Fig. 184.</p> - -<div class="figleft" style="width: 454px;"> -<img src="images/i_282.jpg" width="454" height="486" alt="Fig. 184" /> -</div> - -<p>After tracing the design, paint a streak across the sky, just -back and a little above the trees, with carnation No. 1 mixed -with clove oil and turpentine, then another narrow streak above<span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span> -it of a lighter shade, and another still lighter of the same color, -allowing each tint to meet. Next mix light sky-blue with clove -oil and turpentine, and paint as deep a tint as it will make -across the sky at the top of the plate, graduating it down to the -red; use the stipple immediately while the paint is wet to blend -the colors and tints; this finished, make the reflections on the -ice, beginning with carnation No. 1 for the ice nearest the castle, -and ending near the bottom of the plate with the deepest shade -of light sky-blue, using the colors mixed for the sky. Paint the<span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span> -foliage in the background with neutral gray and sky-blue mixed -with turpentine and fat oil for the darker tones, and turquoise-blue -with neutral gray, turpentine and fat oil for the lighter -parts, also for shading the darker portions of the snow. Then -take brown No. 4 as it comes from the tube, with a little turpentine -when necessary, for the shading of the trees in the foreground, -the outlining of the castle, and the tufts of grass and -edges of the ice in places where the copy requires it.</p> - -<p>Leave the white china for the high lights and the white -snow on the roof of the castle, on the trees, and here and -there on the ground.</p> - -<p>Paint the castle with neutral gray and yellow ochre mixed -with turpentine and fat oil, and its windows with brown No. -4, using the color as it comes from the tube. Now allow -the plate to dry and then have it fired, after which mix carnation -No. 1 with clove oil and turpentine, and touch up the -sky and reflections on the ice, using the stipple if necessary; -then mix light sky-blue with clove oil and turpentine and paint -the sky where that color is required and the light shadows on -the snow; then take yellow ochre for portions of the trees, -places in the foreground, and touching up the castle; mix this -color with fat-oil and turpentine.</p> - -<p>Again strengthen the trees and other places, where the painting -requires it, with brown No. 4, unmixed, except with a little -turpentine when necessary; for the last touches mix relief-white -with fat oil and clean turpentine, using the horn-palette knife -always when mixing the white; this is to be laid on, in little -raised places, where the snow is whitest on the ground and -where the snow has lodged in the trees.</p> - -<p>Now inclose the snow scene with a gilt band, using the -stipple to make an uneven edge of gilt on the surrounding -white rim; the gold next to the picture must be perfectly -smooth and even; put this on with your fine long-haired brush;<span class="pagenum"><a name="Page_284" id="Page_284">[284]</a></span> -then make a similar band on the edge of the plate and it will -be finished and ready for its last firing.</p> - -<p>Almost any snow landscape with a sunset sky may be -painted in this way.</p> - -<p>Often you can find Christmas cards which will furnish very -good copies.</p> - -<div class="figright" style="width: 446px;"> -<img src="images/i_284.jpg" width="446" height="444" alt="Fig. 185" /> -</div> - - -<h3><b>How to Paint a Head on China.</b></h3> - -<p>Select a pretty copy from some photograph, as in Fig. -185; very carefully trace the head on a plate and go over the -lines with Indian ink; next give the plate another wash with<span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span> -turpentine, to remove all remains of the color from the transfer-paper; -then mix thoroughly two parts of carnation No. 2 with -one part of ivory-yellow, adding a little turpentine and clove -oil; give the face and neck a wash with this color and touch -up the cheeks with carnation No. 1 mixed with clove oil and -turpentine; now lay on the shadows with neutral gray, five -parts, mixed with deep chrome-green, one part, using clove oil -and turpentine in mixing the colors; last, the deepest shadows -with brown No. 4, two parts, to one of ivory-black, mixed together -with clove oil and turpentine, and immediately before any -of the paint dries use the stipple to blend the colors, making the -face round out and have the blending soft and true to nature; -set your copy before you and try to have the shadows on the -face you paint correspond exactly with those in the copy.</p> - -<p>Now leave the face and neck, and place some brown No. 4 -on the tile; do not mix it with anything; use it as it comes -from the tube, dipping your brush in turpentine when it becomes -necessary to thin the paint a little; with this paint the shading -of the hair and follow with your brush, as nearly as possible, the -sway of the masses. That finished, paint the eyes, eyebrows, -and nostrils with brown No. 4 and ivory-black mixed together -as they come from the tubes, using when necessary a little -turpentine; then mix a little carnation No. 1 with fat oil for -the lips. Next turn your attention to the drapery; shade the -white material with gray No. 1, unmixed, and gray No. 2 for -the deeper shadows, mixed with fat oil and turpentine.</p> - -<p>For the handkerchief on the head mix emerald-green with -fat-oil and turpentine; put it on in a light tint, so that the handkerchief -can be shaded, when dry, with the same color.</p> - -<p>When the plate is dry, it is ready to be fired. After it has -been fired touch up the shading on the face and neck with two -parts of carnation No. 2 mixed with one of brown No. 4, using -clove oil and turpentine while mixing; and for the deepest shadows<span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span> -mix two parts of brown and one of ivory-black together with -clove oil and turpentine. This must be put on carefully, so that -the shadows will not be too dark. Use the stipple to blend the -shadows; then give the hair a wash of yellow ochre all over, and -touch up the handkerchief on the head with emerald green, the -same you used before.</p> - -<p>For the background of the head mix light coffee, turpentine, -and capavia oil; make it an even tint with the blender -(Fig. 175); the brush must be clean and dry, and used in the -same manner as the pad in tinting, then, for the outer border, -mix celestial-blue with capavia and turpentine, and with your -large flat brush paint the border and blend it to an even tint -with your pad. When this is finished wipe off the paint around -the edge as evenly as possible, so that the bare china may be -left to receive a band of gold. Roll up a piece of white cotton -cloth into a small point and with this remove the paint around -the inner edge of the blue border, making an even narrow -white band; this is also to be gilded.</p> - -<p>On a clean tile mix the mat gold with turpentine, and -using the slender, fine, long-haired brush, carefully cover the -white bands of china with gold; when this is finished the plate -is ready for the second and last firing. If a fairer complexion be -desired, make the flesh-tints of the same colors, only lighter in -tint; try the paint on the edge of the tile until the tint is correct. -Always try your colors this way when painting any design. For -blue eyes use sky-blue shaded with black; the high light of the -eye may be left the white of the china. If you wish the hair -very light, take ivory-yellow and shade with sepia and black.</p> - -<p>Once more we say, be <i>very</i> careful in tracing not to get -the head or features out of drawing, as so much depends upon -the correct outlines. Before sending china to be fired, paint in -small figures the date on which it was decorated and add your -name or initials.</p> - -<p><span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span></p> - - -<h3><b>How to Paint a Carp, Sea-weed, and Fish-net on China.</b></h3> - -<div class="figleft" style="width: 323px;"> -<img src="images/i_287.jpg" width="323" height="147" alt="Fig. 186" /> -</div> - -<p>Having traced in your design very carefully, mix one part -of neutral gray with two parts of sky-blue, some clove oil, and -turpentine; with this paint the upper edge of the back of the -fish dark, graduating to white along near the centre of the fish; -stipple this so that it will look even, soft, and rounding, keeping -it dark on the edge and tinting down to the white china; paint -the tail and dorsal fins a flat tint of gray No. 2 mixed with fat -oil and turpentine; then mix carnation No. 2 with fat oil and -turpentine for a flat tint on gills, mouth, and ventral fin; shade -the mouth with the same color and paint the anal and pectoral -fins a flat tint of carnation -No. 2 mixed -with sepia; when dry -shade with the same -color, and also shade -the gills and fins -painted carnation -with carnation, and -the dorsal fins and tail shade with ivory-black mixed with fat -oil and turpentine; try the paint with your brush until you -get rather a gray tint instead of black, and use this for the -shading; now paint the rows of spots along the back of the fish -ivory-black, making the dots smaller as they approach the tail; -and with your eraser take the paint off of the eye, leaving a -clean white spot of china; paint a fine circle around this in -ivory-black; then paint a portion of the eye black, leaving the -white china for the high lights; in painting the scales and -lower part of the fish use gray No. 1 as it comes from the tube, -mark an outline of gray along the lower edge of the fish and -stipple it off in the white, remembering this gray must occupy -only a narrow line along the lower edge of the fish.<span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span></p> - -<div class="figright" style="width: 329px;"> -<img src="images/i_288.jpg" width="329" height="144" alt="Fig. 187" /> -</div> - -<p>Commence to mark the scales in gray No. 1 by making a -line of them with a fine-pointed brush downward across the -body of the fish (Fig. 186) and this will be a guide to build out -from (Fig. 187); after the painting has thoroughly dried begin -again by marking, on the head and around the eye, the tiny -scales in gray No. 2, with a little fat oil and turpentine, and paint -a line along the upper edge of the head and back with brown -No. 4, and another lighter line of the same color along the back -just below and adjoining the first one; paint the eye and -markings on the head brown and strengthen the tail and dorsal -fins with gray No. 2; touch up around the gills with sky -blue, also with yellow ochre where the copy requires it. Then -turn your attention -to the sea-weeds; -mark the thread-like -branches of these in -different colors, using -carnation, brown No. -4, gray No. 2, and -brown-green; paint -each weed in one color, place the sea-weeds on one side or -corner of the plate, making them branch out this way and that, -as in nature. Now clean off your palette and mix some mat -relief for the fish-net, which is to be placed over and across a -portion of the plate; with a lead-pencil mark the netting on -the plate, but do not touch the fish; then with a very fine -brush follow the markings with the relief, when it is necessary -to paint across the fish, your eye and the copy must be your -guides, as it would take the paint off the fish to attempt any -marking on it. The relief on the fish cannot be altered, so be -careful to have it correct the first time. Should the line of relief -be too broad in other places, remove it with your scraper -and make another trial. When the plate is perfectly dry it<span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span> -must be fired, after which put in a background of warm gray -mixed with capavia and turpentine; bring this to an even tint -with the blender, and if any paint blends over on the fish wipe -it off while the color is damp; also remove the paint from the -netting and set the china away to allow the color to thoroughly -dry; next paint broad sweeps across the plate, but not over -the fish, with gray No. 2 mixed with fat oil and turpentine, to -represent the different tints of the water, and again remove the -paint from the net; now touch up the sea-weed and the fish -where they need strengthening, then give the fish a very light -wash of gray No. 1.</p> - -<p>Here and there along the upper edges of the water colored -gray No. 2 make a very fine line with enamel or relief-white -mixed with a little fat oil and turpentine; gild the fish-net, using -either pure gold or mat gold, cover the relief carefully with -the gold, and put it on thick but in fine lines; this accomplished, -finish by gilding the edges of the plate with mat gold, and when -dry send it to be fired. To avoid mistakes when sending china -to be fired, state whether you wish the gold burnished, dull, -or polished.</p> - - -<h3><b>Foliage on China Made With a Sponge.</b></h3> - -<p>Prepare the paint with fat oil and turpentine, rub it down -smooth, then with a small sponge apply the colors, using different -shades as the first dry, and touching up afterward with a -brush; in this way you can also paint backgrounds which cannot -be made with the brush.</p> - - -<h3><b>Mixing Colors.</b></h3> - -<p>The best way to paint with safety when you are in doubt -what colors will mix, is to test them yourself. For this purpose<span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span> -take a French china plate and make experiments with -different colors on the plate; at the same time write down a -memorandum of the paints used and of those mixed, have the -plate fired; then paste your memorandum on the back. Use -this for reference, and with experience will come the full -knowledge of the use of all the paints.</p> - - -<h3><b>Royal Worcester Ware</b></h3> - -<p class="unindent">is very delicate and dainty and something quite novel for amateurs -in the way of china decorations.</p> - -<p>Very beautiful pieces of this ware may be seen now in all -the leading china establishments in New York City, and so -choice is it that even some of the largest jewelry stores have -rare Royal Worcester vases among their most valuable articles -on exhibition.</p> - -<p>We know of no book that teaches this art of decoration, and -although we have seen some amateur work which only an expert -could distinguish from the genuine article itself, we think -our exposition of the method is the first of its kind printed in -this country; and girls, if you would know the secret, so that -you also may be able to paint and gild in this beautiful fashion, -you have only to listen while the writer tells how to decorate -a Royal Worcester vase as she did; then you will have a practicable -and detailed method which we know to be good, having -tried it.</p> - -<div class="figleft" style="width: 238px;"> -<img src="images/i_291.jpg" width="238" height="482" alt="" /> -<div class="caption">Fig. 188.—Royal Worcester Vase.</div> -</div> - -<p>Select a vase of the finest French china, and be sure that it -is perfectly clean, dry, and free from dust. Then with a clean -white cotton cloth give the vase a wash all over with clear turpentine, -and having chosen your design, make a tracing of it -on the vase, and it will be ready for grounding. Mix enough -mat lemon-yellow to cover the entire surface of the vase. First -place a little of the powder on the tile, then dip your palette-knife<span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span> -in the capavia oil and tap it off on the tile; in the same -way drop turpentine on the tile with the oil. Use a horn palette-knife -and <i>thoroughly</i> mix the paint, oil, and turpentine; -if the mixture seems too stiff, add a little more oil and turpentine, -but be careful not to have -the paint too thin, so that it will -run; try the paint with a brush -on a clean place on the tile to -see if it is of the right consistency -and shade; do not let the color -be too intense; it should be of a -delicate tint, and if it is too dark -add a very little more oil. Take -a broad, flat brush and begin to -paint at the top of the vase, passing -around with short strokes -rapidly over its whole surface; -go over the tinting with a pad, -touching lightly and gently; -then set the vase away to dry in -a dry place free from dust. The -Indian-ink outlines will be plainly -visible through the paint, and -when the grounding or tinting -has <i>thoroughly</i> hardened, to remove -the color from the design, -mix a little of the tar paste upon -a clean tile by working it with -your palette-knife until it is smooth. Use a small brush and go -over the design with this mixture, covering every part except -the stems and fine grasses; be very careful not to go outside -of the lines. When the design is all painted with the paste, -begin at that first covered and wipe off the tar paste with small<span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span> -pieces of cotton batting rolled into little balls, using a fresh wad -for each stroke; clean it all off carefully and the vase will present -vacant white china spots where the flowers, leaves, and bird -are soon to appear. For a guide we will take Fig. 188. Now -mix a little mat pink with fat oil and turpentine in the same way -you prepared the grounding yellow, only this time fat oil takes -the place of capavia; use the horn palette-knife as before; the -steel knife should never be used with the Royal Worcester -colors, as the metal is apt to rub in with the paint, dulling and -spoiling the colors. Paint all the flowers a flat tint of light -pink. Always try the color first on the tile until you have the -desired shade. By the time all the flowers have received their -tint of color, those first painted will be dry enough for shading. -Observe attentively the copy, and notice where the different -flowers are shaded; then shade yours with the same color, following -as nearly as possible the copy before you.</p> - -<p>For painting the leaves, mix separately with turpentine and -fat oil, mat light yellow-green, mat dark-green, and mat blue -green. These colors can be used separately or any two mixed -if desired. Shade the leaves with mat yellow-brown mixed -with the different greens. Paint the body of the bird a flat tint -of mat gold-yellow and the top of its head and back green; -the edges of wing and tail and eye must be of mat black. -When the bird is dry, shade its breast with broad sweeps of -mat gold-yellow, according to the copy; then mix black with -yellow-brown for the other shading on the bird’s breast, and -mix black with blue for painting and shading the wings and -tail.</p> - -<p>While the paint is drying on the vase mix the mat relief for -the raised edges of bird, flowers, and stems. Mix the relief -with turpentine and fat oil, making it as stiff as it can be used. -With a very fine brush outline the bird, its wings, and tail; also -a few strokes on its breast, tail, and back; be sure the relief is<span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span> -stiff enough to make a fine raised line; then outline the flowers -and the stems; the leaves are not raised on the edges. When -this is finished the vase is ready for its first firing. Allow the -ware to become perfectly dry before sending it to the firers.</p> - -<p>As great care should be taken with the firing of royal -Worcester china, send your vase to the most reliable firers you -know of, and when it is fired and returned, all that remains to be -done is to carefully gild the vase. Mix pure gold with turpentine, -but do not have it too thin, as the gold should be applied -as thick as possible. For fine gilding use a fine small brush with -long hairs; this will make a distinct thread-like line; first cover -all the relief with the gold, next outline the leaves, veining them -if necessary; then with thick gold make your grasses according -to the copy. When the gold becomes too stiff work in a -little more turpentine. After you have finished this gilding, -mix some mat gold with turpentine and gild the top rim of the -vase; use the small stipple brush cut off square at the end -(Fig. 179), and bring the border down unevenly along its -lower edge, making it the same way on the inside of the vase; -then with the fine long-haired gilder cover the upper edge of -the vase thick with gold. This finished, gild the bottom of the -vase in like manner and make the handle solid gilt; after it is -all dry the vase is ready for its second and last firing, and -when it returns again from the firers you will have a piece of -beautiful Royal Worcester ware similar to that seen at Tiffany’s.</p> - -<p>The mat colors used, remove all the gloss from the china, -and when mat lemon-yellow forms the grounding, the china -comes from the firing having the appearance of beautiful decorated -ivory without any glaze.</p> - -<p>This ware must be seen to be appreciated, and is suitable for -vases and ornaments, but the Royal Worcester colors cannot be -used on table china, for any grease coming in contact with the -colors would spoil them.</p> - -<p><span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span></p> - -<p>Exquisite little vases of all shapes are decorated in this manner; -the delicate gold tracery and outlining brings the designs -out effectively. In this style of painting the decoration is more -conventional, and does not require the same amount of working -up and shading, but is as a rule, treated simply, flat tints with a -little shading being all that is required. Almost any floral design -can be used on royal Worcester, when outlined with relief -and gold; there are, however, copies which come expressly for -the purpose.</p> - -<div class="figcenter" style="width: 444px;"> -<img src="images/i_294.jpg" width="444" height="114" alt="girl fallen down having dropped china" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span></p> - - - - -<h2>CHAPTER XXVII.<br /> - -<small>A CHAPTER ON FRAMES.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_295.jpg" width="110" height="127" alt="A" /> -</div> - -<p class="drop-capi2">AFTER the foregoing chapters on drawing and painting, -it is surely our duty to provide the means -of framing the various pictures which we hope -will be the result of their teachings. Unframed, -a picture is apt to be tucked away out -of sight, or it becomes rumpled and spoiled -when left lying about, and a picture-frame, as a rule, is quite an -expensive article; but with a little ingenuity and good taste -almost any girl may manufacture frames, if not of equal finish, -at least as durable and quite as artistic as any the dealer can -produce.</p> - -<p>The cost? The cost is the price of a wooden stretcher and -a bottle of gold paint.</p> - -<p>The first sketch shown here (Fig. 189) will give some idea -of the appearance of a frame decorated appropriately for a -marine picture. The articles necessary for this frame are a -stretcher, some rope, a piece of fish-net, several dried starfish, -and gold paint. The stretcher must first be gilded; then the -rope, upon which the fish-net has been strung, should be fastened -with small tacks around the outer edge, joining it at the -corner, where the starfish will hide the ends. The net must -be large enough to drape gracefully across one corner, along -the top, and fall a short distance down the other side of the -frame. When the starfish, graduating in size, are tacked<span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span> -around the draped corner, and they, as well as the rope and net, -are given a coat of gilt, a pretty, unique, and substantial frame -is the result.</p> - -<p>If starfish are not to be had, sea-shells may be used instead -(these of course will have to be glued in place), and if fish-net -is also out of reach, a piece of fine netted hammock can be -used as a substitute.</p> - -<div class="figcenter" style="width: 494px;"> -<img src="images/i_296.jpg" width="494" height="446" alt="painting" /> -<div class="caption">Original Design—Marine Picture Frame.</div> -</div> - -<p>For the benefit of those who spend their summers at the -sea-shore where such things are obtainable, I would advise that -a small collection be made of the quaint and pretty products<span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span> -of the place, as they will be found useful in various ways for -decorative purposes.</p> - -<div class="figleft" style="width: 416px;"> -<img src="images/i_297.jpg" width="416" height="494" alt="corner of frame" /> -<div class="caption">Fig. 190.—Section of -Decorated Frame</div> -</div> - -<p>The next sketch (Fig. 190) shows a corner section of frame -especially appropriate for a flower piece. The open lattice-like -border is cut -with a sharp -penknife from -stiff pasteboard -and tacked -along the edge -of the frame.</p> - -<p>The pattern -shown in diagram -(Fig. 191) is simple, -quite easily made, -and well suited for a -border, though other and -more elaborate ones may -be used. This border must, -of course, be made in sections. -The edges to be connected -should be cut to fit exactly, -then after tacking them upon -the frame the whole may be laid -upon a table, face downward, and -strips of paper pasted across the joints -(see Fig. 192), which will hold them -securely together. If the work is -neatly done, when the gilt is applied all traces of the joints will -disappear. The decorations of this frame consist of a spray of -artificial rosebuds and leaves, gilded and tacked on the upper -left-hand corner. A few scattered rosebuds look well upon the -lower part of the frame near the right-hand side.</p> - -<p><span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span></p> - -<div class="figright" style="width: 362px;"> -<img src="images/i_298a.jpg" width="362" height="316" alt="Fig. 191 Fig. 192" /> -<div class="caption">Section of Border for Decorated Frame.</div> -</div> - -<p>Figure 193 is the -section of a frame -which will look well on -almost any kind of picture. -It is made by -tacking a small rope -around the inside edge -and then covering -it and the frame -with crumpled -tin-foil, which, after -it is pressed -to fit the rope, is -brought around -and tacked on the -wrong side of the -frame, joining that edge which is turned over the top. Care -should be taken while handling the tin-foil not to flatten it, as -its beauty depends upon -its roughness. The -pieces are joined by simply -lapping one edge -over the other, the uneven -surface hiding all -seams. This frame like -the others must be gilded.</p> - -<p>A very effective rough -surface on a frame can be -produced by dabbing on -it with a palette-knife the -scrapings of the palette. -Of course this frame cannot<span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span> -be made in a day, but if every time the palette is cleaned -the paint is used in this way it will not be long before the surface -is covered and ready for gilding.</p> - -<div class="figleft" style="width: 301px;"> -<img src="images/i_298b.jpg" width="301" height="303" alt="corner on black background" /> -<div class="caption">Fig. 193.—Section of Frame covered with Tin-foil.</div> -</div> - -<p>The cork paper used in packing bottles makes quite a handsome -frame for black and white pictures or photographs (Fig. -194). This paper is sprinkled all over with small bits of cork, -making a rough surface and -one admirably suited to the -purpose.</p> - -<div class="figright" style="width: 261px;"> -<img src="images/i_299.jpg" width="261" height="380" alt="Fig. 194" /> -<div class="caption">Cork Frame.</div> -</div> - -<p>First the foundation of the -frame is cut of stiff pasteboard -exactly the size and shape desired; -then the cork paper is -cut the width of the frame and -glued securely to it, the corners -being joined as in Fig. -195. The frame is very pretty -when left its natural color, as -it resembles carved wood at -a little distance, but it can be -gilded if preferred.</p> - -<p>The inside mat is made of -white or gray-tinted cardboard, -cut with the open -space for the picture, from -half an inch to an inch smaller -than the opening of the frame. The mat is pasted to the back -of the frame and then the entire back is covered with strong -paper pasted at the top and two side edges, and left open at -the bottom until the picture is shoved in place, when the lower -edge is fastened also. The mat will look well if the inside -edge is gilded.</p> - -<div class="figleft" style="width: 195px;"> -<img src="images/i_300a.jpg" width="195" height="182" alt="diagram of corner" /> -<div class="caption">Fig. 195.</div> -</div> - -<p>Another frame is made in the same manner as the one just<span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span> -described, only instead of using cork paper a thick coating of -glue is put all over the face of the foundation, and sand or small -pebbles are sprinkled over the entire -surface. This must be quickly done -before the glue has time to harden.</p> - - -<p>The writer has in her possession -a pretty little winter landscape done in water-colors. -It is a snow scene, and its light effect is well set off -by the frame, which is made simply of two pieces of -heavy brown strawboard or pasteboard. The two -pieces are cut exactly the same size; then the centre -is cut out of one, leaving a broad frame of equal width -on all sides. The picture is placed between these two boards, -which are then glued together. The cord for hanging it is fastened -to two small brass rings which are attached to pieces of -tape glued to the back of the frame, as in Fig. 196. Fig. 197 -shows how a piece of paper is pasted over the tape -to hold it more securely.</p> - -<div class="figcenter" style="width: 186px;"> -<img src="images/i_300b.jpg" width="186" height="283" alt="Fig. 196 Fig. 197" /> -</div> - -<p>When making a frame of this kind the picture to -be framed should first be measured and the width of -the frame decided upon; then cutting -a piece of paper the size the open -space is to be, or one-half inch smaller -all round than the picture, it must be -laid upon the pasteboard and a mark -drawn around it showing its exact size -and proportion (Fig. 198). The width -of the frame can then be measured from -these lines, which will place the opening -exactly in the centre (Fig. 199). -The lines must be perfectly straight -and the measurements correct or a lop-sided frame will be the -result.<span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span></p> - -<div class="figcenter" style="width: 514px;"> -<img src="images/i_301a.jpg" width="514" height="363" alt="Fig. 198 Fig. 199" /> -</div> - -<p>In cutting out the frame a sharp knife should be used, and -it will be a great help in keeping the lines straight if a ruler is -held down firmly close to the line to be cut, and the knife -guided by that.</p> - -<div class="figcenter" style="width: 501px;"> -<img src="images/i_301b.jpg" width="501" height="122" alt="differnt frames" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span></p> - - - - -<h2>CHAPTER XXVIII.<br /> - -<small>THANKSGIVING.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_302.jpg" width="210" height="371" alt="N" /> -</div> - -<p class="drop-capi4">NOT to Pagan ancestors in far-away countries, -but to our own Pilgrim Fathers -do we trace the origin of Thanksgiving -Day—as purely American as -our Independence Day. Instituted -by William Bradford, the Governor -of Plymouth, and first observed by -the Puritans, who, suffering from -hunger and privation, were truly -thankful when the first harvest -brought them the means of support for the approaching winter, -it has come to us as “the religious and social festival that converts -every family mansion into a family meeting-house.” -The pleasant New England custom of the gathering together -of families to celebrate Thanksgiving is now observed in most -of our States. From far and near they come, filling the cars -with merry family parties, who chatter away of anticipated -pleasures to be found in the old home. Little children taught -to lisp grandma and grandpa are instructed by their mammas -not to be afraid of the old gentleman who will meet them at -the depot, nor the dear old lady who waits with open arms at -the door of grandpa’s house.</p> - -<div class="figright" style="width: 330px;"> -<img src="images/i_303.jpg" width="330" height="506" alt="drawing" /> -<div class="caption">One Little Indian.</div> -</div> -<p>Children old enough to know what a Thanksgiving at grandpa’s -is like are wild with delight at the prospect before them.<span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span> -Their eyes brighten at the thought of the great pantry where -grandma keeps her doughnuts and cookies; of the cellar with -its bins of sweet and juicy apples; of the nuts and popcorn, all -of which taste so much nicer at grandma’s than anywhere else. -And then what fun -the games will be -which they will play -with cousins, who, -though rather shy at -first, will soon make -friends. The lovely -young aunties, too, -who help grandma -entertain all these -guests, will join in -the games and suggest -and carry out -schemes of amusements -which the children -would never -think of.</p> -<div class="figleft" style="width: 229px;"> -<img src="images/i_304a.jpg" width="229" height="108" alt="Fig. 200" /> -<div class="caption">Pilgrim’s Spectacles.</div> -</div> -<p>What a happy -holiday it is, how social -and pleasant and -comfortable and -easy! How near and -dear all the bright -faces gathered around -the long table at the -Thanksgiving-dinner, seem to be. Truly, we should all be -thankful that we have a Thanksgiving.</p> - -<p>However, this chapter is not written merely to generalize -upon the pleasures of the day, but in order that we may offer<span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span> -something new, in the way of amusement, which will add to -the fund of merriment on this occasion. -The series of</p> - -<div class="figright" style="width: 350px;"> -<img src="images/i_304b.jpg" width="350" height="466" alt="Figs. 201-205" /> -<div class="caption">Patterns of Pilgrim Father’s Hat and Collar.</div> -</div> - - -<h3><b>Impromptu Burlesque Tableaux</b></h3> - -<p class="unindent">illustrating some of the principal -events in our history will be appropriate -for this national holiday, and will prove a mirth-provoking -entertainment.</p> - -<p>When two rooms -are connected by -folding-doors, a -whole room may -be used for the -stage. In this case -no curtains are -necessary, as the -doors take their -place, and, for impromptu -tableaux, -answer very well. -When there are no -such connecting -rooms, one end of -a large room can be -curtained off with -sheets, or any kind -of drapery, suspended -from a rope -or wire stretched -from one wall to the other. It is best to keep the audience as<span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span> -far away from this improvised stage as the room will admit of, -for distance greatly assists the effect.</p> - - -<h3><b>Landing of the Pilgrims.</b></h3> - -<div class="figleft" style="width: 186px;"> -<img src="images/i_305.jpg" width="186" height="399" alt="drawing" /> -<div class="caption">Costume of Pilgrim Father.</div> -</div> -<p><span class="smcap">Tableau</span> 1.—The good ship Mayflower has just touched -Plymouth Rock. Pilgrim Father stands upon the rock, and -reaches down to help Pilgrim Mother -to land. A number of Indians sit upon -the edge of the rock, fishing unconcernedly -over the side, while the Pilgrims -take possession. In the ship Pilgrim -children are standing, with outstretched -arms, waiting to be taken ashore.</p> - - -<h4>COSTUMES.</h4> - -<p><span class="smcap">Pilgrim Father.</span>—Cape, a broad-brimmed, -high-crowned hat and large, -white collar, over ordinary boy’s dress, -spectacles—cut from black paper (Fig. -200). The cape may be of any material, -so that it is of a dark color.</p> - - -<p>The hat can be made by cutting -from stiff brown paper a crown (Fig. -201), fitting it around the crown of an -ordinary flat-brimmed hat, bringing it -into a conical shape, and pinning it in place (Fig. 202). The -brim should be cut from the same paper in a large circle (Fig. -203), the hole in the centre being just large enough to fit nicely -around the crown, over which it is slipped, and pushed down -until it rests upon the real hat-brim (Fig. 204). The paper -brim should be about seven inches wide, and the crown nine<span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span> -inches high. Figure 205 is the pattern of collar, which can be -made of white -paper or muslin.</p> - -<p><span class="smcap">Pilgrim -Mother.</span>—Full, -plain -skirt, white -kerchief, small -white cap, and -large spectacles. -A gentleman’s -linen handkerchief, put around the neck and crossed -over the bosom, answers for a kerchief. The cap, too, can be -made of a large handkerchief in -this way.</p> - -<p>Fold the handkerchief in the -manner shown in Fig. 206; lay -it flat upon a table, and turn the -folded corners over as in Fig. -207; turn up the bottom edge -over the other, and roll over -about three times (Fig. 208); -take the handkerchief up by the -ends and the cap (Fig. 209) is -made.</p> - -<div class="figcenter" style="width: 388px;"> -<img src="images/i_306a.jpg" width="388" height="192" alt="Figs. 206-209" /> -<div class="caption">Manner of Making Pilgrim Mother’s Cap.</div> -</div> - -<div class="figright" style="width: 236px;"> -<img src="images/i_306b.jpg" width="236" height="362" alt="Drawing of woman by spinning wheel" /> -<div class="caption">Costume of Pilgrim Mother.</div> -</div> - -<p><span class="smcap">Children.</span>—The young Pilgrims’ -costumes are like the -others, on a smaller scale, but -they wear no spectacles.</p> - -<p><span class="smcap">Indians.</span>—Bright-colored -shawls for blankets, and feather-dusters -for head-dresses. The duster is tied on to the back of<span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span> -the Indian’s neck with a ribbon which passes under the chin, -and the shawl is placed over the handle, partially covering the -head and enveloping the figure.</p> - - -<h4>PROPERTIES.</h4> - -<p>The ship is a large wash-tub, which is placed in the centre -of the stage; its sail is a towel, fastened with pins to a stick, -the stick being tied to a broom, as shown -in illustration. It is held aloft by one of -the children in the tub.</p> - -<div class="figleft" style="width: 354px;"> -<img src="images/i_307.jpg" width="354" height="418" alt="drawing" /> -<div class="caption">The Good Ship Mayflower.</div> -</div> - -<p>Plymouth Rock is a table, occupying -a position near the tub. On top of -it is a chair, placed on its side to give -an uneven surface, and over both -chair and table is thrown a -gray table-cover. The -fishing-poles of the Indians -are walking-canes -with strings -tied to the ends.</p> - - -<h3><b>First Harvest.</b></h3> - -<p><span class="smcap">Tableau</span> 2.—Pilgrim families, -grouped in the centre of -the stage, examining an ear of -corn and rejoicing over their -first harvest.</p> - - -<h4>PROPERTIES.</h4> - -<p>A broom, upon which is tied one ear of dried corn, or -popcorn, it doesn’t matter which, and if neither is to be had, -an imitation ear of corn can be made by rolling paper into the<span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span> -shape of Fig. 210, cutting husks after the pattern Fig. 211, and -putting them together like Fig. 212. The -broom is held erect, with the handle resting -on the floor, by Pilgrim Father.</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 234px;"> -<img src="images/i_308a.jpg" width="234" height="195" alt="diagrams" /> -<div class="caption">Fig. 210.—Paper Ear of Corn.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 150px;"> -<img src="images/i_308ab.jpg" width="150" height="187" alt="diagrams" /> -<div class="caption">Fig. 211.—Pattern for Outside -Husks of Corn.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 102px;"> -<img src="images/i_308ac.jpg" width="102" height="197" alt="drawing" /> -<div class="caption">Fig. 212.—Ear of Corn -Finished</div> -</div></td> -</tr> -</table> -</div> - - -<h3><b>Devastation by the Indians.</b></h3> - -<div class="figleft" style="width: 157px;"> -<img src="images/i_308b.jpg" width="157" height="428" alt="broom wiht ear of corn attached" /> -<div class="caption">The Corn-field.</div> -</div> - -<p><span class="smcap">Tableau</span> 3.—A long table reaches across -centre of stage; upon it are empty dishes, -and the remains of a feast.</p> - -<p>At each end and at back of table are -grouped the Indians, who are gnawing large -turkey-bones and eating huge pieces of -bread and pie. The Pilgrim family stand at -each side, and view with horror the destruction -of their dinner.</p> - - -<h4>PROPERTIES.</h4> - -<p>The table is a board placed across the -backs of two chairs. In the centre of the -table is a large pie-plate, with only a very -small piece of pie remaining in it; most of -the other dishes are empty.</p> - -<p><span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span></p> - - -<h3><b>The Revolution.</b></h3> - -<p><span class="smcap">Tableau</span> 4.—This is represented by the revolution of a -wheel. Pilgrim Mother stands in the centre of the stage, at a -spinning-wheel, which is set in motion just as the curtain is -parted.</p> - - - -<h4>PROPERTIES.</h4> - -<p>If a real spinning-wheel cannot be obtained, a velocipede, -baby-carriage, or child’s wagon, turned upside down, will answer -the purpose. In the illustration the curtain has been made -transparent, to show how the two back wheels of a velocipede<span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span> -are disposed of. A broom is fastened in an upright position to -the velocipede, and on the handle is tied a piece of gray linen -(a handkerchief will do), to represent flax. A string tied to the -linen is held by Pilgrim Mother. The curtain must be dropped -before the wheel ceases to revolve.</p> -<div class="figcenter" style="width: 511px;"> -<img src="images/i_309.jpg" width="511" height="426" alt="drawing" /> -<div class="caption">The Spinning-wheel.</div> -</div> - - -<h3><b>Slavery.</b></h3> - -<p><span class="smcap">Tableau</span> 5.—Pilgrim Mother is bending over a wash-tub, -with sleeves rolled up to shoulders, washing; a great pile of -clothes lies on the floor at her side; she looks angrily at the -Pilgrim Father, who sits opposite to her with his legs crossed, -calmly reading a newspaper.<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a></p> - - -<h4>PROPERTIES.