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<body>
<div>*** START OF THE PROJECT GUTENBERG EBOOK 52051 ***</div>

<h1 class="faux">The American Girls Handy Book</h1>

<div class="figcenter" style="width: 561px;">
<img src="images/i_cover.jpg" width="561" height="800" alt="cover" />
</div>

<hr class="chap" />
<div class="chapter"></div>
<div class="adtitle2">A COMPANION VOLUME<br />
<span class="small">TO</span><br />
The American Girl's Handy Book</div>
<div class="figcenter" style="width: 272px;">
<img src="images/i_frontis.jpg" width="272" height="390" alt="ad for compainion book The American Boys Handy Book" />
</div>




<p class="center">
<i>NEW EDITION.</i><br />
——————<br />
1 Vol. Cloth. Price, $2.00.<br />
——————<br />
<span class="smcap">With Numerous Illustrations from<br />
Drawings by the Author.</span><br />
</p>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_i" id="Page_i">[i]</a></span></p>



<div class="figcenter" style="width: 534px;">
<img src="images/i_titlepage.jpg" width="534" height="800" alt="Title page" />
</div>

<div class="center">How to<br />
Amuse<br />
Yourself<br />
and<br />
Others</div>

<div class="maintitle"><span class="smcap">The American Girls<br />
Handy Book.</span></div>

<div class="center">
BY<br />
<br />
<span class="author">Lina Beard</span><br />
and<br />
<span class="author">Adelia B. Beard</span><br />
<br /><br /><br />
<span class="smcap">New York</span><br />
Charles<br />
Scribner’s<br />
Sons<br />
<br />
1893<br />
</div>
<hr class="chap" />
<div class="chapter"></div>
<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[ii]</a></span></p>




<p class="copyright">
<span class="smcap">Copyright by</span><br />
CHARLES SCRIBNER’S SONS<br />
1887<br />
</p>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[iii]</a></span></p>




<h2>PREFACE.</h2>


<p>“<span class="smcap">I do</span> wish some one would write a book like that for
girls,” is the remark we have frequently heard when a new
book of sports for boys has made its appearance; but it was
not until the publication of the “American Boy’s Handy
Book” that it occurred to us to write a book for the American
boy’s neglected sisters, which should be equally original
and practical.</p>

<p>In the “Girl’s Handy Book,” which it has been our endeavor
to make peculiarly American, we have sought to introduce
original and novel ideas, and by their aid to open new
avenues of enterprise and enjoyment.</p>

<p>One of our objects is to impress upon the minds of the
girls the fact that they all possess talent and ability to achieve
more than they suppose possible, and we would encourage a
belief in the truth of the remark said to have been made by
a famous Frenchman: “When you Americans undertake anything
you never stop to ascertain if it be possible, you simply
<i>do it</i>.”</p>

<p>We desire also to help awaken the inventive faculty, usually
uncultivated in girls, and, by giving detailed methods of new
work and amusements, to put them on the road which they
can travel and explore alone.</p>

<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[iv]</a></span></p>

<p>We know well the feeling of hopelessness which accompanies
vague directions, and, to make our explanations plain and lucid,
we have ourselves, with very few exceptions, made all of the
articles, played the games, and solved the problems described.</p>

<p>The materials employed in the construction of the various
articles are within easy reach of all, and the outlay, in most
cases, little or nothing.</p>

<p>We scarcely deem it necessary to point out the fact that in
supplying healthy, sensible work and amusement for leisure
hours, employment is given whose whole tendency is to refine
the tastes and ambitions of our American girls.</p>

<p>A few of our chapters are taken from articles which were
written by us for, and published by, the <i>Youth’s Companion</i>,
<i>St. Nicholas</i>, <i>Harper’s Young People</i>, <i>Golden Days</i>, and <i>Wide
Awake</i>.</p>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_v" id="Page_v">[v]</a></span></p>




<h2>CONTENTS.</h2>




<div class="center">
<table border="0" cellpadding="0" cellspacing="0" summary="Contents">
<tr><td align="left">&nbsp;</td>
<td align="right"><small>PAGE</small></td></tr>
<tr><td align="left">PREFACE</td>
<td align="right"><a href="#Page_iii">iii</a></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">SPRING</td></tr>
<tr><td align="center" colspan="2">——————&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER I.</td></tr>
<tr><td align="left"><span class="smcap">First of April</span></td>
<td align="right"><a href="#Page_3">3</a></td></tr>
<tr><td align="left"><div class="hang2">First of April Party, <a href="#Page_5">5</a>; Mirror Tableau, <a href="#Page_6">6</a>; Noah’s Ark Peep-show, <a href="#Page_8">8</a>; The Supper, <a href="#Page_10">10</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER II.</td></tr>
<tr><td align="left"><span class="smcap">Wild Flowers and Their Preservation</span></td>
<td align="right"><a href="#Page_13">13</a></td></tr>
<tr><td align="left"><div class="hang2">Transplanting Wild Flowers, <a href="#Page_14">14</a>; Cut Wild Flowers, <a href="#Page_15">15</a>; Sending Flowers by Mail, <a href="#Page_15">15</a>; Preserved Flowers, <a href="#Page_16">16</a>; Pressed Flowers and Leaves, <a href="#Page_18">18</a>; Leaves and Ferns for Decoration, <a href="#Page_19">19</a>; Color of Flowers Changed, <a href="#Page_19">19</a>: Natural Wax Flowers, <a href="#Page_20">20</a>; To Freshen Cut Flowers, <a href="#Page_20">20</a>; Crystallized Flowers, <a href="#Page_21">21</a>; How to Preserve the Perfume of Flowers, <a href="#Page_21">21</a>; Spring Flowers in Winter, <a href="#Page_23">23</a>; The Four-leaved Clover, <a href="#Page_23">23</a>; Several Methods of Preserving Flowers, <a href="#Page_24">24</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER III.</td></tr>
<tr><td align="left"><span class="smcap">The Walking Club</span></td>
<td align="right"><a href="#Page_27">27</a></td></tr>
<tr><td align="left"><div class="hang2">Rules to be Observed, <a href="#Page_31">31</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER IV.</td></tr>
<tr><td align="left"><span class="smcap">Easter</span></td>
<td align="right"><a href="#Page_33">33</a></td></tr>
<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a></span>Easter Customs in Other Lands, <a href="#Page_33">33</a>; Easter Egg Games, <a href="#Page_36">36</a>; Easter Egg Dolls, <a href="#Page_39">39</a>; Humpty Dumpty, <a href="#Page_42">42</a>; Miss Rolly-poly, <a href="#Page_45">45</a>; Mandolin, <a href="#Page_47">47</a>; Maple-wax Easter Eggs, <a href="#Page_49">49</a>; Bonbon Box, <a href="#Page_49">49</a>; Easter Cards, <a href="#Page_50">50</a>; Little Quakeress, <a href="#Page_52">52</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER V.</td></tr>
<tr><td align="left"><span class="smcap">How to Make a Lawn-Tennis Net</span></td>
<td align="right"><a href="#Page_55">55</a></td></tr>
<tr><td align="left"><div class="hang2">Rules for Lawn-Tennis, <a href="#Page_63">63</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER VI.</td></tr>
<tr><td align="left"><span class="smcap">May-Day</span></td>
<td align="right"><a href="#Page_71">71</a></td></tr>
<tr><td align="left"><div class="hang2">May-day Sports, <a href="#Page_72">72</a>; How to Make May-baskets, <a href="#Page_74">74</a>; May-day Combat, <a href="#Page_75">75</a>; The May-pole, <a href="#Page_77">77</a>; May-pole Dance, <a href="#Page_79">79</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">————————————</td></tr>
<tr><td align="center" colspan="2">SUMMER.</td></tr>
<tr><td align="center" colspan="2">——————</td></tr>
<tr><td align="center" colspan="2">CHAPTER VII.</td></tr>
<tr><td align="left"><span class="smcap">Midsummer Eve</span></td>
<td align="right"><a href="#Page_83">83</a></td></tr>
<tr><td align="left"><div class="hang2">The New Fern-leaf Game, <a href="#Page_85">85</a>; Fortune-telling: The Plaintain Test, <a href="#Page_86">86</a>; Fortune’s Wheel, <a href="#Page_88">88</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER VIII.</td></tr>
<tr><td align="left"><span class="smcap">Sea-side Cottage Decoration</span></td>
<td align="right"><a href="#Page_91">91</a></td></tr>
<tr><td align="left"><div class="hang2">Window Decorations, <a href="#Page_92">92</a>; Row-boat Book-shelves, <a href="#Page_95">95</a>; Crab-net Work-basket, <a href="#Page_96">96</a>; Hat-rack, <a href="#Page_98">98</a>; Marine Screen, <a href="#Page_99">99</a>; Horseshoe-crab Bag, <a href="#Page_102">102</a>; Sea-urchin Vase and Candlestick, <a href="#Page_102">102</a>; How to Dry Starfish and to Polish Shells, <a href="#Page_104">104</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER IX.</td></tr>
<tr><td align="left"><span class="smcap">A Girl’s Fourth of July</span></td>
<td align="right"><a href="#Page_105">105</a></td></tr>
<tr><td align="left"><div class="hang2">Interior Decoration, <a href="#Page_107">107</a>; In-door Illumination, <a href="#Page_108">108</a>; Out-of-door Decoration, <a href="#Page_109">109</a>; Fireworks, <a href="#Page_111">111</a>; Parachute, <a href="#Page_112">112</a>; Thunderbolts, <a href="#Page_112">112</a>; Whirls, and Winged Fancies, <a href="#Page_113">113</a>; Pin-wheels, <a href="#Page_114">114</a>; Bombs, <a href="#Page_115">115</a>; Declaration of Independence, <a href="#Page_117">117</a>; Toss, <a href="#Page_118">118</a>; Fourth of July Jackstraws, <a href="#Page_119">119</a>; Progressive Mining, <a href="#Page_119">119</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER X.</td></tr>
<tr><td align="left"><span class="smcap">Printing from Nature’s Types</span></td>
<td align="right"><a href="#Page_123">123</a></td></tr>
<tr><td align="left"><div class="hang2">Impression Album, <a href="#Page_123">123</a>; Winter Landscape, <a href="#Page_127">127</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XI.</td></tr>
<tr><td align="left"><span class="smcap">Picnics, Burgoos, and Corn-roasts</span></td>
<td align="right"><a href="#Page_131">131</a></td></tr>
<tr><td align="left"><div class="hang2">A Burgoo, <a href="#Page_132">132</a>; Burgoo Stew, <a href="#Page_133">133</a>; A Corn-roast, <a href="#Page_134">134</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XII.</td></tr>
<tr><td align="left"><span class="smcap">Botany as Applied to Art</span></td>
<td align="right"><a href="#Page_139">139</a></td></tr>
<tr><td align="left"><div class="hang2">The Peony Leaf, <a href="#Page_140">140</a>; A Bunch of Turnips, <a href="#Page_142">142</a>; Plant Cross-section Designs, <a href="#Page_144">144</a>; Flower Sprays, <a href="#Page_146">146</a>; Changing the Color, <a href="#Page_146">146</a>; Burs, <a href="#Page_147">147</a>; The Water-Lily, <a href="#Page_148">148</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XIII.</td></tr>
<tr><td align="left"><span class="smcap">Door-step Party and Quiet Games for Hot Weather</span></td>
<td align="right"><a href="#Page_151">151</a></td></tr>
<tr><td align="left"><div class="hang2">Five Minutes’ Conversation, <a href="#Page_153">153</a>; Blind Man’s Singing-school, <a href="#Page_155">155</a>; A Game of Noted Men, <a href="#Page_155">155</a>; What Will you Take to the Picnic? 156; Assumed Characters, <a href="#Page_157">157</a>; Shadow Verbs, <a href="#Page_157">157</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XIV.</td></tr>
<tr><td align="left"><span class="smcap">How to Make a Hammock</span></td>
<td align="right"><a href="#Page_159">159</a></td></tr>
<tr><td align="left"><div class="hang2">Materials, <a href="#Page_161">161</a>; Barrel Hammock, <a href="#Page_165">165</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XV.</td></tr>
<tr><td align="center" colspan="2">(For Little Girls.)</td></tr>
<tr><td align="left"><span class="smcap">Corn-Husk and Flower Dolls</span></td>
<td align="right"><a href="#Page_169">169</a></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XVI.</td></tr>
<tr><td align="left"><span class="smcap">How To Make a Fan</span></td>
<td align="right"><a href="#Page_177">177</a></td></tr>
<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_viii" id="Page_viii">[viii]</a></span>Butterfly Fan, <a href="#Page_178">178</a>; Mikado Fan, <a href="#Page_180">180</a>; Daisy Fan, <a href="#Page_182">182</a>; Cardboard Fan, <a href="#Page_183">183</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">————————————</td></tr>
<tr><td align="center" colspan="2">AUTUMN.</td></tr>
<tr><td align="center" colspan="2">——————</td></tr>
<tr><td align="center" colspan="2">CHAPTER XVII.</td></tr>
<tr><td align="left"><span class="smcap">All-Hallow-Eve</span></td>
<td align="right"><a href="#Page_187">187</a></td></tr>
<tr><td align="left"><div class="hang2">Halloween Parties, <a href="#Page_189">189</a>; Melted Lead, <a href="#Page_190">190</a>; Nutshell Boats, <a href="#Page_192">192</a>; “Three Luggies,” 193; Roasting Nuts, <a href="#Page_193">193</a>; Kaling, <a href="#Page_194">194</a>; The Magic Mirror, <a href="#Page_194">194</a>; Three Tin Cups, <a href="#Page_195">195</a>; The Ring Cake, <a href="#Page_195">195</a>; Bobbing for Apples, <a href="#Page_196">196</a>; The Ghostly Fire, <a href="#Page_197">197</a>; The Fairy’s Gifts, <a href="#Page_198">198</a>.</div></td></tr>
<tr><td align="center" colspan="2">CHAPTER XVIII.</td></tr>
<tr><td align="left"><span class="smcap">Nature’s Fall Decorations and How to Use Them</span></td>
<td align="right"><a href="#Page_201">201</a></td></tr>
<tr><td align="left"><div class="hang2">Fresh Autumn Wild Flowers, <a href="#Page_202">202</a>; Buckeye Portière, <a href="#Page_204">204</a>; Panel of Fall Decorations, <a href="#Page_205">205</a>; Louis Quinze Screen, <a href="#Page_206">206</a>; A Panel of Field Corn, <a href="#Page_209">209</a>; Ornamental Gourds, <a href="#Page_210">210</a>; Gourd-Dippers and Bowls, <a href="#Page_211">211</a>; Vases, <a href="#Page_212">212</a>; Small Decorations, <a href="#Page_214">214</a>; Brackets, <a href="#Page_214">214</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XIX.</td></tr>
<tr><td align="left"><span class="smcap">Nutting-Parties</span></td>
<td align="right"><a href="#Page_217">217</a></td></tr>
<tr><td align="left"><div class="hang2">“Little Brown Squirrel,” 218; Rules for Nutting-Parties, <a href="#Page_221">221</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XX.</td></tr>
<tr><td align="left"><span class="smcap">How to Make a Telephone</span></td>
<td align="right"><a href="#Page_224">224</a></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXI.</td></tr>
<tr><td align="left"><span class="smcap">How to Draw</span></td>
<td align="right"><a href="#Page_229">229</a></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXII.</td></tr>
<tr><td align="left"><span class="smcap">How to Paint in Water-Colors</span></td>
<td align="right"><a href="#Page_238">238</a></td></tr>
<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span>Materials for Water-Color Painting, <a href="#Page_238">238</a>; Flowers, <a href="#Page_239">239</a>; Landscapes, <a href="#Page_241">241</a>; Painting from Notes, <a href="#Page_244">244</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXIII.</td></tr>
<tr><td align="left"><span class="smcap">How to Paint in Oil-Colors</span></td>
<td align="right"><a href="#Page_249">249</a></td></tr>
<tr><td align="left"><div class="hang2">Materials, <a href="#Page_249">249</a>; Mediums, <a href="#Page_251">251</a>; Canvas, <a href="#Page_251">251</a>; The Light, <a href="#Page_252">252</a>; Setting the Palette, <a href="#Page_253">253</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXIV.</td></tr>
<tr><td align="left"><span class="smcap">How to Model in Clay and Wax</span></td>
<td align="right"><a href="#Page_257">257</a></td></tr>
<tr><td align="left"><div class="hang2">Materials, <a href="#Page_259">259</a>; How to Manage Clay, <a href="#Page_260">260</a>; Hints for Modelling a Head, <a href="#Page_262">262</a>; How to Model in Wax, <a href="#Page_263">263</a>; Modelling-wax, <a href="#Page_263">263</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXV.</td></tr>
<tr><td align="left"><span class="smcap">How to Make Plaster Casts</span></td>
<td align="right"><a href="#Page_267">267</a></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXVI.</td></tr>
<tr><td align="left"><span class="smcap">China Painting</span></td>
<td align="right"><a href="#Page_272">272</a></td></tr>
<tr><td align="left"><div class="hang2">List of Materials, <a href="#Page_272">272</a>; A Monochrome Painting, <a href="#Page_278">278</a>; Tinting, <a href="#Page_278">278</a>; New Method of Decorating China, <a href="#Page_279">279</a>; Tracing, <a href="#Page_280">280</a>; Mottled Grounds, <a href="#Page_281">281</a>; Snow Landscape, <a href="#Page_281">281</a>; How to Paint a Head on China, <a href="#Page_284">284</a>; How to Paint a Carp, Sea-weed, and Fish-net, on China, <a href="#Page_287">287</a>; Foliage on China made with a Sponge, <a href="#Page_289">289</a>; Mixing Colors, <a href="#Page_289">289</a>; Royal Worcester Ware, <a href="#Page_290">290</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXVII.</td></tr>
<tr><td align="left"><span class="smcap">A Chapter on Frames</span></td>
<td align="right"><a href="#Page_295">295</a></td></tr>
<tr><td align="left"><div class="hang2">Marine Picture Frame, <a href="#Page_296">296</a>; Decorated Frame, <a href="#Page_297">297</a>; Frame Covered with Tin-foil, <a href="#Page_298">298</a>; Cork Frame, <a href="#Page_299">299</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXVIII.</td></tr>
<tr><td align="left"><span class="smcap">Thanksgiving</span></td>
<td align="right"><a href="#Page_302">302</a></td></tr>
<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span>Impromptu Burlesque Tableaux, <a href="#Page_304">304</a>; Landing of the Pilgrims, <a href="#Page_305">305</a>; First Harvest, <a href="#Page_307">307</a>; Devastation by the Indians, <a href="#Page_308">308</a>; The Revolution, <a href="#Page_309">309</a>; Slavery, <a href="#Page_310">310</a>; Rebellion, <a href="#Page_310">310</a>; Peace and Plenty, <a href="#Page_310">310</a>; The Game of the Headless Turkey, <a href="#Page_312">312</a>; A Suggestion, <a href="#Page_313">313</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">————————————</td></tr>
<tr><td align="center" colspan="2">WINTER.</td></tr>
<tr><td align="center" colspan="2">——————</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXIX.</td></tr>
<tr><td align="left"><span class="smcap">Christmas Festivities and Home-made Christmas Gifts</span></td>
<td align="right"><a href="#Page_317">317</a></td></tr>
<tr><td align="left"><div class="hang2">Julklapp, <a href="#Page_319">319</a>; Polish Custom, <a href="#Page_320">320</a>; The Bran Pie, <a href="#Page_321">321</a>; The Blind Man’s Stocking, <a href="#Page_321">321</a>; Home-made Christmas Gifts, <a href="#Page_322">322</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXX.</td></tr>
<tr><td align="left"><span class="smcap">Amusements and Games for the Christmas Holidays</span></td>
<td align="right"><a href="#Page_334">334</a></td></tr>
<tr><td align="left"><div class="hang2">New Game of Bubble Bowling, <a href="#Page_335">335</a>; Biographical Nonsense, <a href="#Page_339">339</a>; Comic Historic Tableaux, <a href="#Page_341">341</a>; Living Christmas Cards, <a href="#Page_342">342</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXXI.</td></tr>
<tr><td align="left"><span class="smcap">New Year’s and a Leap Year Party</span></td>
<td align="right"><a href="#Page_347">347</a></td></tr>
<tr><td align="left"><div class="hang2">Pantomime of an Enchanted Girl, <a href="#Page_348">348</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXXII.</td></tr>
<tr><td align="left"><span class="smcap">Home Gymnasium</span></td>
<td align="right"><a href="#Page_353">353</a></td></tr>
<tr><td align="left"><div class="hang2">Course of Exercises, <a href="#Page_356">356</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXXIII.</td></tr>
<tr><td align="left"><span class="smcap">A Decorative Language</span></td>
<td align="right"><a href="#Page_364">364</a></td></tr>
<tr><td align="left"><div class="hang2">The Field and the Points of Heraldry, <a href="#Page_366">366</a>; Divisions, <a href="#Page_367">367</a>; Colors, <a href="#Page_369">369</a>; How to Make a Design in Decorative Language, <a href="#Page_371">371</a>; Book-plates, <a href="#Page_377">377</a>; Floral Vocabulary, <a href="#Page_377">377</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXXIV.</td></tr>
<tr><td align="left"><span class="smcap">A Few Items on Old-fashioned Needlework, with Some New and Original Patterns</span></td>
<td align="right"><a href="#Page_380">380</a></td></tr>
<tr><td align="left"><div class="hang2"><span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span>Plain Sewing, <a href="#Page_380">380</a>; Button-holes, <a href="#Page_383">383</a>; How to Patch, to Sew on a Button, and to Mend a Kid Glove, <a href="#Page_386">386</a>; Fancy Stitches, <a href="#Page_387">387</a>; Drawn Work, <a href="#Page_389">389</a>; Applique and Original Designs for Portières, <a href="#Page_391">391</a>; Lace, <a href="#Page_393">393</a>; Ribbon Embroideries, <a href="#Page_393">393</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXXV.</td></tr>
<tr><td align="left"><span class="smcap">Scrap-book and Home-made Book-covers</span></td>
<td align="right"><a href="#Page_395">395</a></td></tr>
<tr><td align="left"><div class="hang2">Mother Goose Scrap-book, <a href="#Page_395">395</a>; Transformation Scrap-book, <a href="#Page_398">398</a>; An Album, <a href="#Page_400">400</a>; Home-made Book-cover, <a href="#Page_401">401</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXXVI.</td></tr>
<tr><td align="left"><span class="smcap">A Heap of Rubbish and What to Do with It</span></td>
<td align="right"><a href="#Page_403">403</a></td></tr>
<tr><td align="left"><div class="hang2">The Mirror, <a href="#Page_404">404</a>; The Table, <a href="#Page_406">406</a>; Lantern, <a href="#Page_408">408</a>; A Music Roll, <a href="#Page_410">410</a>; Work-basket, <a href="#Page_411">411</a>; Key and Button-hook Rack and Paper Weight, <a href="#Page_412">412</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXXVII.</td></tr>
<tr><td align="left"><span class="smcap">How to Make Attractive Booths at a Fair—A New Kind of Grab-bag</span></td>
<td align="right"><a href="#Page_413">413</a></td></tr>
<tr><td align="left"><div class="hang2">The Tables, <a href="#Page_413">413</a>; Flowers for Decorations, <a href="#Page_417">417</a>; The Months, <a href="#Page_420">420</a>; The Five Senses, <a href="#Page_421">421</a>; Walls, <a href="#Page_423">423</a>; Grab-bags, <a href="#Page_423">423</a>; The Lady of the Lake, <a href="#Page_425">425</a>; Fortune’s Wheel, <a href="#Page_426">426</a>; Rag-balls, <a href="#Page_427">427</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXXVIII.</td></tr>
<tr><td align="left"><span class="smcap">Window Decoration</span></td>
<td align="right"><a href="#Page_429">429</a></td></tr>
<tr><td align="left"><div class="hang2">Oriental Window-shade, <a href="#Page_430">430</a>; Ribbon-curtain, <a href="#Page_430">430</a>; Drapery of Very Small Scraps, <a href="#Page_431">431</a>; Painting Window-panes, <a href="#Page_432">432</a>; Painting on Lawn, <a href="#Page_434">434</a>; To Imitate Stained Glass, <a href="#Page_435">435</a>; Windows of Imitation Ground Glass, <a href="#Page_436">436</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XXXIX.</td></tr>
<tr><td align="left"><span class="smcap">Furniture, Old and New</span></td>
<td align="right"><a href="#Page_438">438</a></td></tr>
<tr><td align="left"><div class="hang2">The Bookcase, <a href="#Page_439">439</a>; The Chair, <a href="#Page_441">441</a>; The Bedstead, <a href="#Page_444">444</a>; A Dressing-table, <a href="#Page_444">444</a>; Washstand, <a href="#Page_446">446</a>; A Hall Seat, <a href="#Page_447">447</a>; Window Seat and Book-shelves, combined, <a href="#Page_448">448</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XL.</td></tr>
<tr><td align="left"><span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span><span class="smcap">Something about Mantle-pieces and Fire-places</span></td>
<td align="right"><a href="#Page_451">451</a></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XLI.</td></tr>
<tr><td align="left"><span class="smcap">Home-made Candy</span></td>
<td align="right"><a href="#Page_458">458</a></td></tr>
<tr><td align="left"><div class="hang2">Peanut Candy, Butter Scotch and Molasses Candy, <a href="#Page_459">459</a>; Walnut and Fruit Glacé, <a href="#Page_460">460</a>; Marsh-mallow Paste, <a href="#Page_460">460</a>; Chocolate Caramels, <a href="#Page_461">461</a>; Pop-corn Balls, <a href="#Page_462">462</a>.</div></td></tr>
<tr><td align="left">&nbsp;</td></tr>
<tr><td align="center" colspan="2">CHAPTER XLII.</td></tr>
<tr><td align="left"><span class="smcap">Saint Valentine’s Day</span></td>
<td align="right"><a href="#Page_464">464</a></td></tr>
<tr><td align="left"><div class="hang2">Valentine Party, <a href="#Page_465">465</a>.</div></td></tr>
</table></div>

<hr class="chap" />
<div class="chapter"></div>
<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p>
<h2 class="faux">Spring</h2>
<div class="figcenter" style="width: 502px;">
<img src="images/i_001.jpg" width="502" height="262" alt="Spring" />
</div>
<hr class="chap" />

<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p>

<div class="figcenter" style="width: 294px;">
<img src="images/i_002.jpg" width="294" height="592" alt="girl running in rain with rainbow behind her" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p>




<h2>The American Girl’s
Handy Book.</h2>



<hr class="chap" />
<div class="chapter"></div>
<h2>CHAPTER I.<br />

<small>FIRST OF APRIL.</small></h2>


<div>
  <img class="drop-cap" src="images/i_003-drop-t.jpg" width="255" height="209" alt="T" />
</div>

<p class="drop-capi">THIS is the children’s own day, and
no assumption of dignity on the
part of their elders can deter them
from exercising the privileges granted
to them by acknowledged custom and
precedent.</p>

<p>“April fool! April fool!” cries
my little nephew, as he dances with delight to see his aunt
walk out of the room with a piece of white paper dangling
from a hooked pin, attached to her dress.</p>

<p>“April fool! April fool!” shout the children in the street,
thus announcing the success of some practical joke.</p>

<p>“April fool!” laughs everyone at the table, when some unfortunate
bites into a brown, wholesome-looking cruller, only
to find it a delusion and a snare, the coat of a cruller, but the
inside of cotton.</p>

<p>“April fool! April fool!” is what even the little sparrows seem<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span>
to chirp, as with a “s-w-h-e-r-r” they sweep down from the
tree and, frightening away the kitten, take forcible possession of
her bone. What does all this mean? Why is the first day of
April called “All-Fools-Day,” and when or where did the
custom of the day originate? Who can tell? No one seems
to know. Even the derivation of the word April does not appear
to have been definitely settled, and this saucy month, with
her mischievous tricks and pranks, her surprises and mysteries,
fools and puzzles our wisest men.</p>

<p>Through many centuries the observance of All-Fools-Day
has descended to us. In many climes and many countries this
day is chosen as the proper time for playing tricks on the unsuspecting.</p>

<p>“Festum Fatuorum,” or “Fools’ Holiday,” is what it was
called in England at the time of the arrival of the early Christians
in that country.</p>

<p>Easily caught like the mackerel, which are plentiful on the
French coast in April and are said to be deficient in understanding,
the April fool in France derives his name from that
fish, and is called “Poisson d’Avril” or “April Fish,” and
again, “Silly Mackerel.” From the cuckoo, a bird that does not
know enough to build its own nest, the appellation of “gowk”
is taken, and is given to the foolish one in Scotland who allows
himself to be duped on this day.</p>

<p>In India at the festival called Huli Festival held on the last
day of March, the natives make merry at the expense of their
friends, just as we do, and their fool is called “Huli Fool.”</p>

<p>So in the East and in the West, in the North and in the South,
in the oldest nation as well as the youngest, is this ridiculous
custom observed, and, as if to make it still more ridiculous, no
one apparently knows why.</p>

<p>Now, girls, since this holiday has descended to us from so far
back that its origin appears lost in the dim twilight of past ages,<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span>
there surely must be some reason for its existence, and that reason
may be, that “a little nonsense now and then is relished by the
wisest men,” and is therefore wholesome as an occasional diet.
So why not help to perpetuate it; not with rude, practical jokes,
but with comical surprises, and absurd, but unembarrassing, situations.
Much harmless fun can be derived from the privileges
of this day, devoted as it is to nonsense, and we introduce the
April Fool Party as an excellent means of concentrating the
fun, and furnishing plenty of merriment to the young folks who
are bent on having a good time.</p>


<h3><b>First of April Party.</b></h3>

<p>I remember, when quite a little girl, I was granted the privilege
of celebrating my birthday, which came on the 1st of April,
with a candy-pull, and a few days previous to the event I
started joyfully off to invite my friends. The invitations were
laughingly given and accepted, and it did not occur to me that I
would be suspected of playing a joke, although the party was
to be on April-Fools-Day. It seems, however, that my good intentions
were doubted, and the children were undecided whether
to come or not. I had begun to suspect that a joke was to be
played on me by their all remaining away, before they finally
arrived in a body, having taken the precaution of coming in
that way, so that if the party were a hoax they would all be
fooled together.</p>

<p>I relate this incident that warning may be taken from my experience,
and that it may be understood how important it is to
make the guests invited to your First of April party realize that
the invitations are given in good faith, and that your friends
are expected to be on hand at the appointed time.</p>

<p>It is well, in giving a party of this kind, to have the whole
programme laid out beforehand, so that everything may go
smoothly and nothing be forgotten.<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span></p>

<p>The few methods of April fooling given here need not constitute
the whole entertainment; the list may be added to by
the young hostess, who will, no doubt, have many ideas of her
own to carry out. We will head our list with the</p>


<h3><b>Mirror Tableau.</b></h3>

<p>This novel tableau is made ready in the following manner:</p>

<p>In a door-way, or bay-window draped with full curtains,
place a large mirror. Instead of having the curtains suspended
from the usual pole, it is best to stretch a wire across the space
and slip the curtain-rings upon that, as they will slide more
readily on the wire; and when it is time to draw back the drapery
it should be done quickly. A table placed before the curtains
will serve as a barricade, keeping the too curious from taking
a peep at the hidden mysteries before they are ready to be
revealed.</p>

<p>At the time selected, remove the table, and request all those
desiring to see the tableau to arrange themselves in front of the
curtain, and to remain perfectly quiet, as any movement will disturb
those taking part.</p>

<p>If the front rows of the audience can be induced to kneel or
sit upon the floor, those in the rear can obtain a better view,
and it will, at the same time, make the group more effective.
When perfect quiet is obtained, give the signal to your assistant,
who must stand opposite to you at the side of the curtain, and
with her help quickly draw aside the draperies, thus disclosing
the tableau of a group of young people, motionless, gazing into
the mirror with eager and expectant eyes. For an instant the
audience will be held spell-bound, scarcely realizing that they
themselves are forming the pretty tableau.</p>

<p>“We are April Fools,” written with soap on the mirror near
the top, as shown in the illustration, tells what character the
actors are assuming, and gives a name to the tableau.</p>

<p><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span></p>

<div class="figcenter" style="width: 479px;">
<img src="images/i_007.jpg" width="479" height="600" alt="two girls pulling back curtains on mirrored audience" />
<div class="caption">The Mirror Tableau.</div>
</div>

<p><span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>During the interval which should be allowed to intervene
before introducing the next thing on the programme, the guests
will find amusement in the many harmless practical jokes which
are awaiting the unwary in all manner of places.</p>

<p>For instance, some boy will print APRIL FOOL in large
white letters on his own back, by simply resting for a moment
in a convenient chair upon whose snowy tidy the dreaded words
have previously been printed backwards with white chalk. On
the dark woolly surface of the coat, the white letters will be
perfectly transferred, and the boy, little knowing what he has
done, or the cause of the merriment, will join in the general
laughter his appearance creates.</p>

<p>A treacherous divan can be provided by removing the top
of a low, flat packing-box, and putting in its place brown wrapping-paper,
tacking it down around the edges of the box.
With a piece of drapery thrown over it, entirely concealing the
box, and sofa pillows placed upon it, leaning against the wall,
the divan looks exceedingly comfortable and inviting. But woe
unto the person who mistakes appearances for reality, for to attempt
to sit upon this seeming substantial couch is but to break
through and sit upon the floor instead.</p>

<p>The box used for the divan should not be more than twelve
inches high, so that the fall will be only funny, not dangerous.</p>

<p>The next diversion may be a</p>


<h3><b>Noah’s Ark Peep-show.</b></h3>

<p>Make the peep-show of a box about two and a half feet
long and one foot and a half high. Remove the top and both
of the end-pieces (Fig. 1). Cut from pasteboard a slide to
exactly fit the box, and place it in the middle, thus cutting off
the view from either end, as shown in Fig. 1. Make a curtain
in two pieces, and tack them around the upper edge of the<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>
box, letting them meet at each
end. Stout pieces of twine,
stretched across the openings at
the ends of the box, will serve to
attach the drapery at these points.</p>

<div>
  <img class="split" src="images/i_009a.jpg" alt="Noah’s Ark Peep-show. Fig. 1" width="520" height="233" />
  <img class="split" src="images/i_009b.jpg" alt="Noah’s Ark Peep-show." width="252" height="37" />
  <img class="split" src="images/i_009c.jpg" alt="Noah’s Ark Peep-show." width="230" height="73" />
  <img class="split" src="images/i_009d.jpg" alt="Noah’s Ark Peep-show." width="206" height="208" />
</div>
<p>Almost any kind of material will
answer for this purpose, provided it
is not too thin and is of some bright
hue, for the peep-show should be
made to look as gay as possible.
Place the box upon a high stand,
and so arrange it that a strong
light will shine down into it, making
the interior, from end to end, perfectly
light.</p>

<p>From a list, previously prepared, of the animals supposed
to be on exhibition, read the first two, and invite two persons,
a girl and a boy, for instance, to look into the peep-show.
We will suppose that the first animals on the list are the raven
and the dove. Inform your would-be audience that you have
two of Noah’s special pets to show them; that from the girls’
point of view will be seen a raven, and from the boys’, a dove<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span>.
When taking their places at the box, one at each end, the two
spectators must part the curtain, and, putting their faces between,
hold the drapery together under their chins. This is
to keep the remainder of the company from obtaining a glimpse
into the wonderful show before their turns arrive.</p>

<p>When all is ready, and the two wondering faces are hidden
between the folds of the peep-show curtains, with the words,
“Behold the pretty dove, and the mischievous raven,” remove
the slide, and expose to the astonished gaze of each spectator a
companion’s familiar face at the opposite end of the box. Of
course, upon retiring from the show, its secret must be kept,
otherwise the joke will be spoiled for those whose turns are yet
to come.</p>

<p>Before the next two take their station at the box, replace
the slide and pretend to rearrange the show, to divert the suspicion
that the box is empty.</p>


<h3><b>The Supper</b></h3>

<p class="unindent">can be made the means of perpetrating many practical jokes.
The shams must be so intermingled with the real delicacies that
one can never be sure what the consequences may be of partaking
too rashly of even the most tempting-looking morsel.</p>

<p>Small blocks of wood covered with batter and browned in
the oven are excellent imitations of cakes. Dainty confectionery,
in crimped papers, can be made of small radishes covered
with icing of different colors. Button-moulds coated with chocolate
will readily be mistaken for candy.</p>

<p>If a small pasteboard pill-box is first filled with flour, and
the top then covered with tissue-paper pasted down around the
edges, it will look, when iced, like a delicate little cake, and
will cause much merriment when anyone bites into it; for the
moment the paper cover is broken the flour will fly in every<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
direction. The fertile brain of girls, on mischief bent, will suggest
many more frauds of this kind, and enough surprises may
be prepared to make the supper as merry as anything else on
the evening’s programme.</p>

<p>Before leaving this subject, once more let the caution be
given to keep the jokes entirely harmless. It is only poor fun
that can be obtained at the expense of injuring others, or by
running the slightest risk of hurting them in any way.</p>

<p>The spirit of mischief must be kept within bounds even on
All-Fools-Day.</p>

<div class="figcenter" style="width: 471px;">
<img src="images/i_011.jpg" width="471" height="133" alt="APRIL Fool" />
</div>
<hr class="chap" />
<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p>

<div class="figcenter" style="width: 458px;">
<img src="images/i_012.jpg" width="458" height="600" alt="children gathering flowers" />
<div class="caption">Gathering Wild Flowers.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p>




<h2>CHAPTER II.<br />

<small>WILD FLOWERS AND THEIR PRESERVATION.</small></h2>


<div>
  <img class="drop-cap" src="images/i_013.jpg" width="114" height="172" alt="L" />
</div>

<p class="drop-capi">LONG before the first green leaves make their
appearance, while the snows of winter still
linger in the shaded nooks, and the branches
are still bare, though blushing with the full,
flowing sap that tinges their tips pink, yellow,
and red—when the air is filled with a sweet
freshness and delicate fragrance—it is charming
in our rambles to find scattered here and
there upon the hill-side, down among the roots of the great
trees, or under the hedges delicate little wild flowers waving
on their fragile stalks with the faintest passing breeze. They
are so exquisitely beautiful with their tender hues and graceful
shapes, that a longing comes to possess them.</p>

<p>And why not keep them fresh at home? Plants live in
the earth and require light, air, and moisture. All of these
requirements can be and are fulfilled in thousands of homes
where plants are kept, all over the world. But these are
<i>wild flowers</i>. True, and they may need something to be
found only in the wild woods. What, then, is it? Let us
see. Earth, light, and air abound everywhere. Still, upon
inspection we discover that the soil around our timid wild
flowers is somewhat different from that to be found in our
door-yards. But what is simpler than to take the earth up
with the plant?</p>

<p><span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span></p>

<p>Be careful in</p>


<h3><b>Transplanting Wild Flowers</b></h3>

<p class="unindent">to dig well all around and under the roots, so that the earth
surrounding and clinging to the plant may be taken up at the
same time (Fig. 2). After covering the
root and soil adhering to it with a layer
of clay, mud, or damp earth (Fig. 3)
set the root in a large leaf, and
tie it up with string or
a wisp of
grass (Fig
4), in order
to make
sure the soil
does not fall
off the plant. Thus secured
the specimens will
keep nicely until you
reach home; then plant
them in a shady place
and keep the ground moist. Beautiful little woodland gardens
are made in this way, where within a few steps of the door a
glimpse may be had of the fair forest flowers.</p>

<div class="figcenter" style="width: 504px;">
<img src="images/i_014.jpg" width="504" height="484" alt="flowers with rootballs" />
</div>

<p>Sweet-scented white violets, delicate little anemones, odd
yellow violets, and quaint jack-in-the-pulpits, with many others,<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
not forgetting the graceful ferns, are now growing in the shaded
corner of the writer’s lawn, transplanted there from their home
in the woods, where she found them one lovely spring morning,
when out with a party of friends on a hunt for wild flowers.</p>

<p>The day was perfect, filled with sunshine and the song of
birds. All nature appeared glad and joyous, and the trees
seemed veiled in the softest greens and pinks of budding
leaves.</p>

<p>It was a happy party that went wandering into the forest,
straying here and there, and finding new treasures at nearly
every step, stopping to gather a few of the violets that gave a
purple tinge to the ground for yards around, then rambling on
to the spot that was covered with the fragile anemone, each girl
laden with the flowers she loved best. Some had taken them up
roots and all, while others preferred the</p>


<h3><b>Cut Wild Flowers.</b></h3>

<p>For these it is best to use a tin box of convenient size and
form shutting closely. The flowers must be fresh and not at all
damp; in such a box they can be kept for days bright and unfading.
They may also safely be sent to friends at a distance,
though it is better, when</p>


<h3><b>Sending Flowers by Mail,</b></h3>

<p class="unindent">if you wish to send a quantity, to pack them in a strong pad
or wooden box. First lay down a piece of oiled paper of
the proper size; spread a thin layer of damp paper on this; next
a layer of flowers, then one of thin wet paper; and so on until
the box is full. Over the last layer place a dry paper, and cover
this with oiled paper or tin-foil; put the lid on the box and tie
it down securely.</p>

<p><span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span></p>

<p>By this method a larger number of flowers can be sent in a
given space than when simply inclosed in a tin box.</p>

<p>The writer has often sent daisies from New York to Cincinnati
where they arrived as fresh as when first gathered.</p>

<p>For the benefit of those who wish directions for sending
flowers by mail, we give the following on authority of the
<i>American Agriculturist</i>.</p>

<div class="blockquot">

<p>“The law passed some years since by Congress, allowing packages of
plants to be sent by mail, if not over four pounds in weight, was a capital
arrangement for those who lived at a distance from railroad and express
offices, but it is so hampered with the various constructions given by the
Post Office Department, that it is difficult to know what is required by the
officials. The law now is, we believe, as follows: A package, weighing four
pounds or less, can be sent at the rate of two cents per four ounces, but the
writing of the words “roots” or “plants” makes a letter of it, and is
charged letter postage. Nothing should be written except the address, and
the package must not be sealed, or contain any writing, and it must be so
fastened that the postmaster can examine the contents if he wishes. The
plants may, however, be numbered, and their names sent by letter.”</p></div>

<p>Now let us think of some way in which these lovely blossoms
can be preserved.</p>

<p>In Germany they excel in making decorations for rooms,
dinner-tables, etc., of</p>


<h3><b>Preserved Flowers.</b></h3>

<p>Bright-colored flowers are best adapted to this method. White
flowers are apt to turn yellow. Jack-in-the-pulpits, clover,
roses, and daisies came out beautifully when the writer dried
them, and why should not many other kinds do just as well?
Try and see.</p>

<p>Procure three or four quarts of fine sand; white scouring-sand
is the best; wash it perfectly clean. This can be tested by pouring
the water off until it looks quite clear; then dry the sand,<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>
by placing it in a clean tin in the oven. When it is dry—fully
dry and cool—pour enough
in a box to enable the flowers
to stand by themselves, their
stems embedded in the sand,
which should be a mass of
fine particles of uniform size.</p>

<div class="figcenter" style="width: 506px;">
<img src="images/i_017.jpg" width="506" height="596" alt="flowers in a vase iand in blxes" />
<div class="caption">Preserved Flowers.</div>
</div>

<p>If the flowers are cut so
that they all measure nearly
the same length from the tip
of the blossom to the end of
the stem, they can more
readily be covered with sand.
The flowers must be fresh and entirely free from moisture.
Place them stem downward in the sandy layer, and very gently<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span>
and slowly pour in the sand a little at a time, until each leaf
and petal is firmly held in place (Fig. 5); then fill the box
with sand nearly two inches above the level of the flowers.</p>

<p>It is very essential that every particle of the flower rest in
the sand, and that in filling up, the smallest petal has not been
bent or crumpled.</p>

<p>Take care not to shake the box lest the flowers inside be injured.
Set it in a warm, dry place, and let it stand at least two
weeks.</p>

<p>This manner of preserving flowers retains the color, while
the shape of the leaves and petals remains unaltered. The flowers
will keep for years.</p>

<p>There are other ways also of preserving flowers.</p>


<h3><b>Pressed Flowers and Leaves.</b></h3>

<p>Although these are perfectly flat, they seldom fade and are
very pretty and useful. Have ready a large book or a quantity
of old newspapers and several weights. Use the newspapers
for leaves and ferns—blotting-paper is best for the flowers.
Both the flowers and leaves should be fresh and without moisture.
Place them as nearly in their natural positions as possible
in the book or papers, and press, allowing several thicknesses
of paper between each layer. Remove the specimens to dry
papers each day until perfectly dry.</p>

<p>Some flowers must be immersed—all but the flower head—in
boiling water for a few minutes, before pressing, to prevent
them from turning black. Orchids are of this nature.</p>

<p>If possible, it is well to obtain all parts of a plant, the roots
as well as the seeds, for a more interesting collection can thus
be made than from the flower and leaf alone.</p>

<p>It is advisable to be provided with a blank book or, what is
still better, pieces of stiff white paper of uniform size on which<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>
to mount the flowers or leaves when dried; also with a small
bottle of mucilage and a brush for fastening them, and some
narrow strips of court-plaster or gummed paper for the stems
and thicker parts of the plants. The sooner they can be
mounted the better. Place them carefully on the paper, writing
beneath the locality and date of finding. Flowers and
leaves thus prepared make beautiful herbariums. Should you desire</p>


<h3><b>Leaves and Ferns for Decoration,</b></h3>

<p class="unindent">first press them nicely; then give them a coat of wax, by
ironing them on both sides with a hot iron over which a piece
of beeswax has first been rubbed. Cover the specimens completely
with wax, as this renders them quite pliable, and they
are no longer brittle nor easily broken. Sprays of small leaves
can be pressed entire.</p>

<p>To heighten the effect, use dry colors, rubbing them in, and
selecting those corresponding with the color of the leaves when
first gathered.</p>

<p>The colors must be put on before the coating of wax.
Ferns should be gathered when nearly full grown, and, after
they are pressed, painted light green with oil-colors; in that
case the beeswax is not used. The oil in the paint, like the
wax, makes the specimens more substantial, and they look
quite fresh and fair.</p>

<p>Sometimes the late autumn frosts will bleach the ferns perfectly
white; then are they even more delicate than before Nature
changed their color. We have seen the</p>


<h3><b>Color of Flowers Changed,</b></h3>

<p class="unindent">and it is a very pretty experiment, very simple, too. Immerse
the flowers in ammonia, and you will be surprised to see white<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
lilies change to a delicate yellow, pink roses turn a lovely
light green, while dark-red sweet-peas assume blue and rich
purple tints; and the change is so rapid it is almost like magic.
Another interesting experiment is making</p>


<h3><b>Natural Wax Flowers</b></h3>

<p class="unindent">by dipping the fresh buds and blossoms in paraffine just sufficiently
hot to liquefy it; first the stems of the flowers; when
these have cooled and hardened, then the flowers or sprays,
holding them by the stalks and moving them gently. When
they are completely covered the flowers are removed and lightly
shaken, in order to throw off the superfluous wax. The flowers
are then suspended until perfectly dry, when they are found
hermetically sealed in a film of paraffine, while they still keep
their beautiful coloring and natural forms, and for a while even
their perfume. Now let us find what can be done</p>


<h3><b>To Freshen Cut Flowers.</b></h3>

<p>When the heat has made them wilt, clip the stems and set
the flowers in cold water; in a few hours they will regain their
freshness and beauty.</p>

<p>Some flowers, however, must be differently treated, such as
heliotrope and mignonette; these keep if placed <i>upon</i> damp
moss or cotton and set in a cold place at night.</p>

<p>Rosebuds will retain their freshness for hours when not
placed in water, if the ends of the stems are snipped off, and
immediately tipped with melted sealing-wax; this excludes
the air, and so keeps the flowers from drooping.</p>

<p>If roses are wilted before they can be placed in water, cut
off the ends of the stalks and immerse in very hot water for a
minute or two, and they will regain their pristine freshness.</p>

<p>Another way to keep flowers fresh is to put a pinch of nitrate
of soda into the glass each time you change the water<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>
Nitrate of potash or saltpetre in a powder has nearly the same
effect, or a drop of hartshorn.</p>

<p>If plants are chilled by frost, shower them with cold water,
and leave in a cool room; or set the pot in cold water and keep
in a moderately cool place. Now one word about</p>


<h3><b>Crystallized Flowers,</b></h3>

<p class="unindent">that sparkle and look so beautiful. They must first be dried in
sand, then crystallized in the same way as dried grasses—the
rougher the surface the better will it crystallize. Dissolve as
much alum in boiling water as it will hold; when this is determined,
pour it off and boil the solution down to one-half.</p>

<p>Suspend the flowers by a net-work of string tied across the
top of a pail into which they must hang; then pour into the
pail the boiling alum water, which must completely cover the
flowers, and leave it undisturbed twelve hours, or all night.</p>

<p>The flowers should not touch each other or the sides of the
bucket. Be careful in removing them the next morning, as the
crystals are easily broken off.</p>

<p>Flowers or sprays of grass may be beautifully frosted by
dipping them in a solution of gum-arabic and sprinkling them
with powdered isinglass.</p>

<p>Flowers are not only very beautiful, but many of them possess
a fragrance so sweet that we would fain learn how to keep
the</p>


<h3><b>Perfume of Flowers.</b></h3>

<div class="figleft" style="width: 151px;">
<img src="images/i_022a.jpg" width="151" height="600" alt="pussy willows" />
</div>

<div class="figright" style="width: 226px;">
<img src="images/i_022b.jpg" width="226" height="595" alt="catkins" />
</div>

<p>Rose-leaves are the most simply prepared. Take a covered
jar, fill it with sweet-scented rose-leaves, and scatter through them
some salt. Keep the jar closed tight, and when the petals have
dried the “scent of the roses will cling to them still,” so that
every time the jar is opened a delicious fragrance will fill the
air. Or you can cover the rose-leaves with melted lard, and
leave them for a day or two in some place at a temperature<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span>
of about 140° F.; then cool
it and knead the lard in alcohol.
Pour off the alcohol in
fancy glass bottles
and use as
handkerchief perfume.</p>

<p>For varieties we
find this method:</p>

<div class="blockquot">

<p>“The delicate odor
of pinks and other flowers may be
obtained as follows: Get a glass
funnel, with the narrow end
drawn to a point; in this place
lumps of ice with salt, by which
a very low temperature is produced.
The funnel should be
supported on an ordinary retort-stand and placed
near the flowering plants, when water and the
ethereal odor of the blossom will be deposited on
the exterior of the glass funnel, and will trickle
down to the point, from which it drops at intervals
into a glass vessel below. The scent thus
obtained is very perfect, but is apt to become
sour in a few days unless some pure alcohol is
added. By this process many odors may be procured
for comparison and study. To obtain the
odor in perfection the blossom must be in its
prime.”</p></div>

<p>Dry some sweet clover, and the fragrance
will be sweet and pleasant. Fill a
fancy bag of some thin sheer material with
the clover, and you will find that you have
imprisoned the fresh breath of summer.</p>


<p>Old-time lavender can be prepared in the same way.</p>

<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p>

<p>Our thoughts so far have been for the flowers in their season.
But did it ever occur to you that it is possible to have</p>


<h3><b>Spring Flowers in Winter?</b></h3>

<p>If you search in the woods during December you may find,
tucked away in sheltered spots, little woodland plants which,
when taken up and carefully transplanted in a flower-pot and
set in a sunny window, will soon begin to grow, sending up
tender stems, and in about three weeks will blossom. The little
fairy-like flowers seem even more beautiful coming in the
cold wintry weather.</p>

<p>Fruit-tree twigs and sprays from flowering shrubs will blossom
when the ground is white with snow, if cut from trees
about the first of February, placed in well-heated water in a
warm room, and the water changed every day for some that is
almost but not quite hot.</p>

<p>The twigs being kept warm will blossom in a few weeks.</p>

<p>It is quite a pretty idea to take up and plant in a little
flower-pot</p>


<h3><b>The Four-leaved Clover.</b></h3>

<p>Very frequently you may find a tuft bearing only the mystic
number, and should it happen to have a five- or six-leaved clover
in with the others, they will add to the luck.</p>

<p>If you possess one of these charmed plants, it is said “good
luck” will always be near at hand.</p>

<p>Besides the foregoing directions for the preservation of
flowers, plants, etc., there are numerous other methods, which,
although not experimentally verified by the writer, are no
doubt as worthy of a place here as any of the former.</p>

<p>The following recipes have been culled from various old
papers, books, etc.</p>

<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p>


<h3><b>Some Old-fashioned Methods of Preserving Flowers.</b></h3>

<p>The first of these ways is more properly intended for botanical
collections, and is often resorted to by collectors of rare
blossoms. It consists in placing</p>


<h3><b>Flowers in Alcohol,</b></h3>

<p class="unindent">and possesses the great advantage of preserving the flowers for
years, and keeping their most delicate fibres uninjured. They
make invaluable specimens to sketch from, and though their
beauty may be somewhat impaired by loss of color, their outlines
remain perfect.</p>

<p>Place the flowers in a wide-mouthed bottle, fill it to the top
with alcohol, cork it tightly, and cover the cork with plaster-of-Paris
or melted beeswax, thus hermetically sealing it. Do not
use sealing-wax, as experience has taught us that the fumes of
the alcohol soften the wax, and not only spoil the neat appearance
of the bottle, but allow the spirits to evaporate.</p>

<p>Another way is to</p>


<h3><b>Bottle Flowers.</b></h3>

<p>Carefully seal the ends of the stems with sealing-wax, place
them in an empty bottle—both flowers and bottle must be perfectly
dry—cork the bottle, and hermetically seal it with either
sealing-wax or beeswax.</p>

<p>The next method has greater possibilities of beauty, and
consequently the reader will be more interested in learning</p>


<h3><b>How to Preserve a Vaseful of Flowers for a Year.</b></h3>

<p>Take home your basket of wild flowers, “nodding violets,”
cowslips, bright-eyed anemones, and all the lovely offerings of
the woods, and before arranging them in the vase, carefully
seal the stem of each flower. Place a glass shade over the
vase; be careful that flowers, vase, and shade are perfectly<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span>
dry; then fill up the groove in the wood, in which the shade
stands, with melted wax. By covering the wax with chenille
it can be perfectly hidden.</p>

<p>Flowers kept in this way will last for a twelvemonth.</p>

<p>The flowers preserved in an empty bottle may be taken
out, the wax cut from the stems, and, if arranged in a bouquet,
will last as long as perfectly fresh flowers.</p>

<p>Those in the alcohol lose their color after being immersed
for a time, and will not last when removed from the alcohol.</p>

<p>In following any of these directions be careful not to tie
the flowers. No string must be used. The flower stems must
be loose and separate from each other.</p>

<p>A florist of much experience in preserving bouquets for an
indefinite period gives this recipe for</p>


<h3><b>Keeping Bouquets Fresh a Long Time.</b></h3>

<p>When you receive a bouquet sprinkle it lightly with fresh
water, then put it into a vessel containing some soapsuds; this
will take the place of the roots and keep the flowers bright as
new. Take the bouquet out of the suds every morning, and lay
it sideways, the stems entering first, in clean water; keep it
there a minute or two, then take it out, and sprinkle the flowers
lightly by the hand with water; replace it in the soapsuds,
and it will bloom as fresh as when first gathered.</p>

<p>The soapsuds need changing every three or four days. By
observing these rules a bouquet can be kept bright and beautiful
for at least a month, and will last longer in a very passable
state. From another source we learn how</p>


<h3><b>To Keep Flowers or Fruit a whole Year perfectly Fresh.</b></h3>

<p>Mix one pound of nitre with two pounds of sal ammoniac
and three pounds of clean common sand; then in dry weather<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span>
take fruit of any sort which is not fully ripe, allowing the stalks
to remain, and put them one by one into an open glass until it
is quite full; cover the glass with oiled cloth, closely tied down.
Put the glass three or four inches down in the earth in a dry
cellar, and surround it on all sides to the depth of three or four
inches with the above mixture. The fruit will thus be preserved
quite fresh all the year round.</p>

<p>In giving the following recipe for the manufacture of rose-water,
it may be as well to state that the original verse is given,
not for its merit as such, but simply because it is the form in
which the recipe reached the writer.</p>


<h3><b>Rose-water.</b></h3>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">“When the bushes of roses are full,</div>
<div class="verse"><span style="margin-left: 1.5em;">As most of them are about June,</span></div>
<div class="verse"><span style="margin-left: .5em;">’Tis high time to gather, or pull</span></div>
<div class="verse"><span style="margin-left: 1.5em;">The leaves of the flowers. As soon</span></div>
<div class="verse"><span style="margin-left: .5em;">As you’ve picked all you need for the time,</span></div>
<div class="verse"><span style="margin-left: 1.5em;">To each <i>quart of water</i> unite</span></div>
<div class="verse"><span style="margin-left: .5em;">A <i>peck of the leaves</i>, which, if prime—</span></div>
<div class="verse"><span style="margin-left: 1.5em;">And they will be, if pulled off aright—</span></div>
<div class="verse"><span style="margin-left: .5em;">May be <i>placed in a still</i> near at hand,</span></div>
<div class="verse"><span style="margin-left: 1.5em;">On a <i>very slow fire</i>. When done,</span></div>
<div class="verse"><span style="margin-left: .5em;">Bottle off, and permit it to <i>stand</i></span></div>
<div class="verse"><span style="margin-left: 1.5em;"><i>For three days</i> ere you cork down each one.”</span></div>
</div>
</div>

<div class="figcenter" style="width: 482px;">
<img src="images/i_026.jpg" width="482" height="196" alt="fairy in a flower" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p>




<h2>CHAPTER III.<br />

<small>THE WALKING CLUB.</small></h2>


<div>
  <img class="drop-cap" src="images/i_027.jpg" width="284" height="189" alt="A" />
</div>

<p class="drop-capi2">A &nbsp;SOUND of girlish voices is
suddenly heard in the
quiet village streets, as
our Walking Club, issuing
from the house of one of
its members, starts off on
the first tramp of the season.
The gay chatter
and bubbling laughter
blend with the twittering and chirping of the birds fluttering
among the budding trees, and all these merry sounds seem in
perfect harmony with the youthful gladness of the bright morning.</p>

<p>There is a subtle power and exhilaration in the spring sunshine
that stimulates the blood, and sends it tingling through our
veins, as with light-springing steps we quickly leave the village
behind us and penetrate into the outlying country, stopping
now and then to secure a branch of the downy pussy willow
or brilliant red blossoms of the maple, and again to admire a
distant view where the trees seem enveloped in a hazy mist of
delicate color; on we go, exploring sequestered spots or entering
deep into the woods in search of early wild flowers.</p>

<div class="figcenter" style="width: 600px;">
<img src="images/i_028.jpg" width="600" height="382" alt="group of girls and a dog walking" />
<div class="caption">The Walking Club.</div>
</div>

<p>Although possibly timid as individuals, as a club we are
brave enough; for a party of fourteen or sixteen girls, including<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a><br /><a name="Page_29" id="Page_29">[29]</a></span>
our merry little chaperon, may go, with impunity, where it
would not be so pleasant for one to venture alone.</p>

<p>Once a week all through that delightful spring the club might
have been seen, now upon a road leading in this direction, now
in that. And, often as we stepped aside to allow a carriage to
pass, its occupants would lean forward smiling, and waving their
hands in greeting; for the moment, perhaps, feeling in sympathy
with the vigorous young life that preferred this mode of locomotion
to being carried about on the downiest cushions of the
easiest of carriages. A ride which accorded with the unconventional
mood of our club was not despised however, for, urged on
by the girls, our little matron would make bold to accost some
countryman driving a vehicle sufficiently large, and persuade
him, in the terms of the country, to “give us a lift.” Jolting
about in a springless wagon or hay-cart was not in the least
enervating, and we experienced no indolent wish to continue our
journey on wheels when forced by diverging roads to leave our
equipage. It was not until the ever-increasing heat of the sun,
and our own languid disinclination to much exertion, warned us
that the mildness of spring had passed, that we concluded to disband
for the summer. In the fall we again fell into rank, and
came home from our walks laden with the gorgeous trophies of
autumn, as we had once carried in triumph the tasselled branches
and dainty flowers of spring.</p>

<p>We continued our tramps into the early winter, when the
frosty crispness of the air made it very bracing, and the brisk
exercise of walking brought the healthy color to cheek and lip
of the young pedestrians.</p>

<p>Such a club as this, which at the same time promotes health,
good spirits, and sociability, is one that most girls will enjoy
and derive benefit from.</p>

<p>A closer acquaintance with Nature, which these walks afford,
is not the least of their benefits, and to her true lover, Nature has<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span>
many delightful surprises and secrets to reveal; and as has
been said, even for those who cannot read her deeper
meanings she has a language which calls attention to her more
outward forms of beauty, and which one may study until gradually,
with slowly opening eyes, is seen more and more of the
exquisite perfection of her work, that long ago might have been
seen had one but chosen to look.</p>

<p>As a society, the Walking Club is one of the most informal.</p>

<p>No officers are needed, although a secretary may sometimes
be found useful when any word is to be sent to absent members.</p>

<p>The membership of the club should be large enough to
insure the attendance of at least twelve or fourteen on each
walk; for in this case, as I have said, safety lies in numbers.
At a place of meeting previously appointed, the members
should assemble, and, before starting on their walk, the route
to be taken should be decided by vote; a decision on this
point will be more quickly arrived at if a chairman be appointed
to keep order.</p>

<p>The first walk should not be too long. Three miles is a
good walk to start with; a mile and a half out and the same
home again. Gradually the distance can be lengthened, and
the club be able to take a ten-mile walk without feeling fatigue.</p>

<div class="figcenter" style="width: 479px;">
<img src="images/i_030.jpg" width="479" height="157" alt="hat and walking stick on grass" />
</div>
<hr class="chap" />
<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p>

<div class='center'> <table class="flowers" summary="flowers">
<tr><td align='left'><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
<div class="overlay1"><span class="smcap">To Make the Exercise of Walking
Healthful, and therefore
the more Enjoyable, these Rules should
be Observed.</span>
<div class="hangsection"><p><i>1st. Carry the body erect on the
hips, the shoulders thrown back,
the chest raised, and the head
square on the shoulders.</i></p>

<p><i>2d. Breathe through the nose
while walking rapidly, otherwise
the mouth will become dry
and the breath short.</i></p>

<p><i>3d. Wear loosely fitting clothes
that will permit a free motion
of the limbs, and shoes with
broad, moderately thick, soles
and low, broad heels. In all
cases a girl’s skirts should be
supported from the shoulders,
and in walking any distance it
is absolutely necessary for comfort
that there should be no
weight upon the hips.</i></p></div>
</div>
<br /><br /><br /><br /><br /><br /><br /></td>
</tr></table></div>






<hr class="chap" />
<p><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span></p>

<div class="figcenter" style="width: 544px;">
<img src="images/i_032.jpg" width="544" height="751" alt="Easter Anthem" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p>




<h2>CHAPTER IV.<br />

<small>EASTER.</small></h2>


<div>
  <img class="drop-cap" src="images/i_033.jpg" width="138" height="188" alt="E" />
</div>

<p class="drop-capi3">EVERYWHERE the children are playing with
eggs; eggs colored in every hue—mottled,
striped, and gilded; real eggs and imitation
ones; sugar, glass, and wooden eggs; for
this is Easter-tide, and not only in America,
but in many far-away countries, where the
habits and customs are very different from
ours, does Easter bring to the children the highly prized,
gayly-colored
eggs.</p>

<p>How nice it would be if we could take a peep into these
foreign countries, and discover what else Easter brings the little
ones besides the pretty eggs, and also how the people of such
widely differing nations keep this happy festival common to
all.</p>

<p>If we could look into England now, we should find that the
ceremonies there begin on Palm Sunday (the last Sunday before
Easter), and on that day many people go a-palming, only
they do not, of course, find palm, but gather instead branches
of willow, which they stick into their hats and button-holes.
On Good-Friday we might see, on almost every breakfast-table,
those hot spicy cakes with a cross stamped on the face, known
to many of us as well as to our English cousins, as “hot cross
buns.” We should feel very much at home looking into the
churches on Easter Sunday, for we should find them beautifully<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>
decorated with flowers, and hear the Easter anthems chanted as
we might in our own country. I do not think we can see in
America, though, the ceremony which, on Easter Monday, is
performed by the charity school-children in England. Were we
among the spectators who, with shouts and merry laughter,
crowd around to watch this performance, we should see the
children take their places, with their backs against the outside
of the church, and then join hands until a circle is formed
around the building, thus completing what is called “clipping
the church.”</p>

<p>It would be great fun to see the Easter celebration in Russia,
which includes many peculiar customs, and where the children
receive presents as we do at Christmas, besides more eggs
than any of us ever thought of possessing; some of the eggs
being beautifully made of glass or porcelain, and filled with
sugar-plums or small presents. How amusing it would be to
watch the people, following a custom always observed on
Easter Monday in this queer land, as they go about kissing
relations, friends, and acquaintances, wherever they happen to
meet them.</p>

<p>If we were really in this great, cold, furry country, we
might go with the children to make their Easter visits, and,
on entering a house, hear the greeting, “Jesus Christ is
risen,” and the answer, “Yes, he is risen;” then after kissing
the inmates and exchanging eggs with them, go to visit
elsewhere.</p>

<p>All this would seem very strange to American eyes; and
it would be a strange sight too, if we could look into the cities
of Spain and see the people in the streets shooting at stuffed
figures of Judas Iscariot.</p>

<p>A passing glance at Ireland on Easter morning would show
us the people making haste to be out at sunrise to see the sun
dance in a pool or pail of clear water.</p>

<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p>

<p>It would be worth while to give more than a passing glance
into Germany at this season, for in this country, where the children’s
happiness is so much thought of and so well provided
for, Easter Monday is looked upon as a grand holiday, and
all the young people appear in their gala costumes ready for
any fun or frolic that may be going on. It is a pretty sight
when the little peasant-girls, in their quaint gowns and odd
little caps, dance on the green with the boys, whose costumes
are equally as picturesque; and it is also entertaining to
watch them as they play various games with their many-colored
eggs.</p>

<p>In Germany, too, we should find that the children believe as
sincerely in the Easter hare as they do in Santa Claus in our
country; and the saying, that “the hares lay the Easter eggs,”
is never doubted by the little ones.</p>