</h4> - -<p>The tub used for the ship, placed on two chairs; a washboard -and a pile of clothes, white predominating. A rocking-chair -for the Pilgrim Father.</p> - - -<h3><b>Rebellion.</b></h3> - -<p><span class="smcap">Tableau</span> 6.—Pilgrim Mother stands in defiant attitude, facing -Pilgrim Father, who has just arisen from his chair.</p> - -<p>The tub and one of the chairs upon which it stands are tipped -over, and the clothes are scattered about.</p> - - -<h4>PROPERTIES.</h4> - -<p>Same as in preceding tableau.</p> - -<div class="figcenter" style="width: 503px;"> -<img src="images/i_311a.jpg" width="503" height="288" alt="drawing" /> -<div class="caption">The Festive Board.</div> -</div> - - -<h3><b>Peace and Plenty.</b></h3> - -<p><span class="smcap">Tableau</span> 7.—Table extending across the centre of stage is -heaped with all sorts of edibles—whole pumpkins, vegetables,<span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span> -fruit, and flowers. At one end of the festive board stands Pilgrim -Father, at the other Pilgrim Mother, smiling at each other. -Pilgrim Father holds a long carving-knife, as -though about to carve a large pumpkin in -front of him. Pilgrim -Mother is in -the act of cutting a -huge pie. At the -back of the table -are ranged the Pilgrim -children, each -holding outstretched -an empty plate, waiting to be served, and all smiling. At each -side of the stage, extending to the front, is a line of Indians -sitting on the floor, smoking the pipes of peace. The Indians -also are smiling.</p> - - -<h4>PROPERTIES.</h4> - -<p>Table same as in Tableau 3: Dishes, fruit, and vegetables. -The Indians’ pipes are canes with bent handles.</p> - -<p>If, in arranging the stage, clothes-horses, with drapery thrown<span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span> -over them, are placed at the back, they will not only form a background -for the pictures presented, but the space behind makes -a nice dressing-room or retiring-place for those taking part.</p> - -<div class="figcenter" style="width: 600px;"> -<img src="images/i_311.jpg" width="600" height="172" alt="jack o'lantern from all sices" /> -<div class="caption">Fig. 213.—Pumpkin Lantern.</div> -</div> - -<p>Pumpkin lanterns, -set in a -row on the floor -just inside the -curtain, will be -funny substitutes -for footlights. -They -will decorate the -stage appropriately, -and at the -same time be -quite safe. Fig. -213 shows how -they are made. -The face is not -cut through, but the features are scraped -thin enough to allow the light inside to -make them visible. If they were cut, -as in ordinary pumpkin lanterns, the -light would shine out from instead of -on to the stage.</p> - -<div class="figright" style="width: 392px;"> -<img src="images/i_312.jpg" width="392" height="523" alt="drawing" /> -<div class="caption">Silhouette of the Headless Turkey.</div> -</div> - - -<h3><b>The Game of the Headless Turkey.</b></h3> - -<p>A large silhouette, representing a -headless turkey, is cut from black, or -dark colored paper-muslin, and fastened upon a sheet stretched -tightly across a door-way. To each member of the party is -given a pin and a muslin head, which, if rightly placed, will fit<span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span> -the turkey. Then, one at a time, the players are blind-folded -and placed at the end of the room opposite the sheet. After -turning them around three times one way, then three times -the other, they are started off to search for the turkey, that -they may pin the head where they suppose it belongs. When -the person going blindly about the room comes in contact -with anything, no matter what, be it chair, table, wall, door, or -another player, she must pin the turkey-head to the object -touched. To the person who comes nearest to placing the -head in its true place, a prize of a gilded wish-bone, tied to a -card with a ribbon, is given. And she who makes the least successful -effort is presented with a turkey-feather, which she -must stick in her hair and wear for the remainder of the evening.</p> - - -<h3><b>A Suggestion.</b></h3> - -<p>Amid all these bright and happy thoughts of feasting and -merrymaking, comes an idea, so gently, yet persistently, forcing -itself upon my notice, that it finally assumes the form of a definite -plan which I will put to you in the form of a suggestion.</p> - -<p>At this time, when, thinking over the numerous blessings, -that most of you find to be thankful for, how would it do, -girls, to form a society among yourselves, to be called the -Thanksgiving Society, whose object will be to provide a real -Thanksgiving for other and less fortunate girls, by giving them -something to be thankful for before next year’s Thanksgiving -shall arrive?</p> - -<p>There need be no formality about the society. The only -necessary officer will be a secretary, to keep a record of what is -done by the society, individually and collectively; which report -the secretary will read at the grand annual meeting on Thanksgiving -Day.<span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span></p> - -<p>Many girls, young, like yourselves, to whom it is just as -natural to be glad and happy, have little to make them so, and -to bring some brightness into their lives would indeed be worth -forming a society for.</p> - -<p>There are various ways in which kindness may be done -these girls, and so many avenues will open to those seeking to -benefit them, that it is needless to attempt any instruction as to -what work may be performed by the society; if this suggestion -is adopted, I know it will be safe to leave it to the quick sympathy -and warm hearts of the girls to do the right thing at the -right moment. What think you, girls, would it not be worth -while to make of this last Thursday of November a Thanksgiving -for others as well as for yourselves? and would not your -own pleasures be doubly enhanced when sweetened with the -thought of having done what you could to make someone else -happy?</p> - -<div class="figcenter" style="width: 448px;"> -<img src="images/i_314.jpg" width="448" height="200" alt="Four Little “Injun” Boys" /> -</div> - -<hr class="full" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span></p> -<h2 class="faux">Winter</h2> -<div class="figcenter" style="width: 483px;"> -<img src="images/i_315.jpg" width="483" height="239" alt="Winter" /> -</div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span></p> - - -<div class="figcenter" style="width: 371px;"> -<img src="images/i_316.jpg" width="371" height="460" alt="girl with sled" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span></p> - - - - -<h2>CHAPTER XXIX.<br /> - -<small>CHRISTMAS FESTIVITIES AND HOME-MADE -CHRISTMAS GIFTS.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_317.jpg" width="218" height="189" alt="A" /> -</div> - -<p class="drop-capi">AMONG all the days we celebrate Christmas -stands first and foremost in our thoughts, -the holiday of holidays. Coming in the -season of frost and snow it brings a -cheering warmth to our hearts that -defies the icy atmosphere, and the -feeling of kindliness and good will -toward everyone, which it awakens, seems in response to the -words the angels sang on our first Christmas, “On earth peace, -good will toward men.”</p> - -<p>Christmas is not merely a day set apart for feasting, giving -and receiving presents, and for merrymaking. The day on -which we celebrate the birth of our Lord is a time of rejoicing -for rich and poor alike, and Christmas is Christmas still, although -we may receive and can offer no presents and our feast is humble -indeed.</p> - -<p>Feeling this, let us keep the Christmas festival as it should -be kept, right happily and merrily. Let us decorate our homes -to the best of our ability in honor of the day, and supply all -deficiencies with happy hearts and smiling faces.</p> - -<p>A friend of the writer’s once remarked, as she busied herself -with some Christmas-cards she was preparing to send to the<span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span> -hospitals, “I always like to tie a sprig of evergreen on each -card; it looks and smells so Christmasy.” And so it does. -Even a few pieces of evergreen, tacked over doorways or -branching out from behind picture-frames, give a room a festive, -Christmas-like appearance that nothing else can, and as -evergreens are so plentiful here in America there are few -houses that need be without their Christmas decorations. -Holly, too, with its brilliant red berries peeping cheerily forth -from their shelter of prickly leaves, adds brightness to the other -adornments, and when the white-berried mistletoe can also be -obtained all the time-honored materials for the Christmas decorations -are supplied.</p> - -<p>Though we are Americans, our ancestors came from many -nations, and we have therefore a right and claim to any custom -we may admire in other countries. We may take our Christmas -celebrations from any people who observe the day and -combining many, evolve a celebration which in its variety will -be truly American.</p> - -<p>From Germany we have already taken our Christmas-tree; -from Belgium our Christmas-stocking; Santa Claus hails from -Holland, and old England sends us the cheery greeting, Merry -Christmas!</p> - -<p>The custom the French children have of ranging their shoes -on the hearth-stone on Christmas-Eve for the Christ-child to fill -with toys or sweetmeats, is too much like our own Christmas -stocking to offer any novelty. The Presepio, or Holy Manger, of -the Roman Catholic countries, which represents the Holy Family -at Bethlehem, with small wooden or wax figures for the characters, -is more suitable for the church celebration, but in Sweden -and Denmark they have a peculiar method of delivering their -Christmas-presents which we might adopt to our advantage, for -it would be great fun to present some of our gifts in their novel -manner.</p> - -<p><span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span></p> - -<p>Instead of describing this custom we will tell you just how -to carry it out and will call it the</p> - - -<h3><b>Julklapp,</b></h3> - -<p class="unindent">which in Denmark and Sweden means Christmas-box or -gift.</p> - -<p>Before Christmas-Day arrives all the presents intended for -the Julklapp delivery must be prepared by enclosing them in a -great many wrappings of various kinds, none of which should -in any way suggest their contents.</p> - -<p>If one of the presents is a pretty trinket, wrap it up in a -fringed tissue paper, such as is used for motto candy or sugar-kisses; -place it in a small box, and tie the box with narrow -ribbon; then do it up in common, rough brown paper, and wrap -the package with strips of cloth until it is round like a ball; -cover the ball with a thin layer of dough, and brown in the -oven. Pin it up in a napkin, wrap in white wrapping paper and -tie with a pink string.</p> - -<p>The more incongruous the coverings, the more suitable they -are for the Julklapp. You may enclose others gifts in bundles -of hay, rolls of cotton or wool, and use your own pleasure in -choosing the inner wrappings. It will be the wisest plan to -always use something soft for the outside covering, the reason -of which you will understand when the manner of delivery is -explained. Each package must be labelled with the name of the -person for whom it is intended, and if an appropriate verse, -epigram, or proverb be added it will be the cause of fresh mirth -and laughter.</p> - -<p>The Julklapp delivery may, and probably will commence -very early Christmas morning, for the little folks, always early -risers on this day, will no doubt be up betimes, and ready for -the business of the day. The first intimation the less enterprising<span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span> -members of the family will have that Christmas has -dawned, will be a loud bang at the chamber door, followed by -a thump of something falling on the bed or the sleeper’s chest. -Then springing up and opening startled eyes, from which all -sleep has been thus rudely banished, one will probably discover -a large bundle of <i>something</i> on the bed or lying on the floor -close beside it. It will be useless to rush to the door to find -from whom or where this thing has come, for although a suppressed -giggle may be heard outside the door just after feeling -the thump, nothing will be met upon opening it, but dead silence, -and nothing seen but the empty hall.</p> - -<p>At any time during the day or evening the Julklapps may arrive -and when all look toward the door, as a loud rap is heard, -whizz! something comes through the window and lands in the -middle of the room. A sharp tap at the window is followed by -the opening and closing of a door, and a bundle of straw, wool, -paper, or cloth, as the case may be, lands in someone’s lap. In -short the Julklapps may come from any and every direction, and -when one is least expecting them, and so the surprises and excitement -are made to last until, weary with the fun and gayety of -the day, the tired merrymakers seek their beds on Christmas-night.</p> - -<p>If it has not been made plain enough who, or what causes -the mysterious arrivals of the Julklapps we will say that the -whole household join in the conspiracy, and the packages come -from the hands of each of its members. The</p> - - -<h3><b>Polish Custom</b></h3> - -<p class="unindent">of searching for Christmas gifts, which have previously been -hidden in all manner of places in the house, is one the children -will delight in, and one that, introduced at a Christmas party, -will provoke no end of merriment and fun.</p> - -<p><span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span></p> - - -<h3><b>The Bran Pie</b></h3> - -<p class="unindent">is an English dish, but is quite as well suited to the American -taste. It is an excellent means of distributing trifling gifts and -may be new to some of you.</p> - -<p>Use a large, deep brown dish for the pie. Put in it a gift -for everyone who will be at the Christmas dinner, and cover -them over thickly with bran, ornament the top by sticking a -sprig of holly in the centre. After dinner have the bran pie -put on the table with a spoon and plates beside it, and invite -everyone to help her or himself, each spoonful bringing out -whatever it touches. Comical little articles may be put in the -pie, and the frequent inappropriateness of the gift to the receiver -of it, helps to create laughter.</p> - -<p>The Bran Pie should be the secret of not more than two -persons, for, like all things pertaining to Christmas gifts, the -greater the surprise, the more pleasure there will be in it.</p> - - -<h3><b>The Blind Man’s Stocking</b></h3> - -<p class="unindent">may also be used for small gifts, or it may hold only candy and -bonbons. Make the stocking of white or colored -tissue-paper like the pattern given in Fig. 214.</p> - -<div class="figleft" style="width: 182px;"> -<img src="images/i_321.jpg" width="182" height="213" alt="diagram" /> -<div class="caption">Fig. 214.—Paper Stocking.</div> -</div> - -<p>First cut out one piece like the pattern, making -the foot thirteen inches long and six inches -from the sole to the top of the instep, and the leg -of the stocking sixteen inches from the heel to -the top; then cut another, one inch -larger all around than the first. Place -the two together fold the edge of the -larger over the smaller piece and paste -it down all around except at the top -(Fig. 214). Fill the stocking with small gifts or sweetmeats,<span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span> -tie a string around the top to keep it fast, and suspend it from -the centre of a doorway. Blindfold each player in turn, put a -long, light stick in her hand, a bamboo cane will do, and lead -her up within reach of the stocking and tell her to strike it. -When anyone succeeds in striking the stocking and a hole is -torn in it, the gifts or candy will scatter all over the floor to be -scrambled for by all the players. Each player should be allowed -three trials at striking the stocking.</p> - -<p>Young children are always delighted with this Christmas -custom, and the older ones by no means refuse to join in the -sport.</p> - - -<h3><b>Home-made Christmas Gifts.</b></h3> - -<div class="figright" style="width: 213px;"> -<img src="images/i_322.jpg" width="213" height="222" alt="drawing" /> -<div class="caption">Fig. 215.—Chamois for Eye-glasses.</div> -</div> - -<p>That the children may do their share toward filling the -Christmas stockings, adding to the fruit of the Christmas tree, -helping with the Julklapps, contributing to the Bran Pie or -Blind Man’s Stocking, we give these hints on home-made -Christmas gifts, all of which are inexpensive -and easily constructed.</p> - - -<h3><b>Chamois for Eye-glasses.</b></h3> - -<p>Cut out two circular pieces of -chamois-skin about the size of a silver -half-dollar, bind the edges with -narrow ribbon, and fasten the two -pieces together with a bow of the -same. Print with a lead pencil on -one piece of the chamois-skin, “I -Make all Things Clear,” and go over the lettering with a pen -and India ink, or you may paint the letters in colors to -match the ribbon. Fig. 215 shows how it should look when -finished.</p> - - - -<p><span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span></p> - - -<h3><b>Glove Pen-wiper.</b></h3> - -<p>Cut four pieces from thin, soft chamois-skin, like the outline -of Fig. 216. Stitch one with silk on the sewing-machine, according -to the dotted lines. Cut two slits at the wrist through -all the pieces as shown in Fig. 216, and join them together by -a narrow ribbon passed through the openings, and tied in a -pretty bow, Fig. 217.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 265px;"> -<img src="images/i_323aa.jpg" width="265" height="94" alt="pattern" /> -<div class="caption">Fig. 216.—Pattern of Pen-wiper.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 265px;"> -<img src="images/i_323ab.jpg" width="265" height="164" alt="drawing of completed work" /> -<div class="caption">Fig. 217.—Pen-wiper.</div> -</div></td> -</tr> -</table> -</div> - - -<h3><b>Sachet.</b></h3> - -<div class="figleft" style="width: 312px;"> -<img src="images/i_323b.jpg" width="312" height="194" alt="looks like a letter to Santa" /> -<div class="caption">Fig. 218—Sachet.</div> -</div> - -<p>Open out an envelope, and cover it with white or cream-colored -silk, refold carefully, joining the edges with stiff mucilage, -using as little as -possible. In place of a -letter enclose a layer of -cotton sprinkled with -sachet-powder, fasten -the envelope with sealing-wax -as in an ordinary -letter. Address it -with pen and ink, to -the one for whom it is -intended. Print on it, -like a stamp, “Christmas, December 25,” and fasten a cancelled<span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span> -stamp, taken from an old letter, on one corner. The finished -sachet is shown in Fig. 218.</p> - - -<h3><b>A Book-mark.</b></h3> -<div class="figright" style="width: 158px;"> -<img src="images/i_324a.jpg" width="158" height="340" alt="drawing" /> -<div class="caption">Fig. 219—Book-mark.</div> -</div> -<p>Cut out the corner of a full-sized, linen-lined -envelope, making the piece four -inches long, and one and a half inches -wide. Write on one side with pen and -ink, or paint the lettering in color, “A -Fresh Mind Keeps the Body Fresh.” -The book-mark will fit over the book-leaf -like a cap, and is excellent for keeping the -place. Fig. 219.</p> - - - - -<h3><b>A Scrap-bag.</b></h3> - - -<p>Scrap-bags have been fashioned in -many shapes and sizes, and of all sorts of -material, still it remains to be shown in what manner Christmas -cards may add in decoration and beauty to these useful articles.<span class="pagenum"><a name="Page_325" id="Page_325">[325]</a></span> -From your collection choose four cards of the same size, then -on a piece of bright silk or cloth sew the cards at equal distances -apart, as in Fig. 220, stitching -them around the edges on the sewing-machine. -At the dotted line fold over -the top of the bag as if for a hem, making -the narrow fold lap just cover the -upper edge of the card; stitch this down -to form a binding.</p> -<div class="figcenter" style="width: 445px;"> -<img src="images/i_324b.jpg" width="445" height="259" alt="diagram" /> -<div class="caption">Fig. 220.—Pattern of Scrap-bag.</div> -</div> - -<div class="figleft" style="width: 185px;"> -<img src="images/i_325a.jpg" width="185" height="381" alt="drawing of completed bag" /> -<div class="caption">Fig. 221.—Scrap-bag.</div> -</div> - -<p>After joining the bag at the dotted -lines on the sides, gather the bottom up -tight and fasten to it a good-sized tassel; -then sew on each side a heavy cord -with tassels placed where the cord joins -the bag, as seen in Fig. 221. The cord -and tassels of the example were made of -scarlet worsted.</p> -<div class="figright" style="width: 164px;"> -<img src="images/i_325b.jpg" width="164" height="90" alt="diagram" /> -<div class="caption">Fig. 222.—Pattern of Turtle.</div> -</div> - -<div class="figright" style="width: 169px;"> -<img src="images/i_325c.jpg" width="169" height="76" alt="drawing" /> -<div class="caption">Fig. 223.—Walnut-shell Turtle.</div> -</div> - -<h3><b>A Walnut-shell Turtle.</b></h3> - -<p>For an ornament to be used on a -pen-wiper, or simply as a pretty toy, -the little turtle is appropriate. It is made -of half an English walnut, which forms the -turtle’s back or shell, glued on a piece of -card-board cut after -the diagram given -in Fig. 222. Paint -the card-board as nearly as possible the -color of the shell, and the eyes black. -When perfectly dry glue the shell securely -to the card-board, bend down and out the feet a little, -in order to make the turtle stand; bend the head up, and the -tail down, as in Fig. 223.</p> - - - -<p><span class="pagenum"><a name="Page_326" id="Page_326">[326]</a></span></p> - -<p>Here are some home-made toys which the children can -make to give to one another.</p> - - -<h3><b>Miss Nancy.</b></h3> - -<p>Miss Nancy (Fig. 226) is fashioned from a piece of pith -taken out of a dried cornstalk. Cut away the stalk until the -pith is reached; then take a piece of the pith, about six inches -long and whittle out one end to resemble a head as in Fig. 224, -draw a face on the head with pen and ink, and glue half of a -lead bullet on the lower end of the pith (Fig. 225). Make Miss -Nancy’s costume of a skirt, composed of some bright-colored -Japanese paper, a shawl made of a piece of soft ribbon or silk, -and a cap of white swiss. The peculiarity of the little lady is -that she insists upon always standing upright, no matter in -what position she is placed.</p> - - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 187px;"> -<img src="images/i_326a.jpg" width="187" height="348" alt="Fig. 224. Fig. 225." /> -<div class="caption">Manner of Making Miss Nancy.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 295px;"> -<img src="images/i_326b.jpg" width="295" height="345" alt="doll" /> -<div class="caption">Fig. 226.—Miss Nancy.</div> -</div></td> -</tr> -</table> -</div> - -<p><span class="pagenum"><a name="Page_327" id="Page_327">[327]</a></span></p> - -<div class="figright" style="width: 162px;"> -<img src="images/i_327.jpg" width="162" height="417" alt="drawing" /> -<div class="caption">Fig. 227.—Paper Ball.</div> -</div> -<h3><b>A Soft Ball.</b></h3> - -<p>A very pretty and safe return ball for the little ones to -play with may be made of paper (Fig. 227), which, being -soft, precludes all danger of “thumps and -bumps.”</p> - - - -<p>Take a piece of newspaper, and, using -both hands, roll it and fold it into something -of the required shape. Then place -it in the centre of a square piece of bright-colored -tissue paper; take the four corners -of the tissue-paper up to the centre of the -top of the ball, fold them over, also fold -and smooth down what fulness there may -be; next place a small round piece of gold, -silver, or some contrasting colored paper -on the top of the ball. Secure all by winding -a string around the ball, making six -or eight divisions; tie a piece of elastic to -the string where it crosses on the top of -the ball, then paste over this a small artificial -flower. In the other end of the elastic, -make a loop to fit over the finger, or -tie on it a small brass ring.</p> - -<p>If a tiny sleigh-bell be placed in the -centre when the ball is being made, it will give a cheerful little -tinkling noise whenever the ball is thrown.</p> - - -<h3><b>A Lively Rooster.</b></h3> - -<p>To make the rooster (Fig. 228), cut out of stiff cardboard -Figs. 229, 230, 231, and 232. Tie on Figs. 229 and 230 each a -piece of string seven and one-half inches long. Then attach<span class="pagenum"><a name="Page_328" id="Page_328">[328]</a></span> -the head and tail to the body by running a string through holes -at A in Fig. 230 and A in Fig. 231, and another through B in -Fig. 229 and B in Fig. 231. Bring the head and tail up close -to the body and fasten the ends of the strings down securely -with court-plaster or pieces of paper pasted over them. Bend -Fig. 231 at dotted line C; then on the space marked E, paste -the portion of Fig. 232 marked E after bending it at dotted line -O. Again bend Fig. 232 in the same direction at dotted line<span class="pagenum"><a name="Page_329" id="Page_329">[329]</a></span> -P, and paste it across the space marked P, on Fig. 231. When -all is fastened together, and the paste perfectly dry, paint the -rooster to look as life-like as possible. Tie the strings of Figs. -229 and 230 together four inches -from where they are fastened on, -then again about three inches lower -down, and attach a weight to the -ends. A common wooden top, with -a tack in the head (Fig. 233), will -answer the purpose nicely. To bring -the rooster to life, place him on the mantel-piece, with a book -serving as a weight on the projection of Fig. 232, swing the top -and he will move his head and tail in the most amusing manner.</p> - - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figleft" style="width: 242px;"> -<img src="images/i_328a.jpg" width="242" height="494" alt="drawing" /> -<div class="caption"><p>Fig. 228.—The Rooster.</p></div> -</div></td> -<td align="left"><div class="figcenter" style="width: 368px;"> -<img src="images/i_328b.jpg" width="368" height="484" alt="Figs. 229-233" /> -<div class="caption">Pattern of Rooster.</div> -</div></td> -</tr> -</table> -</div> -<div class="figcenter" style="width: 522px;"> -<img src="images/i_329.jpg" width="522" height="541" alt="older girl making fairy dancers, toddler standing on chair to watch" /> -<div class="caption">Fairy Dancers.</div> -</div> -<p><span class="pagenum"><a name="Page_330" id="Page_330">[330]</a></span></p> - - -<h3><b>Fairy Dancers.</b></h3> - - -<div class="figleft" style="width: 264px;"> -<img src="images/i_330a.jpg" width="264" height="501" alt="drawing" /> -<div class="caption">Fig. 234.—A Fairy Dancer.</div> -</div> - -<div class="figright" style="width: 175px;"> -<img src="images/i_330b.jpg" width="175" height="409" alt="diagram" /> -<div class="caption">Fig. 235.—Pattern of Fairy -Dancer.</div> -</div> - -<p>Among the gifts made by little hands, a box, containing a set -of fairy dancers, will be a most novel and welcome addition. -These little figures, when placed -on the piano, will move as soon -as the keys are touched, dancing -fast or slow in perfect time -to the music. They may all be -made to resemble fairies as in Fig. 234, -or a famous collection -of figures in -the costumes of -different periods -in history will be -equally pretty and -perhaps more interesting. -Ladies -in kirtles and tunics, -gentlemen in -slashed doublet -and hose of the -Tudor times, -Queen Elizabeth’s -starched ruffs and -farthingales, etc. -All these dresses -can be more easily -copied from pictures -of the period than from any written -description of them. The materials used -for the costume must be of the lightest kind, for a heavy dress -will weigh down the dancer and hamper its movements. To<span class="pagenum"><a name="Page_331" id="Page_331">[331]</a></span> -make the fairy (Fig. 234) trace Fig. 235 on cardboard and cut -it out, sew a piece of bonnet-wire down the back, as shown in -diagram. Mark the slippers on the feet with -ink or black paint, select a Christmas or advertising -card representing a child, with a head -of a suitable size, cut the head out and paste -it on the fairy.</p> - - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 205px;"> -<img src="images/i_331a.jpg" width="205" height="342" alt="diagram" /> -<div class="caption">Fig. 236.—Pattern of Chinaman</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 108px;"> -<img src="images/i_331b.jpg" width="108" height="254" alt="drawings of hair" /> -<div class="caption">Fig. 237. Fig. 238.<br />Chinaman’sQueue.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 200px;"> -<img src="images/i_331c.jpg" width="200" height="342" alt="drawing of back of completed Chinaman" /> -<div class="caption">Fig. 239.—The Chinaman.</div> -</div></td> -</tr> -</table> -</div> -<div class="figleft" style="width: 189px;"> -<img src="images/i_332a.jpg" width="189" height="249" alt="diagram" /> -<div class="caption">Fig. 240.—Chinaman’s Sacque.</div> -</div> - -<div class="figright" style="width: 102px;"> -<img src="images/i_332ba.jpg" width="102" height="99" alt="circle" /> -<div class="caption">Fig. 241.—Pattern -of Chinaman’s -Hat.</div> -</div> - -<div class="figright" style="width: 92px;"> -<img src="images/i_332bb.jpg" width="92" height="85" alt="drawing" /> -<div class="caption">Fig. 242.—Chinaman’s -Hat.</div> -</div> -<p>Gather two short skirts of tarlatan, -make a waist of the same, sew with a -few stitches to the doll, and cover the -stitches with a sash of bright -colored tissue paper; add a -strip of tarlatan for a floating -scarf, gluing it to the uplifted -hands. Bend back the -piece of cardboard projecting -from the foot, -and glue to it a small -piece of bristle brush. The wire on -the doll should be long enough to pass -tightly around the brush, thus making -it more secure.</p> - -<p>If you would like to have the -Chinaman (Fig. 239) in your troupe of -dancers, trace on cardboard Fig. 236, -draw a face with slanting eyes, or paint it; then take several -strands of black thread and tie them together in the centre with<span class="pagenum"><a name="Page_332" id="Page_332">[332]</a></span> -another piece of thread (Fig. 237), bring the ends down together -(Fig. 238), braid them and sew the braid to the back of the -Chinaman’s head (239). Cut -a loose sacque from pattern -Fig. 240, fold at the waved -lines and sew together at -the dotted lines; cut an -opening for the head as -seen in pattern. Make the -hat of dark green paper cut -in the form of Fig. 241, and -crimp it from the centre -(Fig. 242). Sew the hat to -the back of the Chinaman’s -head, bend the cardboard -projection at the feet and glue it to a piece of brush.</p> - - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams and drawing"> -<tr> -<td align="left"><div class="figcenter" style="width: 397px;"> -<img src="images/i_332c1.jpg" width="397" height="139" alt="Figs. 243-246" /> -<div class="caption">Butterfly Pattern.</div> -</div></td> -<td align="left"><div class="figright" style="width: 117px;"> -<img src="images/i_332c2.jpg" width="117" height="194" alt="Fig. 247" /> -<div class="caption">Butterfly.</div> -</div></td> -</tr> -</table> -</div> - -<p>Butterflies of brilliant hues, all hovering and circling, may -take the place of the fairies, or they may mingle with them in -the dance, presenting a scene indeed fairy-like. To make a -butterfly, trace the pattern given in Fig. 243, on -brilliantly colored paper. Form a body by rolling -a small piece of beeswax between the fingers until it assumes -the desired shape (Fig. 244); then attach the wings to -the body by softening the wax and sticking them to it. Wax<span class="pagenum"><a name="Page_333" id="Page_333">[333]</a></span> -a piece of black thread to stiffen it, and make a knot in each -end (Fig. 245), bend this in the middle and stick it on to the -head to form the antennæ (Fig. 246). Fasten one end of a very -fine wire securely in the middle of the wax body, and wrap the -other end around a small piece of brush as seen in Fig. 247. -A number of these butterflies placed on the pianoforte will -move, bend and sway with the music as if endowed with life.</p> - -<p>Toys, also, which are small and light enough, can be made to -“trip the light fantastic” in time to the music.</p> - -<p>Select those most suitable and glue them to pieces of brush -in the way described for the other dancers.</p> - -<p>The children, generous little souls, always long to do their -part towards making Christmas presents, and we hope that the -suggestion we have offered will help them to manufacture, -without other aid, many little gifts which their friends will -prize the more highly for having been made by the loving little -hands.</p> - -<div class="figcenter" style="width: 470px;"> -<img src="images/i_333.jpg" width="470" height="147" alt="steaming plum pudding" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_334" id="Page_334">[334]</a></span></p> - - - - -<h2>CHAPTER XXX.<br /> - -<small>AMUSEMENTS AND GAMES FOR THE CHRISTMAS -HOLIDAYS.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_334.jpg" width="127" height="200" alt="A" /> -</div> - -<p class="drop-capi2">A WINTER passed in-doors would be irksome indeed -for a healthy, hearty girl, and even the -most delicate are the better for an outing now -and then. The keen northwest wind, the biting -frosts, the crisp atmosphere and the glistening -ice and snow are not without their attractions, -and we hope that no American girl will -neglect the opportunities this time of the year -affords for healthy, enjoyable out-door pastime. -It is well to follow the example of our Canadian sisters, -and, clad in garments warm and appropriate, indulge in coasting, -tobogganing, skating, sleighing, and walking.</p> - -<p>The country, wrapped in its winter mantle, is very attractive. -Many of our small animals and birds that city people are apt to -associate only with a summer landscape, are to be found abroad -in mid-winter, and upon a bright sunny day the birds are not -only to be seen, but heard twittering and even singing in the -hedges; they do not feel the cold and are enjoying themselves -heartily. The reason the birds and wild creatures are so comfortably -content, is because they are prepared for the weather, -their clothing is not only soft and warm, but fits them perfectly, -without interfering with their movements. Take a lesson from -them, girls, dress as becomingly as you choose, the birds always -do that, but do not wear thin-soled shoes or anything that is<span class="pagenum"><a name="Page_335" id="Page_335">[335]</a></span> -uncomfortable; wrap up warm and you can enjoy yourself out -of doors in the coldest weather just as well as the birds. The -cold winds will only bring the roses to your cheeks, and the -keen, invigorating air, health and suppleness to your body.</p> - -<p>We do not think any person ever learned to skate, coast, or -walk on snow-shoes from reading the directions that can be -given in a book. It is for that reason we have no chapter -devoted to these sports and not because we do not believe in, -and enjoy them, too. Therefore we will direct our attention -to indoor sports, for they can be learned in this way and are -quite as important as the others in filling out the list of winter -amusements.</p> - -<p>There are a great many days in winter when it is so stormy -and disagreeable out-doors, one is glad enough to have the -shelter of a roof and the warmth of a fire; these are the days -and evenings when in-doors games are in demand, and during -the holiday season, when work has been put aside, and you -have nothing to do but enjoy yourself, any new diversion is -always welcome. It is here then that we will insert the</p> - - -<h3><b>New Game of Bubble Bowling.</b></h3> - -<p>When the game of Bubble Bowling was played for the first -time, it furnished an evening’s entertainment, not only for the -children, but for grown people also; even a well known general -and his staff, who graced the occasion with their presence, -joined in the sport, and seemed to enjoy it equally with their -youthful competitors. Loud was the chorus of “Bravo!” and -merry the laugh of exultation when the pretty crystal ball -passed safely through its goal; and sympathy was freely expressed -in many an “Oh!” and “Too bad!” as the wayward -bubble rolled gayly off toward the floor, or, reaching the -goal, dashed itself against one of the stakes and instantly vanished -into thin air.</p> - -<p><span class="pagenum"><a name="Page_336" id="Page_336">[336]</a></span></p> - -<div class="figcenter" style="width: 526px;"> -<img src="images/i_336.jpg" width="526" height="447" alt="girl blowing soap bubbles" /> -<div class="caption">Bubble Bowling.</div> -</div> - -<p>The game should be played upon a long, narrow table, made -simply of a board about five feet long and eighteen inches wide, -resting upon high wooden “horses.” On top of the table, and -at a distance of twelve inches from one end, should be fastened -in an upright position, two stakes, twelve inches high; the -space between the stakes should be eight -inches, which will make each stand four -inches from the nearest edge of the -table. When finished, the table -must be covered with some sort -of woollen cloth; an old shawl or a -breadth of colored flannel will answer -the purpose excellently. Small holes -must be cut at the right distance for the stakes -to pass through. The cloth should be allowed -to fall over the edge of the table, and must not be -fastened down, as it will sometimes be necessary to -remove it in order to let it dry. It will be found more convenient, -therefore, to use two covers, if they can be provided, as -then there can always be a dry cloth ready to replace the one -that has become too damp. The bubbles are apt to stick when -they come upon wet spots, and the bowling can be carried on -in a much more lively manner if the course is kept dry. Each -of the stakes forming the goal should be wound with bright<span class="pagenum"><a name="Page_337" id="Page_337">[337]</a></span> -ribbons of contrasting colors, entwined from the bottom up, -and ending in a bow at the top. This bow can be secured in -place by driving a small brass-headed tack through the ribbon -into the top of the stake. If the rough pine legs of the -table seem too unsightly, they can easily be painted, or a -curtain may be made of bright-colored cretonne—any other -material will do as well, provided the colors are pleasing—and -tacked around the edge of the table, so as to fall in folds to the -floor. The illustration shows the top of the table, when ready -for the game.</p> - -<p>For an impromptu affair, a table can be made by placing a -leaf of a dining-table across the backs of two chairs, and covering -it with a shawl; lead pencils may be used for the stakes, -and they can be held in an upright position by sticking them -in the tubes of large spools. This sort of table the children -can arrange themselves, and it answers the purpose very nicely. -The other things to be provided for the game are a large bowl -of strong soapsuds, made with hot water and common brown -soap, and as many pipes as there are players.</p> - -<p>The prizes for the winners of the game may consist of -any trinkets or small articles that fancy or taste may suggest.</p> - -<p>Bubble Bowling can be played in two ways. The first -method requires an even number of players, and these must -be divided into two equal parties. This is easily accomplished -by selecting two children for captains, and allowing each captain -to choose, alternately, a recruit for her party until the -ranks are filled, or, in other words, until all the children have -been chosen; then, ranked by age, or in any other manner -preferred, they form in line on either side of the table. A pipe -is given to each child, and they stand prepared for the contest. -One of the captains first takes her place at the foot of the table, -where she must remain while she is bowling, as a bubble passing<span class="pagenum"><a name="Page_338" id="Page_338">[338]</a></span> -between the stakes is not counted unless blown through the -goal from the end of the table.</p> - -<p>The bowl of soapsuds is placed upon a small stand by the -side of the bowling-table, and the next in rank to the captain, -belonging to the same party, dips her pipe into the suds and blows -a bubble, not too large, which she then tosses upon the table in -front of the captain, who, as first bowler, stands ready to blow -the bubble on its course down through the goal. Three successive -trials are allowed each player; the bubbles which break -before the bowler has started them, are not counted.</p> - -<p>The names of all the players, divided as they are into two -parties, are written down on a slate or paper, and whenever a -bubble is sent through the goal, a mark is set down opposite -the name of the successful bowler.</p> - -<p>When the captain has had her three trials, the captain on -the other side becomes bowler, and the next in rank of her own -party blows the bubbles for her. When this captain retires, -the member of the opposite party, ranking next to the captain, -takes the bowler’s place and is assisted by the one whose name -is next on the list of her own side; after her the player next to -the captain on the other side; and so on until the last on the -list has her turn, when the captain then becomes assistant and -blows the bubbles.</p> - -<p>The number of marks required for either side to win the -game, must be decided by the number of players; if there are -twenty—ten players on each side—thirty marks would be a -good limit for the winning score.</p> - -<p>When the game has been decided, a prize is given to that -member of the winning party who has the greatest number of -marks attached to her name showing that she has sent the bubble -through the goal a greater number of times than any player -on the same side. Or, if preferred, prizes may be given to -every child belonging to the winning party. The other way in<span class="pagenum"><a name="Page_339" id="Page_339">[339]</a></span> -which Bubble Bowling may be played is simpler, and does not -require an even number of players as no sides are formed.</p> - -<p>Each bowler plays for herself, and is allowed five successive -trials; if three bubbles out of the five be blown through -the goal the player is entitled to a prize. The child acting as -assistant becomes the next bowler, and so on until the last in -turn becomes bowler, when the one who began the game takes -the place of assistant.</p> - -<p>When the evening lamps are lighted and the young folks, -gathered cosily around the cheerful fire, begin to be at a loss -how to amuse themselves, let them try the game of</p> - - -<h3><b>Biographical Nonsense.</b></h3> - -<p>A paper must be written by one of the players which will -read like the following:</p> - - -<ul class="ingredients"><li>The name of a noted man.</li> -<li>A date between the flood and the present year.</li> -<li>The name of a noted man.</li> -<li>A country.</li> -<li>The name of some body of water or river.</li> -<li>Some kind of a vessel.</li> -<li>A country.</li> -<li>A country.</li> -<li>The name of a school.</li> -<li>A city.</li> -<li>A city, town, or country.</li> -<li>A city, town, or country.</li> -<li>A number.</li> -<li>The names of two books.</li> -<li>The name of one book.</li> -<li>A wonderful performance.</li> -<li><span class="pagenum"><a name="Page_340" id="Page_340">[340]</a></span>The name of a well-known person.</li> -<li>A profession or trade.</li> -<li>A term expressing the feeling entertained for another person.</li> -<li>A term descriptive of someone’s appearance.</li> -<li>A word denoting size.</li> -<li>A term describing form.</li> -<li>A color.</li> -<li>A word denoting size.</li> -<li>The name of an article of some decided color.</li> -<li>The name of any article.</li> -<li>The name of any article.</li> -<li>A number of years.</li> -</ul> - - -<p>This paper is to be passed to each member of the party who -in turn will fill up the blanks left, with the words, terms, and -names indicated.</p> - -<p>When the blanks have been filled, one player must read the -following, and another supply the words, when she pauses, from -the paper just prepared, being sure to read them in their true -order.</p> - -<h4>A BIOGRAPHY.</h4> - -<p>—— was born in —— the same year when —— discovered ——, -by sailing through the —— in a ——. His -father was a native of ——; his mother of ——. He was -educated at ——, in the city of ——. His first voyage, -which was a long one, was from —— to ——. He wrote -three books before he was —— years of age. They are -——, and ——. He performed the miraculous feat of -—— with ——. He was a great ——, and one we shall -ever ——. In appearance he was —— being rather —— -of stature. His nose was ——, his eyes ——, his mouth -——, and hair the color of —— adorned his head. He -invariably carried in his hand a —— and a ——, by which<span class="pagenum"><a name="Page_341" id="Page_341">[341]</a></span> -he was always known, and with which he is represented to this -day. He died at the advanced age of ——-.</p> - -<p>The ridiculous combinations found in this game make it -very funny.</p> - - -<h3><b>Comic Historical Tableaux</b></h3> - -<p class="unindent">are very amusing, and being impromptu require no preparation -beforehand.</p> - -<p>As in charades, the company must divide into two parties. -But instead of acting as in charades, one party decides what -event in history they will represent, and then they form a tableau -to illustrate the event, making it as ridiculous as possible. -The other party must try and guess what the tableau is; if they -are successful, it is their turn to produce a tableau, if not, the -first party must try another subject, and continue to do so until -the subject of their tableau is correctly guessed.</p> - -<p>We will give a few suggestions for the tableaux.</p> - - -<h4>BALBOA DISCOVERING THE PACIFIC OCEAN.</h4> - -<p>Place a pan of water on the floor in plain sight of the audience; -then let someone dress up in a long cloak and high-crowned -hat to personate Balboa, and stand on a table in the -middle of the floor, while the rest of the performers, enveloped -in shawls, crouch around. When the curtain is drawn aside, -Balboa must be seen looking intently through one end of a tin -horn, or one made of paper, at the pan of water.</p> - - -<h4>NERO AT THE BURNING OF ROME.</h4> - -<p>Nero, in brilliant robes made of shawls, sits on a table, surrounded -by his courtiers, who are also in fantastic costumes. -Nero is in the act of fiddling, his fiddle being a small fire shovel<span class="pagenum"><a name="Page_342" id="Page_342">[342]</a></span>, -and the bow a poker. On the floor in front of the group is -placed a large shallow pan or tray, in which is set a small -house, which has been hastily cut from paper. A lighted match -is put to the paper house -just as the curtains are -parted.</p> - -<p>These two suggestions -will no doubt be -sufficient to show what -the tableaux should be -like and we need give -no further illustrations.</p> - - -<h3><b>Living Christmas -Cards.</b></h3> - -<div class="figright" style="width: 319px;"> -<img src="images/i_342.jpg" width="319" height="451" alt="drawing" /> -<div class="caption">Fig. 248.—Manner of Holding -Card.</div> -</div> -<p>To impart seeming -life to the little figures -painted on the Christmas -cards, is a performance intensely -amusing to the little -ones. A moving toy whose -actions are life-like is always of great -interest; but when a little flesh-and-blood -head is seen nodding and twisting -upon the shoulders of a figure painted on a -card, the children fairly shout with delight.</p> - -<p>Here is the method of bringing life into the bits of pasteboard.</p> - -<p>Select cards with pretty or comical figures, whose faces are -the size of the ends of your first or second finger. Carefully -cut the face out of a card; then with ink mark the features on -your finger, and put it through the opening, as in Fig. 248. -Place on this little live head a high peaked tissue-paper cap, and<span class="pagenum"><a name="Page_343" id="Page_343">[343]</a></span> -the effect will be exceedingly ludicrous (Fig. 249). A little -Santa Claus who can really nod and bow to the children will be -very amusing, and there are quite a number of Christmas cards -which portray the funny, jolly little fellow.</p> - -<div class="figleft" style="width: 326px;"> -<img src="images/i_343.jpg" width="326" height="505" alt="drawing" /> -<div class="caption">Fig. 249.—Live Head with Peaked Cap.</div> -</div> -<p>Floral cards may have nodding fairies peeping out from -among the petals of the flowers, whose heads are crowned -with queer little fairy caps, as in Fig. 250. If among -your collection you -have a card with a -picture of a house on -it, it will be amusing -to thrust a little head -wearing a night-cap, -out of one of the windows. -Round holes -will, of course, have -to be cut in the cards -wherever the heads -are to appear.</p> - -<p>Still another way -of managing these -living puppets is to -cut in a piece of cardboard, -five inches -long and two inches -wide, three round -holes a little more -than half an inch -apart. Sew around -the edge of the cardboard -a gathered curtain of any soft material six inches deep. -Sketch faces on three of your fingers, pass them under the -curtain and through the holes in the cardboard. The curtain<span class="pagenum"><a name="Page_344" id="Page_344">[344]</a></span> -will fall around and conceal your hand, leaving the three -heads appearing above (Fig. 251). On these heads place any -kind of head-dress you choose, making them of paper; or -caps of white swiss look quaint, and wee doll hats may be -worn.</p> - -<div class="figcenter" style="width: 455px;"> -<img src="images/i_344.jpg" width="455" height="550" alt="drawing" /> -<div class="caption">Fig. 250—Nodding Fairies.</div> -</div> - -<p>It is best to use a little mucilage or paste in fastening the hats<span class="pagenum"><a name="Page_345" id="Page_345">[345]</a></span> -on, that there may be no danger of their falling off with the -movement of the fingers.</p> - -<p>The hair may be inked, or little wigs made of cotton can be -used.</p> - -<div class="figcenter" style="width: 499px;"> -<img src="images/i_345a.jpg" width="499" height="312" alt="drawing" /> -<div class="caption">Fig. 251.—Living Puppets.</div> -</div> - -<p>If the little faces are painted with water colors, giving color -to the cheeks and lips, the life-like appearance will be enhanced.</p> - -<p>These little personages can be made to carry on absurd -conversations, and a great deal of expression be given to the -bobbing and turning of their heads. One person can easily -manage the whole thing, and entertain a roomful with the performance -of the living puppets.</p> - -<div class="figcenter" style="width: 460px;"> -<img src="images/i_345b.jpg" width="460" height="114" alt="box of games" /> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_346" id="Page_346">[346]</a></span></p> - -<div class="figcenter" style="width: 374px;"> -<img src="images/i_346.jpg" width="374" height="600" alt="fairy and a pie" /> -<div class="caption">Happy New Year</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_347" id="Page_347">[347]</a></span></p> - - - - -<h2>CHAPTER XXXI.<br /> - -<small>NEW YEAR’S AND A LEAP YEAR PARTY.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_347.jpg" width="274" height="188" alt="M" /> -</div> - -<p class="drop-capi2">MY earliest recollection of New -Year’s day is of being -awakened at midnight by -the clangor of the fire -bells, and the ringing of -the church bells, as they -swung and rocked in their -high steeples and cupolas, -shouting, Happy New -Year! from their brazen throats to all the sleeping town. Not -being thoroughly conversant with bell language, I was very -much alarmed because they seemed to say “Come, get up—Come, -get up—House on fire—House on fire!” but, upon -opening my eyes, I was assured that they were ringing in the -New Year, and, as I again fell asleep, the bells were saying -distinctly, “Wish you Happy New Year—Wish you Happy -New Year.”</p> - -<p>Next day the table was decked with flowers, and was laden -with roast turkey, fruits, salads, and mince-pies. Oh, my! what -delicious mince-pies they were! None since have ever tasted -as good as those made and baked by my grandmother.</p> - -<p>I often wonder if the next generation of grandmammas will -make such cookies, mince pies, and doughnuts as ours did; -but this was in Kentucky, and you know that we still observed<span class="pagenum"><a name="Page_348" id="Page_348">[348]</a></span> -the old-fashioned customs, and all day long the gentlemen came -dropping in by twos and fours, and such handshaking and -laughing, and such courtly compliments, and such a bowing and -a wishing of Many Happy New Years, it does me good to think -of. Who knows but that so many kind wishes of a long and -happy life, sincerely given, may really help to bring it to pass.</p> - -<p>Small as I was at the time, and little as I understood the -customs or conversation, the spirit of the whole day was intelligible -and appealed to the little child, perhaps more forcibly -than to the grown-up people.</p> - -<p>It is really too bad that the crowded states of our large cities -tend to lead to the gradual decline of the custom of New Year’s -calls, so that now many people confine themselves to sending -and receiving cards, making the always stiff and formal bits of -engraved pasteboard, do all the calling and receiving; but</p> - - -<h3><b>New Year’s Parties</b></h3> - -<p class="unindent">are not out of date, so we will have one on New Year’s Eve, because -then young and old are privileged to sit up all night, that -is, until after twelve o’clock midnight, and have all the fun possible. -Let us begin our frolic with a</p> - - -<h3><b>Pantomime of an Enchanted Girl.</b></h3> - -<p>For this a damp sheet must be fastened up across the room -or between the folding doors of the parlor. First, fasten the -corners of the sheet, next, the centre of each of the four sides, -in order that the cloth may be perfectly smooth; then place a -lighted candle on the floor, about four or five feet from the centre -of the curtain. When the lights in the room occupied by -the audience are turned out, leaving it in total darkness, so the -shadows of the actors behind the curtain may be seen on the -screen, someone, standing outside of the curtain and facing the<span class="pagenum"><a name="Page_349" id="Page_349">[349]</a></span> -audience, should explain or relate the story of the play: of how -a young girl, while walking out on the last day in November, -meets Halloween, who presents her with three gifts to try her -fortune, and how, when she is about to do so, a witch enchants -her, etc. After the story is finished, and a lively overture has -been performed on some musical instrument, the pantomime is -played as follows:</p> - -<p>The young girl personating the enchanted one, comes gayly -forward from the side, when almost across the curtain she meets -Halloween, who approaches from the opposite side, arrayed in -short dress, with wings made of newspaper folded fan fashion, -and fastened on the shoulders; in her hand she carries a cane -with a silhouette of a cat, or two or three stars and a crescent cut -of stiff, brown paper and pasted on the end; the cane is so held -that the profiles of the figures are kept toward the curtain. -Seeing this queer being the young girl clearly demonstrates, by -her actions, that she is alarmed. When Halloween quiets her -fears, by surely and plainly indicating with slow movements of -the head, and downward motions of the arms that no harm is -intended, they shake hands; then Halloween shows the maiden -three gifts, an apple, a hand-mirror, and an unlighted candle. -Before presenting them she illustrates by gestures, the use to be -made of each. Holding the mirror in front of her face, she bites -the apple, then looks quickly around, as if expecting to see -someone, and, again holding up the mirror in one hand and the -candle in the other, she takes a few steps backward, when a boy -enters by jumping over the light, which gives the appearance of -his having fallen down from the sky, Halloween looks around, -and the boy quickly disappears in the same manner as he came.</p> - -<p>All this time the girl stands transfixed, with her hands raised -and all the fingers spread out in astonishment; she receives the -presents which are given with many nods and gestures. As Halloween -walks away the fortune-seeker turns and watches her<span class="pagenum"><a name="Page_350" id="Page_350">[350]</a></span> -with a telescope made of a roll of paper she finds at her feet on -the floor. The maiden then proceeds to examine the gifts; as -she takes up the apple and mirror, her hand is stayed by a -witch with flowing hair, who has approached unperceived, -carrying under one arm a broom, and wearing on her head an -ordinary hat with a piece of newspaper rolled up and pinned on -to form a peaked crown. She motions to the girl to be seated; -then stands over her and makes passes in the air, and taking up -her broom from the floor makes grand flourishes and departs -walking back towards the candle, which causes her shadow to -grow larger and larger. The poor girl looks anxiously around -and discovers she has been enchanted, for there are three girls -instead of one; this effect is produced by two more lighted -candles being placed on the floor on either side of the first candle, -and every movement the girl makes is mimicked by her -other selves. The candles are removed and the Old Year instantly -appears, his figure bent, a piece of fringed paper pasted -on his chin for a flowing beard, and carrying in his hand a cane -with a piece of stiff paper fastened on to represent a scythe. -Discovering him the girl runs forward to tell her sorrows, and -finds that it is only when alone that she is enchanted, for when -she attempts to point out her other selves they have disappeared; -making many gestures she looks here and there for -them, but in vain, then as the Old Year leaves she bids him a -sorrowful adieu. Again alone, the facsimiles reappear and she -grows desperate, so do the other two selves, she throws her arms -about, skips, jumps, and dances wildly around, the other selves -do likewise, and at the same time they are made to pass and -repass her, by two persons taking up the two extra lights, and, -keeping the lights facing the curtain, walking back and forth, -passing, and repassing each other but never stepping in front of -the candle on the floor. In the midst of the dancing the two -extra candles are taken away and immediately the little New<span class="pagenum"><a name="Page_351" id="Page_351">[351]</a></span> -Year enters, crowned with a paper star and wearing wings of -paper. The young girl rushes to meet the New Year with a -hearty greeting, she then tells him of her enchantment, counting -the three selves by holding up the first finger of the right hand -three times in succession, and while the New Year makes gestures -that indicate advice the maiden listens with her hand to -her ear, and, promising by signs to be a good girl, she kneels -down, and the little New Year raises both hands above her -head, then, kissing her hand to the maiden, departs.</p> - -<p>The glad New Year has disenchanted her, she carefully -looks this way and that, but seeing all is well she tosses her -head, dances around, makes a courtesy, kisses both hands to -the audience and disappears.</p> - -<p>When the play is over, and just as the clock strikes twelve, -the party can instantly change its character if it is leap-year -and become a</p> - - -<h3><b>Leap-Year Party</b></h3> - -<p class="unindent">for the remaining hour or so, thereby creating a great deal -more merriment and sport; the novelty of the fact that the girls -exchange places with the boys makes everything appear -strange. And when the music commences for dancing the -girls look from one to another, no one at first having the courage -to invite a partner to dance, so unaccustomed are they to -even the thought of such a thing. The boys of course laugh, -and make no move to assist their timid, would-be partners in -the part they must play, but quietly await the expected invitation. -When, however, someone takes the initiative step, the -others follow, and all goes merrily.</p> - -<p>The supper presents a new phase, but here the girls do their -part perfectly, providing all the boys with a plentiful repast, and -each one is made to feel that his presence is necessary to the success -of the party, thereby insuring a happy, pleasant time for all.</p> - -<p><span class="pagenum"><a name="Page_352" id="Page_352">[352]</a></span></p> - -<p>In giving a leap-year party it is very essential that all the -guests understand perfectly that the idea of the entertainment -is to have the girls take upon themselves all the duties and -courtesies properly belonging to the boys, and that the boys -shall wait for an invitation before dancing, promenading, or -partaking of refreshments, and that a boy should not cross the -floor unattended, but wait for some fair friend to escort him. -The girls are at liberty to go and come as they like, though they -must remember not to leave a partner standing after the dance -is over, but politely conduct him to a seat, and the girls must -also endeavor to make the party pleasant and agreeable to all. -The chaperons, of course, should have charge of the boys during -the entertainment.</p> - -<p>The leap-year party need not necessarily be a dancing -party, as any social gathering can take the form of a leap-year -party.</p> - -<p>When an entertainment is given on the eve of a new leap-year, -with a view to dancing the old year out and the new year -in, just as the clock strikes twelve the party can immediately -change into a leap-year party as described, or should the New -Year be a common year, then as the time flies and the hands -of the clock approach the hour of twelve all are on the qui vive -to be the first to have the pleasure of greeting their friends with -a Happy New Year.</p> - -<div class="figcenter" style="width: 470px;"> -<img src="images/i_352.jpg" width="470" height="164" alt="Baby New Year leapfrogging over Father Time" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_353" id="Page_353">[353]</a></span></p> - - - - -<h2>CHAPTER XXXII.<br /> - -<small>HOME GYMNASIUM.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_353.jpg" width="177" height="172" alt="E" /> -</div> - -<p class="drop-capi3">EVERYONE <i>must</i> exercise to keep healthy -and strong, for life is motion and activity. -It is natural to be well and happy, -and to keep so we must exercise all our -muscles, as well as our moral and intellectual -faculties, or they will dwindle -and wither. The arm of the Hindoo -devotee, not being used, at length becomes -completely paralyzed, and fish in the Mammoth Cave -having no use for eyes pass their life without them; so we find -that <i>use</i> is the foundation of all things, otherwise they would -cease to exist; then, girls, it lies within your power to become -stronger and more graceful each day by regular and graduated -bodily exercise, which will bring life and energy to every part -of your system by causing the blood to circulate freely through -all the body.</p> - -<p>There are some simple methods of carrying this into effect -in the most agreeable and salutary manner, but the exercises -must be very light at first, and as you advance they may be -increased a little each time, but always stop before you feel -fatigued, for when the calisthenics cease to give pleasure it is -doubtful if they are beneficial.</p> - -<div class="figcenter" style="width: 440px;"> -<img src="images/i_354.jpg" width="440" height="600" alt="girl with ball" /> -</div> - -<p>The best time for exercising is in the morning after having -partaken of some light refreshments, though any time will do<span class="pagenum"><a name="Page_354" id="Page_354">[354]</a><br /><a name="Page_355" id="Page_355">[355]</a></span> -except directly after hearty meals. Try and have a regular -time set apart each day for your physical culture. Commence -by exercising five or ten minutes, then for a little longer period -next time, and so on until you can exercise with ease for half an -hour or longer. You will feel refreshed, invigorated, and better -prepared for the duties and pleasures which await you. Your -clothing must not incommode the free action of the body, and -it is essential that it be comfortable. What is suitable for lawn -tennis is also well adapted for the gymnasium. An ordinary -bathing-dress answers the purpose very well, as it is made for -exercise.</p> - -<p>The Egyptian water-carrier, with the jug of water poised so -prettily on her head, and her figure so straight and beautiful, -has always challenged admiration; her carriage is dignified, -erect, and graceful, something worth striving for, especially -when we have the certainty of success if we will only be faithful -and persevering. The peasantry of foreign countries who -carry all their burdens balanced on their heads have their -reward in healthy, strong, straight figures, even in old age -they do not stoop. Witness the emigrants landing at Castle -Garden who carry their possessions done up in huge bundles -on their heads with the utmost ease; of this class, three generations—a -grandmother, mother, and grown daughter—with -baggage of the same weight on their heads, were lately seen -at a New York ferry, each equally upright, strong, and vigorous.</p> - -<p>A good straight back is an excellent thing; and when the -head is properly carried and all the movements are buoyant -and elastic, then we may walk as it was intended we should, -every step bringing a glow to the cheek and a sparkle to the -eye. It requires only a few minutes’ regular daily exercise for -any girl to attain a carriage equal to that of the Egyptian -water-carrier, and the only apparatus needed for</p> - -<p><span class="pagenum"><a name="Page_356" id="Page_356">[356]</a></span></p> - - -<div class="figleft" style="width: 187px;"> -<img src="images/i_356.jpg" width="187" height="401" alt="drawing" /> -<div class="caption">Fig. 252.—Balancing a Roll of -Paper.</div> -</div> - -<h3><b>Exercise First</b></h3> - -<p class="unindent">is a roll of paper. Now stand with your heels together, toes -out, and shoulders well back; then place on your head the roll -of paper; if your position is not perfectly erect the roll will fall -off; keep your chin straight and back against your neck, for it -is the <i>chin</i> which determines the poise -of the body. You cannot stand straight -unless the chin is straight; throw out -your chin and your shoulders will stoop -forward, have your chin straight and -your back will be straight; bear this in -mind in all your exercises. Now walk, -keeping the roll balanced on your head -(Fig. 252). Practice this walking back -and forth until you can do so without -the paper rolling off; then try a tin cup -full to the brim with water. Walk erect -or the water will wash over, down on -your head, and it will feel cold as it -trickles through your hair; soon, however, -you will be able to carry the cup -of water with ease and no danger of its -spilling. But do not discontinue the -practice on that account; try something -else in its place, until you are able to -carry anything you wish on your head -with no fear of it falling. The exercise affords amusement, and at -the same time you will be acquiring a beautiful, dignified, and -graceful carriage.</p> - - -<h3><b>Exercise Second</b></h3> - -<p class="unindent">is for gaining agility, suppleness, quickness of eye, hand, and -foot. Standing as far from the wall as possible, take a common<span class="pagenum"><a name="Page_357" id="Page_357">[357]</a></span> -rubber hand-ball and toss it against the wall, catching it as it -rebounds (see illustration), and again toss it against the wall. -Vary this by allowing the ball to strike the floor, catching it -on the rebound; then try keeping the ball in constant motion -by using first one hand and then the other as a bat for returning -the ball to the wall. The exercise -can also be changed by striking -the ball against the floor, and on its -return bound again striking it, thus -keeping it in motion. You will find -that activity is necessary, and the -work so quick that it will keep you -on the jump all through the exercise.</p> - - -<h3><b>Exercise Third</b></h3> - -<p class="unindent">is with a broom-handle. Saw or cut off -the broom and smooth down the sharp -ends of the handle, and it will be ready -for use. Stand erect, heels together, toes -out, chin well back and straight, so as to -throw out and expand the chest. Now -grasp firmly each end of the broomstick -and bring it up over the head (Fig. 253); -repeat this motion six or seven times; -then change by carrying the broomstick -over back of the head down across and -back of the shoulders; then up above the head again, repeating -this, and all other motions in your calisthenics, half a -dozen times. Another exercise is holding the stick down in -front of you with both hands and bringing it up over the head -and down back of the shoulders without stopping.</p> - -<div class="figright" style="width: 216px;"> -<img src="images/i_357.jpg" width="216" height="399" alt="drawing" /> -<div class="caption">Fig. 253.—Broom-handle -Exercise.</div> -</div> - -<p>The side motion is made by grasping the broomstick at -each end, holding it down in front of you, and swinging it sideways,<span class="pagenum"><a name="Page_358" id="Page_358">[358]</a></span> -thus bringing the right hand up when the left is down, -and <i>vice versa</i>. Another way is to hold the stick by both ends -above your head and swing it from one side to the other, -which will cause the right arm to come in contact with the -right side of the head, while the left arm is extended out horizontally -to the left. Next carry the stick back of and against -the shoulders; then swing it from right to left, which gives -another side movement. Vary all the movements in as many -different ways as you can think of.</p> - - -<h3><b>Exercise Fourth.</b></h3> - -<p>Stand erect always when in position for exercising, according -to the directions given—heels together, toes out, etc. Now -allow your arms to hang naturally down at your sides, raise -your heels, and stand on your toes; now lower the heels and -repeat the motion; then close your hands tightly and raise -your arms out sideways at right angles with your body, next up -straight above your head, and down again to the level of the -shoulders, then back down to your sides as at first.</p> - -<p>Again take position, close your hands tightly, and raise them -up under the arms, bringing the elbows out to a level with the -shoulders; then bring your hands down at your sides again and -repeat the movement vigorously; resume position, firmly close -your hands and carry them up to the shoulders, next extend -them up straight above your head, down again to your shoulders, -and back to the first position. A very good exercise is to -extend both arms straight out in front of you, close your hands -and bring them back to your chest, which will cause the bent -elbows to project beyond your back.</p> - - -<h3><b>Exercise Fifth.</b></h3> - -<p>Assume position, close your hands, and take one long step -forward with your right foot, bend the right knee and stand<span class="pagenum"><a name="Page_359" id="Page_359">[359]</a></span> -with your weight resting on the right foot; then extend your -arms out sideways straight from the shoulders, now bring your -hands together in front of you, still -keeping the arms on a level with the -shoulders, and while doing so throw -the body back, straightening the -right knee and bending the left so -the weight of the body will rest on -the left foot; repeat this and vary it -by taking one step forward with the -left foot and going through with the -same motions.</p> - -<p>Resume position, and place your -hands on your hips, with your thumbs -turned forward and fingers backward. -Now take a long step forward with your -right foot, throwing the weight on that -foot, then back again in position, and in -the same manner step forward with your -left foot and back again; next take a step -backward with your right foot, resume -position, and then with your left.</p> - -<p>Again stand with your hands on your -hips, thumbs turned forward, and without -bending your knees move the body, first -bending it forward, then backward, and -resuming an upright position, bend over to the right and to the -left.</p> - -<div class="figleft" style="width: 215px;"> -<img src="images/i_359.jpg" width="215" height="473" alt="drawing" /> -<div class="caption">Fig. 254.—Balancing -Broom-handle.</div> -</div> - - -<h3><b>Exercise Sixth.</b></h3> - -<p>In this the broomstick is used for balancing; hold it in an -upright position, and first try balancing it on the palm of your -hand; then on the back of your hand, next on each of the fingers -in succession, commencing with the first finger (Fig. 254); be<span class="pagenum"><a name="Page_360" id="Page_360">[360]</a></span> -cautious, and when the stick wavers do not let it fall, but catch -it with the other hand, and again balance it. This is an interesting, -light, and diverting exercise, requiring all your attention, -and, for the time being, your thoughts are concentrated on the -effort to keep the broomstick properly balanced.</p> - - -<h3><b>Exercise Seventh.</b></h3> - -<p>Pure blood means good health, and to purify the blood and -keep the complexion clear it is essential that you breathe a -sufficient quantity of <i>pure</i> air, and you cannot take in a proper -amount of air unless your lungs are wholly extended. So take -position with your hands correctly placed on your hips; then -very slowly draw in your breath until your chest and lungs are -fully expanded; next slowly exhale your breath, and repeat -the exercise.</p> - - -<h3><b>Exercise Eighth.</b></h3> - -<p>Screw in two large, <i>strong</i> hooks in the woodwork on each -side of the doorway; place the hooks as far above your head -as you can conveniently reach; slide the broomstick in so that -it will extend across the doorway and be supported by the -hooks; have the apparatus on that side of the doorway where -it will not interfere with the opening and closing of the door, and -be sure that it is perfectly secure before attempting to exercise; -each time before commencing a new movement examine the stick, -and be certain that it is not in any danger of slipping from the -hooks. Unless you can be perfectly safe from liability to hurts -or falls, do not include this in your list of exercises.</p> - -<p>For the first movement grasp the bar firmly with both -hands and swing the body forward and backward, standing first -on the toes, then on the heels; next, still grasping the bar, raise -up on your toes, then back again. Change the movements in<span class="pagenum"><a name="Page_361" id="Page_361">[361]</a></span> -as many ways as you like, but do not try anything that may -strain or hurt you. Now screw in two more hooks, on either -side of the woodwork, below the first ones, placing them about -two feet and eight inches from the floor; take the stick from -its elevated position and slide it across the doorway so it will -rest securely on the two lower hooks. Standing in front -of it, grasp the bar firmly with both hands and try to raise -yourself up, feet and all, from the floor by bearing your weight -down on the bar; then -let yourself gently back -again. When you have -finished exercising, remove -the stick and put -it away.</p> - -<div class="figright" style="width: 317px;"> -<img src="images/i_361.jpg" width="317" height="328" alt="diagram" /> -<div class="caption">Fig. 255.—The Swing.</div> -</div> - - -<h3><b>Exercise Ninth.</b></h3> - -<p>In the top part of -the framework of the -doorway fasten a very -strong hook by screwing -it into the wood; -then take a broomstick -and, after shortening it -so that when held in a -horizontal position it will readily pass through the doorway, -cut notches in each end and securely tie the two ends of a rope -across the notches; suspend this swing by slipping the centre -of the rope over the hook in the doorway (Fig. 255); have -the apparatus strong and firm, capable of any amount of wear -and tear. Stand facing the stick, which should be at the height -of the chest, and take hold of it with both hands; now bend -the knees until they are within a short distance of the floor,<span class="pagenum"><a name="Page_362" id="Page_362">[362]</a></span> -then rise and repeat the exercise. Next, with both hands on -the stick, take a long step forward with the right foot, throwing -the weight on that foot; return to your position and go through -the same exercise with your left foot. Try different movements -which suggest themselves, and select those you like best. When -not in use the swing can be slipped off the hook and put out of -the way.</p> - - -<h3><b>Exercise Tenth.</b></h3> - -<p>To develop a weak voice and make it clear and sweet, and to -strengthen the lungs, reading aloud is an excellent exercise; as -it requires both mental and muscular exertion and performs a -double duty, it should receive a full share of time and attention. -Begin with something you are interested in, then you -will find it much easier to read aloud than if you undertook a -book or an article which might be full of merit, but lack interest -for you. When commencing this exercise read only ten minutes -or less at a sitting, increasing the time as you practise and -the reading grows less difficult. Do not be discouraged if your -voice sounds a little husky while reading; stop a moment, and -then go on again. After a few trials you will have no more -trouble in that way, for your voice will grow clear and distinct, -and the exercise will become a great pleasure as well as an attractive, -useful accomplishment.</p> - -<p>Let your reading matter be very choice and of the best; do -not condescend to waste your time on other writings.</p> - -<p>From the ten different exercises given, select those best -adapted to your size, age, and liking, and practise them for a -short time daily; you can hardly realize the great advantage they -will prove to be. In this way all parts of the system may be -strengthened and harmoniously developed. But the constitution -cannot be hurried: all must be accomplished little by little. -Allow yourselves to be happy and merry; be ready to enjoy<span class="pagenum"><a name="Page_363" id="Page_363">[363]</a></span> -the little pleasures of life, and this, with kind and generous feelings -for others, will do a great deal toward keeping you well -and strong.</p> - -<p>Out-of-door exercise is always to be preferred to in-door -when one has a choice. Walking, tennis, archery, horseback, -and swimming are some of the athletic sports for girls, and they -all have their attractions. But there are times when we are denied -the pleasure of these pastimes, and then we are glad of a -little exercise in-doors, which also affords enjoyment and recreation.</p> - -<div class="figcenter" style="width: 478px;"> -<img src="images/i_363.jpg" width="478" height="146" alt="fairies somersaulting" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_364" id="Page_364">[364]</a></span></p> - - - - -<h2>CHAPTER XXXIII.<br /> - -<small>A DECORATIVE LANGUAGE.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_364.jpg" width="184" height="239" alt="W" /> -</div> - -<p class="drop-capi">WHEN in olden times the warriors went -around the country dressed in suits of -clothes made by a blacksmith instead -of a tailor, their hats were manufactured -at the forge also, and had <i>iron -front doors</i> that moved upon hinges. -When danger was nigh these doors -were closed, locked, and barred over -the poor men’s heads, leaving only a -loop-hole or two for them to peep through. At such times in -meeting Mr. Brown it was impossible to distinguish him from -Mr. Smith, who was arrayed in like manner, and it might happen -that Mr. Smith was the last man in the world that one -cared to meet, not being on speaking terms or some such -reason. Well, as we were saying, there was no chance whatever -of telling one man from another unless he wore a distinguishing -mark of some kind.</p> - -<p>So to prevent such uncomfortable mistakes and to distinguish -friend from foe, every gentleman had to be marked and -labelled, like an express package, so one might read as he ran, -“I am Earl Jenkins, of Thunderland, who married a Rhazor, of -Stropshire.” These names and addresses were not painted in -words on their owners with a marking-brush, but worked and -embroidered in translatable designs on cloaks, saddle-housings,<span class="pagenum"><a name="Page_365" id="Page_365">[365]</a></span> -and silken banners, or emblazoned on the shield they carried -with which to meet the advances of their neighbors. Since that -time our more recent ancestors in England have taken great -pride in preserving and handing down from generation to generation -these distinguishing marks, as a guarantee to their children -that they came of gentle birth, which is very interesting -and gratifying for European girls, but American girls need -nothing of the kind; it is sufficient that we are Americans.</p> - -<p>Of course, some of us do take pleasure in knowing that our -great-great-grandparents came over in the Mayflower, or that -the name of an ancestor is among the signatures upon that Declaration -of Independence which made such a stir a century ago, -for that proves us to be Columbia’s daughters.</p> - -<p>When there was no other method of distinguishing a man -his label became a very important item; so these family devices -were reduced to a science and protected by law.</p> - -<p>The old countries’ coats of arms may remain abroad, where -they belong, but the ingenious scheme, that was gradually -evolved, of picturing ideas, mottoes, and pretty sentiments we -will adopt as our inheritance, with many thanks to our mediæval -ancestors with the metallic clothes, who bequeathed them -to us.</p> - -<p>We propose to revive enough of this neglected knowledge -of chivalry to serve our purpose in suggesting a method of designing -devices which will not only be artistic decorations, but -to the initiated can be made to portray almost any sentiment -or set of principles the artist may choose.</p> - -<p>The many uses to which these designs can be applied will, -we hope, at once be seen by the quick-witted American girls, -and we trust will interest the reader as much as they do the -writer, who in this chapter can only give a few necessary, brief -hints upon the subject, sufficient, however, to explain the application -that can be made of this beautiful and perfect system of</p> - -<p><span class="pagenum"><a name="Page_366" id="Page_366">[366]</a></span></p> - - -<h3><b>Decorative Language.</b></h3> - -<p>In the following directions anyone can learn how to make -a device which will not only be a decoration, artistic in form and -color, but will at the same time express the peculiar traits, characteristics, -and virtues of the friend for whom it is intended, or -the precept, code, proverb, or creed of the designer. All technical -terms, as far as practicable, are discarded, but the rules of -heraldry strictly adhered to, with such simplifications -as are necessary to render it intelligible.</p> -<div class="figleft" style="width: 121px;"> -<img src="images/i_366a.jpg" width="121" height="118" alt="diagram" /> -<div class="caption">Fig. 256.—The Field.</div> -</div> - -<h3><b>The Field.</b></h3> - -<p>The surface on which the design is portrayed -is called the field. This may be of any shape; -originally it was supposed to represent a warrior’s shield, but -you may use a circle, oval, square, diamond, or any other form.</p> - - - - -<h3><b>The Points</b></h3> - -<p class="unindent">on the surface of the shield locate the exact spot where a -design or object in heraldry may be placed. -Refer by numbers to Fig. 257.</p> - -<div class="figright" style="width: 117px;"> -<img src="images/i_366b.jpg" width="117" height="115" alt="diagram" /> -<div class="caption">Fig. 257.—Points.</div> -</div> - - -<ul class="ingredients"><li>1. Fess point.</li> -<li>2. Honor point.</li> -<li>3. Nombril point.</li> -<li>4. Dexter chief point.</li> -<li>5. Middle or chief point.</li> -<li>6. Sinister chief point.</li> -<li>7. Dexter base point.</li> -<li>8. Middle base point.</li> -<li>9. Sinister base point.</li></ul> - - - -<p>If you desire to place a flower on the fess point, you find -that it means the exact centre of the shield, and so on.