<p>After visiting in imagination all these foreign countries to
see their Easter celebrations, it may prove interesting to turn
our eyes toward home, for, since our country is so large—as
large almost as all Europe put together—perhaps some of our
little citizens who have never been in Washington do not
know how, in the capital of the United States, the children hold
high carnival on Easter Monday, nor how the grounds of the
White House and also of the Capitol are given up to them on
this day that they may frolic on the lawns and roll their eggs
down the hills. It would be as novel a sight to some of us as
any found abroad, to see several thousand children rolling and
tossing their eggs, while shells of every hue cover the grass in
all directions.</p>

<p>The following newspaper item, cut from the <i>Evening
Star</i>, Washington, D. C., April 27, 1886, shows how these
rights of the little Americans are recognized and respected,
and how unmolested they enjoy the privileges of Easter Monday.</p>

<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p>


<div class="blockquot">

<p class="center">“THE EASTER EGG-ROLLING.<br /><br />
<small>“CHILDREN SHAKE HANDS WITH THE PRESIDENT.</small></p>

<p>“The crowd in the White House grounds greatly increased yesterday
afternoon, so that the grounds were literally packed with children. The
crowd was the largest and best appearing that has collected there in many
years. The President and Colonel Lamont watched the children for some
time from the library window.</p>

<p>At the President’s reception at half-past one o’clock hundreds of children
gave up their sport temporarily and thronged the East Room to shake
hands with the President.”</p></div>


<h3><b>Easter Egg Games.</b></h3>

<p>In the game they play at Washington, on the hills sloping
from the White House, the child whose egg reaches the foot of
the hill in an unbroken condition takes the one worsted in the
journey down. Another game for two is played by knocking
the eggs together; each child holds an egg firmly in his hand
so that only the small end is visible, and then the two eggs are
struck against each other until one is cracked, when the victorious
player adds it to his stock, or devours it on the spot. I
would not like to state the number of eggs eaten on these
occasions, but there is a boy (<i>not a girl</i>) who once consumed
fourteen and lived to tell the tale.</p>

<p>Sometimes the egg which breaks another is called “the
cock of one,” and when it has broken two it is “cock of two,”
and so on. When an egg which is cock of one or more is
broken, the number of trophies won by the victim is added to
the score of the conquering egg and it becomes “cock of three”
or more. Here is a game which comes from Germany, and although
in that country it is played exclusively by boys, there is
no reason why the girls should not participate in it as well. Two<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>
baskets are necessary for this game, one large and shallow filled
with soft shavings, the other shallow also, but smaller, and filled
with eggs. The plan of the game is that one player is to run a
given distance, while another safely throws the eggs from one
basket to the other, she who completes her task first being the
winner. When the baskets are prepared, and the distance the
eggs are to be thrown decided upon, the two contestants draw
lots to determine who shall run and who shall throw. This
settled, the player who throws takes the basket of eggs, and one
after another quickly tosses them the length of the course and
into the basket of shavings, which is placed on the ground at the
end of the course opposite the thrower. In Germany this
basket is held by an assistant, but anyone occupying that position
might receive some severe blows from the hard eggs
thrown by unpractised hands, and it answers the purpose just
as well to place the basket on the ground. Meantime the
other player runs the distance (decided beforehand) to an appointed
goal, marks it as a proof of having touched it, and should
she succeed in returning before all the eggs are thrown, the victory
and prize are her reward; otherwise they belong to the
thrower.</p>

<p>The game finished, a prize is presented to the successful contestant.
Should any of the eggs pitched by the thrower fail to
light in the basket, they must be gathered up and thrown again
before the runner returns, as the eggs must all be in the basket
before the thrower wins the game.</p>

<p>“Bunching eggs” comes from Ireland, and is played in very
much the same manner as the game played with a slate and
pencil, and known to all children as “tit, tat, toe, three in a row.”
A pan or large dish filled with sand or sawdust is set upon a
table, around which the children stand, each supplied with eggs;
the eggs of each player must be all of one color, and unlike
those of any other player. The object of the game is for each<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
player to so place her eggs, standing them upright in the sand,
or sawdust, as to bring five in a row touching each other.</p>

<p>In turn each player puts down an egg, sometimes filling
out a row for herself, at others cutting off the line of an opponent;
and the one who first succeeds in obtaining the desired
row sings out—</p>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">“The raven, chough, and crow,</div>
<div class="verse"><span style="margin-left: 0.5em;">Say five in a row.”</span></div>
</div>
</div>

<p>Another pretty game from Ireland called “Touch” is played
in the following manner:</p>

<p>Six eggs of the different colors—green, red, black, blue,
white, and gold are placed in a row in the sand used for the other
game. One of the players is blindfolded and given a light wand
or stick, with which she must touch one of the eggs, while at
the same time she recites these lines:</p>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">Peggy, Patrick, Mike, and Meg,</div>
<div class="verse">See me touch my Easter egg;</div>
<div class="verse">Green, and red, and black, and blue,</div>
<div class="verse">Count for six, five, four, and two.</div>
<div class="verse">If I touch an egg of white,</div>
<div class="verse">A forfeit then will be your right;</div>
<div class="verse">If I touch an egg of gold,</div>
<div class="verse">It is mine to have and hold.</div>
</div>
</div>

<p>As is told in the rhyme, the eggs each have a different
value. Green counts six; red, five; black, four; and blue,
two; and the gold egg is worth more than all put together, for
when a player touches that, she wins the game and a forfeit of
an egg from each of the other players. The white egg is worth
less than nothing, since it not only has no value but whoever
touches it with the wand must pay a forfeit.</p>

<p>Each player is in turn blindfolded and makes her trial, keeping
account of the value of the eggs she has touched. When the<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span>
sum of twenty has been reached by anyone the game is ended,
without the aid of the gold egg. The position of the eggs are
changed after each trial, that the person about to touch them
may not know where it is best to place her wand.</p>


<h3><b>Easter Egg Dolls.</b></h3>

<p>In some of the large confectionery stores in New York City
may be found at Easter-tide quaint little Easter offerings, looking
at first sight exactly like dolls’ heads surmounted by pretty
little head-dresses. As dolls are not peculiarly appropriate gifts
for Easter, one naturally examines them closer, to ascertain if
there is anything about them significant of the day, and in so
doing quickly discovers that the heads are not made of wax or
china, as was at first supposed, but are simply egg-shells from
which the eggs have been blown, leaving the shell perfect.
Little faces are painted upon these shells, and the cunning caps
or bonnets are made of tissue-paper.</p>

<p>Now it is our purpose to teach the children who do not live
in New York and have never seen these pretty toys, and also
those who, having seen, cannot afford to purchase them, just how
to make some of these little men and women, and how to fashion
a variety of head-dresses not to be found in the stores.</p>

<div class="figcenter" style="width: 491px;">
<img src="images/i_040.jpg" width="491" height="678" alt="patterns" />
<div class="caption">Patterns for Head-dresses.</div>
</div>

<p>To begin with, select several nice large eggs, those of a
pinkish yellow are preferable, being something of a flesh-tint.
These eggs should be blown, or the shells emptied of their
contents; to blow them make a small hole in each end of the
shell, and, taking it gently between the thumb and forefinger,
put one hole to the lips; then blow, not too hard, but steadily,
until the egg has all run out of the other end.</p>
<div class="figleft" style="width: 200px;">
<img src="images/i_041a.jpg" width="200" height="200" alt="egg nun" />
<div class="caption">The Nun.</div>
</div>
<p>The face must be painted next, and to those who know
nothing of drawing this will seem no easy task, until by carefully
observing the following direction they will find that it is<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a><br /><a name="Page_41" id="Page_41">[41]</a></span>
in the power of anyone to produce as pretty a face as could
be wished for.</p>


<p>Among picture-cards, or in almost any juvenile book, may
be found many pretty faces of a suitable size which can be
transferred to the egg in this way.
Lay a piece of tracing-paper over the
head selected, and with a soft lead-pencil
trace carefully all the lines indicating
the features; then place the
paper on the shell so that the pencil-marks
are next to it, and with a hard
pencil, or ivory knitting-needle, go
over the lines again, thus transferring
the soft pencil-marks to the shell.
Touch up and strengthen the features
with a fine paint-brush and india-ink. Anyone understanding
painting may color the face in natural tints, but it looks very
nicely done merely in outline.</p>

<div class="figright" style="width: 172px;">
<img src="images/i_041b.jpg" width="172" height="209" alt="egg girl" />
<div class="caption">The Old-fashioned Girl.</div>
</div>

<p>The simplest arrangement for holding the little head erect
is a small pasteboard box turned upside down, and having a
hole cut in the bottom just large enough
to admit the small end of the shell; this
will support the head nicely, and also form
the shoulders.</p>

<div class="figleft" style="width: 152px;">
<img src="images/i_042.jpg" width="152" height="213" alt="egg gentleman" />
<div class="caption">The Dude.</div>
</div>

<p>Make the hair of raw cotton blackened
with ink, and fasten it on the head with
mucilage. When all of the foregoing directions
have been carried out it is time
to attend to the head-dresses, and we will
begin with the quaint and old-fashioned
poke-bonnet. Cut this bonnet from ordinary
brown wrapping-paper after the pattern shown in diagram;
sew together the ends of the “side of crown,” then sew<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span>
the curved side (which is cut in slits as shown in pattern, and
folded back as indicated by dotted line) to the smallest part of
brim; fold in the strips marked on the straight “side of
crown” and fasten on the “top of crown” with mucilage. The
trimming for the bonnet consists of a fold and bow of colored
tissue paper.</p>


<p>Make the man’s hat of shiny black paper by the pattern in
diagram, and fasten together in the same
manner as the bonnet, rolling the sides of
the brim when finished. Black and white
tissue-paper folded to fit the head, as
shown by the dotted lines in the pattern,
forms the head-dress of the nun.</p>

<p>By copying the head-dresses of different
nations, an odd and curious assembly
of these Easter-egg dolls can be formed;
but that must be worked out at some
future time, for we have yet to tell how
to construct some Easter toys that cannot be found in any
store. The</p>


<h3><b>Humpty Dumpty</b></h3>

<p class="unindent">who “sat on a wall,” and the “Humpty Dumpty” who “had
a great fall,” must have been like the one I am about to describe,
made of an egg; for it is pretty certain that if he should
fall, “all the king’s horses and all the king’s men couldn’t put”
this “Humpty Dumpty together again” any more than they
could the other.</p>

<div class="figcenter" style="width: 502px;">
<img src="images/i_043.jpg" width="502" height="654" alt="diagram" />
<div class="caption">Diagram of Humpty Dumpty.</div>
</div>

<p>The diagram shows the frame of this little fellow and how it
is joined together. A large egg should be chosen; and when
the contents have been blown from the shell, four holes must
be pricked in it for the arms and legs to pass through, as shown
in the diagram. These limbs are made of rather fine bonnet-wire,<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a><br /><a name="Page_44" id="Page_44">[44]</a></span>
the piece used for the arms being about eight inches long.
The hand is made by bending up one end of the wire as in diagram,
and with softened beeswax covering the loop thus formed.
When one hand has been finished off in this way, the other end
of the wire, still straight, should be passed through one of the
holes near the small end of the shell and out through the one
opposite, then bent up into
a hand and arm in the
same manner as described.</p>

<div class="figright" style="width: 298px;">
<img src="images/i_044.jpg" width="298" height="293" alt="Humpty sitting" />
<div class="caption">Humpty Dumpty.</div>
</div>

<p>The wire for the legs
and feet must be ten inches
long. The diagram shows
how it is bent to form the
feet. On this frame, wax
can easily be modelled to
look like a foot; a coating
of red paint will add to the
appearance, as red boots
look well with the costume
to be worn. The wire for
the legs should be bent in
a curve in the middle (see diagram) before it is passed through
the shell. Again, as with the hands, one foot must be finished
and the legs fastened on before the other foot can be made.</p>

<p>The figure of Humpty Dumpty being thus prepared, his face
must be painted; water-colors are the best for this purpose.
The jollier the expression of his face, the funnier the little man
will look.</p>

<p>Patterns for trousers, jacket, and hat are shown in the diagrams.
The trousers should be cut from white cotton cloth two
and a half inches long and six inches wide. A slit an inch and
a half long, cut in the middle, separates the legs of the trousers,
which must, of course, be sewed up. Dotted lines at top and<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span>
bottom show where a gathering thread should be run, the bottom
gathers forming ruffles around the ankles. White should
also be used for the jacket, cutting it three and a half inches
long and five inches wide. The shape of the jacket may be
seen in the diagram, dotted lines showing where the sleeves are
to be gathered around the wrist. Collar and pockets of red—the
patterns of which are given—finish the little garment. A
white hat four inches around the brim and two inches high is
decorated with a band of red, which should be sewed on the
edge and turned up.</p>

<p>When dressing Humpty Dumpty, fasten his garments on to
his body here and there with glue, which will hold them securely
in place. The hat also should be glued to his head, as
it is difficult otherwise to keep it on.</p>


<h3><b>Miss Rolly-poly.</b></h3>

<div class="figleft" style="width: 322px;">
<img src="images/i_045.jpg" width="322" height="317" alt="egg woman" />
<div class="caption">Miss Rolly-poly.</div>
</div>

<p>Little Miss Rolly-poly, who decidedly
refuses to lie down, always regaining
an upright posture, no matter
in what position she is placed, is made
in the following manner: After the
contents have been blown from the
shell, the hole of the small end is enlarged
gradually until it is about a
half-inch in diameter; the shell is then
placed in an upright
position (a box with a
hole cut in it just large
enough to hold the egg
firmly makes a good
stand) and melted sealing-wax is poured in; on top of this
melted lead is poured, all the while care being taken to keep<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span></p>

<p class="unindent">the shell perfectly steady, that the weight may fall exactly in
the centre and make a perfect balance. A small quantity of
lead is sufficient for the purpose, as the shell is so very light.</p>

<div class="figcenter" style="width: 424px;">
<img src="images/i_046.jpg" width="424" height="353" alt="diagram" />
<div class="caption">Diagram of Miss Rolly-poly.</div>
</div>

<p>Miss Rolly-poly requires no limbs; when her babyish face
is painted she is ready for her costume. The dress is simply
made of a strip of colored cloth, and is two inches long and
seven inches wide. The white apron is fastened to the dress as
shown in the diagram. Sleeves are made of pieces of the dress,
material about one inch long and one and a half inch wide.
They are rolled up and fastened with needle and thread, then
sewed on to the dress in the position shown in the diagram.
Pockets are made for the apron, and the ends of the sleeves
tucked in them, which makes it appear as though the hands
were hidden in the pockets. The cap, made of the same material,
or of a color harmonizing with the dress, is four inches<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>
round the brim and one inch high; it is sewed together at the
two ends, and gathered into a pompon on top, as is shown by
the dotted lines in the diagram. A little glue should also be
used to fasten this dolly’s dress and cap on.</p>


<h3><b>Mandolin.</b></h3>

<div class="figcenter" style="width: 456px;">
<img src="images/i_047.jpg" width="456" height="132" alt="spoon-like diagram" />
</div>
<div class="figright" style="width: 331px;">
<img src="images/i_047b.jpg" width="331" height="434" alt="mandolin with ribbon" />
<div class="caption">The Mandolin.</div>
</div>

<p>A pretty little toy
mandolin is made of the
lengthwise half of an
egg-shell. To separate
the shell in
this way it is
necessary
to pierce
holes
with a needle along
the line where the division
is to be made,
which will cause it to break
evenly; or the egg may be
boiled hard and then cut in
half with a very sharp knife.
Fig. 6 is cut from stiff paper,
and the strings drawn with pen
and ink; then the shell is fastened
to it on the opposite side
by pasting a narrow strip of white tissue paper
over the edges of the shell and frame, joining
them together. The top of the handle
is bent down a little and a narrow ribbon
tied to it. To make the
mandolin still more complete,
paint the handle mahogany
color, with a fine needle stitch
on strings of yellow silk, and paint the egg-shell into pumpkin-like
divisions of yellow and mahogany.</p>



<p><span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span></p>


<h3><b>The Owl.</b></h3>

<div class="figleft" style="width: 92px;">
<img src="images/i_048a1.jpg" width="92" height="163" alt="diagram" />
<div class="caption">Wing.</div>
</div>

<div class="figright" style="width: 154px;">
<img src="images/i_048a2.jpg" width="154" height="210" alt="diagram" />
<div class="caption">Diagram of Owl.</div>
</div>

<p>To turn a hen’s egg into an owl has not before, I imagine, been
thought possible; yet it is easy enough, and requires but a very
short time to accomplish the transformation, when one knows
just how to go to work. No incubator is needed to hatch this
bird, as only the shell is used, the
contents having been disposed of
in the manner before described.
We commence the formation of
the little owl by making two holes
near the large end of the shell in
the position shown in diagram.</p>
<div class="figleft" style="width: 121px;">
<img src="images/i_048a3.jpg" width="121" height="100" alt="legs and feet diagram" />
</div>

<p>By looking at the next diagram
the manner of making the feet and
legs may be seen. A short piece
of wire is bent in the shape given,
and is wrapped on to a longer
wire with strong thread, thus forming
three toes, which are quite
enough for a bird that will never walk. One foot made, the
wire is passed through the shell, having first been bent into a<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>
curve, as in the description of Humpty Dumpty. When the
last foot has been fastened on, the wire should be pushed back
into the shell, allowing but little of the legs to show. The
wings are cut by the pattern given, and are painted to resemble
feathers as much as possible. Brown is the best color to use.
By the diagram may be seen how the head and body are painted.</p>
<div class="figcenter" style="width: 214px;">
<img src="images/i_048b.jpg" width="214" height="262" alt="owl on branch" />
<div class="caption">Owl Complete.</div>
</div>


<h3><b>Maple-wax Easter Eggs.</b></h3>

<p>Empty the egg-shell of its contents and open a place at the
small end the size of a silver dime. Stand it in an upright position
with the largest opening on top, and leave it while you
prepare the maple-wax, or candy. Mix enough water with
some maple sugar to dissolve it, and set on the fire to cook;
when it will harden in cold water it is done. Carefully fill the
egg-shell with the hot maple-wax, and keeping it in an upright
position, set it on the ice to cool. When the wax is perfectly
cold and hard, paste an artificial daisy over the opening in the
shell. Maple-wax is the nicest kind of candy, and done up in
this way will remain firm and hard for a long while; and therefore
these maple-wax eggs make excellent Easter gifts to send
away to one’s friend at a distance. The best way to pack them
is to wrap them in cotton and then put them in a tin baking-powder
box, filling up the interstices with cotton to keep them
from knocking about.</p>

<p>The box, of course, must be wrapped in paper and tied securely
with a string. Packed like this, they may travel safely
all over the United States. The writer sent several the distance
of over seven hundred miles, and they arrived at their destination
in as perfect condition as when they left her hands.</p>


<h3><b>Bonbon Box.</b></h3>

<p>Select a box two or three inches high—a round one is best—which
has a lid that covers the entire box. Cut some straw<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>
or hay in pieces long enough to reach from the top to the edge,
and glue it on the sides of the lid, covering them completely.
Prepare as many halves of egg-shells as will cover the top, allowing
a space one inch wide around the edge. Glue the shells
down, and fill up the spaces between with straw. Near the
edge, on the opposite sides, glue a loop of narrow white ribbon;
these loops are to lift it with. Then glue straw on all the
uncovered parts of the lid, making it a little thicker and higher
at the edges. When the box is finished it resembles a nest of
eggs, and makes an appropriate and acceptable Easter gift.</p>


<h3><b>Easter Cards.</b></h3>


<div class="figleft" style="width: 208px;">
<img src="images/i_050.jpg" width="208" height="292" alt="Easter card" />
</div>
<p>It is a very pretty custom, that of sending Easter cards,
altogether too pretty to be allowed to lapse into disuse, as many
customs which are merely the expression
of sentiment are apt to do
in this busy, practical country of
ours. One experiences a great deal
of pleasure in selecting from the
stock of beautiful cards found in the
stores just before Easter those that
seem suitable for one’s friends, but
more pleasure will be derived from
home-made Easter cards, both to
the sender and recipient; for it is
true that into everything we make
we put a part of ourselves, and into
many a home-made article is woven
loving thoughts which make the gift priceless, although the materials
of which it is composed may have cost little or nothing.</p>

<p>Several years ago the writer was visiting a friend in the
country twenty miles from the nearest town where Easter cards<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>
could be purchased, but when Easter approached we sent off
our cards, just the same, and I am sure our friends were as
pleased with them, and more pleased, than if they had been of
the most expensive kind. This is how we made them:</p>

<div class="figcenter" style="width: 460px;">
<img src="images/i_051.jpg" width="460" height="325" alt="diagram" />
<div class="caption">Pattern for the Chicken.</div>
</div>

<p>It was an early spring, and the woods were filled with wild-flowers,
anemones and violets mostly; these we gathered, and
arranging them in small bunches, stuck the stems through little
slits cut in cards or pieces of heavy paper, as they are sometimes
fastened in books when pressed. Underneath the bouquet
we wrote the name of the person for whom it was intended,
with some friendly message appropriate to the season, and
signed our own names; then we carefully folded each in writing
paper, taking pains not to crumple the flowers, and enclosing
them in envelopes, sent them to their destination through
the mail. Any kind of flowers can be used for these Easter
cards, and instead of putting the stems through slits in the<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>
card, they may be tied to them with narrow ribbon. A card
to be sent only a short distance should be put in a box just
deep enough to leave room for the flowers, and fastened in
some way to keep it from moving about; in this way it will
reach its destination sweet and fresh.</p>

<p>To those who can paint their Easter cards we have no suggestions
to offer, for they have an unlimited supply of designs at their
command, and with their power of decoration, may turn almost
anything into an Easter card, from a piece of satin ribbon, upon
which they sketchily paint a spray of flowers, to an elaborate
picture. A few suggestions are here given which our younger
readers may like to carry out, as the cards we describe are
easily made, and adapted to amuse the children.</p>

<p>“Stepping through the White House” the first card is called,
and it represents a little chicken breaking through its shell.
The pattern of the chicken is given in the diagrams. Fig. 7, the
head and neck, is cut from yellow
flannel; Figs. 8, 9, and 10, the main
part and fragments of shell, are of
white paper, and Fig. 11, the feet, of
black paper. These are pasted to a
tinted card, as shown in illustration.
The eye and bill are made black
with ink or paint.</p>


<h3><b>Little Quakeress.</b></h3>

<div class="figright" style="width: 210px;">
<img src="images/i_052.jpg" width="210" height="281" alt="Quaker egg" />
<div class="caption">The Little Quakeress.</div>
</div>

<p>Half an egg-shell, with the face
and hair painted on it, forms the
head. The cap is made of white
tissue paper cut in four strips; one, for the crown, is six and a
half inches long, and a little over one and a half wide; another,
for the brim, is four and a half inches long and one inch wide;<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>
while the strings are each three and a half inches long, and one
and a half wide. The crown is plaited in the centre, the brim
folded lengthwise through the middle, and sewed to the crown.
The strings are fastened on either side of the cap, and crossed
in front; then the cap is pasted on the head, the surplus paper
folded back, and the whole glued on a card. The ends of the
strings are also fastened to the card, forming a Quaker kerchief.</p>

<div class="figcenter" style="width: 486px;">
<img src="images/i_053.jpg" width="486" height="128" alt="basket of eggs" />
</div>
<hr class="chap" />

<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p>

<div class="figcenter" style="width: 600px;">
<img src="images/i_054.jpg" width="600" height="434" alt="girls playing tennis" />
<div class="caption">Lawn-Tennis with Our Own Net.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span></p>




<h2>CHAPTER V.<br />

<small>HOW TO MAKE A LAWN-TENNIS NET.</small></h2>


<div>
  <img class="drop-cap" src="images/i_055.jpg" width="197" height="182" alt="L" />
</div>

<p class="drop-capi2">LET us see; it was that old medical gentleman,
Galen the Greek, who first
wrote upon tennis, speaking of the
sport as healthy exercise, was it not?
Well, girls, it really does not matter
much to us whether he was the first
to write it up and the Greeks the
first to play it, or whether the game
originated in France in the fifteenth
century, as some claim. What <i>we</i> want to know is, can we
all learn to play tennis? Does it cost much? What kind of
gowns and shoes must we wear? And is it an enjoyable game?</p>

<p>There is no doubt, we think, of its being a right royal
pastime, as it has been called both the “king of games” and
the “game of kings;” the latter because it was enjoyed by
princes and nobles—so much enjoyed, that in both England and
France edicts were published forbidding the common people to
play it.</p>

<p>Girls, do you wonder if they always had the choice of courts,
and so never took part in the fun of spinning the racket in the
air while the adversary called out “rough” or “smooth;” or
whether they played as we do, taking their defeats pleasantly
and wearing their honors gracefully, while always doing their
very best?</p>

<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p>

<p>They must have played well, for it is said that Louis XI.,
Henry II., and Charles IX., were experts, and that Henry VIII.
of England was extremely fond of the sport.</p>

<p>We can easily learn to play this most popular and exhilarating
of games. But we must be suitably clothed in order to
thoroughly enjoy it and receive all the benefit the recreation
brings to both mind and body.</p>

<p>Flannel seems to be the best material for a tennis suit—it is
so soft and yielding, and so well adapted for a defence against
either cold or heat.
Then, make your
tennis gown of flannel;
the skirt in
plaits, without drapery;
the postilion
basque of Jersey
cloth, soft and elastic,
matching the
skirt in color.</p>

<p>Sew the skirt of
your gown on a
sleeveless waist,
made of lining or
muslin. The Jersey
will fit nicely over
this, and you can play better and feel far more comfortable
than when the weight is allowed to drag on the hips. For it
is nonsense to attempt to take part in any athletic game unless
you can have perfect freedom of action; in short, you should
be so dressed as to be utterly unconscious of your clothing.</p>

<div class="figcenter" style="width: 341px;">
<img src="images/i_056.jpg" width="341" height="289" alt="two birds on net" />
<div class="caption">An Old Game.</div>
</div>

<p>Either crochet a Tam O’Shanter hat or make one of the
dress material, as these are not so apt to fall off while running as
a straw hat. “Last, but not least,” come the shoes. Of course,<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span>
rubber-soled shoes are the best. But if these are not to be had,
remove the heels from an old pair of ordinary shoes, and they
will do very well; heels roughen and cut the courts.</p>

<p>The actual cost of a lawn-tennis set need only be the price
of the rackets and balls, and rope and cord necessary when
you learn</p>


<h3><b>How to Make a Lawn-Tennis Net,</b></h3>

<p class="unindent">which is not difficult.</p>
<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 237px;">
<img src="images/i_057a.jpg" width="237" height="36" alt="diagram" />
<div class="caption">Stake.</div>
</div>
</td>
<td align="left"><div class="figright" style="width: 166px;">
<img src="images/i_057b.jpg" width="166" height="41" alt="diagram" />
<div class="caption">Peg.</div>
</div>
</td>
</tr>
</table>
</div>
<p>First procure two pieces of cotton rope, three-sixteenths of
an inch in size, each thirty-four feet long, costing about twenty-five
cents apiece. Then one and a half pound of hammock
twine or macrimé cord, No. 24, which will not cost more than
fifty cents. Next, two lengths of cotton rope for guy-ropes,
each five feet, price, both included, ten cents; making the total
amount $1.10 for a strong, firm, tennis
net which will prove serviceable and
last many a season.</p>


<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr><td align="left"><div class="figcenter" style="width: 184px;">
<img src="images/i_057c.jpg" width="184" height="73" alt="diagram" />
<div class="caption">Runner.</div>
</div></td><td align="left" rowspan="2" valign="middle"><div class="figcenter" style="width: 192px;">
<img src="images/i_057e.jpg" width="192" height="56" alt="diagram" />
<div class="caption">The Fid.</div>
</div></td></tr>
<tr><td align="left"><div class="figcenter" style="width: 163px;">
<img src="images/i_057d.jpg" width="163" height="73" alt="diagram" />
<div class="caption">Runner and Guy-rope.</div>
</div></td></tr>
</table></div>

<p>The other
materials necessary are all home-made.
These consist
of two stakes, each five feet long (Fig.
12). Any kind of a strong pole, when
sharpened at one end and a notch cut
at the other, will answer the purpose. Four pegs, each one foot
long (Fig. 13). These may be easily made of old broomsticks.
Four runners (Fig. 14), each five inches long, one and a quarter
wide, and about half an inch thick, with holes bored near each<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span>
end large enough to allow the guy-rope (Fig. 15) to pass
through. A fid or mesh-stick of any kind of wood (Fig. 16),
about a foot or ten inches long, with circumference measuring
three inches. A hammock-needle (Fig. 17), nine or ten inches
long and one wide, which may be bought for ten cents, or
whittled out of a piece of ash or hickory by some kind
brother. Tassels are not necessary, though
it is much better to have them, as they make
the top line of the net more distinct and add
to its appearance. Make about forty bright-colored
tassels of worsted, or bits of flannel
cut in very narrow strips, three inches long, allowing ten or
twelve strips to each tassel. Commence your tennis net by
first threading the needle; take it in the left hand, and use the
thumb to hold the end of the cord in place while looping it
over the tongue (see Fig. 18); pass the cord down under the
needle to the opposite side, and catch it over the tongue. Repeat
this until the needle is full.</p>


<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 50px;">
<img src="images/i_058a.jpg" width="50" height="377" alt="diagram" />
<div class="caption">Hammock-needle.</div>
</div>
</td>
<td align="left"><div class="figcenter" style="width: 121px;">
<img src="images/i_058b.jpg" width="121" height="263" alt="diagram" />
</div>
</td>
<td align="left"><div class="figcenter" style="width: 91px;">
<img src="images/i_058c.jpg" width="91" height="229" alt="diagram" />
</div>
</td>
<td align="left"><div class="figcenter" style="width: 94px;">
<img src="images/i_058d.jpg" width="94" height="371" alt="diagram" />
<div class="caption">Needle
Threaded</div>
</div>
</td>
</tr>
</table>
</div>








<div class="figcenter" style="width: 600px;">
<img src="images/i_059.jpg" width="600" height="297" alt="diagram" />
<div class="caption">Knots.</div>
</div>

<p>Next, take a piece of rope thirty-four feet long, and make a<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>
long loop in one end, tying the knot so that it can readily be
untied again. Throw
the loop over some
convenient hook or
door-knob (Fig. 19)
with the knot at the
knob or hook. Tie
the cord on the needle
to the loop, place the
fid or mesh-stick under
the cord close to
the loop (Fig. 20),
with the thumb on the
cord to hold it in place
(Fig. 25), while you
pass the needle around
the mesh-stick, and,
with its point toward
you, pass it through
the loop from the top,
bringing it over the
mesh-stick. This will
make the first half of
the knot (Fig. 21).
Pull this tight, holding
it in place with the
thumb while you
throw the cord over
your hand, which
forms the loop as seen
in Fig. 22. Then pass
the needle from under
through the loop, pulling it tight to fasten the knot. Hold it<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>
in place with the thumb, and repeat these movements for the
next knot. Fig. 23 shows a number of these knots finished.
A in Fig. 23 is a knot before it is drawn tight; B in Figs. 21,
22, 23 is the string that runs to the needle, C is the rope, and
D is the mesh-stick. About two hundred and sixty-four of
these knots or meshes will make the
net the regular length, thirty-three
feet.</p>

<div class="figleft" style="width: 213px;">
<img src="images/i_060.jpg" width="213" height="369" alt="diagrams" />
</div>

<p>In knitting across, the meshes will
accumulate on the fid; shove them
off to the left, a few at a time, to
make space for others. When the
desired number of meshes are finished
to form the first row, shove them all
off the fid, as shown in Fig. 24.</p>

<p>Begin the next row by again placing
the fid under the cord (Fig. 24).
Take up the first mesh, drawing it
close to the mesh-stick, hold it in
place with the thumb while throwing
the cord over your hand, pass the needle
on the left-hand side of the mesh
from under through the loop (Fig. 25);
pull this tight, and you will have tied the common knitting-knot.
Repeat this with all the loops until the row is finished.</p>
<div class="figright" style="width: 226px;">
<img src="images/i_061a.jpg" width="226" height="257" alt="diagrams" />
</div>
<p>When it becomes necessary to thread or fill the needle, tie
the ends of the cord with the knot shown in Fig. 26, which, when
properly tightened, cannot slip. Wrap each end of the cord
from the knot securely to the main cord with strong thread, to
give the net a neat appearance.</p>

<p>Continue netting until the net is three feet wide. Then untie
the rope, and spread the net by sliding the knots apart, and
fasten the second rope to the bottom of the net by tying the rope<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span>
securely to the first mesh with the cord on the needle; then
carry the rope and cord to the next mesh, hold the rope, cord,
and mesh firmly in place, and throw the cord over your hand,
passing the needle down through the mesh under the rope and
cord out through the loop (Fig.
27). Pull this tight, and continue
in like manner, knitting each successive
mesh to the rope until the
net is all fastened on. Turn back
the end of the rope and
wrap it down neatly
with strong string
(Fig. 28). In the same way secure
the other end, and also the ends of
the first or top rope.</p>



<div class="figleft" style="width: 81px;">
<img src="images/i_061b.jpg" width="81" height="32" alt="knot" />
<div class="caption">Fig. 26.</div>
</div>

<p>This completes the lawn-tennis
net proper. The bright tassels can now be tied at intervals
along the top of the net, and four pieces of twine fastened on
each end of the net at equal distances apart. These are for
tying the net to the poles (Fig. 29).</p>

<div class="figcenter" style="width: 504px;">
<img src="images/i_061c.jpg" width="504" height="141" alt="Fig. 17 Fig. 18" />
</div>

<div class="figleft" style="width: 150px;">
<img src="images/i_062b.jpg" width="150" height="250" alt="diagram" />
</div>

<p>To erect the lawn-tennis net, plant the two poles firmly
in the ground a little over thirty-three feet apart, tie the net to
the poles, then drive in the pegs, two to each pole, about five
feet from the pole (Fig. 30); slide a runner on each end of the
two guy-ropes by first threading the rope through one of the
holes in the runner, then pass the rope over the side down<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span>
through the other hole and fasten it with a
knot (Fig. 15). Next tie around the notch
in the top of the poles the guy-ropes, with
runners attached, and slip each loop made
by the runner over each peg (Fig. 31), allowing
the rope to fall in the groove A near
the top of the peg; tighten the rope by
pushing up the runners. The stakes are
thus held in position by ropes running out to
the pegs in the ground (Fig. 30).</p>

<div class="figcenter" style="width: 600px;">
<img src="images/i_062a.jpg" width="600" height="115" alt="drawing" />
<div class="caption">Fig. 30.—The Home-Made Net.</div>
</div>

<p>Now we understand how to make and
erect a lawn-tennis net;
but what shall we do
about the court? Of
course, that must be all
ready before we can set
up the net. We must
now learn how to lay
out a</p>


<h3><b>Lawn-Tennis Court.</b></h3>

<p>The best ground for
this is turf, though it may be of asphalt, or
earth mixed with fine gravel; sometimes
wood is used.</p>

<p>The diagram on <a href="#Page_64">page 64</a> (Fig. 32) shows
the construction of a lawn-tennis court for
two, three, or four-handed games.</p>

<p>Lay out the court with a hundred-foot
measuring-tape, by marking the lines with
whitewash, chalk, paint, or plaster-of-Paris.</p>

<div class="figright" style="width: 138px;">
<img src="images/i_063.jpg" width="138" height="134" alt="fig. 31" />
</div>

<p>First the side line, seventy-eight feet,<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span>
AB. This gives you one side of your court. Then the base
line, thirty-six feet, AC, which, with their parallel lines CD and
DB, form the boundaries of a court for four-handed
games. Now lay off the side lines
of the single court, EG and FH, which are
parallel to the others and four and a half feet
inside of them. Divide the court across the
centre by the net, fastened to the poles O and
P. The lines EF and GH are called base
lines. Twenty-one feet from the net, mark the service lines,
MN and TV. Then make the central longitudinal line, IJ, and
the court is complete.</p>

<p>Now everything is prepared for the game. Hold your racket
firmly, and try to keep the ball flying over the net, back and
forth, as often as possible.</p>

<p>For the guidance of those who have had no opportunity of
learning to play lawn-tennis the following rules are given, as
adopted by the United States National Lawn-Tennis Association.</p>

<p>First, however, we would say that it is not necessary always
to have an umpire or a referee, as spoken of in the</p>


<h3><b>Rules for Lawn-Tennis.</b></h3>

<h4>THE GAME.</h4>

<p>1. The choice of sides, and the right to serve in the first
game, shall be decided by toss; provided that, if the winner of
the toss choose the right to serve, the other player shall have
choice of sides, and <i>vice versa</i>. If one player choose the court,
the other may elect not to serve.</p>

<p>2. The players shall stand on opposite sides of the net; the
player who first delivers the ball shall be called the <i>server</i>, and
the other the <i>striker-out</i>.</p>

<p><span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span></p>

<div class="figcenter" style="width: 359px;">
<img src="images/i_064.jpg" width="359" height="693" alt="Fig. 32" />
<div class="caption">LAWN-TENNIS COURT.</div>
</div>

<p><span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span></p>

<p>3. At the end of the first game the striker-out shall become
server, and the server shall become striker-out; and so on, alternately,
in all the subsequent games of the set, or series of
sets.</p>

<p>4. The server shall serve with one foot on the base line, and
with the other foot behind that line, but not necessarily upon
the ground. He shall deliver the service from the right to the
left courts alternately, beginning from the right.</p>

<p>5. The ball served must drop between the service line, half-court
line, and side line of the court, diagonally opposite to
that from which it was served.</p>

<p>6. It is a <i>fault</i> if the server fail to strike the ball, or if the
ball served drop in the net, or beyond the service line, or out of
court, or in the wrong court; or if the server do not stand as
directed by law 4.</p>

<p>7. A ball falling on a line is regarded as falling in the court
bounded by that line.</p>

<p>8. A fault cannot be taken.</p>

<p>9. After a fault the server shall serve again from the same
court from which he served that fault, unless it was a fault because
he served from the wrong court.</p>

<p>10. A fault cannot be claimed after the next service is delivered.</p>

<p>11. The server shall not serve till the striker-out is ready.
If the latter attempt to return the service he shall be deemed
ready.</p>

<p>12. A service or fault, delivered when the striker-out is not
ready counts for nothing.</p>

<p>13. The service shall not be <i>volleyed</i>, <i>i.e.</i>, taken, before it
has touched the ground.</p>

<p>14. A ball is in play on leaving the server’s racket, except
as provided for in law 6.</p>

<p>15. It is a good return, although the ball touch the net; but<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span>
a service, otherwise good, which touches the net, shall count for
nothing.</p>

<p>16. The server wins a stroke if the striker-out volley the service,
or if he fail to return the service or the ball in play; or if
he return the service or the ball in play so that it drops outside
of his opponent’s court; or if he otherwise lose a stroke,
as provided by law 18.</p>

<p>17. The striker-out wins a stroke if the server serve two
consecutive faults; or if he fail to return the ball in play; or
if he return the ball in play so that it drops outside of his opponent’s
court; or if he otherwise lose a stroke as provided by
law 18.</p>

<p>18. Either player loses a stroke if he return the service or
the ball in play so that it touches a post of the net; or if the
ball touch him or anything that he wears or carries, except
his racket in the act of striking; or if he touch the ball with his
racket more than once; or if he touch the net or any of its supports
while the ball is in play; or if he volley the ball before it
has passed the net.</p>

<p>19. In case any player is obstructed by any accident, the
ball shall be considered a <i>let</i>.</p>

<p>20. On either player winning his first stroke, the score is
called 15 for that player; on either player winning his second
stroke, the score is called 30 for that player; on either player
winning his third stroke, the score is called 40 for that player;
and the fourth stroke won by either player is scored game for
that player, except as below: If both players have won three
strokes, the score is called <i>deuce</i>; and the next stroke won by
either player is scored <i>advantage</i> for that player. If the same
player wins the next stroke, he wins the game; if he loses the
next stroke the score returns to deuce; and so on, until one
player wins the two strokes immediately following the score of
deuce, when game is scored for that player.</p>

<p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p>

<p>21. The player who first wins six games wins the set; except
as follows: If both players win five games, the score is
called <i>games all</i>; and the next game won by either player is
scored <i>advantage game</i> for that player. If the same player wins
the next game, he wins the set; if he loses the next game, the
score returns to games all; and so on, until either player wins
the two games immediately following the score of games all,
when he wins the set. But individual clubs, at their own tournaments,
may modify this rule at their discretion.</p>

<p>22. The players shall change sides at the end of every set;
but the umpire, on appeal from either player, before the toss for
choice, may direct the players to change sides at the end of
every game of each set, if, in his opinion, either side have a distinct
advantage, owing to the sun, wind, or any other accidental
cause; but if the appeal be made after the toss for choice, the
umpire can only direct the players to change sides at the end of
every game of the odd or deciding set.</p>

<p>23. When a series of sets is played, the player who served in
the last game of one set shall be striker-out in the first game of
the next.</p>

<p>24. The referee shall call the game after an interval of five
minutes between sets, if either player so order.</p>

<p>25. The above laws shall apply to the three-handed and
four-handed games, except as below:</p>

<p>26. In the three-handed game, the single player shall serve
in every alternate game.</p>

<p>27. In the four-handed game, the pair who have the right to
serve in the first game shall decide which partner shall do so;
and the opposing pair shall decide in like manner for the second
game. The partner of the player who served in the first game
shall serve in the third, and the partner of the player who served
in the second game shall serve in the fourth; and the same order
shall be maintained in all the subsequent games of the set.</p>

<p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p>

<p>28. At the beginning of the next set, either partner of the
pair which struck out in the last game of the last set may serve,
and the same privilege is given to their opponents in the second
game of the new set.</p>

<p>29. The players shall take the service alternately throughout
the game; a player cannot receive a service delivered to his
partner; and the order of service and striking out once established
shall not be altered, nor shall the striker-out change
courts to receive the service, till the end of the set.</p>

<p>30. It is a fault if the ball served does not drop between the
service line, half-court line, and service side line of the court,
diagonally opposite to that from which it was served.</p>

<p>31. In matches, the decision of the umpire shall be final.
Should there be two umpires, they shall divide the court between
them, and the decision of each shall be final in his share
of the court.</p>


<h4>ODDS.</h4>

<p>A <i>bisque</i> is one point which can be taken by the receiver of
the odds at any time in the set except as follows:</p>

<p>(<i>a</i>) A bisque cannot be taken after a service is delivered.</p>

<p>(<i>b</i>) The server may not take a bisque after a fault, but the
striker-out may do so.</p>

<p>One or more bisques may be given to increase or diminish
other odds.</p>

<p><i>Half fifteen</i> is one stroke given at the beginning of the
second, fourth, and every subsequent alternate game of a set.</p>

<p><i>Fifteen</i> is one stroke given at the beginning of every game
of a set.</p>

<p><i>Half thirty</i> is one stroke given at the beginning of the
first game, two strokes given at the beginning of the second
game; and so on, alternately, in all the subsequent games of
the set.</p>

<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span></p>

<p><i>Thirty</i> is two strokes given at the beginning of every game
of a set.</p>

<p><i>Half forty</i> is two strokes given at the beginning of the
first game, three strokes given at the beginning of the second
game; and so on, alternately, in all the subsequent games of
the set.</p>

<p><i>Forty</i> is three strokes given at the beginning of every game
of a set.</p>

<p><i>Half court:</i> The players may agree into which half court,
right or left, the giver of the odds shall play; and the latter
loses a stroke if the ball returned by him drops outside any of
the lines which bound that half court.</p>


<h4>THE BALLS.</h4>

<p>The balls shall measure not less than 2-15/32 inches, nor more
than 2½ inches in diameter; and shall weigh not less than 1-15/16
oz., nor more than 2 oz.</p>

<div class="figcenter" style="width: 477px;">
<img src="images/i_069.jpg" width="477" height="135" alt="one cherub pulling another one seated on a tennis racket" />
</div>
<hr class="chap" />
<p><span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span></p>

<div class="figcenter" style="width: 505px;">
<img src="images/i_070.jpg" width="505" height="715" alt="drawing of children dancing round May pole" />
<div class="caption">The May-Pole Dance.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span></p>




<h2>CHAPTER VI.<br />

<small>MAY-DAY.</small></h2>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">Ho! the merrie first of Maie</div>
<div class="verse">Bryngs the daunce and blossoms gaie,</div>
<div class="verse">To make of lyfe a holiday.</div>
</div>
</div>


<div>
  <img class="drop-cap" src="images/i_071.jpg" width="190" height="247" alt="I" />
</div>

<p class="drop-capi2">IN the merry heart of youth the old song
still finds an echo, and this day, with
its relics of pagan customs, celebrating,
in the advent of spring, nature’s
renewed fertility, is a festival full of
fun for the children.</p>

<p>Some of the ceremonies of May-day,
handed down from generation to
generation, were brought to America
in old colonial days by the English,
but owing, perhaps, to the stern puritanical
training of most of the early
settlers, the customs did not thrive here as in the mother country,
and many of them have died out altogether.</p>

<p>May-day is one of the many holidays still celebrated, that
originated among the pagans ages ago, and it is said that the
practice of choosing a May-queen and crowning her with flowers
is a remnant of the ceremonies in honor of Flora, the goddess
of flowers, which were held in Rome the last four days of April
and the first of May.</p>

<p>There was, at one time, a very pretty custom observed in<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>
Merrie England of fastening bunches of flowering shrubs and
branches of sycamore and hawthorn upon the doors of those
neighbors whose good lives and kindly habits were thus recognized
by their friends.</p>

<p>The maids and matrons of England formerly had a way of
their own of observing the day. On the first of May they would
all go trooping out with the earliest rays of the morning sun,
to bathe their faces in the magic dew, which glistened upon the
grass once a year only, and was supposed to render the features
moistened with it beautiful for the next twelve months.</p>

<p>When the writer was a wee little girl there lived next door
to her home two old maiden ladies, who always kept a bottle
of May-dew among their treasures. Although the ladies in
question had long since passed that period when maidens are
supposed to be lovely, superstitious persons might have found
confirmation of a belief in the power of the dew, when they
looked upon the sweet and kindly faces of these old maids.
Faith in the fabled efficacy of May-dew will probably lose its
last adherents when the two old ladies, very aged now, leave
this world; but other pretty customs, from which all the superstitious
elements seem to have departed, should not be allowed
to die out, and we intend this chapter on May-day sports as a
reminder that May-day is a holiday and should be fittingly celebrated
by the older girls as well as the little children, who, in
these times, seem to be the only ones to remember the day.</p>


<h3><b>May-day Sports.</b></h3>

<p>A May-day custom, and a very pretty one, still survives
among the children in our New England States. It is that of
hanging upon the door-knobs of friends and neighbors pretty
spring-offerings in the shape of small baskets filled with flowers,
wild ones, if they can be obtained; if not, the window-gardens<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span>
at home are heavily taxed to supply the deficiency. When the
dusky twilight approaches, it is time for the merry bands of
young folks to start out on this lovely errand of going from
house to house, leaving behind them the evidence of their flying
visit in these sweetest of
May-offerings. Silently approaching
a door, they hang
a May-basket upon the knob
and, with a loud rap, or ring
of the bell, scamper off, and
flee as though for life.</p>

<div class="figleft" style="width: 155px;">
<img src="images/i_073b.jpg" width="155" height="225" alt="diagram of three sticks" />
<div class="caption">Fig. 33.</div>
</div>

<div class="figright" style="width: 277px;">
<img src="images/i_073.jpg" width="277" height="492" alt="drawing" />
<div class="caption">The Straw Basket</div>
</div>

<p>These little Mayers are
sometimes pursued, but few
are ever caught, for the recipients
of the baskets know
that to capture a child, carry
her into the house and treat her to sweetmeats, usually dear to
the youthful palate, will not compensate the little prisoner for
being held captive and thereby missing the fun going on among
the other children.</p>

<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p>


<h3><b>How to Make May-baskets.</b></h3>

<p>The dainty little baskets which are used by the Mayers are
generally of home manufacture. They are made of almost any
material, and in a variety of shapes. Some, constructed of card-board,
are covered with crimped tissue-paper, or with gilt,
silver, or colored paper. They are never large unless flowers
are plentiful, and even in that case a small basket is prettier.</p>

<p>Our first illustration represents a May-basket made of straws.
Fig. 33 shows the frame of this basket, for which three straws
seven inches long are required; these are sewed together, two
and one-half inches from the bottom, forming a tripod. For
the sides eighteen straws are necessary, six on each side, of
graduating lengths; the three top straws being five inches long
and the lowest ones three and one-half inches. These are sewed
to the frame, log-cabin fashion, one upon another.</p>

<p>The bottom of the basket is made of a three-cornered piece
of card-board cut to fit; three straws, two and one-half inches
long, hold the base of the frame in position. A handle formed
of three ribbons finishes off this May-basket very prettily; a
ribbon is tied to each corner of the basket; the other ends
meeting form a bow, as shown in the illustration.</p>

<div class="figcenter" style="width: 472px;">
<img src="images/i_075.jpg" width="472" height="458" alt="Fig 34. " />
<div class="caption">The Birch-bark Basket.</div>
</div>

<h3><b>Birch-bark Baskets</b></h3>

<p class="unindent">are quite appropriate for wild flowers, and one in the shape of a
canoe can be made from a strip of bark six and one-half inches
long and four inches wide. Fig. 34 gives the pattern of this
basket. The dotted lines show where the ends are to be sewed
together; a ribbon sewed to each end of the canoe serves for a
handle.</p>


<h3><b>Card-board Baskets,</b></h3>

<p class="unindent">cut after the pattern Fig. 35, can be covered with gilt, silver, or
crimped tissue-paper as desired; paper lace or fringe is sometimes<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span>
placed around the edges of baskets of this kind, as a
border to rest the flowers upon. The card-board basket shown
in illustration is joined together by button-hole stitching of colored-silk
floss; slits are cut in two sides and a ribbon slipped
through, the ends of which are tied in bow-knots to hold them
in place.</p>



<h3><b>May-day Combat.</b></h3>

<div class="figleft" style="width: 298px;">
<img src="images/i_076a.jpg" width="298" height="414" alt="drawing" />
<div class="caption">The Card-board Basket.</div>
</div>
<p>This game, although suggested by the ceremonies which, according
to Waldron, usher in the month of May in the Isle of<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span>
Man, is entirely new and bids fair to become popular, as it combines
the elements of beauty, sentiment and mirth.</p>

<p>A number of young people separate into two parties, each
having its queen; one the Queen of May, the other Queen of
Winter. The May-queen and her attendants should be decked
with flowers, Winter and her retinue being without decoration.
Equipped with the appropriate
implements of
warfare between the two
seasons, namely, a wreath
of flowers for spring and a
ball of raw cotton, or wool,
representing snow, for winter,
the contending forces
draw up in opposing lines,
the space between being
about twelve feet. Each
line is headed by its respective
queen, who holds
her missile in her hand.</p>


<div class="figright" style="width: 162px;">
<img src="images/i_076.jpg" width="162" height="98" alt="diagram" />
<div class="caption">Fig. 35.</div>
</div>

<p>The game is commenced by the two queens simultaneously
tossing the wreath and ball to someone in the opposite line,
whose name is called as the missile is thrown. Should the person
to whom it is thrown fail to catch it, she is made prisoner
and must do battle on the other side, being released only when
she succeeds in catching the missile belonging to her own party.</p>

<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p>

<p>When the wreath and ball are caught, they are instantly
tossed back to the opposite rank, and so the game goes on.
Hostilities must cease when prisoners are being taken or released,
to be recommenced when both sides announce themselves ready.</p>

<p>If either queen is captured she is ransomed by the return of
all the prisoners taken on her side; should she have no prisoners
to release, the game is ended.</p>

<p>If the May-queen and her forces are defeated, they must
strip off their floral decorations and give them to the victors,
who, decked in these trophies, become the representatives of
Spring, and the Queen of Winter is made Queen of May and is
crowned by her vanquished and dethroned opponent. The former
May-queen and her retinue, after offering their congratulations,
must serve as attendants on the triumphant queen and do
her bidding.</p>

<p>When the May-queen proves victorious the programme is
reversed, and Winter and her party become the subjects of May.</p>


<h3><b>The May-pole.</b></h3>

<p>An old writer, speaking of the May-games held in England,
says, “Their cheefest jewell is their Maie-poole,” and to leave
the May-pole out of our list of May-sports would indeed deprive
the day of one of its most important and prettiest features. The
appropriate place for the May-pole is, of course, out of doors;
yet the climate in most of our Northern States is so changeable
and uncertain it may be found necessary for comfort to hold the
festivities in the house, and in that case the following directions
for erecting the pole in a room of moderate dimensions will be
found useful.</p>


<h3><b>How to Erect a May-pole in the House.</b></h3>

<p>A May-pole from ten to twelve feet high is as tall as the
ceilings of most rooms will admit.</p>

<p><span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span></p>

<p>The pole should be round, smooth, and about five inches in
diameter at the base, growing gradually smaller toward the
top.</p>

<div class="figcenter" style="width: 285px;">
<img src="images/i_078.jpg" width="285" height="136" alt="diagram" />
<div class="caption">Fig. 36.</div>
</div>


<div class="figright" style="width: 285px;">
<img src="images/i_079.jpg" width="285" height="401" alt="diagram" />
<div class="caption">Fig. 37.</div>
</div>

<p>For its support a wooden box is necessary, the average size
being three feet long, two feet wide, and one foot high. Remove
the top of the box,
and directly in the centre
of it cut a hole large enough
to admit the pole. Take
two sticks, two inches wide,
and long enough to fit
lengthwise in the box, and
two shorter ones fitting the
box crosswise, and nail them securely in the position shown in
Fig. 36, driving the nails from the outside of the box. Slip the
pole through the hole which has been cut in the top, and then
stand it in an upright position between the four sticks in the
centre of the box (Fig. 37). Be sure that the pole stands perfectly
straight; then, before nailing down the top, fill the box
with sand, bricks, or stones, packing them tightly around the
pole; this will give sufficient weight to prevent its tipping.
Nail the top on, and cover the box with moss or green cloth,
and bank it up with flowers.</p>


<h3><b>How to Dress a May-pole.</b></h3>

<p>In olden times the May-poles were painted in alternate
stripes of yellow and black, but a white pole is prettier and
shows the decorations to better advantage. Tack the ends of
eight or ten variously colored ribbons, one and one-half inch
wide, around the pole near the top. For a pole ten feet high
the ribbons should be four yards long. Around where the
ribbons are fastened on, suspend a wreath of flowers, as shown<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>
in Fig. 38. Decorate the extreme tip of the pole with gaily
colored streamers, or small flags.</p>
<div class="figleft" style="width: 253px;">
<img src="images/i_080a.jpg" width="253" height="419" alt="drawing of ribbon top" />
<div class="caption">Fig. 38.</div>
</div>

<h3><b>May-pole Dance.</b></h3>

<p>An even number of persons are required for this dance;
half the number take the end of a ribbon in the right hand and
half in the left; they then
stand facing alternately right
and left. When the dance
commences, each dancer facing
the right passes under
the ribbon held by the one
opposite facing the left; she
then allows the next person
going to the left to pass under
her ribbon, and so, tripping
in and out, under and
over, the ribbons are woven
around the pole.</p>

<p>After continuing for a
while, according to the above
directions, the dancers separate
into two equal divisions,
and each party, independent
of the other, plaits
a strip which hangs loosely
from the pole.</p>


<p>In performing this variation the two parties stand on either
side of the pole, and all those facing the right pass on in that
direction, going in and out as at first, until the last person going
to the right has passed the last person going to the left in
her division; then, transferring the ribbons to their other hands,<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
they all turn and reverse the order. Thus they continue, going
back and forth until the plait is
about a foot in length, when another
change is made by the two
parties joining forces again; this
time, all those facing the left
proceed in that direction, passing
under the ribbons of all the
others who are going to the right,
thus forming two circles, one
within the other. After going
twice around the pole in this
order, the dancers composing
the inner circle take the outside
and the others pass beneath their
ribbons, again circling the pole
twice; then, after going through
the first figure once more the
dance may be ended, or the
whole order may be reversed,
and the ribbons, in that way, be
unplaited again.</p>

<p>An appropriate song, with words set to a dancing air, should
be sung by those taking part in the May-pole dance.</p>

<div class="figcenter" style="width: 483px;">
<img src="images/i_080b.jpg" width="483" height="146" alt="flower basket" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p>
<h2 class="faux">Summer</h2>
<div class="figcenter" style="width: 524px;">
<img src="images/i_081.jpg" width="524" height="369" alt="SUMMER" />
</div>

<hr class="chap" />

<p><span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span></p>

<div class="figcenter" style="width: 467px;">
<img src="images/i_082.jpg" width="467" height="464" alt="girl on shore" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span></p>




<h2>CHAPTER VII.<br />

<small>MIDSUMMER EVE.</small></h2>


<div>
  <img class="drop-cap" src="images/i_083.jpg" width="222" height="247" alt="I" />
</div>

<p class="drop-capi">IN the minds of most of us, midsummer is
associated with dry, dusty roads,
parched vegetation, the shrill cry of
the locust,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> the shriller notes of the
mosquitoes, and the hum of myriads
of other insects; but, girls, midsummer
does not come at this time:
astronomy fixes the date at June
21st, the longest day of the year,
when the leaves are still glossy green with the fresh sap circulating
through their veins, giving them that healthy, juicy
look so refreshing to the eye, and the heat of the sun has not
yet dried to a white powder the firm country roads over which
we delight to wander.</p>

<p>Ages ago the Pagans used to celebrate the day with rejoicing,
because old Sol’s bright face had broken loose from the
clouds of winter, and the rain and mists of spring. They
symbolized the revolution of the season by rolling great
wooden wheels down the hill-sides; sometimes attaching straw
to the outer circle and setting fire to it at night, making a
miniature midnight sun as it dashed down the steep incline.</p>

<p>The people also believed that ill-luck rolled away from them
with the fiery wheel, and to this day you will see Fortune or<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a><br /><a name="Page_85" id="Page_85">[85]</a></span>
Misfortune represented as travelling, like an acrobat at a circus,
upon a wheel.</p>

<div class="figcenter" style="width: 526px;">
<img src="images/i_084.jpg" width="526" height="716" alt="drawing" />
<div class="caption">Midsummer-eve Party.</div>
</div>

<div class="blockquot">“Ye vertue of a rare cole that is to be
found at Midsummer Eve under ye
root of plantane and of mugwort
Ye effects whereof are wonderful
Whosoever weareth or beareth ye
same about with them shall be freed
from ye plague lightning and all ills”</div>

<p>All the elves, brownies, and fays were supposed to be on
hand at midsummer night, and it is this old superstition that
Shakespeare has so beautifully illustrated in his “Midsummer
Night’s Dream.”</p>

<p>It was on midsummer eve that the supposed invisible seeds
of the fern could be gathered which rendered the fortunate
possessor invisible whenever he chose to carry them about with
him. Among other strange and some quite pretty superstitions,
there is a tradition that a coal, found attached to the roots of
the mugwort or plantain on midsummer eve, will keep away
misfortune and insure good luck to the finder.</p>

<p>The girls of to-day who, although advanced enough to discard
the superstitious element, can appreciate the poetic ideas
symbolized by these ancient rites, may take hints for the entertainment
of themselves and friends from the old belief in the
mysteries and charms of midsummer eve.</p>

<p>Games can be invented, and pretty keepsakes and souvenirs
exchanged upon this night, that will translate ancient paganism
into modern good feeling and fellowship.</p>


<h3><b>The New Fern-leaf Game.</b></h3>

<p>Some one who has charge of the games shows to the assembled
girls and boys a fern-leaf, and explains to them the legend
connected with it, and the power of the seed to render the
possessor invisible. Next she blindfolds them all; then, choosing
one from among them, she removes the bandage from the
player’s eyes without allowing the others to know who has
been selected to be the bearer of the magic fern. After giving
the fern-leaf into the keeping of the chosen one, she places the
latter in the centre of a ring formed by the rest of the players,
who take hold of hands and circle round; then, still holding<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
hands, they forward to the centre and return; letting go hands,
they forward again, this time the fern-bearer joins in the ranks.
Once more the ring is formed and they circle round, singing
these lines:</p>

<div class="poetry-container">
  <div class="poetry">
    <div class="stanza">
<div class="verse">Round goes the wheel,</div>
<div class="verse">Round goes the year,</div>
<div class="verse">For woe or for weal,</div>
<div class="verse">Midsummer is here.</div>
    </div>
    <div class="stanza">
<div class="verse">To the one who finds</div>
<div class="verse">The seeds of the fern,</div>
<div class="verse">Misfortune and evil</div>
<div class="verse">To good luck will turn.</div>
</div>
</div>
</div>

<p>At the word “turn,” each player seizes another and cries
out, “fern, fern!” at the same time removing the handkerchief
from the eyes.</p>

<div class="figright" style="width: 268px;">
<img src="images/i_087.jpg" width="268" height="511" alt="plant and candy on end" />
<div class="caption">Magic Plantain.</div>
</div>

<p>To the one who really has captured the magic fern a pretty
card or silk badge, bearing a pictured fern and some appropriate
motto, is given, as a token that the entire company wish all
possible good luck to the possessor.</p>


<h3><b>The Plantain Test.</b></h3>

<p>To test fortune in this way, fill a large pan or bowl with
clean dry sand; provide as many plantain-plants as there are
players, and to the roots of all but one tie, with a narrow ribbon,
a bonbon which contains within its wrapper a verse indicating
that the wrong plant has been chosen. To the one reserved
from the rest attach a small piece of coal, or charcoal, wrapped
in a bonbon paper which also encloses a verse describing the
magic powers of the coal. Place all of the plants in the sand,
making them look as though growing there. All this should
be prepared before the party assembles, that no one may know
to which plant the coal is fastened.</p>

<p>When the appointed time arrives, explain to the company
that to the root of one of the plants in the bowl is fastened a
coal which, according to old superstition, will secure to the
finder perfect health for life. Then let each person in turn pull<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>
from the sand one of the plants. The one who finds the
coal should be heartily congratulated, as she is supposed
to have gained the good will of fortune and to be exempt
from all the ills that flesh is heir to. The plantain is
not difficult to secure, as it
grows in almost every grass-plot,
much to the annoyance
of those who take pride in
their lawns. Should the
name be unfamiliar to some
of our readers, the accompanying
illustration will help
them recognize the weed.</p>

<p>A pretty charm for the
watch-chain can be made of
the coal which is to bring the
finder such good luck,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> by
having it cut to a proper size
and shape, and a gold or silver
band put around it. This
will make it a souvenir, carrying
out the old idea that the
magic coal should be worn
upon the person to bring
the coveted good fortune.</p>

<p>Rhymes to be enclosed in the paper with the magic coal:</p>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">Where my roots are intertwined</div>
<div class="verse">Lo, the magic coal you find.</div>
<div class="verse">Buried deep beneath the sand,</div>
<div class="verse"><span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span>Waiting for your favored hand,</div>
<div class="verse">I have held it free from harm;</div>
<div class="verse">Take, and wear the mystic charm.</div>
<div class="verse">From the lightning’s deadly stroke,</div>
<div class="verse">From the fire it may invoke,</div>
<div class="verse">From all illness, pain, and strife,</div>
<div class="verse">May it guard thee safe through life.</div>
</div>
</div>

<p>Rhymes to be enclosed in bonbons tied to the roots of plantains
which do not bring good luck:</p>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">Though ye seek, ye seek in vain</div>
<div class="verse">Fortune’s favor thus to gain,</div>
<div class="verse">For I bring to you no coal</div>
<div class="verse">To write your name on Fortune’s roll.</div>
<div class="center">—————</div>
<div class="verse">Pity ’tis you thought it best</div>
<div class="verse">To pick out me from all the rest,</div>
<div class="verse">For no root of mine comes near</div>
<div class="verse">The coal that brings good fortune here.</div>
<div class="center">—————</div>
<div class="verse">Chance capricious, captures choice;</div>
<div class="verse">Fickle Fortune favors few;</div>
<div class="verse">When deaf to love, or reason’s voice,</div>
<div class="verse">What makes you think she’ll favor you?</div>
<div class="center">—————</div>
<div class="verse">I am no messenger of fate,</div>
<div class="verse">You find this out, alas! too late;</div>
<div class="verse">I bring no magic coal with me,</div>
<div class="verse">From pains and ills to set you free.</div>
</div>
</div>

<p>Any bright girl can scribble off little jingles of this sort that
will do very well for the plantain test, or appropriate quotations
may be selected for the purpose.</p>


<h3><b>Fortune’s Wheel.</b></h3>

<p>Just where Fortune will fail each member of the company
present is discovered in the following game:<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span></p>

<p>The entire party forms into a circle, standing about two feet
apart; then a wheel or hoop is started around the inside of the
ring, and kept going by each one giving it a gentle push with
the hand, sending it to the person next in the circle. As the
wheel goes around the players sing these lines, pronouncing a
word as each player touches the wheel, as if counting out.</p>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">Fortune’s wheel we speed along</div>
<div class="verse">The while we sing our mystic song.</div>
<div class="verse">Bring happiness, fame, power, and wealth,</div>
<div class="verse">True love, long life, good friends, and health,</div>
<div class="verse">Success in music, poetry, art,</div>
<div class="verse">And with it all a merry heart</div>
</div>
</div>

<p>When the wheel drops at the feet of anyone as a gift of Fortune
is being sung, or if they fail to strike it as it passes, or,
striking, they send it into the centre of the ring instead of to
their next neighbor, it denotes that Fortune will withhold that
special gift from them, and they must leave the circle, for good
luck has deserted them.</p>

<p>The game continues until only one player remains, and this
person, who has succeeded in keeping the wheel moving, is
Fortune’s favorite, and will possess all the gifts the mythical
Goddess can bestow.</p>

<div class="figcenter" style="width: 507px;">
<img src="images/i_089.jpg" width="507" height="210" alt="a witch, a black cat, a crescent moon rising" />
</div>

<hr class="chap" />
<p><span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></p>

<div class="figcenter" style="width: 510px;">
<img src="images/i_090.jpg" width="510" height="700" alt="drawing" />
<div class="caption">Starfish Portière</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span></p>




<h2>CHAPTER VIII.<br />

<small>SEA-SIDE COTTAGE DECORATION.</small></h2>


<div>
  <img class="drop-cap" src="images/i_091.jpg" width="217" height="245" alt="S" />
</div>

<p class="drop-capi2">SIMPLY to enter a house is enough
to start some people to planning
how it can, might, or should be
decorated. The love of beauty
seems to be inherent in the feminine
character, and it is the nature
of most girls to make their surroundings
as beautiful as circumstances
will permit. Those who
have taste and ability for decoration
can see no barren or homely
room without being seized with
the desire to banish its uncomeliness, and substitute grace and
beauty in its stead.</p>

<p>The ordinary cottage at the sea-shore is a boon to such
natures, for it is peculiarly well adapted to amateur decoration.
Its ceiled walls offer plain, even, flat tinted surfaces for any
kind of ornamentation, and the absence of plaster makes it possible
to drive nails wherever it is desirable to have them.</p>

<div class="figright" style="width: 194px;">
<img src="images/i_092a.jpg" width="194" height="208" alt="Fig. 39" />
<div class="caption">Diagram of Ring.</div>
</div>

<p>During a summer spent in one of these cottages on the coast
of Maine, its many possibilities in the way of decoration were
revealed, and personal experience has demonstrated that even
the plainest of these temporary abiding-places is capable of being
greatly beautified in a short time, and with materials usually<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span>
close at hand, being obtainable from the fishermen and from the
sea itself.</p>

<div class="figleft" style="width: 116px;">
<img src="images/i_092b.jpg" width="116" height="301" alt="Fig. 40" />
<div class="caption">Looping for Curtains.</div>
</div>

<p>The windows first claim our attention in any house and our
little cottage is no exception to the rule. With, or without, the
regulation shades, windows should
always be draped; the formality of
their straight lines and angles can be
subdued in no other way.</p>

<p>Light, airy curtains are suitable
for summer, and the prettiest, most
graceful window-drapery imaginable
can be made of ordinary
fish-net. An
oar for a pole; rings
made of rope (Fig.
39); the looping
formed of a rope tied in a sailor’s knot; and a
wooden hoop, such as is used to attach the sail
to the mast on a sail-boat (Fig. 40) are all that
are necessary for the completion of this nautical
curtain. Small rings screwed into the oar, with
corresponding hooks in the window-frame just
above the window, will hold the oar securely in
place. The looping should hang from a hook
fastened in the wall near the window. The illustration
given here will aid the imagination in
picturing the effect of a window treated in this
simple manner. Another pretty curtain may
be made of unbleached cotton, with bands of blue at top and
bottom covered with the ever-decorative fish-net.</p>

<p>Gray linen curtains, with strips of the net set in as insertion
at top and bottom, will also be found extremely
pretty and serviceable; or they may be composed of strips<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span>
of linen and net, of equal width, running the length of the
curtain. Made up in either way the effect is excellent.</p>

<div class="figcenter" style="width: 479px;">
<img src="images/i_093.jpg" width="479" height="626" alt="drawing" />
<div class="caption">Sea-side Cottage Window.</div>
</div>

<div class="figleft" style="width: 250px;">
<img src="images/i_094a.jpg" width="250" height="267" alt="Fig. 41" />
<div class="caption">Diagram of Tying Knot.</div>
</div>

<div class="figright" style="width: 293px;">
<img src="images/i_094b.jpg" width="293" height="113" alt="Fig. 42" />
<div class="caption">Fastening End of Rope.</div>
</div>
<p>From window-drapery we will turn to that suitable for the
door-ways. Portières, in a room where the prevailing tints are<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span>
gray and light wood-color, should not present too violent a contrast
to those subdued tones. A curtain of wood-brown, neither
too dark nor too light, will give the
needed strength and decision, without
destroying the harmonious coloring.
One
can be
quickly and easily made of brown
canton flannel and decorated with
dried starfish, as shown in the illustration
of the starfish portière. The
starfish are soft enough to admit of
being sewed to the curtain, and they
should be placed with the underside
out, as that is much prettier than the
back, showing as it does two shades
of color. A heavy rope with a knot
at each end, stretched taut across the
door-way and held in place with two
hooks, will answer for a pole, and the
drapery can be hung from it with iron
rings. If the rope is very heavy the
ends will have to be parted into strands before the knots can
be tied. Figs. 41 and 42 show the manner of tying the knot
and fastening the end of a moderately heavy rope.</p>


<div class="figleft" style="width: 201px;">
<img src="images/i_094c.jpg" width="201" height="352" alt="Fig. 43" />
<div class="caption">Diagram of Book-shelves.</div>
</div>

<p><span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span></p>

<p>Book-shelves made of half of a flat-bottomed row-boat is not
only an appropriate piece of furniture
for a cottage by the sea, but also a very
useful one. The fact of
its shape allowing it to
occupy a corner makes it a welcome addition to the furnishing,
since there are so few things adapted to fill that angle. Fig. 43<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span>
shows half of boat with cleats nailed on to hold the shelves,
which must be made to fit the boat. The shelves, when resting
on the cleats, are secure enough, and need not be fastened in
any other way. If the book-shelves, when finished, are painted
black, unvarnished, they will have the appearance of being
ebonized.</p>

<p>The evidence of a womanly presence in the shape of a dainty
work-basket always gives a home-like look to a room, and when
this useful trifle happens to be prettily designed it contributes
not a little to the decorations. The standing work-basket represented
here is manufactured of a crab-net, with the handle
removed, fastened to a tripod stand.</p>
<div class="figcenter" style="width: 517px;">
<img src="images/i_095.jpg" width="517" height="643" alt="drawing of room" />
<div class="caption">Row-boat Book-shelves.</div>
</div>


<div class="figcenter" style="width: 516px;">
<img src="images/i_096.jpg" width="516" height="372" alt="Fig. 44 Fig. 45 Fig. 46 Fig. 47" />
<div class="caption">Diagram of Crab-net Work-basket.</div>
</div>

<div class="figleft" style="width: 232px;">
<img src="images/i_097.jpg" width="232" height="398" alt="net in tripod stand" />
<div class="caption">Crab-net Work-basket.</div>
</div>

<p>The tripod may be made of bamboo, or any kind of straight
sticks about the length of a walking-cane. Upon one of the<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span>
sticks two notches must be cut; one exactly in the centre, and
the other at one side just below (see Fig. 44). The second stick
needs but one notch, which should match the upper one on the
first stick (Fig. 45). The third stick has no notches.</p>
<div class="figright" style="width: 283px;">
<img src="images/i_098a.jpg" width="283" height="422" alt="Fig. 48" />
<div class="caption">Diagram of Hat-rack.</div>
</div>
<p>To fasten them together, Fig. 45 must be laid across Fig. 44
as in Fig. 46, and the two fastened together with screws. The
third stick must then be placed
across the others, fitting in the
two upper notches; this must be
secured with two screws, one passing
through each of the other
sticks (Fig. 47).</p>

<p>The stand when finished
should be painted black, and the
crab-net, which has previously
been gilded, fastened in place by
tying it on to each stick with a
cord and tassel made of rope and
gilded. Notches cut in the sticks,
about three inches from the top,
will afford a resting-place for the
cord and keep it from slipping.</p>

<div class="figright" style="width: 290px;">
<img src="images/i_098b.jpg" width="290" height="429" alt="drawing" />
<div class="caption">Hat-Rack.</div>
</div>

<p>The hat-rack, which our drawing
represents, makes an excellent
and convenient hall-decoration.
The materials used in its
construction are a small mirror,
which can be procured at any country store; four boards,
whose length and breadth depend upon the size of the mirror;
two oars, with one-third of each handle sawed off; one dozen
large-sized nails, or small spikes, and a piece of rope about
twelve feet long. The frame is made by nailing the boards together
as shown in illustration, placing the end-boards on top.<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span>
The opening left in the centre should be one inch smaller than
the mirror. When eight of the spikes have been driven into
the frame at regular distances
the mirror must be fastened
on the back with strips of
leather or sail-cloth, as shown
in diagram (Fig. 48). The diagram
also shows how the
oars are held in place and
the rope attached. The knot
in which the rope is tied is
called a true-lover’s knot,
and can readily be fashioned
by studying the diagram.
Small nails driven
through the rope where it
crosses the back of the oar
will keep the loops from
slipping out of place. The
remaining four spikes are to suspend the hat-rack from, and
must be driven into the wall so that two will hold the top<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
loop, and the others the extreme upper corners of the side
loops.</p>

<p>The frame and oars may be painted black and the spikes and
ropes gilded, or the whole will look well painted yellow or brown.</p>

<p>A handsome screen can be made in the following manner:
Procure a nice, firm clothes-horse, saw off the legs close to the
bottom cross-piece, then cover the whole neatly, on both sides,
with dark green cambric. Next tack smoothly on one side of
each fold light-brown wrapping-paper, which comes quite wide,
and may be bought by the yard. For the border use dark-green
canton flannel cut in strips eight inches wide. Tack this
around each fold of the screen with gimp-tacks, and paste the
inside edges smoothly over the paper.</p>

<p>The decorations of the screen shown in the illustration are
composed entirely of products of the sea.</p>

<p>Two panels are shown. One is decorated with sea-weed,
dried starfish, and shells. Sea-weed and shells also are used
on the other, but a group of horseshoe crabs take the place of
the starfish.</p>

<p>Sea-weed of various kinds suitable for this use can be found
along the coast, and they may be gathered and dried in this
way. Loosen the sea-weed from whatever it is attached to, and
while still in the water slip a piece of stiff paper beneath it and
lift it out. Quite a number can be carried on the same paper,
but they should be taken home as soon as possible and placed
in a tub of fresh water. The tub will give the larger kinds room
to spread out, when a smaller vessel would cramp and rumple
them. On sheets of paper, of the kind used for the screen,
carefully lift each sea-weed out of the water, and with a small
camel-hair brush straighten the parts that are too much folded,
and separate those that lie too closely together. Should a plant
be very much crumpled when taken out, quickly replace it in
the water and try again.</p>

<p><span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span></p>

<div class="figcenter" style="width: 529px;">
<img src="images/i_100.jpg" width="529" height="716" alt="Diagram" />
<div class="caption">Marine Screen.</div>
</div>

<p><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span></p>
<div class="figleft" style="width: 286px;">
<img src="images/i_101.jpg" width="286" height="544" alt="crasing" />
<div class="caption">Horseshoe Crab Bag.</div>
</div>
<p>When they have all been satisfactorily spread on the paper
and have become partially dry, they must be pressed by laying
the paper which holds the sea-weed on a piece of blotting-paper
or folded newspaper, and
over it a piece of linen or
fine cotton cloth; then
over that another piece of
blotting-, or news-paper;
then again the paper with
sea-weed, and so on; when
all are finished the entire
heap should be placed between
two boards with a
moderately heavy weight
on top. When the sea-weed
is quite dry—which
it will be in three or four
days—it will be found that
some varieties will cling
closely to the paper on
which they have been
spread, while others can
readily be removed. Do
not try to separate the first-mentioned
kind from the
paper, but with sharp
scissors neatly trim off the
edges around the weed;
the paper underneath being
the same as that of the
screen on which it is to be pasted, it will not show. The other
sea-weed can be taken from the paper and fastened to the
screen with mucilage.</p>



<p><span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span></p>

<p>Before commencing the decoration some idea of the design,
or the effect to be produced, should
be decided upon; then with deft fingers
the articles used can be glued
in place. When the glue is dry the
whole must be given a coat of white
varnish. This will help to hold things
in place, and will also keep the sea-weed
from chipping off.</p>

<p>An odd little bag for holding
fancy work is made of two large
horseshoe crab shells, with a satin
bag fastened between them and tied
at the top with a bow of ribbon. The main part of the bag can
be of cambric the color of the satin, cut to fit the shells, the
puff showing at the sides
being of the satin.</p>

<div class="figright" style="width: 195px;">
<img src="images/i_102a.jpg" width="195" height="225" alt="stacked dried anemomes" />
<div class="caption">Vase.</div>
</div>

<div class="figleft" style="width: 291px;">
<img src="images/i_102b.jpg" width="291" height="331" alt="Anemoney candlesick holder on dried starfish" />
<div class="caption">Candlestick.</div>
</div>

<p>A pretty little vase can
be made of the shells of
three sea-urchins, of graduating
sizes, placed one
upon another, the smallest
on top. The small hole
in the bottom of the largest
one should be filled up
with damp plaster-of-Paris—which
will harden very
quickly. The other two
shells must have the small
holes enlarged to the size
of the one at the top; they
can then be joined together
with the plaster, and the vase be used for flowers or vines.<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span>
A sea-urchin and good-sized starfish make the prettiest kind
of a candlestick, and the addition of a brass-headed tack on
every point but one of the starfish gives it a nice finish and
furnishes feet for it to stand on; the point left without a foot
forms the handle by which it may be carried. The tacks
should be stuck into the fish first, and then the sea-urchin
fastened on with plaster-of-Paris. Not more than ten minutes
are consumed in making a candlestick of this kind, and
it will be found to be quite as useful as it is pretty and
unique.</p>

<p>The walls of the cottage can be decorated in many ways
with the beautiful ornaments the sea furnishes. Over one of
the doors in the cottage alluded to at the beginning of this
chapter there was an ornamentation that looked exactly like
wood-carving, but was only a group of starfish arranged and
tacked on the wall in a decorative form. The fish being nearly
the exact color of the background, the deception was almost
perfect.</p>

<p>If the walls of a room are divided off into panels, and each
panel decorated in the manner described for the screen, the
effect will be most exquisite.</p>

<p>On entering such a room one might almost imagine oneself
to be a mermaid, and this a lovely chamber beneath the
sea.</p>

<p>So much can be done by one’s own hands it depends greatly,
if not entirely, upon the taste or time one is willing to devote
to it what this sea-side habitation shall be; whether the
little cottage shall be in harmony with its surroundings, seemingly
a part of the place, or whether it shall be only a cheap
frame-structure, looking as though it belonged in a country
town and had been carried to the coast in a capricious gale of
wind, with decorations, if it has any, inappropriate and unsuited
to the sea-shore.</p>

<p><span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span></p>


<h3><b>How to Dry Starfish.</b></h3>

<p>Collect the most perfect specimens of all sizes, wash them in
fresh water, and then spread on a board in a dry place (not in
the sun) and leave them undisturbed for a few days, or until
thoroughly dried.</p>


<h3><b>How to Polish Shells.</b></h3>

<p>Wash your shells in clean, fresh water; procure a small
quantity of muriatic acid and have in readiness two-thirds as
much water as acid. Place the shells in a basin, pour the water
upon them, then the acid; let them remain a few minutes, then
take them out and wash again in clear water. Rub each shell
with a soft woollen cloth. A fine enamelled surface can be given
by rubbing them with a little oil and finely powdered pumice-stone,
and then with a chamois-skin.</p>

<p>To bleach fresh-water shells to a snowy whiteness, wash
them perfectly clean and then put them in a jar containing a solution
of chloride of lime, place the vessel in the sun, and, when
the shells are sufficiently bleached, remove and wash them in
clear water. Polish them in the manner before described.</p>

<div class="figcenter" style="width: 450px;">
<img src="images/i_104.jpg" width="450" height="143" alt="mermaids and fish" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span></p>




<h2>CHAPTER IX.<br />

<small>A GIRL’S FOURTH OF JULY.</small></h2>


<div>
  <img class="drop-cap" src="images/i_105.jpg" width="256" height="263" alt="D" />
</div>

<p class="drop-capi3">DECORATIONS are seen here,
there, and everywhere. How
beautifully the flags and
streamers look as they wave
in the breeze. All the houses
and streets are gay with bunting.
We listen with a thrill
of patriotic excitement to the
national airs played by bands
of music as the different parades
pass our doors.</p>

<p>The spirit of independence
fills the very air we breathe. Whiz! zip! bang! go the firearms.
The noise is enchanting and the smell of powder delightful.</p>

<p>This is our grand national holiday, the glorious Fourth,
when all the United States grows enthusiastic, and in various
appropriate ways manifests its patriotism.</p>

<div class="figcenter" style="width: 530px;">
<img src="images/i_106.jpg" width="530" height="704" alt="party" />
<div class="caption">The Fourth of July Party.</div>
</div>

<p>The celebration, commencing in the early morn and lasting
until late in the evening, gives ample time for fireworks,
games, and illuminations. And the girls can take active part
in, and enjoy these martial festivities, help to decorate the house
and grounds, and in the evening do their part toward the illumination.
Then there are the beautiful daylight fireworks to<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a><br /><a name="Page_107" id="Page_107">[107]</a></span>
be sent off, and games to be played; all adding to the enjoyment
and making up their celebration of Independence Day.</p>

<p>Although</p>


<h3><b>Interior Decoration</b></h3>

<p class="unindent">for the Fourth of July has not been considered as necessary as
the decoration for the outside of the house, still it is appropriate
and used to some extent, especially when the house is
thrown open to guests. Then, with a little thought and care
the home may be decked and adorned in the most attractive
manner.</p>

<p>If you chance to be the happy possessor of the portrait of
some revolutionary ancestor, let this form the centre of your
decorations.</p>

<p>Bring forward any relics of the colonial times and make
them hold a prominent place, for all such things are historical
and of great interest, though of course they are not essential.
Strips of bunting, cheese-cloth, or tissue-paper, in red and
white and blue are necessary, and must do their part in adding
to the gayety of the scene. These can be arranged in festoons,
and made into wreaths, stars etc., to be used as ornaments on
the wall.</p>

<p>There is nothing, perhaps, more appropriate for decoration
than flags, though it requires some ingenuity to decorate with
our American flag on account of the blue being in one corner.
However we will try. Take two flags without staffs and baste
them together as in Fig. 49, bringing the blues side by side;
pleat up the top of each to the centre and you will have Fig.
50 with the stripes at the bottom running from end to end.</p>

<p>Now take two more flags reversed, the stripes being at the
top the stars at the base, and pleat them in the centre, it gives
the same idea in another form. For this style of adornment use
the flags which may be had at any dry-goods store; they come<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span>
by the bolt, cost but a few cents each, and are much softer and
fold better than the more expensive glazed ones. Other modes
of draping the stars-and-stripes will suggest themselves: place
the “colors” in different positions until some good design is
found, and you will enjoy it all the more for having made the
combination yourself.</p>

<div class="figcenter" style="width: 371px;">
<img src="images/i_108a.jpg" width="371" height="133" alt="two flags back to back" />
<div class="caption"><i>Fig. 49</i></div>
</div>

<div class="figcenter" style="width: 441px;">
<img src="images/i_108b.jpg" width="441" height="161" alt="flag bunting" />
<div class="caption"><i>Fig. 50</i></div>
</div>

<p>Tiny flags fastened to the chandeliers, and pinned in groups
on the curtains give to the room quite a holiday appearance.
This is for the daylight. In the evening we will have</p>


<h3><b>In-door Illumination,</b></h3>

<p class="unindent">which can be made very brilliant by simply using a number of
lighted candles.</p>

<p>Should you desire to have it more elaborate, the words
Liberty and Independence can be printed on the windows by
cutting the letters forming the words from thick paper and gumming<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span>
them to the window-panes, so when the room is lighted
they will show plainly from the outside.</p>

<p>You may also make of tissue-paper a Liberty-bell, Goddess
of Liberty, American Eagle, and flags. Gum these on the
edges and fasten them to the windows; place a bright light
behind them and the tints of the paper will shine out in all
their brilliancy. The Goddess of Liberty’s face, the feathers
on the eagle, and the lettering on the bell must all be drawn
with a paint-brush and ink or black paint.</p>

<p>In making any or all of these, it will be of great assistance if
you secure a picture of the object to copy from.</p>

<p>Having provided for the inside of the house it now behooves
us to turn our attention to</p>


<h3><b>Out-of-door Decoration</b></h3>

<p class="unindent">consisting principally of flags raised on poles, hung from windows,
and disposed in numerous and various ways.</p>

<p>The many devices representative of our country may be
used with good effect. Thus, a large United States shield can
be made of colored paper or inexpensive cloth tacked on a
piece of card-board, cut in the desired shape, and the shield suspended
from the window flat against the house, as a picture is
hung on the wall. Other emblems can be manufactured in the
same way.</p>

<p>Small trees or tall bushes covered all over from top to bottom
with flags and streamers look beautiful, and all the gayer,
when the wind blows, causing them to wave and flutter.</p>

<p>Fasten the flags and streamers on the tree with string.</p>

<p>Some girls think that the</p>


<h3><b>Illumination in the Open Air</b></h3>

<p class="unindent">is best of all, for then they can give their fancy free play, and
create all sorts of odd and novel designs.</p>

<p><span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></p>

<p>The bright-colored Chinese lanterns are very decorative.
Suppose we begin with these. Fasten securely here and there,
on the lawn, large paper Japanese umbrellas in upright positions.
This is accomplished by binding the handles of the umbrellas
securely to poles which have been sharpened at one end, and
planting the pointed end of the poles firmly in the ground.</p>

<p>From every other rib of the umbrella suspend a lighted<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span>
Chinese lantern by a wire long enough to prevent any danger
of setting the little canopy on fire. The effect produced is
both novel and pretty.</p>

<p>A popular method of arranging the lanterns is stringing
them on wires, stretched from house to house, or from tree to
tree, so forming, as it were, a fringe of lights.</p>

<p>Again, they may be placed at intervals on the ground, fastened
to trees or hung on the piazza, some in groups of twos or
threes, others singly, these being of many odd shapes and
sizes. Piazzas are very good sites for the display of colored
umbrellas, which may hang, inverted, from the ceiling, with a
tiny lighted Chinese lantern suspended from each rib. Let me
repeat, be careful not to have the wires so short that the light
is in dangerous proximity to the umbrella.</p>

<p>Another pleasing illumination is to make a large flag of colored-paper
with strong pieces of tape pasted along both top
and bottom, the ends of the tape extending beyond the flag.
Tie the tape to two trees, poles, or pillars of the porch, and
place a light back of the flag, to bring out the colors clearly
and distinctly.</p>


<div class="figcenter" style="width: 403px;">
<img src="images/i_110a.jpg" width="403" height="249" alt="Frame" />
</div>

<p>Illuminated tents are made by placing poles in the fashion
of Fig. 51, and using large flags, low-priced colored cloth or
strong paper as a covering, Fig. 52. The corners are tied
down to pegs in the ground, and, when two or three candles
are set in the tent, the effect is very pleasing.</p>

<div class="figcenter" style="width: 498px;">
<img src="images/i_110b.jpg" width="498" height="246" alt="tent up" />
</div>

<p>All young people delight in the noise and excitement of</p>


<h3><b>Fireworks,</b></h3>

<p class="unindent">and here are some pyrotechnics which any girl can easily make.
They are daylight fireworks, and most of them may be sent
off from a balcony or window, and all with no danger of fire
or burns.</p>

<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span></p>

<p>One of the simplest to try is the</p>


<h3><b>Parachute.</b></h3>

<div class="figleft" style="width: 334px;">
<img src="images/i_112a.jpg" width="334" height="223" alt="Fig. 53 Fig. 54" />
<div class="caption">Parachutes.</div>
</div>

<p>Cut a piece of tissue-paper five inches square, twist each corner
and tie with a piece of thread eight inches long, Fig. 53;
wrap a small pebble
in a piece of paper
and tie the four
pieces of thread securely
to the pebble,
Fig. 54. This
makes a light airy
little parachute,
which, when sent
out from the window,
will, with a
favorable wind, sail
up and off over the house-tops. Make a number of parachutes
in different colors and send them off one after another in succession.
Next we will have what
we call</p>


<h3><b>Thunderbolts</b></h3>

<div class="figright" style="width: 216px;">
<img src="images/i_112b.jpg" width="216" height="204" alt="Fig. 55 Fig. 56" />
<div class="caption">Thunderbolts</div>
</div>

<p class="unindent">fashioned of bright-colored tissue-paper.
Cut the paper in pieces
four inches wide and eight inches
long. Then cut each piece into
strips reaching about one-third of
the length of the piece of paper
(Fig. 55), pinch the uncut end of
the paper together and twist it
tightly so that it will not become undone (Fig. 56). Open
the window and throw these out a few at a time. They will<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
turn heavy end down and dart off with the fringed end fluttering.
Now and then they will waver a moment in one spot, and
then dart off in another direction; so they go whirling, zigzagging
and bowing as if they were alive.</p>

<p>Something different from these are the comical little</p>


<h3><b>Whirls,</b></h3>

<div class="figleft" style="width: 229px;">
<img src="images/i_113.jpg" width="229" height="165" alt="Fig. 57 Fig. 58" />
<div class="caption">Whirls.</div>
</div>
<p class="unindent">made by cutting circular pieces of writing- or common wrapping-paper
into simple spiral forms (Fig. 57). The centre of the
spirals are weighted by small
pieces of wood, or other not too
heavy substance gummed on the
paper.</p>

<p>When a number of these are
freed in mid-air the weight will
draw the spirals out, and present
a curious sight, as with serpentine
motion they all come wriggling
and twisting toward the
ground (Fig. 58). In these paper fire-works, we know of nothing
prettier than the</p>


<h3><b>Winged Fancies,</b></h3>

<div class="figright" style="width: 327px;">
<img src="images/i_114a.jpg" width="327" height="256" alt="Fig. 59" />
<div class="caption">The Bird.</div>
</div>
<p class="unindent">consisting of birds and butterflies.</p>

<p>The birds may be cut out of wrapping-paper, measuring
seven and a half inches long and ten inches from tip to tip of
the wings (Fig. 59), a burnt match stuck in and out of the neck,
will give the bird sufficient weight. When tossed from a height
these paper swallows fly and skim through the air in the most
delightful birdlike fashion.</p>

<p>Both birds and butterflies are folded through the centre
lengthwise, then unfolded and straightened out, this helps to
give them form and they fly better.</p>

<p><span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p>

<p>The patterns here given are possibly not as graceful in shape
as could be made, but the writer drew the patterns from the
best fliers among an
experimental lot of
winged fancies, having
found them better
than others that could
boast of more beauty.</p>

<p>Butterflies are
made of bright colored
tissue-paper cut
from the pattern (Fig.
60), and have short
pieces of broom-straws
as weights.
These also should be
lightly thrown from a height, when they will flutter and fly
downward, sometimes settling on a tree or bush as if seeking
the sweets of flowers,
and appearing very
bright and pretty as
they float hither and
thither on the air.</p>

<div class="figcenter" style="width: 305px;">
<img src="images/i_114b.jpg" width="305" height="197" alt="Fig. 60" />
<div class="caption">The Butterfly.</div>
</div>

<p>A ring of the ever-twirling</p>


<h3><b>Pin-wheels</b></h3>

<div class="figleft" style="width: 165px;">
<img src="images/i_115.jpg" width="165" height="428" alt="Fig. 61" />
<div class="caption">Pin-wheel.</div>
</div>

<p class="unindent">is gay and attractive,
just the thing for the
lawn on the Fourth of July. To manufacture one, select a nice
firm barrel-hoop, and nail it securely on one end of a clothes-pole
or broom-stick (Fig. 61), sharpen the other end of the pole<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
to a point; if the hoop seems inclined to split when nailing,
first bore holes with a gimlet or burn them
with a red-hot nail or wire for the nails to
pass through.</p>

<p>Cover the barrel-hoop several inches
deep with straw, lay the straw on and tie
it down with string.</p>

<p>Prepare a number of pin-wheels by
cutting squares of red and white and blue
paper, fold them twice diagonally through
the centre and cut the folds up within a
short distance of the middle. Turn over
every other point to meet the centre,
pierce the four points and the centre with
a pin, then fasten the pin firmly to the
end of a stick. The pin must be left long
enough to allow the paper to turn easily.</p>

<p>Stick the straw wreath full of pin-wheels,
then plant the pole securely in the
ground and you will have a ring of Fourth
of July pin-wheels which will look pretty
all day long.</p>

<p>Be sure to place the wreath facing
the breeze, so the pin-wheels may be kept in constant motion.
Reserve the</p>


<h3><b>Bombs</b></h3>

<div class="figright" style="width: 363px;">
<img src="images/i_116a.jpg" width="363" height="365" alt="Fig. 62" />
</div>

<p class="unindent">until the last. They are simple in construction, but quite startling
when they go off.</p>

<p>Fasten together two very stiff flat pieces of steel (Fig. 62),
those sold for the back of dress-skirts work well, and use
a strong string many yards long to tie them with. Bring
up the four ends of the steels and tie them with a slip knot<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span>
(Fig. 63), in order that it may easily fly open. Place the cage
thus formed in the centre of a square piece of tissue-paper.</p>


<p>Now cut strips of different colored tissue-paper, four inches
long, and twist each piece at one end.</p>
<div class="figleft" style="width: 257px;">
<img src="images/i_116b.jpg" width="257" height="230" alt="Fig. 63" />
</div>

<p>Put these in the centre of the cage and bring up the four
corners of the
square of paper,
allowing the
string to come
out of the top.
Twist the corners
together and close
up the small openings
by folding
over the edges of
the paper. This
makes a bomb somewhat resembling
a common torpedo
enlarged to many times its
original size.</p>

<p>Pass the string through a
screw-eye which has been screwed in the end of a flag-pole or
broomstick, and place the pole out of the window. Then drop
the end of the string down to the lawn below. Fasten one end
of the pole in the window by binding it firmly to a strong,
heavy chair, or secure it in any other way most convenient so
there will not be the slightest danger of its falling.</p>

<p><span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p>

<p>Everything being ready, descend to the lawn, and pull the
string so the bomb will rise slowly up to the pole.</p>

<p>When it is within a short distance of the screw-eye, give the
twine a sudden sharp jerk which will cause the bomb to come
in contact with the pole with sufficient force to untie the slip-knot,
the elastic-metal ribs will fly back causing the bomb to
burst and fill the air with bright shreds, flying, gliding, and
darting everywhere in the most eccentric manner, making the
air brilliant with floating colors.</p>

<p>Let your Fourth of July</p>


<h3><b>Lawn Party</b></h3>

<p class="unindent">partake of the patriotic traditions, and as far as possible help to
celebrate our Nation’s birthday in an appropriate manner.</p>

<p>Paper fire-works may form part of the entertainment, it
being optional with the hostess whether they come before or
after the games, or are interspersed between them.</p>

<p>The party opens with the signing of the</p>


<h3><b>Declaration of Independence.</b></h3>

<p>To each guest is given a brown-paper bag, and when all have
assembled on the lawn, the hostess steps forward facing the
company, and asks all to kindly keep quiet and listen for a
few moments while she reads or repeats their Declaration of
Independence, she then reads:</p>

<p>We girls are, and of right should be, free and independent
of all boys’ sports, having resources and amusements befitting
the celebration of the Fourth of July, independent of all those
belonging exclusively to boys.</p>

<p>Then follows the signing of the same, by each in turn writing
her name beneath the declaration. This accomplished, the
hostess gives the signal and each guest fills her bag with air, by<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span>
holding it close to her mouth, gathering it tightly around, and
blowing into it, then grasping it firmly in the right hand, being
careful not to let any air escape.</p>

<p>At another signal, all simultaneously bring their hands
forcibly and quickly together, striking the paper bags with the
left hand, which bursts the bags and causes a report almost
equal to that of pistols.</p>

<p>All the bags exploding at one time, gives a salute worthy of
the name and creates much merriment.</p>

<p>The salute may be varied by bursting the bags in quick succession,
so that it will sound something like a volley of musketry.</p>

<p>This introduction is followed by games to be played on the
lawn.</p>

<p>For the new game of</p>


<h3><b>Toss,</b></h3>

<p class="unindent">make nine disks of card-board, painted or covered with paper,
red and white and blue, three of each color.</p>

<p>Place in the centre of the lawn a fancy waste-basket, and let
each player in turn stand at a distance of six feet from the basket.
It is better to have the station marked by a stone or stick,
at the place designated.</p>

<p>If played by sides, two stations, one on either side of the
basket will be necessary.</p>

<p>The object of the game is to throw the disks into the basket,
and they are valued according to color; red counts one, white
two, and blue three.</p>

<p>If played by sides, each side should play five rounds, ninety
being the highest possible tally for any one player.</p>

<p>This is an easy and pleasant game, and may be played with
or without sides. The hostess keeps account, and at the end of
the game gives a knot of red, white, and blue ribbons as a prize
to the one having the highest score.</p>

<p><span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span></p>

<p>We hardly recognize our old friends in the new and gigantic</p>


<h3><b>Fourth of July Jackstraws.</b></h3>

<p>These are all in holiday attire, and so much larger than any we
have seen that they are even more attractive, and afford greater
amusement than those which we have hitherto enjoyed.</p>

<p>It does not take long to make them. Cover a number of
light slender sticks, three or four feet long, with paper or cloth,
some red, some white, and others blue. The colors count respectively,
red one, white two, and blue three. Provide another
longer stick with a hook in one end to be used in taking the jackstraws
from the pile.</p>

<p>Stand the sticks up so as to meet at the top, and spread out
like a tent at the bottom. Each player then takes the hook in
turn and tries to remove a jackstraw, without shaking or throwing
down any of the others. The one scoring the highest, wins
the game and is entitled to the prize.</p>

<p>Progressive games seem to be very
popular, and deservedly so, as they
possess an interest peculiarly their own.</p>

<p>Here is a new and novel one, called</p>


<h3><b>Progressive Mining.</b></h3>

<div class="figright" style="width: 148px;">
<img src="images/i_119.jpg" width="148" height="274" alt="flag in a pot Fig. 64" />
</div>

<p>It is played with flower-pots filled with
sand or loose earth, called mines. A
small flag on a slender staff is placed
upright in the centre of each flower-pot
(Fig. 64). The staff should be stuck
down in the sand only just far enough
to keep it steady in its position. Each player in turn removes
a little sand from the mine with a stick called a wand, taking<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span>
great care not to upset the flag; for the one causing the flag
to fall loses the game. The number
of mines needed will depend upon
the number of persons playing, as
one flower-pot is required for every
two players.</p>

<div class="figleft" style="width: 196px;">
<img src="images/i_120.jpg" width="196" height="648" alt="Fig. 65" />
</div>

<p>Each one taking part in the game,
is provided with a wand. Slender
bamboo canes make excellent wands,
and may be decorated with red, white
and blue ribbons, tied on the handles.
Should the canes be difficult to procure,
then any kind of light slender
stick will serve the purpose.</p>

<p>The hostess should prepare blank
envelopes, each containing a ribbon
badge, or score sheet, of different
colors, two of each; these are all
numbered, the figures being painted
or pasted on the ribbons to designate
the place to be taken, thus two reds
are marked 1, meaning that they are
to occupy the first or prize mine. The
blues are marked 2, showing that
they take the second mine, and so on.
The last or lowest place is called the
booby mine. Each badge should
have a small pocket attached (Fig.
65), for holding stamps; these are cut
in any desired form from gold and
silver paper, which has previously
been covered with mucilage on the under side, like a common
postage-stamp.</p>

<p><span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span>The hostess passes around the envelopes, each guest takes
one, and upon opening it discovers where and with whom she
is to play.</p>

<p>The preliminaries being settled, and all having taken their
places, the hostess starts the game by ringing a little bell.</p>

<p>When one of the players at the prize mine upsets the flag,
the other calls out <i>prize</i>, and if the flags have not already fallen
in the other mines, the couples play as quickly as possible until
all the flags are down.</p>

<p>The winner at the prize mine fastens a gold stamp on her
ribbon badge, while the loser at the booby mine, ornaments
hers with silver seal.</p>

<p>The game is now rearranged, the winner at the prize mine
remains at her station, and the loser goes down to the booby
mine, while all those winning at the other mines move up, each
one respectively to the next higher mine, for it is only at the
prize mine where the loser moves her place and the victor remains
stationary.</p>

<p>When these details are settled, the flag-staffs are again planted
in the flower-pots and the signal given for a new game.</p>

<p>The player with the largest number of gold stamps on her
score-sheet, receives the victor’s prize, and the one having the
most silver stamps is entitled to the booby prize.</p>

<p>The prizes are given when the game is ended. They should
consist of some pretty little article made by the hostess herself,
and, if practicable, appropriate to the day, such as a delicate
satin sachet in the form of a Liberty bell, with the lettering
painted on it.</p>

<p>A pretty pin-cushion, with a cover made of a miniature silken
flag, or a dainty pen-wiper in the shape of Liberty’s cap. Other
more expensive gifts are not in good taste.</p>

<p>The booby prize should be something grotesque or comical.</p>

<p>As the mothers and sisters of 1776 took a full share in the<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span>
hardships and trials of the Revolution, and actively assisted in
gaining our independence, it is eminently fit and proper that
American girls should show their appreciation of such bravery
and heroism by assisting in the annual celebration of our
famous Independence Day.</p>

<p>Fourth of July seems heretofore to have been considered
altogether too exclusively a boy’s holiday, and it is with a
hope of stimulating a renewed activity, and awakening in the
heart of every girl in the United States a sense of proprietary
interest in the day, that we suggest new methods of celebrating
our national holiday.</p>

<div class="figcenter" style="width: 477px;">
<img src="images/i_122.jpg" width="477" height="137" alt="dog and cat" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></p>




<h2>CHAPTER X.<br />

<small>PRINTING FROM NATURE’S TYPES.</small></h2>


<div>
  <img class="drop-cap" src="images/i_123.jpg" width="207" height="202" alt="L" />
</div>

<p class="drop-capi3">LAST summer we made some lovely
impressions of flowers, leaves, and
sprays; then we tried landscapes
and all sorts of beautiful designs.</p>

<p>It is really delightful and fascinating
work. You are led on and
on, always with a fancy to try something
else to see how it will come
out, and seldom, if ever, is it a disappointment
or failure, a new interest being felt with every
fresh print made. Moreover, you are sure of having your picture
original and the only one of its kind, for as no two flowers
or leaves are precisely alike, so no print can be an exact copy
of another. And then it takes only a few moments for the work
which could not be accomplished in thrice the time should a
drawing be made of the same design.</p>

<p>Let me tell you how to make an “Impression Album” a
book of printed flowers and leaves. You who have houseplants
will find it a delightful winter recreation, a novel pleasure,
and you can enjoy the pretty work even more during your
summer vacation, with wild flowers at your command.</p>

<div class="figcenter" style="width: 520px;">
<img src="images/i_124.jpg" width="520" height="728" alt="drawing of leaves and stalks of plants with girls in background" />
<div class="caption">Making Prints.</div>
</div>

<div class="figright" style="width: 185px;">
<img src="images/i_125a.jpg" width="185" height="424" alt="print" />
<div class="caption">Pink Oxalis.</div>
</div>
<p>The “prints” are taken from the natural flowers or leaves
themselves. Girls who have no knowledge at all of drawing
or of printing can with little trouble make these Impression Albums,<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a><br /><a name="Page_125" id="Page_125">[125]</a></span>
and students of botany will find the work supplies valuable
memoranda of leaves and plants, as the print preserves details
of the form, fibre and veining of
foliage and petal such as no drawing or
photograph can. The printing can be
made wholly
accurate, giving
all the
minutiæ of
construction.</p>
<div class="figleft" style="width: 192px;">
<img src="images/i_125b.jpg" width="192" height="212" alt="print" />
<div class="caption">Smilax.</div>
</div>

<p>The tools
required to
make these
print-pictures
are simple, and consist of a piece of
glass, a palette-knife or table-knife and
some printers’ ink which comes in
small tin boxes and can be procured at
any stationery store, and a pad made
of a ball of cotton
tied in a piece of
soft silk or satin.</p>



<div class="figleft" style="width: 130px;">
<img src="images/i_125c.jpg" width="130" height="224" alt="print" />
<div class="caption">Evergreen Moss.</div>
</div>

<p>The printers’
pad used by the
writer for spreading
the ink, was
manufactured
of the satin lining taken from a gentleman’s
old hat, and answered the purpose
admirably, being a good size, measuring
nearly four inches in diameter. The album
itself may be a common blank-book, with every other leaf cut
out, in order to make room for the prints, which are on pieces<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span>
of blank unruled paper of uniform size, and small enough to fit
in the album and leave a margin all around the piece inserted,
so that the book when opened may be neat and attractive.
Having all your tools at hand, select the leaves you wish to
print. These must be free from dust or dew and perfectly fresh.</p>
<div class="figright" style="width: 239px;">
<img src="images/i_126.jpg" width="239" height="314" alt="print" />
<div class="caption">Skeleton Geranium Leaves.</div>
</div>
<p>First, with your knife, place a small quantity of printers’ ink
on the piece of glass and smooth it as evenly as possible over
the surface. Then press the printers’ pad down lightly, lifting,
and again pressing, until the
ink is evenly distributed on the
pad; next, select a leaf and
place it face, or right side, downward
on a piece of folded newspaper;
press the inked pad down
on the under side of the leaf,
which is now, of course, lying
upward, repeating the operation
until the leaf is sufficiently covered
with ink. Carefully place
the leaf, inked side down, on
the centre of the piece of paper
you have previously cut for the
album; over this lay a piece of
common yellow wrapping-paper,
or any paper that is not too thick or stiff, and rub the finger
gently all over the covered leaf. Remove the outside paper
and very <i>carefully</i> take up the leaf. You will find an exact
impress of the natural green leaf showing every one of the delicate
fibres.</p>



<p>The picture is now ready to be pasted in the album, with a
thin, delicate paste, touching only the corners. It is a good
plan to write under each leaf the name of the plant or tree from
which it was taken, with the date, and such facts as you would<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span>
like to recall. Very valuable botanical collections can thus be
made. Flowers are more difficult to print than leaves, owing
to less “relief” in the films;
still they make charming pictures
when successfully
treated, sometimes
having the appearance of photographs of flowers with all the
lights and shadows.</p>

<div class="figcenter" style="width: 516px;">
<img src="images/i_127.jpg" width="516" height="600" alt="landscape in prints" />
<div class="caption">A Winter Landscape.<br />
<span class="plaintext">Printed from Nature’s Type.</span></div>
</div>

<p><span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span></p>

<p>When printing flowers, proceed in the same manner as with
the leaves. Sweet peas, roses, daisies, wild carrot, clover, and
verbenas, all make beautiful impressions which look like photographs.
Grasses of various kinds also print well.</p>

<p>In making a spray, it is best to have a definite idea of the
form you desire it to take. If possible secure as a copy a natural
spray of the kind you wish to print. Then first print all
the leaves in the positions they are to occupy, and connect them
by drawing in the branch with pen and India-ink.</p>

<div class="figcenter" style="width: 531px;">
<img src="images/i_128.jpg" width="531" height="305" alt="print" />
<div class="caption">Maple Leaves.<br />
<span class="plaintext">Printed from Nature’s Type.</span></div>
</div>

<p>The Winter Landscape is printed from dried twigs, grasses,
and little leafless plants, so arranged as to resemble trees and
shrubbery.</p>

<p>Only have a little confidence and you can make etchings
from nature. Should you not understand drawing or composition,
do not be discouraged; obtain a picture to copy, and
then hunt up little plants and soft twigs as nearly as possible
corresponding in shape and character to the trees in the copy;
in this way you can produce very creditable landscapes.</p>

<p><span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span></p>

<p>Botanical impressions maybe used for “fancy work” by
being printed on satin, and the decorated satin made up as
though it were painted or embroidered; patches for silk quilts
have been prettily decorated by this process. The printings
also make beautiful patterns for outline work, much truer to
nature than those made in any other manner and afford infinite
variety for “borders” and “corners.” Even satin dresses can
be beautifully ornamented with impressions of leaves instead of
the “hand painting” so long in use. You can, of course, see
that should several colors of printers’ ink be used, beautiful
combinations and pleasing variety would be obtained, and that
probably some unique and novel decorations would be secured.</p>

<p>Letter-paper ornamented with a delicate design printed from
nature’s types is very dainty and pretty, and in many other
forms can these simple and beautiful decorations be used.</p>

<p>Then bring leaves and blossoms from the woods or door-yard,
and half an hour may be delightfully spent in printing
“impressions” which will teach a lesson in botany, while the
great variety of leaf forms, difference in texture, fibre, veining
and finish cannot fail to attract your attention and call forth
your admiration.</p>

<div class="figcenter" style="width: 478px;">
<img src="images/i_129.jpg" width="478" height="188" alt="leaves" />
</div>
<hr class="chap" />
<p><span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p>

<div class="figcenter" style="width: 440px;">
<img src="images/i_130.jpg" width="440" height="600" alt="drawing" />
<div class="caption">Corn Roast.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span></p>




<h2>CHAPTER XI.<br />

<small>PICNICS, BURGOOS AND CORN-ROASTS.</small></h2>


<div>
  <img class="drop-cap" src="images/i_131.jpg" width="301" height="313" alt="T" />
</div>

<p class="drop-capi">TRACES of foreign ancestors
are apparent occasionally
in most of us,
true Americans though
we be. It is perhaps a
spice of gypsy blood in
our veins that sets our
pulses throbbing with
pleasant excitement
when, seated in an old hay-wagon, we go bumping and thumping
down the road prepared for a delightful holiday.</p>

<p>With camp-kettle swinging beneath, and coffee-pot stowed
safely away within the wagon, do we not feel able to provide as
savory dishes for our picnic dinner as any concocted by the gypsies
themselves? Surely no coffee is ever so delicious as that
cooked over the camp-fire, albeit it tastes somewhat smoky
when prepared by hands inexperienced in the art of out-door
cooking; but if the fish we broil is a little burned, and the
baked potatoes rather hard in the middle, who cares? Hearty,
healthy appetites, which the early morning drive through the
fresh, exhilarating air has developed, laugh at such trifles and<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span>
dinner is voted a success in spite of sundry mistakes and mishaps
in its preparation.</p>

<p>There are <i>picnics</i> and <i>picnics</i>. When one drives out in a
fine carriage to meet a fine company, and partake of a fine lunch
prepared by fine servants, is one kind.</p>

<p>When one goes with a large party, on a boat, and takes a
lunch of sandwiches, cake, pickles, hard-boiled eggs, etc.,
which is spread on the grass at the landing and eaten as quickly
as possible, is another kind; but the picnic most enjoyed by
young people who are not afraid of a little work, which is only
play to them, is the one where the raw materials for the dinner
are taken and the cooking, or most of it, is done, gypsy fashion,
by the picnickers themselves.</p>

<p>A pleasant innovation in the ordinary routine of a picnic is</p>


<h3><b>A Burgoo.</b></h3>

<p>Thirty or forty years ago the men of Kentucky, in celebration
of a holiday, would get up what they called a burgoo. In
character it was very much like the clam-bake of to-day, but
instead of chowder, or baked clams, the company prepared and
partook of a soup or stew made of almost everything edible.
Early in the morning the party would meet at the appointed
place and decide what each should contribute toward the making
of this most delectable stew.</p>

<p>Those who were fond of hunting would go forth in search of
birds, squirrels, rabbits, and game of all kinds, with which the
woods were filled. Some caught fish, and others provided fowl,
pork, vegetables, and condiments.</p>

<p>As the ingredients were brought in, those who had charge of
the cooking prepared and dropped them into an immense pot
which, half full of water, was suspended over a roaring fire.</p>

<p>When everything of which the stew was composed was<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>
cooked to shreds, the burgoo was pronounced done, and was
served in tin cups, and eaten with shell spoons, made by splitting
a stick and wedging a mussel-shell in the opening.</p>

<p>That this was a most appetizing feast I know from an old
gentleman who has frequently attended the burgoos and partaken
of the stew. Of course at a picnic composed of girls and
boys, it would not do to depend upon the game which might
be shot and the fish which might be caught, for the dinner, but
the burgoo should be adapted to the ways and means of the
party, and each member should provide something for the stew.
The following recipe will make enough for fifteen or twenty
persons.</p>


<h3><b>Burgoo Stew.</b></h3>
<div class="figleft" style="width: 270px;">
<img src="images/i_133.jpg" width="270" height="315" alt="coffee pot on rocks on fire" />
</div>
<p>Two pounds of salt pork, the same of lean beef; two good-sized
chickens, or fowls of any kind; two quarts of oysters, the
same of clams; twelve potatoes,
four turnips, one onion,
two quarts of tomatoes, and
any other vegetables which
may be obtainable. Make a
bouquet of parsley, celery,
and a very little bay-leaf,
thyme and hyssop, tied together
with thread.</p>



<p>Put the beef, fowl, pork,
oysters, clams and a handful
of salt in a large iron kettle,
three-quarters full of water;
skim it before it begins to
boil hard, and add the other
ingredients; keep the kettle covered and boil until the bones
fall from the meat. Serve hot with crackers. Wild game and<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span>
fish may also be added to the recipe. When a burgoo is
decided upon, it is best to prepare a light lunch to be eaten
about eleven o’clock, and have the heartier meal at four or
five in the afternoon, as it requires some time for the stew to
cook.</p>

<p>Our illustration shows four ways of suspending the kettle
over the fire. While the girls are preparing the ingredients for
the stew, the boys will build a fire in some such fashion as is
shown upon <a href="#Page_135">page 135</a>, and put the kettle on. The best way to
boil coffee is to make or build a kind of little stove of stones
and mud, and set the coffee-pot on top, as shown in Fig. 66;
this will prevent the smoky taste it is apt to have when placed
directly on the fire.</p>


<h3><b>A Corn-roast.</b></h3>

<p>During the season when green corn is plentiful, there is no
better way of having a real jolly time than by getting up a corn-roast.
It is not as elaborate an affair as the burgoo. Some
green corn, a long pole sharpened at one end, for each member
of the party and a large fire built in some open space where
there will be no danger of causing conflagration makes us ready
for the corn-roast.</p>

<p>Several summers ago a gay party of friends from New
York and vicinity took possession of and occupied for a few
months a little cottage at a place on the coast of Maine called
Ocean Point.</p>

<div class="figcenter" style="width: 600px;">
<img src="images/i_135.jpg" width="600" height="399" alt="types of fires; Then The Boys will Build The Fire In Some Such Fashion and Put The Kettle on." />
</div>

<p>Toward the end of August, when all places of interest had
been explored, when the stock of shells, starfish, and such like
treasures had grown beyond the accommodation of an ordinary
trunk, and the minds of the sojourners were beginning to be
filled with thoughts of a speedy return home, green corn, for
the first time that summer, made its appearance. This was
hailed with delight, and a farewell lark, in the form of a corn-roast,<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a><br /><a name="Page_136" id="Page_136">[136]</a></span>
was promptly proposed and almost as promptly carried
into execution.</p>
<div class="figright" style="width: 394px;">
<img src="images/i_136.jpg" width="394" height="269" alt="corn on a stick" />
</div>

<p>The place selected on which to build the fire was a large
rock jutting out into a little cove called “Grimes Cove.”
Here the party met about three o’clock in the afternoon, each
member bringing only such dishes as were considered necessary
for his or her own use. It is needless to say that the
supply was not very plentiful, many limiting themselves to a
cup and spoon; still as the supper was to consist merely of
roasted corn, bread and coffee, these
answered every purpose.</p>

<p>Not only was the corn roasted on
the ends of the long poles, but bread
was toasted, and in true American fashion
it was eaten piping hot. One of
the gentlemen, much to the amusement
of the rest of
the party, produced
a piece
of breakfast
bacon, which
he fastened on
to the end of his pole and toasted over the glowing embers, declaring
that it was better cooked in that way than in any other.</p>

<p>Yes, corn-roasts are great fun, and they can be held almost
any place where a large fire can be safely built. It is best to
allow the fire to burn down until it is a glowing pile of coals;
then sticking the sharp end of a pole into an ear of corn (Fig. 67),
and standing as far from the fire as the length of the pole will
permit, it can be held close to the hot embers until thoroughly
cooked; then with butter and salt this roasted corn is excellent
eating.</p>



<p>Enough corn should be provided to allow several ears to<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span>
each member of the party, as mishaps are liable to occur, and
the tempting ear of corn may be devoured by the flames, instead
of the person for whom it was intended.</p>

<p>The poles, about six feet in length, should be as light as
possible, for if too heavy they will tire the hands and arms of
those holding them.</p>

<div class="figcenter" style="width: 457px;">
<img src="images/i_137.jpg" width="457" height="124" alt="geese eating spilled stew" />
</div>

<hr class="chap" />

<p><span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span></p>

<div class="figcenter" style="width: 430px;">
<img src="images/i_138.jpg" width="430" height="600" alt="diagram" />
<div class="caption">White Clover Design.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span></p>




<h2>CHAPTER XII.<br />

<small>BOTANY AS APPLIED TO ART.</small></h2>


<div>
  <img class="drop-cap" src="images/i_139.jpg" width="213" height="257" alt="T" />
</div>

<p class="drop-capi2">THERE is a book of most lovely designs
open to everyone whose eyes
are open to see.</p>

<p>Grasses, leaves, blossoms, and
even buds and seed-vessels supply
material for beautiful patterns.</p>

<p>We need not look far for suggestions.
Truly “that is best
which lieth nearest; shape from
that thy work of art.”</p>

<p>At your very doorway the wonders
of botany may be studied.
Carefully inspect the tree blossoms in the early spring; the
maple, willow, birch, any in fact which happen to be convenient,
and you will find suggestions of rare designs.</p>

<p>Clover, plantain, pepper-grass, dandelions, vines and twigs,
offer ideas which can be adapted to ornamental art.</p>

<p>A love of nature will quicken and stimulate the faculties;
take the flowers and plants for instructors, and they will teach
and guide you.</p>

<p>Though there cannot be found an exact duplicate of any
blossom or leaf, still these may be conventionalized by arranging
them in all sorts of symmetrical designs.</p>

<p>There is no mystery about the matter, for all the designs<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span>
are conceived upon the most simple of geometric laws. We
are now following in the steps of the old masters, and an unlimited
field of new combinations opens before us.</p>

<p>When making designs for this chapter, the writer did not
select the objects she thought would be most decorative, but
anything which chanced to fall in the way; and what she has
done you can do, provided, of course, that you have ordinary
skill with the pencil.</p>


<h3><b>The Peony Leaf.</b></h3>

<p>Suppose you do not know how to draw at all! Even then
you can design. Take the first thing you see, which in this
case happens to be a peony leaf (Fig. 68). That is, assuming
that you are seated by the side of the writer.</p>



<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
<tr><td align="left"><div class="figcenter" style="width: 195px;">
<img src="images/i_140.jpg" width="195" height="216" alt="drawing" />
<div class="caption">Fig. 68.</div>
</div></td><td align="left"><div class="figright" style="width: 193px;">
<img src="images/i_140b.jpg" width="193" height="202" alt="" />
<div class="caption">Fig. 69.</div>
</div></td></tr>
</table></div>


<div class="figright" style="width: 278px;">
<img src="images/i_141a.jpg" width="278" height="306" alt="drawing" />
<div class="caption">Fig. 70.</div>
</div>

<p>Now watch! We will pull it apart thus (Fig. 69). Next
with a pair of scissors, a knife, or fingers snip off the stems,
and group the leaves in any way we chose. We will try this
combination (Fig. 70). If you do not understand drawing,
we must fasten the leaves down upon a piece of paper as they
are arranged, and trace around them, following their edges<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span>
with a pencil until the outline is complete (Fig. 70). By simply
repeating this figure at regular intervals we have a very
pretty border design and
one that is truly original,
for the writer had no more
idea than you, what was
to be the result of this experiment.
In order to
make the pattern exact,
draw lines as in Fig. 71,
for a guide; then draw
the figure according to the
foundation lines (Fig. 72).
When finished, erase the
lines and the design stands
a conventionalized peony
leaf, Fig. 73. By making
a tracing of the first pattern,
you can repeat it any
number of times. It requires no great or peculiar genius to
design well, and it is a mistaken, old-fashioned idea to suppose
because you never have done any original work in art that you
never can. Do not slavishly follow other people, but believe<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span>
that there is implanted in you
the same elements that belong
to those whose designs you admire,
then commence and design
for yourself. That you
may have a start in your new
art, we will try something else,
a vegetable this time, for here
comes the green-grocery man
with a basket full of as quaint
decorations as are ever painted
with bamboo-handled
brush by the Japanese.</p>
<div class="figcenter" style="width: 489px;">
<img src="images/i_141b.jpg" width="489" height="174" alt="Fig. 71   Fig. 72   Fig. 73" />
</div>


<h3><b>A Bunch of Turnips.</b></h3>

<div class="figcenter" style="width: 260px;">
<img src="images/i_142a.jpg" width="260" height="377" alt="drawing" />
<div class="caption">Bunch of Turnips</div>
</div>

<div class="figcenter" style="width: 459px;">
<img src="images/i_142b.jpg" width="459" height="449" alt="drawing of four turnip bunches" />
<div class="caption">Fig. 75.</div>
</div>

<p>Take the first bunch
of vegetables on the top
of the basket. What are
they? turnips? Well
that requires a little skill
as a draughtsman, but
we will sketch this one
and you can copy it (Fig.
74). Now repeat it (Fig.
75), or place the bunches
in a row and you will
have another border
design. After a few
experiments you will
see that anything will
make a decoration
even the humble
kitchen vegetables.</p>

<p><span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span></p>


<h3><b>Decorative Lines.</b></h3>

<div class="figcenter" style="width: 315px;">
<img src="images/i_143a.jpg" width="315" height="150" alt="Fig. 78. Fig. 76. Fig. 77." />
</div>

<div class="figcenter" style="width: 288px;">
<img src="images/i_143b.jpg" width="288" height="143" alt="Fig. 79." />
</div>

<p>Figs. 76 and 77 are simply graceful curves, such as anyone
can make with a pen or pencil, and may be used in many
ways: cross them and they form Fig. 78, use this as half the
design, duplicating it for the other half and it gives Fig. 79.
We now have graceful and beautiful foundation lines on which
any vine or flower may be placed as ornamentation. We will
select the rose, allowing the lines to form the stems and using
as ornament the bud, flower and seed-vessels, remembering<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span>
that one side must be an exact duplicate of the other (see Fig.
80).</p>

<div class="figcenter" style="width: 327px;">
<img src="images/i_143c.jpg" width="327" height="151" alt="Fig. 80" />
</div>

<p>With these curves invent new designs by placing them together
in different ways, and choose for decoration anything
which may strike your fancy.</p>


<h3><b>Plant Cross-section Designs.</b></h3>

<p>Have you ever noticed how curiously some leaves are curled
before opening? Watch them as they commence to expand
and grow, and you will be delighted with the great variety and
unique designs formed by the folding and rolling of these leaf-buds.</p>

<p>Cut a bud square across in the centre with a sharp knife,
and this will show the nicety of arrangment of the young
leaves. The leaf-bud of the sage (Fig. 81), rosemary (Fig.
82), apricot (Fig. 83), and still another variety of pattern (Fig.
84), are all singular natural designs.</p>

<div class="figcenter" style="width: 499px;">
<img src="images/i_144.jpg" width="499" height="251" alt="Fig. 81 Fig. 82 Fig. 83 Fig. 8" />
</div>

<p>The petals of flower-buds are also folded in many ways,
affording odd designs; if cut in like manner as the leaves, the<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span>
cross-sections will be as beautiful. Fig. 85, the lilac bud, and
the oleander (Fig. 86), give some idea of these odd designs.
Submit all kinds of buds to the test by cutting them in halves,
and carefully examining the two parts, observe how nicely and
orderly the leaves are folded together. In this way you will
find many natural ornamental patterns.</p>

<div class="figcenter" style="width: 511px;">
<img src="images/i_145a.jpg" width="511" height="218" alt="Fig. 85 Fig. 86" />
</div>

<p>Nor must we neglect the seed-vessels; when these in their<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
turn are cut open, they present excellent designs. Fig. 87 is a
cross-section of the seed-vessel of the harebell. Other seeds
will furnish queer forms and figures to be obtained in no other
way.</p>

<div class="figcenter" style="width: 292px;">
<img src="images/i_145b.jpg" width="292" height="300" alt="Fig. 87" />
</div>


<h3><b>Flower Sprays.</b></h3>

<div class="figright" style="width: 232px;">
<img src="images/i_146.jpg" width="232" height="248" alt="Fig. 88" />
</div>

<p>The common white clover with its trefoil leaf is very pretty,
and if a few sprays are placed together in a graceful manner it
is surprising how readily they
lend themselves to decoration.
Experiment with these, gather
a few blossoms and leaves,
group them on the centre of a
piece of paper, and make an
outline of the group; then
trace it off in order to repeat
the copy at equal intervals
from the central figure (see illustration,
<a href="#Page_138">page 138</a>); this
makes a very simple and yet
beautiful design for embroidery, needle-work, or wall-paper
pattern. In the same manner try grasses and different kinds
of flowers.</p>

<p>Conventional designs can also be formed by simply inclosing
a natural spray in a geometrical figure. Fig. 88 is a circle, but
a square, triangle, diamond, oval, or any geometrical figure
may take the place of the circle.</p>


<h3><b>Changing the Color</b></h3>

<p class="unindent">of a natural object gives still another style of ornamental art.
A spray of flowers and leaves in one color on a background of
different tint is an example. The spray may be brown on a<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>
yellow background, or a dull blue on white background, either
way it will be conventionalized. So you see that by merely
making natural objects all in one tint, you can have a great variety
of designs suitable for china, embroidery,
wall paper, and many other decorations.
It is instructive to examine the panels,
screens, or painted china of the Japanese.
There is a freedom and crispness about their
ornamental art, which is very attractive.</p>

<p>The method the Japanese
frequently employ is to diminish
the size of the fruit or flowers while increasing
the size of the leaves, and vice-versa; in this way
they invent designs without losing the character
of the object they copy, and it is really a very
simple, yet effective method.</p>

<p>Suppose you try and see what you can make
with it. The next time you have an opportunity,
notice how the Oriental artists carry out this idea
in their decorations, and it will
help you in making your designs.</p>


<h3><b>Burs.</b></h3>
<div class="figright" style="width: 150px;">
<img src="images/i_147a.jpg" width="150" height="158" alt="Fig. 89" />
</div>

<div class="figleft" style="width: 93px;">
<img src="images/i_147b.jpg" width="93" height="370" alt="Fig. 90" />
</div>

<p>The tenacious little burs found
clinging to your dress after a
country walk, when grouped together
are not without beauty.
Fig. 89 is formed of four of these burs placed at right angles
making an ornament, and when the ornament is repeated at
regular intervals as in Fig. 90, it forms a border design.</p>


<div class="figright" style="width: 113px;">
<img src="images/i_147c.jpg" width="113" height="177" alt="Fig. 91" />
</div>

<p>Seeds with downy or feathery tails are well adapted for decorations;
three grouped together (Fig. 91), is a design of itself,<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span>
which may also be re-duplicated (Fig. 92). The horse-chestnut
or buckeye is decorative, and makes an odd design (Fig.
93). Also the seed-vessel of the
Velvet-leaf or Abutilon avicennæ
(Figs. 94 and 95).</p>

<div class="figcenter" style="width: 214px;">
<img src="images/i_148a.jpg" width="214" height="210" alt="Fig. 92" />
</div>


<h3><b>The Water-Lily.</b></h3>

<p>In the illustration of the water-lily,
the writer has conventionalized
it by curving the stem around the
flower and duplicating the same, always
making the stem meet the next
lily, then inclosing the flowers in two straight lines, so forming
a water-lily border. Now, girls, you can realize how very simple
it is to apply botany to art, and make for
yourselves new and original designs.</p>

<div class="figcenter" style="width: 516px;">
<img src="images/i_148b.jpg" width="516" height="92" alt="Fig. 93" />
</div>

<div class="figleft" style="width: 125px;">
<img src="images/i_148c.jpg" width="125" height="127" alt="Fig. 94." />
</div>


<p>The knowledge of plants is not only interesting
but useful in connection with art,
in selecting and determining appropriate designs
for wood-carving, hammered brass, or
any kind of ornamentation or decoration. The cross-section of
some trees will furnish very good designs and the differently<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span>
formed roots of plants and flowers will aid you in ornamental
art.</p>
<div class="figcenter" style="width: 469px;">
<img src="images/i_148d.jpg" width="469" height="78" alt="Fig. 95" />
</div>

<p>So we find that Nature offers us exquisite designs, in many
shapes and forms, and we have only to stretch out our hand
and take what we want.</p>

<div class="figcenter" style="width: 487px;">
<img src="images/i_149a.jpg" width="487" height="209" alt="Fig. 96" />
</div>

<p>“Beauty doth truly inhabit everywhere,” for “it is mind
alone that is beautiful, and in perceiving beauty, we only contemplate
the shadow of our own affections.”</p>

<div class="figcenter" style="width: 508px;">
<img src="images/i_149b.jpg" width="508" height="160" alt="palette and ribbons" />
</div>

<p><span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span></p>
<hr class="chap" />
<div class="figcenter" style="width: 535px;">
<img src="images/i_150.jpg" width="535" height="731" alt="A Door-Step Party quiet games for Hot Weather" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span></p>




<h2>CHAPTER XIII.<br />

<small>DOOR-STEP PARTY AND QUIET GAMES FOR
HOT WEATHER.</small></h2>


<div>
  <img class="drop-cap" src="images/i_151.jpg" width="308" height="322" alt="I" />
</div>

<p class="drop-capi2">IN the State of Kentucky, in one of whose
towns the writer’s early childhood was
spent, the summers are long, and frequently
very hot spells occur when even in
the early morning hours there is no
refreshing coolness in the air. As
the sun rises higher and higher
in the heavens, its rays
grow fiercer and fiercer, until
by afternoon, the heat is
so intense that few persons
care to venture out
of doors, unless compelled
by business or necessity to do so.</p>

<p>At dusk, however, after the heat of
the day is spent, and the air, although not cool, is a degree or
two less hot, the population of the town makes itself visible.
Ladies and children clad in the thinnest of white and light
colored muslin gowns, emerge from the houses to sit upon piazza
and door-step, and there welcome the husband, father, and
brothers of the family upon their return from business; that
business which is never neglected no matter what the thermometer
may register. After tea the door-steps are once more<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span>
taken possession of, and to enter the house again until ready
to retire for the night, is not to be thought of. Friends and
neighbors making social calls are received and entertained informally
upon the door-steps, and sometimes when the party
becomes too large for the steps to accommodate, chairs are
placed upon the pavement immediately in front of the door,
and no one feels, while occupying one of these seats, that the
position is at all public or conspicuous.</p>

<p>Hatless and bonnetless as all of the ladies and children are,
the warmth of the evenings making all head coverings and extra
wraps unnecessary and uncomfortable, the streets present a
gay and fête-like appearance seldom seen in our eastern towns.</p>

<p>At least this is as it was when, as one of the band of merry
children, I played “Oats-peas-beans” and “Come Philanders,”
upon the sidewalk, and I do not think these customs have
changed much since then.</p>