</p> - -<p>The devices take significance in accordance with the more -or less importance of their position on the shield; the honor<span class="pagenum"><a name="Page_367" id="Page_367">[367]</a></span> -point holds the highest grade, next to it the middle or chief -point, and the right or dexter side is of more importance than -the left or sinister.</p> - -<p>The field may be divided, if desired, in any of the following</p> - - -<h3><b>Divisions,</b></h3> - -<p class="unindent">each of which has a significance, suggested generally by the -form:</p> - -<p>Fig. 258, the Chief, occupying the top or head of the -shield, indicates pre-eminence, main object, intelligence, first -principle.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 115px;"> -<img src="images/i_367a1.jpg" width="115" height="120" alt="diagram" /> -<div class="caption">Fig. 258.—Chief.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 111px;"> -<img src="images/i_367a2.jpg" width="111" height="115" alt="diagram" /> -<div class="caption">Fig. 259.—Fess.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 116px;"> -<img src="images/i_367a3.jpg" width="116" height="120" alt="diagram" /> -<div class="caption">Fig. 260.—Parted per Fess.</div> -</div></td> -</tr> -</table> -</div> - -<p>Fig. 259, the Fess, denotes cause and effect, the central -band containing the means by which the ends, in the other -spaces, are accomplished.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 118px;"> -<img src="images/i_367b.jpg" width="118" height="116" alt="diagram" /> -<div class="caption">Fig. 261.—Pale.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 118px;"> -<img src="images/i_367b2.jpg" width="120" height="121" alt="diagram" /> -<div class="caption">Fig. 262.—Parted per Pale.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 117px;"> -<img src="images/i_367b3.jpg" width="117" height="117" alt="diagram" /> -<div class="caption">Fig. 263.—Bend.</div> -</div></td> -</tr> -</table> -</div> - -<p>Fig. 260 is a partition, and partakes of the meaning of the -division, it is denoted by the term, parted per fess.</p> - -<p><span class="pagenum"><a name="Page_368" id="Page_368">[368]</a></span></p> - -<p>Fig. 261, the Pale, represents rectitude, uprightness; also -union, the object in the central division uniting whatever occupies -the dexter and sinister sides.</p> - -<p>Fig. 262 is parted per pale.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 124px;"> -<img src="images/i_368a1.jpg" width="124" height="122" alt="diagram" /> -<div class="caption">Fig. 264.—Parted per Bend.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 116px;"> -<img src="images/i_368a2.jpg" width="116" height="119" alt="diagram" /> -<div class="caption">Fig. 265.—Chevron.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 116px;"> -<img src="images/i_368a3.jpg" width="116" height="117" alt="diagram" /> -<div class="caption">Fig. 266.—Cross.</div> -</div></td> -</tr> -</table> -</div> - -<p>Fig. 263, the Bend, is auspicious, meaning prosperity, success.</p> - -<p>Fig. 264 is parted per bend.</p> - -<p>Fig. 265, the Chevron, is indicative of aid, assistance, support.</p> - -<p>Fig. 266, the Cross, suggests humility, devotion, patience, -perseverance.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 117px;"> -<img src="images/i_368b1.jpg" width="117" height="117" alt="diagram" /> -<div class="caption">Fig. 267.—Saltire.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 116px;"> -<img src="images/i_368b2.jpg" width="116" height="119" alt="diagram" /> -<div class="caption">Fig. 268.—Pile.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 121px;"> -<img src="images/i_368b3.jpg" width="121" height="117" alt="diagram" /> -<div class="caption">Fig. 269.—Canton.</div> -</div></td> -</tr> -</table> -</div> - -<p>Fig. 267, the Saltire, a variation of the cross, is recognized -as order, discipline.</p> - -<p>Fig. 268, the Pile, being in the form of a wedge, means -penetration, incision, entering to divide or distribute.</p> - -<p>Fig. 269, the Canton, denotes an additional, separate idea -or principle; also some characteristic that is added to the original -design.</p> - -<p><span class="pagenum"><a name="Page_369" id="Page_369">[369]</a></span></p> - - -<h3><b>Colors.</b></h3> - -<p>These also have symbolical meanings.</p> - -<p>Fig. 270.—Gold or yellow is expressed in black and white -by means of dots, and is used in the sense of wealth, ability, -or knowledge.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 116px;"> -<img src="images/i_369a1.jpg" width="116" height="116" alt="diagram" /> -<div class="caption">Fig. 270.—Gold.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 115px;"> -<img src="images/i_369a2.jpg" width="115" height="119" alt="diagram" /> -<div class="caption">Fig. 271.—Silver.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 120px;"> -<img src="images/i_369a3.jpg" width="120" height="117" alt="diagram" /> -<div class="caption">Fig. 272.—Red.</div> -</div></td> -</tr> -</table> -</div> - -<p>Fig. 271.—Silver or white is represented by a plain white -surface, and being the color of light, signifies brightness, purity, -virtue, innocence.</p> - -<p>Fig. 272.—Red, represented by perpendicular lines, means -ardent affection, love.</p> - -<p>Fig. 273.—Blue is represented by horizontal lines; like the -color in the heavens, it is truth, freedom, eternity.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 115px;"> -<img src="images/i_369b1.jpg" width="115" height="116" alt="diagram" /> -<div class="caption">Fig. 273.—Blue.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 113px;"> -<img src="images/i_369b2.jpg" width="113" height="118" alt="diagram" /> -<div class="caption">Fig. 274.—Purple.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 115px;"> -<img src="images/i_369b3.jpg" width="115" height="116" alt="diagram" /> -<div class="caption">Fig. 275.—Green.</div> -</div></td> -</tr> -</table> -</div> - -<p>Fig. 274.—Purple, represented by diagonal lines from sinister -chief to dexter base, being the royal color, is understood as -authority, power, grandeur.</p> - -<p>Fig. 275.—Green is represented by lines running diagonally -across the shield from dexter chief to sinister base. Like -spring foliage, it suggests hope, life, vitality, youth, freshness.</p> - -<p><span class="pagenum"><a name="Page_370" id="Page_370">[370]</a></span></p> - -<p>Fig. 276.—Orange is represented by horizontal lines crossed -by diagonal lines from dexter base to sinister chief. It is the -color of the king of beasts and signifies strength, honor, generosity.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 136px;"> -<img src="images/i_370a.jpg" width="136" height="132" alt="diagram" /> -<div class="caption">Fig. 276.—Orange.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 134px;"> -<img src="images/i_370b.jpg" width="134" height="131" alt="diagram" /> -<div class="caption">Fig. 277.—Crimson.</div> -</div></td> -<td align="left"> -<div class="figcenter" style="width: 128px;"> -<img src="images/i_370c.jpg" width="128" height="125" alt="diagram" /> -<div class="caption">Fig. 278.—Black.</div> -</div></td> -</tr> -</table> -</div> - -<p>Fig. 277.—Crimson, or blood-color, is represented by diagonal -lines from dexter chief and sinister chief, crossing each -other. It denotes boldness, enthusiasm, impetuosity.</p> - -<p>Fig. 278.—Black is represented by horizontal and perpendicular -lines crossed. It means darkness, doubt, ignorance, -uncertainty.</p> - -<p>To the principal design portrayed on the shield can be -added such appendages as are appropriate—crest over the top -and a scroll with a motto beneath the shield—but they are supplementary, -and not of great importance; their colors should be -those of the shield.</p> - -<p>Thus far our plans have followed the exact science of -heraldry, but at this point comes a departure, for in the place -of other armorial devices we shall place Dame Nature’s sweetest -thoughts—flowers.</p> - -<p>If we now add to the significance of the forms and colors -already given the accepted and authentic language of flowers, -we shall have a possibility of combinations practically inexhaustible, -and with such a dictionary of symbols to draw upon, -we can successfully translate almost any terse sentiment into a -unique decorative design.</p> - -<p><span class="pagenum"><a name="Page_371" id="Page_371">[371]</a></span></p> - -<p>In order to give all the assistance in our power we have -culled from the most generally accepted authorities and authentic -sources a short floral vocabulary, and now that we have the -material at hand let us test the system and learn</p> - - -<h3><b>How to Make a Design in Decorative Language.</b></h3> - -<p>Suppose our Natural History Society desires an appropriate -pin or badge.</p> - -<p>First we turn to the floral vocabulary and there find that -the magnolia means love of nature. The flower has a good -decorative form, its sentiment -is exactly appropriate, -and we unhesitatingly -adopt it.</p> - -<div class="figright" style="width: 287px;"> -<img src="images/i_371.jpg" width="287" height="381" alt="TRUE LOVE OF NATURE" /> -<div class="caption">Fig. 279.</div> -</div> - -<p>After trying various -forms for the shield, we -select a very plain one that -the effect of the decorative -form of the magnolia may -not be lessened by too ornate -surroundings, and to -show the large size of the -blossom we must have it -occupy the entire field -without any divisions. -Next, as to color; let us -think. White, meaning -brightness, purity, etc.? -No. Yellow or gold, signifying -wealth, ability, or—ah! here we have it—<i>knowledge?</i> -Yes, that will do nicely—a love of nature on a field of knowledge; -that certainly is appropriate. But the top of the shield<span class="pagenum"><a name="Page_372" id="Page_372">[372]</a></span> -being so square and plain gives the device an unfinished appearance. -Suppose we try a bar over it, and something not a flower. -As we wish this design to remain simple, a leaf of some kind -would be best; so we return to the floral vocabulary, and after -trying many and almost taking several, finally decide that the -oak leaf is just the form needed to give a finish to the top, and -its meaning, strength, will be an excellent element in the society. -There, our insignia is complete, good in form, attractive in color, -and appropriate in its meaning; but some of us prefer having -the motto written out in plain English, so we will add a decorative -scroll, with the meaning of the design inscribed “True Love -of Nature.” (See Fig. 279.)</p> - -<div class="figleft" style="width: 326px;"> -<img src="images/i_373a.jpg" width="326" height="287" alt="Wealth is the Reward of INDUSTRY" /> -<div class="caption">Fig. 280. </div> -</div> - -<p>To familiarize ourselves with the working of the method let -us try another experiment, and take the sentiment, “Wealth is -the Reward of Industry,” to illustrate.</p> - -<p>After deciding on the form of the shield, we turn to the divisions, -and running them slowly over for something suitable, stop -at Fig. 259, the Fess, meaning cause and effect. That sounds -promising. Industry is the means by which the end, wealth, -is accomplished. Good so far. We can now see that a floral -emblem to represent industry should be placed in the central -division, and whatever signifies wealth on the other two spaces. -Among our legends of flowers we find industry portrayed by the -bee orchid, and wealth and prosperity are symbolized by wheat. -That is plain and easy. Now we have only to decide upon appropriate -colors for the field to complete the design. Gold -would mean wealth, but that we have in the wheat; besides the -yellow of the wheat would not show well on the gold background, -while on white or silver the contrast is strong and the appearance -agreeable. Silver denotes innocence and virtue, which -are so necessary that without them wealth would be undesirable. -Therefore silver or virtue shall be the groundwork for our wealth, -and for industry we will select purple as meaning power. Industry<span class="pagenum"><a name="Page_373" id="Page_373">[373]</a></span> -possesses the power to acquire wealth. Thus we complete -the emblematical design, as seen in Fig. 280.</p> - -<div class="figright" style="width: 282px;"> -<img src="images/i_373b.jpg" width="282" height="392" alt="drawing with blank ribbon" /> -<div class="caption">Fig. 281.</div> -</div> -<p>The following is a problem given to us for solution: On a -gold chevron in a black field -is a scarlet lily, to which is -added as a crest a sunflower, -and under all a blank scroll. -On this we must write a motto -that will be appropriately symbolized -by the design.</p> - -<p>It would be excellent practice -for the student in this -new motif in decorative art -to try, by application of the -foregoing instructions, to decipher -the meaning of this -design before reading the -analysis.</p> - -<p><span class="smcap">Solution of Fig. 281.</span> -—We do not think this is -put together as scientifically -as the system would admit of, -but still it can be deciphered.</p> - - - -<p>The scarlet lily (high-souled -aspirations) on a gold (knowledge) chevron, which is -aid, assistance, in a field of black (ignorance), surmounted by<span class="pagenum"><a name="Page_374" id="Page_374">[374]</a></span> -the sunflower (pure and lofty thoughts), freely translated, might -be read: Aspirations after knowledge help to illumine the -darkness of ignorance -with pure and lofty -thoughts. Aspirations -(lily) after knowledge (gold) -help (chevron) to illumine -(the gold chevron and lily -brighten up the dulness of -the black field) the darkness -of ignorance (black) with -pure and lofty thoughts -(sunflower).</p> - -<div class="figleft" style="width: 317px;"> -<img src="images/i_374a.jpg" width="317" height="290" alt="drawing" /> -<div class="caption">Fig. 282.</div> -</div> - -<p>For younger girls the -plain shield of one color with -an appropriate flower had -best be used, which they may vary <i>ad infinitum</i>. A simple -yet pretty shield can be made by placing a four-leaved clover, -symbolical of good-luck, on a shield of one color, silver, meaning -purity, innocence, showing that innocence, combined with -the language of the clover, expresses good-fortune.</p> - - - -<p>We might go on forming innumerable designs, each more -beautiful than the last, but enough hints have been given to enable<span class="pagenum"><a name="Page_375" id="Page_375">[375]</a></span> -the young people to make any style of design in this decorative -language which may best suit their purpose. Young -girls can decorate menu cards, having -each motto exactly suited to every separate -guest, the sentiment being indicative -of some feeling or quality peculiar -to each person. Invitations for parties, -also orders of dances or games, may be -designed in the same way.</p> -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="drawings"> -<tr> -<td align="left"><div class="figright" style="width: 222px;"> -<img src="images/i_374ba.jpg" width="222" height="176" alt="drawing" /> -<div class="caption">Fig. 283.</div> -</div></td> -<td align="left"><div class="figright" style="width: 173px;"> -<img src="images/i_374bb.jpg" width="173" height="148" alt="drawing" /> -<div class="caption">Fig. 284</div> -</div></td> -</tr> -</table> -</div> - -<p>This beautiful combination of flowers -and heraldry is appropriate for ornamental -needlework, to be embroidered -on chairs, worked on screens, painted -on velvet, wrought on scarfs, and adapted in innumerable ways -to add to the refinement and attractiveness of home.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="drawings"> -<tr> -<td align="left"><div class="figcenter" style="width: 490px;"> -<img src="images/i_375a.jpg" width="490" height="353" alt="fan" /> -<div class="caption">Fig. 285.</div> -</div></td> -<td align="left"><div class="figright" style="width: 192px;"> -<img src="images/i_375b.jpg" width="192" height="327" alt="chair" /> -<div class="caption">Fig. 286.</div> -</div></td> -</tr> -</table> -</div> - -<p><span class="pagenum"><a name="Page_376" id="Page_376">[376]</a></span></p> - -<p>The idea can be utilized in stained-glass effects and in china painting.</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="drawings"> -<tr> -<td align="left"><div class="figleft" style="width: 309px;"> -<img src="images/i_376aa.jpg" width="309" height="212" alt="satchel" /> -<div class="caption">Fig. 287.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 196px;"> -<img src="images/i_376ab.jpg" width="196" height="212" alt="tidy" /> -<div class="caption">Fig. 288.</div> -</div></td> -</tr> -</table> -</div> - -<p>The chosen motto may be a decoration in marking personal -possessions, such as table china (Figs. 282, 283, 284), fan (Fig. -285), chair-back (Fig. 286), travelling satchel (Fig. 287), tidy -(Fig. 288), handkerchief (Fig. 289), and sofa-cushion (Fig. 290).</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="drawings"> -<tr> -<td align="left"><div class="figcenter" style="width: 151px;"> -<img src="images/i_376b1.jpg" width="151" height="111" alt="handkerchief" /> -<div class="caption">Fig. 289.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 278px;"> -<img src="images/i_376b2.jpg" width="278" height="185" alt="cushion" /> -<div class="caption">Fig. 290.</div> -</div> -</td> -</tr> -</table> -</div> - - -<p>These are only a few examples of the many articles which -can be beautified and stamped with your individual mark. Portières -offer a good ground for applique or embroidery in decorative -language.</p> - -<p><span class="pagenum"><a name="Page_377" id="Page_377">[377]</a></span></p> - - -<h3><b>Book-Plates</b></h3> - -<p class="unindent">seem to be regaining their popularity and usefulness. These -book-plates are tablets in any -style, which, when gummed -inside on the front covers of -books, have been used for -many years to designate to -whom the books belong.</p> - -<p>There is a certain book-plate -more interesting to us -than all others. To the design -on it we are indebted for our -national shield and our Stars -and Stripes. It was used by -the Father of our Country, and -we are glad to be able to give -a print of the original in Fig. -291.</p> - -<div class="figcenter" style="width: 245px;"> -<img src="images/i_377.jpg" width="245" height="336" alt="George Washington's" /> -<div class="caption">Fig. 291.</div> -</div> - -<p>In the decorative language -any style of book-plate can be -designed, which, when pasted in a favorite book, will add to the -value of the already treasured volume.</p> - - -<h3><b>Floral Vocabulary.</b></h3> - - - -<div class="center"> -<table border="0" cellpadding="0" cellspacing="0" summary="Language of flowers"> -<tr><td align="left">Apple-blossom</td><td align="left">Preference.</td></tr> -<tr><td align="left">Almond</td><td align="left">Hope.</td></tr> -<tr><td align="left">Acanthus</td><td align="left">Art.</td></tr> -<tr><td align="left">Arbor vitæ</td><td align="left">Unchanging friendship.</td></tr> -<tr><td align="left">Bulrush</td><td align="left">Docility.</td></tr> -<tr><td align="left">Balm</td><td align="left">Social intercourse.</td></tr> -<tr><td align="left">Balsamine</td><td align="left">Impatience. <span class="pagenum"><a name="Page_378" id="Page_378">[378]</a></span></td></tr> -<tr><td align="left">Blue violet</td><td align="left">Faithfulness.</td></tr> -<tr><td align="left">Bay wreath</td><td align="left">Glory.</td></tr> -<tr><td align="left">Box</td><td align="left">Constancy.</td></tr> -<tr><td align="left">Broom</td><td align="left">Humility.</td></tr> -<tr><td align="left">Buttercup</td><td align="left">Riches.</td></tr> -<tr><td align="left">Camellia japonica</td><td align="left">Unpretending excellence.</td></tr> -<tr><td align="left">Cherry</td><td align="left">A good education.</td></tr> -<tr><td align="left">Canterbury-bell</td><td align="left">Gratitude.</td></tr> -<tr><td align="left">Chestnut</td><td align="left">Do me justice.</td></tr> -<tr><td align="left">China aster</td><td align="left">Love of variety.</td></tr> -<tr><td align="left">Cabbage</td><td align="left">Profit.</td></tr> -<tr><td align="left">Coreopsis</td><td align="left">Always cheerful.</td></tr> -<tr><td align="left">Clover, red</td><td align="left">Industry.</td></tr> -<tr><td align="left">Cowslip</td><td align="left">Winning grace.</td></tr> -<tr><td align="left">Clover, white</td><td align="left">I promise.</td></tr> -<tr><td align="left">Daffodil</td><td align="left">Uncertainty.</td></tr> -<tr><td align="left">Dahlia</td><td align="left">Elegance and dignity.</td></tr> -<tr><td align="left">Dandelion</td><td align="left">Coquetry.</td></tr> -<tr><td align="left">Fennel</td><td align="left">Strength.</td></tr> -<tr><td align="left">Geranium</td><td align="left">Gentility.</td></tr> -<tr><td align="left">Grass</td><td align="left">Submission.</td></tr> -<tr><td align="left">Heliotrope</td><td align="left">Devotion.</td></tr> -<tr><td align="left">House-leek</td><td align="left">Domestic economy.</td></tr> -<tr><td align="left">Hollyhock</td><td align="left">Ambition.</td></tr> -<tr><td align="left">Ivy</td><td align="left">Dependence.</td></tr> -<tr><td align="left">Laurestine</td><td align="left">A token.</td></tr> -<tr><td align="left">Lichen</td><td align="left">Solitude.</td></tr> -<tr><td align="left">Lettuce</td><td align="left">Cold-hearted.</td></tr> -<tr><td align="left">Lemon-blossom</td><td align="left">Discretion.</td></tr> -<tr><td align="left">Lilac, purple</td><td align="left">Fastidiousness.</td></tr> -<tr><td align="left">Lily, white</td><td align="left">Purity.</td></tr> -<tr><td align="left">Mullein</td><td align="left">Good-nature.</td></tr> -<tr><td align="left">Mignonette</td><td align="left">Worth.<span class="pagenum"><a name="Page_379" id="Page_379">[379]</a></span></td></tr> -<tr><td align="left">May-flower</td><td align="left">Welcome.</td></tr> -<tr><td align="left">Nasturtium</td><td align="left">Patriotism.</td></tr> -<tr><td align="left">Oats</td><td align="left">Music.</td></tr> -<tr><td align="left">Olive</td><td align="left">Peace.</td></tr> -<tr><td align="left">Ox-eye</td><td align="left">Patience.</td></tr> -<tr><td align="left">Poppy, white</td><td align="left">Dreams.</td></tr> -<tr><td align="left">Snowdrop</td><td align="left">Consolation.</td></tr> -<tr><td align="left">Straw</td><td align="left">United.</td></tr> -<tr><td align="left">Sensitive-plant</td><td align="left">Sensitiveness.</td></tr> -<tr><td align="left">Star of Bethlehem</td><td align="left">Reconciliation.</td></tr> -<tr><td align="left">Sweetbrier</td><td align="left">Simplicity.</td></tr> -<tr><td align="left">Thyme</td><td align="left">Thriftiness.</td></tr> -<tr><td align="left">Thorn-apple</td><td align="left">Disguise.</td></tr> -<tr><td align="left">Tulip-tree</td><td align="left">Fame.</td></tr> -<tr><td align="left">Witch-hazel</td><td align="left">A spell.</td></tr> -<tr><td align="left">Winged seeds of all kinds </td><td align="left">Messengers.</td></tr> -<tr><td align="left">White violet</td><td align="left">Modesty.</td></tr> -<tr><td align="left">White rose</td><td align="left">Silence.</td></tr> -</table></div> - - -<div class="figcenter" style="width: 474px;"> -<img src="images/i_379.jpg" width="474" height="167" alt="princess with a heraldic shield" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_380" id="Page_380">[380]</a></span></p> - - - - -<h2>CHAPTER XXXIV.<br /> - -<small>A FEW ITEMS ON OLD-FASHIONED NEEDLE-WORK, -WITH SOME NEW AND ORIGINAL -PATTERNS.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_380.jpg" width="164" height="183" alt="C" /> -</div> - -<p class="drop-capi2">“COME around early this afternoon and bring -your fancy-work; we will have a nice, -cosey time; all the girls will be there, and -we can read that last new book.” Such -is the familiar and welcome invitation -given and received, from time to time, by -most young girls, and they find quiet but -real recreation in these informal meetings, -where, while listening to a friend read -aloud, they believe it much easier to keep their minds on the -subject if their hands are employed with dainty needle-work. -Then, too, sewing is a real pleasure when one becomes interested -in the work, and anyone who thoroughly understands -plain sewing can with ease learn fancy stitches of all kinds, for -good old-fashioned</p> - - -<h3><b>Plain Sewing</b></h3> - -<p class="unindent">is the foundation—the A B C—of all the more elaborate drawn -work, embroideries, and some of the laces. As a rule we think</p> - - -<h4>OVERHANDING</h4> - -<p class="unindent">comes first on the list of plain stitches; this is exactly the same -as sewing over and over. Hold the two edges of the material<span class="pagenum"><a name="Page_381" id="Page_381">[381]</a></span> -firmly together between the first finger and thumb of the left -hand, while with the right hand you take the stitches very close -together and as near the edge as possible, sewing from right -to left (Fig. 292). It is well to keep the edge nearest to you a -little tighter than the outer edge, to prevent its puckering. -Always baste the seam before sewing, and when the seam is -finished open it and flatten out the stitches (Fig. 293), so that -the edges of the material will not overlap, but just meet together -and lie smooth and flat.</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr><td align="left"><div class="figcenter" style="width: 218px;"> -<img src="images/i_381a.jpg" width="218" height="190" alt="diagram" /> -<div class="caption">Fig. 292.—Overhanding; or Sewing -over and over.</div> -</div></td><td align="left"><div class="figcenter" style="width: 270px;"> -<img src="images/i_381b.jpg" width="270" height="203" alt="diagram" /> -<div class="caption">Fig. 293—Overhanding. The seam opened with -stitches flattened out.</div> -</div></td></tr> -</table></div> - - - - - -<h4>OVERCASTING</h4> - -<p class="unindent">is the same as overhanding, except the stitches slant, are farther -apart, taken down deeper in the material, and the seam is not -opened.</p> - - -<h4>HEMMING.</h4> - -<p>First turn in the raw edge four or five threads, according to -the kind of goods to be hemmed, then turn it down again to -the desired width; this done, baste the hem down evenly and -neatly—it must be of the same width throughout—hold the<span class="pagenum"><a name="Page_382" id="Page_382">[382]</a></span> -sewing over the first finger of your left hand, and have the -stitches small, even, and -very near the edge of the -hem (Fig. 294).</p> - -<div class="figcenter" style="width: 302px;"> -<img src="images/i_382a.jpg" width="302" height="172" alt="diagram" /> -<div class="caption">Fig. 294.—Hemming.</div> -</div> - - -<h4>RUNNING.</h4> - -<p>Pass the needle in and -out of the material in a -straight line (Fig. 295), -making all the stitches -the same size. We believe the rule is to take up two threads -and leave two; but the length of the stitch should be regulated -by the kind of material used.</p> - -<div class="figcenter" style="width: 309px;"> -<img src="images/i_382b.jpg" width="309" height="178" alt="diagram" /> -<div class="caption">Fig. 295.—Running.</div> -</div> - - -<h4>BASTING</h4> - -<p class="unindent">is to take long stitches in the same manner as running.</p> - - -<h4>GATHERING</h4> - -<p class="unindent">does not differ much from running; the stitches are taken on the -needle in the same manner, but in this case two threads are -taken up and four left; the line should be kept perfectly straight.</p> - -<p>If you wish to gather -an apron or a skirt divide -it into halves, then -into quarters, in order -to make the fulness -even on each half of the -band; mark the four -places and gather on the -right side; when finished -draw the stitches -tightly together on the thread and stroke down evenly with a<span class="pagenum"><a name="Page_383" id="Page_383">[383]</a></span> -needle. To sew in the -gathers, back-stitch each -one in separately.</p> - - -<h4>STITCHING.</h4> - -<p>Take two threads -back of the needle and -two before, having each -stitch meet the last one, as in Fig. 296; keep the stitches even -and in a straight line.</p> - -<div class="figcenter" style="width: 299px;"> -<img src="images/i_383a.jpg" width="299" height="167" alt="diagra" /> -<div class="caption">Fig. 296.—Stitching.</div> -</div> - - -<h4>BACK-STITCHING.</h4> - -<p>Proceed as in stitching, only make the stitches longer and -do not have them meet.</p> - - -<h4>FELLING.</h4> - -<p>First baste up the seam, allowing the upper edge to extend -five threads beyond the lower edge (Fig. 296); then back-stitch -or stitch the two edges together; next turn the upper -edge down over the lower one and lay open the seam so that -the fell will lie down flat -like a hem (Fig. 297); -then hem it down neatly.</p> - -<div class="figcenter" style="width: 289px;"> -<img src="images/i_383b.jpg" width="289" height="171" alt="diagram" /> -<div class="caption">Fig. 297.—Felling.</div> -</div> - - -<h3><b>Button-holes.</b></h3> - -<p>Fig. 298 shows how -to take the proper stitch. -Be careful in cutting -button-holes to make the -slit even to a thread and cut the outer corner rounded; bar -the inner corner by taking two stitches across it, and overcast<span class="pagenum"><a name="Page_384" id="Page_384">[384]</a></span> -the button-hole around three or four threads deep from the -edge, or if the material is not inclined to ravel run it with -thread, either double -or single, drawing it -a trifle tight; then -begin at the left-hand -corner to work the -button-hole, leaving -one thread between -each stitch; keep the stitches exactly the same depth and the -loop or pearl of the button-hole on the upper edge.</p> - -<div class="figcenter" style="width: 325px;"> -<img src="images/i_384a.jpg" width="325" height="126" alt="diagram" /> -<div class="caption">Fig. 298.—Button-hole Stitch.</div> -</div> - - -<h4>HERRING-BONE OR CAT’S-TOOTH STITCH</h4> - -<p class="unindent">is used to keep the seams in flannel spread open and fastened -neatly down. Fig. 299 shows how to take the stitch; make the -stitches all even and of the same size.</p> - -<div class="figcenter" style="width: 314px;"> -<img src="images/i_384b.jpg" width="314" height="169" alt="diagram" /> -<div class="caption">Fig. 299.—Herring-bone Stitch.</div> -</div> - -<p>We have now given all the stitches which properly belong -to plain sewing, and -our next step will be</p> - - -<h3><b>Darning and Mending.</b></h3> - -<p>“A stitch in time -saves nine;” this much -most of us know from -experience, and it is -wise to devote a little time on a certain day each week to looking -over the wardrobe and making any repairs that may be -needed; the little care and time thus bestowed will prove a -true economy, and it is a real comfort to have all one’s clothing -in perfect order.</p> - -<p><span class="pagenum"><a name="Page_385" id="Page_385">[385]</a></span></p> -<div class="figcenter" style="width: 207px;"> -<img src="images/i_385a.jpg" width="207" height="150" alt="diagram" /> -<div class="caption">Fig. 300.—Jersey or Stocking Darn.</div> -</div> - -<h4>TO DARN A JERSEY OR A STOCKING.</h4> - -<p>With a needle and thread carefully draw out the uneven -ravelled edges of the hole, in order to diminish its size as much -as possible, and bring the loops and -ends back in their proper places; -then place under it a wooden egg or -anything that will answer the purpose, -and using thread of the same -texture and shade of color as the -garment to be mended, run back -and forth across the hole as far as -the material is worn thin, leaving a -loop at the end of each turn. In crossing the threads, take up -every other thread alternately each way (Fig. 300), and make -the darn of an irregular shape, as one of an even outline does -not wear well; when the weaving or darning is finished the loops -can be cut off.</p> - -<div class="figcenter" style="width: 235px;"> -<img src="images/i_385b.jpg" width="235" height="158" alt="diagram" /> -<div class="caption">Fig. 301.—Tear Darn.</div> -</div> - - -<h4>TO DARN A TEAR.</h4> - -<p>Carefully bring the ragged edges together and baste the -tear as nearly as possible in its original position; then, if it is -delicate muslin or dress material -to be mended, use ravellings of -the same instead of thread to -darn with, and weave it in and -out across the edges of the rent, -as in Fig. 301; if the darn needs -strengthening, baste a piece of -the same material under the rent -before darning, and catch down -the edges of the piece on the under side of the goods. In -mending broadcloth or like material, darn it on the wrong<span class="pagenum"><a name="Page_386" id="Page_386">[386]</a></span> -side, and when the darn is finished, ruff up the nap with the -point of the needle at the edges of the tear on the right side to -cover the stitches; then dampen the darn, and after laying a -thin clean cloth over it, press with a moderately hot flat-iron; -this should make the darn almost, if not quite, imperceptible.</p> - - -<h3><b>How to Patch.</b></h3> - -<p>If possible cut the piece intended as a patch of the same -goods as the garment to be mended, and if there is a pattern -be careful to so cut and place the patch that it will match exactly; -baste and hem down the patch on the right side of the -worn part of the garment; then cut out the old material on the -wrong side, leaving enough edge to form a firm hem; sew this -to the patch, taking care that the stitches do not show on the -right side.</p> - - -<h3><b>How to Sew on a Button.</b></h3> - -<p>Should much strain come on the button, as in little children’s -clothes, first hem down a small double piece of muslin, -on the wrong side of the garment, at the exact spot where the -button is to be placed, and with strong thread take a stitch on -the right side; then sew the button through about four times, -being careful not to let the stitches spread on the wrong side; -wind the thread three times around the shank of the button -formed by the stitches, drawing the thread a little tight, pass -the needle through and fasten the thread neatly on the wrong -side; the extra piece of muslin can be omitted when not needed.</p> - - -<h3><b>To Mend a Kid Glove.</b></h3> - -<p>If the glove is merely ripped, and there is no strain on the -portion to be mended, sew the two edges together over and -over on the right side with fine thread or sewing-silk matching<span class="pagenum"><a name="Page_387" id="Page_387">[387]</a></span> -in color the glove to be mended; if, however, there <i>is</i> liability -of its tearing out again, strengthen the edges by first working a -button-hole stitch on each; then sew them together over and -over, passing the needle in and out of the loops of the button-hole -stitch, so forming a narrow net-work of thread between the -two pieces of kid. Should the glove need a patch, carefully cut -a piece of kid out of the best part of an old kid glove corresponding -in color to the -one needing repairs; -make the patch exactly -the shape and size of the -hole, and button-hole -stitch all around the edge -of the hole and the edge -of the patch; then sew in -the patch over and over, -catching together the -loops of the button-hole stitches; this makes the mending firm, -neat, and strong.</p> - - -<h3><b>Fancy Stitches.</b></h3> - -<p>These are in many varieties of style; one of the most useful -is known as the</p> - - -<h4>FEATHER STITCH.</h4> - -<p>Fig. 302 gives the position of the needle and the manner of -taking the stitch. Remember to make all the stitches of an -exact length and the same distance apart, first one on this side -and then one on that, keeping them in a straight, even line.</p> - -<div class="figcenter" style="width: 305px;"> -<img src="images/i_387.jpg" width="305" height="168" alt="diagram" /> -<div class="caption">Fig 302.—Feather Stitch.</div> -</div> - - -<h4>CHAIN STITCH</h4> - -<p class="unindent">sometimes takes the place of braiding; it is the same stitch -as that used in the old-fashioned tambouring (Fig. 303);<span class="pagenum"><a name="Page_388" id="Page_388">[388]</a></span> -many Persian embroideries are made in silk with the chain-stitch.</p> - -<div class="figcenter" style="width: 305px;"> -<img src="images/i_388a.jpg" width="305" height="92" alt="diagram" /> -<div class="caption">Fig. 303.—Chain Stitch.</div> -</div> - - -<h4>A NEW IDEA IN OUTLINE STITCH.</h4> - -<p>The stitch (Fig. 304) is used for outline embroidery, and -when made with fine black sewing-silk resembles pen-and-ink -work. We have seen -figures outlined on linen -with the drapery worked -in colors, while the face, -hands, and feet were -simply in black and -white; being finely outlined, the effect was novel and artistic, -for in this way the features were made as true as if drawn on -paper with a pencil.</p> - -<p>For filling in the solid colors take the common running -stitch, but make the stitches long on the right side of the embroidery -and very short on the wrong side, so as to give the -appearance of -the colored -fabric copied.</p> - -<div class="figcenter" style="width: 385px;"> -<img src="images/i_388b.jpg" width="385" height="120" alt="diagram" /> -<div class="caption">Fig. 304.—Outline Stitch.</div> -</div> - -<p>Use filo-silk; -and English -or French -embroidery -cottons, when -colors are needed in the work. Always soak the silks and -cottons in strong salt and water before using; this sets the -color and keeps it from running when washed.</p> - - -<h4>HEM-STITCHING.</h4> - -<p>Decide upon the width of the hem and the width of the -space for drawn threads; carefully draw out the thread at one<span class="pagenum"><a name="Page_389" id="Page_389">[389]</a></span> -edge of the space, then the thread at the other edge; next -all the intervening threads; this finished, fold and baste down -the hem, allowing it to meet the edge of the drawn work, and -taking five threads running -lengthwise in the space, bind -them together at the edge of -the hem; at the same time -stitch them to the hem, as in -Fig. 305.</p> - -<div class="figcenter" style="width: 254px;"> -<img src="images/i_389a.jpg" width="254" height="186" alt="diagram" /> -<div class="caption">Fig. 305.—Hem-stitching.</div> -</div> - - -<h3><b>Drawn Work</b></h3> - -<p class="unindent">always looks well and is very -serviceable when made of -linen. Scarfs for buffets, bureaus, or tables, and tea-cloths, -tidies, or chair-backs, can be made of crash, butchers’ linen, -and linen sheeting; it is better to have doylies of very fine linen.</p> - -<div class="figcenter" style="width: 263px;"> -<img src="images/i_389b.jpg" width="263" height="139" alt="diagram" /> -<div class="caption">Fig. 306.—Fagotting Stitch.</div> -</div> - -<p>In making drawn work, if the article is to be fringed, first -draw out a few threads to measure the depth of the fringe, -and at the opening thus made hem-stitch all around the edge -of the material, leaving the -ravelling out of the fringe until -the drawn work is finished; -proceed to draw the threads -wherever spaces are desired, -and before working the pattern -always hem-stitch both -edges of the spaces. In Fig. -306 the pattern marked B -shows the stitch called fagotting, made by crossing every other -group of threads back over the one preceding and drawing the -linen thread through in such a way as to keep the groups -twisted; the two lines marked A, in the Fig. 306, are intended<span class="pagenum"><a name="Page_390" id="Page_390">[390]</a></span> -more as a finish to some elaborate design than as a pattern in -themselves; these are made by -hem-stitching down a number -of threads to each group. Fig. -307 gives a favorite pattern; for -this count the threads, so that -the spaces may be equal and -regular; draw the threads in -all the spaces running one way -first; then draw the threads in -the spaces crossing the first one -and run linen threads diagonally -across from the top of the -right-hand corner to the bottom of the left, dividing each -linen square into two -equal parts; cross these -by threads also running -diagonally across from the -top of the left-hand corner -to the bottom of the right, -again dividing the linen -squares, making four equal -parts; then weave threads -through all the spaces running both horizontally and perpendicularly, -using the fagotting stitch -(Fig. 306), and when crossing the -threads in the open spaces tie the -centres of each in turn, as in Figs. -308, 309; finish the pattern by running -a thread in and out several -times around the knots in the -centres of the wheels and fasten the ends by tying neatly. -Another pattern is given in Fig. 310.</p> - -<div class="figcenter" style="width: 253px;"> -<img src="images/i_390a.jpg" width="253" height="214" alt="diagram" /> -<div class="caption">Fig. 307.—Drawn Work.</div> -</div> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 136px;"> -<img src="images/i_390b1.jpg" width="136" height="152" alt="diagram" /> -<div class="caption">Fig. 308.—First Knot.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 156px;"> -<img src="images/i_390b2.jpg" width="156" height="141" alt="diagram" /> -<div class="caption">Fig. 309.—Second Knot.</div> -</div></td> -</tr> -</table> -</div> - -<div class="figcenter" style="width: 232px;"> -<img src="images/i_390c.jpg" width="232" height="117" alt="diagram" /> -<div class="caption">Fig. 310.—Border in Drawn Work.</div> -</div> - -<p><span class="pagenum"><a name="Page_391" id="Page_391">[391]</a></span></p> - -<p>Outline work is often combined with drawn work; fast colors, -in either cotton, linen or silk, are used for the outline design. -When the article worked is intended for daily use and must -frequently be laundried, it is better to substitute in place of the -fringe a wide hem-stitched hem edged with firm linen lace.</p> - -<p>Very dainty fancy aprons are made of common scrim with -spaces drawn and narrow ribbons of different colors simply -woven in and out of the threads, running crosswise through the -spaces.</p> - - -<h3><b>Applique and Original Designs for Portières.</b></h3> - -<p>The pattern in this work is cut from one material and sewed -on another.</p> - -<p>Almost any kind of fabric can be used as either applique or -foundation; velvet and plush are suitable for applique, but -make poor groundwork, owing to the long nap; both materials -in dark rich colors are handsome when used as a border -on portières or table-covers. To applique a pattern of velvet -or plush cut the design very exact and cover the wrong side -with a slight coating of gum, being careful to have the gum -thin on the edges so that it will not spread on the groundwork; -then lay the velvet on the place it is to occupy, and -after pressing it down very gently and lightly with your hand, -allow it to dry; this accomplished, the edges of the pattern -may be hemmed down neatly on the foundation. If a further -finish is desired, outline the design by sewing all around the -edge a small gold or silken cord.</p> - - -<h3><b>Portières.</b></h3> - -<p>We give an original applique design for a portière in Fig. -311, representing Day. The foundation is of soft dark-blue -momie-cloth, the sun a round piece of bright yellow or orange<span class="pagenum"><a name="Page_392" id="Page_392">[392]</a></span> -satin, and the rays are of gold or heavy yellow silk thread -merely run in stitches of various lengths; the cloud is of light -blue crape or crazy cloth, and the bird is one of those which -come prepared expressly for applique by the Japanese, and can -be purchased at almost any Japanese or fancy store; if possible -a lark should be selected in preference to other birds. The -border is a band of old gold velvet. Our other design (Fig. -312) represents Night; the foundation and band are the same as -those for the “Day” portière; the star is of white silk, the -moon of very pale Nile green silk, and the cloud of dark pearl -gray crape or crazy cloth, much darker than the blue momie-cloth.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 239px;"> -<img src="images/i_392a.jpg" width="239" height="330" alt="diagram" /> -<div class="caption">Fig. 311.—Portière. Day.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 235px;"> -<img src="images/i_392b.jpg" width="235" height="330" alt="diagram" /> -<div class="caption">Fig. 312.—Portière. Night.</div> -</div></td> -</tr> -</table> -</div> - -<p>The applique work must be done very carefully. First cut -out the designs, next turn in the raw edges evenly and smoothly, -and with a very fine thread and needle baste the edges down;<span class="pagenum"><a name="Page_393" id="Page_393">[393]</a></span> -then baste the designs carefully on the foundations, and, with a -fine needle and sewing-silk matching in color the piece to be -appliqued, hem each one down neatly, making the stitches -almost invisible. The band of velvet can be sewed on the bottom -edge of the momie-cloth, then turned up like a hem and -hemmed down.</p> - - -<h3><b>Lace.</b></h3> - -<p>Very beautiful lace is made by cutting out the heavy patterns -which are still perfect, from old and worn laces and embroideries, -and transferring the designs to new fine wash-net. -After first basting them on, hem them down to the netting with -a fine needle and thread; in this way the embroideries last as -long again and look as well as when new.</p> - - -<h3><b>Ribbon Embroideries.</b></h3> - -<p>We can give a clearer idea of this work by means of an example, -and we will take the common white daisy as an illustration.</p> - -<p>Thread a long-eyed coarse needle with very narrow white ribbon, -and beginning at the centre of the flower, pass the needle -from the wrong side up through your material, drawing the -ribbon out nearly its full length and leaving only a short piece -on the wrong side to be fastened down; now take a stitch -straight out the length of a daisy petal and pass the needle -through to the wrong side; then, taking a very short stitch, -draw the needle out through on the right side; next take another -long stitch back to the centre of the daisy, thus forming -the second petal; continue in the same manner, making the -petals radiate out in a circle from the centre of the flower. Work -the centres of the daisies with yellow silk and the stems in -dark-green silk; the leaves can be either worked or appliqued.<span class="pagenum"><a name="Page_394" id="Page_394">[394]</a></span> -For half-blown daisies make only about a quarter of a circle of -petals, and in place of the yellow centre, work a green calyx. -Ox-eyed daisies can be made in the same way with soft, thin -yellow ribbon, a little broader than the ribbon used for white -daisies. The work is rapid and pleasing, and almost any -flower can be imitated very perfectly with ribbon embroidery.</p> - -<div class="figcenter" style="width: 477px;"> -<img src="images/i_394.jpg" width="477" height="131" alt="girl and cherub sewing with gigantic needle and thread out of doors" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_395" id="Page_395">[395]</a></span></p> - - - - -<h2>CHAPTER XXXV.<br /> - -<small>SCRAP-BOOK AND HOME-MADE BOOK-COVERS.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_395.jpg" width="179" height="165" alt="T" /> -</div> - -<p class="drop-capi2">THE fashion of collecting pictured advertising -cards, so much in vogue among -the children a few years ago, seems to -have run its course, and dying out, it -has left on the young collectors’ hands -more cards than they know well what -to do with. Many of the collections -have been pasted in scrap-books, of -which the children have long since tired. While examining -one of these volumes with its row after row of cards, it occurred -to me that these advertisements might be utilized in a -new way by dividing and combining them. The experiment -proved a success, and I will now try to show you how, with -the aid of scissors and mucilage, the pictures which have become -so familiar may be made to undergo changes that are -indeed wonderful, and how from them may be formed a</p> - - -<h3><b>Mother Goose Scrap-book.</b></h3> - -<p>The nursery scrap-books made of linen or paper cambric -are, perhaps, familiar to most of our readers; but for the benefit -of those who may not yet have seen these durable little -books, we will give the following directions for making one: -Cut from a piece of strong linen, colored paper cambric, or<span class="pagenum"><a name="Page_396" id="Page_396">[396]</a></span> -white muslin, four squares twenty-four inches long by twelve -inches wide. Button-hole stitch the edges all around with -some bright-colored worsted, then place the squares neatly together -and stitch them directly through the centre with strong -thread (Fig. 313). Fold them over, stitch again, as in Fig. -314, and your book is finished and ready for the pictures.</p> - -<p>It is in the preparation of these pictures that you will find -the novelty of the plan we propose. Instead of pasting in those -cards which have become too familiar to awaken much interest, -let the young book-makers design and form their own pictures -by cutting special figures, or parts of figures, from different -cards, and then pasting them together so as to form new combinations.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 294px;"> -<img src="images/i_396a.jpg" width="294" height="149" alt="diagram" /> -<div class="caption">Fig. 313.—Scrap-book Opened and Stitched through -the Centre.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 149px;"> -<img src="images/i_396b.jpg" width="149" height="146" alt="diagram" /> -<div class="caption">Fig. 314.—Scrap-book Folded -and again Stitched</div> -</div></td> -</tr> -</table> -</div> - -<p>Any subject which pleases the fancy can be illustrated in -this way, and you will soon be deeply interested in the work -and delighted at the strange and striking pictorial characters -that can be produced by ingenious combinations.</p> - -<p>Stories and little poems may be very nicely and aptly illustrated; -but the “Mother Goose Melodies” are, perhaps, the -most suitable subjects with which to interest younger children, -as they will be easily recognized by the little folk. Take, for -instance, the “Three Wise Men of Gotham,” who went to sea -in a bowl. Will not Fig. 315 serve very well as an illustration<span class="pagenum"><a name="Page_397" id="Page_397">[397]</a></span> -of the subject? Yet these figures are cut from advertising -cards, and no -two from the -same card. -Fig. 316 shows -the materials, -Fig. 315 the -result of combining -them.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="center" colspan="2"><div class="figcenter" style="width: 378px;"> -<img src="images/i_397a.jpg" width="378" height="229" alt="drawing" /> -</div> -</td> -</tr> -<tr><td align="center"><div class="caption">Fig. 315.—“Three Wise Men<br /> -of Gotham.”</div></td> -<td align="center" valign="top"><div class="caption">Fig. 318.—“Little Jack Horner.”</div></td></tr> -</table> -</div> -<div class="figleft" style="width: 113px;"> -<img src="images/i_397b.jpg" width="113" height="342" alt="drawings of men and tub" /> -<div class="caption">Fig. 316.—Figures -cut from Advertising -Cards.</div> -</div> - -<div class="figright" style="width: 140px;"> -<img src="images/i_397c.jpg" width="140" height="261" alt="drawings of jack pie and ribbon" /> -<div class="caption">Fig. 317.—Figures cut -from Christmas Cards</div> -</div> - -<p>Again, the -little man -dancing so -gayly (Fig. -317) is turned -into “Little Jack Horner” eating his Christmas -pie (Fig. 318), by merely cutting off his legs -and substituting a dress-skirt -and pair of feet clipped from -another card. The Christmas -pie in his lap is from still another -card.</p> - -<p>In making pictures of this -kind, figures that were originally -standing may be forced to -sit; babies may be placed in -arms which, on the cards they -were stolen from, held only -cakes of soap, perhaps, or -boxes of blacking; heads may -be ruthlessly torn from bodies -to which they belong, and as ruthlessly clapped -upon strange shoulders; and you will be surprised -to see what amusing, and often excellent, illustrations<span class="pagenum"><a name="Page_398" id="Page_398">[398]</a></span> -present themselves as the result of a little ingenuity in clipping -and pasting. Another kind, which we shall call the</p> - - -<h3><b>Transformation Scrap-Book,</b></h3> - -<p class="unindent">will be found exceedingly amusing on account of the various -and ever-changing pictures it presents.</p> - -<p>Unlike any other, where the picture once pasted in must -remain ever the same, the transformation scrap-book alters -one picture many times. -To work these transformations -a blank book is -the first article required; -one eight inches long by -six and a half or seven -wide is a good size.</p> - -<div class="figright" style="width: 293px;"> -<img src="images/i_398.jpg" width="293" height="200" alt="diagram" /> -<div class="caption">Fig. 319.—Transformation Scrap-book with Pages -cut.</div> -</div> - -<p>Cut the pages of this -book across, one-third of -the way down. Fig. 319 -shows how this should be -done. The three-cornered piece cut out near the binding allows -the pages to be turned without catching or tearing. Leave the -first page uncut; also the one in the middle of the book.</p> - -<p>Cut from picture-cards, or old toy-books which have colored -illustrations, the odd and funny figures of men and women, -boys and girls, selecting those which will give a variety of costumes -and attitudes.</p> - -<p>Paste a figure of a woman or girl on the first page, placing -it so that when the lower part of the next page is turned, the -upper edge of it will come across the neck of the figure where it -is joined on to the shoulders.</p> - -<div class="figcenter" style="width: 496px;"> -<img src="images/i_399.jpg" width="496" height="627" alt="six drawings of figures with lines across their necks" /> -<div class="caption">Leaves from a Transformation Scrap-book.</div> -</div> - -<p>Cut the heads from the rest of the pictured women, and -choosing a body as different as possible from the one just used,<span class="pagenum"><a name="Page_399" id="Page_399">[399]</a></span> -paste it upon the lower part of the next page, directly under -the head belonging to the first body. Upon the upper part of<span class="pagenum"><a name="Page_400" id="Page_400">[400]</a></span> -the same page paste any one of the other heads, being careful -to place it so that it will fit the body. Continue in this way, -pasting the heads upon the upper, and the bodies on the lower, -part of the page, until the space allowed for the women is filled -up; then, commencing at the page left in the middle of the book, -paste upon it the figure of a man, and continue in the same manner -as with the woman, until the spaces are all used and the -book is complete.</p> - -<p>The combinations formed in this way are very funny. Old -heads with young bodies; young heads with old bodies; then -one head with a great variety of bodies, and so on.</p> - -<p>The first picture may represent a man, tall and thin, dressed -in a rowing costume, as shown in the illustration. Turn the -lower part of the next page, and no longer is he thin and tall, -but short and stout, the position of this body giving the expression -of amazement, even to the face. The next page turned -shows him to be neither tall nor short, thick nor thin, but a -soldier, well-proportioned, who is looking over his shoulder in -the most natural manner possible.</p> - -<p>The figures in the illustration were cut from advertising cards, -and the head belongs to none of the bodies.</p> - -<p>A curious fact in arranging the pictures in this way is that -the heads all look as though they might really belong to any of -the various bodies given them.</p> - -<p>Instead of having but one figure on a page, groups may be -formed of both men and women, and in the different arrangement -of the figures they can be made very ludicrous indeed.</p> - -<p>A scrap-book for older girls, which might be termed more -fitly</p> - - -<h3><b>An Album,</b></h3> - -<p class="unindent">can be made by mounting engravings, wood-cuts, photographs, -and water-colors on pieces of thin card-board all of the same size.<span class="pagenum"><a name="Page_401" id="Page_401">[401]</a></span> -If any one subject be chosen, and such pictures selected as tend -in some way to illustrate that subject, the book will prove more -interesting in the making, and will be quite valuable when finished.</p> - -<p>There will be no difficulty in mounting the pictures; simply -paste them on the card-board with good flour-paste, and press -under a heavy weight, keeping them perfectly neat and free -from smears of paste on the edges. When two or more are -mounted at the same time, place clean pieces of blotting-paper -between, pile one upon another, and put the heavy weight on -top.</p> - -<p>Such a scrap-book should be bound in a</p> - - -<h3><b>Home-made Book-cover,</b></h3> - -<p class="unindent">which is made in this way:</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 178px;"> -<img src="images/i_401a.jpg" width="178" height="197" alt="diagram" /> -<div class="caption">Fig. 320.—One Side of Book-cover -with Holes cut near the Edge.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 116px;"> -<img src="images/i_401b.jpg" width="116" height="195" alt="diagram" /> -<div class="caption">Fig. 321.—Book-cover -Tied with Ribbons.</div> -</div></td> -<td align="left"><div class="figcenter" style="width: 112px;"> -<img src="images/i_401c.jpg" width="112" height="198" alt="diagram" /> -<div class="caption">Fig 322.—Book-cover -Laced together with -Silk Cord.</div> -</div></td> -</tr> -</table> -</div> - -<p>Take two pieces of heavy card-board a trifle larger than the -book you wish to cover, make three holes near the edge of -each (Fig. 320) and corresponding holes in the edges of the -book, which must not be too thick—that is, contain too many -leaves; pass narrow ribbons through these holes and tie in -bow-knots, as in Fig. 321. If the leaves of the book are thin,<span class="pagenum"><a name="Page_402" id="Page_402">[402]</a></span> -more holes can be made in the back and the covers laced together -with silk cord (Fig. 322).</p> - -<p>These book-covers may be beautifully decorated by anyone -who can paint in water-colors, and tinted card-board can also -be used for them. They are pretty, and suitable as covers for -manuscript poems or stories, or for a collection of autographs.</p> - -<p>In making any kind of scrap-book it is very necessary that -the paste used should be good. If the paste is poor, the pictures -will peel off or the paste turn sour. The recipe given -below we can recommend as an excellent one for</p> - - -<h3><b>Flour-paste.</b></h3> - -<p>Mix one-half cup of flour with enough cold water to make a -very thin batter, which must be smooth and free from lumps; -put the batter on top of the stove—not next to the fire—in a tin -sauce-pan, and stir continually until it boils; then remove from -the stove, add three drops of oil of cloves, and pour the paste -into a cup or tumbler. This will keep for a long time and will -not become sour.</p> - -<div class="figcenter" style="width: 465px;"> -<img src="images/i_402.jpg" width="465" height="88" alt="three cherubs lying about looking at pictures for scrapbooks" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_403" id="Page_403">[403]</a></span></p> - - - - -<h2>CHAPTER XXXVI.<br /> - -<small>A HEAP OF RUBBISH, AND WHAT TO DO -WITH IT.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_403.jpg" width="103" height="146" alt="I" /> -</div> - -<p class="drop-capi2">IN almost every house there is an attic, and in almost -every attic may be found a room where -trunks are stored, where broken toys and disabled -furniture are put out of sight, and where -all articles not worth selling or giving away -gradually accumulate until this attic room contains, -literally, a heap of rubbish. Entering one -of these lumber-rooms not long ago, and glancing over the -medley which comprised so much, from a tin can to a piece of -broken bric-à-brac, the thought occurred to me that something -might be done with it, some use be made of at least a few of -the articles consigned to the place as utterly useless.</p> - -<p>That was rather a thrifty thought. Do you not think so, -girls? Then let us make the most of it and together venture -back into that mysterious and somewhat dusty chamber, and -see if there really is anything there worth the making over.</p> - -<p>In imagination we will stand in our attic lumber-room and -begin to look about us with eyes and mind open to perceive -possibilities.</p> - -<p>On one side of the room, leaning against the wall, we see -what was once a handsome old-fashioned mirror, quite large and -of heavy plate-glass. It’s poor dusty face, reflecting dimly its -barren surroundings, is shattered in many pieces, and at first<span class="pagenum"><a name="Page_404" id="Page_404">[404]</a></span> -sight it seems hopeless to attempt to restore it to the plane of -beauty or usefulness; but do not let us be hasty; we will examine -it more closely. Yes, here is a piece of glass large -enough to frame. Never mind its uneven shape and rough -edges; we will work out that problem later. Now we must put -it carefully aside and continue our investigations.</p> - -<p>Here is a large tin can, which can be made into a lantern to -hang in the hall, and this baking-powder can may be of some -use, so we will take it also.</p> - -<p>The tops of three cheese-boxes; something should be done -with them. Perhaps they can be used for a table; put them -with the other chosen things.</p> - -<p>A croquet-ball! That will make a fine key-rack. This box -of silks and ribbons we may need, and the large pasteboard-box -will do for the foundation of our mirror frame.</p> - -<p>We must have this piece of old brass chain, this handful of -large nails, the pasteboard roll which has been used for sending -engravings through the mail, and that old broad-brimmed -straw hat; also these three broomsticks and the piece of nice -dark-gray hardware paper.</p> - -<p>Now, seated in our own room, let us see what we can do with -this rather unpromising array of objects spread around us. -First we will try</p> - - -<h3><b>The Mirror,</b></h3> - -<p class="unindent">and must cast about us for the ways and means of framing it. -The large pasteboard-box we have already decided will make a -good foundation. After tearing off the sides, we will cut an -even square from the bottom, which is smooth and unwarped.</p> - -<div class="figleft" style="width: 170px;"> -<img src="images/i_405a.jpg" width="170" height="167" alt="drawing" /> -<div class="caption">Fig. 323.—Brown Paper Pasted -on Mirror and Pasteboard for -Home-made Mirror-frame.</div> -</div> - -<div class="figright" style="width: 126px;"> -<img src="images/i_405b.jpg" width="126" height="127" alt="drawing" /> -<div class="caption">Fig. 324.—Bevel of -Hardware Paper -on Frame.</div> -</div> - -<div class="figleft" style="width: 192px;"> -<img src="images/i_405c.jpg" width="192" height="187" alt="diagram" /> -<div class="caption">Fig. 325.—The Outside Covering -for Mirror-frame.</div> -</div> - -<div class="figright" style="width: 127px;"> -<img src="images/i_405d.jpg" width="127" height="121" alt="diagram" /> -<div class="caption">Fig. 326.—Back of -Frame with Tape -Attached.</div> -</div> - -<p>Next laying the piece of mirror on the square of pasteboard -we must cut, out of ordinary brown wrapping-paper, a square -two inches larger all around than the pasteboard, make a hole -in the centre as large as the shape of the mirror will allow, and<span class="pagenum"><a name="Page_405" id="Page_405">[405]</a></span> -paste it down on the mirror and pasteboard -(Fig. 323). Then, after clipping -out the corners, we will turn the edges -over on to the back of the pasteboard -foundation and paste them down. Cutting -four strips of the hardware paper, -about two inches wide, we will fold them -through the centre lengthwise and paste -them around the glass, -lapping them just a little -over the edge of the other paper, the folded -side being next to the glass (Fig. 324). This -will form a bevel for our frame. From the -same paper we will now cut a square, three -inches larger on all -sides than the foundation; -then, exactly -in the centre, mark a square half an -inch larger all around than the square -of mirror showing. In the centre of -the square marked out we must insert -our scissors, cut it like Fig. 325, and -after clipping off the points, as indicated -by the dotted lines L, M, O, N, -turn back the four -pieces at the dotted lines, P, Q, R, S, leaving -an open square. Then placing it over the -mirror so that the same width of bevelled -edge shows on all sides of the mirror, we -must paste it down. Clipping out the corners, -as shown in diagram, we will bring the -edges over and paste them down securely to -the back of the frame. A piece of hardware paper, cut in a<span class="pagenum"><a name="Page_406" id="Page_406">[406]</a></span> -square one inch smaller than the frame, we will paste on the -back to finish it off and hide the edges of the paper where they -have been turned over -(Fig. 326).</p> - -<p>We must fasten -on a piece of tape by -which to hang the -mirror, by pasting -down the ends of the -tape on the frame -(letter T, Fig. 326), -and pasting over each -a strip of the hardware -paper (letter -U, Fig. 326). When -the frame is quite dry -we will paint a branch -of dog-wood or some -light-colored flower -across it, and have as pretty a little mirror as anyone could -wish for.</p> - -<div class="figcenter" style="width: 331px;"> -<img src="images/i_406.jpg" width="331" height="327" alt="drawing" /> -<div class="caption">Home-made Mirror-frame.</div> -</div> -<div class="figright" style="width: 222px;"> -<img src="images/i_407b.jpg" width="222" height="487" alt="drawing" /> -<div class="caption">Bric-à-brac Table.</div> -</div> -<div class="figleft" style="width: 48px;"> -<img src="images/i_407a1.jpg" width="48" height="157" alt="diagram" /> -<div class="caption">Fig. 327.—Narrow -Grooves Cut -around Broomstick -for Table-leg.</div> -</div> - -<div class="figleft" style="width: 107px;"> -<img src="images/i_407a2.jpg" width="107" height="56" alt="diagram" /> -<div class="caption">Fig. 328.—Holes -Bored in a Box-lid -Used as a -Table-shelf.</div> -</div> - -<div class="figleft" style="width: 103px;"> -<img src="images/i_407a3.jpg" width="103" height="160" alt="diagram" /> -<div class="caption">Fig. 329.—Manner -of Fastening -a Shelf to -Table-leg.</div> -</div> - -<div class="figleft" style="width: 83px;"> -<img src="images/i_407a4.jpg" width="83" height="99" alt="diagram" /> -<div class="caption">Fig. 330.—Table-shelf -and Leg -Fastened securely -together -by Wire.</div> -</div> -<p>The next thing to commence will be</p> - - -<h3><b>The Table,</b></h3> - -<p class="unindent">which you can make yourselves by following these directions:</p> - -<p>The three cheese-box lids will answer nicely as shelves for -a work- or bric-à-brac table, and the broomsticks, which are -all the same length, will do for the legs.</p> - -<p>Upon each broomstick mark the distances for placing the -shelves, allowing six inches from each end of the stick for the -top and bottom, and the exact centre between these points -for the middle shelf. With a pocket-knife cut narrow grooves<span class="pagenum"><a name="Page_407" id="Page_407">[407]</a></span> -around each stick, one-half inch on either side of -the points marked on them (Fig. 327). This will -make six grooves on each stick. Now measure -the box-lids to find their circumferences, and divide -them into thirds, -marking the distances -on the rim to obtain -the true position for the -legs. At these points -bore four holes with a -gimlet, one inch apart, -two above and two below -(Fig. 328). Through -one of the top holes -pass a piece of pliable -wire, place one of the -broomsticks against the -rim of the lid, pass the -wire back through the -other upper hole (Fig. -329), fit it into the -upper groove of the -stick, and draw it tight. -Twice the wire must be -put through the upper -holes and around the -stick in the top groove; -then, bringing it down -on the inside of the lid, you must put it twice -through the lower holes and around the stick in -the lower groove; then twist the ends and tuck -them under the wire on the inside of the lid (Fig. -330). In this way each leg will have to be fastened<span class="pagenum"><a name="Page_408" id="Page_408">[408]</a></span> -to each shelf. When the table is all put together paint it -black, and, as soon as it is dry, tie a bright ribbon on one of the -sticks at the top, and a charming little bric-à-brac table will be -the result of your labor.</p> - -<p>You can make a very pretty</p> - - -<h3><b>Lantern</b></h3> - -<p class="unindent">of the old tin can; but first you must have some tools to work -with; not many, only a piece of wood, rounded on one side to -fit into the can, a hatchet or heavy hammer, and a few wrought -iron nails. If the piece of wood is not large enough to fit the -can, another stick can be put in to hold the first one firmly -against the can. That being arranged, you must decide upon -some kind of a pattern to be made by the holes, and indicate -it on the can with a small paint-brush and paint or ink; then, -laying the can on its side, the rounded piece of wood being at -the top, with one of the wrought iron nails puncture the holes -where you have indicated the pattern. With the hammer drive -the nail through the tin into the wood; then draw it out, make -another hole, and so on until all the holes you wish are driven -through that part of the can held in place by the rounded -piece of wood.</p> -<div class="figright" style="width: 127px;"> -<img src="images/i_409b.jpg" width="127" height="419" alt="drawing" /> -<div class="caption">Lantern.</div> -</div> -<p>This wood, you see, keeps the can from bending when the -nail is being driven through. In moving the wood as the work -progresses, you must always keep it under that part of the can -being punctured. To make the large hole, you will have to put a -number of the small holes close together, and then drive the nail -through the partitions, cutting them away. The pattern being -completed, puncture three holes, close to the top of the can, at -equal distances apart. These are for the chains to pass through, -by which to suspend the lantern. In the cover of the baking-powder -can make three holes at equal distances; then divide<span class="pagenum"><a name="Page_409" id="Page_409">[409]</a></span> -the chain, which is about one yard and a quarter long, into -three equal lengths, separating the pieces by prying open the -links. Put an end of each piece through the holes made for -them at the top of the can, and fasten them -by hooking the open links through the links -of the chain a little farther up, and hammering -them together again.</p> - -<p>Now pass the ends of the chains through -the holes made in the lid of the baking-powder -can, and, bringing the ends together, -fasten them by joining the -links.</p> - -<div class="center"> -<table border="0" cellpadding="1" cellspacing="0" summary="diagrams"> -<tr> -<td align="center" colspan="2"><div class="figcenter" style="width: 147px;"> -<img src="images/i_409a.jpg" width="147" height="165" alt="drawings" /> -</div></td> -</tr> -<tr><td align="left"><div class="caption">Fig. 331.</div></td> -<td align="left"><div class="caption">Fig. 332.</div></td> -</tr> -<tr> -<td align="center" colspan="2"><div class="caption">Stand -in Lantern, with<br /> -Nails for Holding Candle.</div></td> -</tr> -</table> -</div> - - - -<p>Paint the lantern, chain -and all, black, and while it is -drying make a stand for the candle which is to -furnish the light. A square piece of thin board, -just large enough to fit into the can without -touching the sides will do for the stand. Drive -four small nails in the centre to hold the candle -(Fig. 331).</p> - -<p>Make handles for lifting the stand in and -out of the lantern, by bending two pieces of -wire like Fig. 331, and fastening them to the -board with staple tacks (Fig. 332).</p> - -<p>When the paint on the lantern is dry, paste -red tissue-paper all around the inside to give a -cheerful red glow to the light, which will shine -through it. If you would like it to resemble a -jewelled lantern, paste different colored papers -over the large holes and leave the small ones -open. An S hook passed through the loop -made by the three chains will serve to connect them to the -chain which should suspend the lantern from the ceiling.</p> - -<p><span class="pagenum"><a name="Page_410" id="Page_410">[410]</a></span></p> - -<div class="figleft" style="width: 102px;"> -<img src="images/i_410a1.jpg" width="102" height="98" alt="diagarm" /> -<div class="caption">Fig. 333.—Paper -Covering for -End of Music-roll</div> -</div> - - -<h3><b>A Music-Roll</b></h3> - -<p class="unindent">can be made of the pasteboard roll.</p> -<div class="figright" style="width: 75px;"> -<img src="images/i_410a2.jpg" width="75" height="102" alt="diagarm" /> -<div class="caption">Fig. 334.—Paper -Pasted -over End of -Music-roll.</div> -</div> -<p>Cut a round piece of pasteboard just the size to fit into one -end of the roll; then cut out another round piece, this time of -paper, one inch larger than that made of pasteboard. Clip the -edges (Fig. 333) and paste it over -the end of the roll which is filled -in with the round of pasteboard -(Fig. 334).</p> - - - -<p>Among the scraps of silk and -ribbons you will, perhaps, find a -good-sized piece of dark-green or -brown silk; use this for the case, -which must cover the roll neatly. To make the case fit the -end of the roll you have just filled up, mark on a piece of the -silk a circle the size of that end of the roll. This can be -done by standing the roll on the silk, and running a pencil -around the edge. When cutting out the silk leave a margin of -a quarter of an inch on the outside of the pencil-mark for the -seam. Cut the silk for covering -the roll three inches longer -than the roll, -and wide -enough to -allow for a -quarter of an -inch seam. -Sew up the long seam, and then sew the round of silk into the -end of the case. Hem the other end of the case, and run in a -narrow ribbon about an inch from the edge. This is for a -draw-string.</p> - -<div class="figcenter" style="width: 393px;"> -<img src="images/i_410b.jpg" width="393" height="140" alt="drawing" /> -<div class="caption">Music-roll.</div> -</div> - -<p>When the roll is fitted snugly in its case, tie a ribbon,<span class="pagenum"><a name="Page_411" id="Page_411">[411]</a></span> -matching it in color, around the roll, making a loop to form -the handle. Fasten the ribbon by taking a few stitches under -the bows, catching them on to the silk.</p> - -<div class="figleft" style="width: 239px;"> -<img src="images/i_411a.jpg" width="239" height="240" alt="drawing" /> -<div class="caption">Fig. 335.—Straw Hat Tied in Shape for a -Work-basket.</div> -</div> -<p>The old straw hat can be transformed into a dainty</p> - - -<h3><b>Work-Basket.</b></h3> - -<div class="figright" style="width: 258px;"> -<img src="images/i_411b.jpg" width="258" height="293" alt="diagram" /> -<div class="caption">Work-basket.</div> -</div> -<div class="figleft" style="width: 152px;"> -<img src="images/i_412aa.jpg" width="152" height="380" alt="drawing" /> -<div class="caption">Key Rack.</div> -</div> -<p>It is stiff and harsh at present, but pour boiling water over -it and the straw will become soft and pliable, and can be bent -into any shape you like. When dry, it will be again stiff, and -will retain the form you have given it. After scalding the hat -bend the brim in toward the centre, in four different places, at -equal distances apart. This will make a fluted basket. You -must tie it in shape (Fig. 335) and leave until perfectly dry; -then bronze the basket, line it with silesia, and sew silk or -satin around the top to form a bag. Run a draw-string of -narrow ribbon near the top of the bag, and the pretty little -work-basket is finished.</p> - - -<p><span class="pagenum"><a name="Page_412" id="Page_412">[412]</a></span></p> - -<p>The croquet ball you can make into a</p> - - -<h3><b>Key and Button-Hook Rack.</b></h3> - -<p>First you must gild it, and then around the middle of the -ball, at regular intervals, insert small brass hooks. A yellow ribbon -and bow, tacked on the top with small tacks, -will serve to suspend it by, and completes the rack.</p> - -<p>With the gilt left from gilding the ball, and a -piece of bright ribbon you can make a</p> - -<div class="figright" style="width: 362px;"> -<img src="images/i_412ab.jpg" width="362" height="160" alt="drawing" /> -<div class="caption">Paper-weight.</div> -</div> - - -<h3><b>Paper-Weight</b></h3> - -<p class="unindent">of six of the large nails. Gild each nail separately, -let them dry, and then tie them securely together -with a piece of ribbon.</p> - - - - - -<p>All the articles brought from the attic have now been turned -to some use, but there are many other things to be found there -which we have not space to mention, and which with little -trouble can be so transformed that no one would ever suppose -they were taken originally from a heap of rubbish.</p> - -<div class="figcenter" style="width: 461px;"> -<img src="images/i_412b.jpg" width="461" height="87" alt="cherubs going through rubbish" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_413" id="Page_413">[413]</a></span></p> - - - - -<h2>CHAPTER XXXVII.<br /> - -<small>HOW TO MAKE ATTRACTIVE BOOTHS AT A -FAIR—A NEW KIND OF GRAB-BAG.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_413.jpg" width="323" height="254" alt="D" /> -</div> - -<p class="drop-capi">DECIDING to have our fair unlike -those which have preceded -it, we must do away with -monotony and introduce not -only variety, but originality as -well. New ideas, something -different from that which has -served us heretofore, -is what we strive for. -Novelties are always -attractive, let them -be decorative also, -and help to make the room or hall as inviting as possible.</p> - -<div class="figcenter" style="width: 425px;"> -<img src="images/i_414.jpg" width="425" height="600" alt="drawing" /> -<div class="caption">The Fair.</div> -</div> - -<div class="figleft" style="width: 238px;"> -<img src="images/i_415a.jpg" width="238" height="343" alt="diagram" /> -<div class="caption">Fig. 336.—Framework for the Canopy of -a Booth at a Fair.</div> -</div> - -<div class="figright" style="width: 168px;"> -<img src="images/i_415b.jpg" width="168" height="205" alt="diagram" /> -<div class="caption">Fig. 337.—Block of -Wood Fastened on -the side of Table.</div> -</div> - - -<h3><b>The Tables</b></h3> - -<p class="unindent">being the most important item, we will give them our first -attention. Have each table or booth canopied in a style differing -from all others, and make the canopy extend up as high -as practicable, in order to avoid the flat, blank appearance so -common in small fairs. If tables are arranged in this fashion, -they will go far toward decorating the hall. Fig. 336 shows -one style in which a framework for the roof or covering may -be constructed. At the four corners of the table, where the -top projects over the sides, fit in blocks of wood according to -Fig. 337; the dotted lines represent the block. Nail the wood<span class="pagenum"><a name="Page_414" id="Page_414">[414]</a><br /><a name="Page_415" id="Page_415">[415]</a></span> -fast to the table, so that the uprights may stand perfectly -straight. Use laths or similar sticks for the four uprights, and -screw or nail them at the corners -of the table according to Fig. -336; then with small screws fasten -a stick across the top of the -laths at each side, and at the top -of the sticks on the front of the -table tie the two ends of a barrel-hoop -to form the arch; also attach -another hoop at the back to -the other two uprights, and connect -the top centre of each by a -wire running across. The hoops -are fastened to the laths by binding -the ends of the hoops to the -ends of the laths with strong -twine, or wire, wound around in -notches which have previously -been cut -in the ends of both sticks and hoops. -Should the barrel-hoops be too short for -the arch, take children’s large-sized toy -wooden hoops, and fasten them up in the -same manner. Fig. 338 is another way -to arrange the framework. The four upright -sticks are attached to the table as described in Fig. -336; then in the top of each is driven a very large-sized -tack, and a strong flexible wire is stretched from -lath to lath and wound around each tack, thus connecting the -four uprights together.<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> Flags, shawls, drapery curtains, sheets,<span class="pagenum"><a name="Page_416" id="Page_416">[416]</a></span> -and inexpensive cheese-cloth make good canopies; undressed -cambric and canton flannel in desirable colors drape nicely, -and can also be used for the purpose. -Where you wish to produce light, -airy effects, tarlatan, in one or more -colors, will be found useful; again, -let some of the tables have only a -suggestion of a roof, made by ornamenting -the framework with flowers, -or whatever is most suitable, according -to the style of table and the place -it is to occupy.</p> - -<p>Try and have a variety of shapes -and sizes in the booths, and avoid -sombre dulness and monotony. Let -the room fairly sparkle and shine -with light and color.</p> - -<div class="figright" style="width: 211px;"> -<img src="images/i_416a.jpg" width="211" height="313" alt="diagram" /> -<div class="caption">Fig. 338.—Construction of Framework -for the Canopy of a Table -at a Fair.</div> -</div> - -<p>To make a tent-like covering, -firmly bind a large-sized Japanese -umbrella to a pole, and fasten the pole in the centre of the -table. To hold it securely, make a bench of two pieces of -board, with a hole through the centre of each, and join them -together by a block of -wood nailed in each end -(Fig. 339). The bench -can be made fast to -the table by screws put -through from the under -side of the top of the -table</p> - -<div class="figleft" style="width: 304px;"> -<img src="images/i_416b.jpg" width="304" height="144" alt="diagram" /> -<div class="caption">Fig. 339.—Bench for Holding a Pole as a Support for -a Canopy of a Booth.</div> -</div> - -<p>In erecting the canopy -place the end of the pole in the bench and it will be steady -and firm. Attach pieces of string to several ribs on each side<span class="pagenum"><a name="Page_417" id="Page_417">[417]</a></span> -of the umbrella, stretch the strings down and fasten the ends -securely to the table; paste over the strings bright-colored -tissue-paper fringe (Fig. 340). Cut the paper four or six thicknesses, -and when pasted on turn the fringe part uppermost, so -it will look fluffy and not hang down in a tame, fringe fashion. -When a red umbrella is used, and the strings are covered with -fringe of the same hue, it looks very pretty. Be extremely careful -that no light comes dangerously near the tissue-paper, or -any other inflammable material; all the decorations must be -arranged with a view to perfect safety from contact with gas, -lamp, or candle.</p> - -<p>In decorating the room remember to mass your color so the -effect may -be broad. -If the colors are too much -mingled the effect will be -weakened, and in some cases -lost entirely.</p> - -<div class="figcenter" style="width: 413px;"> -<img src="images/i_417.jpg" width="413" height="158" alt="drawing" /> -<div class="caption">Fig. 340.—Tissue-paper Fringe.</div> -</div> - -<p>Paper-flowers and plants -in great abundance will be -needed, and if you can persuade -all your friends, as well as those actively interested in the -fair, to make paper-flowers or plants, they will prove very acceptable, -and after the fair is over the floral decorations can -be safely stored away to do service again on like occasion. -Large, showy flowers, like peonies, dog-wood, and magnolias, -as well as large-leaved plants, are best to use, though the -smaller ones look well in a few places.</p> - -<p>In making</p> - - -<div class="figright" style="width: 178px;"> -<img src="images/i_418a.jpg" width="178" height="185" alt="pattern" /> -<div class="caption">Fig. 341.—Dog-wood.</div> -</div> - -<h3><b>Flowers for Decorations</b></h3> - -<p class="unindent">we aim at general effect, with less regard to detail than if the -blossoms were to be used in other ways. Fig. 341 is a pattern<span class="pagenum"><a name="Page_418" id="Page_418">[418]</a></span> -of the dog-wood. Cut the flowers of white writing paper -and make them quite large. Use wire to fasten them to a -natural branch, and imitate nature as -nearly as possible in the arrangement of -the blossoms.</p> - -<div class="figleft" style="width: 136px;"> -<img src="images/i_418b.jpg" width="136" height="177" alt="drawing" /> -<div class="caption">Fig. 342.—Peony Petal -Gathered through the -Centre.</div> -</div> - -<p>If you fold the paper a number of -times and then place your pattern over -it, you can cut out six or eight flowers -at once, and save both time and labor.</p> - -<div class="figright" style="width: 157px;"> -<img src="images/i_418c.jpg" width="157" height="132" alt="diagram" /> -<div class="caption">Fig. 343.—Peony Petal -Folded over.