<p>Later, when I and my young friends had outgrown the
“ring-around-arosy” games, we used to gather upon the door-step,
and there chatter away about the day’s doings, or whatever
interested us at the time. When tired of talking, we would
amuse ourselves by playing quiet games or telling stories.
Sometimes the thoughtful mother of our young hostess would
add to our enjoyment by serving some light refreshment, such
as ice-cream or fruit. The greatest treat, and the one most appreciated,
was when we were invited to partake of a great crisp
frozen water-melon, whose blood-red core, sweet as sugar and
cold as ice, quickly melted away between the rosy lips of the
little guests. We were not always thus favored, however; the
refreshments were ever a pleasant surprise, but the pleasure of
our evening was not marred by their absence.</p>

<p>The remembrance of what very pleasant times we used to
have at these impromptu little parties, urges me to devote some
pages of this book to the description of a door-step party, that<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span>
by acting upon the suggestion, others may enjoy them even as
did that group of little Kentucky girls.</p>

<p>Now is just the time for a door-step party; now when the
beauty of the evening lures us from the lighted parlor to the
shadowy piazza whose coolness is so attractive after the long,
hot summer day. Here soft breezes fan our cheeks, and here,
perhaps, the moonlight filtering through vine and trellis, is carpeting
the floor with lacy shadows, and with its soft mysterious
light is casting a glamour over all familiar things.</p>

<p>It is a modest little fête, this door-step party, a simple way
of entertaining one’s friends of a summer evening when the heat
will not permit of the exertion of active games. The delightful
out-door surroundings give it a novel charm and make it
entirely different from the frolics usually indulged in during
the winter season.</p>

<p>Because the entertainment is not noisy it need not be the less
enjoyable, and a party of bright, merry girls will derive plenty
of amusement and fun from the quiet games of a door-step
party. The following will give an idea of what games are suitable
for an occasion of this kind.</p>


<h3><b>Five Minutes’ Conversation</b></h3>

<p class="unindent">is not exactly a game, although there are rules which must be
obeyed in order to make it interesting.</p>

<p>A programme with small pencil attached, like the one shown
in Fig. 97, should be given to each guest upon her arrival.
The engagements for five minutes’ conversation are made by
putting your name down on your friend’s card opposite the
time chosen for your conversation with her.</p>

<p>Five minutes only are allowed for one conversation.</p>

<p>Two or more consecutive engagements with one person are
not allowable. When engagements are made and programmes<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span>
filled, the hostess, or anyone willing to be time-keeper, must
ring a bell giving notice that the conversation is to begin.</p>

<p>At the end of five minutes the bell is to be rung again, when
all talking must instantly cease, the exchange of positions be
quickly made, and a new conversation be commenced.</p>

<div class="figcenter" style="width: 404px;">
<img src="images/i_154.jpg" width="404" height="477" alt="Fig. 97" />
</div>

<p>The time-keeper should be strictly attentive to her duties, for
the bell must be rung regularly at the end of every five minutes.</p>

<p>The hour allotted to this new mode of conversation will pass
very quickly, and cannot become in the least tiresome, as the
time spent in talking to any one person is so very short.</p>

<p><span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span></p>


<h3><b>Blind-man’s Singing-school.</b></h3>

<p>One of the party must be blindfolded to take the part of
teacher. The class composed of the rest of the players should
sit in a line facing her.</p>

<p>The teacher informs her scholars that they will begin the
lesson by singing the scales. Then the head girl, or the one at
the top of the line, sings ah! and the next, ah! a little higher or
lower, and so it goes down the line; each one in turn uttering
ah! in any key or note she please; in a high shrill voice, or the
deepest tone a girlish throat is capable of. The teacher should
listen attentively, and when she thinks she recognizes a voice
she must command the class to stop while she makes some criticism
on the manner in which the note is sung, at the same time
calling the singer by name.</p>

<p>When one of the players is named correctly, she must be
blindfolded and become teacher, while the former teacher takes
her place in the class.</p>

<p>A general exchange of seats is made before the singing lesson
recommences, that the voices may not be guessed by the
direction from which they come. To give variety to this game
the second teacher may direct the class to sing a song, selecting
some well-known nursery rhyme; then, beginning at the top
of the line as before, each player must sing the word which
comes to her to supply. It is the privilege of each teacher to
direct the class to sing whatever she may choose, either song
or exercise.</p>


<h3><b>A Game of Noted Men,</b></h3>

<p class="unindent">is played in this way: The hostess begins the game by saying,
I know a celebrated poet; the first part of his name is very
black, and the last is an elevation. Whoever gives the right
name, which is Coleridge (coal, ridge), in her turn describes the<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span>
name of some noted person. She may choose Shakespeare
and say, I give the name of a noted author and poet; the first
part is something people are apt to do when they are cold, the
last is a weapon of warfare.</p>

<p>There are quite a number of names which will do nicely for
this game; a few of them are—</p>


<ul class="booklist"><li>Wordsworth—words, worth.</li>
<li>Cornwall—corn, wall.</li>
<li>Howitt—how, it.</li>
<li>Milman—mill, man.</li>
<li>Shelley—shell, lea.</li>
<li>Washington—washing, ton.</li>
<li>Fillmore—fill, more.</li>
<li>Longfellow—long, fellow.</li></ul>



<p>When giving a name to be guessed, the profession of the
man, whether poet, author, statesman, or soldier, must be given,
but nothing else should be told about him.</p>


<h3><b>What will You Take to the Picnic?</b></h3>

<p class="unindent">can be played very nicely while the party are enjoying some
light refreshments.</p>

<p>The hostess alone should be in the secret, and these directions
are addressed only to her.</p>

<p>Commence the game by announcing that you propose to
give a picnic, that it depends upon what your guests will bring
for lunch whether they will be allowed to attend, and that each
one must furnish two articles of food. Then ask the person
nearest you, What will you take to the picnic? If the name of
neither of the articles she mentions commences with the initial
letter of her Christian name or surname tell her she cannot go,
and put the question to the next person, asking each in turn,
What will you take to the picnic?</p>

<p>For example, we will suppose that the name of one of the
party is Susan Davis, and she says she will take crackers and
lemons, she cannot go, as neither of her names commence with<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span>
C or L; but if she proposes to take salmon and doughnuts,
she will be doubly welcome, since S and D are both her initials.
Should she say sugar and cream, she could go for one of
her names commences with S.</p>

<p>Continue to put the question to each player until all, or
nearly all, have discovered why their proposed contribution to
the lunch secures them a welcome, or debars them from attending
the picnic.</p>


<h3><b>Assumed Characters.</b></h3>

<p>In this game some well-known novelist is selected—Dickens,
for instance—and each player chooses one of his characters to
personate, telling no one her choice. Then one of the players
relates the life as though it were her own, and portrays with
voice and gesture the character she has assumed. Of course no
names must be mentioned.</p>

<p>The person who first guesses what character is being personated
has the privilege of deciding who shall be the next to
tell her story.</p>

<p>The game of Assumed Characters will prove to be very entertaining
if each player does her part and makes her narrative
as amusing and interesting as possible.</p>


<h3><b>Shadow Verbs.</b></h3>

<p>A white sheet is fastened tightly across a French window, or
doorway opening upon the piazza, and a large lamp set behind it.</p>

<p>The company separates into two parties; one enters the
house, while the other remains seated upon the piazza facing
the suspended sheet.</p>

<p>The outside party chooses a verb which the others are to
guess and perform. When their decision is made they call the
leader of the inside party and say, “The verb we have chosen<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span>
rhymes with rake,” or whatever it may rhyme with. The
leader then joins her followers and consults with them what the
first guess shall be. It is best to take the verbs which rhyme
with the noun given in alphabetical order. Bake would come
first for rake, and if it is decided that they shall act this, several
of the party step before the lamp, which casts their shadows on
the sheet and, without speaking, go through the motions of
making and baking bread. If the guess is right (that is if to
bake was the verb chosen) the spectators clap their hands; if
wrong, they cry, No, no.</p>

<p>When they hear the no, no, the actors retire and arrange
what to do next. Make, quake, take, wake are all acted in
turn, until the clap of approval announces that they have been
successful in guessing the verb. Then the actors take the seats
vacated by the spectators, who in their turn enter the house
to become shadows and act the verbs chosen by the other party,
and the game goes on as before. A little ingenuity on the part
of the players in producing funny and absurd shadows makes
the whole thing very laughable and causes great amusement.</p>

<p>There are an unlimited number of games that may be
played, but the object of this chapter is not so much to describe
the games as it is to illustrate those that are appropriate
to the quiet and delightful entertainment known as a door-step
party.</p>

<div class="figcenter" style="width: 521px;">
<img src="images/i_158.jpg" width="512" height="126" alt="A Door-step party; little girl lying on door-step with doll" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span></p>




<h2>CHAPTER XIV.<br />

<small>HOW TO MAKE A HAMMOCK.</small></h2>


<div>
  <img class="drop-cap" src="images/i_159.jpg" width="133" height="191" alt="U" />
</div>

<p class="drop-capi2">UNDERNEATH the spreading branches of the
cool, shady tree swings our hammock.</p>

<p>Through the intertwining boughs the golden
sunlight is sifted in bright little dashes on
the leafy foliage below. Lying ensconced
in its lacy meshes idly listening to the hum
of the busy bumble-bees at work among the
red clover, or gazing up through the leafy
canopy to the blue heavens where now and
then fleecy white clouds float softly past, or watching a flight
of birds skim o’er the distant horizon, who would not be lulled
by the harmony of the summer day! A delightful languor
steals over us and we unconsciously drift into the land of
dreams where perfect rest is found. We awaken refreshed, to
again gently swing back and forth and vaguely wonder who
could have first thought of this most delightful invention. It is
said that we owe the luxury to the Athenian, General Alcibiades,
who, in 415 <span class="smcap">B.C.</span> first made the swinging bed. The word
hammock is taken from hamacas or hamac, an Indian word
which Columbus relates as being used by the Indians to signify
a hanging bed composed of netting. What these uncivilized
red men made with their rude implements, we ought to
be able with our modern facilities to accomplish very easily
and quickly.</p>

<p><span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span></p>

<div class="figcenter" style="width: 600px;">
<img src="images/i_160.jpg" width="600" height="424" alt="girl in hammock" />
<div class="caption">Home-made Comforts.</div>
</div>

<p><span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span></p>

<div class="figcenter" style="width: 470px;">
<img src="images/i_161a.jpg" width="470" height="106" alt="Fig. 98 Fig. 99" />
<div class="caption">Mesh-sticks..</div>
</div>

<p>It is not difficult to make a hammock; anyone can soon knit
one that is strong and comfortable, and it should not cost more
than fifty cents. The materials required will be one hammock-needle
about nine inches long (this can be whittled out of hickory
or ash, or purchased for ten cents); two
iron rings two and one-half inches in diameter,
which will cost about five cents each;
two mesh-sticks or fids, one twenty inches
long and eight inches wide bevelled on both edges (Fig. 98): the other nine inches long and two and one-half
inches wide, bevelled on the long edge (Fig. 99); these
you can easily make yourself from any kind of wood.</p>


<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 96px;">
<img src="images/i_161b.jpg" width="96" height="371" alt="diagram" />
<div class="caption">Fig. 100.—Hammock Needle.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 115px;">
<img src="images/i_161ca.jpg" width="115" height="253" alt="diagram" />
<div class="caption">Fig. 101.—The Loop.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 92px;">
<img src="images/i_161cb.jpg" width="92" height="233" alt="diagram" />
<div class="caption">Fig. 102.—Small Fid and Loop.</div>
</div></td>
</tr>
</table>
</div>

<p><span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>One pound of Macremé cord number twenty-four, or hammock
twine of the same number, which can be had for less than
thirty cents; colored
cord comes five
cents extra.</p>

<p>Wind the cord in
balls, as it is then
more convenient to
handle, and begin
making your hammock.
First, thread
the needle by taking
it in the left hand
and using the thumb
to hold the end of
the cord in place,
while looping it
over the tongue
(Fig. 100); pass the
cord down under
the needle to the
opposite side and
catch it over the
tongue; repeat this
until the needle is
full.</p>

<div class="figcenter" style="width: 600px;">
<img src="images/i_162.jpg" width="600" height="322" alt="Fig. 103.—First Half of Knot. Fig. 104.—Construction of Knot. Fig. 105.—A Number of Knots." />
</div>
<div class="figleft" style="width: 197px;">
<img src="images/i_163a.jpg" width="197" height="367" alt="Diagram" />
<div class="caption">Fig. 106.—Meshes.</div>
</div>
<p>Next, make a
loop of a piece of
cord two yards long
and fasten this to
any suitable place
(Fig. 101)—a door-knob will do very well; then tie the cord
on your needle three inches from the end to this loop. Place<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span>
the small fid under the cord, the bevelled edge close to the
loop (Fig. 102). With your thumb on the cord to hold it in
place while you pass the needle around the
fid, and with its point toward you, pass it
through the loop from the top, bringing it
over the fid, so forming the first half of the
knot (Fig. 103). Pull this taut, holding it
in place with your thumb while throwing
the cord over your hand, which forms the
loop as in (Fig. 104). Then pass the needle
from under through the loops, drawing it
tight to fasten the knot. Hold it in place
with your thumb, and repeat the operation
for the next knot. Fig. 105
shows a number of these knots finished.
A is a loosened knot, making
plain its construction. B, in Figs. 103,
104, and 105, is
the cord running
to the needle,
and D is the fid.
When thirty meshes are finished shove
them off the fid (Fig. 106), as this number
will make the hammock sufficiently
wide.</p>

<div class="figright" style="width: 221px;">
<img src="images/i_163b.jpg" width="221" height="240" alt="digarm" />
<div class="caption">Fig. 107.—Commencing the Second
Row.</div>
</div>

<p>Commence the next row by
again placing the fid under the
cord, and take up the first mesh,
drawing it close to the fid; hold
it in place with your thumb while
throwing the cord over your hand; pass the needle on the left
hand-side of the mesh from under through the loop thrown
over your hand (Fig. 107); pull this tight and you will have<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span>
tied the common knitting-knot; proceed in like manner with
all the loops in rotation until the row is finished. When it is
necessary to thread or fill your needle,
tie the ends of the cord with the fisherman’s
knot shown in Fig. 108, which
cannot slip when properly tightened.
Wrap each end of the cord from the knot
securely to the main cord with strong
thread to give a neat appearance
to the hammock.</p>

<div class="figleft" style="width: 348px;">
<img src="images/i_164aa.jpg" width="348" height="131" alt="knot" />
<div class="caption">Fig. 108.—Fisherman’s Knot.</div>
</div>

<p>Continue knitting until thirty
rows are finished.</p>

<p>Then use the large fid, knitting
one row on the short side
first, next one on the long side.
This accomplished, knit the
meshes to the ring by passing
the needle through it from the
top, knitting them to the ring in
rotation as if they were on the
mesh-stick or fid (Fig. 109). When
finished tie the string securely to
the ring, and one end of your
hammock is finished.</p>
<div class="figleft" style="width: 171px;">
<img src="images/i_164ab.jpg" width="171" height="505" alt="Fig. 109" />
<div class="caption">On the Ring.</div>
</div>
<p>Cut the loop on which the
first row was knitted, and
draw it through the knots.
Tie the end of the cord on
your needle to the same
piece used in fastening
the end of the first needleful to the loop (Fig. 110), and knit
the long meshes to the other ring as described. This completed,
the hammock is finished.</p>

<div class="figright" style="width: 117px;">
<img src="images/i_164b.jpg" width="117" height="445" alt="Fig. 110" />
</div>

<p><span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span></p>

<p>To swing it, secure two pieces of strong rope and fasten
them firmly to the iron rings, the length of the rope depending
upon the space between the two points from which you wish
it to hang. These should be if possible twelve or fifteen feet
apart and at least ten feet high, to give your hammock sufficient
room to swing freely.</p>

<p>This suspended bed will furnish a welcome retreat when the
weather is too warm to admit of games, walks, or other amusements.
Then, with some favorite book, or if even reading is
too much of an exertion, simply to lie indolently in the hammock
is a comfort, so restful and quiet that the time quickly
passes, and we are made better and brighter for our short, passive
repose.</p>

<p>Very decorative nets, and useful ones of many kinds, including
fish-nets and minnow-seines, are made with the same stitch
as that used in the hammock. The size of the mesh is regulated
by the circumference of the fid, and the twine used is fine
or coarse, according to the style of net desired.</p>


<h3><b>Barrel Hammock.</b></h3>
<div>
  <img class="splitr" src="images/i_166a.jpg" alt="The Way it Is" width="488" height="392" />
  <img class="splitr" src="images/i_166b.jpg" alt="The Way it Is" width="135" height="37" />
  <img class="splitr" src="images/i_166c.jpg" alt="The Way it Is" width="212" height="40" />
  <img class="splitr" src="images/i_166d.jpg" alt="The Way it Is" width="299" height="232" />
</div>
<p>When in the Catskills last summer the writer saw for the
first time a hammock made of a barrel. It was painted red
and looked very cheery and inviting hanging under the green
boughs; the two colors, being complementary, harmonized
beautifully.</p>

<p>This hammock was made of a piece of strong rope twenty
feet long threaded in and out of barrel staves, and was substantial
and durable. The construction of such a hammock is
very simple. Remove the top and bottom hoops and nails
from a firm, clean barrel. Then before taking off the remaining
hoops draw a pencil-line around both ends of the barrel,
being careful to have the marking three inches from and parallel<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>
to the edges; this is for a guide
when making the two holes in
each end of all the staves. Bore
the holes with a five-eighth
of an inch augur
or a red-hot poker,
using the pencil-line as
a centre; leave an equal
margin on both sides of
the staves, and at the
same time enough space
in the centre to preclude
all danger of breakage.</p>

<p>Fasten the staves together
by threading the rope through the hole from the out<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span>
side of the first stave, then across the inside of the stave down
through the other hole (see illustration). Continue threading
until one side is finished, then in like manner thread the other
side. Knock off the remaining hoops and the staves will appear
as shown at bottom of illustration. Tie the two ends of
the rope together and fasten loops of rope on both ends; these
should be of sufficient length to conveniently swing the hammock.
When threading the staves let the rope be loose
enough to leave a space of an inch or so between each stave
when the barrel is spread out in the form of a hammock.</p>

<p>In this way you can have a serviceable hammock, the cost
of which will be about twenty-five cents and a little labor.</p>

<div class="figcenter" style="width: 475px;">
<img src="images/i_167.jpg" width="475" height="167" alt="cozy nest for a fairy" />
</div>
<hr class="chap" />
<p><span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span></p>

<div class="figcenter" style="width: 518px;">
<img src="images/i_168.jpg" width="518" height="723" alt="two girls playing with corn dolls" />
<div class="caption">Grandmamma’s Dolls.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p>




<h2>CHAPTER XV.<br />

<span class="small">(<i>FOR LITTLE GIRLS.</i>)</span><br />

<small>CORN-HUSK AND FLOWER DOLLS.</small></h2>


<div>
  <img class="drop-cap" src="images/i_169.jpg" width="254" height="319" alt="N" />
</div>
<div class="figright" style="width: 109px;">
<img src="images/i_170a.jpg" width="109" height="354" alt="Fig. 111" />
<div class="caption">Head Commenced.</div>
</div>
<p class="drop-capi3">NO such beautiful dolls as delight
the hearts of the children of
to-day, ever peeped forth from
the Christmas-stockings of our
grandmothers or great-grandmothers
when they were little
girls. In those times there
were not, as there are now,
thousands of people doing
nothing but making toys for
the entertainment and pleasure
of the little ones, and the
motherly little hearts were
fain to content themselves
with lavishing unlimited affection
and care upon a rag, wooden, or corn-husk baby, made
and dressed at home. Since then almost every child tired of,
and surfeited with handsome and expensive toys, has been
glad at times to get grandma to make for her a real old-fashioned
dollie which might be hugged in rapturous moments of
affection without fear of dislocating some of its numerous
joints, or putting out of order its speaking or crying apparatus;<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span>
and might in times of forgetfulness be dropped on the floor
and suffer no injury thereby. Such a doll is just the kind to
adopt for the summer. The fine French doll with
its delicate wax or china face, silky hair, and
dainty toilets, is more suited to the elegances of
the parlor than to the wear and tear of out-door
life, and everyone knows that summer holidays
spent in the country are far too precious to be
wasted taking care of anyone’s complexion, let
alone a doll’s; so it is best to leave the city doll
in her city home, safe out of harm’s way, and
manufacture, from materials to be found in the
country, one more suited to
country surroundings.</p>
<div class="figleft" style="width: 154px;">
<img src="images/i_170b.jpg" width="154" height="355" alt="Fig. 112" />
<div class="caption">The Corn Husk.</div>
</div>
<p>Corn-husks, corn-cobs,
and ordinary garden flowers
can be made into dolls which,
although not quite so pretty
nor so shapely as those produced
from more costly material,
yet possess a charm
of their own which the children are not slow
to perceive.</p>

<p>Little Indian girls, to whom store babies
are unknown, make the most complete and
durable corn-husk dolls, and the following
directions tell just how to construct them:</p>

<p>Provide yourself with the husks of several
large ears of corn, and from among
them select the soft white ones which grow
closest to the ear. Place the stiff ends of
two husks together, fold a long, soft husk in a lengthwise strip,
and wind it around the ends so placed as in Fig. 111. Select<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span>
the softest and widest husk you can find, fold it across the centre
and place a piece of strong thread through it (as in Fig.
112), draw it in, tie it securely
(Fig. 113), place it
entirely over the husks
you have wound, then
bring it down smoothly
and tie with thread underneath
(Fig. 114); this will form the
head and neck. To make the arms,
divide the
husks below
the
neck in
two equal
parts, fold
together
two or
more
husks and
insert
them in
the division
(Fig. 115). Hold the arms in
place with one hand, while with the
other you fold alternately over each
shoulder several layers of husks, allowing
them to extend down the
front and back. When the little
form seems plump enough, use
your best husks for the topmost
layers and wrap the waist with strong thread, tying it securely
(Fig. 116). Next divide the husks below the waist and make<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span>
the legs by neatly wrapping each portion with thread, trimming
them off evenly at the feet. Finally, twist the arms
once or twice, tie, and trim them off at the hands. The features
can be drawn on the face with pen and ink, or may be formed
of small thorns from the rose-bush. Fig. 117 shows the doll
complete, minus its costume, which may be of almost any style
or material, from the pretty robe of a civilized lady to the more
scanty garments of its originator, the Indian. The doll is represented
in full Indian costume in Fig. 118. The war-paint and
tomahawk are not necessary here, as he is smoking a pipe of
peace. His apparel is composed of one garment, which is cut
from a broad, soft corn-husk, after the pattern given in Fig. 119.
A narrow strip of husk tied about his waist forms the belt.</p>


<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 127px;">
<img src="images/i_171a1.jpg" width="127" height="374" alt="Fig. 113" />
<div class="caption">Corn-husk Tied.</div>
</div>
</td>
<td align="left"><div class="figcenter" style="width: 291px;">
<img src="images/i_171b.jpg" width="291" height="408" alt="Fig. 115" />
<div class="caption">Head and Arms.</div>
</div>
</td>
<td align="left"><div class="figcenter" style="width: 104px;">
<img src="images/i_171a2.jpg" width="104" height="405" alt="Fig. 114" />
<div class="caption">Head Finished.</div>
</div>
</td>
</tr>
</table>
</div>

<p>His head-dress is made of small chicken feathers stuck at<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span>
regular intervals into a strip of husk. The corn-silk hair is
placed on his head, and on top of that one end of the head-dress
is fastened with a thorn.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 258px;">
<img src="images/i_172a.jpg" width="258" height="346" alt="Fig. 116" />
<div class="caption">Head, Arms, and Body.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 234px;">
<img src="images/i_172b.jpg" width="234" height="291" alt="Fig. 117" />
<div class="caption">Finished Doll.</div>
</div>
</td>
</tr>
</table>
</div>

<p>A small twig is used for the stem of his pipe, and two rose-bush
thorns form the bowl. Instead of using a thorn for his
mouth, a round hole is punched in the face and the stem of
the pipe inserted.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 208px;">
<img src="images/i_173a.jpg" width="208" height="369" alt="Fig. 118" />
<div class="caption">A Real Indian Doll.</div>
</div>
</td>
<td align="left"><div class="figcenter" style="width: 136px;">
<img src="images/i_173b.jpg" width="136" height="366" alt="Fig. 119" />
<div class="caption">The Indian’s Dress.</div>
</div></td>
</tr>
</table>
</div>

<h3><b>Mary Jane.</b></h3>

<p>Here is another way of making a doll which is very easy and
simple. First find a young ear of corn, one on which the silk
has not turned brown; then with a crab-apple for a head and
a leaf of the corn to dress her with, you have your material.<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span>
Cut off squarely that end of the ear where the husks are puckered,
to join the stalk, and carefully take the silk from the other
end, disturbing as little as possible the closely wrapped husks.</p>

<p>Roll part of the leaf (as indicated in Fig. 120) for the arms,
then with a small twig fasten the head to the arms; stick the
other end of the twig into the small end of the corn-cob, and
the doll is ready for dressing. Her bonnet is made of the leaf
just where it joins the stalk (Fig. 121), and is fastened to her
head with a thorn. Before adjusting the bonnet, however, the
silk must be placed on the head to form the hair.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 392px;">
<img src="images/i_174a.jpg" width="392" height="449" alt="Fig. 120  Fig. 121 Fig. 122" />
<div class="caption">Material and Parts of Doll.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 171px;">
<img src="images/i_174b.jpg" width="171" height="428" alt="doll" />
<div class="caption">Mary Jane.</div>
</div></td>
</tr>
</table>
</div>

<p><span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span></p>

<p>Make the scarf of part of the leaf (Fig. 122), fold it around
the shoulders, and secure it with thorns.</p>

<p>The features also are made of thorns.</p>

<p>When her toilet is complete, you can but acknowledge that
this rosy-cheeked little maid, peeping from beneath her poke-bonnet,
is very cunning indeed.</p>


<h3><b>Flower Dolls.</b></h3>

<div class="figcenter" style="width: 541px;">
<img src="images/i_175.jpg" width="541" height="389" alt="two dolls one with baby, one with flower parasol" />
</div>

<p>The flower lady with the baby is made of a yellow gourd
flower; the small gourd attached, which has just begun to
form, serves for her head; a green gourd leaf is used for her
shawl, and her bonnet is made of a smaller leaf folded to fit her
head. The baby is a white gourd bud, with a cap made of a<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span>
leaf. A small twig stuck through part of the lady’s shawl,
through the baby, and into the lady doll, holds the child in
place and makes it appear as though clasped in the mother’s
arms.</p>

<p>The features of both dolls are scratched on with a pin and
then inked. To make the lady stand erect, a small twig is stuck
into the heart of the flower, and the other end into the top of a
small paste-board-box lid.</p>

<p>The other flower doll is made of the common garden flowers.
The underskirt is a petunia; a Canterbury-bell forms the over-skirt
and waist; small twigs, or broom-straws stuck through
buds of the phlox, are the arms, and the head is a daisy with
the petals cut off to look like a bonnet. The features are made
with pen and ink on the yellow centre. A reversed daisy forms
the parasol.</p>

<p>If the flowers named are not at hand, those of a similar
shape will answer just as well.</p>

<p>Gaily dressed little ladies can be made of the brilliantly
tinted hollyhocks, and many other flowers can also be transformed
into these pretty though perishable dolls.</p>

<div class="figcenter" style="width: 441px;">
<img src="images/i_176.jpg" width="441" height="154" alt="girl sitting on cob of corn" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span></p>




<h2>CHAPTER XVI.<br />

<small>HOW TO MAKE A FAN.</small></h2>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">“That graceful toy whose moving play</div>
<div class="verse"><span style="margin-left: .5em;">With gentle gales relieves the sultry day.”</span></div>
</div>
</div>


<div>
  <img class="drop-cap" src="images/i_177.jpg" width="266" height="279" alt="A" />
</div>
<div class="figright" style="width: 351px;">
<img src="images/i_178.jpg" width="351" height="566" alt="drawing" />
<div class="caption">Butterfly Fan.</div>
</div>
<p class="drop-capi">A FAN is only a pretty trifle,
yet it has been made rather
an important one. To manage
a fan gracefully was some
time ago considered very essential
by fair dames of society,
and in the dainty hand
of many a famous beauty it
has played a conspicuous
part. Queen Elizabeth regarded it with so much favor that
she was called the “Patron of Fans,” and she made a rule that
no present save a fan should be accepted by English queens
from their subjects.</p>


<p>Although held in such high esteem, it is only since the influx
of any and every thing Japanese that we have had fans in
such profusion, and have discovered how effective they are
when used for decorative purposes.</p>

<div class="figleft" style="width: 510px;">
<img src="images/i_179a.jpg" width="510" height="213" alt="diagram" />
<div class="caption">Diagram of One-half of Butterfly Fan</div>
</div>

<div class="figright" style="width: 212px;">
<img src="images/i_179b.jpg" width="212" height="307" alt="Fig. 123 Fig. 125" />
<div class="caption">Folded Fans.</div>
</div>

<p>A brilliantly tinted fan is of equal value in giving just the
right touch of color to a costume or the decorations of a room,
and this chapter will show how the girls can make the fans<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span>
themselves, and have for use or for the adornment of their
rooms those of various shapes, sizes, and colors. The first fan
represented here is
made in the form
of a butterfly. The
principal articles
necessary for its
manufacture are a
strip of smooth,
brown wrapping-paper,
stiff enough
to keep its folds,
and two sticks for
handles. The ribbon
which, in the
illustration, ties the
handles together
looks pretty, but is
not indispensable;
an elastic band, or
one made of narrow
ribbon, slipped
over the sticks will
do as well.</p>

<p>The paper must
be twenty-eight
inches long and five
and one-half inches
wide. In order to
fold it evenly it
should be ruled across with lines one-half inch apart, as shown
in diagram of butterfly (<a href="#Page_179">page 179</a>). When the paper is prepared
the pattern can be copied from the diagram, which is<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span>
half of the butterfly. By counting the lines and using them as
guides for obtaining the proportions, an exact reproduction of
this pattern can be made. The outlines being drawn, the paper
must be plaited, one fold on top of
another, until twenty-seven plaits
have been laid. Smoothing out the
paper again, the butterfly should be
painted with water-colors in flat,
even tints.</p>


<p>The lower part of diagram is the
body of the insect and is of a light-brown
color, also the space just below
the head, which is surrounded
by a strip of black.</p>

<div class="figcenter" style="width: 503px;">
<img src="images/i_179c.jpg" width="503" height="46" alt="Fig. 124" />
<div class="caption">Handle.</div>
</div>

<p>The head and eyes are black,
the eyes having a half-circle of
white to separate them from the
head. The main part of the wings<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span>
are a brownish purple, next to which comes a border of very
dark purple with light-blue spots. The outer border is light
yellow. When the paint is quite dry the extra paper at the
top of the butterfly is to be cut away. Again the fan must be
plaited in the
folds already
formed, and
the plaits
fastened together
at one
end with a
strong needle
and thread, as
shown in diagram
(Fig. 123).
Fig. 124 shows
the shape of the
handles, two of
which are required;
they
should be about
nine inches
long, one-third
of an inch wide,
and one-eighth of an inch thick. A handle must
be glued to the last fold at each end of the fan (see
Fig. 125). The fan should be kept closed until the
glue is dry, when it may be opened and used at pleasure.</p>

<div class="figcenter" style="width: 393px;">
<img src="images/i_180.jpg" width="393" height="498" alt="The Mikado Fan" />
</div>

<p>Our next sketch is that of the Mikado fan, and represents a
Japanese lady who, with her fan held aloft, is making a bowing
salutation.</p>

<p>This fan is made of the same paper as that used for the butterfly,
and is cut the same width; there are, however, twenty-nine<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span>
plaits instead of twenty-seven, as in the other. The diagram
gives the pattern in two parts, and the colors it is to be
painted; the face and hands should be of a flesh-tint and the
features done with black in outline. The directions for putting
together the butterfly apply as well to the Mikado fan.</p>

<div class="figcenter" style="width: 507px;">
<img src="images/i_181.jpg" width="507" height="407" alt="diagrams" />
<div class="caption">Pattern of Mikado Fan.</div>
</div>

<p>The third illustration shows a fan made in the shape of a
daisy. Diagram on <a href="#Page_183">page 183</a> shows a section of the pattern.</p>
<div class="figright" style="width: 348px;">
<img src="images/i_182.jpg" width="348" height="551" alt="drawying" />
<div class="caption">Daisy Fan.</div>
</div>

<p>White paper should be used, and it must be laid in thirty-four
plaits, which will give the flower fifteen whole and two
half petals, the half petals being at each end.</p>

<p>The tinted part of pattern indicates where it is painted yellow
to form the centre of the daisy.<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p>

<p>For a plain round fan no pattern is needed. It is made
simply of a strip of paper, of the width used for the other fans,
and has about thirty plaits. When fans of this kind are made
of colored paper in
solid tints they are
very pretty. Pieces
of bright, figured
wall-paper left from
papering a room
can be utilized, and
quite effective fans
be made of them to
use for decoration.</p>


<div class="figleft" style="width: 322px;">
<img src="images/i_183a.jpg" width="322" height="229" alt="drawing" />
<div class="caption">Pattern for Daisy Fan.</div>
</div>
<p>Another style of
fan is represented
in our last illustration.
It is made of
twenty slats of cardboard
cut after pattern
Fig. 126. These
slats are joined together
at the top and centre with narrow ribbon
passed through the slits cut for it, as shown in
Fig. 127. Over the ribbon where it passes through
the top slits, on the wrong side of the fan, square
pieces of paper are pasted, which hold the ribbon
down securely at these points. The paper is pasted
only at each end of the ribbon in the middle row. It is
best to leave one end of this ribbon loose until the fan is
joined at the bottom; then opening the fan, and drawing the
ribbon until it fits the fan smoothly, it can be cut the right
length and the loose end fastened down. A ribbon is also
used to hold the slats together at the bottom; a bow at each<span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span>
side keeps them in place (see Fig. 128). When a large fan for
decoration is desired, the slats should be about eighteen inches
long, two and a half
inches wide at the
top, and one and a
half inch wide at the
bottom. The fan
may be larger still,
in which case it can
be used as a screen to
set before an empty
fire-place. For this
purpose the slats
have to be two feet
long, four inches wide at the top, and two and a half inches
wide at the bottom.</p>
<div class="figleft" style="width: 303px;">
<img src="images/i_183b.jpg" width="303" height="256" alt="diagram" />
<div class="caption">Construction of Cardboard Fan.</div>
</div>

<p>The proportions of the slats for a small hand-fan are eight
and a half inches long,
one and a half inch wide
at the top, and one inch
wide at the bottom.
The large fans should
be made of heavier cardboard
or pasteboard
than that used for smaller
ones.</p>


<div class="figright" style="width: 328px;">
<img src="images/i_184a.jpg" width="328" height="389" alt="drawing" />
<div class="caption">Cardboard Fan</div>
</div>
<p>Colored cardboard,
which can be bought at
almost any stationer’s, is
the best to use, but the
slats of ordinary white
cardboard may be covered with colored paper if more convenient.</p>

<p><span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span></p>

<p>These fans may be varied to suit the taste of the girls who
make them. Instead of a solid color, one can be made with
alternate slats of red
and white, blue and
yellow, or any other
colors that harmonize.
Another may
show all the tints of
the rainbow, and for
use on the Fourth of
July one might display
the red, white,
and blue.</p>



<p>Some will look
especially handsome
if prettily painted.
A dark-red fan with
a branch of dogwood-blossoms
painted
across it makes a
charming wall decoration,
as does also one of light blue with pine-branch and
cone painted in brown or black.</p>

<p>A gilt fan lightens up a dusky corner beautifully; it can
be curved around to fit the place, and catching and reflecting
the light at all angles, as it does, it is quite effective.</p>

<div class="figcenter" style="width: 472px;">
<img src="images/i_184b.jpg" width="472" height="104" alt="fan and cherubs" />
</div>

<hr class="full" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span></p>
<h2 class="faux">AUTUMN</h2>
<div class="figcenter" style="width: 498px;">
<img src="images/i_185.jpg" width="498" height="201" alt="AUTUMN." />
</div>

<hr class="chap" />
<p><span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span></p>

<div class="figcenter" style="width: 403px;">
<img src="images/i_186.jpg" width="403" height="464" alt="girl reading under umbrella on shore" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span></p>




<h2>CHAPTER XVII.<br />

<small>ALL-HALLOW-EVE.</small></h2>


<div>
  <img class="drop-cap" src="images/i_187.jpg" width="133" height="170" alt="R" />
</div>

<p class="drop-capi3">RADIANT and beautiful October, whose
changing color heralds the approach of winter,
gives us our first autumn holiday, if
Halloween can now be called a holiday.</p>

<p>Before the Christian era, in the days of
the ancient Celts and their priests, the
Druids, the eve of the first of November
was the time for one of the three principal festivals of the year.
The first of May was celebrated for the sowing; the solstice on
the twenty-first of June for the ripening, and the eve of the first
of November for the harvesting. At each of these festivals
great fires were built on the hill-tops in honor of the sun, which
the people worshipped. When Christianity took the place of
the heathen religion, the Church, instead of forbidding the celebration
of these days, gave them different meanings, and in
this way the ancient harvest-festival of the Celts became All-Hallow-Eve,
or the eve of All-Saints-Day, the first day of November
having been dedicated to all of the saints.</p>

<div class="figcenter" style="width: 435px;">
<img src="images/i_188.jpg" width="435" height="600" alt="two girls stepping outdoors blindfolded" />
<div class="caption">Kaling.</div>
</div>

<p>For a long while most of the old customs of these holidays
were retained; then, although new ceremonies were gradually
introduced, Hallow-Eve remained the night of the year for wild,
mysterious, and superstitious rites. Fairies and all supernatural
beings were believed to be abroad at this time, and to
exercise more than their usual power over earthly mortals. Because
the fairy folk were believed to be so near us on Halloween,<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a><br /><a name="Page_189" id="Page_189">[189]</a></span>
it was considered the best evening of the season for the
practice of magic, and the customs observed on this night became
mostly those of divination, by the aid of which it was
thought the future might be read.</p>

<p>Before proceeding further with this subject we desire our
readers to appreciate and fully understand that we are far from
wishing to inculcate any superstitious belief in the power of
charms to forecast future events; that we regard all fortune-telling
as nonsense, pure and simple, and only insert it here,
as we would any other game, for the sake of the amusement it
affords. Although, to make our descriptions more intelligible,
we announce the results of charms as facts, we would not have
it understood that they are to be taken as such.</p>

<p>Nowadays, so practical has the world become, no fairy,
witch, or geni could we conjure up, were we to practice all the
charms and spells ever known to soothsayer or seer. Our busy,
common-sense age allows no fairies to interfere with its concerns,
and these creatures, who existed only in the belief of the people,
must needs vanish, to return no more, when that belief is gone.</p>

<p>A few fortune-telling games are all that now remain of the
weird ceremonies that once constituted the rites of Halloween,
and the spirit of this old heathen holiday is once more changed,
for it is now considered only an occasion for fun and frolic.</p>

<p>It was the custom for quite a number of years of some
friends of the writer to give a Halloween party on each recurring
Halloween; and merrier, jollier parties than those were,
it would not be easy to devise. The home which opened wide
its hospitable doors to the favored few on this night is a country-house,
large and spacious; there is a basement under the whole
lower floor, which is divided into kitchen, laundry, and various
store-rooms intersected with passages, and this basement, deserted
by the servants, was given up to the use of the Halloween
revellers. The rooms and passage-ways were decorated<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span>
with and lighted by Chinese lanterns, which produced a subdued
glow in their immediate vicinity, but left mysterious
shadows in nooks and corners.</p>

<p>Putting aside conventionality and dignity as we laid aside
our wraps, ready for any fun or mischief that might be on
hand, we proceeded down-stairs and into the kitchen, where
a large pot of candy was found bubbling over the fire. This
candy, poured into plates half-full of nuts, was eaten at intervals
during the evening, and served to keep up the spirits of
those who were inclined to be cast down by the less pleasing
of Fortune’s decrees. With plenty of room and no fear of
breaking or destroying anything, which is apt to put a check
upon frolics in the parlor, the company could give full vent to
their high spirits. Now in this room, now in that, again flitting
through the dim passages and around dark corners, each person
seemed to be everywhere at once, and although the party was
limited to about twenty-five, there appeared to be at least twice
that number present. Bursts of merry laughter and little
screams of pretended terror would announce, now and then, that
some charm was being gone through with and someone’s fortune
being told. All sorts of games were played, and the variety
of our entertainment made the evening pass very quickly.
All too soon the hands of the kitchen clock warned the guests
that to reach home at a seasonable hour they must put an end
to their Halloween festivities. A number of the following
methods of telling fortunes were tried at these parties, one
might say with success, for we certainly succeeded in accomplishing
our main object, which was, to have a good time. By</p>


<h3><b>Melted Lead</b></h3>

<p class="unindent">we used to ascertain what the occupation of one’s future husband
would be. The fortune is told in this way: Each girl, in<span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span>
turn, holds a door-key in one
hand, while with the other
hand she pours the melted
lead, from an iron spoon or
ladle, through the handle
of the key into a pan of
cold water.</p>

<div class="figcenter" style="width: 600px;">
<img src="images/i_191.jpg" width="600" height="830" alt="lead dripping off spoon into tub" />
</div>

<p>In the fanciful
shapes the lead
assumes can be
traced resemblances
to
all sorts
of things.
Sometimes
it is a sword
or gun, which
indicates that a
soldier will win the
fair prize; again,
traces of a ship
may be seen: then
the favored one is to be a sailor;
a plough suggests a farmer;
a book, a professor, or perhaps a minister;
and
when the
lead forms
only drops,
it seems to mean
that the gentle inquirer
will not<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span>
marry, or if she does, her husband will be of no profession.</p>


<h3><b>Nutshell Boats</b></h3>

<p class="unindent">foretell in a general way what their owner’s future life will be.
They should be prepared beforehand in this manner: Split an
English walnut directly in half, remove the
kernel, and clear away any of the partitions
which may remain in the shell; then place a
short piece of heavy cotton string in the shell
and pour around it melted beeswax. Mould
the wax into a cone shape around the string,
as shown in Fig. 129, allowing the end to
come out at the top. Fig. 130 shows what
it is like when finished.</p>

<div class="figleft" style="width: 146px;">
<img src="images/i_192.jpg" width="146" height="233" alt="Fig. 129  Fig. 130" />
</div>

<p>The tapers first being lighted, several of
these little craft are launched at the same
time, by their respective owners, upon the sea of life, or, in
other words, in a tub of water.</p>

<p>When a light burns steadily until the wax is all melted,
and the frail bark safely rides the waves (which are occasioned
by stirring the water with a stick, or shaking the tub
from side to side), a happy life is predicted, and a long one.</p>

<p>When two boats come in contact, it means that their owners
will meet and have mutual interests some time during their lives.</p>

<p>If one boat crosses another’s path, it denotes that their
owners will do the same.</p>

<p>If two boats come together and continue to sail about side
by side, their owners will in some way pass much of their lives
together.</p>

<p>When a boat clings closely to the sides of the tub, refusing
to sail out into the centre, it shows that its owner will be a stay-at-home.</p>

<p><span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span></p>

<p>Touching often at the side of the tub is indicative of short
voyages; and extended travel is predicted when a boat seldom
touches the tub.</p>

<p>It depends a good deal upon the fancy and imagination of
those testing their fate how the antics of the little fleet are interpreted,
and the meanings given to the movements of the
boats create no end of fun.</p>


<h3>“<b>Three Luggies.</b>”<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a></h3>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">“In order, on the clean hearth-stane,</div>
<div class="verse"><span style="margin-left: 1.5em;">The luggies three are ranged,</span></div>
<div class="verse"><span style="margin-left: 0.5em;">And ev’ry time great care is ta’en</span></div>
<div class="verse"><span style="margin-left: 1.5em;">To see them duly changed.”</span></div>
</div>
</div>

<p>The three bowls, or dishes, one containing clear water, one
milky, and the other nothing at all, are placed in a row on the
hearth-stone or table, and the girl wishing to try her fortune is
blindfolded and led up to where the dishes stand. She is then
told to put her left hand into one of the bowls. If she dips her
fingers in the clear water, she will marry a bachelor; if in the
milky water, a widower; and if into the empty bowl, it is a sure
sign that she will live in single blessedness all her days.</p>

<p>This ceremony must be gone through with three times, and
the hand be dipped twice in the same bowl, in order to make
the prediction of any value.</p>


<h3><b>Roasting Nuts</b></h3>

<p class="unindent">is the charm by which the friendship of anyone may be tested.
The applicant for knowledge on this point names two nuts, one
for her friend and the other for herself, and then places them
side by side upon the grate, or a shovel held over the fire. If
they burn quietly, it is prophetic of a long and happy friendship<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span>
kept up by both parties; but if in roasting they burst with
a loud report and fly apart, they are decidedly uncongenial,
and should not seek much intercourse. The movements of the
nuts while heating are closely watched, for the tempers of the
persons for whom they are named is said to be thus revealed.</p>


<h3><b>Kaling</b></h3>

<p class="unindent">is a mode of telling one’s fortune not as well known, perhaps,
as the foregoing methods. The ceremony is carried out in the
following manner: Two girls are blindfolded and started off on
the path to the kitchen-garden and cabbage-patch, where each
pulls up the first stalk she finds. They then return at once to
the house, where the bandages are removed and the mysterious
stalks examined.</p>

<p>According to the state of the stalk, so will be the gatherer’s
fate. If it is straight or crooked, large or small, so will the
future husband be; if it has a pleasant taste, or the reverse,
the character of the person will correspond, and the quantity
of earth clinging to the roots denotes whether their riches
will be little or great.</p>

<p>When there are no cabbages at hand, almost any other garden
vegetable will answer; and if there be objections to going
out-of-doors, vegetables of various kinds, such as turnips, beets,
and parsnips, may be placed on a table, and the persons blindfolded
can choose from them. No doubt the charm will work
as well with the plants upon a table as when they are pulled
from a kitchen-garden.</p>


<h3><b>The Magic Mirror,</b></h3>

<p class="unindent">which is simply a hand-glass on ordinary occasions, and gains its
mysterious power only on Halloween, divulges, under certain
conditions, the delightful secret of how many bits of good-fortune
will fall to one’s share during the ensuing year. The conditions<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span>
are that the person wishing to know how bright her
prospects are shall go to an open window or door from which
the moon is visible, and, standing with her face in-doors, hold
her mirror so that the moon will be reflected in it. The number
of moons she sees there betokens the number of times something
pleasant will happen to her before the advent of another
Halloween.</p>


<h3><b>Three Tin Cups</b></h3>

<p class="unindent">partially filled with water are balanced on the small ends of three
funnels, which are placed in a row on the floor, about two feet
apart. Over these cups, one after another, each member of the
party must leap in turn. Whoever succeeds in leaping over all
three cups without knocking any of them off will make an early
marriage. The person who knocks over one will marry when
not so young. The marriage of the one who tips over two cups
will be deferred until late in life, and she who leaps none of
them safely will not be married at all.</p>

<p>To guard against wet feet very little water should be put in
the cups—only enough to make the players careful about tipping
them over.</p>


<h3><b>The Ring Cake</b></h3>

<p class="unindent">is always an object of interest at Halloween parties. The cake
itself is made like the ordinary kind, but before it is baked a
plain gold ring is hidden in the dough, not to be taken out
until the cake is cut and it falls to the share of the fortunate
person in whose slice it happens to be found. The ring is
sometimes put in a flour-cake, which is simply flour packed into
a cake-mould so firmly that when it is turned out it retains the
shape of the mould and can be sliced off with a knife. Each
member of the party cuts her or his own section of flour, and
whoever secures the ring, it is confidently stated, will be the first
of the group to marry.</p>

<p><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span></p>

<p>Some Halloween games apparently have no particular
meaning attached to them, but seem to be devised for the purpose
of creating as much fun as possible.</p>


<h3><b>Bobbing for Apples</b></h3>

<p class="unindent">is, perhaps, familiar to most of our readers, but we give a description
of it here for the benefit of the few who may not know
the game so well.</p>

<p>In a large tub full of fresh, cold water several apples are
placed, and it is the object of the participators to take them out
of the water with their teeth.</p>

<p>As the rosy-cheeked, tempting fruit bobs about within easy
reach, it looks simple enough to secure a prize; but the apples
are so round and slippery, so aggravatingly illusive, that, unless
you thrust your head and neck beneath the cold water, regardless
of consequences, and drive an apple to the bottom, the feat
cannot be accomplished. The girls can seldom be induced to
try their luck in this game, but usually content themselves
with looking on, immensely enjoying the frantic endeavors of
the boys to succeed at any cost.</p>


<h3><b>The Apple and Candle Game</b></h3>

<p class="unindent">is another favorite sport for Halloween, and is played as follows:
From the ceiling is suspended a stout cord, the lower end of
which is securely tied to the centre of a stick about a foot and
a half long. On one end of the stick is fastened an apple, on
the other a lighted candle. The string is set in motion, swinging
back and forth like a pendulum, and the contestants for the
prize stand ready, each in turn, to make a grab for the apple,
which must be caught in the teeth before it can be won. Frequently
the candle is caught instead of the apple, which mishap
sends the spectators off into shouts of merriment; but although
funny, it is at the same time a little dangerous to catch a lighted<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span>
candle in one’s teeth, and we would suggest that a bag made of
cheese-cloth, or like thin material, be filled with flour and tied
to the stick in place of the candle. When the person essaying
to snatch the fruit is struck in the face with the bag, and is
covered with flour instead of the glory anticipated, as much
mirth will result as can possibly arise when the old and dangerous
practice of using a candle is clung to.</p>


<h3><b>The Ghostly Fire</b></h3>

<p class="unindent">should not be lit unless all of the party have strong nerves, for
the light it produces is rather unearthly, and may affect some
members unpleasantly. We, at our Halloween parties, never
omitted this rite, however, its very weirdness proving its strongest
attraction. Salt and alcohol were put in a dish, with a few
raisins, and set on fire. As soon as the flame leaped up we
clasped hands and gayly danced around the table, upon which
burned our mystic fire. The laughing eyes and lips looked in
strange contrast to the pale faces of their owners, from which
the greenish light had taken every vestige of color. The dance
was not prolonged, for it was our duty, before the fire was
spent, to snatch from the flames the raisins we had put in the
dish. This can be done, if one is careful, without as much as
scorching the fingers, and I never knew of anyone burning
themselves while making the attempt.</p>


<h3><b>Trying for a Raisin</b></h3>

<p class="unindent">is a very laughable performance. The raisin, which must be a
good-sized one, is strung on and pushed exactly to the middle
of a soft cotton string about one yard long. Two aspirants for
the prize then take each an end of the string, which they put in
their mouths and commence to chew, taking it up as fast as
they can—the raisin falling to the share of the person who succeeds
in reaching it first.</p>

<p><span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span></p>


<h3><b>A Lighted Candle</b></h3>

<p class="unindent">is again used in a game which is exceedingly amusing. The
candle is placed upon a table in full view of everyone; then
one of the players is blindfolded, turned around several times,
and set free to seek for the candle and blow out the light, if
possible.</p>

<p>To see girls, with their hands clasped behind them, going
crazily about the room, blowing at anything and everything, is
very ludicrous. They seldom find the candle, and even when
the table is reached it is difficult to blow in such a direction as
to extinguish the flame.</p>


<h3><b>The Fairy’s Gifts</b></h3>

<p class="unindent">are suggested as a new and original ending of a Halloween frolic.</p>

<p>The Fairy Godmother, in Mother Hubbard costume, carries
a large basket under her cloak or shawl. She enters the room
and announces that she has a certain number of gifts which she
proposes to distribute among the company. After cautioning
all that the contents must be kept secret, she passes to each person
a folded paper. On one is written “<i>Wealth</i>,” on another
“<i>Honor</i>,” on the third “<i>Fame</i>,” etc., and some of the papers
are left blank.</p>

<p>Those whose papers contain the names of gifts are then
blindfolded, preparatory to receiving their behests.</p>

<p>The first is led up and made to kneel before the Fairy Godmother,
to whom she repeats these words:</p>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">Most gracious Fairy, the gift you give</div>
<div class="verse">I shall treasure and keep as long as I live.</div>
</div>
</div>

<p>Then the paper containing the name of the gift is handed the
Fairy, who reads it aloud very solemnly: “<i>Wealth</i>”—and, turning
to her basket, she takes from it a new dust-pan, to which is
attached a ribbon-loop, at the same time reciting these lines:</p>

<p><span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span></p>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">Your choice is bad when you intrust</div>
<div class="verse">Your happiness where moth and rust,</div>
<div class="verse">In time, turn all your wealth to dust.</div>
</div>
</div>

<p>From a paper-bag the Fairy pours a small amount of dust
over the kneeling girl, and hangs the dust-pan around her neck.</p>

<p>The next person who has drawn a prize is then brought forward
and the performance is repeated, only altering the Fairy’s
speech. For “<i>Honor</i>,” she will say:</p>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">Your honor crowds shall loud declare,</div>
<div class="verse">But in your heart, no crowd is there,</div>
<div class="verse">You’ll find, like <i>Falstaff</i>, “honor’s air.”</div>
</div>
</div>

<p>The present here is a pair of bellows, from which the Fairy
blows a blast on the bowed head before her as she utters the
word <i>air</i>. The bellows, like the dust-pan, are hung by a ribbon
around the recipient’s neck.</p>

<p>For “<i>Fame</i>,” the Fairy gives a wreath of roses, and says, as
she adjusts the crown:</p>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">When Fame doth weave a laurel-wreath,</div>
<div class="verse">He weaves this subtle charm beneath;</div>
<div class="verse">“For every evil thought that’s born</div>
<div class="verse">The laurel grows a prickly thorn;</div>
<div class="verse">But where pure thought and love reposes,</div>
<div class="verse">The laurel-wreath’s a wreath of roses.”</div>
</div>
</div>

<div class="figcenter" style="width: 447px;">
<img src="images/i_199.jpg" width="447" height="186" alt="two women holding candles" />
</div>
<hr class="chap" />
<p><span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span></p>

<div class="figcenter" style="width: 437px;">
<img src="images/i_200.jpg" width="437" height="600" alt="drawing" />
<div class="caption">Buckeye Portière.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span></p>




<h2>CHAPTER XVIII.<br />

<small>NATURE’S FALL DECORATIONS,
AND HOW TO
USE THEM.</small></h2>


<div>
  <img class="splittop" src="images/i_201a.jpg" alt="T" width="194" height="126" />
  <img class="split" src="images/i_201b.jpg" alt="" width="119" height="29" />
  <img class="split" src="images/i_201c.jpg" alt="" width="100" height="73" />
  <img class="split" src="images/i_201d.jpg" alt="" width="61" height="78" />
</div>

<p class='dropcapstory'>THESE beautiful decorations are free to
all who care to possess them. Every
autumn comes to us laden with ornaments
which no skilled workman can rival. The
graceful golden-rod, so rich in color, sways and
bends over the low stone walls, and in the fields
wild flowers of all kinds grow in great profusion.
White, spreading wild carrot, yellow and white daisies,
light and dark purple asters, and sumach, with
its varied hues, give color to the landscape on our
bright fall days. There are also the queer-shaped pods and
feathery, silky seeds peculiar to some wild plants; among others
the poor “vagabond thistle,” which has donned its robe of
glistening white, although some of its tribe still wear their
faded purple gowns. The latter may be gathered for thistle-puffs,
and all the objects mentioned can be used in home decorations.</p>

<p>We cannot pass by unnoticed the brown milk-weed pods,
for within the shells, full well we know, are hidden the silvery,
downy seeds which make such pretty milk-weed balls. Here,
too, we notice the rich coloring of bark as well as foliage, the
bright scarlet berries contrasting with the brown, yellow, and
green leaves. The vine, once a fresh green, is now changed to<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span>
deep crimson; even the tiny leaves of the wild strawberry and
some grasses have touches of red on their edges.</p>

<p>How the rich coloring of autumn differs from the delicate
tints of spring, when the promise was made in bud and leaf,
which is now realized in the bountiful harvests!</p>

<p>Having such a wealth to glean from, we scarcely know what
to take first; but for decorations to last only a few hours it would
be difficult to imagine anything more brilliantly appropriate than</p>


<h3><b>Fresh Autumn Wild Flowers</b></h3>

<p class="unindent">and small branches of brilliant fall leaves. At the time of this
writing wild flowers are very popular; one of our daily papers
records a wedding which recently took place, where the display
of wild flowers was beautiful in the extreme. Curtains of wood-ferns
were caught back with golden-rod, and a bower of holly
and oak was fringed with clusters of scarlet bitter-sweet berries.
Daisies were also used in abundance, while the beauty of the
little church was enhanced by the masses of white blossoms and
oak-branches.</p>

<p>This idea can be used advantageously in decorating the
house for evening parties and receptions, or afternoon teas and
coffees. Have the flowers and foliage in masses, the effect is
much better; and if you gather very large, hardy ferns with their
roots attached they will make exceedingly graceful decorations,
and placed in water or wet sand they will remain fresh for days.</p>

<p>When golden-rod is gathered in its prime it will keep nearly
all winter without fading. Do not put it in water; all that is
necessary is to keep it dry. The rich brown cat-tails should
be treated in the same manner; these must be gathered at their
best, before they are too ripe. Bitter-sweet berries will last for
months and retain a bright red. The old-fashioned honesty,
with its white, satiny pods, keeps perfectly for any length of<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span>
time. The wild rose-bush in the fall is decked with seed-coverings,
which closely resemble scarlet berries; these will
last for many weeks. The
wild clematis, with its
festoons of hazy fluff, will
keep for a long time, and
always looks well when
thrown over and on the
top corner of a portière
and allowed to hang naturally
down a little on
one side, or arranged in a
similar manner over the
tops of windows, doors,
pictures, or wherever it
will look graceful. It should
hang out of harm’s way, as it
is brittle and easily broken when dry.</p>

<div class="figright" style="width: 311px;">
<img src="images/i_203a.jpg" width="311" height="427" alt="tree" />
</div>
<div class="figright" style="width: 509px;">
<img src="images/i_203b.jpg" width="509" height="194" alt="A Young Decorator." />
</div>

<p>For entertainments, the more elaborate
and bountiful the decorations of fresh
wild flowers the more beautiful will the house
appear; but for every-day life during the cold
weather, when we have only the dried fall plants,
we may almost make up for the
lack of fresh flowers by using judgment
and taste in arranging the
dried ones. Though wild flowers<span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span>
are beautiful, you must use taste in their arrangement and not
mingle them together promiscuously, but make a judicious selection,
for where a light bunch of golden-rod would be the
very thing needed to give color to a particular spot, should
the dark cat-tails be placed there the effect might be lost.
There are places where some high, stiff decoration would look
best, and others where the soft, swaying clematis seems to belong.
As with everything else, so with our decorations, we
must seek to have harmony.</p>

<p>Who has not admired the dark-brown, glossy buckeyes and
horse-chestnuts, and wondered what use could be made of them?
Children love to gather them and come home with their pockets
and baskets full, only to play with them for awhile, and
then the pretty dark balls, each marked with a spot of light
cream-color, are thrown away or lost.</p>

<p>Now, the next time the buckeyes are collected save every
one and make a</p>


<h3><b>Buckeye Portière.</b></h3>

<p>The writer assures you that you will find it much easier to do
this than she did to make a picture of the curtain, for it is difficult
with a pen-and-ink drawing to give an idea of the richness
of color in the handsome hangings these horse-chestnuts make
when properly fashioned into a portière for hall or doorway.
Two full bushels of buckeyes will be needed to make a curtain
two yards and a half long and one yard and a quarter wide.</p>

<p>Take a very large, long needle and a strong, waxed thread
a little longer than you desire to have your curtain, make a
large knot in the end of the thread, and commence to string
your buckeyes in the same way as stringing beads or buttons.
Continue until the thread in the needle is exhausted, then tie
the thread in a large knot close to the last buckeye, leaving a
length of three inches of thread. Make your other strands in<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span>
the same way. When all are finished, fasten as many small
screw-eyes in a straight line on a curtain-pole, or a rustic pole
if desired, as there are strands of buckeyes, and tie securely to
each screw-eye one string of buckeyes. When all are fastened
on, your portière is finished and ready to be hung. This is easily
accomplished if the pole used is a regular curtain-pole, as they
always come with brackets; but should your pole be rustic, it
must be supported by bands of strong birch-bark, or leather, as
in Fig. 131. Our illustration shows over the portière a</p>

<div class="figcenter" style="width: 341px;">
<img src="images/i_205.jpg" width="341" height="58" alt="Fig. 131" />
<div class="caption">Birch-Bark Support for Pole.</div>
</div>


<h3><b>Panel of Fall Decorations.</b></h3>

<p>These also look handsome over windows and doors, and you
are at liberty to use ornaments of all styles, for the panels are
placed where there is no danger of anything coming in contact
with them to break off the decorations or mar their beauty.
Any kind of board will do for the panel, rough or smooth, as
you like. Paint the board a pure white, then decide on your
ornaments, which may be a chestnut-branch with bursting burs
attached, sprays of common wayside velvet-leaf with clusters
of pods clinging to them, a piece of black-berry vine with its
twigs, thorns, and dried berries, or branches of buckeyes with
some of the nuts falling from their horned shells.</p>

<p>Select according to your fancy, and gild the decorations
chosen, then tack them on the panel. It is best to place the
ornaments on the board while the paint is soft and wet, for then
it will help to fasten the decoration more securely; if the paint
be put on thick where the ornaments are to be placed, they will<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span>
lie partially embedded in the paint, and when it dries they will
appear as if carved from the wood.<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a></p>

<p>A white and gold panel made in this way is very pretty and
inexpensive.</p>

<p>The fall decorations also enable us to make a very effective</p>


<h3><b>Louis Quinze Screen.</b></h3>

<div class="figleft" style="width: 204px;">
<img src="images/i_206.jpg" width="204" height="373" alt="Fig. 132" />
<div class="caption">Hinge for Louis Quinze Screen.</div>
</div>

<div class="figright" style="width: 472px;">
<img src="images/i_207.jpg" width="472" height="239" alt="Fig. 133" />
<div class="caption">Hoops Fastened Together for Louis Quinze Screen.</div>
</div>

<p>For this it is necessary to have two small wooden hoops, such
as children roll along the streets; fasten these together with a
strong piece of white tape, two or
three inches wide, cut the end of
the tape bias, tack this on the side
of one of the hoops, bring it around
between and over the other hoop,
and tack it again, repeat the operation
and the hinge will be finished
(Fig. 132). If you look at the hinge
on a wooden clothes-horse you will
understand how to make one. Fig.
133 shows the hoops fastened together.
Now cut two pieces of coarse,
strong cotton cloth, a little larger
around than the hoops, and place
one of the pieces smoothly over one
of the hoops; tack it down, driving
the tacks in far apart, and so that
they can be easily extracted; if the
cloth wrinkles, keep changing it until
the surface is perfectly even; when this is accomplished carefully
tack the covering securely down, keeping it smooth and<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span>
without wrinkles. In like manner tack the remaining piece of
cloth on the other hoop. Next get four broomsticks and cut a
notch on each one, at exactly the same distance from the top, for
the hoops to fit in. Then measure where you wish the hoops to
be placed and cut another notch on each stick a certain distance
from the bottom; all the sticks must be of the same length and
have the notches cut in the same places, so each one may be a
duplicate of the others. Mark the hoops where the sticks are
to fit, and then fasten them firmly on with small screws. Make
the screen strong, so that there will not be any danger of its
coming apart. Give each cloth a sizing of common flour-paste
on both sides, then scrape off all the paste with a knife; in this
way the cloth will be starched and prepared to receive the paint.
When the screen is thoroughly dry, sew a branch across one of
the disks and some waxed fall leaves in the places where they
would naturally lie on the branch; when these are securely attached,
decorate the other disk with something different; acorns
can be used if cut in halves; but never place any ornaments on
the screen which will not lie flat, for if they stand out they will<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span>
be broken off or injured by persons passing and brushing against
them. Now give the screen a coat of white paint all over, including
the branch and leaves, but do not paint the hinge. Set the
screen away until it is perfectly dry, then gild the branches and
leaves, connecting the latter with the twigs by painting a line of
gold between the two. Gild a ring around each pole near the
top and another near the bottom, and cover the edges of the
hoops where the cloth has been fastened on by tacking white
gimp around each one, using fancy brass-headed tacks and
placing them at equal distances apart; this completes the ornamental
screen.</p>

<div class="figcenter" style="width: 514px;">
<img src="images/i_208.jpg" width="514" height="433" alt="drawing" />
<div class="caption">Louis Quinze Screen.</div>
</div>
<div class="figright" style="width: 363px;">
<img src="images/i_209.jpg" width="363" height="719" alt="A Panel of
Field-Corn" />
</div>
<p><span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span>Should you desire
it, the screen
can be painted
black or any
other color, and
the decorations
bronzed instead
of gilded. The
bronzes come in
different shades,
and the color of
real bronze can
be easily copied.</p>


<h3><b>A Panel of
Field-Corn</b></h3>

<p>As an ornament
for the dining-room
is very decorative
and easy to make.
When the corn
ripens, select
some nice, firm,
golden ears, with
husks and without;
then break
off pieces of cornstalk
and group
them together, as
in the illustration;
cover a board of<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span>
requisite size with a piece of old black velvet; if you have no
velvet, paint the board black, and after tying the corn firmly
together, tack it securely on the board, and the dark background
will bring out the many yellow tints of the decoration
beautifully; fasten two screw-eyes in the back of the board, by
which to attach the wire, and the panel will be ready to hang
on the wall.</p>

<p>The corn can also be fastened to a rough board of the desired
size and the panel and decoration bronzed, using green
bronze for the background and portions of the group, while all
the edges and prominent points should be of copper-colored
bronze.</p>

<p>Early in November the many varieties of gourds ripen, and
their odd and fantastic forms seem like nature’s suggestions of
the unique in ornamentation. So suggestive are they that it
needs but little originality to make them into many useful and
beautiful articles. As a decoration for looping over the poles
of portières, and for holding back draperies, these</p>


<h3><b>Ornamental Gourds</b></h3>

<p class="unindent">are convenient. They must first be allowed to become perfectly
dry; then they can be made into tasselled festoons. Take six
mock-oranges, which imitate so closely our real oranges in
color, size, and form, and cut a hole about the size of a silver
dime in the top and bottom of each one; then shake out the
seeds. To make the openings in the gourds, first bore a small
hole with the point of a large needle, then twist the needle
around and around until it will easily pass through. Next,
carefully enlarge the opening with a sharp penknife until it is
of the stated size. Make a rope two yards and a half long of
Persian colored wools or worsted; on the end fasten a slender
tassel, six or seven inches long, made of the same worsted; now<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span>
string one of the bright orange-gourds on the rope down against
the tassel, which should be large enough to prevent the gourd
from slipping off; make another similar tassel, and attach it to
the rope about twelve inches from the first one, and thread another
gourd on the rope, bringing it down against the second
tassel; proceed in like manner with the remaining gourds,
making a tassel for each one, and you will have a decoration
unlike any to be found elsewhere.</p>