</div> -</div> - -<p>Peonies are made of white, pink, or -red tissue-paper, cut in squares of about -eight inches each and pinked on the two -opposite edges. Twelve squares are needed -for one flower. With your fingers gather the -squares up in the centre (Fig. 342); then fold -over the pieces, as in Fig. 343; when all are -ready string them on a wire and shape the -bunch to resemble a peony; twist the wire -up tight and fasten the petals together, leaving -a length of wire for a stem.</p> - -<div class="figleft" style="width: 67px;"> -<img src="images/i_419a1.jpg" width="67" height="65" alt="pattern" /> -<div class="caption">Fig. 344.—Cherry -Blossom.</div> -</div> - -<div class="figright" style="width: 81px;"> -<img src="images/i_419a2.jpg" width="81" height="145" alt="pattern" /> -<div class="caption">Fig. 345.—Green -Leaf -of Cherry -Tree.</div> -</div> -<p>Make the cherry-blossoms (Fig. 344) in -clusters of five or seven each, and attach green -leaves (Fig. 345) cut in different sizes. Fig. -346 shows the method of giving the leaf a -pretty, crimped appearance. By holding -the point of the leaf firmly under the head -of the pin with your left hand, and with -the right hand pushing the leaf up toward -the head of the pin, you can crimp the -leaves very rapidly, and they look much -more natural than when left plain.</p> - -<p>All the materials necessary for the manufacture of flowers -for fair decorations will be paper, wire, and paste. The buds<span class="pagenum"><a name="Page_419" id="Page_419">[419]</a></span> -of different flowers can be imitated by pinching together the -petals of open blossoms. Figs. 347, 348, 349 are the petals -of the magnolia; the inside petals are five and one-half -inches long, the others in proportion. Cut three -of each size. No. 347 forms the innermost petals, -No. 348 the next, and No. 349 the outermost; -these last should be double; make -the outside of pink tissue-paper and the -inside white, all the other petals are white; -cut three, from Fig. 350, of green paper to -form the calyx.</p> - - -<div class="figcenter" style="width: 380px;"> -<img src="images/i_419b.jpg" width="380" height="79" alt="drawing" /> -<div class="caption">Fig. 346.—Method of Crimping Leaf.</div> -</div> - -<p>Other ornamental flowers may be manufactured -from these hints. Patterns can -be cut from any natural flowers, and -they may be -made without -the aid of further -directions. When natural blossoms can be obtained, they -are far preferable, -though the paper -plants make splendid -substitutes and -at a little distance -cannot be distinguished -from the -natural ones.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="diagrams"> -<tr> -<td align="left"><div class="figcenter" style="width: 115px;"> -<img src="images/i_419c1.jpg" width="115" height="224" alt="pattern" /> -<div class="caption">Fig. 347.</div> -</div></td> -<td align="left" valign="bottom"><div class="figcenter" style="width: 103px;"> -<img src="images/i_419c2.jpg" width="103" height="221" alt="pattern" /> -<div class="caption">Fig. 348.</div> -</div></td> -<td align="left" valign="bottom"><div class="figcenter" style="width: 75px;"> -<img src="images/i_419c3.jpg" width="75" height="167" alt="pattern" /> -<div class="caption">Fig. 349.</div> -</div></td> -<td align="left" valign="bottom"><div class="figcenter" style="width: 42px;"> -<img src="images/i_419c4.jpg" width="42" height="95" alt="pattern" /> -<div class="caption">Fig. 350.</div> -</div></td> -</tr> -</table> -</div> - -<p>If the fair comes -off in the season -when the trees are -leafless, bare -branches with green paper leaves wired on will help very much -where foliage is needed.</p> - -<p>An excellent scheme in the arrangement of a fair is to divide<span class="pagenum"><a name="Page_420" id="Page_420">[420]</a></span> -the tables into twelve separate booths and let each one represent -one month in the year. They should contain articles appropriate -only to the month represented, and when planned in this -way each month should be of appropriate color. For example:</p> - - -<h3><b>December</b></h3> - -<p class="unindent">can be all white, with tufts of cotton scattered about for snow, -and mica or isinglass sprinkled around and over places to represent -frost and ice. Icicles, varying in size, depending from -the arch or canopy, add to the effect. The icicles are made of -strips of paper first rolled up like paper-lighters, then completely -covered with tallow from the dripping of a lighted -candle; the tallow being allowed to harden on in raised places -makes the twisted paper resemble in form a real icicle; the -tallow icicle is next covered with a wash of mucilage, and -powdered mica or isinglass is sprinkled all over it, so that it -sparkles and shines.</p> - -<p>In place of the usual grab-bag at this booth, there should be -a Christmas-tree without lights and burdened with little gifts -tied up in colored tissue-paper. Santa Claus must have charge -of the tree.</p> - - -<h3><b>July</b></h3> - -<p class="unindent">calls for flags and decorations of red, white, and blue, as well as -flowers, fruits, and green foliage; the table should be presided -over by Columbia.</p> - - -<h3><b>May.</b></h3> - -<p>Deck this table in spring blossoms and make the canopy of -a slender May-pole. Pass the pole through the holes in the -bench (Fig. 339) and screw the bench tight on the centre of -the table; fasten a wreath of flowers and the ends of a number -of ribbons at the top of the pole; bring the ribbons down and<span class="pagenum"><a name="Page_421" id="Page_421">[421]</a></span> -tack them to the sides of the table. Give the Queen of May -care of the booth.</p> - - -<h3><b>November</b></h3> - -<p class="unindent">may be gay with late fall leaves and berries, and a very large -pumpkin, which has been previously scraped out and lined -with paper, can serve as a receptacle for odds and ends. A -little Puritan maid should be in charge of the booth.</p> - - -<h3><b>June</b></h3> - -<p class="unindent">is all rose color, with the queen of flowers, the rose, holding the -post of honor. This month is very suitable for the flower-table, -and Flora, the Goddess of Flowers, may preside over it.</p> - -<p>We have chosen these few months only as suggestions of -the manner in which the idea can be carried out.</p> - -<p>Those in charge of the different booths might wear as a -badge a conspicuous sign of the zodiac appropriate to the -month represented.</p> - - -<h3><b>The Five Senses</b></h3> - -<p class="unindent">can be illustrated by five booths, each one bearing its proper -symbol as a sign. To represent</p> - - -<h4>HEARING,</h4> - -<p class="unindent">make a large pasteboard ear-trumpet and cover it with silver -paper; fasten this on the highest point of the booth and place the -word Hearing in large letters under the trumpet; have these -signs in plain sight, where none can fail to see and read. The -articles on the table should consist of everything pertaining to -the sense of hearing, such as sheet-music, musical instruments, -telephones, and suitable toys.</p> - -<p>It would be a great addition if a phonograph could be<span class="pagenum"><a name="Page_422" id="Page_422">[422]</a></span> -rented or borrowed for the occasion, and a certain sum charged -to each one speaking in the instrument and hearing the echo of -his own words and tones ground out to him again.</p> - -<p>An oracle would be a capital thing at this table, each person -consulting it paying so much a question.</p> - - -<h4>SEEING</h4> - -<p class="unindent">likewise must be labelled with a sign in the shape of a very large -pair of spectacles cut out of stiff pasteboard and placed over the -lettering.</p> - -<p>The goods offered here for sale should pertain to the sense -of sight; and could be such articles as pictures, decorated -candles, kaleidoscopes, and common blue glasses. All things -pleasing to look upon may find place at the Seeing Table. -Any kind of a peep-show can be used, five cents being required -from every curious person wishing for a peep behind the curtain.</p> - - -<h4>FEELING</h4> - -<p class="unindent">is more difficult to portray. Perhaps an ordinary riding-whip -will answer the purpose, with the word Feeling in large type -under it.</p> - -<p>Sofa-cushions, quilts, mittens, canes, muffs, fancy toilet -articles, and almost anything adding to our personal comfort, -or pleasant to handle, are suitable for the Feeling booth.</p> - - -<h4>TASTING.</h4> - -<p>As an emblem for this booth make a huge cornucopia for -candy, with the sign “Tasting” beneath, and the booth can be -the candy-table.</p> - - -<h4>SMELLING</h4> - -<p class="unindent">naturally suggests perfumes and sweet-scented flowers. This -sense will most fitly be represented by an immense bouquet<span class="pagenum"><a name="Page_423" id="Page_423">[423]</a></span> -fastened up over the table. The booth, of course, must be the -flower-table.</p> - -<p>If you have only a few tables, make four booths of them, and -let each booth represent a season. They should be decorated -in keeping with the time represented, and the idea fully carried -out in all the details.</p> - -<p>When the booths stand for different nations there is a great -field for variety and beautiful decoration. But in this, as in all -cases where an attempt is made to carry out an idea, it must be -faithfully adhered to, or the effect will not be that intended.</p> - -<p>When it is necessary to decorate the</p> - - -<h3><b>Walls</b></h3> - -<p class="unindent">use flags, bright, soft draping cloth, and large palm leaves; -also branches of leaves, showy flowers, and anything that can -be arranged to look well. As rooms differ so -much in size and style, it is impossible to give -any but general directions, leaving it to the taste -of the decorator to carry out the -details.</p> - -<div class="figleft" style="width: 109px;"> -<img src="images/i_423a.jpg" width="109" height="177" alt="diagram" /> -<div class="caption">Fig. 351.—Grab-bag -of a Sheet -with Holes Cut -for Face and -Arms.</div> -</div> - -<div class="figright" style="width: 108px;"> -<img src="images/i_423b.jpg" width="108" height="178" alt="diagram" /> -<div class="caption">Fig. 352.—Apron -Skirt Sewed on -Sheet.</div> -</div> - - -<h3><b>Grab-Bags.</b></h3> - -<p>On a narrow sheet hung up in -a door-way, and fastened securely -at the sides, or attached to a -frame, cut a hole large enough to -allow of a false face being fitted -in (Fig. 351 A). The flaps of the -cloth are left for pasting inside the face; now -cut two more holes for the arms to pass through -(Fig. 351 B). In these holes sew sleeves of the same material -as the skirt, which is made of bright-colored cambric in the<span class="pagenum"><a name="Page_424" id="Page_424">[424]</a></span> -form of an apron, and -sewed on the sheet -(Fig. 352). The sides -of the skirt are basted -down on the sheet. -When pasting in the -false face, first cover -the flaps, left at the -opening for the face -with stiff paste; then -paste these flaps down -into the inside of the -false face, which will -bring it up close -against the sheet. If -small openings are left, -or the sheet puckers a -little after the face is -fastened on, never -mind, as all defects -can be covered by -sewing on a thin white -frill all -around -the face, -to form a cap, and making a collar of the same -material (Fig. 353).</p> - -<div class="figleft" style="width: 325px;"> -<img src="images/i_424a.jpg" width="325" height="506" alt="diagram" /> -<div class="caption">Fig. 353.—Grab-bag.</div> -</div> - -<div class="figright" style="width: 109px;"> -<img src="images/i_424b.jpg" width="109" height="180" alt="diagram" /> -<div class="caption">Fig. 354.—Inside of -Sheet for Grab-bag.</div> -</div> - -<p>Leave an opening, or pocket-hole, through -the sheet at one side of the dress, so that the -hand can be slipped through to get the packages, -which are placed within reach at the back of the -curtain. Fig. 354 shows the inside of the sheet, -and C the opening for the hand. Someone must<span class="pagenum"><a name="Page_425" id="Page_425">[425]</a></span> -stand or be seated behind this curtain, and slip her arms into the -sleeves, then she can look out through the mask and see with -whom she is talking. In one hand she may hold a package, -while she receives the money with the other.</p> - -<p>On the sheet print these words: “Five cents for what is in -my pocket.”</p> - - -<h3><b>The Lady of the Lake.</b></h3> - -<p>You will need a tin bath-tub for the lake, the longest one you -can find, and a toy boat which will not easily tip or turn over. -Place tiny flags in the bow and stern, and in one end of the -boat glue a doll dressed like the “Lady of the Lake” in Scott’s -poem. Attach a pulley to each end of the tub, and fasten the -string to the boat, as it must be run back and forth by means of -the pulleys. Fill the tub nearly full of water, then cover the -edges with moss and vines. The bath-tub must be completely -disguised, and surrounded by plants and foliage, with an opening -left at one end for purchasers, and another small one near the -other end for the boat to pass through to those stationed behind -the shrubbery, who have charge of the boat, and where the -parcels are kept. At the store-room end the screen of vines -or leaves should be so arranged that those in charge can see -all that is going on outside without being seen themselves.</p> - -<p>The boat should be stationed at the farther end of the lake, -and whoever wishes to make a purchase must give the doll five -cents; then the boat may immediately leave, sail across the -lake, and disappear behind the screen, only to emerge again -laden with a parcel in place of the money, and lightly skimming -over the water arrive at her destination, when the purchaser -can relieve the “Lady of the Lake” of her package.</p> - -<p>The Bubble Range described on <a href="#Page_335">page 335</a> can be used in a -fair with advantage. Unless the fair is very small, it is better -to have two Bubble Ranges, to prevent the tiresome waiting<span class="pagenum"><a name="Page_426" id="Page_426">[426]</a></span> -for a turn, and give all who wish to try their skill the opportunity -to enjoy the sport.</p> - - -<h3><b>Fortune’s Wheel.</b></h3> -<div class="figleft" style="width: 124px;"> -<img src="images/i_426a.jpg" width="124" height="142" alt="pattern" /> -<div class="caption">Fig. 355.—Circle for -Fortune’s Wheel.</div> -</div> -<div class="figright" style="width: 58px;"> -<img src="images/i_426b.jpg" width="58" height="112" alt="diagram" /> -<div class="caption">Fig. 356.—Fortune’s Wheel.</div> -</div> -<p>Cut of stiff pasteboard a large circle (Fig. 355) with a point -on the edge at the end of one of the spokes, for the circle must -be painted to resemble a wheel. With a large -round nail fasten the wheel through the centre -to a board, which has previously -had numbers painted -on in a circle somewhat -larger than the circumference -of the wheel (Fig. -356); the wheel should -turn around easily on -the nail. Hang the board up flat -against the wall. The gypsy in -charge of the Fortune’s Wheel -should be stationed by its side, -holding a basket filled with many -envelopes numbered to correspond -to the figures on the board, each -envelope containing some appropriate -fortune-telling lines; and -when the people come to seek -their fortunes the gypsy must allow -each in turn to give the wheel -a twirl, sending it around rapidly, -and then hand to the fortune-seeker -an envelope whose number -corresponds with the figure at which the wheel pointed when it -stopped turning.</p> - -<p><span class="pagenum"><a name="Page_427" id="Page_427">[427]</a></span></p> - - -<h3><b>Rag-Balls.</b></h3> - -<p>Prepare a number of carpet-rag balls with a small gift in the -centre of each one. These sell rapidly, and it is very amusing -to see the buyers unwinding their balls to discover the contents, -which may prove to be a thimble, a bundle of jackstraws, a -grotesque Japanese toy, or any little comical conceit which can -be hidden in the odd receptacle.</p> - -<p>The same idea might be applied to the always pleasing popcorn -balls; then the knick-knacks must be first wrapped in soft -paper to protect them from the candy used in making the balls.</p> - -<p>Pleasant mysteries and surprises are always popular at fairs, -and the more that can be invented the better.</p> - -<div class="figcenter" style="width: 468px;"> -<img src="images/i_427.jpg" width="468" height="119" alt="fair with tents and Chinese lanterns" /> -</div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_428" id="Page_428">[428]</a></span></p> - -<div class="figcenter" style="width: 461px;"> -<img src="images/i_428.jpg" width="461" height="600" alt="drawing" /> -<div class="caption">Window Decorated with Imitation Stained Glass and Dutch Curtain.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_429" id="Page_429">[429]</a></span></p> - - - - -<h2>CHAPTER XXXVIII.<br /> - -<small>WINDOW DECORATION.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_429.jpg" width="178" height="204" alt="N" /> -</div> - -<p class="drop-capi3">NOW, girls, we must have practicable -ideas in regard to our decorations; -they should consist of something which -we <i>know</i> will be easy to make and at -the same time look well; the materials -employed must be within possible -reach of all, and nothing expensive -or difficult to obtain allowed to enter -into their manufacture. What are commonly -called Dutch curtains are very popular; they are short -curtains of some thin, transparent fabric, fastened with rings to -a slender rod of bamboo, and when drawn, cover the lower part -of the window without intercepting the light. The curtains -are very useful, but, while they do not obstruct the light, they -do obstruct the vision.</p> -<div class="figright" style="width: 140px;"> -<img src="images/i_430b.jpg" width="140" height="358" alt="drawing" /> -<div class="caption">Fig. 358.—Fringe of -Macaroni and Beads.</div> -</div> -<p>We all know that the front window is just the place to sit -when sewing or doing fancy-work, and although few ladies care -to be seen by every passer-by, yet they all like to see what is -going on outside, and while their deft fingers ply the needle -their bright eyes take in the landscape out of doors and derive -amusement and entertainment from the birds and flowers, -if it be in the country, or the ever-moving throng, if in the -city.</p> - -<p>An ornamental screen, therefore, that will shield one and<span class="pagenum"><a name="Page_430" id="Page_430">[430]</a></span> -yet not interfere with the view is desirable. What might be -termed the</p> - - -<h3><b>Oriental Window-Shade</b></h3> - -<p class="unindent">not only comes up to the above requirements, but is inexpensive, -and not difficult to construct.</p> - -<div class="figleft" style="width: 242px;"> -<img src="images/i_430a.jpg" width="242" height="152" alt="diagram" /> -<div class="caption">Fig. 357.—Manner of -Making Fringe for -Oriental Window-shade.</div> -</div> - - - -<p>Make a small lawn-tennis net, long enough to reach across -the width of the window and about eight inches deep; make -loops of the rope on the ends for -hanging the screen to knobs or -hooks screwed in the framework -of the window; spread the net -out and fasten it up on a door, -between two chairs, or any convenient place; -then cut a number of pieces of fine twine, about -four feet long, and attach -them, a quarter of an inch -apart, along the bottom rope -(Fig. 357); A shows a loosened loop and B the -tightened ones. The ends of the twine hang -free. On each double strand string glass beads -and slender pieces of bamboo, reeds, painted -clay pipe-stems, or macaroni broken in pieces of -equal length and used in their natural color, or -painted with oil-paints to any desired tint. Have -the reeds four inches long, and thread them on -alternately with the beads (Fig. 358); or you can -form a design by cutting the reeds into different -lengths; at the end of each strand fasten a large -bead or glass button. A very simple</p> - - -<h3><b>Ribbon-Curtain</b></h3> - -<div class="figleft" style="width: 65px;"> -<img src="images/i_431a.jpg" width="65" height="105" alt="diagram" /> -<div class="caption">Fig. 359.</div> -</div> - -<div class="figright" style="width: 89px;"> -<img src="images/i_431b.jpg" width="89" height="162" alt="diagram" /> -<div class="caption">Fig. 360.—Beads -on the -Ends of Ribbons</div> -</div> -<p class="unindent">is of red, blue, yellow, and black ribbons all cut -the same length and sewed, a quarter of an inch<span class="pagenum"><a name="Page_431" id="Page_431">[431]</a></span> -apart, on a narrow strip of black cloth long enough to reach -across the window. The strip may be used as a band, or attached -to a slender pole by means of small brass rings. -The ribbons should be silk, and thin enough to admit -of the light shining through; they hang down fringe-like, -with three glass beads fastened on the end of -each ribbon (Fig. 359 or Fig. 360). If you -prefer to have the shade all one color make -it yellow, which gives a pleasant, mellow -light. Any pattern you choose can be made by -taking short pieces of ribbon and joining them together -with glass beads. In this way bits of ribbon -could be utilized, but those used must be semi-transparent, -showing the color when held up to the -light. Even smooth pieces of silk with their edges -neatly hemmed might do service, only be very careful -to join either ribbon or silk with the beads in -such a manner as to prevent its twisting; the beads must be -heavy enough to keep the fringe straight.</p> - -<p>Nearly all homes have their bags of silk and worsted pieces, -and from these can be made a handsome</p> - - -<h3><b>Drapery of Very Small Scraps.</b></h3> - -<p>Cut the pieces of silk or worsted into squares about an inch -each way, using any and all colors; then take a piece of twine -of the length you desire your curtain, and with a large needle -string the bright bits on the twine until the whole string is -completely and closely covered; next fasten the twine well to -prevent its slipping, and with a large pair of scissors trim off the -rough edges of the silken strand until the surface is rounded and -even; on one end attach a small brass curtain-ring, and on the -other a heavy bead or button; make as many strands as you<span class="pagenum"><a name="Page_432" id="Page_432">[432]</a></span> -will need to hang across the window and fasten them to a pole -in which small hooks have been screwed.</p> - -<p>This drapery resembles chenille; it is rich in color, will wear -well, and is best adapted for full-length curtains.</p> - -<p>As a substitute for stained glass we give directions for</p> - - -<h3><b>Painting Window-Panes.</b></h3> - -<p>These are very pretty and satisfactory. If good designs are -chosen the window will surpass in beauty your expectations.</p> - -<p>The materials necessary are: some of Winsor & Newton’s -transparent colors, such as rose-madder, Prussian blue, raw -and burnt umber, burnt sienna, ultramarine, gamboge, ivory-black, -viridian green, and orient yellow. Any transparent -color can be used. For purple, mix rose-madder with Prussian -blue.</p> - -<p>Prepare the paints to be used by mixing each color separately -with a little oil and siccatif Courtray. Almost any brush -will do to paint with, but one of medium size made for oil-colors -is the best, and another smaller one is necessary for the -outlining, which takes the place of leading in stained glass. -The dabber is a ball of raw cotton tied in a piece of fine cotton-cloth, -and the manner of tinting or grounding is exactly the -same as in china-painting; lac-varnish will be needed as a wash -after the painting has dried.</p> - -<p>When you have an opportunity, carefully examine real -stained-glass windows, and you will see that each window is -one complete design. The corners and borders are usually in -rich, dark colors, while the central portion is of lighter tints or -clear glass.</p> - -<div class="figcenter" style="width: 510px;"> -<img src="images/i_433a.jpg" width="510" height="329" alt="drawing" /> -<div class="caption">Fig. 361.—Border Pattern.</div> -</div> - -<div class="figleft" style="width: 213px;"> -<img src="images/i_433b.jpg" width="213" height="132" alt="diagram" /> -<div class="caption">Fig. 362.—Cracked Glass.</div> -</div> - -<p>Always make your corners and borders first, and if you desire -a centre-piece, it should be placed in position next, and the -space between it and the border filled in afterward. A Gothic<span class="pagenum"><a name="Page_433" id="Page_433">[433]</a></span> -window may be imitated by painting the corners black, thus -making it arched at the top. Very often good patterns can be -found in the many art and fashion papers. One copy may -serve for an entire border, if it be pasted at the four corners to -one pane of glass, and, when that is outlined, removed and -gummed to the next, and so on until the border is finished. -Fig. 361 is intended as a border. -Fig. 362 is a very simple pattern -of cracked glass, which you can -readily make without any copy. -Place a ruler across the woodwork -of the window-pane, first one way, -then another, and with its aid paint -your straight lines, being careful -not to have any two run parallel. A conventional design is always -to be preferred. Should any mistakes occur during the<span class="pagenum"><a name="Page_434" id="Page_434">[434]</a></span> -progress of the work, remove the paint with a cloth dampened -with turpentine and try again. The painting is not difficult, -and the only delays are in waiting for the colors to dry.</p> - -<p>First decide on your design, then trace it, making the outlines -heavy and black; gum the pattern by the four corners to -the outside of the window-pane, which it is essential to have -perfectly clean and dry; close the window, and with a small -brush dipped in black paint follow the outlines of your copy, -keeping the lines of equal thickness throughout; when this is -finished remove the pattern. In the same manner go over all -the outlines you wish to make on the window, then leave the -color to harden and dry, which will probably require hours. -Begin again by laying on flat washes of paint to match the prevailing -colors of the copy, and use the dabber in tinting each -color as it is applied, so the surface may be even and uniform. -While the decoration is drying it is best to protect it from dust -by pinning up a newspaper or a large piece of cloth on the -window-frame. When dry, the painting can be touched up if -necessary.</p> - -<p>After the last color has entirely dried apply a wash of white -lac-varnish; when this is dry give the window another coat of -lac-varnish and then it will be finished. Should your copies be -in black and white, use your own taste in coloring the glass.</p> - -<p>Another method of imitating stained glass is</p> - - -<h3><b>Painting on Lawn,</b></h3> - -<p class="unindent">batiste, or any kind of sheer white muslin. For this you will -need the same paints that are used for painting on glass; these -are mixed only with turpentine and the color put on as a stain.</p> - -<p>Cut a piece of new thin white batiste large enough to cover -a window-sash, with a margin left for turning in, and make -an outline on it of the exact size of the sash; then select<span class="pagenum"><a name="Page_435" id="Page_435">[435]</a></span> -your pattern and place the lawn over it, when the outlines -should show through; trace these carefully with gum-arabic dissolved, -but made <i>very</i> stiff, and when the entire design has been -traced let the gum dry; then go over it with ivory-black unmixed; -this latter makes the leading; be careful to keep the -lines even and of the same size. When the outlines have dried -fill in the spaces with the stains made of paint and turpentine; -the gum prevents the colors from spreading. When the paint -has dried you may add a few touches where they are needed, -and the stained-glass design will be ready to place on the -window. Use stiff mucilage or tiny tacks to keep it in place, -having first turned in the margin left for the purpose.</p> - -<p>An attractive window can be made with the upper sash of -imitation stained glass, while the lower one is screened by a -Dutch curtain, as in the illustration.</p> - -<p>For the benefit of those who prefer sewing to painting we now -tell how to</p> - - -<h3><b>Imitate Stained Glass</b></h3> - -<div class="figright" style="width: 238px;"> -<img src="images/i_436a.jpg" width="238" height="155" alt="diagram" /> -<div class="caption">Fig. 363.—Imitation of Ground Glass.</div> -</div> -<p class="unindent">with a piece of stiff white rice-net, such as is commonly used for -bonnet-frames, and some pieces of thin batiste, or lawns, of the -requisite colors. Cut the rice-net the proper size and lay it over -your design; then carefully trace off the pattern; when all the -outlines are finished cut the different-colored lawns of the shape -and size to correspond to the different portions of the design; -baste these on in the places they must occupy; then sew them -on with the Automatic Sewing-machine, following with coarse -black thread the outlines on the wrong side of the foundation, so -that the chain-stitch will appear on the right side to form the -leading; or the stitching may be made by hand, or a very narrow -black braid can be used as leading. When all the batiste is -sewed on, cut out the net back of the design to allow the light -to shine through.</p> - -<p><span class="pagenum"><a name="Page_436" id="Page_436">[436]</a></span></p> - -<p>We have seen such an imitation of stained glass, and when -placed up against the window it was very good; but care must -be taken to have the colored -lawns thin and of the right -shades; if too heavy they obstruct -the light and the colors do -not look bright.</p> - -<p>For full-length window-drapery -of inexpensive material -there may be had at any of the -leading dry-goods stores beautiful -soft fabrics, in yellows and different colors, the designs -of which equal those of much higher-priced goods. These -draperies hang in graceful folds and come as low as ten cents a -yard; some of them are also well adapted for the useful Dutch -curtains.</p> - - -<div class="figcenter" style="width: 300px;"> -<img src="images/i_436b.jpg" width="300" height="55" alt="diagram" /> -<div class="caption">Fig. 364.—Folded Paper with Diamond Pattern for -Imitation of Ground Glass.</div> -</div> - -<div class="figcenter" style="width: 295px;"> -<img src="images/i_436b2.jpg" width="295" height="59" alt="diagram" /> -<div class="caption">Fig. 365.—Paper Marked with Design for Imitation -of Ground Glass.</div> -</div> - - -<h3><b>Windows of Imitation Ground Glass</b></h3> - -<p class="unindent">can be made of white tissue-paper, cut in simple patterns and -fastened on the inside of the glass with white lac-varnish. -The window must be -perfectly clean and dry. -If possible have the -pieces of tissue-paper -exactly the same size as -the window-panes, fold and refold the paper lengthwise until it -is an inch or so in width; -then cut from stiff cardboard -your pattern. If it -be a diamond, as in Fig. -363, have it exact, and -cut it in halves; use one-half as a pattern, place this on the -edge of the paper, as in Fig. 364, and with a lead pencil draw a<span class="pagenum"><a name="Page_437" id="Page_437">[437]</a></span> -line around it; remove the pattern and place it lower down -about a quarter of an inch from the first tracing, and again -mark around the edge. Continue in the same way until you -have the pattern marked on the entire length of the tissue-paper. -Make the same pattern on the other edge of the paper -(Fig 365). Cut out the pattern, then unfold the paper and -smooth it free of wrinkles; give the window-pane a thin coating -of white lac-varnish, and apply the paper, being very careful -to have it <i>perfectly</i> smooth when on the glass. Sometimes -it is necessary to join two or more pieces of paper, but if you -are careful to make the edges come <i>exactly</i> together, the joins -will not be noticeable.</p> - -<p>Lac-varnish dries very quickly, and it takes only a short time -to decorate a window in this manner.</p> - -<p>When all the panes of glass are covered with tissue-paper, -finish by varnishing each one with the white lac-varnish; at -a little distance it is difficult to distinguish a window so covered -from one really formed of ground glass.</p> - -<p>For bath-rooms, or where the window is rather out of the -way and the outlook not agreeable, the imitation of ground -glass is suitable and useful.</p> - -<div class="figcenter" style="width: 471px;"> -<img src="images/i_437.jpg" width="471" height="141" alt="window" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_438" id="Page_438">[438]</a></span></p> - - - - -<h2>CHAPTER XXXIX.<br /> - -<small>FURNITURE OLD AND NEW.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_438.jpg" width="155" height="209" alt="O" /> -</div> - -<p class="drop-capi3">ONLY the other day we were appealed to by -a friend for suggestions on how to furnish -a room prettily, and at the same time inexpensively, -and we know that there are -many girls like this friend who, loving to -surround themselves with beauty and comfort, -have not the means of doing so in the -ordinary way; but must depend largely -upon their own skill and ingenuity for the -gratification of this taste. After all, there -is more real pleasure in planning and contriving the furnishing -of one’s room, even with only a small sum for outlays, -than there is in ordering a set from the furnishers which is -exactly like a hundred others. In the former case we make -our room expressive of our individuality; in the latter we walk -in the beaten track of those who have little or no individuality -to express.</p> - -<p>So much for the sentiment of the idea. Now let us turn to -the practical side, and find the best way of carrying it out, and -putting our theories into practice.</p> - -<p>In mentioning old furniture in the heading of this chapter, -we do not allude to the antiques in such high favor just now; -they are unique and handsome enough in themselves, requiring -no contriving to beautify them; but there are few families who -do not possess furniture that is out of date, old-fashioned without<span class="pagenum"><a name="Page_439" id="Page_439">[439]</a></span> -being antique; furniture that time and hard usage has reduced -to a state of shabbiness anything but beautiful, yet not worth -sending to the cabinet-makers to be furbished up. It is the -renovation of such furniture that will help much toward making -a room pretty and attractive.</p> - -<p>We need not attempt to restore the furniture to its original -state, that would be impracticable. But we can work wonders in -transforming it; in turning a homely article into one that will -be an adornment instead of a blemish.</p> - - -<h3><b>Bookcase.</b></h3> -<div class="figleft" style="width: 188px;"> -<img src="images/i_439.jpg" width="188" height="298" alt="diagram" /> -<div class="caption">Fig. 366.—Diagram of Book-shelves.</div> -</div> -<p>Take, for instance, an old bureau -belonging to a cottage set. The mirror, -perhaps, is broken, or if it is not it can -be used to better advantage elsewhere. -Removing that, there is left merely a -chest of drawers, which we will proceed -to convert into a bookcase by the addition -of shelves placed on top. If you -have a brother who is handy with his -tools the matter is simple enough; -without him a carpenter may have to -be employed to make the shelves, or, -by taking the plan and measurements -to a carpenter-shop the materials can be obtained ready for -use, and all you will have to do will be to put them together. -Although there is a saying that “a girl can never drive a nail -straight,” we have reason to believe the contrary, and feel sure -that a little practice will enable most girls to do many bits of -light carpentry work as well as the boys. Three feet is the -height of a bureau belonging to an ordinary set of cottage furniture, -so we will take that as our standard for measurement, and -make our shelves according to it.</p> - - - -<p><span class="pagenum"><a name="Page_440" id="Page_440">[440]</a></span></p> - -<p>Fig. 366 is the diagram for the frame of the shelves. The -side pieces are made of boards three feet four inches long and -nine inches wide; the top of each of these boards is sawed -into a point as shown in diagram. Four cleats made of sticks -eight inches long and one inch thick are nailed to the side of -each board, the distance between being nine inches.</p> - -<p>The frame at the back is composed of two boards five and -one half feet long and seven inches wide, and two, three feet three -inches long (the width of the bureau) and seven inches wide. -One of these short boards is nailed across the top ends of the -long boards, and the other twenty-four inches below. The side -pieces are nailed to the back as shown in diagram, the nails -being driven through the back board into the edge of the side -piece.</p> - -<p>When the frame is made it is placed on the bureau, the sides -resting on the top and the long back boards reaching down behind -where they are nailed or screwed to the bureau. The -shelves are thirty-seven inches long and nine inches wide. -They rest on the cleats and are not nailed to the frame.</p> - -<p>Screws may in some places, answer better than nails.</p> - -<p>When the shelves have been adjusted, the whole is painted -a dark olive green.</p> - -<p>If the knobs are removed from the drawers before the -bureau is painted, and brass handles substituted afterward, it -will add materially to its appearance.</p> - -<p>The bookcase shown in our illustration is finished off with -curtains, which hang by brass rings from a slender bamboo pole. -The pole is slipped through brass hooks screwed into the side -pieces near the top.</p> - -<p>Curtains of canton-flannel, or any soft material, are suitable -for this bookcase. The colors may be a combination of olive -green with old blue, yellow, cherry, copper color, dark red, -or light brown.</p> - -<p><span class="pagenum"><a name="Page_441" id="Page_441">[441]</a></span></p> - - -<h3><b>The Chair</b></h3> - -<p class="unindent">in the same illustration is an ordinary rocking-chair painted -olive green, with cushions at the back and in the seat stuffed -with excelsior, covered with bright cretonne, and tied to the -chair with ribbons.</p> - -<div class="figcenter" style="width: 493px;"> -<img src="images/i_441.jpg" width="493" height="526" alt="drawing" /> -<div class="caption">Bureau Transformed into a Bookcase.</div> -</div> -<div class="figright" style="width: 35px;"> -<img src="images/i_442a.jpg" width="35" height="181" alt="diagram" /> -<div class="caption">Fig. 367.</div> -</div> -<p><span class="pagenum"><a name="Page_442" id="Page_442">[442]</a></span>Chairs of this kind look well painted almost any color; one -of yellow, with yellow cushions and ribbons, is exceedingly -pretty.</p> - -<p>If the chair to be remodelled is bottomless, reseat -it in this way: Cut some strips of strong cotton cloth -about one inch wide and sew them together, lapping -one piece over another, as in Fig. 367; fasten an end -on to the edge of the chair with a tack, and then pass -the cloth back and forth across, each time putting it -under and bringing it over the edge of the chair.</p> - -<div class="figleft" style="width: 238px;"> -<img src="images/i_442b.jpg" width="238" height="281" alt="diagram" /> -<div class="caption">Fig. 368.—How to Reseat a Chair.</div> -</div> -<p>When the seat is filled up with the strips going one -way, cut the cloth and tack the end to the chair; then, -commencing at the side, cross -these strips, passing the cloth -in and out as if darning. Fig. -368 shows just how it is done. -Be sure to draw the strip as -tightly as you can every time -it crosses the chair, for if too -loose it will sag as soon as the -chair is used. The edge of the -chair may be covered with the -cretonne, or a ruffle which is -sewed around the cushion.</p> - - -<p>Fig. 369 is an old settee fitted -up with cushions, and a sociable, -comfortable seat it is. It offers -plenty of room for two, and ensconced thereon the girls may -rock and talk to their hearts’ content.</p> - -<p>These settees are not often seen in the city, but are to be -found in many a farm-house and country town. The one from -which our sketch is taken is painted black, but, like the chair, -it would look well any color.</p> - -<p><span class="pagenum"><a name="Page_443" id="Page_443">[443]</a></span></p> - -<p>Fresh, dainty prettiness should be the principal feature of a -young girl’s room, and this can be obtained at very little expense, -much less than most persons suppose.</p> - -<div class="figcenter" style="width: 510px;"> -<img src="images/i_443.jpg" width="510" height="403" alt="drawing of girl on long rocking chair" /> -<div class="caption">Fig. 369.—Come and Sit Here.</div> -</div> - -<p>Fig. 370 shows what can be done with the commonest -kind of furniture. This can be bought at the manufacturer’s -unpainted, and may be left its natural color and simply -varnished, or, following the present fashion, it can be -painted white, and decorated with slender bands or circles of -gold.</p> - -<p><span class="pagenum"><a name="Page_444" id="Page_444">[444]</a></span></p> - -<p>As in the illustration,</p> - - -<h3><b>The Bedstead</b></h3> - -<p class="unindent">should have drapery suspended over it. This gives a soft, -pretty effect, and takes away its stiffness. Dotted swiss or -thin cottage drapery answers the purpose nicely.</p> - -<p>Ten yards of material cut in two breadths of five yards each -are required for these curtains. The breadths must be sewed -together lengthwise and then passed through a small wooden -hoop which has been gilded or painted white.</p> - -<p>When the hoop is directly in the middle of the breadths, the -material must be brought together close to the hoop and two -of the edges sewed or basted together. This seam is to go -at the back and keep the curtain from parting and hanging -in two strips.</p> - -<p>A ruffle of the same material, or lace, sewed on the edge -and across the ends of the drapery gives it a soft, lacy effect. -The ribbons which loop the curtains at either side should be of -the prevailing colors of the room. If the furniture is white and -gold, they should be yellow.</p> - -<p>The hoop can hang from a brass chain fastened to a hook -in the ceiling.</p> - -<p>The bureau belonging to this style of furniture is too clumsy -for our use, although without the mirror it will be convenient -as a chest of drawers. Brass handles in place of knobs will improve -it.</p> - -<div class="figcenter" style="width: 511px;"> -<img src="images/i_445.jpg" width="511" height="591" alt="drawing of bedroom" /> -<div class="caption">Fig. 370.—What can be done with Common Unpainted Furniture.</div> -</div> -<h3><b>A Dressing-table</b></h3> - -<p class="unindent">to take its place, like the one shown in Fig. 370, can be made -of a small kitchen-table. The mirror suspended over it should -have a broad flat frame of white pine, varnished or painted to -match the furniture. Almost any cabinet-maker can frame a -mirror in this way. Bracket candlesticks made of brass, which<span class="pagenum"><a name="Page_445" id="Page_445">[445]</a></span> -are very inexpensive, should be fastened to the frame on either -side of the glass with brass nails or brass-headed tacks.</p> - -<div class="figright" style="width: 304px;"> -<img src="images/i_446.jpg" width="304" height="496" alt="drawing of washstand" /> -<div class="caption">Fig. 371.—The Ordinary Unpainted Washstand in a -New Light.</div> -</div> - -<p>With a brass handle on the drawer, a pretty scarf of linen -crash, ornamented with drawn work or outline, thrown over the<span class="pagenum"><a name="Page_446" id="Page_446">[446]</a></span> -table and hanging down at each end, and the addition of pin-cushion -and toilet articles, this toilet-table looks very attractive -and readily challenges -admiration.</p> - - -<h3><b>Washstand.</b></h3> - -<p>A piece of white matting -bound at top and -bottom, with yellow cotton -cloth for a splasher, -as in Fig. 371, and a -pretty scarf and toilet-set, -presents this most -ordinary washstand in a -new light.</p> - -<p>Three common kitchen-chairs -and one rocker, -when painted white or -varnished, as the case -may be, and cushioned -in pretty light-colored -cretonne, completes this -novel, pretty, and remarkably -inexpensive set -of furniture.</p> - -<p>The curtains next to -the windows should be of the same material as that used for -the bed-drapery, with the inner one of cretonne like the chair-cushions.</p> - -<p>White matting is suitable for the floor in summer, and during -the cold weather it can be mostly covered with a pretty -ingrain rug or art square, as it is called.</p> - -<p><span class="pagenum"><a name="Page_447" id="Page_447">[447]</a></span></p> - -<p>Instead of using gilt, the rings and bands on the furniture -may be blue or red, in which case the trimmings of the room -should correspond.</p> - -<div class="figcenter" style="width: 510px;"> -<img src="images/i_447.jpg" width="510" height="474" alt="drawing of bench" /> -<div class="caption">Fig. 372.—Hall Seat Made of a Common Wooden Bench.</div> -</div> - - -<h3><b>A Hall Seat.</b></h3> - -<p>As another illustration of what can be done with the most -ordinary piece of furniture, we have chosen a common wooden -bench, and by painting it black and giving it a dark-red cushion -with tassels at each corner, have transformed it into quite an -elegant hall-seat. Fig. 372 gives the effect.</p> - -<p><span class="pagenum"><a name="Page_448" id="Page_448">[448]</a></span></p> - -<div class="figcenter" style="width: 507px;"> -<img src="images/i_448.jpg" width="507" height="592" alt="drawing" /> -<div class="caption">Fig. 373.—Window Seat and Book-shelves Combined, Made of Boxes.</div> -</div> - -<p>Fig. 373 shows a</p> - - -<h3><b>Window Seat and Book-shelves Combined,</b></h3> - -<p class="unindent">made of boxes. Eight soap-boxes of the same size are required -for the shelves, and a packing-box about two feet high, two<span class="pagenum"><a name="Page_449" id="Page_449">[449]</a></span> -feet in width, and as long as the window is wide, for the -seat.</p> - -<p>Remove the tops and two sides of the soap-boxes, and bore -holes with a red-hot poker in one corner of the bottoms of six -of the boxes, and in two of the tops which have been removed, -making the holes one inch from either edge (Fig. 374). In -the other two boxes bore in the same place, but not entirely -through, making the holes about half an inch deep.</p> - -<p>Place these last two on the floor and pile the others on top -of them, three on each, nailing the -bottom of each box to the top edge -of the one beneath it. On the two -upper boxes nail the tops in which -the holes have been made.</p> - -<p>Have ready two slender bamboo -rods about four feet long. Insert a -rod in the hole in the top of an -upper box and let it pass down, -slipping it through the holes in the -bottoms of the other boxes and fitting it in the cavity in the -lower box.</p> - -<div class="figleft" style="width: 205px;"> -<img src="images/i_449.jpg" width="205" height="167" alt="diagram" /> -<div class="caption">Fig. 374.—Hole in Corner of Box -for Book-shelves.</div> -</div> - -<p>In like manner put the other rod in place through the other -pile of boxes.</p> - -<p>If the packing-box has a cover, it should be fastened on -with hinges, so that it may be used for a shoe-box as well as a -seat; if it has not, turn it upside down, place the soap-boxes at -each end and nail them to it.</p> - -<p>Paint the shelves black or the color of the wood-work in the -room, and upholster the seat and the boxes on either side of it -with cushions made of strong muslin stuffed with excelsior and -covered with cretonne.</p> - -<p>Fasten the edges of the side cushions to the boxes with -gimp braid and tacks. Make a deep plaiting of the cretonne<span class="pagenum"><a name="Page_450" id="Page_450">[450]</a></span> -and tack it across the front of the large box. When there is a -lid a narrow plaiting must be tacked across its front edge, which -will, when the box is closed, lap over the top of the deeper -plaiting.</p> - -<p>That this combination of window-seat and shelves is both -comfortable and convenient, one may easily imagine, and that -it adds not a little to the furnishing of a room, we leave to -our illustration to show.</p> - -<div class="figcenter" style="width: 471px;"> -<img src="images/i_450.jpg" width="471" height="181" alt="man carrying belongings including a chair on back" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_451" id="Page_451">[451]</a></span></p> - - - - -<h2>CHAPTER XL.<br /> - -<small>SOMETHING ABOUT MANTEL-PIECES AND -FIRE-PLACES.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_451.jpg" width="159" height="161" alt="T" /> -</div> - -<p class="drop-capi3">THE spirit of hospitality and comfort presides -over the ruddy blaze of an open -fire; yet, as we gather cosily around and -bask in the delightful warmth and radiance, -its cheerful influence is too often -retarded by its very unattractive surroundings. -This lovely household spirit -should have a more fitting habitation than -the one frequently accorded it. The fire-place should at least -be pleasant to look upon, and not depend wholly upon the -bright fire to make it inviting.</p> - -<p>The ordinary marble and marbleized slate or iron mantel-pieces -are the reverse of beautiful, but they may be very much -improved at the expense of a small outlay of money, time, and -trouble.</p> - -<p>The examples we give here of the treatment of commonplace -mantel-pieces are simple, and can easily be managed by -the girls themselves, with but trifling aid from a carpenter.</p> - -<p>In a room occupied at one time by a young friend of the -writer, there was an old-fashioned white-pine mantel-piece. -It was stiff and plain, with no attempt at ornamentation, and -the border of white marble, about five inches wide around the -fire-place, was apparently inserted to protect the wood from<span class="pagenum"><a name="Page_452" id="Page_452">[452]</a><br /><a name="Page_453" id="Page_453">[453]</a></span> -the heat of the fire, and not for beauty. A hint from the -writer was sufficient to set this girl’s brain and fingers to work. -Soon the white-marble border was transformed into a row of -blue and white tiles, which were not only pretty and appropriate, -but were also the means of dispelling the impressions of -coldness and hardness the marble gave.</p> - -<div class="figcenter" style="width: 486px;"> -<img src="images/i_452.jpg" width="486" height="600" alt="drawing" /> -<div class="caption">Fig. 375.—Shelves over Mantel-Piece.</div> -</div> - -<p>The manner of effecting this transformation was simple -enough. First the marble was divided into squares, the lines -being painted black; then conventional patterns were sketched -with a pencil on the squares and painted in blue, oil-paints -being used for the purpose.</p> - -<p>How the mantel-piece was otherwise reformed, the writer -never saw, but it might have been greatly improved and altered -by the addition of shelves above, or a suitable lambrequin upon -the mantel-shelf. However that may or might have been, the -tiles were a successful bit of work, and the painting of them -within the capabilities of almost anyone. Then why should we -long in vain for a tiled mantel-piece, when we have it in our -power to gratify the wish?</p> - -<p>On a plain white-marble mantel a border around the fire-place -may be marked out, and a set of tiles painted, which will -look just as pretty as any that can be bought.</p> - -<p>If the rest of the marble is painted black or brown, the tiles -will look as though they were set in, and the contrast will make -them more effective.</p> - -<p>Fig. 375 illustrates our suggestion of putting shelves over -the mantel-piece. The braces can be bought at any hardware-store, -and the shelves may be of black-walnut or pine boards, -stained or painted to match the mantel-piece.</p> - -<p>Fig. 376 shows the effect of a mantel-shelf covered with enamel-cloth -made in imitation of leather. The color of the material -used for the one from which our sketch is taken is dark red, -and has a dull, soft finish like Russian leather. It is ornamented<span class="pagenum"><a name="Page_454" id="Page_454">[454]</a></span> -with small brass curtain-rings sewed on in points or pyramids; -a strip of enamel-cloth is also put behind the shelf, and at the -top edge a piece of narrow gilt moulding is tacked.</p> - -<div class="figcenter" style="width: 508px;"> -<img src="images/i_454.jpg" width="508" height="547" alt="drawing" /> -<div class="caption">Fig. 376.—Mantel-Shelf covered with Enamel-Cloth ornamented with Brass Curtain-Rings.</div> -</div> - -<p>A mantel-board of pine, two inches longer and two inches -wider than the shelf, is always necessary when there is to be a -lambrequin, for upon this the lambrequin is tacked.</p> - -<p><span class="pagenum"><a name="Page_455" id="Page_455">[455]</a></span></p> - -<p>First, the board must be neatly covered with the material, -enamel-cloth or whatever is used, the edges of the cloth being -brought over and tacked under the edge of the shelf; then the -strip composing the lambrequin must be turned in at the top -edge and tacked across the front and two ends of the board -with brass-headed tacks. It looks better if the corners of the -board are rounded as -shown in illustration.</p> -<div class="figright" style="width: 345px;"> -<img src="images/i_455.jpg" width="345" height="298" alt="diagram" /> -<div class="caption">Fig. 377.—Enamel-Cloth ornamented with Brass Rings.</div> -</div> -<p>The piece at the -back of the shelf -should be about -eighteen inches deep -and must be tacked -at top and bottom -with small tacks, the -edge at each end -being turned in and -tacked to the wall -with brass-headed -tacks.</p> - -<p>Fig. 377 is the -diagram of enamel-cloth -ornamented with brass rings, and shows a section of the -pattern. The bottom row of rings should be sewed on first, -and the edge of the cloth turned up as the rings are fastened -on. The stitches which hold the rings catch the hem also. -This first row of rings should extend half way below the edge -of the cloth, as shown in Fig. 377. Strong yellow embroidery-silk -or saddlers’ silk is the best to sew them on with.</p> - - - -<p>The gilt moulding can be bought by the foot and small -headless nails are furnished to tack it with.</p> - -<p>Another mantel is treated in very much the same manner -as Fig. 376, the difference being that, instead of enamel-cloth,<span class="pagenum"><a name="Page_456" id="Page_456">[456]</a></span> -the covering for the shelf and the piece at the back are dark-red -canton-flannel, and around the edge of the shelf is tacked a -worsted fringe, about six inches deep, matching the canton-flannel -in color. This has a warm, comfortable look and is quite -appropriate for a bedroom, while the other should be used only -in a library or dining-room.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_456.jpg" width="450" height="475" alt="diagram" /> -<div class="caption">Fig. 378.—Shelves around Projecting Chimney.</div> -</div> - -<p>The writer was once invited into a young girl’s room which -was very attractive in its daintiness. It was not pretty in shape, -and an uncompromising chimney, in which there was no fire-place,<span class="pagenum"><a name="Page_457" id="Page_457">[457]</a></span> -projected into the room; but taste had overcome these -difficulties, and the effect produced was decidedly pleasing.</p> - -<p>Pretty wall-paper and the arrangement of the furniture helped -very much, but the greatest triumph was in subduing the awkwardness -of that chimney by surrounding it with a set of shelves -for holding pretty bits of bric-à-brac.</p> - -<p>In case another girl may have the same difficulty to surmount -in decorating her room, we give an outline drawing of -the shelves (Fig. 378) that she may see and profit thereby.</p> - -<div class="figcenter" style="width: 482px;"> -<img src="images/i_457.jpg" width="482" height="225" alt="mantle" /> -</div> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_458" id="Page_458">[458]</a></span></p> - - - - -<h2>CHAPTER XLI.<br /> - -<small>HOME-MADE CANDY.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_458.jpg" width="196" height="160" alt="W" /> -</div> - -<p class="drop-capi2">WE have noticed that in none of the -books we have seen, which were written -especially for the amusement and -entertainment of girls, has there been -any directions or recipes for making -candy. Knowing by experience that -most girls consider candy-making one -of their prime winter enjoyments, we -consider the omission to be quite an important one, and we -will in this chapter endeavor to supply the much-wished-for information.</p> - -<p>Though cooking in general may not be regarded with much -favor by the average school-girl, she is always anxious to learn -how to make candy, and hails a new recipe as a boon.</p> - -<p>The following recipes for peanut-candy, butter-scotch, and -molasses-candy were obtained from a friend who makes the -best home-made candy it has ever been our good-fortune to -taste, and as she recommends them, we may rely upon their -being excellent. We give them, with her comments, just as she -wrote them.</p> - - -<div class="blockquot"> - -<h3><b>Delicious Peanut-Candy.</b></h3> - -<p>Shell your peanuts and chop them fine; measure them in a cup, and -take just the same quantity of granulated sugar as you have peanuts. Put -the sugar in a skillet, or spider, on the fire, and keep moving the skillet<span class="pagenum"><a name="Page_459" id="Page_459">[459]</a></span> -around until the sugar is dissolved; then put in the peanuts and pour into -buttered tins.</p> - -<p>This is <i>delicious</i>, and <i>so</i> quickly made.</p> - - -<h3><b>Butter-Scotch.</b></h3> - - -<ul class="ingredients"><li>2 cups of brown sugar.</li> -<li>½ cup of butter.</li> -<li>4 tablespoonfuls of molasses.</li> -<li>2 tablespoonfuls of water.</li> -<li>2 tablespoonfuls of vinegar.</li></ul> - - - -<p>Boil until it hardens when dropped into cold water, then pour into buttered -tins.</p> - - -<h3><b>Molasses-Candy.</b></h3> - -<ul class="ingredients"> -<li>2 cups of brown sugar.</li> -<li>½ cup of New Orleans molasses.</li> -<li>⅔ cup of vinegar and water mixed.</li> -<li>A piece of butter half the size of an egg.</li> -</ul> - - -<p>When the candy hardens in cold water, pour into shallow buttered tins, -and as soon as it is cool enough to handle, pull it until it is of a straw-color. -<i>Splendid!</i></p></div> - -<p>Here are two recipes which another friend has kindly sent -us:</p> - - -<div class="blockquot"> - -<h3><b>Chocolate-Creams.</b></h3> - -<p>To the white of 1 egg add an equal quantity of cold water. Stir in 1 -pound of confectioner’s sugar. Flavor with vanilla. Stir until fine and -smooth; then mould into balls and drop into melted chocolate.</p></div> - -<p>To melt the chocolate, scrape and put it in a tin-cup or small -sauce-pan over a kettle where it will steam. Let the chocolate -be melting while the cream is being prepared.</p> - - -<div class="blockquot"> - -<h3><b>Walnut-Creams.</b></h3> - -<p>Make the cream as for chocolate-drops and mould into larger balls. -Place the half of an English walnut on either side and press them into the -cream.</p></div> - -<p><span class="pagenum"><a name="Page_460" id="Page_460">[460]</a></span></p> - -<p>The cream prepared in this way, we have found, can be used -for various kinds of candy.</p> - -<p>Small pieces of fruit of any kind and nuts can be enclosed in -the cream, making a great variety. Chocolate may be mixed -with it; and if strong, clear coffee is used in place of the water, -the candy will have the coffee flavor and color which some -people like.</p> - - -<h3><b>Walnut and Fruit Glacé.</b></h3> - -<p>Put 1 cup of sugar and ½ cup of water in a sauce-pan and -stir until the sugar is all dissolved; then place it over the fire -and let it boil until it hardens and is quite crisp when dropped -in cold water. Do not stir it after it is put on the fire.</p> - -<p>When cooked sufficiently, dip out a spoonful at a time and -drop in buttered tins, leaving a space of an inch or so between -each spoonful. Place on each piece of candy the half of a walnut, -or the fruit which has previously been prepared, and pour -over them enough candy to cover them, always keeping each -piece separate.</p> - -<p>Any kind of fruit can be made into glacé. When using -oranges, quarter them and remove the seeds. Strawberries, in -their season, and peaches also make delicious glacé.</p> - -<p>The remainder of our recipes have been taken from family -recipe-books, and although we have not tested them ourselves, -we think it may be safely said that they are good ones.</p> - - -<h3><b>Marsh-mallow Paste.</b></h3> - -<p>Dissolve 1 pound of clean white gum-arabic in one quart -of water; strain, add 1 pound of refined sugar, and place over -the fire. Stir continually until the syrup is dissolved and the -mixture has become of the consistency of honey. Next add -gradually the beaten whites of 8 eggs; stir the mixture all<span class="pagenum"><a name="Page_461" id="Page_461">[461]</a></span> -the time until it loses its thickness and does not adhere to the -finger. Flavor with vanilla or rose. Pour into a tin slightly -dusted with powdered starch, and when cool divide into squares -with a sharp knife.</p> - - -<h3><b>Toasted Marsh-mallows.</b></h3> - -<p>Tie a string on the end of a cane or stick, fasten a bent pin -on the end of the string, and stick the pin into a marsh-mallow-drop. -Hold the marsh-mallow suspended over an open fire and -let it gradually toast. When it begins to melt and run down it -is done.</p> - -<p>For a small party toasting marsh-mallows will be found quite -a merry pastime, and a great many persons consider the candy -much better for being thus cooked the second time.</p> - - -<h3><b>Molasses Peanut-Candy.</b></h3> - -<ul class="ingredients"> -<li>2 cups of molasses.</li> -<li>1 cup of brown sugar.</li> -<li>1 tablespoonful of butter.</li> -<li>1 tablespoonful of vinegar.</li> -</ul> - - -<p>While the candy is boiling remove the shells and brown -skins from the peanuts, lay the nuts in buttered pans, and when -the candy is done pour it over them. While it is still warm cut -in blocks.</p> - - -<h3><b>Chocolate-Caramels.</b></h3> - -<ul class="ingredients"> -<li>2 cups of sugar.</li> -<li>1 cup of molasses.</li> -<li>1 cup of milk.</li> -<li>1 tablespoonful of butter.</li> -<li>1 tablespoonful of flour.</li> -<li>½ pound of Baker’s chocolate.</li> -</ul> - - -<p>Grease your pot, put in sugar, molasses, and milk; boil fifteen<span class="pagenum"><a name="Page_462" id="Page_462">[462]</a></span> -minutes, and add butter and flour stirred to a cream. Let -it boil five minutes, then add the chocolate, grated, and boil until -quite thick. Grease shallow pans and pour in the candy -half an inch thick, marking it in squares before it becomes -hard.</p> - - -<h3><b>Pop-Corn Balls.</b></h3> - - -<ul class="ingredients"> -<li>6 quarts of popped corn.</li> -<li>1 pint of molasses.</li> -</ul> - -<p>Boil the molasses about fifteen minutes; then put the corn -into a large pan, pour the molasses over it, and stir briskly until -thoroughly mixed. Then, with clean hands, make into balls -of the desired size.</p> - -<div class="figcenter" style="width: 475px;"> -<img src="images/i_462.jpg" width="475" height="132" alt="children eating enormous candy" /> -</div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_463" id="Page_463">[463]</a></span></p> - -<div class="figcenter" style="width: 476px;"> -<img src="images/i_463.jpg" width="476" height="600" alt="drawing of someone wearing a fake beard holding a Valentine" /> -<div class="caption">Saint Valentine.</div> -</div> - -<hr class="chap" /> -<div class="chapter"></div> -<p><span class="pagenum"><a name="Page_464" id="Page_464">[464]</a></span></p> - - -<h2>CHAPTER XLII.<br /> - -<small>Saint Valentine’s Day.</small></h2> - - -<div> - <img class="drop-cap" src="images/i_464.jpg" width="130" height="160" alt="D" /> -</div> - -<p class="drop-capi3">DID it never occur to any of you to wonder who -Saint Valentine was, and why we should -commemorate his day by sending cards or -letters containing all sorts of nonsense, like -true-lovers’ knots, hearts pierced with arrows, -etc.?</p> - -<p>It is easy enough to tell you about the -saint, but what he had to do with the popular -observances of the day dedicated to him is a matter for -conjecture.</p> - -<p>Saint Valentine, they say, was a grave and earnest bishop, -who was put to death in Rome on the fourteenth day of February, -about the year 270 <span class="smcap">A.D.</span>, for his too zealous efforts in -converting the heathen. When he was canonized, the day of -the month on which he died was dedicated to him.</p> - -<p>The customs of Saint Valentine’s Day are, no doubt, derived -from those practised at some of the Pagan festivals, for -they are of very ancient origin. In olden times, in England, it -was kept as a great gala day, and all the houses were decked -with evergreen in honor of it. Ben Jonson says:</p> - -<div class="poetry-container"> - <div class="poetry"> -<div class="verse">“Get some fresh hay, then, to lay under foot,</div> -<div class="verse"><span style="margin-left: 0.5em;">Some holly and ivy to make fine the posts;</span></div> -<div class="verse"><span style="margin-left: 0.5em;">Is’t not Saint Valentine’s Day?”</span></div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_465" id="Page_465">[465]</a></span></p> - -<p>The principal feature of the ceremonies was always the -choice of a valentine for the ensuing year. The cavalier was -expected to wait upon his lady, execute all of her commands, -and act as her escort at all social gatherings.</p> - -<p>The choice of a valentine was generally left to chance, -one of the methods being that the first unmarried member of -the opposite sex a person saw on Saint Valentine’s morning -should be his or her valentine.</p> - -<p>Of course you have all had some experience in sending and -receiving valentines, and perhaps consider that the only way of -celebrating the day; but don’t you think it would be a good -idea to invite some friends to your house and have a</p> - - -<h3><b>Valentine-Party?</b></h3> - -<p>We will give several suggestions upon what to do at a valentine-party, -that you may have some idea how the affair should -be conducted.</p> - -<p>In the first place, let each guest, upon his or her arrival, deposit -a valentine in a large bag placed in the hall for that purpose. -The valentines must be addressed to no particular person, -but the girls should write on theirs, “To my cavalier,” -and the boys address the ones they send, “To my lady.” On -one corner of each valentine (not the envelope) the sender’s -name must be written.</p> - -<p>When all the guests have assembled, someone disguised as -Saint Valentine, in a skull-cap, long white beard, made of cotton -or wool, and long cloak, should enter the parlor, carrying on his -back the sack of valentines. He must stand in the centre of -the room and auction off each valentine as he takes it from his -pack.</p> - -<p>All sorts of bids can be made, such as the promise of a dance, -a necktie, her share of ice-cream at supper, by a girl. A compliment,<span class="pagenum"><a name="Page_466" id="Page_466">[466]</a></span> -the first favor asked of him, a paper of bonbons, by a -boy. To make fun the bids should be as ridiculous as possible. -Saint Valentine is to be at liberty -to accept whatever bid he -chooses. The payment of the -debt must be rigidly exacted -by the sender of a valentine, -whose identity is revealed when -the valentine is opened.</p> - -<div class="figleft" style="width: 249px;"> -<img src="images/i_466a.jpg" width="249" height="147" alt="patterns" /> -<div class="caption">Fig. 379.—Cupid’s Bow and Arrow.</div> -</div> - -<p>If unable to comply immediately -with the demand, the debtor must give the creditor a card -or slip of paper on which is written “I O U a favor,” or whatever -it may be that is owed. This I O U entitles the creditor -to claim payment of the debt at any time during the year.</p> - -<p>Another feature of the party should be Cupid’s bow and arrow, -which must be suspended from the chandelier or placed -in some prominent position. The device is to be used for delivering -such valentines as may be addressed to particular persons. -The valentine must be stuck onto the -point of the arrow, and no one may remove it -save the person to whom it is addressed. At -any time during the evening the arrow may be -found to bear a missive, and we would advise -the hostess to provide a valentine, to be delivered -in this way, for each of her guests, that none may -feel neglected. The rest of the party can, to be -sure, send as many valentines as they like.</p> - -<div class="figright" style="width: 108px;"> -<img src="images/i_466b.jpg" width="108" height="243" alt="patten" /> -<div class="caption">Fig. 380.—Notch in -End of Feather.</div> -</div> - -<p>Make Cupid’s bow and arrow of heavy pasteboard, -like Fig. 379. Let the bow measure about -sixteen inches from tip to tip. Make the arrow -twelve inches long, with a point or head three -inches, and the feathers two inches, in length on the outside -edge. Cut a notch in the feathered end, as shown in Fig. 380.<span class="pagenum"><a name="Page_467" id="Page_467">[467]</a></span> -Strengthen the arrow by gluing a thin stick of wood along -it to within one inch of the point. Gild both the bow and arrow, -tie a silk cord to the tips of the bow, leaving -it slack, and force the head of a worsted-needle -into the point of the arrow (Fig. 381). Adjust -the arrow by fitting the cord in the notch and -pulling it back until the cord is taut; then fasten -it to the bow by taking a few stitches with yellow -silk through the bow and over the arrow. Fig. -382 shows how it should appear when in place.</p> - -<div class="figleft" style="width: 98px;"> -<img src="images/i_467a.jpg" width="98" height="244" alt="pattern" /> -<div class="caption">Fig. 381.—Manner -of fastening -Needle in -Arrow-head.</div> -</div> - -<p>To determine how the guests shall be paired -off for supper, place the names of all the girls, -written on slips of paper, in a bag; then let each -boy in turn take out a slip, and the girl whose -name it bears he shall escort to the supper-room -and serve like a true cavalier.</p> - -<div class="figright" style="width: 244px;"> -<img src="images/i_467b.jpg" width="244" height="182" alt="diagram" /> -<div class="caption">Fig. 382.—Cupid’s Bow with Arrow in -Position.</div> -</div> - -<p>At a valentine-party the valentines should, if -possible, all be original, or at least contain appropriate quotations. -The more absurd the rhyme, the more fun it will create, -and when one is unable to make a rhyme a bit of prose -can be made to serve. As -funny as you please let the valentines -be, but remember to -omit anything that is in the -least rude, or calculated to hurt -another’s feelings.</p> - -<p>With Saint Valentine’s Day -ends our vacation-calendar and -with it we also bring this book -to a close, for a whole year of -holidays, sports, and entertainments are now contained within -its covers. If we may hope that our work has not been without<span class="pagenum"><a name="Page_468" id="Page_468">[468]</a></span> -profit, as well as entertainment, if we have been successful -in opening any new avenues of enterprise and enjoyment for -you, we are satisfied. If we have done more, and with any of -our suggestions have prompted the thought of adding to the -comfort and happiness of others, we have achieved a success, -and the mission of the <span class="smcap">American Girl’s Handy Book</span> is -accomplished.</p> - -<div class="figcenter" style="width: 473px;"> -<img src="images/i_468.jpg" width="473" height="107" alt="cherubs and Valentines" /> -</div> - -<hr class="full" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_469" id="Page_469">[469]</a></span></p> - - - - -<h2>INDEX.</h2> - - -<div class="unindent"> -A<br /> -<br /> -Album, an, <a href="#Page_400">400</a><br /> -<br /> -All-Hallow-Eve; see <a href="#Halloween">Halloween</a><br /> -<br /> -Appliqué designs, <a href="#Page_391">391</a><br /> -<br /> -April, first of, <a href="#Page_3">3</a>;<br /> -<span style="margin-left: 1em;">April-fool’s Day party, <a href="#Page_5">5</a>;</span><br /> -<span style="margin-left: 1em;">games, <a href="#Page_6">6</a> et seq.</span><br /> -<br /> -<br /> -B<br /> -<br /> -Back-stitching, <a href="#Page_383">383</a><br /> -<br /> -Ball, soft, <a href="#Page_327">327</a><br /> -<br /> -Balls, lawn-tennis, <a href="#Page_69">69</a><br /> -<br /> -Basket, May, <a href="#Page_74">74</a>;<br /> -<span style="margin-left: 1em;">birch-bark, ib.;</span><br /> -<span style="margin-left: 1em;">cardboard, ib.;</span><br /> -<span style="margin-left: 1em;">crab-net, <a href="#Page_97">97</a></span><br /> -<br /> -Basting, <a href="#Page_382">382</a><br /> -<br /> -Bedstead, <a href="#Page_444">444</a><br /> -<br /> -Beech-nuts, <a href="#Page_220">220</a><br /> -<br /> -Biographical nonsense, <a href="#Page_339">339</a><br /> -<br /> -Bladder telephone, <a href="#Page_227">227</a><br /> -<br /> -Blind, taught modelling, <a href="#Page_257">257</a><br /> -<br /> -Blind-man’s singing-school, <a href="#Page_155">155</a><br /> -<br /> -Blind-man’s stocking, <a href="#Page_321">321</a><br /> -<br /> -Bombs, <a href="#Page_115">115</a><br /> -<br /> -Bonbon box, <a href="#Page_49">49</a><br /> -<br /> -Bookcase, <a href="#Page_439">439</a><br /> -<br /> -Book-covers, home-made, <a href="#Page_401">401</a><br /> -<br /> -Book-mark, <a href="#Page_324">324</a><br /> -<br /> -Book-shelves, marine, <a href="#Page_94">94</a><br /> -<br /> -Booths at a fair, <a href="#Page_413">413</a>;<br /> -<span style="margin-left: 1em;">tables for, ib.;</span><br /> -<span style="margin-left: 1em;">flowers for, <a href="#Page_417">417</a>;</span><br /> -<span style="margin-left: 1em;">arrangement of, <a href="#Page_420">420</a></span><br /> -<br /> -Botany as applied to art, <a href="#Page_139">139</a>;<br /> -<span style="margin-left: 1em;">conventionalizing plant forms, ib.;</span><br /> -<span style="margin-left: 1em;">the peony-leaf, <a href="#Page_140">140</a>;</span><br /> -<span style="margin-left: 1em;">a bunch of turnips, <a href="#Page_142">142</a>;</span><br /> -<span style="margin-left: 1em;">decorative lines, <a href="#Page_143">143</a>;</span><br /> -<span style="margin-left: 1em;">cross-section plant designs, <a href="#Page_144">144</a>;</span><br /> -<span style="margin-left: 1em;">flower-sprays, <a href="#Page_146">146</a>;</span><br /> -<span style="margin-left: 1em;">changing color and form, <a href="#Page_147">147</a>;</span><br /> -<span style="margin-left: 1em;">burs, ib.;</span><br /> -<span style="margin-left: 1em;">water-lily conventionalized, <a href="#Page_148">148</a>;</span><br /> -<span style="margin-left: 1em;">fern-leaf, <a href="#Page_85">85</a></span><br /> -<br /> -Bouquets, to preserve fresh, <a href="#Page_25">25</a><br /> -<br /> -Brackets, <a href="#Page_214">214</a><br /> -<br /> -Bradford, Governor William, <a href="#Page_302">302</a><br /> -<br /> -Bran pie, <a href="#Page_321">321</a><br /> -<br /> -Brushes for oil-colors, <a href="#Page_250">250</a>;<br /> -<span style="margin-left: 1em;">for china painting, <a href="#Page_270">270</a></span><br /> -<br /> -Bubble-blowing, <a href="#Page_335">335</a><br /> -<br /> -Buckeye Portière, <a href="#Page_204">204</a><br /> -<br /> -“Bunching eggs,” <a href="#Page_37">37</a><br /> -<br /> -Burgoos, <a href="#Page_132">132</a><br /> -<br /> -Butter-Scotch, <a href="#Page_459">459</a><br /> -<br /> -Butter-nuts, <a href="#Page_220">220</a><br /> -<br /> -Button, how to sew on a, <a href="#Page_386">386</a><br /> -<br /> -Button-holes, <a href="#Page_383">383</a><br /> -<br /> -Bureau transformed into a bookcase, <a href="#Page_441">441</a><br /> -<br /> -<br /> -C<br /> -<br /> -Candlestick, marine, <a href="#Page_103">103</a><br /> -<br /> -Candy, home-made, <a href="#Page_458">458</a><br /> -<br /> -Canvas for painting, <a href="#Page_251">251</a><br /> -<br /> -Cards, Easter, <a href="#Page_50">50</a><br /> -<br /> -<span class="pagenum"><a name="Page_470" id="Page_470">[470]</a></span>Cards, living Christmas, <a href="#Page_342">342</a><br /> -<br /> -Chair, <a href="#Page_441">441</a>;<br /> -<span style="margin-left: 1em;">how to reseat, <a href="#Page_442">442</a></span><br /> -<br /> -Chestnuts, <a href="#Page_218">218</a><br /> -<br /> -China-painting, <a href="#Page_272">272</a>;<br /> -<span style="margin-left: 1em;">materials, <a href="#Page_273">273</a>;</span><br /> -<span style="margin-left: 1em;">China, <a href="#Page_278">278</a>;</span><br /> -<span style="margin-left: 1em;">monochrome painting, ib.;</span><br /> -<span style="margin-left: 1em;">tinting, <a href="#Page_273">273</a>;</span><br /> -<span style="margin-left: 1em;">new method of decorating china, <a href="#Page_279">279</a>;</span><br /> -<span style="margin-left: 1em;">tracing, <a href="#Page_280">280</a>;</span><br /> -<span style="margin-left: 1em;">mottled ground, <a href="#Page_281">281</a>;</span><br /> -<span style="margin-left: 1em;">snow landscape, ib.;</span><br /> -<span style="margin-left: 1em;">head-painting, <a href="#Page_284">284</a>;</span><br /> -<span style="margin-left: 1em;">sea-weed, fish, etc., <a href="#Page_287">287</a>;</span><br /> -<span style="margin-left: 1em;">mixing colors, <a href="#Page_289">289</a>;</span><br /> -<span style="margin-left: 1em;">painting royal Worcester ware, <a href="#Page_290">290</a></span><br /> -<br /> -Chocolate-caramels, <a href="#Page_461">461</a><br /> -<br /> -Chocolate-creams, <a href="#Page_459">459</a><br /> -<br /> -Christmas festivities, <a href="#Page_317">317</a>;<br /> -<span style="margin-left: 1em;">customs, <a href="#Page_318">318</a></span><br /> -<br /> -Clay, for modelling, <a href="#Page_259">259</a>;<br /> -<span style="margin-left: 1em;">how to manage, <a href="#Page_261">261</a>;</span><br /> -<span style="margin-left: 1em;">how to preserve, <a href="#Page_262">262</a></span><br /> -<br /> -Clover, four-leaved, <a href="#Page_23">23</a><br /> -<br /> -Color painting, <a href="#Page_241">241</a>, <a href="#Page_244">244</a>, <a href="#Page_246">246</a><br /> -<br /> -Conventionalized plant forms, <a href="#Page_141">141</a><br /> -<br /> -Court, for lawn-tennis, <a href="#Page_62">62</a><br /> -<br /> -Cross-section plant designs, <a href="#Page_144">144</a><br /> -<br /> -Crystallizing flowers, <a href="#Page_21">21</a><br /> -<br /> -Curtain fixtures, marine, <a href="#Page_92">92</a><br /> -<br /> -<br /> -D<br /> -<br /> -Dancers, fairy, <a href="#Page_330">330</a><br /> -<br /> -Darning and mending, <a href="#Page_384">384</a><br /> -<br /> -Declaration of Independence, <a href="#Page_117">117</a><br /> -<br /> -Decoration, sea-side cottage, <a href="#Page_92">92</a><br /> -<br /> -Decorations, natural, <a href="#Page_201">201</a>;<br /> -<span style="margin-left: 1em;">of autumn wild flowers, <a href="#Page_202">202</a>;</span><br /> -<span style="margin-left: 1em;">buckeye portière, <a href="#Page_204">204</a>;</span><br /> -<span style="margin-left: 1em;">of horse-chestnuts, ib.;</span><br /> -<span style="margin-left: 1em;">of corn, <a href="#Page_209">209</a>;</span><br /> -<span style="margin-left: 1em;">ornamental gourds, <a href="#Page_210">210</a></span><br /> -<br /> -Decorative language, <a href="#Page_365">365</a>;<br /> -<span style="margin-left: 1em;">how to make a design in, <a href="#Page_371">371</a></span><br /> -<br /> -Dolls, corn-husk, <a href="#Page_169">169</a>;<br /> -<span style="margin-left: 1em;">with crab-apple heads, <a href="#Page_173">173</a>;</span><br /> -<span style="margin-left: 1em;">flower, <a href="#Page_175">175</a></span><br /> -<br /> -Drapery of small scraps, <a href="#Page_431">431</a><br /> -<br /> -Draw, how to, <a href="#Page_229">229</a><br /> -<br /> -Drawing plant forms, <a href="#Page_141">141</a><br /> -<br /> -Drawn work, <a href="#Page_389">389</a><br /> -<br /> -Dressing-table, <a href="#Page_444">444</a><br /> -<br /> -<br /> -E<br /> -<br /> -Easel, <a href="#Page_250">250</a><br /> -<br /> -Easter, <a href="#Page_33">33</a>;<br /> -<span style="margin-left: 1em;">how celebrated in England, ib.;</span><br /> -<span style="margin-left: 1em;">in Russia, ib.;</span><br /> -<span style="margin-left: 1em;">in Ireland, <a href="#Page_34">34</a>;</span><br /> -<span style="margin-left: 1em;">in Germany, <a href="#Page_35">35</a>;</span><br /> -<span style="margin-left: 1em;">in Washington, D. C, ib.</span><br /> -<br /> -Easter cards, <a href="#Page_50">50</a><br /> -<br /> -Easter eggs, <a href="#Page_33">33</a>;<br /> -<span style="margin-left: 1em;">games with, <a href="#Page_36">36</a>;</span><br /> -<span style="margin-left: 1em;">dolls made of, <a href="#Page_39">39</a>;</span><br /> -<span style="margin-left: 1em;">toys formed of, <a href="#Page_42">42</a>;</span><br /> -<span style="margin-left: 1em;">maple wax eggs, <a href="#Page_49">49</a>;</span><br /> -<span style="margin-left: 1em;">bonbon box, ib.</span><br /> -<br /> -Enchanted girl, pantomime of, <a href="#Page_348">348</a><br /> -<br /> -Exercising, best time for, <a href="#Page_353">353</a>;<br /> -<span style="margin-left: 1em;">balancing weights on the head, <a href="#Page_356">356</a>;</span><br /> -<span style="margin-left: 1em;">broom-handle exercise, <a href="#Page_357">357</a></span><br /> -<br /> -<br /> -F<br /> -<br /> -Fairy dancers, <a href="#Page_330">330</a><br /> -<br /> -Fan, how to make a, <a href="#Page_177">177</a>;<br /> -<span style="margin-left: 1em;">butterfly fan, <a href="#Page_178">178</a>;</span><br /> -<span style="margin-left: 1em;">Mikado fan, <a href="#Page_180">180</a>;</span><br /> -<span style="margin-left: 1em;">daisy fan, <a href="#Page_182">182</a>;</span><br /> -<span style="margin-left: 1em;">card-board fan, <a href="#Page_183">183</a></span><br /> -<br /> -Felling, <a href="#Page_383">383</a><br /> -<br /> -Ferns for decoration, <a href="#Page_19">19</a><br /> -<br /> -Fid, <a href="#Page_57">57</a>, <a href="#Page_161">161</a><br /> -<br /> -Five minutes’ conversation, <a href="#Page_154">154</a><br /> -<br /> -Fish-painting on china, <a href="#Page_286">286</a><br /> -<br /> -Floral vocabulary, <a href="#Page_377">377</a><br /> -<br /> -Flowers, wild, <a href="#Page_14">14</a>;<br /> -<span style="margin-left: 1em;">transplanting, ib.;</span><br /> -<span style="margin-left: 1em;">how to keep cut, <a href="#Page_15">15</a>;</span><br /> -<span style="margin-left: 1em;">sending by mail, <a href="#Page_16">16</a>;</span><br /> -<span style="margin-left: 1em;">preserving, in sand, <a href="#Page_16">16</a>;</span><br /> -<span style="margin-left: 1em;">pressed, <a href="#Page_18">18</a>;</span><br /> -<span style="margin-left: 1em;">herbariums of, <a href="#Page_19">19</a>;</span><br /> -<span style="margin-left: 1em;">for decoration, ib.;</span><br /> -<span style="margin-left: 1em;">color of, changed, ib.;</span><br /> -<span style="margin-left: 1em;">waxed, <a href="#Page_20">20</a>;</span><br /> -<span style="margin-left: 1em;">to freshen cut, ib.;</span><br /> -<span style="margin-left: 1em;">crystallized, <a href="#Page_21">21</a>;</span><br /> -<span style="margin-left: 1em;">frosted, ib.;</span><br /> -<span style="margin-left: 1em;">perfume of, preserved, ib.;</span><br /> -<span style="margin-left: 1em;">spring flowers in winter, <a href="#Page_23">23</a>;</span><br /> -<span style="margin-left: 1em;">preserving, in alcohol, <a href="#Page_24">24</a>;</span><br /> -<span style="margin-left: 1em;">in an empty bottle, ib.;</span><br /> -<span style="margin-left: 1em;">under glass, ib.;</span><br /> -<span class="pagenum"><a name="Page_471" id="Page_471">[471]</a></span><span style="margin-left: 1em;">to keep bouquets fresh, <a href="#Page_25">25</a>;</span><br /> -<span style="margin-left: 1em;">to keep flowers or fruit fresh for a year, ib.;</span><br /> -<span style="margin-left: 1em;">painting, in water-colors, <a href="#Page_239">239</a></span><br /> -<br /> -Fortune-telling, by melted lead, <a href="#Page_190">190</a>;<br /> -<span style="margin-left: 1em;">by nutshell boats, <a href="#Page_192">192</a>;</span><br /> -<span style="margin-left: 1em;">by “three luggies,” <a href="#Page_193">193</a>;</span><br /> -<span style="margin-left: 1em;">by roasting nuts, ib.;</span><br /> -<span style="margin-left: 1em;">Kaling, <a href="#Page_194">194</a>;</span><br /> -<span style="margin-left: 1em;">by the magic mirror, ib.;</span><br /> -<span style="margin-left: 1em;">by three tin cups, by the ring cake, <a href="#Page_195">195</a></span><br /> -<br /> -Fortune’s wheel, <a href="#Page_88">88</a>, <a href="#Page_426">426</a><br /> -<br /> -“Fore-shortening,” <a href="#Page_231">231</a><br /> -<br /> -Fourth of July, celebration, interior decoration for, <a href="#Page_107">107</a>;<br /> -<span style="margin-left: 1em;">indoor illumination, <a href="#Page_108">108</a>;</span><br /> -<span style="margin-left: 1em;">out-door decoration and illumination, <a href="#Page_109">109</a>;</span><br /> -<span style="margin-left: 1em;">fireworks for girls, <a href="#Page_111">111</a>;</span><br /> -<span style="margin-left: 1em;">parachute, <a href="#Page_112">112</a>;</span><br /> -<span style="margin-left: 1em;">thunderbolts, ib.;</span><br /> -<span style="margin-left: 1em;">whirls, <a href="#Page_113">113</a>;</span><br /> -<span style="margin-left: 1em;">winged fancies, ib.;</span><br /> -<span style="margin-left: 1em;">pin-wheels, <a href="#Page_114">114</a>;</span><br /> -<span style="margin-left: 1em;">bombs, <a href="#Page_115">115</a>;</span><br /> -<span style="margin-left: 1em;">lawn party, <a href="#Page_117">117</a>;</span><br /> -<span style="margin-left: 1em;">declaration of independence, ib.;</span><br /> -<span style="margin-left: 1em;">game of toss, <a href="#Page_118">118</a>;</span><br /> -<span style="margin-left: 1em;">jackstraws, <a href="#Page_119">119</a>;</span><br /> -<span style="margin-left: 1em;">progressive mining, ib.