<p>We are all more or less familiar with the</p>


<h3><b>Gourd-Dippers</b></h3>

<p class="unindent">so common in the South, where, in olden times, scarcely a spring
bubbled in a rustic nook that was not supplied with its drinking-gourd.
These dippers are made by sawing an opening in the
large part of the gourd, scraping out the contents, and making
the inside as smooth as possible with sand-paper. They need
no ornamentation.</p>

<p>The kind of gourds resembling flattened globes can be made
into graceful and unique</p>


<h3><b>Bowls.</b></h3>

<p>The gourds must be sawed into two parts, with the inside of
each sand-papered, and flowers painted, with oil-colors, on the
outside. After they have thoroughly dried, give a coat of white
varnish to both the inside and outside. A pretty</p>


<h3><b>Bonbon-Box</b></h3>

<p class="unindent">can be fashioned of one of these gourds. Saw off the top, which
will serve as a lid, and fasten it to the bowl with narrow ribbons
tied through holes at the back of each; line both lid and box
with satin by gluing it along the edges with stiff glue put on<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span>
sparingly, and cover the raw edge of the satin with chenille;
this is also put on with a little glue. Do not allow the chenille
to interfere with the closing of the box, but place it along the
inside edge of the box and lid.</p>

<p>Another form is the</p>


<h3><b>Bottle-Gourd.</b></h3>

<p>Ornament this with ivy-leaves painted as if twined around
bowl and neck, and when the paint is dry varnish the gourd
all over; if you wish it for use as well as decoration, saw off
the top about two or three inches deep, shake out the seeds,
then fit a cork in the piece cut off, and so glue it in that the
cork may extend an inch downward to fit in the bottle.</p>

<p>The large egg-shaped gourds look well as</p>


<h3><b>Vases.</b></h3>


<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>

<td align="left" rowspan="2"><div class="figcenter" style="width: 201px;">
<img src="images/i_212.jpg" width="201" height="194" alt="Fig. 134" />
<div class="caption">Wire Twisted for Feet of Gourd-Vase.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 147px;">
<img src="images/i_212b.jpg" width="147" height="71" alt="Fig. 135" />
<div class="caption">Foot Bent Down.</div>
</div></td>
</tr>
<tr>
<td align="left"><div class="figcenter" style="width: 257px;">
<img src="images/i_212c.jpg" width="257" height="147" alt="Fig. 136" />
<div class="caption">Finished Wire Feet for Gourd-Vase.</div>
</div></td>
</tr>
</table>
</div>



<p>Select a deep-colored gourd, saw off the top and scrape out
the inside; then varnish the vase and mount it on feet of
twisted wire, made according to Fig. 134; bend down the feet,
as in Fig. 135, when the wire will be formed into Fig. 136. To<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span>
fasten this on the vase, first bore holes in the bottom of the
gourd, then sew the feet firmly on, passing the needle through
the holes previously made and bending the wire a little to fit to
the gourd. Gild the wire feet, and your vase is finished. Another<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span>
way is to save the top sawed off, fasten an ornament of
twisted wire on the top of it, and then, after making the vase
as the one just described, add bands of gilded cardboard made
to fit the gourd, fastening them to the vase with glue. Handles
can also be fashioned of cardboard and sewed to the upper
band before it is glued to the vase, as in the illustration.</p>
<div class="figcenter" style="width: 376px;">
<img src="images/i_213.jpg" width="376" height="574" alt="drawing" />
<div class="caption">Ornamental and Useful Gourds.</div>
</div>

<p>There are many other ways of utilizing gourds, but we will
leave it to your ingenuity to think up new and pretty conceits.</p>

<p>Pine-cones, large and small, acorns, and balls from the sweet-gum
tree, can be used as</p>


<h3><b>Small Decorations.</b></h3>

<p>Never try to fasten them by the natural stems, for these
will soon break off, but place in each one a small screw-eye,
and when tied in groups they form ornaments for waste-baskets
and fancy baskets of all kinds. We have seen chandeliers
with gilded cones hanging from the different points,
and being the identical color of the chandelier, they seemed
of the same metal, and added novelty and grace to its appearance.</p>

<p>There are some varieties of the tree-fungi which make dark,
rich-colored</p>


<h3><b>Brackets.</b></h3>

<p>Use heavy cardboard or thin board as a covering for the
back; have this fit the fungus perfectly, and fasten it securely
in position with very stiff glue or nails. Paint the back the
same color as the fungus, and on either side of the upper edge
place screw-eyes by which to fasten up the bracket.</p>

<p>Many of the curiously formed galls and oak-apples to be
found on different trees can also be employed as ornaments.</p>

<p>Nothing can be finer than our brilliant autumn season, which<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span>
is said to be more beautiful in this than in other countries, with
its crisp mornings and bright sunny afternoons.</p>

<p>When the weather is too lovely to remain in-doors, and all
nature invites us out, then is the time to gather our fall decorations.</p>

<div class="figcenter" style="width: 443px;">
<img src="images/i_215.jpg" width="443" height="105" alt="a paintbox on a branch" />
</div>
<hr class="chap" />
<p><span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span></p>

<div class="figcenter" style="width: 448px;">
<img src="images/i_216.jpg" width="448" height="600" alt="drawing of girl sitting on fence under branch with squirrel on it" />
<div class="caption">The Little Brown Squirrel.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span></p>




<h2>CHAPTER XIX.<br />

<small>NUTTING-PARTIES.</small></h2>


<div>
  <img class="drop-cap" src="images/i_217.jpg" width="204" height="206" alt="O" />
</div>

<p class="drop-capi2">OFF they go with bright, laughing eyes and
glowing cheeks, each one carrying
a light little basket or fancy bag
slung carelessly on her arm. The
girls are full of life and spirits as
they walk briskly along toward
the woods in the delightful fall
weather, talking and laughing in
a happy, thoughtless fashion, now
telling where the best nuts are to
be found, the shortest route to take, or where the prettiest walks
lead, and again lingering or stopping to admire the many wonderful
beauties of autumn. Leaving the road they enter the
woods, where the dry leaves rustle pleasantly beneath their feet,
and in some places the gold and brown leaves through which
they walk lie ankle-deep.</p>

<p>All this is fully enjoyed by the party as they proceed on
their way discussing the best place for lunch, which consideration
is quite important, as it is necessary, if possible, to be near
a clear, cool spring; otherwise the water must be transported.</p>

<p>Arriving at the selected spot about noon, all bring forward
their baskets and bags to contribute the contents to their
“nutting-dinner.” Soon the white cloth is laid and the tempting
feast spread, when the hungry but merry maidens gather<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span>
around to relish their repast in the forest, where, all about, are
seen sure signs of coming winter.</p>

<p>The airy dining-hall is carpeted with the softest moss, and the
gorgeous coloring of the surrounding foliage is far more beautiful
than the most costly tapestry, while the sky forming the
roof is of the serenest blue.</p>

<p>Now and then the sound of falling nuts is heard as they drop
from the trees. This is music in the ears of the girls, and they
hurry through their lunch, collect the empty baskets, and are
soon busy gathering the glossy brown chestnuts, which are
thrashed down from the branches by some of the party, who
use long poles for the purpose. Down comes the shower of nuts
and burs, and away the party scamper to patiently wait until it
is over, as the prickly burs are things to be avoided. Some wise
girls have brought tweezers to use in pulling open these thorny
coverings. Others have their hands well protected by heavy
gloves which cannot easily be penetrated with the bristling
spikes.</p>

<p>It does not take long to fill their bags, and the one who first
succeeds in the feat receives the title of “Little Brown Squirrel.”
Then all the others, for the rest of the day, obey her wishes.
Nor is this difficult, for their Little Brown Squirrel is blithe
and gay, generous and kind, and does all in her power to
render her subjects happy.</p>

<p>As they turn their faces homeward the girls plan for another
nutting-party to come off soon, for they wish to make the most of
the glorious Indian summer, which belongs, we claim, exclusively
to our country, and which may last a week or only a few days.</p>

<p>The chestnuts are brought home, where in the evening some
are eaten raw, others have the shells slit and are then roasted
or boiled, making a sort of chestnut festival, as in the North of
Italy, only of course on a very much smaller scale, for there the
peasants gather chestnuts all day long and have a merry-making<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span>
when the sun goes down. This harvest
lasts over three weeks and is a
very important one to the dark-eyed
Italians, who dry the nuts and grind
them to flour, which is used for bread
and cakes during the barren season.
The harvest in the Apennines is quite
an event, as the trees are plentiful,
the fruit is good, and the people gladly
celebrate the season.</p>

<p>Our thin, white-shelled shag-bark
hickory-nut is peculiarly American,
and many a nutting-party have found
its delicate and agreeable flavor very
welcome when, gathered around a
large rock, they crack a few to sample
their fruit before returning home.
These nuts are only cooked by covering the kernels with hot
candy, and thus prepared, they make a delicious sweetmeat.</p>

<div class="figright" style="width: 200px;">
<img src="images/i_219a.jpg" width="200" height="362" alt="catkin" />
</div>
<div class="figright" style="width: 502px;">
<img src="images/i_219.jpg" width="502" height="253" alt="drawing" />
<div class="caption">Blossom and Fruit of the Chestnut-Tree.</div>
</div>
<p>When cracking hickory-nuts, hold each nut firmly by the<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span>
flat sides, bringing uppermost one of the narrow sides; strike
this and the nut will open so that the halves fall out, or may
be easily extracted, and occasionally the kernels will come out
whole. We have seen quaint little figures, with the heads
made of hickory-nuts, the pointed end forming the nose, and
the eyes and mouth marked with ink, giving a comical expression
to the peaked face.</p>

<p>The neat little three-cornered beech-nut is easy and pleasant
to gather, making a desirable change for the “nutters” after
going for other kinds, and the trees with their beautiful foliage
render the scene very attractive. But not more so than do the
lofty and stately walnut-trees with their rich, brown fruit encased
in such rough shells, whose outside covering is so juicy
that, unless we are very cautious, it will stain our hands its own
dark color. The black-walnut tree (J. nigra) is indigenous to
the United States, and we are informed that a celebrated specimen
is still standing at Roslyn, L. I., where the seed was
planted in 1713. The tree measures twenty-five feet in circumference
at three feet from the ground.</p>

<p>Butter-nuts, so significant during our civil war, also belong to
America; the meat, though quite oily, is sweet and agreeable.</p>

<p>Butter-nuts will repay anyone for gathering them, though,
like the walnut, the outer husk is apt to stain the fingers; but
this may be avoided by wearing gloves while handling the
fruit. The cross-sections of the shells, when properly polished,
make pretty ornaments.</p>

<p>Although we are all fond of the round little hazel-nut, they do
not seem to be as plentiful as could be wished, and it is seldom
we have the pleasure of going hazel-nutting, yet when the opportunity
occurs, it is rare sport and an event to be talked of
afterward.</p>

<p>Nuts are to be found in all portions of the country, and the
varieties depend upon the section in which you live.</p>

<p><span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span></p>


<h3><b>Rules for Nutting-Parties.</b></h3>

<p>1. In selecting the members of a nutting-party be careful
to choose only those on whom you can safely depend for cheerfulness,
kindly
feeling, and a
willingness on
their part to
do all in their
power to assist,
should occasion
arise, in letting
down the bars of a fence,
going for water, or anything
which might happen to require
their services.</p>

<div class="figleft" style="width: 424px;">
<img src="images/i_221.jpg" width="424" height="577" alt="drawing" />
<div class="caption">Pea-Nut Vine and Fruit.</div>
</div>

<p>2. Decide by majority any case of
controversy in regard to destination, the best
place and way of crossing a brook, which
route to take, or in fact any question
concerning the comfort and
pleasure of the party, until the
“Little Brown Squirrel” wins her
title. Then she rules
absolutely and settles all
questions according
to her best
judgment, giving
council and friendly
advice to
those who
ask it. All
differences being referred to her, the decision is considered<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span>
final, and the party must obey when their Little Brown Squirrel
directs.</p>

<p>3. The one who gathers the greatest quantity of nuts in a
given time wins, and receives the above much-desired title.
The standard of measure being previously decided upon by the
party, the time may be either long or short, as desired.</p>

<p>4. The badge given to the successful competitor may consist
of fall leaves or nuts tied with a brown ribbon. This she keeps
in remembrance of the delightful day spent nutting in the woods
when she was a Little Brown Squirrel.</p>

<p>Select, if possible, a day in Indian summer for your nutting-party,
and it is well to wear a gown that will not easily tear,
catch the dust, or spot—not that these accidents are always to
be met with on such excursions, but they might happen, and
we must be on the safe side, so that no thought or anxiety
need be given to the clothing.</p>

<p>If your party contemplates a series of nutting-picnics, propose
that they shall go for different varieties each time. This
will add novelty and zest to the excursions; and should the
distance in some cases be too great for a walk, secure a vehicle
with a good reliable driver, and the ride will be particularly
enjoyed. This mode of travelling procures another change in
the programme, which should be as varied as you can make it.
Let the plates for your dinner be of wood or paper, to avoid
the necessity of carrying them home. A table-cloth made of
large sheets of white paper is a good substitute for damask, and
after doing service the paper may be thrown away, leaving
your baskets entirely empty to be filled with nuts.</p>

<p>There grows a nut, highly prized, that is never gathered by
nutting-parties. Nor could they see it if they examined every
tree throughout the country. Yet it flourishes in this climate,
and may be seen any day at the fruit-stores and corner-stands.
The shells of these furnish odd fancies for little trifles made by<span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span>
girlish fingers. Cut in the shape of slippers and glued to a
card, they seem suitable for a wood-nymph, and the card is
used as a birthday or <i>menu</i> card. Strung together with needle
and thread, and dressed in costume with black thread for
hair, they make quite a good-looking Japanese.</p>

<p>Glued on a twig and marked with ink in representation of
the birds, they look not unlike owls perched on a limb. When
divided in halves the shells are transformed into tiny boats with
tissue-paper sails. This nut boasts of four names: gouber, pindar,
ground-nut, and the familiar name of pea-nut.</p>

<div class="figcenter" style="width: 439px;">
<img src="images/i_223.jpg" width="439" height="135" alt="tiny boy on limb picking nut, squirrel behind him" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span></p>




<h2>CHAPTER XX.<br />

<small>HOW TO MAKE A TELEPHONE.</small></h2>


<div>
  <img class="drop-cap" src="images/i_224.jpg" width="96" height="148" alt="H" />
</div>

<p class="drop-capi3">HELLO! Hello! What is it you say? You can
really make a telephone? What fun! How far
will it work? You think it can be heard a long
distance? Very good. Could we manage to
construct such a one? How, pray tell us?</p>
<div class="figright" style="width: 110px;">
<img src="images/i_225a.jpg" width="110" height="203" alt="Fig. 137" />
</div>

<div class="figleft" style="width: 141px;">
<img src="images/i_225b.jpg" width="141" height="278" alt="Fig. 138" />
</div>
<p>The answer which came back over the line
we give in a more concise form, as follows:</p>

<p>The best way to make a simple telephone is to procure two
round, medium-sized tin baking-powder boxes, and remove the
bottoms with a pair of pinchers; then soak two pieces of
Whatman’s drawing-paper, or any other strong paper, in a basin
of water for a few moments, and when thoroughly wet take
them out and place one smoothly over the end of each box.
Fasten these down by winding a waxed cotton twine securely
over the paper and box, and tying it tightly (Fig. 137). This
done, allow the drums to become wholly dry, when they should
be firm, even, and without wrinkles. Next cut away that portion
of the paper which stands out, frill-like, beyond the string,
and paste a narrow strip of paper around over the twine (Fig.
138). Wax a piece of string of the desired length, and with a
large needle or pin carefully punch a hole in the centre of each
drum; thread one end of the waxed string through one of the
holes and make a large knot in the end, then cautiously pull
the string until the knot rests on the inside surface of the paper.<span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span>
Connect the other box to the string in like manner, so that the
twine will have a box fastened on each end.</p>

<div class="figcenter" style="width: 506px;">
<img src="images/i_225c.jpg" width="506" height="256" alt="Fig. 139" />
</div>

<p>The telephone is now ready for use; and if the distance is
short, the line may be stretched taut from
point to point. But should
the space be great, supports
will be needed and loops
must be made of the twine
and fastened at intervals on
trees, corners of the houses,
or any available points, with
the connecting cord passed
through these loops (Fig.
139), which act as supports.
Keep the course of the waxed string as
straight as possible, and, as far as practicable,
avoid sharp angles. This style of telephone we know,
from personal experience, works perfectly at the distance of
fifty yards, and doubtless it will do as well when the line is
stretched much farther. Be particular, in selecting the tin<span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span>
baking-powder boxes, to have them round and even; if they
are old and battered the experiment may not prove satisfactory.
We find the telephone very
useful and convenient, besides
affording any amount
of amusement and fun; with
its aid we converse with acquaintances,
even though
they be at a distance. The
friendly little instrument carries
the voice all along the
slender line to the very ears
of our best friend, and we
can chat away as freely and
almost as easily as if side by
side. What a comfort to be
able, when seated in your
own room, to listen to the
voice of some companion,
living perhaps blocks away,
and it is such a pleasure, too, to have questions answered
immediately, which is impossible in communications made by
letter. Nor is this a pleasure to be enjoyed at rare intervals,
for as long as the telephone lasts it can be used at any time
for a short or long talk, as one may feel inclined. The consultations,
the plans, the sport, and merriment to be had with
the telephone can scarcely be appreciated by one who is not
the happy possessor of such an instrument.</p>

<div class="figleft" style="width: 254px;">
<img src="images/i_226.jpg" width="254" height="358" alt="girl seated holding can to ear" />
<div class="caption">Listening.</div>
</div>

<p>When the weather will not permit of a walk or a visit, the
telephone brings us, if not face to face, at least within speaking
distance of those to whom we desire to talk.</p>

<p>There are many other easy methods of making telephones.
They can be manufactured as described without waxing the<span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span>
string, or the boxes may be used unaltered, in which case the
tin bottoms serve as drums, and the holes for the string are
made in the centre of each by driving a small tack through.
With these instruments the voice cannot be sent a great distance,
but when only a short line is needed they succeed very
well.</p>

<p>More complicated telephones are made with the drums of
bladder and the line of soft, flexible wire. Though good and
serviceable, they are more
difficult to make and require
more time and labor.</p>

<div class="figright" style="width: 282px;">
<img src="images/i_227.jpg" width="282" height="454" alt="girl speaking into can" />
<div class="caption">Speaking.</div>
</div>

<p>The two beef-bladders
used for such a telephone
must first be blown up, tied,
and left about thirty hours,
or until they are stretched,
but not dried. When in
proper condition, cut off the
necks and portion of the
ends, then soak them in
warm water, and they will
become very pliable and
light in color. Having previously
prepared two square
pieces of board by very carefully
cutting out a perfect
circle in the centre of each,
about as large as a medium-sized
pie-pan or a tea-plate,
place the bladders smoothly
but not tightly over the
openings, allowing the outside of the bladder to come on the
bottom, and fasten it all around the circle, a little distance<span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span>
from the edge, with tacks so driven in that they may be easily
removed.</p>

<p>Try the drums with your finger; if they stretch evenly they
are correct, if they wrinkle, change them until they stretch perfectly
smooth. Then tack a piece of firm tape securely around
the edge of the circle, and cut off the bladder reaching beyond
the tape. Next fasten four feet of soft, flexible wire to a large-sized
gutta-percha button by threading it through the two opposite
holes in the centre of the button; pass the other end of
the wire through the middle of the bladder, bringing the button
flat against its surface.</p>

<p>After attaching a weight of about seven pounds to the end
of the wire, place the drum in the sun until perfectly dry. Proceed
with the other in the same manner, and when both are
well dried, fasten one on each end of the line and attach the
drum-wires to the principal wire by loops; then stretch it firm
and tight. This telephone will also need loops for supports,
which should be of wire. When the instrument is carefully
and properly made it will carry the voice three or four miles or
more, giving every word and tone distinctly and clearly.</p>

<div class="figcenter" style="width: 451px;">
<img src="images/i_228.jpg" width="451" height="182" alt="girl talking to animal on can-phone" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span></p>




<h2>CHAPTER XXI.<br />

<small>HOW TO DRAW.<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a></small></h2>


<div>
  <img class="drop-cap" src="images/i_229a.jpg" width="148" height="247" alt="W" />
</div>

<p class="drop-capi3">WOULD you like to learn to draw, to sketch
from nature? Don’t you think that it
would be delightful to be able to take out
your pencils and paper and copy some scene
you want to remember, or produce a likeness
of any bird or animal which strikes your
fancy?</p>

<p>Many will say, “I’d like it very well, but
I <i>can’t</i> draw.”</p>

<p>You can write, can hold a pencil, and
trace lines upon the paper; and if you can
do this, you can draw a little. A girl
who can learn anything can learn to draw
if she will give the same attention to it
that she gives to other things.</p>

<div class="figleft" style="width: 157px;">
<img src="images/i_229b.jpg" width="157" height="156" alt="diagram of cube Fig. 140" />
</div>

<p>Now we are not going to talk about
copying pictures which someone else has
already drawn, for there is not much satisfaction
in making imitations of other
people’s work; it is much more gratifying to make the original
drawings ourselves; but to do this we need some direction.</p>
<p><span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span></p>
<p>The reason it is easier
to copy a picture than to draw
the real object is because the
lines to be copied are all laid
out on the flat surface of the
picture; but to draw the object
we must find out where to trace
the lines for ourselves.</p>

<div class="figright" style="width: 233px;">
<img src="images/i_230a.jpg" width="233" height="256" alt="Fig. 141" />
</div>

<p>For instance, suppose we are
to draw a flower-pot and plant.
If we have the picture before
us, we can readily see where all
the lines are placed upon the paper, but in viewing a real plant
and pot we are apt to become confused in trying to discover the
directions and proportions of the lines.</p>

<div class="figleft" style="width: 450px;">
<img src="images/i_230b.jpg" width="450" height="362" alt="man sitting on ground Fig. 142" />
</div>

<p><span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span></p>

<p>Therefore we must learn <i>to see things as they appear</i>, not as
they really are. This may seem strange to you, because one
is apt to think that a thing must appear as it is; but let us look
into the matter.</p>

<p>We will take a square box (Fig. 140). Now, we know that
all the sides are the same size, that the top is as large as the
side, and that one side is as large as another;
but if you try to draw it so, you will
find it impossible, because, although you
know that the top and sides are the same
size as the front, they do not look so, and
you draw things as they look, not as they
really are.</p>

<p>What would our cube look like if we
tried to make the sides K and H just like
the side I? Why, like Fig. 141. Don’t
you see that would be no box at all?</p>

<div class="figright" style="width: 140px;">
<img src="images/i_231.jpg" width="140" height="405" alt="Fig. 143" />
</div>

<p>Take another example. We all know
that a man’s leg is longer than his arm, but
it doesn’t always appear so. Measure the
arms and legs of Fig. 142, and you will see
by actual measurement the arms are longer
than the legs, and yet it looks right, because
the legs are projected toward you;
in other words, the legs are <i>fore-shortened</i>.</p>

<p>The great secret of drawing from nature is to train the eye
to see a real object just like a picture.</p>

<p>Now let us return to our flower-pot again. We will suppose
we are drawing from a real flower-pot and plant. We determine
how large we will make our sketch, and begin operations by
drawing a vertical line (a straight upright line). Along this line
we will mark out the proportions of the plant and pot, as in
Fig. 143.</p>


<p><span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span></p>

<p>We may easily discover that the plant is longer than the pot.
This can be done by holding the pencil upright before the eye
at arm’s length, as in Fig. 144, so that it will cover the pot, and
measuring by the thumb the height of the pot, then raising the
arm so as to cover the plant, and comparing the measurement
of the pot with the plant. The lines drawn from the eye (Fig.
144) show how the pencil makes the measurement on the object.</p>

<div class="figleft" style="width: 414px;">
<img src="images/i_232.jpg" width="414" height="303" alt="Fig. 144" />
</div>

<p>After settling the question of the height of the flower-pot
and plant, we will mark the measurements on the line. And
now we will draw in the pot, leaving the straight line through
its centre.</p>

<p>On observing the plant we will see that it is not exactly
straight, and here again the straight line will be of assistance.</p>

<p>By holding up our pencil, which represents the straight line,
we will discover that the main stem of the plant leans considerably
to the left. Guided by the line, we can get the curve of
the stem about right. Now we sketch the stem. Along the
straight line we again measure the distance from the top of each<span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span>
leaf and flower to the pot, as in Fig. 145. We can see several
leaves, each reaching a certain height. Observing the same
plan of measurement, we find that the top of the lowest leaf is
about the same height from the pot as the height of the pot itself,
and again from the top of the lowest leaf to the top of the
plant measures the same distance.</p>

<div class="figright" style="width: 156px;">
<img src="images/i_233.jpg" width="156" height="366" alt="Fig. 145" />
</div>

<p>By drawing another vertical line just touching the right side
of the pot, we find that it touches the extreme
edge of the leaf. Thus we find the
exact situation of the leaf. By the same
method we find the right places for the
other leaves and flowers, and after we
know just where they belong, we draw
them in, and find that we have produced
a very creditable outline from nature.</p>

<p>We need not confine ourselves to one
or two guiding lines in sketching an object;
in fact, we may use as many straight
lines as will help us to get the correct proportions;
not only vertical and horizontal
lines, but slanting lines will also assist us
in most cases.</p>

<p>The sketch of a dog (Fig. 146) will
give an idea of the way to employ all
lines necessary in sketching from nature.
A few words will be all that is necessary to explain this illustration.</p>

<p>There lies the dog on the floor, and we seat ourselves at a
little distance from it with pencil and paper. We will start off
with a horizontal line (A); then we can form some idea as to
whether the little dog lies along a straight line, or in case the
bottom line slants, how much it slants. Then draw the vertical
line (B E). Now suppose we hold our pencil upright, in such a<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span>
position as to touch the back of the knee-joint of the foreleg,
we will find that it passes through the middle of the dog’s back,
as represented by
the line (B E); so
we have found the
places for these
parts.</p>

<div class="figleft" style="width: 351px;">
<img src="images/i_234a.jpg" width="351" height="203" alt="Fig. 146" />
</div>

<p>Another horizontal
line (C D)
drawn above the
first will touch just
over the right eye,
pass through the middle of the left ear, through the middle of
the neck, cut off the foreleg, and run along the top of the two
hind legs, passing through the knee of the left one. This will
show us that the top of the right eye, the ear, and the top of
both hindlegs are on a line. It will also help us to get the
proportions above and below the line; then by drawing a line
from D to the point F on the horizontal line A, we find that
the lower edges of the left hind and fore legs
are on the same line, which, if extended a
little farther down, will touch the edge of
the dog’s mouth. With these lines to guide
us we cannot go far astray in our proportions.</p>

<div class="figright" style="width: 142px;">
<img src="images/i_234b.jpg" width="142" height="253" alt="Fig. 147" />
</div>

<p>One of the chief difficulties in following
this method of drawing from nature is to
hold our measuring-stick exactly vertical or
horizontal. This difficulty can be overcome
by providing yourself with a T-square (Fig.
147) and attaching to it, at the point P, a
string with a weight tied on the other end so that it will hang
plumb. By using this we can be sure whether we hold it<span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span>
straight or not, for in case we tip it too much on one side or the
other the string will swerve from the middle of the upright stick.
Of course, whenever we hold the T-square perfectly straight,
the string will fall straight down the middle of the upright, and
the top of the T will then give us a true horizontal line. A little
thought and practice will lead you to thoroughly understand
this method, and when you really understand it you will have
an unerring guide to assist you. Of course, as the eye and
hand become more trained, with practice and observation, the
work will become easier, and you will not need the T-square.</p>

<p>In beginning the practice of drawing from nature, we had
better confine our first efforts to things that will stand still,
for without a practised hand it will be almost impossible to
sketch a restless subject; but if we attempt to do so, we
should follow the methods before taught as nearly as possible.</p>

<p>Now, suppose we step out of doors in search of something
to sketch. The first moving object our eyes rest upon is a
goose, and we decide to use him as a model.</p>

<p>But he is so restless, will not keep still an instant. First we
have a front view, then a side view, and again he turns his
back upon us. If we really must have his picture, the only way
is to catch him and tie him up.</p>

<p>Yet even now he is a difficult subject, twisting and turning,
and bobbing his head about. Determined on sketching him,
however, we observe the position in which he remains the longest
time, or assumes oftenest, and begin our work.</p>

<p>We first note the general proportions. Is his body as thick
as it is long? Is his neck as long as his body? Are his legs
nearest the head or tail? Is the head as long as the neck?
What part reaches the highest, or what part the lowest? We
hastily but carefully consider these questions and determine in
our own mind the answers, for we must get an idea of the proportions
before we begin our sketch.</p>

<p><span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span></p>

<p>Now we draw a horizontal line along our paper, and then
hold up our pencil horizontally, so that it will answer for a
straight line drawn across the
body of the real goose (Fig.
148). This will represent the
horizontal
line on the
paper. Noticing
then
the directions
the
outlines of
the goose
take from the horizontal line (represented by the pencil),
we sketch them in on the paper, remembering
that one of the most important things is to get the right directions
of the lines.</p>

<div class="figcenter" style="width: 427px;">
<img src="images/i_236a.jpg" width="427" height="273" alt="Fig. 148" />
</div>

<p>Observe that in Fig. 149 the line G is directed to too high
a point, and makes the body too thick and out of proportion.</p>

<div class="figcenter" style="width: 474px;">
<img src="images/i_236b.jpg" width="474" height="245" alt="Fig. 149 Fig. 150" />
</div>

<p>In sketching it is best to make all lines straight instead of
curves, for in this way we are more likely to get the right directions.<span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span>
Our first rough sketch of the goose ought to have something
of the appearance of Fig. 150, and as we work it up more
carefully it will become as nicely rounded as we could desire.</p>

<p>One of the most common faults a beginner is apt to commit
is to try to do too much, either by choosing too great a subject,
such as a large landscape, or by putting too many little things
into the composition. Take care of the large things, and the
little things will take care of themselves.</p>

<p>If our subject be a clump of trees at some distance, we
should not attempt to draw in separate leaves, but endeavor to
get the true shape of the tree, simply indicating the leaves by a
few lines. Neither must we attempt, in our first sketches, to put
in all the shadows we see; the strong principal ones are all that
are necessary. A background of hills and trees should be
merely suggested by a few lines, because the light striking upon
them gives a very light appearance.</p>

<p>Draw as simply as possible. Ten pictures are spoiled by
putting in too much work, where one is spoiled by too little.</p>

<p>Don’t be discouraged. Every effort will show improvement,
if you really put your mind and heart in your work. As for</p>


<h3><b>Materials,</b></h3>

<p class="unindent">a sheet of drawing-paper, a No. 2 lead-pencil, and a piece of soft
rubber are all you really need to commence with. Later it will
be well to have a drawing-pad and several more pencils.</p>

<div class="figcenter" style="width: 445px;">
<img src="images/i_237.jpg" width="445" height="96" alt="cherub on drawing pencil" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span></p>




<h2>CHAPTER XXII.<br />

<small>HOW TO PAINT IN WATER-COLORS.</small></h2>


<div>
  <img class="drop-cap" src="images/i_238.jpg" width="117" height="156" alt="T" />
</div>

<p class="drop-capi2">THERE is a certain charm in water-color painting—a
charm distinctly its own—which lies, as
Penley says, “in the beauty and truthfulness
of its aerial tones.” Without this quality a
water-color, as a water-color, is a failure.</p>

<p>This transparency of effect does not depend
alone upon the manner of painting or the colors
employed, but much rests with the paper
we use. In the days when our mothers and grandmothers
were taught painting at school, the finest, smoothest cardboard
was thought necessary; but we have since learned that the flat,
smooth paper tends decidedly toward producing a flat, smooth
effect in the picture painted upon it, while the rough, uneven
surface of the paper now in use helps to produce depth and atmosphere.
Therefore it is always best to have rough paper to
paint upon. We give below the</p>


<h3><b>Materials for Water-Color Painting.</b></h3>

<p>1. A block of rough drawing or water-color paper.</p>

<p>It is better to buy it in blocks than by the sheet, as it is
much more easily handled, and is always ready for use.</p>

<p>2. Brushes. The best brushes are made of sable, and although
costing more to begin with, it is really more econom<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span>ical
to purchase them than to choose the less expensive camel’s-hair;
for the sable are by far the most satisfactory, and will last
much longer. Three or four brushes are sufficient. As Devoe
&amp; Co. number them, they should range between No. 3, which
is small enough for ordinary painting, and No. 19, for clouds,
backgrounds, etc.</p>

<p>3. Colors. A tin sketching-box of moist colors, which also
contains a palette, is very useful, but the colors can be bought
separately in tubes or pans.</p>

<p>Water-color painting seems by its qualities to be especially
adapted to flowers and landscapes, and as this is to be a chapter,
not a book, on water-colors, we will confine ourselves to
the principal points to be observed in these two departments,
and will commence with the</p>


<h3><b>Flowers.</b></h3>

<p>Few oil-paintings, however well executed, give the delicate,
exquisite texture of a flower as nearly as water-colors.
The semitransparency of a rose-petal, the juicy, translucent
green of the young leaf, it is difficult to truthfully represent
in other than these colors, whose essential quality is transparency.
To preserve this transparency of color, everything about
the painting must be kept exceedingly neat. The brushes
must be thoroughly washed before using them for a different
tint from that already upon them, and plenty of water, changed
frequently, is necessary.</p>

<p>Having arranged your materials conveniently upon a table,
place your paper so that it will lie at an angle slanting toward
you, not perfectly flat upon the table; this can be done by putting
books under the edge farthest from you, thus raising it up.
Stand the flowers you wish to copy in such a position that the
light will fall upon them only from one direction and produce<span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span>
decided shadows; the effect will then be much better than
when the light is more diffused.</p>

<div class="figcenter" style="width: 512px;">
<img src="images/i_240.jpg" width="512" height="406" alt="Painting in Water-Colors" />
</div>

<p>Always arrange your model exactly as you want to paint it,
and leave nothing to your idea of how it ought to look. If you
do not intend to have any background other than the white paper,
place something white behind your flowers. If you want
a colored background, arrange the color you have chosen behind
the flowers, and paint
it as you see it. Commence
your work by sketching
lightly, as correctly and rapidly as you
can, the outline of your flower. Try
something simple at first; say a bunch of
heart’s-ease or pansies, and when drawing
them try to get the character of both flower
and leaf. Observe how the stem curves
where it is attached to the flower, and at what angles the stems
of the flowers and the leaves join the main stalk. Given character,
an outline drawing painted in flat tints will closely resemble
nature; without it, the most beautifully finished painting
will not look like the flower it is intended to represent.</p>

<p>When your outline is drawn in, dip your largest brush
in clear water, and go over the whole surface of your paper<span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span>,
then place a piece of blotting-paper over the paper to soak up
the water, leaving it simply damp, not wet.</p>

<p>If you are using tube colors, have ready on a porcelain
palette, or ordinary dinner-plate, these colors: crimson lake,
cobalt blue, indigo, Prussian blue, and gamboge. Put in your
lightest tints first, leaving the white paper for the highest light;
then paint in your darker tints and shadows, and get the effect.</p>

<p>If your flower is what we call the johnny-jump-up, the lowest
petal will be yellow. Paint this in with a light wash of gamboge,
leaving, as we have said, the white paper for touches of
high light. The two upper petals will probably be a deep
claret-color; this is made by mixing crimson lake and cobalt
blue, the crimson lake predominating. The two central petals
may be a bluish lavender, and this color is made by mixing a
little crimson lake with cobalt blue. Use plenty of water; but
do not let it run, and keep the colors of the petals distinct.</p>

<p>Paint the stems and leaves, where they are a rich green, with
a mixture of gamboge and Prussian blue, and where they appear
gray as the light touches them, a pale wash of indigo will
give the desired effect.</p>

<p>Keep your shadows broad and distinct, and your tints as
flat as you can. Leave out details altogether in your first
paintings, and add them afterward only when you can do so
without spoiling the effect.</p>

<p>When a tinted background is desired, put it in quickly in a
flat tint, before commencing the flowers. It is best not to bring
the tint quite up to the outline, as a narrow edge of white left
around the flower gives a pleasant, sketchy look to the painting.</p>


<h3><b>Landscapes.</b></h3>

<p>In your first studies from nature keep to simple subjects,
and treat them simply, without any attempt at elaboration.<span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span>
Choose, for instance, a picturesque corner of an old fence, with
perhaps a bit of field and sky for the background. Sketch in
the principal features in the foreground in outline, and indicate
the horizon, if it comes in the picture.</p>

<p>Penley says, in his “System of Water-Color Painting,”
“White paper is too opaque to paint upon without some wash
of color being first passed over it,” and he recommends a thin
wash of <i>yellow ochre</i> and <i>brown madder</i>, which should be
put all over the surface of the paper except on the high lights
in the foreground, which are best left crisp and white.</p>

<p>Notwithstanding what Penley says in this matter, it must be
borne in mind that some artists do not believe in successive
washes, but claim that the color desired should be put upon the
white paper at once.</p>

<p>If the yellow tint is used, let it become quite dry and then
wash it over with a large brush and <i>clean</i> water; then, as in
the flower painting, soak up the water with blotting-paper;
the blotting-paper must also be quite clean. While the paper is
damp, not wet, begin with a blue tint—a light wash of cobalt
will give it—and put in the sky <i>in a flat tint</i>; bring the same
color down all over your sketch except in the high lights. The
blue tint gives atmosphere and distance. Let your paper again
become quite dry, and then wash it over as before, in clear water.</p>

<p>The process of laying on color and lightly washing over it
afterward should be repeated several times, “and the result
will be a transparent aerial tone.”</p>

<p>Keep your extreme distance bluish, your middle distance
warmer in tone, but not too strong, and the principal objects in
your foreground strong.</p>

<p>Leave out small objects, and with light and shade seek to
obtain the effect.</p>

<p>Keep your colors pure or your sketch will be dull.</p>

<p>Contrast has much to do in producing strength and character.<span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span>
Phillips says that, “in aiming at opposition of color, we must
select that which gives force to the foreground, and consequently
communicates the appearance of air in the distance.
Thus, if the general tone of the light be warm and yellow, we
should have blues and purples in the foreground; if the lights
be cool, reds and yellows in the foreground give atmosphere to
distance, as neither of these colors in a positive state is found
in the middle or remote distance.”</p>

<p>The three principal contrasts are blue opposed to orange,
red to green, and yellow to purple; and “a good first lesson in
sketching in color will be to put in your shadows with color opposite
to the object in light; and by carrying out this principle
of opposition throughout the scale you will obtain an endless
variety of contrasts.” It is the general rule in most painting
to have cool shadows to warm lights, and warm shadows to cool
lights. We all know that a <i>green</i> picture is very disagreeable,
and although a green field <i>is</i> green, it must not be made intensely
so. An untrained eye will not see how nature tones
down the vivid color with shadows, and softens it with the atmosphere;
but when the eye has learned to look at nature in
the right way this difficulty will be overcome. Howard says,
“green must be sparingly used, even in landscapes, whose
greatest charm consists of vegetation.”</p>

<p>Foliage in some form will present itself in almost every
landscape, and it is therefore necessary to have a few general
principles to guide you in this important feature. In sketching
trees be sure to get the character of their trunks, limbs,
branches, and general form; also the texture of the bark, rough
or smooth. You will see that the foliage appears in layers, one
above another. Sketch in the outlines of the principal layers,
where they are tipped with light; then go over the whole tree
with a local color, and afterward separate the light from
shadow. Each mass is edged with light, while its base is in<span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span>
shadow, as a rule. Omit <i>details</i>, and keep to your <i>masses</i> of
light and shade. If your tree is in the foreground, leave the
white paper for crisp touches of high light. The tone of your
fence will probably be gray, but do not take it for granted that
it is <i>all</i> gray; look for other colors, and you will find brown,
blue, green, and sometimes red. Put these in as you see them,
letting the edges melt into each other, as they will do when
the paper is damp; but have each color pure, and do not try to
mix them.</p>


<h3><b>Painting from Notes</b></h3>

<p class="unindent">is not as difficult as one might imagine. With a little practice
it is easily learned. The following directions will tell how to
paint a sunset on the meadows, from notes made at sunset on
the meadows on Long Island.</p>

<div class="figcenter" style="width: 452px;">
<img src="images/i_245.jpg" width="452" height="533" alt="Fogs. 151-158" />
<div class="caption">How to Paint a Sunset in Water-Colors.</div>
</div>

<p>Take a piece of Whatman’s rough drawing-paper, or a kind
that is termed egg-shell cartoon, the size decided upon for your
picture. Have ready a large dish of clean water, brushes, and
paints. Draw a pencil-line along the centre of your paper for
your horizon, Fig. 151; then directly on the line paint a streak
of vermilion. Put the color on quite damp, and make it about
half an inch broad, extending one-fourth of an inch on either
side of the horizon-line, Fig. 152. Next, quickly paint a yellow
streak above and below the red one, making each streak of the
same size and parallel, and leaving a little white paper between
the different colors, Fig. 153. With a clean brush dipped in
clean water carefully moisten the paper between the streaks,
and allow the edges of the colors to mingle, Fig. 154. Before
this has time to dry, paint a blue streak above and below,
about half an inch from the yellow, Fig. 155; then with the
clean brush dampen the white paper between, being careful not
to get it too wet; there should be just enough moisture to enable
the colors to flow and mingle at the edges, Fig. 156. This<span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span>
may be aided by holding the paper first one side up and then
the other, until the edges are evenly blended. Now, before
the horizon is quite dry, while it is still damp enough to cause
the paint to spread, fill a brush with Payne’s gray, which should
be rather dark and not too wet, touch the point of your brush
here and there along the horizon, now a little above and now a<span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span>
little below, and you will find that the paint will spread and make
excellent
trees for the
distance, Fig.
157.</p>

<div class="figcenter" style="width: 398px;">
<img src="images/i_246a.jpg" width="398" height="288" alt="Fig. 159" />
</div>

<p>When
your work is
dry enough
to paint over
without
spreading the
color, mix
some green
and black,
and green
and brown; paint in the meadow, using the color made of green
and black for the extreme and middle distance, the color made
of green and
brown for the
foreground,
leaving spaces
for streams
and ponds,
and your sunset
upon the
meadow is
finished. A
pretty little
sketch it is,
too, Fig. 158.</p>

<div class="figcenter" style="width: 394px;">
<img src="images/i_246b.jpg" width="394" height="290" alt="diagram" />
<div class="caption">Leaf from an Artist’s Note-Book.</div>
</div>

<p>A different
composition
can be made by proceeding as directed as far as Fig. 156<span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span>
and then, instead of putting in trees on the horizon, hills running
to points in the water can be painted in a flat tint with
the Payne’s gray, and a vessel with masts painted in the foreground,
as in Fig. 159. This also makes a pretty and effective
little sketch.</p>

<p>Fig. 160 shows sunset notes taken while aboard a ferryboat
in the winter of 1886-87. From these you can see just how the
notes are made; but you must make <i>your own notes</i>, because
what is perfectly intelligible to the writer of the sunset memoranda
is an enigma to another person. For example, in Fig.
160, “Rose-tinted sky” may mean almost any shade of red, or
blue and red mixed, but “Rose-tinted sky” no doubt brings
before the mind’s eye of the writer of the notes the exact color
of the sky at the time the notes were made.</p>

<div class="figcenter" style="width: 504px;">
<img src="images/i_247.jpg" width="504" height="137" alt="An Artist in Water" />
</div>
<hr class="chap" />
<p><span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span></p>

<div class="figcenter" style="width: 431px;">
<img src="images/i_248.jpg" width="431" height="600" alt="girl painting" />
<div class="caption">A Study in Oil.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span></p>




<h2>CHAPTER XXIII.<br />

<small>HOW TO PAINT IN OIL-COLORS.</small></h2>


<div>
  <img class="drop-cap" src="images/i_249.jpg" width="142" height="138" alt="T" />
</div>

<p class="drop-capi2">THE difference between oil- and water-color
painting lies in the fact that, although especially
well adapted to the portrayal of some
subjects, water-color has its limitations,
while with oil-colors any subject, from the
simplest study in still-life to the grandest
conception of a great artist, can be represented, and no limit
has yet been reached in its possibilities.</p>

<p>But there are first steps to be taken in all things, and the
greatest artist who ever lived had to make a beginning and learn
the preliminaries of painting before he could produce a picture.
To these steps, then, we will turn our attention, and the first
will be the necessary</p>


<h3><b>Materials.</b></h3>

<p>The following list of colors, with their combinations, will be
found sufficient for most purposes.</p>




<div class="center">
<table border="0" cellpadding="0" cellspacing="0" summary="colours">
<tr><td align="center"><small>YELLOWS.</small></td>
<td align="center"><small>REDS.</small></td>
<td align="center"><small>BLUES.</small></td>
<td align="center"><small>GREENS.</small></td>
</tr>
<tr>
<td align="left">Yellow Ochre,</td>
<td align="left">Vermilion,</td>
<td align="left">Permanent Blue,&nbsp;&nbsp;&nbsp;&nbsp;</td>
<td align="left">Terre Verte,</td>
</tr>
<tr>
<td align="left">Naples Yellow,</td>
<td align="left">Light Red,</td>
<td align="left">Cobalt,</td>
<td align="left">Emerald Green,</td>
</tr>
<tr>
<td align="left">Light Cadmium,</td>
<td align="left">Indian Red,</td>
<td align="left">Antwerp Blue.</td>
<td align="left">Light Zinnober Green.</td>
</tr>
<tr>
<td align="left">Orange Cadmium.&nbsp;&nbsp;&nbsp;</td>
<td align="left">Venetian Red,&nbsp;&nbsp;&nbsp;&nbsp;</td>
</tr>
<tr>
<td align="left">&nbsp;</td>
</tr>
<tr>
<td align="left" colspan="2"><span style="margin-left: 2em;">Burnt Sienna,</span></td>
<td align="left" colspan="2"><span style="margin-left: 2em;">Rose Madder.</span></td>
</tr>
<tr>
<td align="left">Silver White,</td>
<td align="left">Raw Umber,</td>
<td align="left">Vandyke Brown,</td>
<td align="left">Ivory Black.</td>
</tr>
</table>
</div>


<p><span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span></p>

<p>Winsor &amp; Newton’s colors are acknowledged by most artists
to be the best, but the writer personally prefers German
white, as in her opinion it is not so stiff, and mixes better with
other colors than the Winsor &amp; Newton.</p>


<h3><b>The Easel</b></h3>

<p class="unindent">may be simply a pine one, which can be purchased from any
dealer at the cost of about one dollar. More elaborate easels
are, of course, more expensive; but as the merits of a picture do
not depend upon the easel which holds it, a common pine one
will do.</p>


<h3><b>The Palette</b></h3>

<p class="unindent">should be light in weight and not too small; oiled and not varnished.
A very light-colored wood is not desirable; one of
walnut or cedar, about eighteen inches long, is the best to use,
and will cost from thirty to sixty cents.</p>


<h3><b>Brushes,</b></h3>

<p class="unindent">both of sable and bristles, are used, but we would advise a beginner
to work with bristle brushes only, for the first attempt
should be to obtain a broad style of painting, without the
finished details which the sable brushes are used for.</p>

<p>About four different sizes of flat bristle brushes are needed
to commence with; there should be two of each size, the largest
one inch wide, and the smallest not more than a quarter of
an inch in width.</p>


<h3><b>The Palette-Knife</b></h3>

<p class="unindent">is used for taking up color on the palette, for cleaning the palette,
and sometimes for scraping a picture after its first painting.<span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span>
It should be flexible, but not too limber. The cost will be from
twenty-five cents upward.</p>


<h3><b>Oil-Cups</b></h3>

<p class="unindent">are fastened on to the palette, and are used for oil and turpentine.
The double ones range in price from eight cents to
twenty. The single ones, without cover, can be bought for
five cents.</p>


<h3><b>A Paint-Box</b></h3>

<p class="unindent">for holding colors, palette, and brushes will cost from one dollar
and twenty-five cents up. It is convenient to have one, and
necessary when going out sketching, but for painting at home
any kind of tin box will answer for the paints. The palette can
be hung up, and the brushes put in a vase or jar, handles downward,
which will keep them nicely.</p>


<h3><b>Mediums.</b></h3>

<p>Boiled linseed-oil or poppy-oil, siccatif Courtray, and turpentine.</p>


<h3><b>Canvas.</b></h3>

<p>In selecting canvas choose that of a warm-gray or creamy tone,
for it is difficult to give warmth to a picture painted on a cold-gray
canvas. The German sketching-canvas is quite cheap,
and does very well to commence on. It is best to buy it on the
stretcher, as a girl’s fingers are seldom strong enough to stretch
the canvas as tight as it should be. A very good sketching-canvas,
18 × 24, can be bought in New York City for twenty-five
cents.</p>

<p>Several clean pieces of old white cotton-cloth are necessary
for wiping brushes, cleaning knife and palette, etc.</p>

<p><span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span></p>


<h3><b>The Light</b></h3>

<p class="unindent">in the studio, or room in which you paint, should come from one
direction only, and fall from above. This can be managed
by covering the lower sash of the window with dark muslin, or
anything that will shut out the light. A shawl will answer for a
temporary curtain.</p>

<p>Most artists prefer that while painting the light should
come from behind over the left shoulder.</p>

<p>Our advice to beginners in all the departments of art is the
same: commence with simple subjects.</p>

<p>Your first study should be from still-life (which means any inanimate
object used for artistic study), and let the object selected
be of a shape that requires but little drawing; for your aim now
is to learn to handle your colors, and it is not desirable to have
your mind distracted by complicated drawing. A vase placed
on a piece of drapery, which is also brought up to form the
background, is a good subject; the drapery should be of one
color, and of a tone that will contrast agreeably with the vase
and give it prominence.</p>

<p>Arrange whatever object you have decided to paint so that
it will show decided masses of light and shade; place your easel
at a sufficient distance from it to obtain the general effect of
shape and color without seeing too much detail; arrange your
canvas on the easel so that you will neither have to look up
nor down upon it, but straight before you; then sketch in the
object you are about to copy in outline. Observe the edges of
the heaviest shadows, and draw them also in outline. Charcoal
is better than a pencil for sketching on canvas, as it can
be easily rubbed off with a clean cloth if the drawing is incorrect.
When the sketch is finished, dust off the charcoal lightly
and go over the lines again with a camel’s-hair brush and India
ink.</p>

<p><span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span></p>


<h3><b>Setting the Palette</b></h3>

<p class="unindent">is a term used for arranging the colors in a convenient manner
upon the palette. The colors should always occupy the
same position, so that, the places once learned, you will never
be at a loss to find the color you want. Fig. 161 shows a convenient
arrangement of colors, as well as
the position of the oil-cans.</p>

<div class="figleft" style="width: 517px;">
<img src="images/i_253.jpg" width="517" height="378" alt="diagram" />
<div class="caption">Fig. 161.—Manner of Arranging Colors on Palette.</div>
</div>

<p>Fill one of your oil-cans one-third full of turpentine, to which
add enough siccatif Courtray to turn it the color of strong
coffee. Dip one of your good-sized brushes in this mixture and
scrape it off on the edge of the can, that the brush may not be
too wet; then take up some burnt sienna on the brush and put
it on your palette about an inch or so below the terre verte,
add some terre verte, and mix the two with your brush. Lay
in all the shadows of the vase, or whatever object you are about<span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span>
to paint, in a flat, even tone with the color thus formed, keeping
it thin with the turpentine and siccatif.</p>

<p>Mix a tint as near the required color as you can, and go
over the whole background without regard to light or shade;
cover all the background; do not leave any white or bare canvas
showing.</p>

<p>The general effect being thus obtained, it is easier to see
what colors are needed for further painting.</p>

<p>Select a medium tint between the high lights and half-tones,
and paint in the lights of the vase in a flat, even tint; then go
over the shadows again with a medium tone, still keeping them
in one flat, even mass. Should you lose the outline at any
time, dip a rag in turpentine and wash off the paint that covers
it.</p>

<p>Having progressed this far, the painting should be left to
dry.</p>

<p>The turpentine and siccatif Courtray have such drying properties
that by the next day you may work again on the study.</p>

<p>Begin the second painting by putting in the half-tints. These
unite the decided light and shade, and should be dragged over
their edges, but not blended with them. Once more go over
the shadows, strengthening them and putting in the reflected
lights.</p>

<p>Add more color in the lights where it is needed, and put in
the high lights with clear, crisp touches. Work on your background
in this second painting. Indicate the shadows, but do
not make them strong, except the one which will probably be
cast by the object; that can be strengthened, as it helps to set
the object out from the background and gives the idea of space.
Do not make the background strong; keep it toned down, that
it may not become too prominent. Drag the background a little
over the edges of the vase, or whatever it may be you are
painting, and then paint over it again with the colors of the<span class="pagenum"><a name="Page_255" id="Page_255">[255]</a></span>
vase. Do this while working around the edges of the vase, or
object, to prevent its looking flat, as if it were pasted on.</p>

<p>These directions are to be applied to painting any subject;
but after you have learned how to manage the colors and wish
to really paint a picture, the medium must be changed from turpentine
and siccatif Courtray to oil, either linseed or poppy,
using the turpentine only for the first effect of shadow.</p>

<p>When oil is used it will require two or three days for the
picture to dry. Many advise the use of but little oil, and there
are artists who dissapprove of any medium at all.</p>

<p>Before commencing the second painting, a coating of poppy-oil
should be put all over the canvas with a large, flat camel’s-hair
brush. Every bit should be covered without touching the
brush twice to the same spot. This softens the first coat of
paint sufficiently to allow of its blending with the next. If a
raw potato be cut in half and rubbed over the painting before
the oil is put on, it will prevent the oil from crawling, or separating
into drops on the canvas.</p>

<p>Do not use the same brushes for dark and light tints, but
keep them separate. Mix your tints on your palette, the dark
tint below the dark colors, and the light tint below the light colors.</p>

<p>In putting away your work after painting, be sure that the
tops are screwed on to all your color-tubes, and arrange them
neatly in their box. Clean your palette with the palette-knife,
and then wipe it off with a rag. Dip your brushes, one by one,
in turpentine and wipe them on a rag; this removes most of
the paint and makes them easier to wash. Warm, not hot,
water should be used for washing the brushes. The best way
is to hold several brushes in the right hand, their sticks being
in an upright position, dip them in the water, rub them on a
piece of common soap, and then scrub them round and round
on the palm of the left hand; rinse them in clear water, and
wipe dry with a clean rag.</p>

<p><span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span></p>

<p>Our limited space will not allow of our going more fully into
the details of painting; but we hope that these directions will
give some idea of how to make a beginning as a painter in oil-colors,
and after you have made a start you will find two good
professors at your elbow to help you along and encourage you—Prof.
Judgment and Prof. Experience.</p>

<div class="figcenter" style="width: 518px;">
<img src="images/i_256.jpg" width="518" height="136" alt="girl painting plen air under a parasol" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_257" id="Page_257">[257]</a></span></p>




<h2>CHAPTER XXIV.<br />

<small>HOW TO MODEL IN CLAY AND WAX.</small></h2>


<div>
  <img class="drop-cap" src="images/i_257.jpg" width="156" height="148" alt="A" />
</div>

<p class="drop-capi2">AN eminent artist once remarked within the writer’s
hearing that, should he bring into his
studio the first dozen boys he happened to
meet on the street, taking them as they
came, he would probably be able to teach
at least half of them to model within six
months, whereas there might not be one
of them who could be taught to paint at all. Possibly none of
these boys would ever become great sculptors, but they could
learn to model moderately well. If that is the case with boys,
who are apt to be so awkward and clumsy, how quickly could
a girl’s deft fingers learn to mould and form the plastic clay or
wax into life-like forms. In some of the institutions for the
blind, deaf and dumb, modelling is taught with great success.
Quickly the sensitive fingers of the young inmates run over the
object to be copied, and skilfully they reproduce in their clay
the form conveyed to them by touch alone. It is pleasant to
think that these silent little workers have this new pleasure
added to their somewhat limited stock; but at the same time
the fact puts to shame some of us who, having all our faculties,
the use of all our senses, and not infrequently artistic ability
in addition, do so little with the talents intrusted to our care.</p>

<p>Let us to work then, girls, and see if we cannot accomplish
at least as much as our unfortunate sisters, who have neither
sight nor hearing to guide them.<span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span></p>

<div class="figright" style="width: 434px;">
<img src="images/i_258.jpg" width="434" height="600" alt="girl sculpting" />
<div class="caption">Modelling in Clay.</div>
</div>

<p><span class="pagenum"><a name="Page_259" id="Page_259">[259]</a></span>The great difficulty we encounter in learning to draw—which
is representing things as they appear, not as they really are—will
not trouble us in this other department of art, for in modelling
it must be our aim to do precisely the reverse, and reproduce
an object exactly <i>as it is</i>, not as it appears.</p>

<p>Modelling, besides its own worth, is of value as an aid to
drawing, for it teaches form, and the shadows on an object can
be drawn more intelligently and correctly when it is known just
what formations produce them.</p>

<p>A great deal can be done in modelling without the aid of a
teacher. So, not waiting to look up a professor, suppose we
commence by ourselves and see what we can do. It is very fascinating
work, and if a few failures are the result of our first attempt,
we need not be discouraged, for what others can do, we
also can accomplish.</p>

<p>The writer has lately been initiated into the mysteries of this
art, and since, as they say, the person just graduated from a
primary department is best fitted to teach in that department,
perhaps the hints given here may be better suited to the understanding
of beginners than if they were written by a great
sculptor, who might forget that everyone does not know, as
well as he does himself, the preliminary steps necessary even in
accomplishing the grandest results.</p>

<div class="figleft" style="width: 167px;">
<img src="images/i_260.jpg" width="167" height="309" alt="Fig. 162" />
<div class="caption">Modelling Tools</div>
</div>
<p>Instead of entering into the later and more artistically finished
processes we will confine ourselves to the prelude or introduction
to modelling; and then, girls, with the object before you,
your only guide and instructor, you must work out the rest for
yourselves.</p>

<p>The first thing to do is to provide your</p>


<h3><b>Materials,</b></h3>

<p class="unindent">and here is a list of all you will need:</p>

<p>1. Clay, such as is used by potters, perfectly free from grit.</p>

<p><span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span>2. Modelling-tools. These can be bought at any artists’
material store, and the simplest ones might be made at home
of hard wood. Only a few tools are necessary
for a beginner; Fig. 162 shows
those most useful. The fingers and thumbs
are the best of all tools, and a great deal
can be done with them, though for fine,
delicate modelling tools must be used.</p>

<p>3. Modelling-stand. A regular modelling-stand
with rotary platform will cost
from eight to twelve dollars and the expense
may be an objection; but the writer
has found that an ordinary high office-stool
with revolving seat makes a good
substitute. If the stool is not high enough
it can be raised by placing on the seat a
drawing- or pastry-board, and on top of
that a square wooden box about one foot
high and broad enough to allow sufficient room for a good-sized
head and bust.</p>

<p>4. Basin of water and towel for washing and drying the
hands.</p>


<h3><b>How to Manage Clay.</b></h3>

<p>Clay costs, near New York, from one to three cents per
pound, and about fifty pounds will be required. If possible buy
it moist, but if dry, put it into an earthenware jar, or anything
that will hold water, and cover with clear water. Let it remain
until thoroughly moistened; then with a stick stir the clay
around as, when a small girl, you did the mud while making
mud-pies, until it is free from lumps and is perfectly smooth;
clear away from the sides of the jar and pile it up in the centre.</p>

<p><span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span></p>

<p>When it is dry enough not to be muddy and is still pliable,
it is in a fit condition to work with. It is necessary to keep
your hands perfectly clean and conveniences
for washing them should be handy.</p>

<p>Do not use muddy water or a dusty
towel.</p>

<p>Use any tools that will produce the
result desired with the greatest ease; a
little experience will soon determine
what they are, but as a rule the largest
are best.</p>

<p>When leaving unfinished work cover
it with a damp cloth to keep it moist.
If you are working on a head, and the features have been commenced,
stick a small wooden tool in the head just above the
forehead to hold the cloth away from the face, for it is liable to
soften the nose and push it out of shape if it rests upon it.</p>

<div class="figleft" style="width: 183px;">
<img src="images/i_261a.jpg" width="183" height="212" alt="Fig. 163" />
</div>

<p>A frame made of laths (Fig. 163) covered with oil-cloth or
rubber (an old gossamer water-proof will be just the thing),
placed over the modelling, will keep it better than the cloth, as
it excludes the air and prevents its drying
(Fig. 164). When using the frame,
sprinkle your work by dipping a clean
whisk-broom into water and shaking it
over the clay. Remember, the clay
must always be kept moist and pliable
and never allowed to dry. If it does
become dry and hard there is nothing to
do but to put it back into the jar, and go
through the process of damping it again.</p>

<div class="figright" style="width: 183px;">
<img src="images/i_261b.jpg" width="183" height="214" alt="Fig. 164" />
</div>

<p>Keep your tools clean, and do not
allow the metal ones to become rusty, as they will if carelessly
left on the modelling-stand when not in use. To avoid trouble<span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span>
of this kind it is best to put your tools in a box where they
will be perfectly dry. Unless you wish to go through one of
the writer’s first experiences, when she was obliged to let her
tools lie in a pan of kerosene oil for two days, and then clean
them with knife-brick.</p>


<h3><b>How to Preserve Modelled Clay.</b></h3>

<p>If terra-cotta clay is used, it can be baked in a kiln, which
will, while hardening, turn it a fine buff terra-cotta color, and
make the object, if well modelled, ornamental enough for almost
any use.</p>

<p>From the other clay, plaster casts can be taken, and the article
reproduced in plaster as many times as desired.</p>


<h3><b>Hints for Modelling a Head.</b></h3>

<p>Always work from a model, and it is best to try copying
plaster casts before attempting to model from life.</p>

<div class="figcenter" style="width: 515px;">
<img src="images/i_262.jpg" width="515" height="203" alt="Fig. 165 Fig. 166 Fig. 167" />
<div class="caption">How to Model a Head.</div>
</div>

<p>Place on the centre of your stand a wooden or tin box (a
cigar-box will do) to form the base; cover this with clay in the
form of Fig. 165, and stick a support in the middle, as shown in<span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span>
diagram. The support may be a piece of kindling-wood eight
inches long and about one inch thick.</p>

<p>Build up the clay around this stick, as in Fig. 166, and with
your hands mould the clay, piecing it out here, and cutting off
there, until it bears some resemblance to a head, as in Fig. 167.</p>

<p>Still using your hands, get the general proportions of the
head, and then commence the features. Begin with the profile,
using tools when necessary, and try for character without detail;
then turn the head a little and work from that point of
view; always look at your model from the same point of view
as you do your work. Turn the head in the opposite direction
and model the other side, keeping the face evenly balanced.
Continue turning your work little by little, until each outline it
presents is as near as you can get like the corresponding outline
of your model, and then work up the detail.</p>

<p>In modelling any object the same process, of viewing the
model from all points, must be gone through with.</p>

<p>Do not strive to obtain a likeness at first, but be careful to
have all of your outlines correct, and the likeness will come of
itself.</p>


<h3><b>How to Model in Wax.</b></h3>

<p>Modelling-wax prepared at home is much better than any
that can be purchased. The following recipe is a very good
one:</p>


<h3><b>Modelling-wax.</b></h3>


<ul class="ingredients">
<li>1 pound pure yellow beeswax.</li>
<li>½ pound corn-starch.</li>
<li>4 ounces Venice turpentine.</li>
<li>1½ ounce Venetian red powder.</li>
<li>½ ounce sweet-oil.</li>
</ul>

<p>Put the wax on the stove in a saucepan and let it melt; <i>take<span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span>
off</i> and pour in the turpentine. Never attempt to add this while
the wax is near the fire, as it is extremely dangerous. It is
a good idea, when buying
the ingredients, to have the
oil and turpentine put in the
same bottle (which should
have a wide neck), then they
can be poured into the wax
at the same time. Warm
the bottle of oil and turpentine
in hot water to soften
before mixing with the wax.
Keep stirring all the time.
Pour in the corn-starch and
Venetian red. When the
corn-starch is dissolved the
wax is ready for use.</p>

<div class="figright" style="width: 268px;">
<img src="images/i_264.jpg" width="268" height="578" alt="woman holding flowers" />
<div class="caption">Bas-relief Figure in Wax.</div>
</div>

<p>Modelling-wax is much
more expensive than clay; it
is used principally for small
objects and those that require
fine workmanship. It
is quite useful for sketchy
work, as it may be carried
about almost like a sketchbook,
and being so much
cleaner than clay, it can be
used even in the parlor without
damage to table or carpet.
With the wax on a small
board one can sit at a table
and work very comfortably. The tools for clay modelling may
also be used for wax; probably the smallest will be most useful.</p>

<p><span class="pagenum"><a name="Page_265" id="Page_265">[265]</a></span></p>

<div class="figleft" style="width: 328px;">
<img src="images/i_265a.jpg" width="328" height="322" alt="gitl with hair down" />
<div class="caption">Bas-relief Head in Wax.</div>
</div>

<p>As cold weather advances, we like to pass the evenings in
some agreeable occupation, that may be carried on without disturbing
the family
group around the
fireside. For such
occasions, modelling
in wax will make a
pleasant pastime.
Sitting quietly, taking
part in the general
conversation, or
listening while someone
reads aloud, one
may model the wax
into many pretty
forms to be preserved
afterward in plaster,
or, obtaining a profile
view, a likeness
of one of the group may be done in bas-relief. If a slate is
used to work on, it will make a good foundation, and the head
can first be drawn on it in outline and the wax built over it,
using the drawing as a guide. The slate is smooth and firm,
and it is a good idea to use it as a foundation for all wax bas-relief,
especially when plaster casts are to be taken from the
modelling, for in that case the panel forming the background
must be perfectly even.</p>