</span><br /> -<br /> -Frames for pictures, <a href="#Page_295">295</a>;<br /> -<span style="margin-left: 1em;">designs for, <a href="#Page_296">296</a>;</span><br /> -<span style="margin-left: 1em;">decorated, <a href="#Page_297">297</a>;</span><br /> -<span style="margin-left: 1em;">cork frame, <a href="#Page_299">299</a></span><br /> -<br /> -Furniture, old and new, <a href="#Page_438">438</a><br /> -<br /> -<br /> -G<br /> -<br /> -Game of headless turkey, <a href="#Page_312">312</a><br /> -<br /> -Game and fish stew, <a href="#Page_133">133</a><br /> -<br /> -Games, quiet, for hot weather, <a href="#Page_151">151</a>;<br /> -<span style="margin-left: 1em;">door-step party, <a href="#Page_152">152</a>;</span><br /> -<span style="margin-left: 1em;">five minutes’ conversation, <a href="#Page_153">153</a>;</span><br /> -<span style="margin-left: 1em;">blind-man’s singing-school, <a href="#Page_155">155</a>;</span><br /> -<span style="margin-left: 1em;">game of noted men, ib.;</span><br /> -<span style="margin-left: 1em;">what will you take to the picnic? 156;</span><br /> -<span style="margin-left: 1em;">assumed characters, <a href="#Page_157">157</a>;</span><br /> -<span style="margin-left: 1em;">shadow verbs, ib.;</span><br /> -<span style="margin-left: 1em;">Halloween games, <a href="#Page_196">196</a> et seq.</span><br /> -<br /> -Games for Christmas holidays, bubble-bowling, <a href="#Page_335">335</a>;<br /> -<span style="margin-left: 1em;">biographical nonsense, <a href="#Page_339">339</a>;</span><br /> -<span style="margin-left: 1em;">comic historical tableaux, <a href="#Page_341">341</a>;</span><br /> -<span style="margin-left: 1em;">living Christmas cards, <a href="#Page_342">342</a></span><br /> -<br /> -Gathering, <a href="#Page_382">382</a><br /> -<br /> -Glass, stained, imitated, <a href="#Page_435">435</a><br /> -<br /> -Glove pen-wiper, <a href="#Page_323">323</a><br /> -<br /> -Glove, to mend a kid, <a href="#Page_386">386</a><br /> -<br /> -Gold, mat, <a href="#Page_276">276</a>;<br /> -<span style="margin-left: 1em;">pure, ib.</span><br /> -<br /> -Gourds, ornamental, <a href="#Page_210">210</a><br /> -<br /> -Grab-bags, <a href="#Page_423">423</a><br /> -<br /> -Ground glass, imitation of, <a href="#Page_436">436</a><br /> -<br /> -Gymnasium, home, <a href="#Page_353">353</a><br /> -<br /> -<br /> -H<br /> -<br /> -Hall seat, <a href="#Page_447">447</a><br /> -<br /> -<a id="Halloween"></a>Halloween, <a href="#Page_187">187</a>;<br /> -<span style="margin-left: 1em;">origin of, ib.;</span><br /> -<span style="margin-left: 1em;">party, <a href="#Page_189">189</a>;</span><br /> -<span style="margin-left: 1em;">fortune-telling on, <a href="#Page_190">190</a> et seq.;</span><br /> -<span style="margin-left: 1em;">games, <a href="#Page_196">196</a> et seq.</span><br /> -<br /> -Hammock, how to make a, <a href="#Page_159">159</a>;<br /> -<span style="margin-left: 1em;">materials required, <a href="#Page_161">161</a>;</span><br /> -<span style="margin-left: 1em;">barrel hammock, <a href="#Page_165">165</a></span><br /> -<br /> -Hat-rack, sea-side, <a href="#Page_98">98</a><br /> -<br /> -Hazel-nuts, <a href="#Page_220">220</a><br /> -<br /> -Headless turkey, game of, <a href="#Page_312">312</a><br /> -<br /> -Hemming, <a href="#Page_381">381</a><br /> -<br /> -Heraldry, <a href="#Page_366">366</a>;<br /> -<span style="margin-left: 1em;">field of, <a href="#Page_266">266</a>;</span><br /> -<span style="margin-left: 1em;">the points, ib.;</span><br /> -<span style="margin-left: 1em;">divisions, <a href="#Page_267">267</a></span><br /> -<br /> -Herbariums, <a href="#Page_19">19</a><br /> -<br /> -Herring-bone stitch, <a href="#Page_384">384</a><br /> -<br /> -Hickory-nuts, <a href="#Page_219">219</a><br /> -<br /> -Historical tableaux, <a href="#Page_341">341</a><br /> -<br /> -Home gymnasium, <a href="#Page_353">353</a><br /> -<br /> -Home-made candy, <a href="#Page_458">458</a><br /> -<br /> -Horseshoe crab-bag, <a href="#Page_101">101</a><br /> -<br /> -“Huli Fool,” <a href="#Page_4">4</a><br /> -<br /> -<br /> -I<br /> -<br /> -Impression album, how to make an, <a href="#Page_123">123</a>;<br /> -<span style="margin-left: 1em;">tools required, <a href="#Page_125">125</a>;</span><br /> -<span style="margin-left: 1em;">printing from leaves, <a href="#Page_126">126</a>;</span><br /> -<span style="margin-left: 1em;">from flowers, <a href="#Page_127">127</a>;</span><br /> -<span style="margin-left: 1em;">landscapes, <a href="#Page_128">128</a>;</span><br /> -<span class="pagenum"><a name="Page_472" id="Page_472">[472]</a></span><span style="margin-left: 1em;">other uses for botanical impressions, <a href="#Page_129">129</a></span><br /> -<br /> -<br /> -J<br /> -<br /> -Jackstraws, Fourth of July, <a href="#Page_119">119</a><br /> -<br /> -Julklapp, <a href="#Page_319">319</a><br /> -<br /> -<br /> -K<br /> -<br /> -Kaling, <a href="#Page_194">194</a><br /> -<br /> -Key-rack, <a href="#Page_412">412</a><br /> -<br /> -<br /> -L<br /> -<br /> -Lace, <a href="#Page_393">393</a><br /> -<br /> -Lady of the Lake, <a href="#Page_425">425</a><br /> -<br /> -Landscape painting in water-colors, <a href="#Page_241">241</a><br /> -<br /> -Language, a decorative, <a href="#Page_364">364</a><br /> -<br /> -Lantern, <a href="#Page_408">408</a><br /> -<br /> -Lawn, painting on, <a href="#Page_434">434</a><br /> -<br /> -Lawn party, <a href="#Page_117">117</a><br /> -<br /> -Lawn-tennis, <a href="#Page_55">55</a>;<br /> -<span style="margin-left: 1em;">lawn-tennis suits, <a href="#Page_56">56</a>;</span><br /> -<span style="margin-left: 1em;">how to make a lawn-tennis net, <a href="#Page_57">57</a>;</span><br /> -<span style="margin-left: 1em;">materials for, ib.;</span><br /> -<span style="margin-left: 1em;">court, <a href="#Page_62">62</a>;</span><br /> -<span style="margin-left: 1em;">rules for the game, <a href="#Page_63">63</a></span><br /> -<br /> -Leap-year party, <a href="#Page_351">351</a><br /> -<br /> -Leaves and ferns for decoration, <a href="#Page_19">19</a><br /> -<br /> -Light, <a href="#Page_252">252</a><br /> -<br /> -<br /> -M<br /> -<br /> -Mailing parcels, directions for, <a href="#Page_16">16</a><br /> -<br /> -Mantle-cloth, <a href="#Page_454">454</a><br /> -<br /> -Mantle-piece, <a href="#Page_451">451</a><br /> -<br /> -Maple-wax Easter eggs, <a href="#Page_49">49</a><br /> -<br /> -Marsh-mallow paste, <a href="#Page_460">460</a>;<br /> -<span style="margin-left: 1em;">toasted, <a href="#Page_461">461</a></span><br /> -<br /> -Mat colors, <a href="#Page_277">277</a><br /> -<br /> -May Day, <a href="#Page_71">71</a>;<br /> -<span style="margin-left: 1em;">sports, <a href="#Page_72">72</a>;</span><br /> -<span style="margin-left: 1em;">May baskets, <a href="#Page_74">74</a>;</span><br /> -<span style="margin-left: 1em;">May-pole, <a href="#Page_77">77</a>;</span><br /> -<span style="margin-left: 1em;">May-pole dance, <a href="#Page_79">79</a></span><br /> -<br /> -Midsummer Eve, <a href="#Page_83">83</a>;<br /> -<span style="margin-left: 1em;">the games of, <a href="#Page_85">85</a> et seq.</span><br /> -<br /> -Mirror tableau, <a href="#Page_6">6</a><br /> -<br /> -Mirror, the, <a href="#Page_404">404</a><br /> -<br /> -Model, arrangement of, in water-color painting, <a href="#Page_240">240</a><br /> -<br /> -Modelling in clay and wax, <a href="#Page_257">257</a>;<br /> -<span style="margin-left: 1em;">value of, <a href="#Page_259">259</a>;</span><br /> -<span style="margin-left: 1em;">much can be learned without a teacher, ib.;</span><br /> -<span style="margin-left: 1em;">materials, ib.;</span><br /> -<span style="margin-left: 1em;">clay, <a href="#Page_260">260</a>;</span><br /> -<span style="margin-left: 1em;">general directions, <a href="#Page_261">261</a></span><br /> -<br /> -Modelling wax, <a href="#Page_263">263</a><br /> -<br /> -Modelling stand, <a href="#Page_260">260</a><br /> -<br /> -Molasses candy, <a href="#Page_459">459</a><br /> -<br /> -Monochrome painting, <a href="#Page_278">278</a><br /> -<br /> -Music-roll, a, <a href="#Page_410">410</a><br /> -<br /> -<br /> -N<br /> -<br /> -Nancy, Miss, <a href="#Page_326">326</a><br /> -<br /> -Nature’s types, <a href="#Page_125">125</a><br /> -<br /> -Needle, hammock, <a href="#Page_58">58</a>; 161<br /> -<br /> -Needle-work, <a href="#Page_380">380</a><br /> -<br /> -Net, lawn-tennis, <a href="#Page_57">57</a><br /> -<br /> -New Year’s Day, <a href="#Page_347">347</a>;<br /> -<span style="margin-left: 1em;">New Year’s parties, <a href="#Page_348">348</a></span><br /> -<br /> -Noah’s ark peep-show, <a href="#Page_8">8</a><br /> -<br /> -Nutting parties, <a href="#Page_218">218</a>;<br /> -<span style="margin-left: 1em;">rules for, <a href="#Page_221">221</a></span><br /> -<br /> -<br /> -O<br /> -<br /> -Overhanding, <a href="#Page_380">380</a><br /> -<br /> -Oil-cups, <a href="#Page_251">251</a><br /> -<br /> -Oils for china-painting, <a href="#Page_275">275</a><br /> -<br /> -Overcasting, <a href="#Page_380">380</a><br /> -<br /> -<br /> -P<br /> -<br /> -Paint-box, <a href="#Page_251">251</a><br /> -<br /> -Painting in water-colors, <a href="#Page_238">238</a>;<br /> -<span style="margin-left: 1em;">materials for, ib.;</span><br /> -<span style="margin-left: 1em;">flower-painting, <a href="#Page_239">239</a>;</span><br /> -<span style="margin-left: 1em;">model, <a href="#Page_240">240</a>;</span><br /> -<span style="margin-left: 1em;">landscapes, <a href="#Page_241">241</a>;</span><br /> -<span style="margin-left: 1em;">general directions, <a href="#Page_242">242</a>;</span><br /> -<span style="margin-left: 1em;">painting from notes, <a href="#Page_244">244</a></span><br /> -<br /> -Painting in oil-colors, <a href="#Page_249">249</a>;<br /> -<span style="margin-left: 1em;">materials, ib.;</span><br /> -<span style="margin-left: 1em;">the light, <a href="#Page_252">252</a>;</span><br /> -<span style="margin-left: 1em;">setting the palette, <a href="#Page_253">253</a></span><br /> -<br /> -Painting on lawn, <a href="#Page_434">434</a><br /> -<br /> -Painting window-panes, <a href="#Page_432">432</a><br /> -<br /> -Paints, for china-painting, <a href="#Page_274">274</a><br /> -<br /> -Palette, <a href="#Page_250">250</a>;<br /> -<span style="margin-left: 1em;">setting the, <a href="#Page_253">253</a></span><br /> -<br /> -Palette-knife, <a href="#Page_250">250</a>;<br /> -<span class="pagenum"><a name="Page_473" id="Page_473">[473]</a></span><span style="margin-left: 1em;">of horn, <a href="#Page_273">273</a></span><br /> -<br /> -Panel decorations, <a href="#Page_205">205</a>, <a href="#Page_209">209</a>, <a href="#Page_270">270</a><br /> -<br /> -Panel of field-corn, <a href="#Page_209">209</a><br /> -<br /> -Pantomime of an enchanted girl, <a href="#Page_348">348</a><br /> -<br /> -Paper-weight, <a href="#Page_412">412</a><br /> -<br /> -Parachute, <a href="#Page_112">112</a><br /> -<br /> -Party, First of April, <a href="#Page_5">5</a>;<br /> -<span style="margin-left: 1em;">Fourth of July, <a href="#Page_117">117</a>;</span><br /> -<span style="margin-left: 1em;">door-step, <a href="#Page_151">151</a>;</span><br /> -<span style="margin-left: 1em;">Halloween, <a href="#Page_189">189</a>;</span><br /> -<span style="margin-left: 1em;">nutting, <a href="#Page_218">218</a></span><br /> -<br /> -Paste, how to make, <a href="#Page_402">402</a><br /> -<br /> -Patch, how to, <a href="#Page_386">386</a><br /> -<br /> -Peanut-candy, <a href="#Page_458">458</a><br /> -<br /> -Peanuts, <a href="#Page_223">223</a><br /> -<br /> -Perfumes, to prepare from flowers, <a href="#Page_21">21</a><br /> -<br /> -Picnics, burgoos and corn-roasts, <a href="#Page_131">131</a>;<br /> -<span style="margin-left: 1em;">how to make a burgoo stew, <a href="#Page_133">133</a>;</span><br /> -<span style="margin-left: 1em;">a corn-roast, <a href="#Page_134">134</a></span><br /> -<br /> -Picture-frames, <a href="#Page_295">295</a><br /> -<br /> -Pilgrims, landing of, tableau, <a href="#Page_305">305</a> et seq.<br /> -<br /> -Pin-wheels, <a href="#Page_114">114</a><br /> -<br /> -Plain sewing, <a href="#Page_380">380</a>;<br /> -<span style="margin-left: 1em;">overhanding, ib.;</span><br /> -<span style="margin-left: 1em;">overcasting, <a href="#Page_381">381</a>;</span><br /> -<span style="margin-left: 1em;">hemming, ib.;</span><br /> -<span style="margin-left: 1em;">running, <a href="#Page_382">382</a>;</span><br /> -<span style="margin-left: 1em;">basting, ib.;</span><br /> -<span style="margin-left: 1em;">gathering, ib.;</span><br /> -<span style="margin-left: 1em;">stitching, <a href="#Page_383">383</a>;</span><br /> -<span style="margin-left: 1em;">back-stitching, ib.;</span><br /> -<span style="margin-left: 1em;">felling, ib.;</span><br /> -<span style="margin-left: 1em;">button-holes, ib.;</span><br /> -<span style="margin-left: 1em;">herringbone, or cat’s-tooth stitch, <a href="#Page_384">384</a></span><br /> -<br /> -Plantain test, <a href="#Page_86">86</a><br /> -<br /> -Plaster casts, <a href="#Page_268">268</a>;<br /> -<span style="margin-left: 1em;">to harden, <a href="#Page_270">270</a>;</span><br /> -<span style="margin-left: 1em;">to color, ib.</span><br /> -<br /> -“Poisson d’Avril,” <a href="#Page_4">4</a><br /> -<br /> -Pop-corn balls, <a href="#Page_462">462</a><br /> -<br /> -Portières, designs for, <a href="#Page_391">391</a>;<br /> -<span style="margin-left: 1em;">buckeye, <a href="#Page_204">204</a></span><br /> -<br /> -Postal regulations for packages, <a href="#Page_16">16</a><br /> -<br /> -Progressive mining, <a href="#Page_119">119</a><br /> -<br /> -<br /> -R<br /> -<br /> -Rag-balls, <a href="#Page_427">427</a><br /> -<br /> -Ribbon embroideries, <a href="#Page_393">393</a><br /> -<br /> -Ribbon curtain, <a href="#Page_430">430</a><br /> -<br /> -Rooster, a lively, <a href="#Page_327">327</a><br /> -<br /> -Rose-water, recipe for, <a href="#Page_26">26</a><br /> -<br /> -Rubbish, what to do with, <a href="#Page_403">403</a><br /> -<br /> -Running, <a href="#Page_382">382</a><br /> -<br /> -<br /> -S<br /> -<br /> -Sachet, <a href="#Page_323">323</a><br /> -<br /> -Saint Valentine’s Day, <a href="#Page_464">464</a><br /> -<br /> -Scrap-bag, <a href="#Page_324">324</a><br /> -<br /> -Scrap drapery, <a href="#Page_431">431</a><br /> -<br /> -Scrap-book, <a href="#Page_395">395</a><br /> -<br /> -Screen, marine, <a href="#Page_99">99</a>;<br /> -<span style="margin-left: 1em;">Louis Quinze, <a href="#Page_206">206</a></span><br /> -<br /> -Settee, <a href="#Page_442">442</a><br /> -<br /> -Shells, how to polish, <a href="#Page_104">104</a><br /> -<br /> -Shelves around chimney, <a href="#Page_456">456</a><br /> -<br /> -Siccatif Courtray, <a href="#Page_253">253</a><br /> -<br /> -“Silly mackerel,” <a href="#Page_4">4</a><br /> -<br /> -Spring flowers in winter, <a href="#Page_23">23</a><br /> -<br /> -“Squirrel, little brown,” <a href="#Page_218">218</a>, <a href="#Page_221">221</a>, <a href="#Page_222">222</a><br /> -<br /> -Stained glass, imitation of, <a href="#Page_435">435</a><br /> -<br /> -Starfish, candlestick made of, <a href="#Page_102">102</a>;<br /> -<span style="margin-left: 1em;">ornaments of, <a href="#Page_103">103</a>;</span><br /> -<span style="margin-left: 1em;">how to dry, <a href="#Page_104">104</a></span><br /> -<br /> -Stitches, fancy, <a href="#Page_387">387</a><br /> -<br /> -Stitching, <a href="#Page_383">383</a><br /> -<br /> -<br /> -T<br /> -<br /> -T-square, <a href="#Page_234">234</a><br /> -<br /> -Table, a bric-à-brac, <a href="#Page_406">406</a>;<br /> -<span style="margin-left: 1em;">at a fair, <a href="#Page_413">413</a></span><br /> -<br /> -Tableau, mirror, <a href="#Page_6">6</a><br /> -<br /> -Tableaux, burlesque, <a href="#Page_304">304</a>;<br /> -<span style="margin-left: 1em;">historical, <a href="#Page_341">341</a></span><br /> -<br /> -Tar paste, <a href="#Page_275">275</a><br /> -<br /> -Telephone, how to make a, <a href="#Page_224">224</a><br /> -<br /> -Tent, illuminated, <a href="#Page_111">111</a><br /> -<br /> -Thanksgiving, celebration of, <a href="#Page_302">302</a><br /> -<br /> -Thunderbolts, <a href="#Page_112">112</a><br /> -<br /> -Tiles, painted on marble mantle, <a href="#Page_453">453</a><br /> -<br /> -Tin telephone, <a href="#Page_225">225</a><br /> -<br /> -Tints in water-color painting, <a href="#Page_242">242</a><br /> -<br /> -Toss, <a href="#Page_118">118</a><br /> -<br /> -Tracing, <a href="#Page_280">280</a><br /> -<br /> -<span class="pagenum"><a name="Page_474" id="Page_474">[474]</a></span>Transformation scrap-book, <a href="#Page_398">398</a><br /> -<br /> -<br /> -U<br /> -<br /> -Urchin, sea, vase made of, <a href="#Page_102">102</a><br /> -<br /> -<br /> -V<br /> -<br /> -Valentine party, <a href="#Page_465">465</a><br /> -<br /> -Vase, marine, <a href="#Page_102">102</a><br /> -<br /> -<br /> -W<br /> -<br /> -Walking Club, the, <a href="#Page_27">27</a>;<br /> -<span style="margin-left: 1em;">membership of, <a href="#Page_30">30</a>;</span><br /> -<span style="margin-left: 1em;">length of walks, ib.;</span><br /> -<span style="margin-left: 1em;">rules to be observed, <a href="#Page_31">31</a></span><br /> -<br /> -Walnuts, <a href="#Page_220">220</a><br /> -<br /> -Walnut creams, <a href="#Page_459">459</a>;<br /> -<span style="margin-left: 1em;">glacé, <a href="#Page_460">460</a></span><br /> -<br /> -Walnut-shell turtle, <a href="#Page_325">325</a><br /> -<br /> -Washstand, <a href="#Page_446">446</a><br /> -<br /> -Water-colors, <a href="#Page_238">238</a><br /> -<br /> -Wax-modelling, home-made, <a href="#Page_263">263</a><br /> -<br /> -Wedding decorations, wild flowers for, <a href="#Page_202">202</a><br /> -<br /> -Whirls, <a href="#Page_113">113</a><br /> -<br /> -Wild flowers, <a href="#Page_13">13</a><br /> -<br /> -Window decorations, <a href="#Page_92">92</a><br /> -<br /> -Window-panes, decoration of, <a href="#Page_432">432</a><br /> -<br /> -Window-seat, <a href="#Page_448">448</a><br /> -<br /> -Winged fancies, <a href="#Page_113">113</a><br /> -<br /> -Work-basket, crab-net, <a href="#Page_97">97</a><br /> -<br /> -Work-basket, <a href="#Page_411">411</a><br /> -<br /> -Worcester, royal, ware, <a href="#Page_290">290</a><br /> -</div> - - -<hr class="full" /> - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1">[A]</a> <i>Cicada</i>, commonly known among children as the locust.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2">[B]</a> Cannel coal is the best to use, for it is hard, will take a high polish -like jet, and can be carved with a pen-knife.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3">[C]</a> Dishes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4">[D]</a> For this work the staple-tacks used for tacking down matting will be -found very convenient.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5">[E]</a> The material for this chapter is from an article written by Professor -Frank Beard for Harper’s Young People. By permission of Harper & -Brothers.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6">[F]</a> Of course we all know that our Pilgrim fathers did not have the daily -papers, but this fact makes it the more absurd.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7">[G]</a> If the uprights seem to need it, brace them with cross-sticks in place of wire.</p></div></div> - - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum"><a name="Page_475" id="Page_475">[475]</a></span></p> - - -<div class="adtitle1">CHARLES SCRIBNER’S SONS BOOKS<br /> -FOR YOUNG READERS</div> - - -<div class="adtitle2">A NEW BOOK BY KIRK MUNROE</div> - -<p class="center"><b>THE WHITE CONQUERORS OF MEXICO</b></p> - -<p class="unindent">By <span class="smcap">Kirk Munroe</span>. With 8 full-page illustrations by <span class="smcap">W. S. Stacey</span>. 12mo, $1.25.</p> - -<p class="unindent">A powerful and fascinating historical story, the scene of which is laid in Mexico -when Cortez made his famous conquests. The story possesses a peculiar interest -in that it is related from the stand-point of the native races, the hero, Huetzin, being -not one of the “White Conquerors,” but a native, the son of Tlahuicol, a Toltec, -and a war chief of the Tlascalan race. In warring against Montezuma, King of -the Aztecs, Tlahuicol is captured, and after a long imprisonment, is cruelly put to -death. His son is also ordered to be killed, but effects a miraculous escape, and -makes his way to the army of Cortez, which is advancing against Montezuma. -Animated by a Toltec’s hatred for the Aztecs, who have murdered his father, he -effects an alliance between Cortez and his own race, and the united forces march -against the Aztec King. In the various engagements he distinguishes himself by -his valor, several times narrowly escaping death, and is prominent in the final overthrow -of the Aztecs, and in the triumph that follows. The book is full of the life -and color of a most interesting and romantic period, and the narrative fairly glows -with thrilling battle scenes and incidents of exciting adventure.</p> - - -<div class="adtitle2">ROBERT GRANT’S<br /> - -TWO BOOKS FOR BOYS</div> - -<p class="center"><b>JACK HALL;</b></p> - -<p class="unindent"><span class="smcap">Or, The School Days of an American Boy. By Robert Grant.</span> Illustrated by -<span class="smcap">Frances G. Attwood.</span> 12mo., $1.25.</p> - -<p class="unindent">“A better book for boys has never been written. It is pure, clean, and healthy, -and has throughout a vigorous action that holds the reader breathlessly.”—<i>Boston -Herald.</i></p> - -<p class="unindent">“A capital story for boys, wholesome and interesting. It reminds one of Tom -Brown.”—<i>Boston Transcript.</i></p> - - -<p class="center"><b>JACK IN THE BUSH;</b></p> - -<p class="unindent"><span class="smcap">Or, A Summer on a Salmon River. By Robert Grant.</span> Illustrated by <span class="smcap">F. T. -Merrill.</span> 12mo., $1.25.</p> - -<p class="unindent">“A clever book for boys. It is the story of the camp life of a lot of boys, and is destined -to please every boy reader. It is attractively illustrated .”—<i>Detroit Free -Press.</i></p> - -<p class="unindent">“An ideal story of out-door life and genuine experiences.”—<i>Boston Traveller.</i></p> - - -<h3><span class="pagenum"><a name="Page_476" id="Page_476">[476]</a></span></h3> - - - - -<div class="adtitle2">NEW BOOKS BY G. A. HENTY</div> - -<p class="unindent">For the season of 1893-94 Mr. Henty adds to his list of fascinating stories of adventure -three new books—<span class="smcap">Through the Sikh War, a Tale of the Conquest Of -The Punjaub; a Jacobite Exile, Being the Adventures of a Young Englishman -In the Service of Charles XII of Sweden</span>; and <span class="smcap">St. Bartholomew’s Eve, -A Tale of the Huguenot Wars</span>.</p> - -<p class="unindent"><i>“No country nor epoch of history is there which Mr. Henty does not cover, and -what is really remarkable is that he always writes well and interestingly. Boys -like stirring adventures and Mr. Henty is a master of this method of composition.”</i>—<span class="smcap">New -York Times</span>.</p> - -<p class="unindent"><b>THROUGH THE SIKH WAR.</b> <span class="smcap">A Tale of the Conquest of the Punjaub</span>. -By G. A. <span class="smcap">Henty</span>. With 12 full-page illustrations by HAL HURST, and a map. Crown -8vo, handsomely bound, olivine edges, $1.50.</p> - -<p class="unindent">Percy Groves, a plucky, high spirited boy, the son of an English officer, loses his -parents at an early age, and joins his uncle residing on his estate in India, situated -in the very center of the troubles that developed later into the Sikh war. The hero -and his uncle become involved in the dangers and intrigues that surround them, -and take active part in the war, passing through many thrilling experiences and -adventures during the two notable campaigns that resulted in the conquest of the -Punjaub. It is one of Mr. Henty’s most interesting and powerful stories.</p> - -<p class="unindent"><b>ST. BARTHOLOMEW’S EVE.</b> <span class="smcap">A Tale of the Huguenot Wars</span>. By G. A. -<span class="smcap">Henty</span>. With 12 full-page illustrations by H. J. <span class="smcap">Draper</span>, and a map. Crown 8vo, -handsomely bound, olivine edges, $1.50.</p> - -<p class="unindent">A story of a lad of English birth but Huguenot parentage, who visits relatives in -France at the time when the feeling between the Catholics and Huguenots was -bitterest, and the country was disturbed by religious strife and dissension. His -relatives being leaders in the Huguenot party, the hero devotes himself heart and -soul to the Protestant cause, following it faithfully through the varied and exciting -scenes that preceded and led up to the terrible massacre of St. Bartholomew’s day. -No boy could resist the fascination of this strong, vivid narrative. It is intense and -absorbing, while presenting a true picture of the times, full of life and color.</p> - -<p class="unindent"><b>A JACOBITE EXILE.</b> Being the Adventures of a young Englishman in the service -of Charles XII of Sweden. By G. A. <span class="smcap">Henty</span>. With 8 full-page illustrations -by <span class="smcap">Paul Hardy</span>, and a map. Crown 8vo, handsomely bound, olivine edges, $1.50.</p> - -<p class="unindent">The events of the present story take place during the reign of William of Orange. -The father of the hero is a Jacobite gentleman who, to avoid arrest, is compelled to -flee to Sweden. Here the hero, Charlie Carstairs, and a young companion, engage -in the service of Charles XII, taking part in the wars between Sweden and Poland. -The hero, acting as a scout, falls into the hands of Polish bandits. After numerous -exciting adventures and hair-breadth escapes, he finally secures his release and returns -to Sweden. Then he serves for a time under Marlborough in France, and -distinguishes himself signally. A final return to England, where his father is pardoned, -supplies a satisfactory close to a story remarkable for its thrilling adventures, -its varied scenery, and its interesting historical pictures.</p> - -<p><span class="pagenum"><a name="Page_477" id="Page_477">[477]</a></span></p> - - -<p class="unindent"><b>BERIC THE BRITON:</b> <span class="smcap">A Story of the Roman Invasion.</span> By <span class="smcap">G. A. Henty</span>. -With 12 full-page illustrations by <span class="smcap">W. Parkinson</span>. Crown 8vo, $1.50.</p> - -<p class="unindent">“It is a powerful and fascinating romance founded on the Roman invasion of -England, and abounds with the prowess of valiant warriors and the triumphs of -magnanimous victors, with war and war-like scenes, and with women like Boadicea, -as heroic as their brothers.”—<i>Boston Post.</i></p> - - -<p class="unindent"><b>IN GREEK WATERS:</b> <span class="smcap">A Story of the Grecian War of Independence</span> (1821-1827). -By <span class="smcap">G. A. Henty</span>. With 12 full page illustrations by <span class="smcap">W. S. Stacey</span>, and a -map. Crown 8vo, $1.50.</p> - -<p class="unindent">“It reproduces the spirit and describes many of the events of the Greek War, so -that no boy can fail to remember considerable about it which is worth knowing. -Moreover it is a stirring narrative, wholesome and stimulating.”—<i>Congregationalist.</i></p> - - -<p class="unindent"><b>CONDEMNED AS A NIHILIST:</b> <span class="smcap">A Story of Escape from Siberia </span>. By <span class="smcap">G. A. -Henty</span>. With 8 full-page illustrations by <span class="smcap">Walter Paget</span>. Crown, 8vo, $1.50.</p> - -<p class="unindent">“Godfrey Bullen, the young hero, suspected of Nihilism, is sent with convicts to -Siberia. His final escape from prison life, after many exciting adventures, affords -material for a narrative absorbing and thrilling. The scenes of Siberian prison life -give the book a peculiar value.”—<i>Christian Advocate.</i></p> - - -<p class="unindent"><b>REDSKIN AND COWBOY.</b> <span class="smcap">A Tale of the Western Plains</span>. By <span class="smcap">G. A. Henty</span>. -With 12 full-page illustrations by <span class="smcap">Alfred Pearse</span>. Crown 8vo, $1.50.</p> - -<p class="unindent">“This book is said to be founded on the experiences of a young English friend of -the author, and though it is full of hair-breadth escapes none of the incidents are -improbable. It is needless to say that the English lad’s adventures are well told.”—<i>San -Francisco Chronicle.</i></p> - - -<p class="unindent"><b>THE DASH FOR KHARTOUM.</b> <span class="smcap">A Tale of the Nile Expedition</span>. By <span class="smcap">G. A. -Henty.</span> With 10 full-page illustrations by <span class="smcap">John Schönberg</span> and <span class="smcap">J. Nash</span>, and 4 -plans. Crown 8vo, $1.50.</p> - -<p class="unindent">“The author has provided a stirring book for young readers, and the episodes of -battle, capture, rescue, deeds of daring, and other exciting features in which boys -delight, are in great abundance.”—<i>Boston Saturday Evening Gazette.</i></p> - - -<p class="unindent"><b>HELD FAST FOR ENGLAND.</b> <span class="smcap">A Tale of the Siege of Gibraltar.</span> By <span class="smcap">G. A. -Henty</span>. With 8 full-page illustrations by <span class="smcap">Gordon Browne</span>. Crown 8vo, $1.50.</p> - -<p class="unindent">“It is an historical novel, the siege of Gibraltar by the combined forces of France -and Spain, in the latter part of the eighteenth century, being the foundation on -which Mr. Henty’s clever fiction rests. It is a story of pluck and adventure on sea -and land.”—<i>Newark Advertiser.</i></p> - -<p><b><big>⁂</big></b> <i>The above are Mr. Henty’s latest books. A full descriptive list containing -all of Mr. Henty’s books—now 41 in number—will be sent to any address on application. -They are all attractively illustrated and handsomely bound.</i></p> - - -<h3><span class="pagenum"><a name="Page_478" id="Page_478">[478]</a></span></h3> - - - - -<div class="adtitle2">RECENT STORIES<br /> - -BY FRANK R. STOCKTON</div> - - -<p class="unindent"><b>THE CLOCKS OF RONDAINE</b> <span class="smcap">and Other Stories</span>. By <span class="smcap">Frank R. Stockton</span>. -With 24 illustrations by <span class="smcap">E. H. Blashfield, W. A. Rogers, D. C. Beard</span> and -others. Square 8vo, $1.50.</p> - -<p class="unindent">“His books for boys and girls are classics. In this one we have seven of the most -delightful tales imaginable.”—<i>Newark Daily Advertiser.</i></p> - -<p class="unindent">“Short tales in Mr. Stockton’s usual clever, distinctive style. They are all extremely -entertaining.”—<i>The Churchman.</i></p> - -<p class="unindent">“Marked by that attractive originality which is the author’s peculiar possession, -and in which quaint and piquant humor and simple pathos are deftly and fascinatingly -mingled. It is charming reading. It is beautifully printed and illustrated.”—<i>Boston -Saturday Evening Gazette.</i></p> - -<p class="unindent"><b>PERSONALLY CONDUCTED.</b> By <span class="smcap">Frank R. Stockton</span>. With 46 illustrations -by <span class="smcap">Joseph Pennell, Alfred Parsons</span> and others. One volume, square 8vo, $2.00.</p> - -<p class="unindent">“In Frank Stockton, the boys and girls have a cicerone skilled in the art of conversation, -a traveler conversant with all the curious and characteristic things of the -Old World, and a story teller renowned for the audacity of his stories.”—<i>Critic.</i></p> - - -<div class="adtitle2">STOCKTON’S OTHER BOOKS</div> - - -<p class="unindent"><b>The Story of Viteau.</b> With 16 full-page illustrations by R. B. <span class="smcap">Birch</span>. 12mo, -extra cloth, $1.50.</p> - -<p class="unindent">“It is as romantic and absorbing as any boy could wish for, full of adventure and -daring, and yet told in excellent spirit and with a true literary instinct.”—<i>Christian -Union.</i></p> - - -<p class="unindent"><b>A Jolly Fellowship.</b> With 20 illustrations. 12mo, $1.50.</p> - -<p class="unindent">“We can think of no book published the present season which will more delight -the wide-awake, adventure-loving boy. It is, to borrow the adjective from the -title, just ‘jolly.’”—<i>Boston Transcript.</i></p> - - -<p class="unindent"><b>The Floating Prince and Other Fairy Tales.</b> With illustrations. Square 8vo, -$1.50.</p> - -<p class="unindent">“These tales are full of the quaintest conceits and the oddest fancies, and the -strange adventures in which the different characters engage are just the kind to -excite the intense interest of children.”—<i>Philadelphia Bulletin.</i></p> - - -<p class="unindent"><b>The Ting-A-Ling Tales.</b> With numerous illustrations. 12mo, $1.00.</p> - -<p class="unindent">“It would be difficult to find anything more dainty, fanciful and humorous than -these tales of magic, fairies, dwarfs and giants. There is a vein of satire in them, -too which adult readers will enjoy.”—<i>N. Y. Herald.</i></p> - - -<p class="unindent"><b>Roundabout Rambles in Lands of Fact and Fiction.</b> With 200 illustrations. -Square 8vo, $1.50.</p> - - -<p class="unindent"><b>Tales Out of School.</b> With nearly 200 illustrations. Square 8vo, $1.50.</p> - -<p class="unindent">“The volumes are profusely illustrated and contain the most entertaining sketches -in Mr. Stockton’s most entertaining manner.”—<i>Christian Union.</i></p> - - -<h3><span class="pagenum"><a name="Page_479" id="Page_479">[479]</a></span></h3> - - - - -<div class="adtitle2">HENRY M. STANLEY’S<br /> - -NEW BOOK FOR BOYS, NOW IN PRESS</div> - - -<p class="unindent">The volume consists of legends and folk-tales communicated to the explorer by his -native followers during his long and perilous journeys through the great forests of -the Dark Continent. They are fascinating stories of strange scenes and incidents -among the tribes of Central Africa, and are narrated in the authors’ well-known, -graphic, picturesque style, and attractively illustrated.</p> - - -<div class="adtitle2">MY KALULU</div> - -<p class="unindent"><span class="smcap">Prince, King and Slave.</span> A story of Central Africa. By <span class="smcap">Henry M. Stanley</span>. -One volume, 12mo., new edition, with many illustrations, $1.50.</p> - -<p class="unindent">“A fresh, breezy, stirring story for youths, interesting in itself and full of information -regarding life in the interior of the continent in which its scenes are laid.”—<i>The -New York Times.</i></p> - - -<div class="adtitle2">HEROES OF THE OLDEN TIME</div> - -<p class="unindent">By <span class="smcap">James Baldwin</span>. Three volumes, 12mo., each beautifully illustrated. Singly, -$1.50. The set, $4.00.</p> - - -<p class="unindent"><b>A STORY OF THE GOLDEN AGE.</b> Illustrated by <span class="smcap">Howard Pyle</span>.</p> - -<p class="unindent">“It is redolent with the spirit of the Odyssey, that glorious primitive epic, fresh -with the dew of the morning of time. It is an unalloyed pleasure to read his recital -of the adventures of the wily Odysseus. Howard Pyle’s illustrations render the -spirit of the Homeric age with admirable felicity.”—<span class="smcap">Prof. H. H. Boyesen.</span></p> - - -<p class="unindent"><b>THE STORY OF ROLAND.</b> Illustrated by <span class="smcap">Reginald B. Birch</span>.</p> - -<p class="unindent">“Mr. Baldwin has culled from a wide range of epics, French, Italian and German, -and has once more proved his aptitude as a story teller for the young, while conveying -information for which many of their elders will be thankful.”—<i>The Nation.</i></p> - - -<p class="unindent"><b>THE STORY OF SIEGFRIED.</b> Illustrated by <span class="smcap">Howard Pyle</span>.</p> - -<p class="unindent">“The story of ‘Siegfried’ is charmingly told. The author makes up the story from -the various myths in a fascinating way which cannot fail to interest. It is as enjoyable -as any fairy tale. The writer’s style is simple and very attractive, and the book -is in every way an excellent one for young readers.”—<i>Hartford Courant.</i></p> - - - -<div class="adtitle2">TWO JUVENILES BY EDWARD EGGLESTON</div> - - -<p class="unindent"><b>THE HOOSIER SCHOOL-BOY.</b> 12mo. With full-page illustrations, $1.00.</p> - -<p class="unindent">“‘The Hoosier School-Boy’ depicts some of the characteristics of boy life years -ago on the Ohio. The story presents a vivid and interesting picture of the difficulties -which in those days beset the path of the youth aspiring for an education. These -obstacles, which the hero of the story succeeds by his manliness and force of character -in surmounting, are just such as a majority of the most distinguished Americans, -including Lincoln and Garfield, have had to contend with, and which they -have made the stepping-stone to their future greatness.”—<i>Chicago Inter-Ocean.</i></p> - - -<p class="unindent"><b>QUEER STORIES FOR BOYS AND GIRLS.</b> 12mo, $1.00.</p> - -<p class="unindent">“A very bright and attractive little volume for young readers. The stories are -fresh, breezy and healthy, with a good point to them and a good sound American -view of life and of the road to success. The book abounds in good feeling and good -sense and is written in a style of homely art.”—<i>Independent.</i></p> - - -<h3><span class="pagenum"><a name="Page_480" id="Page_480">[480]</a></span></h3> - - - - -<div class="adtitle2">TWO BOOKS FOR BOYS AND GIRLS</div> - - -<p class="unindent">Mr. Beard has added sixty new drawings to his “American Boy’s Handy Book,” to -illustrate the new games, sports, and mechanical contrivances which he has -incorporated in this latest edition. The Misses Beard’s companion volume, “The -American Girl’s Handy Book,” is reduced in price, all the features being retained. -Both are profusely illustrated with hundreds of pictures and designs.</p> - -<p class="unindent"><b>THE AMERICAN BOY’S HANDY BOOK:</b> <span class="smcap">Or, What To Do and How To -Do It</span>. By <span class="smcap">Daniel C. Beard</span>. With over 360 illustrations by the Author. One -volume, square 8vo, $2.00.</p> - -<p class="unindent">“The book has this great advantage over its predecessors, that most of the games, -tricks, and other amusements described in it are new. It treats of sports adapted to -all seasons of the year; it is practical, and it is well illustrated.”—<i>N. Y. Tribune.</i></p> - - -<p class="unindent"><b>THE AMERICAN GIRL’S HANDY BOOK:</b> <span class="smcap">Or, How To Amuse Yourself -And Others</span>. By <span class="smcap">Lena</span> and <span class="smcap">Adelia B. Beard</span>. With over 500 illustrations by -the Authors. One volume, square 8vo, $2.00.</p> - -<p class="unindent"><span class="smcap">Grace Greenwood Wrote</span>:—“It is a treasure which, once possessed, no practical -girl would willingly part with. It is an invaluable aid in making a home attractive, -comfortable, artistic and refined. The book preaches the gospel of cheerfulness, -industry, economy and comfort.”</p> - - -<div class="adtitle2">JULES VERNE’S GREATEST WORK</div> - -<p class="unindent"><b>THE EXPLORATION OF THE WORLD.</b> The three vols. in a set, $7.50; -singly, $2.50.</p> - -<p class="unindent">“M. Verne’s scheme in this work is to tell fully how man has made acquaintance -with the world in which he lives, to combine into a single work in three volumes -the wonderful stories of all the great explorers, navigators and travellers who have -sought out, one after another, the once uttermost parts of the earth.”—<i>New York -Evening Post.</i></p> - -<p class="unindent"><b>Famous Travels and Travellers.</b> With over 100 full-page illustrations, maps, -etc., 8vo, $2.50.</p> - - -<p class="unindent"><b>The Great Navigators of the XVIIIth Century.</b> With 96 full-page illustrations -and nineteen maps. 8vo, $2.50.</p> - - -<p class="unindent"><b>The Great Explorers of the XIXth Century.</b> With over 100 full-page illustrations, -fac-similies, etc. 8vo, $2.50.</p> - -<p class="unindent">“The Prince of Story Tellers.”—<i>London Times.</i></p> - - - -<div class="adtitle2">JULES VERNE’S STORIES</div> - -<p class="unindent"><i>Uniform Illustrated Edition.</i> 9 vols., 8vo, extra cloth, with over 750 full-page illustrations. -Price, per set, in a box, $17.50. Sold also in separate volumes.</p> - - -<p class="unindent"><b>Michael Strogoff; or, the Courier of the Czar.</b> $2.00. <b>A Floating City and -the Blockade Runners.</b> $2.00. <b>Hector Servadac.</b> $2.00. <b>A Journey to the -Centre of the Earth.</b> $2.00. <b>From the Earth to the Moon Direct in Ninety-seven -Hours, Twenty Minutes; and a Journey Around it.</b> $2.00. <b>Dick -Sands.</b> $2.00. <b>The Steam House.</b> $2.00. <b>The Giant Raft.</b> $2.00. <b>The Mysterious -Island.</b> $2.50.</p> - - -<hr class="full" /> -<div class="tnote"><div class="center"> -<b>Transcriber’s Notes:</b></div> - -<p>Obvious punctuation errors repaired. Text spells the more usual macramé as both -Macremé and macrimé.</p> - -<p>Page 30, repeated word “for” deleted from text (even for those who)</p> - -<p>Page 69, “drop” changed to “drops” (by him drops outside)</p> - -<p>Page 157, “proproses” changed to “proposes” (proposes to take salmon)</p> - -<p>Page 338, word “the” added to text (to the same party)</p> - -<p>Page 406, “Bric-a-brac” changed to “Bric-à-brac” on illustration caption -(Bric-à-brac table)</p></div> - - - - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The American Girl's Handy Book, by -Lina Beard and Adelia B. 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