<div class="figcenter" style="width: 502px;">
<img src="images/i_265b.jpg" width="502" height="118" alt="toddlers making mudpies" />
</div>
<hr class="chap" />
<p><span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span></p>

<div class="figcenter" style="width: 600px;">
<img src="images/i_266.jpg" width="600" height="387" alt="girl making casts" />
<div class="caption">Making Plaster Casts.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_267" id="Page_267">[267]</a></span></p>




<h2>CHAPTER XXV.<br />

<small>HOW TO MAKE PLASTER CASTS.</small></h2>


<div>
  <img class="drop-cap" src="images/i_267.jpg" width="75" height="165" alt="I" />
</div>

<p class="drop-capi2">IT is not at all difficult; anyone can succeed in it who
will take the pains to follow carefully the directions
given here for making plaster casts. Without the
knowledge of drawing or modelling you can in this
way reproduce almost any article in a very short time.</p>

<p>Casting in plaster is really so simple a process
that even a child can soon learn to manage it nicely.</p>

<p>You will need a board, about a foot and a half
square, upon which to work, fifteen or twenty pounds of clay,
five pounds of plaster-of-Paris, a cup of warm melted lard, and
several small wooden pegs; these can be made of wooden
tooth-picks or matches broken in two.</p>

<p>Select an object with few angles and a smooth surface to experiment
on; a firm round apple will do. Rub the lard all
over the apple until every particle is greased; then lay it in
the centre of your board. Take some clay and pack it around
it just as high as the middle of the apple, forming a square, as in
Fig. 168. Smooth the clay off on the edges and stick pegs in
diagonal opposite corners (Fig. 168); then with more clay build
a wall close around the apple and its case, making the sides one
inch higher than the top of the apple (Fig. 169). Put a cupful
of clear water into a pan or dish, and stir in enough plaster of
Paris to make it like batter; pour the plaster over the apple,
filling the clay box to the top. This makes a half mould of<span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span>
clay and a half mould of
plaster.</p>

<div>
  <img class="split" src="images/i_268a.jpg" alt="Fig. 168 Fig. 169" width="313" height="407" />
  <img class="split" src="images/i_268b.jpg" alt="Fig. 170" width="506" height="266" />
</div>

<p>When the plaster is
hard, which will be in a
very short time, pull
away your clay wall, and
take out the apple and
half plaster mould together,
lifting the apple
from its half clay mould.</p>

<p>Remove the clay from
your board and set the
plaster mould containing
the apple in the centre.
Rub lard over the apple
and upper edge of the
mould, build around it
the clay wall, as you did the first time; roll a small piece of
clay into a slender conical shape and stand it upright on top of<span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span>
the apple, as in Fig. 169. This will make a hole through which
to pour the plaster when filling the completed mould, and it
must stand high enough to reach above the top of the clay
wall.</p>

<p>Pour the plaster over the apple as at first, and let it set or
harden. Take away the wall of clay once more, and carefully
separate the two parts of the mould with the blade of a table-knife;
remove the apple, and all is ready for the final cast which
is to produce your plaster fruit (Fig. 170).</p>

<p>Thoroughly grease the inside of your mould, fit the two
parts together, and wrap and tie them with string to hold them
in place.</p>

<p>Pour in the plaster, through the hole left in one-half of the
mould, until it is quite full; then gently shake it to send the
plaster into all small crevices.</p>

<p>Let your mould stand without moving again until sufficient
time has elapsed for the plaster to harden; then gently separate
the two parts and you will find a perfect cast of the
apple.</p>

<p>The ridge made by the joining of the mould you must
scrape off with a sharp knife, or rub with sand-paper.</p>

<p>In taking casts of almost any object not too complicated,
this same method must be employed. The only difficulty lies
in deciding just where to place the dividing-line, which must
be exactly at the broadest part of your model, otherwise you
will break your mould in taking the object out.</p>

<p>In casting a hand the clay must be built up around each
finger to precisely its widest part; therefore it is a good plan, before
commencing, to mark on the hand, with a fine paint-brush
and ink, the line that is to be observed.</p>

<p>When making casts of long objects, or those that are larger
at one end than the other, such as vases, always lay them on
one side, as a much better mould can be obtained in that way.</p>

<p><span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span></p>

<p>I have read that if milk-and-water is used for mixing the
plaster, or, after the cast has hardened, if a little oil, in which
wax has been dissolved, be applied to the surface, it will take
a high polish; and if left for a while in a smoky room it will
acquire the look of old ivory.</p>

<p>The same writer also states, without giving the proportions,
that liquid gum-arabic and sufficient alum in solution, mixed and
put into the slip or soft plaster, will make the cast so hard that
it can be set as a panel in a cabinet.</p>

<p>The dead white of plaster-casts is frequently objected to
when they are wanted for ornaments; but that difficulty is
easily overcome by mixing dry
colors with the plaster before
wetting it.</p>

<div class="figright" style="width: 240px;">
<img src="images/i_270.jpg" width="240" height="212" alt="Fig. 171 Fig. 172" />
</div>

<p>A small quantity of yellow
ochre will make the plaster
creamy or ivory-like; brown will
give a wood color, and red a
terra-cotta.</p>

<p>Plaster-casts can also be
bronzed with gold, red, or green
bronze, which makes quite handsome
ornaments of them. A plaster panel in bass-relief,
bronzed with gold bronze and mounted on black or dark-colored
velvet, is an exceedingly rich wall decoration.</p>

<p>To mount a panel of this kind you must first secure a smooth,
flat piece of board, not more than half an inch thick, and just
large enough to allow about four inches of the background to
show all around the panel when it is mounted. Cover the board
with velvet or velveteen, bringing it smoothly over the edges,
and tacking it down at the back. Fasten on it a small brass
hook. Fig. 171 is the best kind to use, which is tacked to the
board with small, brass tacks.</p>

<p><span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span></p>

<p>Make a ring or loop for hanging the panel in this way:</p>

<p>Take a piece of wire about three inches long, form a small
loop in the middle, and give the wire several twists; then bend
the ends out on each side.</p>

<p>Scrape a narrow place in the top edge of the panel, just
long enough to admit the wire, and about half an inch deep;
then place the wire in this little ditch and fill up the hole to the
top with soft plaster. When this hardens the ring will be quite
secure. Fig. 172.</p>

<div class="figcenter" style="width: 468px;">
<img src="images/i_271.jpg" width="468" height="158" alt="Fairy wearing a lion's head mask frighteining other fairies into breaking other plaster statues" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span></p>




<h2>CHAPTER XXVI.<br />

<small>CHINA PAINTING.</small></h2>


<div>
  <img class="drop-cap" src="images/i_272.jpg" width="140" height="132" alt="C" />
</div>

<p class="drop-capi3">CERTAINLY you can paint on china; have
confidence, and do not hesitate because you
may never have studied art, but select the
china you wish to decorate and we will go
to work. First, take what is needed for
present use from the following</p>


<h3><b>List of Materials.</b></h3>


<h4>PALETTE.</h4>

<p>A common square, white china tile is the best palette for
mineral colors; but in case you have no tile, an old white plate
will answer the purpose.</p>


<h4>BRUSHES.</h4>

<p>These are of camel’s-hair, Figs. 173 and 174, are broad and
flat, and are used in placing the color on the china when the surface
is to be tinted. Fig. 175 is for blending the color after it is
on the china; it is called a blender, and is useful where borders
and surfaces are to be tinted. Figs. 176 and 178 are for general
use. Fig. 177, with its long, slender point, is for gilding,
another similar brush is needed for India-ink. Mark the two
brushes in some way to distinguish them one from the other,
and never use either for any paint except that for which it is<span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span>
intended. Fig. 179 is a stipple for blending the colors when
painting a face, a fish, the sky of a landscape, or wherever
delicate, fine blending is needed.</p>

<div class="figcenter" style="width: 420px;">
<img src="images/i_273.jpg" width="420" height="251" alt="Figs. 172-179" />
<div class="caption">Brushes for China Painting (about one-half actual size).</div>
</div>

<p>To clean the brushes after using: dip them in turpentine
and wipe off the paint on a cotton cloth, repeating the operation
until the brushes are perfectly clean; then dip them in fat
oil, and bring them out smooth to a fine point. Do not allow
the brushes to become bent over, if the box is not long enough
for them to lie out straight, remove the quills from the wooden
handles and they can easily be replaced when needed. Should
the brushes seem a little stiff at the next painting, immerse
them in turpentine; this will make them soft and pliable.</p>

<div class="figleft" style="width: 218px;">
<img src="images/i_274a.jpg" width="218" height="361" alt="Figs. 180-82" />
<div class="caption">Horn Palette-knife.  Steel Palette-knife.  Steel Scraper.<br />

<span class="plaintext">(Reduced sizes.)</span></div>
</div>

<p>To save the expensive gold paint, the gilder should be kept
exclusively for gilding, and need not be cleaned, as it will not
be injured if the hairs are carefully straightened out and the
brush put away with the gold.</p>


<h4>KNIVES.</h4>

<p>Fig. 180 is a horn palette-knife for mixing Lacroix white,
the yellows, and all such colors as are injured by contact with<span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span>
metal. It is the only knife used with the mat paints for Royal
Worcester decoration. Fig. 181 is a steel palette-knife for general
use. Fig. 182 is a steel scraper
for removing paint from the china
when necessary. Always clean the
knives after mixing one color, before
using them for another.</p>


<h4>PAD.</h4>

<p>This is made of a ball of cotton
tied in a piece of soft lining-silk,
fine linen, or cotton-cloth (Fig. 183)
and is used for tinting.</p>

<div class="figright" style="width: 163px;">
<img src="images/i_274b.jpg" width="163" height="203" alt="Fig. 183" />
<div class="caption">Printer’s Pad.</div>
</div>


<h4>THE PAINTS</h4>

<p class="unindent">are Lacroix’s colors; they come in
tubes and should be squeezed out on
the palette and used as in oil painting,
with a little turpentine and fat
oil when desired. To moisten the
colors while
painting dip your brush, carefully, without
shaking or moving it around, into the
turpentine or oil, and then in the color.
Allow the paint to lie on the palette as it
comes from the tube, except when two
colors are mixed, or when using the stipple
for blending one tint with another, or
when tinting, then the paint must be mixed
and rubbed down with oil and turpentine.
Keep the colors in a <i>cool</i> place, and when
returning them to the box, after you have finished painting, do
not lay them back on the same side. Always remember to<span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span>
turn them over so that the color will not separate from the oil.
If you are careful and follow these hints, your colors will keep
in a good condition. We would advise you to purchase the
paints as they are needed, thereby avoiding all unnecessary
expenditure.</p>


<h4>OILS.</h4>

<p>Fat oil is for general use in painting. Clove oil is used in
its place when two or more tints are to be blended together, as
in painting a face, etc. Capavia oil is always mixed with the
colors for grounding.</p>


<h4>TURPENTINE</h4>

<p class="unindent">is in constant demand in china painting. It is used with all the
different oils, paints, bronzes, and gilt, and should be poured in
a small cup or any little vessel, and kept convenient while painting.</p>


<h4>TAR PASTE</h4>

<p class="unindent">comes in bottles, and is used to take the color off of tinted backgrounds,
in order to leave a clean surface of the china in which
to paint the design in different colors. The paste should be
rubbed down smooth on the tile with the palette-knife; if it is
too hard, a little tar oil may be added. A small brush is best
to use for the paste in covering the design you wish to wash
out; but be very careful to keep within the outlines, for this
mixture will take off the color wherever it touches. When the
tint is light the paste may be wiped off in a few moments; but
when it is dark, the paste must be allowed to remain on for
perhaps hours before the paint will be sufficiently softened to
remove.</p>

<p>Use small balls of raw cotton-batting in wiping off the paste,
and take a fresh piece for every stroke. If any of the tar paste
is left on the tile after using, scrape it off with your palette-knife,
and return it to the bottle.<span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span></p>


<h4>MAT GOLD</h4>

<p class="unindent">is for gilding, and can be either burnished or highly polished.
It comes on a little square of glass inclosed in a box. This
gold can also be used as solid ornamentation or for delicate
tracery, and is sometimes used over colors, greens excepted,
but is then never so bright as when on the plain white
china.</p>

<p>The gold is prepared for painting on a tile kept expressly for
the purpose, and which must not be used for any other paint.
Place some of the gold on the palette with your palette-knife,
and mix a little turpentine with it by dipping your palette-knife
in the turpentine and rubbing down the gold with the
turpentine on the knife. If more is needed, again dip your knife
in the liquid, and do so as often as it is necessary; but you must
use the utmost care not to have the gold too thin; gild with it
as stiff as it can be smoothly applied.</p>

<p>Should any gold remain on the palette after the gilding is
finished, mix in a little turpentine and scrape it all up with
your palette-knife, then replace the gold on the square of
glass.</p>

<p>Silver is used the same as gold.</p>

<p>The bronzes are for handles and conventional flowers or
figures; they are rich and pleasing in effect.</p>


<h4>PURE GOLD</h4>

<p class="unindent">cannot be employed for gilding plain white china. It also
comes on a little square of glass and is used for gilding over
colors. It can be applied over any mineral paint or relief, and
may be polished or burnished as desired.</p>

<p>This gold is mixed with turpentine, for use in the same manner
as mat gold.</p>

<p><span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span></p>


<h4>RELIEF.</h4>

<p>The best is mat relief, which comes in a powder, and is used
for both tube and mat colors. It is prepared by mixing with a
very little fat oil and turpentine, and should be applied stiff
enough to make a raised line. It is useful where a small raised
surface is desired, as on the edge of a leaf or the petals of
flowers. A fish-net is much more effective if the gilt be put
on over the relief. Should the relief dry and become too stiff
while using, soften it from time to time with a little turpentine,
always using the horn knife for mixing, as the steel knife should
never be used with the relief, and the relief must always be
fired before the gilt is applied.</p>

<p>Enamel white can be mixed with delicate tints, turpentine,
and a very little fat oil for raised flowers; or the white alone
may be used for pearls, imitation of lace, or embroidery, but its
use is limited and it will not stand two firings, so should always
be the last paint applied.</p>


<h4>MAT COLORS</h4>

<p class="unindent">are for Royal Worcester decorations. They come in powders,
and when mixed with a little oil and turpentine are used in the
same way as the Lacroix tube paints.</p>


<h4>BOX FOR MATERIALS.</h4>

<p>Select a light wooden box, or one of strong pasteboard;
have the box of a convenient size to contain all your painting
materials.</p>


<h4>PIECES OF SOFT, OLD MUSLIN,</h4>

<p class="unindent">torn in different sizes, and plenty of them, are very essential for
cleaning brushes and rubbing paint off the tile or china; the
demand for clean pieces will be constant while painting.</p>

<p><span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span></p>


<h4>CHINA.</h4>

<p>Have this of the very finest French ware, without spots or
other imperfections of the surface, and never attempt to decorate
china after it has been used, for it seldom proves satisfactory.</p>


<h3><b>A Monochrome Painting.</b></h3>

<p>For this we will need a tile, a pad, a broad flat brush (Fig.
173), some turpentine, capavia, two tubes of paint—one copper-water
green, the other brown green—a palette-knife, and some
pieces of cotton cloth. Now be sure your china is perfectly
clean and dry, then mix your copper-water green for</p>


<h3><b>Tinting.</b></h3>

<p>Place enough color on your palette to cover the entire surface
to be tinted; dip your palette-knife in the capavia oil and
tap it off the knife on the tile; in the same way place turpentine
on the tile with the oil, and use your palette-knife to <i>thoroughly</i>
mix the paint, oil, and turpentine. If the mixture seems too
stiff add a little more oil and turpentine, but be careful not to
have the paint too thin so that it will run; test its consistency
with a brush on a clean place on the tile.</p>

<p>As a rule, the proportions for tinting should be five drops
of paint to three of capavia, mixed with a little turpentine.</p>

<p>The paint being prepared, take the flat brush and begin to
paint; rapidly cover the entire surface with color. Then go
over the tinting with a pad, touching lightly and gently, not
letting the pad rest a moment on the paint, nor touching it
twice in the same place in succession. Continue going over and
over it until the grounding is even and of a uniform tint.
Then set the china away to dry, in a safe place, where it will be<span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span>
free from dust. Always make a fresh pad every time you tint,
and a separate one for each color used, as a pad cannot do
service more than once.</p>

<p>All tinted grounds and borders are made in this way, the
capavia oil and turpentine being mixed with any of the grounding
colors you may wish to use. Tinting is very easily and
quickly done; but should anything happen to spot or mar
the evenness of the grounding, the paint must all be washed off
with turpentine, and the china tinted over again.</p>

<p>When your green-tinted china is perfectly dry, gather
some maple leaves and with the brown-green paint try a</p>


<h3><b>New Method of Decorating China.</b></h3>

<p>The leaves must be free from dust and moisture and perfectly
fresh. Place a small quantity of paint on the palette, do
not mix the paint with oil or turpentine, but rub it down well
on the tile as it comes from the tube; make the paint perfectly
smooth, now press a small clean pad down lightly, lifting and
again pressing until the paint is smoothly distributed on the pad;
next select a leaf and place it face or right side downward on a
piece of folded newspaper, then press the pad down on the
under side of the leaf, which is now lying upward, repeating
the operation until the leaf is sufficiently covered with paint.
This done, carefully place the leaf painted side downward on the
china, over it lay a piece of common wrapping-paper, and rub
your finger gently all over the covered leaf. Then remove the
outside paper and very carefully take up the leaf, when an
exact impress of the natural leaf will be printed on the china.
Repeat the operation with another leaf either larger or smaller,
and still another, using as many as you wish; connect the leaves
to a central branch by making the stems and branch in the
same color with a small paint-brush. To do this paint a long line<span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span>
for the branch and other smaller ones for the stems of the
leaves. Set the china away to dry, and it will be ready for
firing. Very pretty effects may be secured by using two shades
of one color for the tinting and designs. First tint the china,
and when it is perfectly dry, ornament it with the same paint in
the manner described, making the ground of a lighter tint than
the decorations. The colors of fall leaves can be used on white
china, or you may make the combinations and designs of whatever
is most pleasing.</p>

<p>It is well to have some idea of what your decoration is to be
like before commencing with the leaves. If you desire a spray,
try to place the leaves as they are on the natural spray, or as
represented in some picture taken for a guide. The prints also
look well used in a conventional style. As any kind of leaves
or grasses that will print can be employed, your decorations
will always be original and true to nature.</p>

<p>Flowers are more difficult to print, yet when the impressions
are successful they are very beautiful.</p>

<p>You will find this new idea an interesting method of ornamenting
china, while the decorations may be made in much less
time than is usually required. The style is suitable for dinner-sets,
vases, tiles, plaques, and lamps, and it requires no knowledge
of drawing or painting to decorate china in this simple yet
effective manner.</p>


<h3><b>Tracing.</b></h3>

<p>Lay a piece of tracing-paper over the design to be copied
and trace the outlines very carefully with a hard lead-pencil.
Then have your china perfectly clean and dry, and give it a
wash all over with a clean cotton cloth wet with clear turpentine.
Place a piece of red transfer-paper on the china, and having determined
exactly where you wish the design, lay the tracing-paper
over the transfer-paper on the space for decoration. Use<span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span>
bits of gummed paper on the corners of the transfer- and tracing-paper
to hold them in place, and carefully go over the lines
with a lead-pencil, remove the papers, and the design will be
clearly outlined on the ware. Now rub a little India-ink on a
common individual butter-plate of white china, and using a fine
brush, very carefully paint over the red marks with the India-ink,
making your lines as distinct and delicate as possible.
When this is finished, again wash the china with turpentine to
remove any of the red coloring which may be apparent on its
surface. Thus prepared the design can be painted, or the china
may first be tinted and allowed to dry, when the outlines will
be plainly visible through the tinting, and the color can be removed
from the design with tar paste. Use the scraper to take
the grounding off of minute spaces. For those skilled in drawing
it will not be necessary to trace the design, as it can readily
be sketched on the china with a lead-pencil after the ware has
first received a coat of turpentine, and when tinted the decoration
can be drawn on after the grounding has thoroughly dried,
and the color may be removed as before.</p>


<h3><b>Mottled Grounds.</b></h3>

<p>Prepare the paint as for tinting, only make it more moist,
and dab it lightly over the china by means of a piece of cotton
cloth on the end of your finger; this will give the china a mottled
appearance which in some cases is preferred to the plain
grounding.</p>


<h3><b>Snow Landscape.</b></h3>

<p>We will take for example Fig. 184.</p>

<div class="figleft" style="width: 454px;">
<img src="images/i_282.jpg" width="454" height="486" alt="Fig. 184" />
</div>

<p>After tracing the design, paint a streak across the sky, just
back and a little above the trees, with carnation No. 1 mixed
with clove oil and turpentine, then another narrow streak above<span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span>
it of a lighter shade, and another still lighter of the same color,
allowing each tint to meet. Next mix light sky-blue with clove
oil and turpentine, and paint as deep a tint as it will make
across the sky at the top of the plate, graduating it down to the
red; use the stipple immediately while the paint is wet to blend
the colors and tints; this finished, make the reflections on the
ice, beginning with carnation No. 1 for the ice nearest the castle,
and ending near the bottom of the plate with the deepest shade
of light sky-blue, using the colors mixed for the sky. Paint the<span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span>
foliage in the background with neutral gray and sky-blue mixed
with turpentine and fat oil for the darker tones, and turquoise-blue
with neutral gray, turpentine and fat oil for the lighter
parts, also for shading the darker portions of the snow. Then
take brown No. 4 as it comes from the tube, with a little turpentine
when necessary, for the shading of the trees in the foreground,
the outlining of the castle, and the tufts of grass and
edges of the ice in places where the copy requires it.</p>

<p>Leave the white china for the high lights and the white
snow on the roof of the castle, on the trees, and here and
there on the ground.</p>

<p>Paint the castle with neutral gray and yellow ochre mixed
with turpentine and fat oil, and its windows with brown No.
4, using the color as it comes from the tube. Now allow
the plate to dry and then have it fired, after which mix carnation
No. 1 with clove oil and turpentine, and touch up the
sky and reflections on the ice, using the stipple if necessary;
then mix light sky-blue with clove oil and turpentine and paint
the sky where that color is required and the light shadows on
the snow; then take yellow ochre for portions of the trees,
places in the foreground, and touching up the castle; mix this
color with fat-oil and turpentine.</p>

<p>Again strengthen the trees and other places, where the painting
requires it, with brown No. 4, unmixed, except with a little
turpentine when necessary; for the last touches mix relief-white
with fat oil and clean turpentine, using the horn-palette knife
always when mixing the white; this is to be laid on, in little
raised places, where the snow is whitest on the ground and
where the snow has lodged in the trees.</p>

<p>Now inclose the snow scene with a gilt band, using the
stipple to make an uneven edge of gilt on the surrounding
white rim; the gold next to the picture must be perfectly
smooth and even; put this on with your fine long-haired brush;<span class="pagenum"><a name="Page_284" id="Page_284">[284]</a></span>
then make a similar band on the edge of the plate and it will
be finished and ready for its last firing.</p>

<p>Almost any snow landscape with a sunset sky may be
painted in this way.</p>

<p>Often you can find Christmas cards which will furnish very
good copies.</p>

<div class="figright" style="width: 446px;">
<img src="images/i_284.jpg" width="446" height="444" alt="Fig. 185" />
</div>


<h3><b>How to Paint a Head on China.</b></h3>

<p>Select a pretty copy from some photograph, as in Fig.
185; very carefully trace the head on a plate and go over the
lines with Indian ink; next give the plate another wash with<span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span>
turpentine, to remove all remains of the color from the transfer-paper;
then mix thoroughly two parts of carnation No. 2 with
one part of ivory-yellow, adding a little turpentine and clove
oil; give the face and neck a wash with this color and touch
up the cheeks with carnation No. 1 mixed with clove oil and
turpentine; now lay on the shadows with neutral gray, five
parts, mixed with deep chrome-green, one part, using clove oil
and turpentine in mixing the colors; last, the deepest shadows
with brown No. 4, two parts, to one of ivory-black, mixed together
with clove oil and turpentine, and immediately before any
of the paint dries use the stipple to blend the colors, making the
face round out and have the blending soft and true to nature;
set your copy before you and try to have the shadows on the
face you paint correspond exactly with those in the copy.</p>

<p>Now leave the face and neck, and place some brown No. 4
on the tile; do not mix it with anything; use it as it comes
from the tube, dipping your brush in turpentine when it becomes
necessary to thin the paint a little; with this paint the shading
of the hair and follow with your brush, as nearly as possible, the
sway of the masses. That finished, paint the eyes, eyebrows,
and nostrils with brown No. 4 and ivory-black mixed together
as they come from the tubes, using when necessary a little
turpentine; then mix a little carnation No. 1 with fat oil for
the lips. Next turn your attention to the drapery; shade the
white material with gray No. 1, unmixed, and gray No. 2 for
the deeper shadows, mixed with fat oil and turpentine.</p>

<p>For the handkerchief on the head mix emerald-green with
fat-oil and turpentine; put it on in a light tint, so that the handkerchief
can be shaded, when dry, with the same color.</p>

<p>When the plate is dry, it is ready to be fired. After it has
been fired touch up the shading on the face and neck with two
parts of carnation No. 2 mixed with one of brown No. 4, using
clove oil and turpentine while mixing; and for the deepest shadows<span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span>
mix two parts of brown and one of ivory-black together with
clove oil and turpentine. This must be put on carefully, so that
the shadows will not be too dark. Use the stipple to blend the
shadows; then give the hair a wash of yellow ochre all over, and
touch up the handkerchief on the head with emerald green, the
same you used before.</p>

<p>For the background of the head mix light coffee, turpentine,
and capavia oil; make it an even tint with the blender
(Fig. 175); the brush must be clean and dry, and used in the
same manner as the pad in tinting, then, for the outer border,
mix celestial-blue with capavia and turpentine, and with your
large flat brush paint the border and blend it to an even tint
with your pad. When this is finished wipe off the paint around
the edge as evenly as possible, so that the bare china may be
left to receive a band of gold. Roll up a piece of white cotton
cloth into a small point and with this remove the paint around
the inner edge of the blue border, making an even narrow
white band; this is also to be gilded.</p>

<p>On a clean tile mix the mat gold with turpentine, and
using the slender, fine, long-haired brush, carefully cover the
white bands of china with gold; when this is finished the plate
is ready for the second and last firing. If a fairer complexion be
desired, make the flesh-tints of the same colors, only lighter in
tint; try the paint on the edge of the tile until the tint is correct.
Always try your colors this way when painting any design. For
blue eyes use sky-blue shaded with black; the high light of the
eye may be left the white of the china. If you wish the hair
very light, take ivory-yellow and shade with sepia and black.</p>

<p>Once more we say, be <i>very</i> careful in tracing not to get
the head or features out of drawing, as so much depends upon
the correct outlines. Before sending china to be fired, paint in
small figures the date on which it was decorated and add your
name or initials.</p>

<p><span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span></p>


<h3><b>How to Paint a Carp, Sea-weed, and Fish-net on China.</b></h3>

<div class="figleft" style="width: 323px;">
<img src="images/i_287.jpg" width="323" height="147" alt="Fig. 186" />
</div>

<p>Having traced in your design very carefully, mix one part
of neutral gray with two parts of sky-blue, some clove oil, and
turpentine; with this paint the upper edge of the back of the
fish dark, graduating to white along near the centre of the fish;
stipple this so that it will look even, soft, and rounding, keeping
it dark on the edge and tinting down to the white china; paint
the tail and dorsal fins a flat tint of gray No. 2 mixed with fat
oil and turpentine; then mix carnation No. 2 with fat oil and
turpentine for a flat tint on gills, mouth, and ventral fin; shade
the mouth with the same color and paint the anal and pectoral
fins a flat tint of carnation
No. 2 mixed
with sepia; when dry
shade with the same
color, and also shade
the gills and fins
painted carnation
with carnation, and
the dorsal fins and tail shade with ivory-black mixed with fat
oil and turpentine; try the paint with your brush until you
get rather a gray tint instead of black, and use this for the
shading; now paint the rows of spots along the back of the fish
ivory-black, making the dots smaller as they approach the tail;
and with your eraser take the paint off of the eye, leaving a
clean white spot of china; paint a fine circle around this in
ivory-black; then paint a portion of the eye black, leaving the
white china for the high lights; in painting the scales and
lower part of the fish use gray No. 1 as it comes from the tube,
mark an outline of gray along the lower edge of the fish and
stipple it off in the white, remembering this gray must occupy
only a narrow line along the lower edge of the fish.<span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span></p>

<div class="figright" style="width: 329px;">
<img src="images/i_288.jpg" width="329" height="144" alt="Fig. 187" />
</div>

<p>Commence to mark the scales in gray No. 1 by making a
line of them with a fine-pointed brush downward across the
body of the fish (Fig. 186) and this will be a guide to build out
from (Fig. 187); after the painting has thoroughly dried begin
again by marking, on the head and around the eye, the tiny
scales in gray No. 2, with a little fat oil and turpentine, and paint
a line along the upper edge of the head and back with brown
No. 4, and another lighter line of the same color along the back
just below and adjoining the first one; paint the eye and
markings on the head brown and strengthen the tail and dorsal
fins with gray No. 2; touch up around the gills with sky
blue, also with yellow ochre where the copy requires it. Then
turn your attention
to the sea-weeds;
mark the thread-like
branches of these in
different colors, using
carnation, brown No.
4, gray No. 2, and
brown-green; paint
each weed in one color, place the sea-weeds on one side or
corner of the plate, making them branch out this way and that,
as in nature. Now clean off your palette and mix some mat
relief for the fish-net, which is to be placed over and across a
portion of the plate; with a lead-pencil mark the netting on
the plate, but do not touch the fish; then with a very fine
brush follow the markings with the relief, when it is necessary
to paint across the fish, your eye and the copy must be your
guides, as it would take the paint off the fish to attempt any
marking on it. The relief on the fish cannot be altered, so be
careful to have it correct the first time. Should the line of relief
be too broad in other places, remove it with your scraper
and make another trial. When the plate is perfectly dry it<span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span>
must be fired, after which put in a background of warm gray
mixed with capavia and turpentine; bring this to an even tint
with the blender, and if any paint blends over on the fish wipe
it off while the color is damp; also remove the paint from the
netting and set the china away to allow the color to thoroughly
dry; next paint broad sweeps across the plate, but not over
the fish, with gray No. 2 mixed with fat oil and turpentine, to
represent the different tints of the water, and again remove the
paint from the net; now touch up the sea-weed and the fish
where they need strengthening, then give the fish a very light
wash of gray No. 1.</p>

<p>Here and there along the upper edges of the water colored
gray No. 2 make a very fine line with enamel or relief-white
mixed with a little fat oil and turpentine; gild the fish-net, using
either pure gold or mat gold, cover the relief carefully with
the gold, and put it on thick but in fine lines; this accomplished,
finish by gilding the edges of the plate with mat gold, and when
dry send it to be fired. To avoid mistakes when sending china
to be fired, state whether you wish the gold burnished, dull,
or polished.</p>


<h3><b>Foliage on China Made With a Sponge.</b></h3>

<p>Prepare the paint with fat oil and turpentine, rub it down
smooth, then with a small sponge apply the colors, using different
shades as the first dry, and touching up afterward with a
brush; in this way you can also paint backgrounds which cannot
be made with the brush.</p>


<h3><b>Mixing Colors.</b></h3>

<p>The best way to paint with safety when you are in doubt
what colors will mix, is to test them yourself. For this purpose<span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span>
take a French china plate and make experiments with
different colors on the plate; at the same time write down a
memorandum of the paints used and of those mixed, have the
plate fired; then paste your memorandum on the back. Use
this for reference, and with experience will come the full
knowledge of the use of all the paints.</p>


<h3><b>Royal Worcester Ware</b></h3>

<p class="unindent">is very delicate and dainty and something quite novel for amateurs
in the way of china decorations.</p>

<p>Very beautiful pieces of this ware may be seen now in all
the leading china establishments in New York City, and so
choice is it that even some of the largest jewelry stores have
rare Royal Worcester vases among their most valuable articles
on exhibition.</p>

<p>We know of no book that teaches this art of decoration, and
although we have seen some amateur work which only an expert
could distinguish from the genuine article itself, we think
our exposition of the method is the first of its kind printed in
this country; and girls, if you would know the secret, so that
you also may be able to paint and gild in this beautiful fashion,
you have only to listen while the writer tells how to decorate
a Royal Worcester vase as she did; then you will have a practicable
and detailed method which we know to be good, having
tried it.</p>

<div class="figleft" style="width: 238px;">
<img src="images/i_291.jpg" width="238" height="482" alt="" />
<div class="caption">Fig. 188.—Royal Worcester Vase.</div>
</div>

<p>Select a vase of the finest French china, and be sure that it
is perfectly clean, dry, and free from dust. Then with a clean
white cotton cloth give the vase a wash all over with clear turpentine,
and having chosen your design, make a tracing of it
on the vase, and it will be ready for grounding. Mix enough
mat lemon-yellow to cover the entire surface of the vase. First
place a little of the powder on the tile, then dip your palette-knife<span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span>
in the capavia oil and tap it off on the tile; in the same
way drop turpentine on the tile with the oil. Use a horn palette-knife
and <i>thoroughly</i> mix the paint, oil, and turpentine;
if the mixture seems too stiff, add a little more oil and turpentine,
but be careful not to have
the paint too thin, so that it will
run; try the paint with a brush
on a clean place on the tile to
see if it is of the right consistency
and shade; do not let the color
be too intense; it should be of a
delicate tint, and if it is too dark
add a very little more oil. Take
a broad, flat brush and begin to
paint at the top of the vase, passing
around with short strokes
rapidly over its whole surface;
go over the tinting with a pad,
touching lightly and gently;
then set the vase away to dry in
a dry place free from dust. The
Indian-ink outlines will be plainly
visible through the paint, and
when the grounding or tinting
has <i>thoroughly</i> hardened, to remove
the color from the design,
mix a little of the tar paste upon
a clean tile by working it with
your palette-knife until it is smooth. Use a small brush and go
over the design with this mixture, covering every part except
the stems and fine grasses; be very careful not to go outside
of the lines. When the design is all painted with the paste,
begin at that first covered and wipe off the tar paste with small<span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span>
pieces of cotton batting rolled into little balls, using a fresh wad
for each stroke; clean it all off carefully and the vase will present
vacant white china spots where the flowers, leaves, and bird
are soon to appear. For a guide we will take Fig. 188. Now
mix a little mat pink with fat oil and turpentine in the same way
you prepared the grounding yellow, only this time fat oil takes
the place of capavia; use the horn palette-knife as before; the
steel knife should never be used with the Royal Worcester
colors, as the metal is apt to rub in with the paint, dulling and
spoiling the colors. Paint all the flowers a flat tint of light
pink. Always try the color first on the tile until you have the
desired shade. By the time all the flowers have received their
tint of color, those first painted will be dry enough for shading.
Observe attentively the copy, and notice where the different
flowers are shaded; then shade yours with the same color, following
as nearly as possible the copy before you.</p>

<p>For painting the leaves, mix separately with turpentine and
fat oil, mat light yellow-green, mat dark-green, and mat blue
green. These colors can be used separately or any two mixed
if desired. Shade the leaves with mat yellow-brown mixed
with the different greens. Paint the body of the bird a flat tint
of mat gold-yellow and the top of its head and back green;
the edges of wing and tail and eye must be of mat black.
When the bird is dry, shade its breast with broad sweeps of
mat gold-yellow, according to the copy; then mix black with
yellow-brown for the other shading on the bird’s breast, and
mix black with blue for painting and shading the wings and
tail.</p>

<p>While the paint is drying on the vase mix the mat relief for
the raised edges of bird, flowers, and stems. Mix the relief
with turpentine and fat oil, making it as stiff as it can be used.
With a very fine brush outline the bird, its wings, and tail; also
a few strokes on its breast, tail, and back; be sure the relief is<span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span>
stiff enough to make a fine raised line; then outline the flowers
and the stems; the leaves are not raised on the edges. When
this is finished the vase is ready for its first firing. Allow the
ware to become perfectly dry before sending it to the firers.</p>

<p>As great care should be taken with the firing of royal
Worcester china, send your vase to the most reliable firers you
know of, and when it is fired and returned, all that remains to be
done is to carefully gild the vase. Mix pure gold with turpentine,
but do not have it too thin, as the gold should be applied
as thick as possible. For fine gilding use a fine small brush with
long hairs; this will make a distinct thread-like line; first cover
all the relief with the gold, next outline the leaves, veining them
if necessary; then with thick gold make your grasses according
to the copy. When the gold becomes too stiff work in a
little more turpentine. After you have finished this gilding,
mix some mat gold with turpentine and gild the top rim of the
vase; use the small stipple brush cut off square at the end
(Fig. 179), and bring the border down unevenly along its
lower edge, making it the same way on the inside of the vase;
then with the fine long-haired gilder cover the upper edge of
the vase thick with gold. This finished, gild the bottom of the
vase in like manner and make the handle solid gilt; after it is
all dry the vase is ready for its second and last firing, and
when it returns again from the firers you will have a piece of
beautiful Royal Worcester ware similar to that seen at Tiffany’s.</p>

<p>The mat colors used, remove all the gloss from the china,
and when mat lemon-yellow forms the grounding, the china
comes from the firing having the appearance of beautiful decorated
ivory without any glaze.</p>

<p>This ware must be seen to be appreciated, and is suitable for
vases and ornaments, but the Royal Worcester colors cannot be
used on table china, for any grease coming in contact with the
colors would spoil them.</p>

<p><span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span></p>

<p>Exquisite little vases of all shapes are decorated in this manner;
the delicate gold tracery and outlining brings the designs
out effectively. In this style of painting the decoration is more
conventional, and does not require the same amount of working
up and shading, but is as a rule, treated simply, flat tints with a
little shading being all that is required. Almost any floral design
can be used on royal Worcester, when outlined with relief
and gold; there are, however, copies which come expressly for
the purpose.</p>

<div class="figcenter" style="width: 444px;">
<img src="images/i_294.jpg" width="444" height="114" alt="girl fallen down having dropped china" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span></p>




<h2>CHAPTER XXVII.<br />

<small>A CHAPTER ON FRAMES.</small></h2>


<div>
  <img class="drop-cap" src="images/i_295.jpg" width="110" height="127" alt="A" />
</div>

<p class="drop-capi2">AFTER the foregoing chapters on drawing and painting,
it is surely our duty to provide the means
of framing the various pictures which we hope
will be the result of their teachings. Unframed,
a picture is apt to be tucked away out
of sight, or it becomes rumpled and spoiled
when left lying about, and a picture-frame, as a rule, is quite an
expensive article; but with a little ingenuity and good taste
almost any girl may manufacture frames, if not of equal finish,
at least as durable and quite as artistic as any the dealer can
produce.</p>

<p>The cost? The cost is the price of a wooden stretcher and
a bottle of gold paint.</p>

<p>The first sketch shown here (Fig. 189) will give some idea
of the appearance of a frame decorated appropriately for a
marine picture. The articles necessary for this frame are a
stretcher, some rope, a piece of fish-net, several dried starfish,
and gold paint. The stretcher must first be gilded; then the
rope, upon which the fish-net has been strung, should be fastened
with small tacks around the outer edge, joining it at the
corner, where the starfish will hide the ends. The net must
be large enough to drape gracefully across one corner, along
the top, and fall a short distance down the other side of the
frame. When the starfish, graduating in size, are tacked<span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span>
around the draped corner, and they, as well as the rope and net,
are given a coat of gilt, a pretty, unique, and substantial frame
is the result.</p>

<p>If starfish are not to be had, sea-shells may be used instead
(these of course will have to be glued in place), and if fish-net
is also out of reach, a piece of fine netted hammock can be
used as a substitute.</p>

<div class="figcenter" style="width: 494px;">
<img src="images/i_296.jpg" width="494" height="446" alt="painting" />
<div class="caption">Original Design—Marine Picture Frame.</div>
</div>

<p>For the benefit of those who spend their summers at the
sea-shore where such things are obtainable, I would advise that
a small collection be made of the quaint and pretty products<span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span>
of the place, as they will be found useful in various ways for
decorative purposes.</p>

<div class="figleft" style="width: 416px;">
<img src="images/i_297.jpg" width="416" height="494" alt="corner of frame" />
<div class="caption">Fig. 190.—Section of
Decorated Frame</div>
</div>

<p>The next sketch (Fig. 190) shows a corner section of frame
especially appropriate for a flower piece. The open lattice-like
border is cut
with a sharp
penknife from
stiff pasteboard
and tacked
along the edge
of the frame.</p>

<p>The pattern
shown in diagram
(Fig. 191) is simple,
quite easily made,
and well suited for a
border, though other and
more elaborate ones may
be used. This border must,
of course, be made in sections.
The edges to be connected
should be cut to fit exactly,
then after tacking them upon
the frame the whole may be laid
upon a table, face downward, and
strips of paper pasted across the joints
(see Fig. 192), which will hold them
securely together. If the work is
neatly done, when the gilt is applied all traces of the joints will
disappear. The decorations of this frame consist of a spray of
artificial rosebuds and leaves, gilded and tacked on the upper
left-hand corner. A few scattered rosebuds look well upon the
lower part of the frame near the right-hand side.</p>

<p><span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span></p>

<div class="figright" style="width: 362px;">
<img src="images/i_298a.jpg" width="362" height="316" alt="Fig. 191 Fig. 192" />
<div class="caption">Section of Border for Decorated Frame.</div>
</div>

<p>Figure 193 is the
section of a frame
which will look well on
almost any kind of picture.
It is made by
tacking a small rope
around the inside edge
and then covering
it and the frame
with crumpled
tin-foil, which, after
it is pressed
to fit the rope, is
brought around
and tacked on the
wrong side of the
frame, joining that edge which is turned over the top. Care
should be taken while handling the tin-foil not to flatten it, as
its beauty depends upon
its roughness. The
pieces are joined by simply
lapping one edge
over the other, the uneven
surface hiding all
seams. This frame like
the others must be gilded.</p>

<p>A very effective rough
surface on a frame can be
produced by dabbing on
it with a palette-knife the
scrapings of the palette.
Of course this frame cannot<span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span>
be made in a day, but if every time the palette is cleaned
the paint is used in this way it will not be long before the surface
is covered and ready for gilding.</p>

<div class="figleft" style="width: 301px;">
<img src="images/i_298b.jpg" width="301" height="303" alt="corner on black background" />
<div class="caption">Fig. 193.—Section of Frame covered with Tin-foil.</div>
</div>

<p>The cork paper used in packing bottles makes quite a handsome
frame for black and white pictures or photographs (Fig.
194). This paper is sprinkled all over with small bits of cork,
making a rough surface and
one admirably suited to the
purpose.</p>

<div class="figright" style="width: 261px;">
<img src="images/i_299.jpg" width="261" height="380" alt="Fig. 194" />
<div class="caption">Cork Frame.</div>
</div>

<p>First the foundation of the
frame is cut of stiff pasteboard
exactly the size and shape desired;
then the cork paper is
cut the width of the frame and
glued securely to it, the corners
being joined as in Fig.
195. The frame is very pretty
when left its natural color, as
it resembles carved wood at
a little distance, but it can be
gilded if preferred.</p>

<p>The inside mat is made of
white or gray-tinted cardboard,
cut with the open
space for the picture, from
half an inch to an inch smaller
than the opening of the frame. The mat is pasted to the back
of the frame and then the entire back is covered with strong
paper pasted at the top and two side edges, and left open at
the bottom until the picture is shoved in place, when the lower
edge is fastened also. The mat will look well if the inside
edge is gilded.</p>

<div class="figleft" style="width: 195px;">
<img src="images/i_300a.jpg" width="195" height="182" alt="diagram of corner" />
<div class="caption">Fig. 195.</div>
</div>

<p>Another frame is made in the same manner as the one just<span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span>
described, only instead of using cork paper a thick coating of
glue is put all over the face of the foundation, and sand or small
pebbles are sprinkled over the entire
surface. This must be quickly done
before the glue has time to harden.</p>


<p>The writer has in her possession
a pretty little winter landscape done in water-colors.
It is a snow scene, and its light effect is well set off
by the frame, which is made simply of two pieces of
heavy brown strawboard or pasteboard. The two
pieces are cut exactly the same size; then the centre
is cut out of one, leaving a broad frame of equal width
on all sides. The picture is placed between these two boards,
which are then glued together. The cord for hanging it is fastened
to two small brass rings which are attached to pieces of
tape glued to the back of the frame, as in Fig. 196. Fig. 197
shows how a piece of paper is pasted over the tape
to hold it more securely.</p>

<div class="figcenter" style="width: 186px;">
<img src="images/i_300b.jpg" width="186" height="283" alt="Fig. 196 Fig. 197" />
</div>

<p>When making a frame of this kind the picture to
be framed should first be measured and the width of
the frame decided upon; then cutting
a piece of paper the size the open
space is to be, or one-half inch smaller
all round than the picture, it must be
laid upon the pasteboard and a mark
drawn around it showing its exact size
and proportion (Fig. 198). The width
of the frame can then be measured from
these lines, which will place the opening
exactly in the centre (Fig. 199).
The lines must be perfectly straight
and the measurements correct or a lop-sided frame will be the
result.<span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span></p>

<div class="figcenter" style="width: 514px;">
<img src="images/i_301a.jpg" width="514" height="363" alt="Fig. 198 Fig. 199" />
</div>

<p>In cutting out the frame a sharp knife should be used, and
it will be a great help in keeping the lines straight if a ruler is
held down firmly close to the line to be cut, and the knife
guided by that.</p>

<div class="figcenter" style="width: 501px;">
<img src="images/i_301b.jpg" width="501" height="122" alt="differnt frames" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span></p>




<h2>CHAPTER XXVIII.<br />

<small>THANKSGIVING.</small></h2>


<div>
  <img class="drop-cap" src="images/i_302.jpg" width="210" height="371" alt="N" />
</div>

<p class="drop-capi4">NOT to Pagan ancestors in far-away countries,
but to our own Pilgrim Fathers
do we trace the origin of Thanksgiving
Day—as purely American as
our Independence Day. Instituted
by William Bradford, the Governor
of Plymouth, and first observed by
the Puritans, who, suffering from
hunger and privation, were truly
thankful when the first harvest
brought them the means of support for the approaching winter,
it has come to us as “the religious and social festival that converts
every family mansion into a family meeting-house.”
The pleasant New England custom of the gathering together
of families to celebrate Thanksgiving is now observed in most
of our States. From far and near they come, filling the cars
with merry family parties, who chatter away of anticipated
pleasures to be found in the old home. Little children taught
to lisp grandma and grandpa are instructed by their mammas
not to be afraid of the old gentleman who will meet them at
the depot, nor the dear old lady who waits with open arms at
the door of grandpa’s house.</p>

<div class="figright" style="width: 330px;">
<img src="images/i_303.jpg" width="330" height="506" alt="drawing" />
<div class="caption">One Little Indian.</div>
</div>
<p>Children old enough to know what a Thanksgiving at grandpa’s
is like are wild with delight at the prospect before them.<span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span>
Their eyes brighten at the thought of the great pantry where
grandma keeps her doughnuts and cookies; of the cellar with
its bins of sweet and juicy apples; of the nuts and popcorn, all
of which taste so much nicer at grandma’s than anywhere else.
And then what fun
the games will be
which they will play
with cousins, who,
though rather shy at
first, will soon make
friends. The lovely
young aunties, too,
who help grandma
entertain all these
guests, will join in
the games and suggest
and carry out
schemes of amusements
which the children
would never
think of.</p>
<div class="figleft" style="width: 229px;">
<img src="images/i_304a.jpg" width="229" height="108" alt="Fig. 200" />
<div class="caption">Pilgrim’s Spectacles.</div>
</div>
<p>What a happy
holiday it is, how social
and pleasant and
comfortable and
easy! How near and
dear all the bright
faces gathered around
the long table at the
Thanksgiving-dinner, seem to be. Truly, we should all be
thankful that we have a Thanksgiving.</p>

<p>However, this chapter is not written merely to generalize
upon the pleasures of the day, but in order that we may offer<span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span>
something new, in the way of amusement, which will add to
the fund of merriment on this occasion.
The series of</p>

<div class="figright" style="width: 350px;">
<img src="images/i_304b.jpg" width="350" height="466" alt="Figs. 201-205" />
<div class="caption">Patterns of Pilgrim Father’s Hat and Collar.</div>
</div>


<h3><b>Impromptu Burlesque Tableaux</b></h3>

<p class="unindent">illustrating some of the principal
events in our history will be appropriate
for this national holiday, and will prove a mirth-provoking
entertainment.</p>

<p>When two rooms
are connected by
folding-doors, a
whole room may
be used for the
stage. In this case
no curtains are
necessary, as the
doors take their
place, and, for impromptu
tableaux,
answer very well.
When there are no
such connecting
rooms, one end of
a large room can be
curtained off with
sheets, or any kind
of drapery, suspended
from a rope
or wire stretched
from one wall to the other. It is best to keep the audience as<span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span>
far away from this improvised stage as the room will admit of,
for distance greatly assists the effect.</p>


<h3><b>Landing of the Pilgrims.</b></h3>

<div class="figleft" style="width: 186px;">
<img src="images/i_305.jpg" width="186" height="399" alt="drawing" />
<div class="caption">Costume of Pilgrim Father.</div>
</div>
<p><span class="smcap">Tableau</span> 1.—The good ship Mayflower has just touched
Plymouth Rock. Pilgrim Father stands upon the rock, and
reaches down to help Pilgrim Mother
to land. A number of Indians sit upon
the edge of the rock, fishing unconcernedly
over the side, while the Pilgrims
take possession. In the ship Pilgrim
children are standing, with outstretched
arms, waiting to be taken ashore.</p>


<h4>COSTUMES.</h4>

<p><span class="smcap">Pilgrim Father.</span>—Cape, a broad-brimmed,
high-crowned hat and large,
white collar, over ordinary boy’s dress,
spectacles—cut from black paper (Fig.
200). The cape may be of any material,
so that it is of a dark color.</p>


<p>The hat can be made by cutting
from stiff brown paper a crown (Fig.
201), fitting it around the crown of an
ordinary flat-brimmed hat, bringing it
into a conical shape, and pinning it in place (Fig. 202). The
brim should be cut from the same paper in a large circle (Fig.
203), the hole in the centre being just large enough to fit nicely
around the crown, over which it is slipped, and pushed down
until it rests upon the real hat-brim (Fig. 204). The paper
brim should be about seven inches wide, and the crown nine<span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span>
inches high. Figure 205 is the pattern of collar, which can be
made of white
paper or muslin.</p>

<p><span class="smcap">Pilgrim
Mother.</span>—Full,
plain
skirt, white
kerchief, small
white cap, and
large spectacles.
A gentleman’s
linen handkerchief, put around the neck and crossed
over the bosom, answers for a kerchief. The cap, too, can be
made of a large handkerchief in
this way.</p>

<p>Fold the handkerchief in the
manner shown in Fig. 206; lay
it flat upon a table, and turn the
folded corners over as in Fig.
207; turn up the bottom edge
over the other, and roll over
about three times (Fig. 208);
take the handkerchief up by the
ends and the cap (Fig. 209) is
made.</p>

<div class="figcenter" style="width: 388px;">
<img src="images/i_306a.jpg" width="388" height="192" alt="Figs. 206-209" />
<div class="caption">Manner of Making Pilgrim Mother’s Cap.</div>
</div>

<div class="figright" style="width: 236px;">
<img src="images/i_306b.jpg" width="236" height="362" alt="Drawing of woman by spinning wheel" />
<div class="caption">Costume of Pilgrim Mother.</div>
</div>

<p><span class="smcap">Children.</span>—The young Pilgrims’
costumes are like the
others, on a smaller scale, but
they wear no spectacles.</p>

<p><span class="smcap">Indians.</span>—Bright-colored
shawls for blankets, and feather-dusters
for head-dresses. The duster is tied on to the back of<span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span>
the Indian’s neck with a ribbon which passes under the chin,
and the shawl is placed over the handle, partially covering the
head and enveloping the figure.</p>


<h4>PROPERTIES.</h4>

<p>The ship is a large wash-tub, which is placed in the centre
of the stage; its sail is a towel, fastened with pins to a stick,
the stick being tied to a broom, as shown
in illustration. It is held aloft by one of
the children in the tub.</p>

<div class="figleft" style="width: 354px;">
<img src="images/i_307.jpg" width="354" height="418" alt="drawing" />
<div class="caption">The Good Ship Mayflower.</div>
</div>

<p>Plymouth Rock is a table, occupying
a position near the tub. On top of
it is a chair, placed on its side to give
an uneven surface, and over both
chair and table is thrown a
gray table-cover. The
fishing-poles of the Indians
are walking-canes
with strings
tied to the ends.</p>


<h3><b>First Harvest.</b></h3>

<p><span class="smcap">Tableau</span> 2.—Pilgrim families,
grouped in the centre of
the stage, examining an ear of
corn and rejoicing over their
first harvest.</p>


<h4>PROPERTIES.</h4>

<p>A broom, upon which is tied one ear of dried corn, or
popcorn, it doesn’t matter which, and if neither is to be had,
an imitation ear of corn can be made by rolling paper into the<span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span>
shape of Fig. 210, cutting husks after the pattern Fig. 211, and
putting them together like Fig. 212. The
broom is held erect, with the handle resting
on the floor, by Pilgrim Father.</p>


<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 234px;">
<img src="images/i_308a.jpg" width="234" height="195" alt="diagrams" />
<div class="caption">Fig. 210.—Paper Ear of Corn.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 150px;">
<img src="images/i_308ab.jpg" width="150" height="187" alt="diagrams" />
<div class="caption">Fig. 211.—Pattern for Outside
Husks of Corn.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 102px;">
<img src="images/i_308ac.jpg" width="102" height="197" alt="drawing" />
<div class="caption">Fig. 212.—Ear of Corn
Finished</div>
</div></td>
</tr>
</table>
</div>


<h3><b>Devastation by the Indians.</b></h3>

<div class="figleft" style="width: 157px;">
<img src="images/i_308b.jpg" width="157" height="428" alt="broom wiht ear of corn attached" />
<div class="caption">The Corn-field.</div>
</div>

<p><span class="smcap">Tableau</span> 3.—A long table reaches across
centre of stage; upon it are empty dishes,
and the remains of a feast.</p>

<p>At each end and at back of table are
grouped the Indians, who are gnawing large
turkey-bones and eating huge pieces of
bread and pie. The Pilgrim family stand at
each side, and view with horror the destruction
of their dinner.</p>


<h4>PROPERTIES.</h4>

<p>The table is a board placed across the
backs of two chairs. In the centre of the
table is a large pie-plate, with only a very
small piece of pie remaining in it; most of
the other dishes are empty.</p>

<p><span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span></p>


<h3><b>The Revolution.</b></h3>

<p><span class="smcap">Tableau</span> 4.—This is represented by the revolution of a
wheel. Pilgrim Mother stands in the centre of the stage, at a
spinning-wheel, which is set in motion just as the curtain is
parted.</p>



<h4>PROPERTIES.</h4>

<p>If a real spinning-wheel cannot be obtained, a velocipede,
baby-carriage, or child’s wagon, turned upside down, will answer
the purpose. In the illustration the curtain has been made
transparent, to show how the two back wheels of a velocipede<span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span>
are disposed of. A broom is fastened in an upright position to
the velocipede, and on the handle is tied a piece of gray linen
(a handkerchief will do), to represent flax. A string tied to the
linen is held by Pilgrim Mother. The curtain must be dropped
before the wheel ceases to revolve.</p>
<div class="figcenter" style="width: 511px;">
<img src="images/i_309.jpg" width="511" height="426" alt="drawing" />
<div class="caption">The Spinning-wheel.</div>
</div>


<h3><b>Slavery.</b></h3>

<p><span class="smcap">Tableau</span> 5.—Pilgrim Mother is bending over a wash-tub,
with sleeves rolled up to shoulders, washing; a great pile of
clothes lies on the floor at her side; she looks angrily at the
Pilgrim Father, who sits opposite to her with his legs crossed,
calmly reading a newspaper.<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a></p>


<h4>PROPERTIES.</h4>

<p>The tub used for the ship, placed on two chairs; a washboard
and a pile of clothes, white predominating. A rocking-chair
for the Pilgrim Father.</p>


<h3><b>Rebellion.</b></h3>

<p><span class="smcap">Tableau</span> 6.—Pilgrim Mother stands in defiant attitude, facing
Pilgrim Father, who has just arisen from his chair.</p>

<p>The tub and one of the chairs upon which it stands are tipped
over, and the clothes are scattered about.</p>


<h4>PROPERTIES.</h4>

<p>Same as in preceding tableau.</p>

<div class="figcenter" style="width: 503px;">
<img src="images/i_311a.jpg" width="503" height="288" alt="drawing" />
<div class="caption">The Festive Board.</div>
</div>


<h3><b>Peace and Plenty.</b></h3>

<p><span class="smcap">Tableau</span> 7.—Table extending across the centre of stage is
heaped with all sorts of edibles—whole pumpkins, vegetables,<span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span>
fruit, and flowers. At one end of the festive board stands Pilgrim
Father, at the other Pilgrim Mother, smiling at each other.
Pilgrim Father holds a long carving-knife, as
though about to carve a large pumpkin in
front of him. Pilgrim
Mother is in
the act of cutting a
huge pie. At the
back of the table
are ranged the Pilgrim
children, each
holding outstretched
an empty plate, waiting to be served, and all smiling. At each
side of the stage, extending to the front, is a line of Indians
sitting on the floor, smoking the pipes of peace. The Indians
also are smiling.</p>


<h4>PROPERTIES.</h4>

<p>Table same as in Tableau 3: Dishes, fruit, and vegetables.
The Indians’ pipes are canes with bent handles.</p>

<p>If, in arranging the stage, clothes-horses, with drapery thrown<span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span>
over them, are placed at the back, they will not only form a background
for the pictures presented, but the space behind makes
a nice dressing-room or retiring-place for those taking part.</p>

<div class="figcenter" style="width: 600px;">
<img src="images/i_311.jpg" width="600" height="172" alt="jack o'lantern from all sices" />
<div class="caption">Fig. 213.—Pumpkin Lantern.</div>
</div>

<p>Pumpkin lanterns,
set in a
row on the floor
just inside the
curtain, will be
funny substitutes
for footlights.
They
will decorate the
stage appropriately,
and at the
same time be
quite safe. Fig.
213 shows how
they are made.
The face is not
cut through, but the features are scraped
thin enough to allow the light inside to
make them visible. If they were cut,
as in ordinary pumpkin lanterns, the
light would shine out from instead of
on to the stage.</p>

<div class="figright" style="width: 392px;">
<img src="images/i_312.jpg" width="392" height="523" alt="drawing" />
<div class="caption">Silhouette of the Headless Turkey.</div>
</div>


<h3><b>The Game of the Headless Turkey.</b></h3>

<p>A large silhouette, representing a
headless turkey, is cut from black, or
dark colored paper-muslin, and fastened upon a sheet stretched
tightly across a door-way. To each member of the party is
given a pin and a muslin head, which, if rightly placed, will fit<span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span>
the turkey. Then, one at a time, the players are blind-folded
and placed at the end of the room opposite the sheet. After
turning them around three times one way, then three times
the other, they are started off to search for the turkey, that
they may pin the head where they suppose it belongs. When
the person going blindly about the room comes in contact
with anything, no matter what, be it chair, table, wall, door, or
another player, she must pin the turkey-head to the object
touched. To the person who comes nearest to placing the
head in its true place, a prize of a gilded wish-bone, tied to a
card with a ribbon, is given. And she who makes the least successful
effort is presented with a turkey-feather, which she
must stick in her hair and wear for the remainder of the evening.</p>


<h3><b>A Suggestion.</b></h3>

<p>Amid all these bright and happy thoughts of feasting and
merrymaking, comes an idea, so gently, yet persistently, forcing
itself upon my notice, that it finally assumes the form of a definite
plan which I will put to you in the form of a suggestion.</p>

<p>At this time, when, thinking over the numerous blessings,
that most of you find to be thankful for, how would it do,
girls, to form a society among yourselves, to be called the
Thanksgiving Society, whose object will be to provide a real
Thanksgiving for other and less fortunate girls, by giving them
something to be thankful for before next year’s Thanksgiving
shall arrive?</p>

<p>There need be no formality about the society. The only
necessary officer will be a secretary, to keep a record of what is
done by the society, individually and collectively; which report
the secretary will read at the grand annual meeting on Thanksgiving
Day.<span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span></p>

<p>Many girls, young, like yourselves, to whom it is just as
natural to be glad and happy, have little to make them so, and
to bring some brightness into their lives would indeed be worth
forming a society for.</p>

<p>There are various ways in which kindness may be done
these girls, and so many avenues will open to those seeking to
benefit them, that it is needless to attempt any instruction as to
what work may be performed by the society; if this suggestion
is adopted, I know it will be safe to leave it to the quick sympathy
and warm hearts of the girls to do the right thing at the
right moment. What think you, girls, would it not be worth
while to make of this last Thursday of November a Thanksgiving
for others as well as for yourselves? and would not your
own pleasures be doubly enhanced when sweetened with the
thought of having done what you could to make someone else
happy?</p>

<div class="figcenter" style="width: 448px;">
<img src="images/i_314.jpg" width="448" height="200" alt="Four Little “Injun” Boys" />
</div>

<hr class="full" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span></p>
<h2 class="faux">Winter</h2>
<div class="figcenter" style="width: 483px;">
<img src="images/i_315.jpg" width="483" height="239" alt="Winter" />
</div>

<hr class="chap" />
<p><span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span></p>


<div class="figcenter" style="width: 371px;">
<img src="images/i_316.jpg" width="371" height="460" alt="girl with sled" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span></p>




<h2>CHAPTER XXIX.<br />

<small>CHRISTMAS FESTIVITIES AND HOME-MADE
CHRISTMAS GIFTS.</small></h2>


<div>
  <img class="drop-cap" src="images/i_317.jpg" width="218" height="189" alt="A" />
</div>

<p class="drop-capi">AMONG all the days we celebrate Christmas
stands first and foremost in our thoughts,
the holiday of holidays. Coming in the
season of frost and snow it brings a
cheering warmth to our hearts that
defies the icy atmosphere, and the
feeling of kindliness and good will
toward everyone, which it awakens, seems in response to the
words the angels sang on our first Christmas, “On earth peace,
good will toward men.”</p>

<p>Christmas is not merely a day set apart for feasting, giving
and receiving presents, and for merrymaking. The day on
which we celebrate the birth of our Lord is a time of rejoicing
for rich and poor alike, and Christmas is Christmas still, although
we may receive and can offer no presents and our feast is humble
indeed.</p>

<p>Feeling this, let us keep the Christmas festival as it should
be kept, right happily and merrily. Let us decorate our homes
to the best of our ability in honor of the day, and supply all
deficiencies with happy hearts and smiling faces.</p>

<p>A friend of the writer’s once remarked, as she busied herself
with some Christmas-cards she was preparing to send to the<span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span>
hospitals, “I always like to tie a sprig of evergreen on each
card; it looks and smells so Christmasy.” And so it does.
Even a few pieces of evergreen, tacked over doorways or
branching out from behind picture-frames, give a room a festive,
Christmas-like appearance that nothing else can, and as
evergreens are so plentiful here in America there are few
houses that need be without their Christmas decorations.
Holly, too, with its brilliant red berries peeping cheerily forth
from their shelter of prickly leaves, adds brightness to the other
adornments, and when the white-berried mistletoe can also be
obtained all the time-honored materials for the Christmas decorations
are supplied.</p>

<p>Though we are Americans, our ancestors came from many
nations, and we have therefore a right and claim to any custom
we may admire in other countries. We may take our Christmas
celebrations from any people who observe the day and
combining many, evolve a celebration which in its variety will
be truly American.</p>

<p>From Germany we have already taken our Christmas-tree;
from Belgium our Christmas-stocking; Santa Claus hails from
Holland, and old England sends us the cheery greeting, Merry
Christmas!</p>

<p>The custom the French children have of ranging their shoes
on the hearth-stone on Christmas-Eve for the Christ-child to fill
with toys or sweetmeats, is too much like our own Christmas
stocking to offer any novelty. The Presepio, or Holy Manger, of
the Roman Catholic countries, which represents the Holy Family
at Bethlehem, with small wooden or wax figures for the characters,
is more suitable for the church celebration, but in Sweden
and Denmark they have a peculiar method of delivering their
Christmas-presents which we might adopt to our advantage, for
it would be great fun to present some of our gifts in their novel
manner.</p>

<p><span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span></p>

<p>Instead of describing this custom we will tell you just how
to carry it out and will call it the</p>


<h3><b>Julklapp,</b></h3>

<p class="unindent">which in Denmark and Sweden means Christmas-box or
gift.</p>

<p>Before Christmas-Day arrives all the presents intended for
the Julklapp delivery must be prepared by enclosing them in a
great many wrappings of various kinds, none of which should
in any way suggest their contents.</p>

<p>If one of the presents is a pretty trinket, wrap it up in a
fringed tissue paper, such as is used for motto candy or sugar-kisses;
place it in a small box, and tie the box with narrow
ribbon; then do it up in common, rough brown paper, and wrap
the package with strips of cloth until it is round like a ball;
cover the ball with a thin layer of dough, and brown in the
oven. Pin it up in a napkin, wrap in white wrapping paper and
tie with a pink string.</p>

<p>The more incongruous the coverings, the more suitable they
are for the Julklapp. You may enclose others gifts in bundles
of hay, rolls of cotton or wool, and use your own pleasure in
choosing the inner wrappings. It will be the wisest plan to
always use something soft for the outside covering, the reason
of which you will understand when the manner of delivery is
explained. Each package must be labelled with the name of the
person for whom it is intended, and if an appropriate verse,
epigram, or proverb be added it will be the cause of fresh mirth
and laughter.</p>

<p>The Julklapp delivery may, and probably will commence
very early Christmas morning, for the little folks, always early
risers on this day, will no doubt be up betimes, and ready for
the business of the day. The first intimation the less enterprising<span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span>
members of the family will have that Christmas has
dawned, will be a loud bang at the chamber door, followed by
a thump of something falling on the bed or the sleeper’s chest.
Then springing up and opening startled eyes, from which all
sleep has been thus rudely banished, one will probably discover
a large bundle of <i>something</i> on the bed or lying on the floor
close beside it. It will be useless to rush to the door to find
from whom or where this thing has come, for although a suppressed
giggle may be heard outside the door just after feeling
the thump, nothing will be met upon opening it, but dead silence,
and nothing seen but the empty hall.</p>

<p>At any time during the day or evening the Julklapps may arrive
and when all look toward the door, as a loud rap is heard,
whizz! something comes through the window and lands in the
middle of the room. A sharp tap at the window is followed by
the opening and closing of a door, and a bundle of straw, wool,
paper, or cloth, as the case may be, lands in someone’s lap. In
short the Julklapps may come from any and every direction, and
when one is least expecting them, and so the surprises and excitement
are made to last until, weary with the fun and gayety of
the day, the tired merrymakers seek their beds on Christmas-night.</p>

<p>If it has not been made plain enough who, or what causes
the mysterious arrivals of the Julklapps we will say that the
whole household join in the conspiracy, and the packages come
from the hands of each of its members. The</p>


<h3><b>Polish Custom</b></h3>

<p class="unindent">of searching for Christmas gifts, which have previously been
hidden in all manner of places in the house, is one the children
will delight in, and one that, introduced at a Christmas party,
will provoke no end of merriment and fun.</p>

<p><span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span></p>


<h3><b>The Bran Pie</b></h3>

<p class="unindent">is an English dish, but is quite as well suited to the American
taste. It is an excellent means of distributing trifling gifts and
may be new to some of you.</p>

<p>Use a large, deep brown dish for the pie. Put in it a gift
for everyone who will be at the Christmas dinner, and cover
them over thickly with bran, ornament the top by sticking a
sprig of holly in the centre. After dinner have the bran pie
put on the table with a spoon and plates beside it, and invite
everyone to help her or himself, each spoonful bringing out
whatever it touches. Comical little articles may be put in the
pie, and the frequent inappropriateness of the gift to the receiver
of it, helps to create laughter.</p>

<p>The Bran Pie should be the secret of not more than two
persons, for, like all things pertaining to Christmas gifts, the
greater the surprise, the more pleasure there will be in it.</p>


<h3><b>The Blind Man’s Stocking</b></h3>

<p class="unindent">may also be used for small gifts, or it may hold only candy and
bonbons. Make the stocking of white or colored
tissue-paper like the pattern given in Fig. 214.</p>

<div class="figleft" style="width: 182px;">
<img src="images/i_321.jpg" width="182" height="213" alt="diagram" />
<div class="caption">Fig. 214.—Paper Stocking.</div>
</div>

<p>First cut out one piece like the pattern, making
the foot thirteen inches long and six inches
from the sole to the top of the instep, and the leg
of the stocking sixteen inches from the heel to
the top; then cut another, one inch
larger all around than the first. Place
the two together fold the edge of the
larger over the smaller piece and paste
it down all around except at the top
(Fig. 214). Fill the stocking with small gifts or sweetmeats,<span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span>
tie a string around the top to keep it fast, and suspend it from
the centre of a doorway. Blindfold each player in turn, put a
long, light stick in her hand, a bamboo cane will do, and lead
her up within reach of the stocking and tell her to strike it.
When anyone succeeds in striking the stocking and a hole is
torn in it, the gifts or candy will scatter all over the floor to be
scrambled for by all the players. Each player should be allowed
three trials at striking the stocking.</p>

<p>Young children are always delighted with this Christmas
custom, and the older ones by no means refuse to join in the
sport.</p>


<h3><b>Home-made Christmas Gifts.</b></h3>

<div class="figright" style="width: 213px;">
<img src="images/i_322.jpg" width="213" height="222" alt="drawing" />
<div class="caption">Fig. 215.—Chamois for Eye-glasses.</div>
</div>

<p>That the children may do their share toward filling the
Christmas stockings, adding to the fruit of the Christmas tree,
helping with the Julklapps, contributing to the Bran Pie or
Blind Man’s Stocking, we give these hints on home-made
Christmas gifts, all of which are inexpensive
and easily constructed.</p>


<h3><b>Chamois for Eye-glasses.</b></h3>

<p>Cut out two circular pieces of
chamois-skin about the size of a silver
half-dollar, bind the edges with
narrow ribbon, and fasten the two
pieces together with a bow of the
same. Print with a lead pencil on
one piece of the chamois-skin, “I
Make all Things Clear,” and go over the lettering with a pen
and India ink, or you may paint the letters in colors to
match the ribbon. Fig. 215 shows how it should look when
finished.</p>



<p><span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span></p>


<h3><b>Glove Pen-wiper.</b></h3>

<p>Cut four pieces from thin, soft chamois-skin, like the outline
of Fig. 216. Stitch one with silk on the sewing-machine, according
to the dotted lines. Cut two slits at the wrist through
all the pieces as shown in Fig. 216, and join them together by
a narrow ribbon passed through the openings, and tied in a
pretty bow, Fig. 217.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 265px;">
<img src="images/i_323aa.jpg" width="265" height="94" alt="pattern" />
<div class="caption">Fig. 216.—Pattern of Pen-wiper.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 265px;">
<img src="images/i_323ab.jpg" width="265" height="164" alt="drawing of completed work" />
<div class="caption">Fig. 217.—Pen-wiper.</div>
</div></td>
</tr>
</table>
</div>


<h3><b>Sachet.</b></h3>

<div class="figleft" style="width: 312px;">
<img src="images/i_323b.jpg" width="312" height="194" alt="looks like a letter to Santa" />
<div class="caption">Fig. 218—Sachet.</div>
</div>

<p>Open out an envelope, and cover it with white or cream-colored
silk, refold carefully, joining the edges with stiff mucilage,
using as little as
possible. In place of a
letter enclose a layer of
cotton sprinkled with
sachet-powder, fasten
the envelope with sealing-wax
as in an ordinary
letter. Address it
with pen and ink, to
the one for whom it is
intended. Print on it,
like a stamp, “Christmas, December 25,” and fasten a cancelled<span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span>
stamp, taken from an old letter, on one corner. The finished
sachet is shown in Fig. 218.</p>


<h3><b>A Book-mark.</b></h3>
<div class="figright" style="width: 158px;">
<img src="images/i_324a.jpg" width="158" height="340" alt="drawing" />
<div class="caption">Fig. 219—Book-mark.</div>
</div>
<p>Cut out the corner of a full-sized, linen-lined
envelope, making the piece four
inches long, and one and a half inches
wide. Write on one side with pen and
ink, or paint the lettering in color, “A
Fresh Mind Keeps the Body Fresh.”
The book-mark will fit over the book-leaf
like a cap, and is excellent for keeping the
place. Fig. 219.</p>




<h3><b>A Scrap-bag.</b></h3>


<p>Scrap-bags have been fashioned in
many shapes and sizes, and of all sorts of
material, still it remains to be shown in what manner Christmas
cards may add in decoration and beauty to these useful articles.<span class="pagenum"><a name="Page_325" id="Page_325">[325]</a></span>
From your collection choose four cards of the same size, then
on a piece of bright silk or cloth sew the cards at equal distances
apart, as in Fig. 220, stitching
them around the edges on the sewing-machine.
At the dotted line fold over
the top of the bag as if for a hem, making
the narrow fold lap just cover the
upper edge of the card; stitch this down
to form a binding.</p>
<div class="figcenter" style="width: 445px;">
<img src="images/i_324b.jpg" width="445" height="259" alt="diagram" />
<div class="caption">Fig. 220.—Pattern of Scrap-bag.</div>
</div>

<div class="figleft" style="width: 185px;">
<img src="images/i_325a.jpg" width="185" height="381" alt="drawing of completed bag" />
<div class="caption">Fig. 221.—Scrap-bag.</div>
</div>

<p>After joining the bag at the dotted
lines on the sides, gather the bottom up
tight and fasten to it a good-sized tassel;
then sew on each side a heavy cord
with tassels placed where the cord joins
the bag, as seen in Fig. 221. The cord
and tassels of the example were made of
scarlet worsted.</p>
<div class="figright" style="width: 164px;">
<img src="images/i_325b.jpg" width="164" height="90" alt="diagram" />
<div class="caption">Fig. 222.—Pattern of Turtle.</div>
</div>

<div class="figright" style="width: 169px;">
<img src="images/i_325c.jpg" width="169" height="76" alt="drawing" />
<div class="caption">Fig. 223.—Walnut-shell Turtle.</div>
</div>

<h3><b>A Walnut-shell Turtle.</b></h3>

<p>For an ornament to be used on a
pen-wiper, or simply as a pretty toy,
the little turtle is appropriate. It is made
of half an English walnut, which forms the
turtle’s back or shell, glued on a piece of
card-board cut after
the diagram given
in Fig. 222. Paint
the card-board as nearly as possible the
color of the shell, and the eyes black.
When perfectly dry glue the shell securely
to the card-board, bend down and out the feet a little,
in order to make the turtle stand; bend the head up, and the
tail down, as in Fig. 223.</p>



<p><span class="pagenum"><a name="Page_326" id="Page_326">[326]</a></span></p>

<p>Here are some home-made toys which the children can
make to give to one another.</p>


<h3><b>Miss Nancy.</b></h3>

<p>Miss Nancy (Fig. 226) is fashioned from a piece of pith
taken out of a dried cornstalk. Cut away the stalk until the
pith is reached; then take a piece of the pith, about six inches
long and whittle out one end to resemble a head as in Fig. 224,
draw a face on the head with pen and ink, and glue half of a
lead bullet on the lower end of the pith (Fig. 225). Make Miss
Nancy’s costume of a skirt, composed of some bright-colored
Japanese paper, a shawl made of a piece of soft ribbon or silk,
and a cap of white swiss. The peculiarity of the little lady is
that she insists upon always standing upright, no matter in
what position she is placed.</p>



<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 187px;">
<img src="images/i_326a.jpg" width="187" height="348" alt="Fig. 224.   Fig. 225." />
<div class="caption">Manner of Making Miss Nancy.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 295px;">
<img src="images/i_326b.jpg" width="295" height="345" alt="doll" />
<div class="caption">Fig. 226.—Miss Nancy.</div>
</div></td>
</tr>
</table>
</div>

<p><span class="pagenum"><a name="Page_327" id="Page_327">[327]</a></span></p>

<div class="figright" style="width: 162px;">
<img src="images/i_327.jpg" width="162" height="417" alt="drawing" />
<div class="caption">Fig. 227.—Paper Ball.</div>
</div>
<h3><b>A Soft Ball.</b></h3>

<p>A very pretty and safe return ball for the little ones to
play with may be made of paper (Fig. 227), which, being
soft, precludes all danger of “thumps and
bumps.”</p>



<p>Take a piece of newspaper, and, using
both hands, roll it and fold it into something
of the required shape. Then place
it in the centre of a square piece of bright-colored
tissue paper; take the four corners
of the tissue-paper up to the centre of the
top of the ball, fold them over, also fold
and smooth down what fulness there may
be; next place a small round piece of gold,
silver, or some contrasting colored paper
on the top of the ball. Secure all by winding
a string around the ball, making six
or eight divisions; tie a piece of elastic to
the string where it crosses on the top of
the ball, then paste over this a small artificial
flower. In the other end of the elastic,
make a loop to fit over the finger, or
tie on it a small brass ring.</p>

<p>If a tiny sleigh-bell be placed in the
centre when the ball is being made, it will give a cheerful little
tinkling noise whenever the ball is thrown.</p>


<h3><b>A Lively Rooster.</b></h3>

<p>To make the rooster (Fig. 228), cut out of stiff cardboard
Figs. 229, 230, 231, and 232. Tie on Figs. 229 and 230 each a
piece of string seven and one-half inches long. Then attach<span class="pagenum"><a name="Page_328" id="Page_328">[328]</a></span>
the head and tail to the body by running a string through holes
at A in Fig. 230 and A in Fig. 231, and another through B in
Fig. 229 and B in Fig. 231. Bring the head and tail up close
to the body and fasten the ends of the strings down securely
with court-plaster or pieces of paper pasted over them. Bend
Fig. 231 at dotted line C; then on the space marked E, paste
the portion of Fig. 232 marked E after bending it at dotted line
O. Again bend Fig. 232 in the same direction at dotted line<span class="pagenum"><a name="Page_329" id="Page_329">[329]</a></span>
P, and paste it across the space marked P, on Fig. 231. When
all is fastened together, and the paste perfectly dry, paint the
rooster to look as life-like as possible. Tie the strings of Figs.
229 and 230 together four inches
from where they are fastened on,
then again about three inches lower
down, and attach a weight to the
ends. A common wooden top, with
a tack in the head (Fig. 233), will
answer the purpose nicely. To bring
the rooster to life, place him on the mantel-piece, with a book
serving as a weight on the projection of Fig. 232, swing the top
and he will move his head and tail in the most amusing manner.</p>



<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figleft" style="width: 242px;">
<img src="images/i_328a.jpg" width="242" height="494" alt="drawing" />
<div class="caption"><p>Fig. 228.—The Rooster.</p></div>
</div></td>
<td align="left"><div class="figcenter" style="width: 368px;">
<img src="images/i_328b.jpg" width="368" height="484" alt="Figs. 229-233" />
<div class="caption">Pattern of Rooster.</div>
</div></td>
</tr>
</table>
</div>
<div class="figcenter" style="width: 522px;">
<img src="images/i_329.jpg" width="522" height="541" alt="older girl making fairy dancers, toddler standing on chair to watch" />
<div class="caption">Fairy Dancers.</div>
</div>
<p><span class="pagenum"><a name="Page_330" id="Page_330">[330]</a></span></p>


<h3><b>Fairy Dancers.</b></h3>


<div class="figleft" style="width: 264px;">
<img src="images/i_330a.jpg" width="264" height="501" alt="drawing" />
<div class="caption">Fig. 234.—A Fairy Dancer.</div>
</div>

<div class="figright" style="width: 175px;">
<img src="images/i_330b.jpg" width="175" height="409" alt="diagram" />
<div class="caption">Fig. 235.—Pattern of Fairy
Dancer.</div>
</div>

<p>Among the gifts made by little hands, a box, containing a set
of fairy dancers, will be a most novel and welcome addition.
These little figures, when placed
on the piano, will move as soon
as the keys are touched, dancing
fast or slow in perfect time
to the music. They may all be
made to resemble fairies as in Fig. 234,
or a famous collection
of figures in
the costumes of
different periods
in history will be
equally pretty and
perhaps more interesting.
Ladies
in kirtles and tunics,
gentlemen in
slashed doublet
and hose of the
Tudor times,
Queen Elizabeth’s
starched ruffs and
farthingales, etc.
All these dresses
can be more easily
copied from pictures
of the period than from any written
description of them. The materials used
for the costume must be of the lightest kind, for a heavy dress
will weigh down the dancer and hamper its movements. To<span class="pagenum"><a name="Page_331" id="Page_331">[331]</a></span>
make the fairy (Fig. 234) trace Fig. 235 on cardboard and cut
it out, sew a piece of bonnet-wire down the back, as shown in
diagram. Mark the slippers on the feet with
ink or black paint, select a Christmas or advertising
card representing a child, with a head
of a suitable size, cut the head out and paste
it on the fairy.</p>



<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 205px;">
<img src="images/i_331a.jpg" width="205" height="342" alt="diagram" />
<div class="caption">Fig. 236.—Pattern of Chinaman</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 108px;">
<img src="images/i_331b.jpg" width="108" height="254" alt="drawings of hair" />
<div class="caption">Fig.&nbsp;237.&nbsp;Fig.&nbsp;238.<br />Chinaman’sQueue.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 200px;">
<img src="images/i_331c.jpg" width="200" height="342" alt="drawing of back of completed Chinaman" />
<div class="caption">Fig. 239.—The Chinaman.</div>
</div></td>
</tr>
</table>
</div>
<div class="figleft" style="width: 189px;">
<img src="images/i_332a.jpg" width="189" height="249" alt="diagram" />
<div class="caption">Fig. 240.—Chinaman’s Sacque.</div>
</div>

<div class="figright" style="width: 102px;">
<img src="images/i_332ba.jpg" width="102" height="99" alt="circle" />
<div class="caption">Fig. 241.—Pattern
of Chinaman’s
Hat.</div>
</div>

<div class="figright" style="width: 92px;">
<img src="images/i_332bb.jpg" width="92" height="85" alt="drawing" />
<div class="caption">Fig. 242.—Chinaman’s
Hat.</div>
</div>
<p>Gather two short skirts of tarlatan,
make a waist of the same, sew with a
few stitches to the doll, and cover the
stitches with a sash of bright
colored tissue paper; add a
strip of tarlatan for a floating
scarf, gluing it to the uplifted
hands. Bend back the
piece of cardboard projecting
from the foot,
and glue to it a small
piece of bristle brush. The wire on
the doll should be long enough to pass
tightly around the brush, thus making
it more secure.</p>

<p>If you would like to have the
Chinaman (Fig. 239) in your troupe of
dancers, trace on cardboard Fig. 236,
draw a face with slanting eyes, or paint it; then take several
strands of black thread and tie them together in the centre with<span class="pagenum"><a name="Page_332" id="Page_332">[332]</a></span>
another piece of thread (Fig. 237), bring the ends down together
(Fig. 238), braid them and sew the braid to the back of the
Chinaman’s head (239). Cut
a loose sacque from pattern
Fig. 240, fold at the waved
lines and sew together at
the dotted lines; cut an
opening for the head as
seen in pattern. Make the
hat of dark green paper cut
in the form of Fig. 241, and
crimp it from the centre
(Fig. 242). Sew the hat to
the back of the Chinaman’s
head, bend the cardboard
projection at the feet and glue it to a piece of brush.</p>



<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams and drawing">
<tr>
<td align="left"><div class="figcenter" style="width: 397px;">
<img src="images/i_332c1.jpg" width="397" height="139" alt="Figs. 243-246" />
<div class="caption">Butterfly Pattern.</div>
</div></td>
<td align="left"><div class="figright" style="width: 117px;">
<img src="images/i_332c2.jpg" width="117" height="194" alt="Fig. 247" />
<div class="caption">Butterfly.</div>
</div></td>
</tr>
</table>
</div>

<p>Butterflies of brilliant hues, all hovering and circling, may
take the place of the fairies, or they may mingle with them in
the dance, presenting a scene indeed fairy-like. To make a
butterfly, trace the pattern given in Fig. 243, on
brilliantly colored paper. Form a body by rolling
a small piece of beeswax between the fingers until it assumes
the desired shape (Fig. 244); then attach the wings to
the body by softening the wax and sticking them to it. Wax<span class="pagenum"><a name="Page_333" id="Page_333">[333]</a></span>
a piece of black thread to stiffen it, and make a knot in each
end (Fig. 245), bend this in the middle and stick it on to the
head to form the antennæ (Fig. 246). Fasten one end of a very
fine wire securely in the middle of the wax body, and wrap the
other end around a small piece of brush as seen in Fig. 247.
A number of these butterflies placed on the pianoforte will
move, bend and sway with the music as if endowed with life.</p>

<p>Toys, also, which are small and light enough, can be made to
“trip the light fantastic” in time to the music.</p>

<p>Select those most suitable and glue them to pieces of brush
in the way described for the other dancers.</p>

<p>The children, generous little souls, always long to do their
part towards making Christmas presents, and we hope that the
suggestion we have offered will help them to manufacture,
without other aid, many little gifts which their friends will
prize the more highly for having been made by the loving little
hands.</p>

<div class="figcenter" style="width: 470px;">
<img src="images/i_333.jpg" width="470" height="147" alt="steaming plum pudding" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_334" id="Page_334">[334]</a></span></p>




<h2>CHAPTER XXX.<br />

<small>AMUSEMENTS AND GAMES FOR THE CHRISTMAS
HOLIDAYS.</small></h2>


<div>
  <img class="drop-cap" src="images/i_334.jpg" width="127" height="200" alt="A" />
</div>

<p class="drop-capi2">A WINTER passed in-doors would be irksome indeed
for a healthy, hearty girl, and even the
most delicate are the better for an outing now
and then. The keen northwest wind, the biting
frosts, the crisp atmosphere and the glistening
ice and snow are not without their attractions,
and we hope that no American girl will
neglect the opportunities this time of the year
affords for healthy, enjoyable out-door pastime.
It is well to follow the example of our Canadian sisters,
and, clad in garments warm and appropriate, indulge in coasting,
tobogganing, skating, sleighing, and walking.</p>

<p>The country, wrapped in its winter mantle, is very attractive.
Many of our small animals and birds that city people are apt to
associate only with a summer landscape, are to be found abroad
in mid-winter, and upon a bright sunny day the birds are not
only to be seen, but heard twittering and even singing in the
hedges; they do not feel the cold and are enjoying themselves
heartily. The reason the birds and wild creatures are so comfortably
content, is because they are prepared for the weather,
their clothing is not only soft and warm, but fits them perfectly,
without interfering with their movements. Take a lesson from
them, girls, dress as becomingly as you choose, the birds always
do that, but do not wear thin-soled shoes or anything that is<span class="pagenum"><a name="Page_335" id="Page_335">[335]</a></span>
uncomfortable; wrap up warm and you can enjoy yourself out
of doors in the coldest weather just as well as the birds. The
cold winds will only bring the roses to your cheeks, and the
keen, invigorating air, health and suppleness to your body.</p>

<p>We do not think any person ever learned to skate, coast, or
walk on snow-shoes from reading the directions that can be
given in a book. It is for that reason we have no chapter
devoted to these sports and not because we do not believe in,
and enjoy them, too. Therefore we will direct our attention
to indoor sports, for they can be learned in this way and are
quite as important as the others in filling out the list of winter
amusements.</p>

<p>There are a great many days in winter when it is so stormy
and disagreeable out-doors, one is glad enough to have the
shelter of a roof and the warmth of a fire; these are the days
and evenings when in-doors games are in demand, and during
the holiday season, when work has been put aside, and you
have nothing to do but enjoy yourself, any new diversion is
always welcome. It is here then that we will insert the</p>


<h3><b>New Game of Bubble Bowling.</b></h3>

<p>When the game of Bubble Bowling was played for the first
time, it furnished an evening’s entertainment, not only for the
children, but for grown people also; even a well known general
and his staff, who graced the occasion with their presence,
joined in the sport, and seemed to enjoy it equally with their
youthful competitors. Loud was the chorus of “Bravo!” and
merry the laugh of exultation when the pretty crystal ball
passed safely through its goal; and sympathy was freely expressed
in many an “Oh!” and “Too bad!” as the wayward
bubble rolled gayly off toward the floor, or, reaching the
goal, dashed itself against one of the stakes and instantly vanished
into thin air.</p>

<p><span class="pagenum"><a name="Page_336" id="Page_336">[336]</a></span></p>

<div class="figcenter" style="width: 526px;">
<img src="images/i_336.jpg" width="526" height="447" alt="girl blowing soap bubbles" />
<div class="caption">Bubble Bowling.</div>
</div>

<p>The game should be played upon a long, narrow table, made
simply of a board about five feet long and eighteen inches wide,
resting upon high wooden “horses.” On top of the table, and
at a distance of twelve inches from one end, should be fastened
in an upright position, two stakes, twelve inches high; the
space between the stakes should be eight
inches, which will make each stand four
inches from the nearest edge of the
table. When finished, the table
must be covered with some sort
of woollen cloth; an old shawl or a
breadth of colored flannel will answer
the purpose excellently. Small holes
must be cut at the right distance for the stakes
to pass through. The cloth should be allowed
to fall over the edge of the table, and must not be
fastened down, as it will sometimes be necessary to
remove it in order to let it dry. It will be found more convenient,
therefore, to use two covers, if they can be provided, as
then there can always be a dry cloth ready to replace the one
that has become too damp. The bubbles are apt to stick when
they come upon wet spots, and the bowling can be carried on
in a much more lively manner if the course is kept dry. Each
of the stakes forming the goal should be wound with bright<span class="pagenum"><a name="Page_337" id="Page_337">[337]</a></span>
ribbons of contrasting colors, entwined from the bottom up,
and ending in a bow at the top. This bow can be secured in
place by driving a small brass-headed tack through the ribbon
into the top of the stake. If the rough pine legs of the
table seem too unsightly, they can easily be painted, or a
curtain may be made of bright-colored cretonne—any other
material will do as well, provided the colors are pleasing—and
tacked around the edge of the table, so as to fall in folds to the
floor. The illustration shows the top of the table, when ready
for the game.</p>

<p>For an impromptu affair, a table can be made by placing a
leaf of a dining-table across the backs of two chairs, and covering
it with a shawl; lead pencils may be used for the stakes,
and they can be held in an upright position by sticking them
in the tubes of large spools. This sort of table the children
can arrange themselves, and it answers the purpose very nicely.
The other things to be provided for the game are a large bowl
of strong soapsuds, made with hot water and common brown
soap, and as many pipes as there are players.</p>

<p>The prizes for the winners of the game may consist of
any trinkets or small articles that fancy or taste may suggest.</p>

<p>Bubble Bowling can be played in two ways. The first
method requires an even number of players, and these must
be divided into two equal parties. This is easily accomplished
by selecting two children for captains, and allowing each captain
to choose, alternately, a recruit for her party until the
ranks are filled, or, in other words, until all the children have
been chosen; then, ranked by age, or in any other manner
preferred, they form in line on either side of the table. A pipe
is given to each child, and they stand prepared for the contest.
One of the captains first takes her place at the foot of the table,
where she must remain while she is bowling, as a bubble passing<span class="pagenum"><a name="Page_338" id="Page_338">[338]</a></span>
between the stakes is not counted unless blown through the
goal from the end of the table.</p>

<p>The bowl of soapsuds is placed upon a small stand by the
side of the bowling-table, and the next in rank to the captain,
belonging to the same party, dips her pipe into the suds and blows
a bubble, not too large, which she then tosses upon the table in
front of the captain, who, as first bowler, stands ready to blow
the bubble on its course down through the goal. Three successive
trials are allowed each player; the bubbles which break
before the bowler has started them, are not counted.</p>

<p>The names of all the players, divided as they are into two
parties, are written down on a slate or paper, and whenever a
bubble is sent through the goal, a mark is set down opposite
the name of the successful bowler.</p>

<p>When the captain has had her three trials, the captain on
the other side becomes bowler, and the next in rank of her own
party blows the bubbles for her. When this captain retires,
the member of the opposite party, ranking next to the captain,
takes the bowler’s place and is assisted by the one whose name
is next on the list of her own side; after her the player next to
the captain on the other side; and so on until the last on the
list has her turn, when the captain then becomes assistant and
blows the bubbles.</p>

<p>The number of marks required for either side to win the
game, must be decided by the number of players; if there are
twenty—ten players on each side—thirty marks would be a
good limit for the winning score.</p>

<p>When the game has been decided, a prize is given to that
member of the winning party who has the greatest number of
marks attached to her name showing that she has sent the bubble
through the goal a greater number of times than any player
on the same side. Or, if preferred, prizes may be given to
every child belonging to the winning party. The other way in<span class="pagenum"><a name="Page_339" id="Page_339">[339]</a></span>
which Bubble Bowling may be played is simpler, and does not
require an even number of players as no sides are formed.</p>

<p>Each bowler plays for herself, and is allowed five successive
trials; if three bubbles out of the five be blown through
the goal the player is entitled to a prize. The child acting as
assistant becomes the next bowler, and so on until the last in
turn becomes bowler, when the one who began the game takes
the place of assistant.</p>

<p>When the evening lamps are lighted and the young folks,
gathered cosily around the cheerful fire, begin to be at a loss
how to amuse themselves, let them try the game of</p>


<h3><b>Biographical Nonsense.</b></h3>

<p>A paper must be written by one of the players which will
read like the following:</p>


<ul class="ingredients"><li>The name of a noted man.</li>
<li>A date between the flood and the present year.</li>
<li>The name of a noted man.</li>
<li>A country.</li>
<li>The name of some body of water or river.</li>
<li>Some kind of a vessel.</li>
<li>A country.</li>
<li>A country.</li>
<li>The name of a school.</li>
<li>A city.</li>
<li>A city, town, or country.</li>
<li>A city, town, or country.</li>
<li>A number.</li>
<li>The names of two books.</li>
<li>The name of one book.</li>
<li>A wonderful performance.</li>
<li><span class="pagenum"><a name="Page_340" id="Page_340">[340]</a></span>The name of a well-known person.</li>
<li>A profession or trade.</li>
<li>A term expressing the feeling entertained for another person.</li>
<li>A term descriptive of someone’s appearance.</li>
<li>A word denoting size.</li>
<li>A term describing form.</li>
<li>A color.</li>
<li>A word denoting size.</li>
<li>The name of an article of some decided color.</li>
<li>The name of any article.</li>
<li>The name of any article.</li>
<li>A number of years.</li>
</ul>


<p>This paper is to be passed to each member of the party who
in turn will fill up the blanks left, with the words, terms, and
names indicated.</p>

<p>When the blanks have been filled, one player must read the
following, and another supply the words, when she pauses, from
the paper just prepared, being sure to read them in their true
order.</p>

<h4>A BIOGRAPHY.</h4>

<p>—— was born in —— the same year when —— discovered ——,
by sailing through the —— in a ——. His
father was a native of ——; his mother of ——. He was
educated at ——, in the city of ——. His first voyage,
which was a long one, was from —— to ——. He wrote
three books before he was —— years of age. They are
——, and ——. He performed the miraculous feat of
—— with ——. He was a great ——, and one we shall
ever ——. In appearance he was —— being rather ——
of stature. His nose was ——, his eyes ——, his mouth
——, and hair the color of —— adorned his head. He
invariably carried in his hand a —— and a ——, by which<span class="pagenum"><a name="Page_341" id="Page_341">[341]</a></span>
he was always known, and with which he is represented to this
day. He died at the advanced age of ——-.</p>

<p>The ridiculous combinations found in this game make it
very funny.</p>


<h3><b>Comic Historical Tableaux</b></h3>

<p class="unindent">are very amusing, and being impromptu require no preparation
beforehand.</p>

<p>As in charades, the company must divide into two parties.
But instead of acting as in charades, one party decides what
event in history they will represent, and then they form a tableau
to illustrate the event, making it as ridiculous as possible.
The other party must try and guess what the tableau is; if they
are successful, it is their turn to produce a tableau, if not, the
first party must try another subject, and continue to do so until
the subject of their tableau is correctly guessed.</p>

<p>We will give a few suggestions for the tableaux.</p>


<h4>BALBOA DISCOVERING THE PACIFIC OCEAN.</h4>

<p>Place a pan of water on the floor in plain sight of the audience;
then let someone dress up in a long cloak and high-crowned
hat to personate Balboa, and stand on a table in the
middle of the floor, while the rest of the performers, enveloped
in shawls, crouch around. When the curtain is drawn aside,
Balboa must be seen looking intently through one end of a tin
horn, or one made of paper, at the pan of water.</p>


<h4>NERO AT THE BURNING OF ROME.</h4>

<p>Nero, in brilliant robes made of shawls, sits on a table, surrounded
by his courtiers, who are also in fantastic costumes.
Nero is in the act of fiddling, his fiddle being a small fire shovel<span class="pagenum"><a name="Page_342" id="Page_342">[342]</a></span>,
and the bow a poker. On the floor in front of the group is
placed a large shallow pan or tray, in which is set a small
house, which has been hastily cut from paper. A lighted match
is put to the paper house
just as the curtains are
parted.</p>

<p>These two suggestions
will no doubt be
sufficient to show what
the tableaux should be
like and we need give
no further illustrations.</p>


<h3><b>Living Christmas
Cards.</b></h3>

<div class="figright" style="width: 319px;">
<img src="images/i_342.jpg" width="319" height="451" alt="drawing" />
<div class="caption">Fig. 248.—Manner of Holding
Card.</div>
</div>
<p>To impart seeming
life to the little figures
painted on the Christmas
cards, is a performance intensely
amusing to the little
ones. A moving toy whose
actions are life-like is always of great
interest; but when a little flesh-and-blood
head is seen nodding and twisting
upon the shoulders of a figure painted on a
card, the children fairly shout with delight.</p>

<p>Here is the method of bringing life into the bits of pasteboard.</p>

<p>Select cards with pretty or comical figures, whose faces are
the size of the ends of your first or second finger. Carefully
cut the face out of a card; then with ink mark the features on
your finger, and put it through the opening, as in Fig. 248.
Place on this little live head a high peaked tissue-paper cap, and<span class="pagenum"><a name="Page_343" id="Page_343">[343]</a></span>
the effect will be exceedingly ludicrous (Fig. 249). A little
Santa Claus who can really nod and bow to the children will be
very amusing, and there are quite a number of Christmas cards
which portray the funny, jolly little fellow.</p>

<div class="figleft" style="width: 326px;">
<img src="images/i_343.jpg" width="326" height="505" alt="drawing" />
<div class="caption">Fig. 249.—Live Head with Peaked Cap.</div>
</div>
<p>Floral cards may have nodding fairies peeping out from
among the petals of the flowers, whose heads are crowned
with queer little fairy caps, as in Fig. 250. If among
your collection you
have a card with a
picture of a house on
it, it will be amusing
to thrust a little head
wearing a night-cap,
out of one of the windows.
Round holes
will, of course, have
to be cut in the cards
wherever the heads
are to appear.</p>

<p>Still another way
of managing these
living puppets is to
cut in a piece of cardboard,
five inches
long and two inches
wide, three round
holes a little more
than half an inch
apart. Sew around
the edge of the cardboard
a gathered curtain of any soft material six inches deep.
Sketch faces on three of your fingers, pass them under the
curtain and through the holes in the cardboard. The curtain<span class="pagenum"><a name="Page_344" id="Page_344">[344]</a></span>
will fall around and conceal your hand, leaving the three
heads appearing above (Fig. 251). On these heads place any
kind of head-dress you choose, making them of paper; or
caps of white swiss look quaint, and wee doll hats may be
worn.</p>

<div class="figcenter" style="width: 455px;">
<img src="images/i_344.jpg" width="455" height="550" alt="drawing" />
<div class="caption">Fig. 250—Nodding Fairies.</div>
</div>

<p>It is best to use a little mucilage or paste in fastening the hats<span class="pagenum"><a name="Page_345" id="Page_345">[345]</a></span>
on, that there may be no danger of their falling off with the
movement of the fingers.</p>

<p>The hair may be inked, or little wigs made of cotton can be
used.</p>

<div class="figcenter" style="width: 499px;">
<img src="images/i_345a.jpg" width="499" height="312" alt="drawing" />
<div class="caption">Fig. 251.—Living Puppets.</div>
</div>

<p>If the little faces are painted with water colors, giving color
to the cheeks and lips, the life-like appearance will be enhanced.</p>

<p>These little personages can be made to carry on absurd
conversations, and a great deal of expression be given to the
bobbing and turning of their heads. One person can easily
manage the whole thing, and entertain a roomful with the performance
of the living puppets.</p>

<div class="figcenter" style="width: 460px;">
<img src="images/i_345b.jpg" width="460" height="114" alt="box of games" />
</div>
<hr class="chap" />
<p><span class="pagenum"><a name="Page_346" id="Page_346">[346]</a></span></p>

<div class="figcenter" style="width: 374px;">
<img src="images/i_346.jpg" width="374" height="600" alt="fairy and a pie" />
<div class="caption">Happy New Year</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_347" id="Page_347">[347]</a></span></p>




<h2>CHAPTER XXXI.<br />

<small>NEW YEAR’S AND A LEAP YEAR PARTY.</small></h2>


<div>
  <img class="drop-cap" src="images/i_347.jpg" width="274" height="188" alt="M" />
</div>

<p class="drop-capi2">MY earliest recollection of New
Year’s day is of being
awakened at midnight by
the clangor of the fire
bells, and the ringing of
the church bells, as they
swung and rocked in their
high steeples and cupolas,
shouting, Happy New
Year! from their brazen throats to all the sleeping town. Not
being thoroughly conversant with bell language, I was very
much alarmed because they seemed to say “Come, get up—Come,
get up—House on fire—House on fire!” but, upon
opening my eyes, I was assured that they were ringing in the
New Year, and, as I again fell asleep, the bells were saying
distinctly, “Wish you Happy New Year—Wish you Happy
New Year.”</p>

<p>Next day the table was decked with flowers, and was laden
with roast turkey, fruits, salads, and mince-pies. Oh, my! what
delicious mince-pies they were! None since have ever tasted
as good as those made and baked by my grandmother.</p>

<p>I often wonder if the next generation of grandmammas will
make such cookies, mince pies, and doughnuts as ours did;
but this was in Kentucky, and you know that we still observed<span class="pagenum"><a name="Page_348" id="Page_348">[348]</a></span>
the old-fashioned customs, and all day long the gentlemen came
dropping in by twos and fours, and such handshaking and
laughing, and such courtly compliments, and such a bowing and
a wishing of Many Happy New Years, it does me good to think
of. Who knows but that so many kind wishes of a long and
happy life, sincerely given, may really help to bring it to pass.</p>

<p>Small as I was at the time, and little as I understood the
customs or conversation, the spirit of the whole day was intelligible
and appealed to the little child, perhaps more forcibly
than to the grown-up people.</p>

<p>It is really too bad that the crowded states of our large cities
tend to lead to the gradual decline of the custom of New Year’s
calls, so that now many people confine themselves to sending
and receiving cards, making the always stiff and formal bits of
engraved pasteboard, do all the calling and receiving; but</p>


<h3><b>New Year’s Parties</b></h3>

<p class="unindent">are not out of date, so we will have one on New Year’s Eve, because
then young and old are privileged to sit up all night, that
is, until after twelve o’clock midnight, and have all the fun possible.
Let us begin our frolic with a</p>


<h3><b>Pantomime of an Enchanted Girl.</b></h3>

<p>For this a damp sheet must be fastened up across the room
or between the folding doors of the parlor. First, fasten the
corners of the sheet, next, the centre of each of the four sides,
in order that the cloth may be perfectly smooth; then place a
lighted candle on the floor, about four or five feet from the centre
of the curtain. When the lights in the room occupied by
the audience are turned out, leaving it in total darkness, so the
shadows of the actors behind the curtain may be seen on the
screen, someone, standing outside of the curtain and facing the<span class="pagenum"><a name="Page_349" id="Page_349">[349]</a></span>
audience, should explain or relate the story of the play: of how
a young girl, while walking out on the last day in November,
meets Halloween, who presents her with three gifts to try her
fortune, and how, when she is about to do so, a witch enchants
her, etc. After the story is finished, and a lively overture has
been performed on some musical instrument, the pantomime is
played as follows:</p>

<p>The young girl personating the enchanted one, comes gayly
forward from the side, when almost across the curtain she meets
Halloween, who approaches from the opposite side, arrayed in
short dress, with wings made of newspaper folded fan fashion,
and fastened on the shoulders; in her hand she carries a cane
with a silhouette of a cat, or two or three stars and a crescent cut
of stiff, brown paper and pasted on the end; the cane is so held
that the profiles of the figures are kept toward the curtain.
Seeing this queer being the young girl clearly demonstrates, by
her actions, that she is alarmed. When Halloween quiets her
fears, by surely and plainly indicating with slow movements of
the head, and downward motions of the arms that no harm is
intended, they shake hands; then Halloween shows the maiden
three gifts, an apple, a hand-mirror, and an unlighted candle.
Before presenting them she illustrates by gestures, the use to be
made of each. Holding the mirror in front of her face, she bites
the apple, then looks quickly around, as if expecting to see
someone, and, again holding up the mirror in one hand and the
candle in the other, she takes a few steps backward, when a boy
enters by jumping over the light, which gives the appearance of
his having fallen down from the sky, Halloween looks around,
and the boy quickly disappears in the same manner as he came.</p>

<p>All this time the girl stands transfixed, with her hands raised
and all the fingers spread out in astonishment; she receives the
presents which are given with many nods and gestures. As Halloween
walks away the fortune-seeker turns and watches her<span class="pagenum"><a name="Page_350" id="Page_350">[350]</a></span>
with a telescope made of a roll of paper she finds at her feet on
the floor. The maiden then proceeds to examine the gifts; as
she takes up the apple and mirror, her hand is stayed by a
witch with flowing hair, who has approached unperceived,
carrying under one arm a broom, and wearing on her head an
ordinary hat with a piece of newspaper rolled up and pinned on
to form a peaked crown. She motions to the girl to be seated;
then stands over her and makes passes in the air, and taking up
her broom from the floor makes grand flourishes and departs
walking back towards the candle, which causes her shadow to
grow larger and larger. The poor girl looks anxiously around
and discovers she has been enchanted, for there are three girls
instead of one; this effect is produced by two more lighted
candles being placed on the floor on either side of the first candle,
and every movement the girl makes is mimicked by her
other selves. The candles are removed and the Old Year instantly
appears, his figure bent, a piece of fringed paper pasted
on his chin for a flowing beard, and carrying in his hand a cane
with a piece of stiff paper fastened on to represent a scythe.
Discovering him the girl runs forward to tell her sorrows, and
finds that it is only when alone that she is enchanted, for when
she attempts to point out her other selves they have disappeared;
making many gestures she looks here and there for
them, but in vain, then as the Old Year leaves she bids him a
sorrowful adieu. Again alone, the facsimiles reappear and she
grows desperate, so do the other two selves, she throws her arms
about, skips, jumps, and dances wildly around, the other selves
do likewise, and at the same time they are made to pass and
repass her, by two persons taking up the two extra lights, and,
keeping the lights facing the curtain, walking back and forth,
passing, and repassing each other but never stepping in front of
the candle on the floor. In the midst of the dancing the two
extra candles are taken away and immediately the little New<span class="pagenum"><a name="Page_351" id="Page_351">[351]</a></span>
Year enters, crowned with a paper star and wearing wings of
paper. The young girl rushes to meet the New Year with a
hearty greeting, she then tells him of her enchantment, counting
the three selves by holding up the first finger of the right hand
three times in succession, and while the New Year makes gestures
that indicate advice the maiden listens with her hand to
her ear, and, promising by signs to be a good girl, she kneels
down, and the little New Year raises both hands above her
head, then, kissing her hand to the maiden, departs.</p>

<p>The glad New Year has disenchanted her, she carefully
looks this way and that, but seeing all is well she tosses her
head, dances around, makes a courtesy, kisses both hands to
the audience and disappears.</p>

<p>When the play is over, and just as the clock strikes twelve,
the party can instantly change its character if it is leap-year
and become a</p>


<h3><b>Leap-Year Party</b></h3>

<p class="unindent">for the remaining hour or so, thereby creating a great deal
more merriment and sport; the novelty of the fact that the girls
exchange places with the boys makes everything appear
strange. And when the music commences for dancing the
girls look from one to another, no one at first having the courage
to invite a partner to dance, so unaccustomed are they to
even the thought of such a thing. The boys of course laugh,
and make no move to assist their timid, would-be partners in
the part they must play, but quietly await the expected invitation.
When, however, someone takes the initiative step, the
others follow, and all goes merrily.</p>

<p>The supper presents a new phase, but here the girls do their
part perfectly, providing all the boys with a plentiful repast, and
each one is made to feel that his presence is necessary to the success
of the party, thereby insuring a happy, pleasant time for all.</p>

<p><span class="pagenum"><a name="Page_352" id="Page_352">[352]</a></span></p>

<p>In giving a leap-year party it is very essential that all the
guests understand perfectly that the idea of the entertainment
is to have the girls take upon themselves all the duties and
courtesies properly belonging to the boys, and that the boys
shall wait for an invitation before dancing, promenading, or
partaking of refreshments, and that a boy should not cross the
floor unattended, but wait for some fair friend to escort him.
The girls are at liberty to go and come as they like, though they
must remember not to leave a partner standing after the dance
is over, but politely conduct him to a seat, and the girls must
also endeavor to make the party pleasant and agreeable to all.
The chaperons, of course, should have charge of the boys during
the entertainment.</p>

<p>The leap-year party need not necessarily be a dancing
party, as any social gathering can take the form of a leap-year
party.</p>

<p>When an entertainment is given on the eve of a new leap-year,
with a view to dancing the old year out and the new year
in, just as the clock strikes twelve the party can immediately
change into a leap-year party as described, or should the New
Year be a common year, then as the time flies and the hands
of the clock approach the hour of twelve all are on the qui vive
to be the first to have the pleasure of greeting their friends with
a Happy New Year.</p>

<div class="figcenter" style="width: 470px;">
<img src="images/i_352.jpg" width="470" height="164" alt="Baby New Year leapfrogging over Father Time" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_353" id="Page_353">[353]</a></span></p>




<h2>CHAPTER XXXII.<br />

<small>HOME GYMNASIUM.</small></h2>


<div>
  <img class="drop-cap" src="images/i_353.jpg" width="177" height="172" alt="E" />
</div>

<p class="drop-capi3">EVERYONE <i>must</i> exercise to keep healthy
and strong, for life is motion and activity.
It is natural to be well and happy,
and to keep so we must exercise all our
muscles, as well as our moral and intellectual
faculties, or they will dwindle
and wither. The arm of the Hindoo
devotee, not being used, at length becomes
completely paralyzed, and fish in the Mammoth Cave
having no use for eyes pass their life without them; so we find
that <i>use</i> is the foundation of all things, otherwise they would
cease to exist; then, girls, it lies within your power to become
stronger and more graceful each day by regular and graduated
bodily exercise, which will bring life and energy to every part
of your system by causing the blood to circulate freely through
all the body.</p>

<p>There are some simple methods of carrying this into effect
in the most agreeable and salutary manner, but the exercises
must be very light at first, and as you advance they may be
increased a little each time, but always stop before you feel
fatigued, for when the calisthenics cease to give pleasure it is
doubtful if they are beneficial.</p>

<div class="figcenter" style="width: 440px;">
<img src="images/i_354.jpg" width="440" height="600" alt="girl with ball" />
</div>

<p>The best time for exercising is in the morning after having
partaken of some light refreshments, though any time will do<span class="pagenum"><a name="Page_354" id="Page_354">[354]</a><br /><a name="Page_355" id="Page_355">[355]</a></span>
except directly after hearty meals. Try and have a regular
time set apart each day for your physical culture. Commence
by exercising five or ten minutes, then for a little longer period
next time, and so on until you can exercise with ease for half an
hour or longer. You will feel refreshed, invigorated, and better
prepared for the duties and pleasures which await you. Your
clothing must not incommode the free action of the body, and
it is essential that it be comfortable. What is suitable for lawn
tennis is also well adapted for the gymnasium. An ordinary
bathing-dress answers the purpose very well, as it is made for
exercise.</p>

<p>The Egyptian water-carrier, with the jug of water poised so
prettily on her head, and her figure so straight and beautiful,
has always challenged admiration; her carriage is dignified,
erect, and graceful, something worth striving for, especially
when we have the certainty of success if we will only be faithful
and persevering. The peasantry of foreign countries who
carry all their burdens balanced on their heads have their
reward in healthy, strong, straight figures, even in old age
they do not stoop. Witness the emigrants landing at Castle
Garden who carry their possessions done up in huge bundles
on their heads with the utmost ease; of this class, three generations—a
grandmother, mother, and grown daughter—with
baggage of the same weight on their heads, were lately seen
at a New York ferry, each equally upright, strong, and vigorous.</p>

<p>A good straight back is an excellent thing; and when the
head is properly carried and all the movements are buoyant
and elastic, then we may walk as it was intended we should,
every step bringing a glow to the cheek and a sparkle to the
eye. It requires only a few minutes’ regular daily exercise for
any girl to attain a carriage equal to that of the Egyptian
water-carrier, and the only apparatus needed for</p>

<p><span class="pagenum"><a name="Page_356" id="Page_356">[356]</a></span></p>


<div class="figleft" style="width: 187px;">
<img src="images/i_356.jpg" width="187" height="401" alt="drawing" />
<div class="caption">Fig. 252.—Balancing a Roll of
Paper.</div>
</div>

<h3><b>Exercise First</b></h3>

<p class="unindent">is a roll of paper. Now stand with your heels together, toes
out, and shoulders well back; then place on your head the roll
of paper; if your position is not perfectly erect the roll will fall
off; keep your chin straight and back against your neck, for it
is the <i>chin</i> which determines the poise
of the body. You cannot stand straight
unless the chin is straight; throw out
your chin and your shoulders will stoop
forward, have your chin straight and
your back will be straight; bear this in
mind in all your exercises. Now walk,
keeping the roll balanced on your head
(Fig. 252). Practice this walking back
and forth until you can do so without
the paper rolling off; then try a tin cup
full to the brim with water. Walk erect
or the water will wash over, down on
your head, and it will feel cold as it
trickles through your hair; soon, however,
you will be able to carry the cup
of water with ease and no danger of its
spilling. But do not discontinue the
practice on that account; try something
else in its place, until you are able to
carry anything you wish on your head
with no fear of it falling. The exercise affords amusement, and at
the same time you will be acquiring a beautiful, dignified, and
graceful carriage.</p>


<h3><b>Exercise Second</b></h3>

<p class="unindent">is for gaining agility, suppleness, quickness of eye, hand, and
foot. Standing as far from the wall as possible, take a common<span class="pagenum"><a name="Page_357" id="Page_357">[357]</a></span>
rubber hand-ball and toss it against the wall, catching it as it
rebounds (see illustration), and again toss it against the wall.
Vary this by allowing the ball to strike the floor, catching it
on the rebound; then try keeping the ball in constant motion
by using first one hand and then the other as a bat for returning
the ball to the wall. The exercise
can also be changed by striking
the ball against the floor, and on its
return bound again striking it, thus
keeping it in motion. You will find
that activity is necessary, and the
work so quick that it will keep you
on the jump all through the exercise.</p>


<h3><b>Exercise Third</b></h3>

<p class="unindent">is with a broom-handle. Saw or cut off
the broom and smooth down the sharp
ends of the handle, and it will be ready
for use. Stand erect, heels together, toes
out, chin well back and straight, so as to
throw out and expand the chest. Now
grasp firmly each end of the broomstick
and bring it up over the head (Fig. 253);
repeat this motion six or seven times;
then change by carrying the broomstick
over back of the head down across and
back of the shoulders; then up above the head again, repeating
this, and all other motions in your calisthenics, half a
dozen times. Another exercise is holding the stick down in
front of you with both hands and bringing it up over the head
and down back of the shoulders without stopping.</p>

<div class="figright" style="width: 216px;">
<img src="images/i_357.jpg" width="216" height="399" alt="drawing" />
<div class="caption">Fig. 253.—Broom-handle
Exercise.</div>
</div>

<p>The side motion is made by grasping the broomstick at
each end, holding it down in front of you, and swinging it sideways,<span class="pagenum"><a name="Page_358" id="Page_358">[358]</a></span>
thus bringing the right hand up when the left is down,
and <i>vice versa</i>. Another way is to hold the stick by both ends
above your head and swing it from one side to the other,
which will cause the right arm to come in contact with the
right side of the head, while the left arm is extended out horizontally
to the left. Next carry the stick back of and against
the shoulders; then swing it from right to left, which gives
another side movement. Vary all the movements in as many
different ways as you can think of.</p>


<h3><b>Exercise Fourth.</b></h3>

<p>Stand erect always when in position for exercising, according
to the directions given—heels together, toes out, etc. Now
allow your arms to hang naturally down at your sides, raise
your heels, and stand on your toes; now lower the heels and
repeat the motion; then close your hands tightly and raise
your arms out sideways at right angles with your body, next up
straight above your head, and down again to the level of the
shoulders, then back down to your sides as at first.</p>

<p>Again take position, close your hands tightly, and raise them
up under the arms, bringing the elbows out to a level with the
shoulders; then bring your hands down at your sides again and
repeat the movement vigorously; resume position, firmly close
your hands and carry them up to the shoulders, next extend
them up straight above your head, down again to your shoulders,
and back to the first position. A very good exercise is to
extend both arms straight out in front of you, close your hands
and bring them back to your chest, which will cause the bent
elbows to project beyond your back.</p>


<h3><b>Exercise Fifth.</b></h3>

<p>Assume position, close your hands, and take one long step
forward with your right foot, bend the right knee and stand<span class="pagenum"><a name="Page_359" id="Page_359">[359]</a></span>
with your weight resting on the right foot; then extend your
arms out sideways straight from the shoulders, now bring your
hands together in front of you, still
keeping the arms on a level with the
shoulders, and while doing so throw
the body back, straightening the
right knee and bending the left so
the weight of the body will rest on
the left foot; repeat this and vary it
by taking one step forward with the
left foot and going through with the
same motions.</p>

<p>Resume position, and place your
hands on your hips, with your thumbs
turned forward and fingers backward.
Now take a long step forward with your
right foot, throwing the weight on that
foot, then back again in position, and in
the same manner step forward with your
left foot and back again; next take a step
backward with your right foot, resume
position, and then with your left.</p>

<p>Again stand with your hands on your
hips, thumbs turned forward, and without
bending your knees move the body, first
bending it forward, then backward, and
resuming an upright position, bend over to the right and to the
left.</p>

<div class="figleft" style="width: 215px;">
<img src="images/i_359.jpg" width="215" height="473" alt="drawing" />
<div class="caption">Fig. 254.—Balancing
Broom-handle.</div>
</div>


<h3><b>Exercise Sixth.</b></h3>

<p>In this the broomstick is used for balancing; hold it in an
upright position, and first try balancing it on the palm of your
hand; then on the back of your hand, next on each of the fingers
in succession, commencing with the first finger (Fig. 254); be<span class="pagenum"><a name="Page_360" id="Page_360">[360]</a></span>
cautious, and when the stick wavers do not let it fall, but catch
it with the other hand, and again balance it. This is an interesting,
light, and diverting exercise, requiring all your attention,
and, for the time being, your thoughts are concentrated on the
effort to keep the broomstick properly balanced.</p>


<h3><b>Exercise Seventh.</b></h3>

<p>Pure blood means good health, and to purify the blood and
keep the complexion clear it is essential that you breathe a
sufficient quantity of <i>pure</i> air, and you cannot take in a proper
amount of air unless your lungs are wholly extended. So take
position with your hands correctly placed on your hips; then
very slowly draw in your breath until your chest and lungs are
fully expanded; next slowly exhale your breath, and repeat
the exercise.</p>


<h3><b>Exercise Eighth.</b></h3>

<p>Screw in two large, <i>strong</i> hooks in the woodwork on each
side of the doorway; place the hooks as far above your head
as you can conveniently reach; slide the broomstick in so that
it will extend across the doorway and be supported by the
hooks; have the apparatus on that side of the doorway where
it will not interfere with the opening and closing of the door, and
be sure that it is perfectly secure before attempting to exercise;
each time before commencing a new movement examine the stick,
and be certain that it is not in any danger of slipping from the
hooks. Unless you can be perfectly safe from liability to hurts
or falls, do not include this in your list of exercises.</p>

<p>For the first movement grasp the bar firmly with both
hands and swing the body forward and backward, standing first
on the toes, then on the heels; next, still grasping the bar, raise
up on your toes, then back again. Change the movements in<span class="pagenum"><a name="Page_361" id="Page_361">[361]</a></span>
as many ways as you like, but do not try anything that may
strain or hurt you. Now screw in two more hooks, on either
side of the woodwork, below the first ones, placing them about
two feet and eight inches from the floor; take the stick from
its elevated position and slide it across the doorway so it will
rest securely on the two lower hooks. Standing in front
of it, grasp the bar firmly with both hands and try to raise
yourself up, feet and all, from the floor by bearing your weight
down on the bar; then
let yourself gently back
again. When you have
finished exercising, remove
the stick and put
it away.</p>

<div class="figright" style="width: 317px;">
<img src="images/i_361.jpg" width="317" height="328" alt="diagram" />
<div class="caption">Fig. 255.—The Swing.</div>
</div>


<h3><b>Exercise Ninth.</b></h3>

<p>In the top part of
the framework of the
doorway fasten a very
strong hook by screwing
it into the wood;
then take a broomstick
and, after shortening it
so that when held in a
horizontal position it will readily pass through the doorway,
cut notches in each end and securely tie the two ends of a rope
across the notches; suspend this swing by slipping the centre
of the rope over the hook in the doorway (Fig. 255); have
the apparatus strong and firm, capable of any amount of wear
and tear. Stand facing the stick, which should be at the height
of the chest, and take hold of it with both hands; now bend
the knees until they are within a short distance of the floor,<span class="pagenum"><a name="Page_362" id="Page_362">[362]</a></span>
then rise and repeat the exercise. Next, with both hands on
the stick, take a long step forward with the right foot, throwing
the weight on that foot; return to your position and go through
the same exercise with your left foot. Try different movements
which suggest themselves, and select those you like best. When
not in use the swing can be slipped off the hook and put out of
the way.</p>


<h3><b>Exercise Tenth.</b></h3>

<p>To develop a weak voice and make it clear and sweet, and to
strengthen the lungs, reading aloud is an excellent exercise; as
it requires both mental and muscular exertion and performs a
double duty, it should receive a full share of time and attention.
Begin with something you are interested in, then you
will find it much easier to read aloud than if you undertook a
book or an article which might be full of merit, but lack interest
for you. When commencing this exercise read only ten minutes
or less at a sitting, increasing the time as you practise and
the reading grows less difficult. Do not be discouraged if your
voice sounds a little husky while reading; stop a moment, and
then go on again. After a few trials you will have no more
trouble in that way, for your voice will grow clear and distinct,
and the exercise will become a great pleasure as well as an attractive,
useful accomplishment.</p>

<p>Let your reading matter be very choice and of the best; do
not condescend to waste your time on other writings.</p>

<p>From the ten different exercises given, select those best
adapted to your size, age, and liking, and practise them for a
short time daily; you can hardly realize the great advantage they
will prove to be. In this way all parts of the system may be
strengthened and harmoniously developed. But the constitution
cannot be hurried: all must be accomplished little by little.
Allow yourselves to be happy and merry; be ready to enjoy<span class="pagenum"><a name="Page_363" id="Page_363">[363]</a></span>
the little pleasures of life, and this, with kind and generous feelings
for others, will do a great deal toward keeping you well
and strong.</p>

<p>Out-of-door exercise is always to be preferred to in-door
when one has a choice. Walking, tennis, archery, horseback,
and swimming are some of the athletic sports for girls, and they
all have their attractions. But there are times when we are denied
the pleasure of these pastimes, and then we are glad of a
little exercise in-doors, which also affords enjoyment and recreation.</p>

<div class="figcenter" style="width: 478px;">
<img src="images/i_363.jpg" width="478" height="146" alt="fairies somersaulting" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_364" id="Page_364">[364]</a></span></p>




<h2>CHAPTER XXXIII.<br />

<small>A DECORATIVE LANGUAGE.</small></h2>


<div>
  <img class="drop-cap" src="images/i_364.jpg" width="184" height="239" alt="W" />
</div>

<p class="drop-capi">WHEN in olden times the warriors went
around the country dressed in suits of
clothes made by a blacksmith instead
of a tailor, their hats were manufactured
at the forge also, and had <i>iron
front doors</i> that moved upon hinges.
When danger was nigh these doors
were closed, locked, and barred over
the poor men’s heads, leaving only a
loop-hole or two for them to peep through. At such times in
meeting Mr. Brown it was impossible to distinguish him from
Mr. Smith, who was arrayed in like manner, and it might happen
that Mr. Smith was the last man in the world that one
cared to meet, not being on speaking terms or some such
reason. Well, as we were saying, there was no chance whatever
of telling one man from another unless he wore a distinguishing
mark of some kind.</p>

<p>So to prevent such uncomfortable mistakes and to distinguish
friend from foe, every gentleman had to be marked and
labelled, like an express package, so one might read as he ran,
“I am Earl Jenkins, of Thunderland, who married a Rhazor, of
Stropshire.” These names and addresses were not painted in
words on their owners with a marking-brush, but worked and
embroidered in translatable designs on cloaks, saddle-housings,<span class="pagenum"><a name="Page_365" id="Page_365">[365]</a></span>
and silken banners, or emblazoned on the shield they carried
with which to meet the advances of their neighbors. Since that
time our more recent ancestors in England have taken great
pride in preserving and handing down from generation to generation
these distinguishing marks, as a guarantee to their children
that they came of gentle birth, which is very interesting
and gratifying for European girls, but American girls need
nothing of the kind; it is sufficient that we are Americans.</p>

<p>Of course, some of us do take pleasure in knowing that our
great-great-grandparents came over in the Mayflower, or that
the name of an ancestor is among the signatures upon that Declaration
of Independence which made such a stir a century ago,
for that proves us to be Columbia’s daughters.</p>

<p>When there was no other method of distinguishing a man
his label became a very important item; so these family devices
were reduced to a science and protected by law.</p>

<p>The old countries’ coats of arms may remain abroad, where
they belong, but the ingenious scheme, that was gradually
evolved, of picturing ideas, mottoes, and pretty sentiments we
will adopt as our inheritance, with many thanks to our mediæval
ancestors with the metallic clothes, who bequeathed them
to us.</p>

<p>We propose to revive enough of this neglected knowledge
of chivalry to serve our purpose in suggesting a method of designing
devices which will not only be artistic decorations, but
to the initiated can be made to portray almost any sentiment
or set of principles the artist may choose.</p>

<p>The many uses to which these designs can be applied will,
we hope, at once be seen by the quick-witted American girls,
and we trust will interest the reader as much as they do the
writer, who in this chapter can only give a few necessary, brief
hints upon the subject, sufficient, however, to explain the application
that can be made of this beautiful and perfect system of</p>

<p><span class="pagenum"><a name="Page_366" id="Page_366">[366]</a></span></p>


<h3><b>Decorative Language.</b></h3>

<p>In the following directions anyone can learn how to make
a device which will not only be a decoration, artistic in form and
color, but will at the same time express the peculiar traits, characteristics,
and virtues of the friend for whom it is intended, or
the precept, code, proverb, or creed of the designer. All technical
terms, as far as practicable, are discarded, but the rules of
heraldry strictly adhered to, with such simplifications
as are necessary to render it intelligible.</p>
<div class="figleft" style="width: 121px;">
<img src="images/i_366a.jpg" width="121" height="118" alt="diagram" />
<div class="caption">Fig. 256.—The Field.</div>
</div>

<h3><b>The Field.</b></h3>

<p>The surface on which the design is portrayed
is called the field. This may be of any shape;
originally it was supposed to represent a warrior’s shield, but
you may use a circle, oval, square, diamond, or any other form.</p>




<h3><b>The Points</b></h3>

<p class="unindent">on the surface of the shield locate the exact spot where a
design or object in heraldry may be placed.
Refer by numbers to Fig. 257.</p>

<div class="figright" style="width: 117px;">
<img src="images/i_366b.jpg" width="117" height="115" alt="diagram" />
<div class="caption">Fig. 257.—Points.</div>
</div>


<ul class="ingredients"><li>1. Fess point.</li>
<li>2. Honor point.</li>
<li>3. Nombril point.</li>
<li>4. Dexter chief point.</li>
<li>5. Middle or chief point.</li>
<li>6. Sinister chief point.</li>
<li>7. Dexter base point.</li>
<li>8. Middle base point.</li>
<li>9. Sinister base point.</li></ul>



<p>If you desire to place a flower on the fess point, you find
that it means the exact centre of the shield, and so on.</p>

<p>The devices take significance in accordance with the more
or less importance of their position on the shield; the honor<span class="pagenum"><a name="Page_367" id="Page_367">[367]</a></span>
point holds the highest grade, next to it the middle or chief
point, and the right or dexter side is of more importance than
the left or sinister.</p>

<p>The field may be divided, if desired, in any of the following</p>


<h3><b>Divisions,</b></h3>

<p class="unindent">each of which has a significance, suggested generally by the
form:</p>

<p>Fig. 258, the Chief, occupying the top or head of the
shield, indicates pre-eminence, main object, intelligence, first
principle.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 115px;">
<img src="images/i_367a1.jpg" width="115" height="120" alt="diagram" />
<div class="caption">Fig. 258.—Chief.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 111px;">
<img src="images/i_367a2.jpg" width="111" height="115" alt="diagram" />
<div class="caption">Fig. 259.—Fess.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 116px;">
<img src="images/i_367a3.jpg" width="116" height="120" alt="diagram" />
<div class="caption">Fig. 260.—Parted per Fess.</div>
</div></td>
</tr>
</table>
</div>

<p>Fig. 259, the Fess, denotes cause and effect, the central
band containing the means by which the ends, in the other
spaces, are accomplished.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 118px;">
<img src="images/i_367b.jpg" width="118" height="116" alt="diagram" />
<div class="caption">Fig. 261.—Pale.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 118px;">
<img src="images/i_367b2.jpg" width="120" height="121" alt="diagram" />
<div class="caption">Fig. 262.—Parted per Pale.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 117px;">
<img src="images/i_367b3.jpg" width="117" height="117" alt="diagram" />
<div class="caption">Fig. 263.—Bend.</div>
</div></td>
</tr>
</table>
</div>

<p>Fig. 260 is a partition, and partakes of the meaning of the
division, it is denoted by the term, parted per fess.</p>

<p><span class="pagenum"><a name="Page_368" id="Page_368">[368]</a></span></p>

<p>Fig. 261, the Pale, represents rectitude, uprightness; also
union, the object in the central division uniting whatever occupies
the dexter and sinister sides.</p>

<p>Fig. 262 is parted per pale.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 124px;">
<img src="images/i_368a1.jpg" width="124" height="122" alt="diagram" />
<div class="caption">Fig. 264.—Parted per Bend.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 116px;">
<img src="images/i_368a2.jpg" width="116" height="119" alt="diagram" />
<div class="caption">Fig. 265.—Chevron.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 116px;">
<img src="images/i_368a3.jpg" width="116" height="117" alt="diagram" />
<div class="caption">Fig. 266.—Cross.</div>
</div></td>
</tr>
</table>
</div>

<p>Fig. 263, the Bend, is auspicious, meaning prosperity, success.</p>

<p>Fig. 264 is parted per bend.</p>

<p>Fig. 265, the Chevron, is indicative of aid, assistance, support.</p>

<p>Fig. 266, the Cross, suggests humility, devotion, patience,
perseverance.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 117px;">
<img src="images/i_368b1.jpg" width="117" height="117" alt="diagram" />
<div class="caption">Fig. 267.—Saltire.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 116px;">
<img src="images/i_368b2.jpg" width="116" height="119" alt="diagram" />
<div class="caption">Fig. 268.—Pile.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 121px;">
<img src="images/i_368b3.jpg" width="121" height="117" alt="diagram" />
<div class="caption">Fig. 269.—Canton.</div>
</div></td>
</tr>
</table>
</div>

<p>Fig. 267, the Saltire, a variation of the cross, is recognized
as order, discipline.</p>

<p>Fig. 268, the Pile, being in the form of a wedge, means
penetration, incision, entering to divide or distribute.</p>

<p>Fig. 269, the Canton, denotes an additional, separate idea
or principle; also some characteristic that is added to the original
design.</p>

<p><span class="pagenum"><a name="Page_369" id="Page_369">[369]</a></span></p>


<h3><b>Colors.</b></h3>

<p>These also have symbolical meanings.</p>

<p>Fig. 270.—Gold or yellow is expressed in black and white
by means of dots, and is used in the sense of wealth, ability,
or knowledge.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 116px;">
<img src="images/i_369a1.jpg" width="116" height="116" alt="diagram" />
<div class="caption">Fig. 270.—Gold.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 115px;">
<img src="images/i_369a2.jpg" width="115" height="119" alt="diagram" />
<div class="caption">Fig. 271.—Silver.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 120px;">
<img src="images/i_369a3.jpg" width="120" height="117" alt="diagram" />
<div class="caption">Fig. 272.—Red.</div>
</div></td>
</tr>
</table>
</div>

<p>Fig. 271.—Silver or white is represented by a plain white
surface, and being the color of light, signifies brightness, purity,
virtue, innocence.</p>

<p>Fig. 272.—Red, represented by perpendicular lines, means
ardent affection, love.</p>

<p>Fig. 273.—Blue is represented by horizontal lines; like the
color in the heavens, it is truth, freedom, eternity.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 115px;">
<img src="images/i_369b1.jpg" width="115" height="116" alt="diagram" />
<div class="caption">Fig. 273.—Blue.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 113px;">
<img src="images/i_369b2.jpg" width="113" height="118" alt="diagram" />
<div class="caption">Fig. 274.—Purple.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 115px;">
<img src="images/i_369b3.jpg" width="115" height="116" alt="diagram" />
<div class="caption">Fig. 275.—Green.</div>
</div></td>
</tr>
</table>
</div>

<p>Fig. 274.—Purple, represented by diagonal lines from sinister
chief to dexter base, being the royal color, is understood as
authority, power, grandeur.</p>

<p>Fig. 275.—Green is represented by lines running diagonally
across the shield from dexter chief to sinister base. Like
spring foliage, it suggests hope, life, vitality, youth, freshness.</p>

<p><span class="pagenum"><a name="Page_370" id="Page_370">[370]</a></span></p>

<p>Fig. 276.—Orange is represented by horizontal lines crossed
by diagonal lines from dexter base to sinister chief. It is the
color of the king of beasts and signifies strength, honor, generosity.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 136px;">
<img src="images/i_370a.jpg" width="136" height="132" alt="diagram" />
<div class="caption">Fig. 276.—Orange.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 134px;">
<img src="images/i_370b.jpg" width="134" height="131" alt="diagram" />
<div class="caption">Fig. 277.—Crimson.</div>
</div></td>
<td align="left">
<div class="figcenter" style="width: 128px;">
<img src="images/i_370c.jpg" width="128" height="125" alt="diagram" />
<div class="caption">Fig. 278.—Black.</div>
</div></td>
</tr>
</table>
</div>

<p>Fig. 277.—Crimson, or blood-color, is represented by diagonal
lines from dexter chief and sinister chief, crossing each
other. It denotes boldness, enthusiasm, impetuosity.</p>

<p>Fig. 278.—Black is represented by horizontal and perpendicular
lines crossed. It means darkness, doubt, ignorance,
uncertainty.</p>

<p>To the principal design portrayed on the shield can be
added such appendages as are appropriate—crest over the top
and a scroll with a motto beneath the shield—but they are supplementary,
and not of great importance; their colors should be
those of the shield.</p>

<p>Thus far our plans have followed the exact science of
heraldry, but at this point comes a departure, for in the place
of other armorial devices we shall place Dame Nature’s sweetest
thoughts—flowers.</p>

<p>If we now add to the significance of the forms and colors
already given the accepted and authentic language of flowers,
we shall have a possibility of combinations practically inexhaustible,
and with such a dictionary of symbols to draw upon,
we can successfully translate almost any terse sentiment into a
unique decorative design.</p>

<p><span class="pagenum"><a name="Page_371" id="Page_371">[371]</a></span></p>

<p>In order to give all the assistance in our power we have
culled from the most generally accepted authorities and authentic
sources a short floral vocabulary, and now that we have the
material at hand let us test the system and learn</p>


<h3><b>How to Make a Design in Decorative Language.</b></h3>

<p>Suppose our Natural History Society desires an appropriate
pin or badge.</p>

<p>First we turn to the floral vocabulary and there find that
the magnolia means love of nature. The flower has a good
decorative form, its sentiment
is exactly appropriate,
and we unhesitatingly
adopt it.</p>

<div class="figright" style="width: 287px;">
<img src="images/i_371.jpg" width="287" height="381" alt="TRUE LOVE OF NATURE" />
<div class="caption">Fig. 279.</div>
</div>

<p>After trying various
forms for the shield, we
select a very plain one that
the effect of the decorative
form of the magnolia may
not be lessened by too ornate
surroundings, and to
show the large size of the
blossom we must have it
occupy the entire field
without any divisions.
Next, as to color; let us
think. White, meaning
brightness, purity, etc.?
No. Yellow or gold, signifying
wealth, ability, or—ah! here we have it—<i>knowledge?</i>
Yes, that will do nicely—a love of nature on a field of knowledge;
that certainly is appropriate. But the top of the shield<span class="pagenum"><a name="Page_372" id="Page_372">[372]</a></span>
being so square and plain gives the device an unfinished appearance.
Suppose we try a bar over it, and something not a flower.
As we wish this design to remain simple, a leaf of some kind
would be best; so we return to the floral vocabulary, and after
trying many and almost taking several, finally decide that the
oak leaf is just the form needed to give a finish to the top, and
its meaning, strength, will be an excellent element in the society.
There, our insignia is complete, good in form, attractive in color,
and appropriate in its meaning; but some of us prefer having
the motto written out in plain English, so we will add a decorative
scroll, with the meaning of the design inscribed “True Love
of Nature.” (See Fig. 279.)</p>

<div class="figleft" style="width: 326px;">
<img src="images/i_373a.jpg" width="326" height="287" alt="Wealth is the Reward of INDUSTRY" />
<div class="caption">Fig. 280. </div>
</div>

<p>To familiarize ourselves with the working of the method let
us try another experiment, and take the sentiment, “Wealth is
the Reward of Industry,” to illustrate.</p>

<p>After deciding on the form of the shield, we turn to the divisions,
and running them slowly over for something suitable, stop
at Fig. 259, the Fess, meaning cause and effect. That sounds
promising. Industry is the means by which the end, wealth,
is accomplished. Good so far. We can now see that a floral
emblem to represent industry should be placed in the central
division, and whatever signifies wealth on the other two spaces.
Among our legends of flowers we find industry portrayed by the
bee orchid, and wealth and prosperity are symbolized by wheat.
That is plain and easy. Now we have only to decide upon appropriate
colors for the field to complete the design. Gold
would mean wealth, but that we have in the wheat; besides the
yellow of the wheat would not show well on the gold background,
while on white or silver the contrast is strong and the appearance
agreeable. Silver denotes innocence and virtue, which
are so necessary that without them wealth would be undesirable.
Therefore silver or virtue shall be the groundwork for our wealth,
and for industry we will select purple as meaning power. Industry<span class="pagenum"><a name="Page_373" id="Page_373">[373]</a></span>
possesses the power to acquire wealth. Thus we complete
the emblematical design, as seen in Fig. 280.</p>

<div class="figright" style="width: 282px;">
<img src="images/i_373b.jpg" width="282" height="392" alt="drawing with blank ribbon" />
<div class="caption">Fig. 281.</div>
</div>
<p>The following is a problem given to us for solution: On a
gold chevron in a black field
is a scarlet lily, to which is
added as a crest a sunflower,
and under all a blank scroll.
On this we must write a motto
that will be appropriately symbolized
by the design.</p>

<p>It would be excellent practice
for the student in this
new motif in decorative art
to try, by application of the
foregoing instructions, to decipher
the meaning of this
design before reading the
analysis.</p>

<p><span class="smcap">Solution of Fig. 281.</span>
—We do not think this is
put together as scientifically
as the system would admit of,
but still it can be deciphered.</p>



<p>The scarlet lily (high-souled
aspirations) on a gold (knowledge) chevron, which is
aid, assistance, in a field of black (ignorance), surmounted by<span class="pagenum"><a name="Page_374" id="Page_374">[374]</a></span>
the sunflower (pure and lofty thoughts), freely translated, might
be read: Aspirations after knowledge help to illumine the
darkness of ignorance
with pure and lofty
thoughts. Aspirations
(lily) after knowledge (gold)
help (chevron) to illumine
(the gold chevron and lily
brighten up the dulness of
the black field) the darkness
of ignorance (black) with
pure and lofty thoughts
(sunflower).</p>

<div class="figleft" style="width: 317px;">
<img src="images/i_374a.jpg" width="317" height="290" alt="drawing" />
<div class="caption">Fig. 282.</div>
</div>

<p>For younger girls the
plain shield of one color with
an appropriate flower had
best be used, which they may vary <i>ad infinitum</i>. A simple
yet pretty shield can be made by placing a four-leaved clover,
symbolical of good-luck, on a shield of one color, silver, meaning
purity, innocence, showing that innocence, combined with
the language of the clover, expresses good-fortune.</p>



<p>We might go on forming innumerable designs, each more
beautiful than the last, but enough hints have been given to enable<span class="pagenum"><a name="Page_375" id="Page_375">[375]</a></span>
the young people to make any style of design in this decorative
language which may best suit their purpose. Young
girls can decorate menu cards, having
each motto exactly suited to every separate
guest, the sentiment being indicative
of some feeling or quality peculiar
to each person. Invitations for parties,
also orders of dances or games, may be
designed in the same way.</p>
<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
<tr>
<td align="left"><div class="figright" style="width: 222px;">
<img src="images/i_374ba.jpg" width="222" height="176" alt="drawing" />
<div class="caption">Fig. 283.</div>
</div></td>
<td align="left"><div class="figright" style="width: 173px;">
<img src="images/i_374bb.jpg" width="173" height="148" alt="drawing" />
<div class="caption">Fig. 284</div>
</div></td>
</tr>
</table>
</div>

<p>This beautiful combination of flowers
and heraldry is appropriate for ornamental
needlework, to be embroidered
on chairs, worked on screens, painted
on velvet, wrought on scarfs, and adapted in innumerable ways
to add to the refinement and attractiveness of home.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
<tr>
<td align="left"><div class="figcenter" style="width: 490px;">
<img src="images/i_375a.jpg" width="490" height="353" alt="fan" />
<div class="caption">Fig. 285.</div>
</div></td>
<td align="left"><div class="figright" style="width: 192px;">
<img src="images/i_375b.jpg" width="192" height="327" alt="chair" />
<div class="caption">Fig. 286.</div>
</div></td>
</tr>
</table>
</div>

<p><span class="pagenum"><a name="Page_376" id="Page_376">[376]</a></span></p>

<p>The idea can be utilized in stained-glass effects and in china painting.</p>


<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
<tr>
<td align="left"><div class="figleft" style="width: 309px;">
<img src="images/i_376aa.jpg" width="309" height="212" alt="satchel" />
<div class="caption">Fig. 287.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 196px;">
<img src="images/i_376ab.jpg" width="196" height="212" alt="tidy" />
<div class="caption">Fig. 288.</div>
</div></td>
</tr>
</table>
</div>

<p>The chosen motto may be a decoration in marking personal
possessions, such as table china (Figs. 282, 283, 284), fan (Fig.
285), chair-back (Fig. 286), travelling satchel (Fig. 287), tidy
(Fig. 288), handkerchief (Fig. 289), and sofa-cushion (Fig. 290).</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
<tr>
<td align="left"><div class="figcenter" style="width: 151px;">
<img src="images/i_376b1.jpg" width="151" height="111" alt="handkerchief" />
<div class="caption">Fig. 289.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 278px;">
<img src="images/i_376b2.jpg" width="278" height="185" alt="cushion" />
<div class="caption">Fig. 290.</div>
</div>
</td>
</tr>
</table>
</div>


<p>These are only a few examples of the many articles which
can be beautified and stamped with your individual mark. Portières
offer a good ground for applique or embroidery in decorative
language.</p>

<p><span class="pagenum"><a name="Page_377" id="Page_377">[377]</a></span></p>


<h3><b>Book-Plates</b></h3>

<p class="unindent">seem to be regaining their popularity and usefulness. These
book-plates are tablets in any
style, which, when gummed
inside on the front covers of
books, have been used for
many years to designate to
whom the books belong.</p>

<p>There is a certain book-plate
more interesting to us
than all others. To the design
on it we are indebted for our
national shield and our Stars
and Stripes. It was used by
the Father of our Country, and
we are glad to be able to give
a print of the original in Fig.
291.</p>

<div class="figcenter" style="width: 245px;">
<img src="images/i_377.jpg" width="245" height="336" alt="George Washington's" />
<div class="caption">Fig. 291.</div>
</div>

<p>In the decorative language
any style of book-plate can be
designed, which, when pasted in a favorite book, will add to the
value of the already treasured volume.</p>


<h3><b>Floral Vocabulary.</b></h3>



<div class="center">
<table border="0" cellpadding="0" cellspacing="0" summary="Language of flowers">
<tr><td align="left">Apple-blossom</td><td align="left">Preference.</td></tr>
<tr><td align="left">Almond</td><td align="left">Hope.</td></tr>
<tr><td align="left">Acanthus</td><td align="left">Art.</td></tr>
<tr><td align="left">Arbor vitæ</td><td align="left">Unchanging friendship.</td></tr>
<tr><td align="left">Bulrush</td><td align="left">Docility.</td></tr>
<tr><td align="left">Balm</td><td align="left">Social intercourse.</td></tr>
<tr><td align="left">Balsamine</td><td align="left">Impatience. <span class="pagenum"><a name="Page_378" id="Page_378">[378]</a></span></td></tr>
<tr><td align="left">Blue violet</td><td align="left">Faithfulness.</td></tr>
<tr><td align="left">Bay wreath</td><td align="left">Glory.</td></tr>
<tr><td align="left">Box</td><td align="left">Constancy.</td></tr>
<tr><td align="left">Broom</td><td align="left">Humility.</td></tr>
<tr><td align="left">Buttercup</td><td align="left">Riches.</td></tr>
<tr><td align="left">Camellia japonica</td><td align="left">Unpretending excellence.</td></tr>
<tr><td align="left">Cherry</td><td align="left">A good education.</td></tr>
<tr><td align="left">Canterbury-bell</td><td align="left">Gratitude.</td></tr>
<tr><td align="left">Chestnut</td><td align="left">Do me justice.</td></tr>
<tr><td align="left">China aster</td><td align="left">Love of variety.</td></tr>
<tr><td align="left">Cabbage</td><td align="left">Profit.</td></tr>
<tr><td align="left">Coreopsis</td><td align="left">Always cheerful.</td></tr>
<tr><td align="left">Clover, red</td><td align="left">Industry.</td></tr>
<tr><td align="left">Cowslip</td><td align="left">Winning grace.</td></tr>
<tr><td align="left">Clover, white</td><td align="left">I promise.</td></tr>
<tr><td align="left">Daffodil</td><td align="left">Uncertainty.</td></tr>
<tr><td align="left">Dahlia</td><td align="left">Elegance and dignity.</td></tr>
<tr><td align="left">Dandelion</td><td align="left">Coquetry.</td></tr>
<tr><td align="left">Fennel</td><td align="left">Strength.</td></tr>
<tr><td align="left">Geranium</td><td align="left">Gentility.</td></tr>
<tr><td align="left">Grass</td><td align="left">Submission.</td></tr>
<tr><td align="left">Heliotrope</td><td align="left">Devotion.</td></tr>
<tr><td align="left">House-leek</td><td align="left">Domestic economy.</td></tr>
<tr><td align="left">Hollyhock</td><td align="left">Ambition.</td></tr>
<tr><td align="left">Ivy</td><td align="left">Dependence.</td></tr>
<tr><td align="left">Laurestine</td><td align="left">A token.</td></tr>
<tr><td align="left">Lichen</td><td align="left">Solitude.</td></tr>
<tr><td align="left">Lettuce</td><td align="left">Cold-hearted.</td></tr>
<tr><td align="left">Lemon-blossom</td><td align="left">Discretion.</td></tr>
<tr><td align="left">Lilac, purple</td><td align="left">Fastidiousness.</td></tr>
<tr><td align="left">Lily, white</td><td align="left">Purity.</td></tr>
<tr><td align="left">Mullein</td><td align="left">Good-nature.</td></tr>
<tr><td align="left">Mignonette</td><td align="left">Worth.<span class="pagenum"><a name="Page_379" id="Page_379">[379]</a></span></td></tr>
<tr><td align="left">May-flower</td><td align="left">Welcome.</td></tr>
<tr><td align="left">Nasturtium</td><td align="left">Patriotism.</td></tr>
<tr><td align="left">Oats</td><td align="left">Music.</td></tr>
<tr><td align="left">Olive</td><td align="left">Peace.</td></tr>
<tr><td align="left">Ox-eye</td><td align="left">Patience.</td></tr>
<tr><td align="left">Poppy, white</td><td align="left">Dreams.</td></tr>
<tr><td align="left">Snowdrop</td><td align="left">Consolation.</td></tr>
<tr><td align="left">Straw</td><td align="left">United.</td></tr>
<tr><td align="left">Sensitive-plant</td><td align="left">Sensitiveness.</td></tr>
<tr><td align="left">Star of Bethlehem</td><td align="left">Reconciliation.</td></tr>
<tr><td align="left">Sweetbrier</td><td align="left">Simplicity.</td></tr>
<tr><td align="left">Thyme</td><td align="left">Thriftiness.</td></tr>
<tr><td align="left">Thorn-apple</td><td align="left">Disguise.</td></tr>
<tr><td align="left">Tulip-tree</td><td align="left">Fame.</td></tr>
<tr><td align="left">Witch-hazel</td><td align="left">A spell.</td></tr>
<tr><td align="left">Winged seeds of all kinds&nbsp;&nbsp;&nbsp;&nbsp;</td><td align="left">Messengers.</td></tr>
<tr><td align="left">White violet</td><td align="left">Modesty.</td></tr>
<tr><td align="left">White rose</td><td align="left">Silence.</td></tr>
</table></div>


<div class="figcenter" style="width: 474px;">
<img src="images/i_379.jpg" width="474" height="167" alt="princess with a heraldic shield" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_380" id="Page_380">[380]</a></span></p>




<h2>CHAPTER XXXIV.<br />

<small>A FEW ITEMS ON OLD-FASHIONED NEEDLE-WORK,
WITH SOME NEW AND ORIGINAL
PATTERNS.</small></h2>


<div>
  <img class="drop-cap" src="images/i_380.jpg" width="164" height="183" alt="C" />
</div>

<p class="drop-capi2">“COME around early this afternoon and bring
your fancy-work; we will have a nice,
cosey time; all the girls will be there, and
we can read that last new book.” Such
is the familiar and welcome invitation
given and received, from time to time, by
most young girls, and they find quiet but
real recreation in these informal meetings,
where, while listening to a friend read
aloud, they believe it much easier to keep their minds on the
subject if their hands are employed with dainty needle-work.
Then, too, sewing is a real pleasure when one becomes interested
in the work, and anyone who thoroughly understands
plain sewing can with ease learn fancy stitches of all kinds, for
good old-fashioned</p>


<h3><b>Plain Sewing</b></h3>

<p class="unindent">is the foundation—the A B C—of all the more elaborate drawn
work, embroideries, and some of the laces. As a rule we think</p>


<h4>OVERHANDING</h4>

<p class="unindent">comes first on the list of plain stitches; this is exactly the same
as sewing over and over. Hold the two edges of the material<span class="pagenum"><a name="Page_381" id="Page_381">[381]</a></span>
firmly together between the first finger and thumb of the left
hand, while with the right hand you take the stitches very close
together and as near the edge as possible, sewing from right
to left (Fig. 292). It is well to keep the edge nearest to you a
little tighter than the outer edge, to prevent its puckering.
Always baste the seam before sewing, and when the seam is
finished open it and flatten out the stitches (Fig. 293), so that
the edges of the material will not overlap, but just meet together
and lie smooth and flat.</p>


<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr><td align="left"><div class="figcenter" style="width: 218px;">
<img src="images/i_381a.jpg" width="218" height="190" alt="diagram" />
<div class="caption">Fig. 292.—Overhanding; or Sewing
over and over.</div>
</div></td><td align="left"><div class="figcenter" style="width: 270px;">
<img src="images/i_381b.jpg" width="270" height="203" alt="diagram" />
<div class="caption">Fig. 293—Overhanding. The seam opened with
stitches flattened out.</div>
</div></td></tr>
</table></div>





<h4>OVERCASTING</h4>

<p class="unindent">is the same as overhanding, except the stitches slant, are farther
apart, taken down deeper in the material, and the seam is not
opened.</p>


<h4>HEMMING.</h4>

<p>First turn in the raw edge four or five threads, according to
the kind of goods to be hemmed, then turn it down again to
the desired width; this done, baste the hem down evenly and
neatly—it must be of the same width throughout—hold the<span class="pagenum"><a name="Page_382" id="Page_382">[382]</a></span>
sewing over the first finger of your left hand, and have the
stitches small, even, and
very near the edge of the
hem (Fig. 294).</p>

<div class="figcenter" style="width: 302px;">
<img src="images/i_382a.jpg" width="302" height="172" alt="diagram" />
<div class="caption">Fig. 294.—Hemming.</div>
</div>


<h4>RUNNING.</h4>

<p>Pass the needle in and
out of the material in a
straight line (Fig. 295),
making all the stitches
the same size. We believe the rule is to take up two threads
and leave two; but the length of the stitch should be regulated
by the kind of material used.</p>

<div class="figcenter" style="width: 309px;">
<img src="images/i_382b.jpg" width="309" height="178" alt="diagram" />
<div class="caption">Fig. 295.—Running.</div>
</div>


<h4>BASTING</h4>

<p class="unindent">is to take long stitches in the same manner as running.</p>


<h4>GATHERING</h4>

<p class="unindent">does not differ much from running; the stitches are taken on the
needle in the same manner, but in this case two threads are
taken up and four left; the line should be kept perfectly straight.</p>

<p>If you wish to gather
an apron or a skirt divide
it into halves, then
into quarters, in order
to make the fulness
even on each half of the
band; mark the four
places and gather on the
right side; when finished
draw the stitches
tightly together on the thread and stroke down evenly with a<span class="pagenum"><a name="Page_383" id="Page_383">[383]</a></span>
needle. To sew in the
gathers, back-stitch each
one in separately.</p>


<h4>STITCHING.</h4>

<p>Take two threads
back of the needle and
two before, having each
stitch meet the last one, as in Fig. 296; keep the stitches even
and in a straight line.</p>

<div class="figcenter" style="width: 299px;">
<img src="images/i_383a.jpg" width="299" height="167" alt="diagra" />
<div class="caption">Fig. 296.—Stitching.</div>
</div>


<h4>BACK-STITCHING.</h4>

<p>Proceed as in stitching, only make the stitches longer and
do not have them meet.</p>


<h4>FELLING.</h4>

<p>First baste up the seam, allowing the upper edge to extend
five threads beyond the lower edge (Fig. 296); then back-stitch
or stitch the two edges together; next turn the upper
edge down over the lower one and lay open the seam so that
the fell will lie down flat
like a hem (Fig. 297);
then hem it down neatly.</p>

<div class="figcenter" style="width: 289px;">
<img src="images/i_383b.jpg" width="289" height="171" alt="diagram" />
<div class="caption">Fig. 297.—Felling.</div>
</div>


<h3><b>Button-holes.</b></h3>

<p>Fig. 298 shows how
to take the proper stitch.
Be careful in cutting
button-holes to make the
slit even to a thread and cut the outer corner rounded; bar
the inner corner by taking two stitches across it, and overcast<span class="pagenum"><a name="Page_384" id="Page_384">[384]</a></span>
the button-hole around three or four threads deep from the
edge, or if the material is not inclined to ravel run it with
thread, either double
or single, drawing it
a trifle tight; then
begin at the left-hand
corner to work the
button-hole, leaving
one thread between
each stitch; keep the stitches exactly the same depth and the
loop or pearl of the button-hole on the upper edge.</p>

<div class="figcenter" style="width: 325px;">
<img src="images/i_384a.jpg" width="325" height="126" alt="diagram" />
<div class="caption">Fig. 298.—Button-hole Stitch.</div>
</div>


<h4>HERRING-BONE OR CAT’S-TOOTH STITCH</h4>

<p class="unindent">is used to keep the seams in flannel spread open and fastened
neatly down. Fig. 299 shows how to take the stitch; make the
stitches all even and of the same size.</p>

<div class="figcenter" style="width: 314px;">
<img src="images/i_384b.jpg" width="314" height="169" alt="diagram" />
<div class="caption">Fig. 299.—Herring-bone Stitch.</div>
</div>

<p>We have now given all the stitches which properly belong
to plain sewing, and
our next step will be</p>


<h3><b>Darning and Mending.</b></h3>

<p>“A stitch in time
saves nine;” this much
most of us know from
experience, and it is
wise to devote a little time on a certain day each week to looking
over the wardrobe and making any repairs that may be
needed; the little care and time thus bestowed will prove a
true economy, and it is a real comfort to have all one’s clothing
in perfect order.</p>

<p><span class="pagenum"><a name="Page_385" id="Page_385">[385]</a></span></p>
<div class="figcenter" style="width: 207px;">
<img src="images/i_385a.jpg" width="207" height="150" alt="diagram" />
<div class="caption">Fig. 300.—Jersey or Stocking Darn.</div>
</div>

<h4>TO DARN A JERSEY OR A STOCKING.</h4>

<p>With a needle and thread carefully draw out the uneven
ravelled edges of the hole, in order to diminish its size as much
as possible, and bring the loops and
ends back in their proper places;
then place under it a wooden egg or
anything that will answer the purpose,
and using thread of the same
texture and shade of color as the
garment to be mended, run back
and forth across the hole as far as
the material is worn thin, leaving a
loop at the end of each turn. In crossing the threads, take up
every other thread alternately each way (Fig. 300), and make
the darn of an irregular shape, as one of an even outline does
not wear well; when the weaving or darning is finished the loops
can be cut off.</p>

<div class="figcenter" style="width: 235px;">
<img src="images/i_385b.jpg" width="235" height="158" alt="diagram" />
<div class="caption">Fig. 301.—Tear Darn.</div>
</div>


<h4>TO DARN A TEAR.</h4>

<p>Carefully bring the ragged edges together and baste the
tear as nearly as possible in its original position; then, if it is
delicate muslin or dress material
to be mended, use ravellings of
the same instead of thread to
darn with, and weave it in and
out across the edges of the rent,
as in Fig. 301; if the darn needs
strengthening, baste a piece of
the same material under the rent
before darning, and catch down
the edges of the piece on the under side of the goods. In
mending broadcloth or like material, darn it on the wrong<span class="pagenum"><a name="Page_386" id="Page_386">[386]</a></span>
side, and when the darn is finished, ruff up the nap with the
point of the needle at the edges of the tear on the right side to
cover the stitches; then dampen the darn, and after laying a
thin clean cloth over it, press with a moderately hot flat-iron;
this should make the darn almost, if not quite, imperceptible.</p>


<h3><b>How to Patch.</b></h3>

<p>If possible cut the piece intended as a patch of the same
goods as the garment to be mended, and if there is a pattern
be careful to so cut and place the patch that it will match exactly;
baste and hem down the patch on the right side of the
worn part of the garment; then cut out the old material on the
wrong side, leaving enough edge to form a firm hem; sew this
to the patch, taking care that the stitches do not show on the
right side.</p>


<h3><b>How to Sew on a Button.</b></h3>

<p>Should much strain come on the button, as in little children’s
clothes, first hem down a small double piece of muslin,
on the wrong side of the garment, at the exact spot where the
button is to be placed, and with strong thread take a stitch on
the right side; then sew the button through about four times,
being careful not to let the stitches spread on the wrong side;
wind the thread three times around the shank of the button
formed by the stitches, drawing the thread a little tight, pass
the needle through and fasten the thread neatly on the wrong
side; the extra piece of muslin can be omitted when not needed.</p>


<h3><b>To Mend a Kid Glove.</b></h3>

<p>If the glove is merely ripped, and there is no strain on the
portion to be mended, sew the two edges together over and
over on the right side with fine thread or sewing-silk matching<span class="pagenum"><a name="Page_387" id="Page_387">[387]</a></span>
in color the glove to be mended; if, however, there <i>is</i> liability
of its tearing out again, strengthen the edges by first working a
button-hole stitch on each; then sew them together over and
over, passing the needle in and out of the loops of the button-hole
stitch, so forming a narrow net-work of thread between the
two pieces of kid. Should the glove need a patch, carefully cut
a piece of kid out of the best part of an old kid glove corresponding
in color to the
one needing repairs;
make the patch exactly
the shape and size of the
hole, and button-hole
stitch all around the edge
of the hole and the edge
of the patch; then sew in
the patch over and over,
catching together the
loops of the button-hole stitches; this makes the mending firm,
neat, and strong.</p>


<h3><b>Fancy Stitches.</b></h3>

<p>These are in many varieties of style; one of the most useful
is known as the</p>


<h4>FEATHER STITCH.</h4>

<p>Fig. 302 gives the position of the needle and the manner of
taking the stitch. Remember to make all the stitches of an
exact length and the same distance apart, first one on this side
and then one on that, keeping them in a straight, even line.</p>

<div class="figcenter" style="width: 305px;">
<img src="images/i_387.jpg" width="305" height="168" alt="diagram" />
<div class="caption">Fig 302.—Feather Stitch.</div>
</div>


<h4>CHAIN STITCH</h4>

<p class="unindent">sometimes takes the place of braiding; it is the same stitch
as that used in the old-fashioned tambouring (Fig. 303);<span class="pagenum"><a name="Page_388" id="Page_388">[388]</a></span>
many Persian embroideries are made in silk with the chain-stitch.</p>

<div class="figcenter" style="width: 305px;">
<img src="images/i_388a.jpg" width="305" height="92" alt="diagram" />
<div class="caption">Fig. 303.—Chain Stitch.</div>
</div>


<h4>A NEW IDEA IN OUTLINE STITCH.</h4>

<p>The stitch (Fig. 304) is used for outline embroidery, and
when made with fine black sewing-silk resembles pen-and-ink
work. We have seen
figures outlined on linen
with the drapery worked
in colors, while the face,
hands, and feet were
simply in black and
white; being finely outlined, the effect was novel and artistic,
for in this way the features were made as true as if drawn on
paper with a pencil.</p>

<p>For filling in the solid colors take the common running
stitch, but make the stitches long on the right side of the embroidery
and very short on the wrong side, so as to give the
appearance of
the colored
fabric copied.</p>

<div class="figcenter" style="width: 385px;">
<img src="images/i_388b.jpg" width="385" height="120" alt="diagram" />
<div class="caption">Fig. 304.—Outline Stitch.</div>
</div>

<p>Use filo-silk;
and English
or French
embroidery
cottons, when
colors are needed in the work. Always soak the silks and
cottons in strong salt and water before using; this sets the
color and keeps it from running when washed.</p>


<h4>HEM-STITCHING.</h4>

<p>Decide upon the width of the hem and the width of the
space for drawn threads; carefully draw out the thread at one<span class="pagenum"><a name="Page_389" id="Page_389">[389]</a></span>
edge of the space, then the thread at the other edge; next
all the intervening threads; this finished, fold and baste down
the hem, allowing it to meet the edge of the drawn work, and
taking five threads running
lengthwise in the space, bind
them together at the edge of
the hem; at the same time
stitch them to the hem, as in
Fig. 305.</p>

<div class="figcenter" style="width: 254px;">
<img src="images/i_389a.jpg" width="254" height="186" alt="diagram" />
<div class="caption">Fig. 305.—Hem-stitching.</div>
</div>


<h3><b>Drawn Work</b></h3>

<p class="unindent">always looks well and is very
serviceable when made of
linen. Scarfs for buffets, bureaus, or tables, and tea-cloths,
tidies, or chair-backs, can be made of crash, butchers’ linen,
and linen sheeting; it is better to have doylies of very fine linen.</p>

<div class="figcenter" style="width: 263px;">
<img src="images/i_389b.jpg" width="263" height="139" alt="diagram" />
<div class="caption">Fig. 306.—Fagotting Stitch.</div>
</div>

<p>In making drawn work, if the article is to be fringed, first
draw out a few threads to measure the depth of the fringe,
and at the opening thus made hem-stitch all around the edge
of the material, leaving the
ravelling out of the fringe until
the drawn work is finished;
proceed to draw the threads
wherever spaces are desired,
and before working the pattern
always hem-stitch both
edges of the spaces. In Fig.
306 the pattern marked B
shows the stitch called fagotting, made by crossing every other
group of threads back over the one preceding and drawing the
linen thread through in such a way as to keep the groups
twisted; the two lines marked A, in the Fig. 306, are intended<span class="pagenum"><a name="Page_390" id="Page_390">[390]</a></span>
more as a finish to some elaborate design than as a pattern in
themselves; these are made by
hem-stitching down a number
of threads to each group. Fig.
307 gives a favorite pattern; for
this count the threads, so that
the spaces may be equal and
regular; draw the threads in
all the spaces running one way
first; then draw the threads in
the spaces crossing the first one
and run linen threads diagonally
across from the top of the
right-hand corner to the bottom of the left, dividing each
linen square into two
equal parts; cross these
by threads also running
diagonally across from the
top of the left-hand corner
to the bottom of the right,
again dividing the linen
squares, making four equal
parts; then weave threads
through all the spaces running both horizontally and perpendicularly,
using the fagotting stitch
(Fig. 306), and when crossing the
threads in the open spaces tie the
centres of each in turn, as in Figs.
308, 309; finish the pattern by running
a thread in and out several
times around the knots in the
centres of the wheels and fasten the ends by tying neatly.
Another pattern is given in Fig. 310.</p>

<div class="figcenter" style="width: 253px;">
<img src="images/i_390a.jpg" width="253" height="214" alt="diagram" />
<div class="caption">Fig. 307.—Drawn Work.</div>
</div>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 136px;">
<img src="images/i_390b1.jpg" width="136" height="152" alt="diagram" />
<div class="caption">Fig. 308.—First Knot.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 156px;">
<img src="images/i_390b2.jpg" width="156" height="141" alt="diagram" />
<div class="caption">Fig. 309.—Second Knot.</div>
</div></td>
</tr>
</table>
</div>

<div class="figcenter" style="width: 232px;">
<img src="images/i_390c.jpg" width="232" height="117" alt="diagram" />
<div class="caption">Fig. 310.—Border in Drawn Work.</div>
</div>

<p><span class="pagenum"><a name="Page_391" id="Page_391">[391]</a></span></p>

<p>Outline work is often combined with drawn work; fast colors,
in either cotton, linen or silk, are used for the outline design.
When the article worked is intended for daily use and must
frequently be laundried, it is better to substitute in place of the
fringe a wide hem-stitched hem edged with firm linen lace.</p>

<p>Very dainty fancy aprons are made of common scrim with
spaces drawn and narrow ribbons of different colors simply
woven in and out of the threads, running crosswise through the
spaces.</p>


<h3><b>Applique and Original Designs for Portières.</b></h3>

<p>The pattern in this work is cut from one material and sewed
on another.</p>

<p>Almost any kind of fabric can be used as either applique or
foundation; velvet and plush are suitable for applique, but
make poor groundwork, owing to the long nap; both materials
in dark rich colors are handsome when used as a border
on portières or table-covers. To applique a pattern of velvet
or plush cut the design very exact and cover the wrong side
with a slight coating of gum, being careful to have the gum
thin on the edges so that it will not spread on the groundwork;
then lay the velvet on the place it is to occupy, and
after pressing it down very gently and lightly with your hand,
allow it to dry; this accomplished, the edges of the pattern
may be hemmed down neatly on the foundation. If a further
finish is desired, outline the design by sewing all around the
edge a small gold or silken cord.</p>


<h3><b>Portières.</b></h3>

<p>We give an original applique design for a portière in Fig.
311, representing Day. The foundation is of soft dark-blue
momie-cloth, the sun a round piece of bright yellow or orange<span class="pagenum"><a name="Page_392" id="Page_392">[392]</a></span>
satin, and the rays are of gold or heavy yellow silk thread
merely run in stitches of various lengths; the cloud is of light
blue crape or crazy cloth, and the bird is one of those which
come prepared expressly for applique by the Japanese, and can
be purchased at almost any Japanese or fancy store; if possible
a lark should be selected in preference to other birds. The
border is a band of old gold velvet. Our other design (Fig.
312) represents Night; the foundation and band are the same as
those for the “Day” portière; the star is of white silk, the
moon of very pale Nile green silk, and the cloud of dark pearl
gray crape or crazy cloth, much darker than the blue momie-cloth.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 239px;">
<img src="images/i_392a.jpg" width="239" height="330" alt="diagram" />
<div class="caption">Fig. 311.—Portière. Day.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 235px;">
<img src="images/i_392b.jpg" width="235" height="330" alt="diagram" />
<div class="caption">Fig. 312.—Portière. Night.</div>
</div></td>
</tr>
</table>
</div>

<p>The applique work must be done very carefully. First cut
out the designs, next turn in the raw edges evenly and smoothly,
and with a very fine thread and needle baste the edges down;<span class="pagenum"><a name="Page_393" id="Page_393">[393]</a></span>
then baste the designs carefully on the foundations, and, with a
fine needle and sewing-silk matching in color the piece to be
appliqued, hem each one down neatly, making the stitches
almost invisible. The band of velvet can be sewed on the bottom
edge of the momie-cloth, then turned up like a hem and
hemmed down.</p>


<h3><b>Lace.</b></h3>

<p>Very beautiful lace is made by cutting out the heavy patterns
which are still perfect, from old and worn laces and embroideries,
and transferring the designs to new fine wash-net.
After first basting them on, hem them down to the netting with
a fine needle and thread; in this way the embroideries last as
long again and look as well as when new.</p>


<h3><b>Ribbon Embroideries.</b></h3>

<p>We can give a clearer idea of this work by means of an example,
and we will take the common white daisy as an illustration.</p>

<p>Thread a long-eyed coarse needle with very narrow white ribbon,
and beginning at the centre of the flower, pass the needle
from the wrong side up through your material, drawing the
ribbon out nearly its full length and leaving only a short piece
on the wrong side to be fastened down; now take a stitch
straight out the length of a daisy petal and pass the needle
through to the wrong side; then, taking a very short stitch,
draw the needle out through on the right side; next take another
long stitch back to the centre of the daisy, thus forming
the second petal; continue in the same manner, making the
petals radiate out in a circle from the centre of the flower. Work
the centres of the daisies with yellow silk and the stems in
dark-green silk; the leaves can be either worked or appliqued.<span class="pagenum"><a name="Page_394" id="Page_394">[394]</a></span>
For half-blown daisies make only about a quarter of a circle of
petals, and in place of the yellow centre, work a green calyx.
Ox-eyed daisies can be made in the same way with soft, thin
yellow ribbon, a little broader than the ribbon used for white
daisies. The work is rapid and pleasing, and almost any
flower can be imitated very perfectly with ribbon embroidery.</p>

<div class="figcenter" style="width: 477px;">
<img src="images/i_394.jpg" width="477" height="131" alt="girl and cherub sewing with gigantic needle and thread out of doors" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_395" id="Page_395">[395]</a></span></p>




<h2>CHAPTER XXXV.<br />

<small>SCRAP-BOOK AND HOME-MADE BOOK-COVERS.</small></h2>


<div>
  <img class="drop-cap" src="images/i_395.jpg" width="179" height="165" alt="T" />
</div>

<p class="drop-capi2">THE fashion of collecting pictured advertising
cards, so much in vogue among
the children a few years ago, seems to
have run its course, and dying out, it
has left on the young collectors’ hands
more cards than they know well what
to do with. Many of the collections
have been pasted in scrap-books, of
which the children have long since tired. While examining
one of these volumes with its row after row of cards, it occurred
to me that these advertisements might be utilized in a
new way by dividing and combining them. The experiment
proved a success, and I will now try to show you how, with
the aid of scissors and mucilage, the pictures which have become
so familiar may be made to undergo changes that are
indeed wonderful, and how from them may be formed a</p>


<h3><b>Mother Goose Scrap-book.</b></h3>

<p>The nursery scrap-books made of linen or paper cambric
are, perhaps, familiar to most of our readers; but for the benefit
of those who may not yet have seen these durable little
books, we will give the following directions for making one:
Cut from a piece of strong linen, colored paper cambric, or<span class="pagenum"><a name="Page_396" id="Page_396">[396]</a></span>
white muslin, four squares twenty-four inches long by twelve
inches wide. Button-hole stitch the edges all around with
some bright-colored worsted, then place the squares neatly together
and stitch them directly through the centre with strong
thread (Fig. 313). Fold them over, stitch again, as in Fig.
314, and your book is finished and ready for the pictures.</p>

<p>It is in the preparation of these pictures that you will find
the novelty of the plan we propose. Instead of pasting in those
cards which have become too familiar to awaken much interest,
let the young book-makers design and form their own pictures
by cutting special figures, or parts of figures, from different
cards, and then pasting them together so as to form new combinations.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 294px;">
<img src="images/i_396a.jpg" width="294" height="149" alt="diagram" />
<div class="caption">Fig. 313.—Scrap-book Opened and Stitched through
the Centre.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 149px;">
<img src="images/i_396b.jpg" width="149" height="146" alt="diagram" />
<div class="caption">Fig. 314.—Scrap-book Folded
and again Stitched</div>
</div></td>
</tr>
</table>
</div>

<p>Any subject which pleases the fancy can be illustrated in
this way, and you will soon be deeply interested in the work
and delighted at the strange and striking pictorial characters
that can be produced by ingenious combinations.</p>

<p>Stories and little poems may be very nicely and aptly illustrated;
but the “Mother Goose Melodies” are, perhaps, the
most suitable subjects with which to interest younger children,
as they will be easily recognized by the little folk. Take, for
instance, the “Three Wise Men of Gotham,” who went to sea
in a bowl. Will not Fig. 315 serve very well as an illustration<span class="pagenum"><a name="Page_397" id="Page_397">[397]</a></span>
of the subject? Yet these figures are cut from advertising
cards, and no
two from the
same card.
Fig. 316 shows
the materials,
Fig. 315 the
result of combining
them.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="center" colspan="2"><div class="figcenter" style="width: 378px;">
<img src="images/i_397a.jpg" width="378" height="229" alt="drawing" />
</div>
</td>
</tr>
<tr><td align="center"><div class="caption">Fig. 315.—“Three Wise Men<br />
of Gotham.”</div></td>
<td align="center" valign="top"><div class="caption">Fig. 318.—“Little Jack Horner.”</div></td></tr>
</table>
</div>
<div class="figleft" style="width: 113px;">
<img src="images/i_397b.jpg" width="113" height="342" alt="drawings of men and tub" />
<div class="caption">Fig. 316.—Figures
cut from Advertising
Cards.</div>
</div>

<div class="figright" style="width: 140px;">
<img src="images/i_397c.jpg" width="140" height="261" alt="drawings of jack pie and ribbon" />
<div class="caption">Fig. 317.—Figures cut
from Christmas Cards</div>
</div>

<p>Again, the
little man
dancing so
gayly (Fig.
317) is turned
into “Little Jack Horner” eating his Christmas
pie (Fig. 318), by merely cutting off his legs
and substituting a dress-skirt
and pair of feet clipped from
another card. The Christmas
pie in his lap is from still another
card.</p>

<p>In making pictures of this
kind, figures that were originally
standing may be forced to
sit; babies may be placed in
arms which, on the cards they
were stolen from, held only
cakes of soap, perhaps, or
boxes of blacking; heads may
be ruthlessly torn from bodies
to which they belong, and as ruthlessly clapped
upon strange shoulders; and you will be surprised
to see what amusing, and often excellent, illustrations<span class="pagenum"><a name="Page_398" id="Page_398">[398]</a></span>
present themselves as the result of a little ingenuity in clipping
and pasting. Another kind, which we shall call the</p>


<h3><b>Transformation Scrap-Book,</b></h3>

<p class="unindent">will be found exceedingly amusing on account of the various
and ever-changing pictures it presents.</p>

<p>Unlike any other, where the picture once pasted in must
remain ever the same, the transformation scrap-book alters
one picture many times.
To work these transformations
a blank book is
the first article required;
one eight inches long by
six and a half or seven
wide is a good size.</p>

<div class="figright" style="width: 293px;">
<img src="images/i_398.jpg" width="293" height="200" alt="diagram" />
<div class="caption">Fig. 319.—Transformation Scrap-book with Pages
cut.</div>
</div>

<p>Cut the pages of this
book across, one-third of
the way down. Fig. 319
shows how this should be
done. The three-cornered piece cut out near the binding allows
the pages to be turned without catching or tearing. Leave the
first page uncut; also the one in the middle of the book.</p>

<p>Cut from picture-cards, or old toy-books which have colored
illustrations, the odd and funny figures of men and women,
boys and girls, selecting those which will give a variety of costumes
and attitudes.</p>

<p>Paste a figure of a woman or girl on the first page, placing
it so that when the lower part of the next page is turned, the
upper edge of it will come across the neck of the figure where it
is joined on to the shoulders.</p>

<div class="figcenter" style="width: 496px;">
<img src="images/i_399.jpg" width="496" height="627" alt="six drawings of figures with lines across their necks" />
<div class="caption">Leaves from a Transformation Scrap-book.</div>
</div>

<p>Cut the heads from the rest of the pictured women, and
choosing a body as different as possible from the one just used,<span class="pagenum"><a name="Page_399" id="Page_399">[399]</a></span>
paste it upon the lower part of the next page, directly under
the head belonging to the first body. Upon the upper part of<span class="pagenum"><a name="Page_400" id="Page_400">[400]</a></span>
the same page paste any one of the other heads, being careful
to place it so that it will fit the body. Continue in this way,
pasting the heads upon the upper, and the bodies on the lower,
part of the page, until the space allowed for the women is filled
up; then, commencing at the page left in the middle of the book,
paste upon it the figure of a man, and continue in the same manner
as with the woman, until the spaces are all used and the
book is complete.</p>

<p>The combinations formed in this way are very funny. Old
heads with young bodies; young heads with old bodies; then
one head with a great variety of bodies, and so on.</p>

<p>The first picture may represent a man, tall and thin, dressed
in a rowing costume, as shown in the illustration. Turn the
lower part of the next page, and no longer is he thin and tall,
but short and stout, the position of this body giving the expression
of amazement, even to the face. The next page turned
shows him to be neither tall nor short, thick nor thin, but a
soldier, well-proportioned, who is looking over his shoulder in
the most natural manner possible.</p>

<p>The figures in the illustration were cut from advertising cards,
and the head belongs to none of the bodies.</p>

<p>A curious fact in arranging the pictures in this way is that
the heads all look as though they might really belong to any of
the various bodies given them.</p>

<p>Instead of having but one figure on a page, groups may be
formed of both men and women, and in the different arrangement
of the figures they can be made very ludicrous indeed.</p>

<p>A scrap-book for older girls, which might be termed more
fitly</p>


<h3><b>An Album,</b></h3>

<p class="unindent">can be made by mounting engravings, wood-cuts, photographs,
and water-colors on pieces of thin card-board all of the same size.<span class="pagenum"><a name="Page_401" id="Page_401">[401]</a></span>
If any one subject be chosen, and such pictures selected as tend
in some way to illustrate that subject, the book will prove more
interesting in the making, and will be quite valuable when finished.</p>

<p>There will be no difficulty in mounting the pictures; simply
paste them on the card-board with good flour-paste, and press
under a heavy weight, keeping them perfectly neat and free
from smears of paste on the edges. When two or more are
mounted at the same time, place clean pieces of blotting-paper
between, pile one upon another, and put the heavy weight on
top.</p>

<p>Such a scrap-book should be bound in a</p>


<h3><b>Home-made Book-cover,</b></h3>

<p class="unindent">which is made in this way:</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 178px;">
<img src="images/i_401a.jpg" width="178" height="197" alt="diagram" />
<div class="caption">Fig. 320.—One Side of Book-cover
with Holes cut near the Edge.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 116px;">
<img src="images/i_401b.jpg" width="116" height="195" alt="diagram" />
<div class="caption">Fig. 321.—Book-cover
Tied with Ribbons.</div>
</div></td>
<td align="left"><div class="figcenter" style="width: 112px;">
<img src="images/i_401c.jpg" width="112" height="198" alt="diagram" />
<div class="caption">Fig 322.—Book-cover
Laced together with
Silk Cord.</div>
</div></td>
</tr>
</table>
</div>

<p>Take two pieces of heavy card-board a trifle larger than the
book you wish to cover, make three holes near the edge of
each (Fig. 320) and corresponding holes in the edges of the
book, which must not be too thick—that is, contain too many
leaves; pass narrow ribbons through these holes and tie in
bow-knots, as in Fig. 321. If the leaves of the book are thin,<span class="pagenum"><a name="Page_402" id="Page_402">[402]</a></span>
more holes can be made in the back and the covers laced together
with silk cord (Fig. 322).</p>

<p>These book-covers may be beautifully decorated by anyone
who can paint in water-colors, and tinted card-board can also
be used for them. They are pretty, and suitable as covers for
manuscript poems or stories, or for a collection of autographs.</p>

<p>In making any kind of scrap-book it is very necessary that
the paste used should be good. If the paste is poor, the pictures
will peel off or the paste turn sour. The recipe given
below we can recommend as an excellent one for</p>


<h3><b>Flour-paste.</b></h3>

<p>Mix one-half cup of flour with enough cold water to make a
very thin batter, which must be smooth and free from lumps;
put the batter on top of the stove—not next to the fire—in a tin
sauce-pan, and stir continually until it boils; then remove from
the stove, add three drops of oil of cloves, and pour the paste
into a cup or tumbler. This will keep for a long time and will
not become sour.</p>

<div class="figcenter" style="width: 465px;">
<img src="images/i_402.jpg" width="465" height="88" alt="three cherubs lying about looking at pictures for scrapbooks" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_403" id="Page_403">[403]</a></span></p>




<h2>CHAPTER XXXVI.<br />

<small>A HEAP OF RUBBISH, AND WHAT TO DO
WITH IT.</small></h2>


<div>
  <img class="drop-cap" src="images/i_403.jpg" width="103" height="146" alt="I" />
</div>

<p class="drop-capi2">IN almost every house there is an attic, and in almost
every attic may be found a room where
trunks are stored, where broken toys and disabled
furniture are put out of sight, and where
all articles not worth selling or giving away
gradually accumulate until this attic room contains,
literally, a heap of rubbish. Entering one
of these lumber-rooms not long ago, and glancing over the
medley which comprised so much, from a tin can to a piece of
broken bric-à-brac, the thought occurred to me that something
might be done with it, some use be made of at least a few of
the articles consigned to the place as utterly useless.</p>

<p>That was rather a thrifty thought. Do you not think so,
girls? Then let us make the most of it and together venture
back into that mysterious and somewhat dusty chamber, and
see if there really is anything there worth the making over.</p>

<p>In imagination we will stand in our attic lumber-room and
begin to look about us with eyes and mind open to perceive
possibilities.</p>

<p>On one side of the room, leaning against the wall, we see
what was once a handsome old-fashioned mirror, quite large and
of heavy plate-glass. It’s poor dusty face, reflecting dimly its
barren surroundings, is shattered in many pieces, and at first<span class="pagenum"><a name="Page_404" id="Page_404">[404]</a></span>
sight it seems hopeless to attempt to restore it to the plane of
beauty or usefulness; but do not let us be hasty; we will examine
it more closely. Yes, here is a piece of glass large
enough to frame. Never mind its uneven shape and rough
edges; we will work out that problem later. Now we must put
it carefully aside and continue our investigations.</p>

<p>Here is a large tin can, which can be made into a lantern to
hang in the hall, and this baking-powder can may be of some
use, so we will take it also.</p>

<p>The tops of three cheese-boxes; something should be done
with them. Perhaps they can be used for a table; put them
with the other chosen things.</p>

<p>A croquet-ball! That will make a fine key-rack. This box
of silks and ribbons we may need, and the large pasteboard-box
will do for the foundation of our mirror frame.</p>

<p>We must have this piece of old brass chain, this handful of
large nails, the pasteboard roll which has been used for sending
engravings through the mail, and that old broad-brimmed
straw hat; also these three broomsticks and the piece of nice
dark-gray hardware paper.</p>

<p>Now, seated in our own room, let us see what we can do with
this rather unpromising array of objects spread around us.
First we will try</p>


<h3><b>The Mirror,</b></h3>

<p class="unindent">and must cast about us for the ways and means of framing it.
The large pasteboard-box we have already decided will make a
good foundation. After tearing off the sides, we will cut an
even square from the bottom, which is smooth and unwarped.</p>

<div class="figleft" style="width: 170px;">
<img src="images/i_405a.jpg" width="170" height="167" alt="drawing" />
<div class="caption">Fig. 323.—Brown Paper Pasted
on Mirror and Pasteboard for
Home-made Mirror-frame.</div>
</div>

<div class="figright" style="width: 126px;">
<img src="images/i_405b.jpg" width="126" height="127" alt="drawing" />
<div class="caption">Fig. 324.—Bevel of
Hardware Paper
on Frame.</div>
</div>

<div class="figleft" style="width: 192px;">
<img src="images/i_405c.jpg" width="192" height="187" alt="diagram" />
<div class="caption">Fig. 325.—The Outside Covering
for Mirror-frame.</div>
</div>

<div class="figright" style="width: 127px;">
<img src="images/i_405d.jpg" width="127" height="121" alt="diagram" />
<div class="caption">Fig. 326.—Back of
Frame with Tape
Attached.</div>
</div>

<p>Next laying the piece of mirror on the square of pasteboard
we must cut, out of ordinary brown wrapping-paper, a square
two inches larger all around than the pasteboard, make a hole
in the centre as large as the shape of the mirror will allow, and<span class="pagenum"><a name="Page_405" id="Page_405">[405]</a></span>
paste it down on the mirror and pasteboard
(Fig. 323). Then, after clipping
out the corners, we will turn the edges
over on to the back of the pasteboard
foundation and paste them down. Cutting
four strips of the hardware paper,
about two inches wide, we will fold them
through the centre lengthwise and paste
them around the glass,
lapping them just a little
over the edge of the other paper, the folded
side being next to the glass (Fig. 324). This
will form a bevel for our frame. From the
same paper we will now cut a square, three
inches larger on all
sides than the foundation;
then, exactly
in the centre, mark a square half an
inch larger all around than the square
of mirror showing. In the centre of
the square marked out we must insert
our scissors, cut it like Fig. 325, and
after clipping off the points, as indicated
by the dotted lines L, M, O, N,
turn back the four
pieces at the dotted lines, P, Q, R, S, leaving
an open square. Then placing it over the
mirror so that the same width of bevelled
edge shows on all sides of the mirror, we
must paste it down. Clipping out the corners,
as shown in diagram, we will bring the
edges over and paste them down securely to
the back of the frame. A piece of hardware paper, cut in a<span class="pagenum"><a name="Page_406" id="Page_406">[406]</a></span>
square one inch smaller than the frame, we will paste on the
back to finish it off and hide the edges of the paper where they
have been turned over
(Fig. 326).</p>

<p>We must fasten
on a piece of tape by
which to hang the
mirror, by pasting
down the ends of the
tape on the frame
(letter T, Fig. 326),
and pasting over each
a strip of the hardware
paper (letter
U, Fig. 326). When
the frame is quite dry
we will paint a branch
of dog-wood or some
light-colored flower
across it, and have as pretty a little mirror as anyone could
wish for.</p>

<div class="figcenter" style="width: 331px;">
<img src="images/i_406.jpg" width="331" height="327" alt="drawing" />
<div class="caption">Home-made Mirror-frame.</div>
</div>
<div class="figright" style="width: 222px;">
<img src="images/i_407b.jpg" width="222" height="487" alt="drawing" />
<div class="caption">Bric-à-brac Table.</div>
</div>
<div class="figleft" style="width: 48px;">
<img src="images/i_407a1.jpg" width="48" height="157" alt="diagram" />
<div class="caption">Fig. 327.—Narrow
Grooves Cut
around Broomstick
for Table-leg.</div>
</div>

<div class="figleft" style="width: 107px;">
<img src="images/i_407a2.jpg" width="107" height="56" alt="diagram" />
<div class="caption">Fig. 328.—Holes
Bored in a Box-lid
Used as a
Table-shelf.</div>
</div>

<div class="figleft" style="width: 103px;">
<img src="images/i_407a3.jpg" width="103" height="160" alt="diagram" />
<div class="caption">Fig. 329.—Manner
of Fastening
a Shelf to
Table-leg.</div>
</div>

<div class="figleft" style="width: 83px;">
<img src="images/i_407a4.jpg" width="83" height="99" alt="diagram" />
<div class="caption">Fig. 330.—Table-shelf
and Leg
Fastened securely
together
by Wire.</div>
</div>
<p>The next thing to commence will be</p>


<h3><b>The Table,</b></h3>

<p class="unindent">which you can make yourselves by following these directions:</p>

<p>The three cheese-box lids will answer nicely as shelves for
a work- or bric-à-brac table, and the broomsticks, which are
all the same length, will do for the legs.</p>

<p>Upon each broomstick mark the distances for placing the
shelves, allowing six inches from each end of the stick for the
top and bottom, and the exact centre between these points
for the middle shelf. With a pocket-knife cut narrow grooves<span class="pagenum"><a name="Page_407" id="Page_407">[407]</a></span>
around each stick, one-half inch on either side of
the points marked on them (Fig. 327). This will
make six grooves on each stick. Now measure
the box-lids to find their circumferences, and divide
them into thirds,
marking the distances
on the rim to obtain
the true position for the
legs. At these points
bore four holes with a
gimlet, one inch apart,
two above and two below
(Fig. 328). Through
one of the top holes
pass a piece of pliable
wire, place one of the
broomsticks against the
rim of the lid, pass the
wire back through the
other upper hole (Fig.
329), fit it into the
upper groove of the
stick, and draw it tight.
Twice the wire must be
put through the upper
holes and around the
stick in the top groove;
then, bringing it down
on the inside of the lid, you must put it twice
through the lower holes and around the stick in
the lower groove; then twist the ends and tuck
them under the wire on the inside of the lid (Fig.
330). In this way each leg will have to be fastened<span class="pagenum"><a name="Page_408" id="Page_408">[408]</a></span>
to each shelf. When the table is all put together paint it
black, and, as soon as it is dry, tie a bright ribbon on one of the
sticks at the top, and a charming little bric-à-brac table will be
the result of your labor.</p>

<p>You can make a very pretty</p>


<h3><b>Lantern</b></h3>

<p class="unindent">of the old tin can; but first you must have some tools to work
with; not many, only a piece of wood, rounded on one side to
fit into the can, a hatchet or heavy hammer, and a few wrought
iron nails. If the piece of wood is not large enough to fit the
can, another stick can be put in to hold the first one firmly
against the can. That being arranged, you must decide upon
some kind of a pattern to be made by the holes, and indicate
it on the can with a small paint-brush and paint or ink; then,
laying the can on its side, the rounded piece of wood being at
the top, with one of the wrought iron nails puncture the holes
where you have indicated the pattern. With the hammer drive
the nail through the tin into the wood; then draw it out, make
another hole, and so on until all the holes you wish are driven
through that part of the can held in place by the rounded
piece of wood.</p>
<div class="figright" style="width: 127px;">
<img src="images/i_409b.jpg" width="127" height="419" alt="drawing" />
<div class="caption">Lantern.</div>
</div>
<p>This wood, you see, keeps the can from bending when the
nail is being driven through. In moving the wood as the work
progresses, you must always keep it under that part of the can
being punctured. To make the large hole, you will have to put a
number of the small holes close together, and then drive the nail
through the partitions, cutting them away. The pattern being
completed, puncture three holes, close to the top of the can, at
equal distances apart. These are for the chains to pass through,
by which to suspend the lantern. In the cover of the baking-powder
can make three holes at equal distances; then divide<span class="pagenum"><a name="Page_409" id="Page_409">[409]</a></span>
the chain, which is about one yard and a quarter long, into
three equal lengths, separating the pieces by prying open the
links. Put an end of each piece through the holes made for
them at the top of the can, and fasten them
by hooking the open links through the links
of the chain a little farther up, and hammering
them together again.</p>

<p>Now pass the ends of the chains through
the holes made in the lid of the baking-powder
can, and, bringing the ends together,
fasten them by joining the
links.</p>

<div class="center">
<table border="0" cellpadding="1" cellspacing="0" summary="diagrams">
<tr>
<td align="center" colspan="2"><div class="figcenter" style="width: 147px;">
<img src="images/i_409a.jpg" width="147" height="165" alt="drawings" />
</div></td>
</tr>
<tr><td align="left"><div class="caption">Fig. 331.</div></td>
<td align="left"><div class="caption">Fig. 332.</div></td>
</tr>
<tr>
<td align="center" colspan="2"><div class="caption">Stand
in Lantern, with<br />
Nails for Holding Candle.</div></td>
</tr>
</table>
</div>



<p>Paint the lantern, chain
and all, black, and while it is
drying make a stand for the candle which is to
furnish the light. A square piece of thin board,
just large enough to fit into the can without
touching the sides will do for the stand. Drive
four small nails in the centre to hold the candle
(Fig. 331).</p>

<p>Make handles for lifting the stand in and
out of the lantern, by bending two pieces of
wire like Fig. 331, and fastening them to the
board with staple tacks (Fig. 332).</p>

<p>When the paint on the lantern is dry, paste
red tissue-paper all around the inside to give a
cheerful red glow to the light, which will shine
through it. If you would like it to resemble a
jewelled lantern, paste different colored papers
over the large holes and leave the small ones
open. An S hook passed through the loop
made by the three chains will serve to connect them to the
chain which should suspend the lantern from the ceiling.</p>

<p><span class="pagenum"><a name="Page_410" id="Page_410">[410]</a></span></p>

<div class="figleft" style="width: 102px;">
<img src="images/i_410a1.jpg" width="102" height="98" alt="diagarm" />
<div class="caption">Fig. 333.—Paper
Covering for
End of Music-roll</div>
</div>


<h3><b>A Music-Roll</b></h3>

<p class="unindent">can be made of the pasteboard roll.</p>
<div class="figright" style="width: 75px;">
<img src="images/i_410a2.jpg" width="75" height="102" alt="diagarm" />
<div class="caption">Fig. 334.—Paper
Pasted
over End of
Music-roll.</div>
</div>
<p>Cut a round piece of pasteboard just the size to fit into one
end of the roll; then cut out another round piece, this time of
paper, one inch larger than that made of pasteboard. Clip the
edges (Fig. 333) and paste it over
the end of the roll which is filled
in with the round of pasteboard
(Fig. 334).</p>



<p>Among the scraps of silk and
ribbons you will, perhaps, find a
good-sized piece of dark-green or
brown silk; use this for the case,
which must cover the roll neatly. To make the case fit the
end of the roll you have just filled up, mark on a piece of the
silk a circle the size of that end of the roll. This can be
done by standing the roll on the silk, and running a pencil
around the edge. When cutting out the silk leave a margin of
a quarter of an inch on the outside of the pencil-mark for the
seam. Cut the silk for covering
the roll three inches longer
than the roll,
and wide
enough to
allow for a
quarter of an
inch seam.
Sew up the long seam, and then sew the round of silk into the
end of the case. Hem the other end of the case, and run in a
narrow ribbon about an inch from the edge. This is for a
draw-string.</p>

<div class="figcenter" style="width: 393px;">
<img src="images/i_410b.jpg" width="393" height="140" alt="drawing" />
<div class="caption">Music-roll.</div>
</div>

<p>When the roll is fitted snugly in its case, tie a ribbon,<span class="pagenum"><a name="Page_411" id="Page_411">[411]</a></span>
matching it in color, around the roll, making a loop to form
the handle. Fasten the ribbon by taking a few stitches under
the bows, catching them on to the silk.</p>

<div class="figleft" style="width: 239px;">
<img src="images/i_411a.jpg" width="239" height="240" alt="drawing" />
<div class="caption">Fig. 335.—Straw Hat Tied in Shape for a
Work-basket.</div>
</div>
<p>The old straw hat can be transformed into a dainty</p>


<h3><b>Work-Basket.</b></h3>

<div class="figright" style="width: 258px;">
<img src="images/i_411b.jpg" width="258" height="293" alt="diagram" />
<div class="caption">Work-basket.</div>
</div>
<div class="figleft" style="width: 152px;">
<img src="images/i_412aa.jpg" width="152" height="380" alt="drawing" />
<div class="caption">Key Rack.</div>
</div>
<p>It is stiff and harsh at present, but pour boiling water over
it and the straw will become soft and pliable, and can be bent
into any shape you like. When dry, it will be again stiff, and
will retain the form you have given it. After scalding the hat
bend the brim in toward the centre, in four different places, at
equal distances apart. This will make a fluted basket. You
must tie it in shape (Fig. 335) and leave until perfectly dry;
then bronze the basket, line it with silesia, and sew silk or
satin around the top to form a bag. Run a draw-string of
narrow ribbon near the top of the bag, and the pretty little
work-basket is finished.</p>


<p><span class="pagenum"><a name="Page_412" id="Page_412">[412]</a></span></p>

<p>The croquet ball you can make into a</p>


<h3><b>Key and Button-Hook Rack.</b></h3>

<p>First you must gild it, and then around the middle of the
ball, at regular intervals, insert small brass hooks. A yellow ribbon
and bow, tacked on the top with small tacks,
will serve to suspend it by, and completes the rack.</p>

<p>With the gilt left from gilding the ball, and a
piece of bright ribbon you can make a</p>

<div class="figright" style="width: 362px;">
<img src="images/i_412ab.jpg" width="362" height="160" alt="drawing" />
<div class="caption">Paper-weight.</div>
</div>


<h3><b>Paper-Weight</b></h3>

<p class="unindent">of six of the large nails. Gild each nail separately,
let them dry, and then tie them securely together
with a piece of ribbon.</p>





<p>All the articles brought from the attic have now been turned
to some use, but there are many other things to be found there
which we have not space to mention, and which with little
trouble can be so transformed that no one would ever suppose
they were taken originally from a heap of rubbish.</p>

<div class="figcenter" style="width: 461px;">
<img src="images/i_412b.jpg" width="461" height="87" alt="cherubs going through rubbish" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_413" id="Page_413">[413]</a></span></p>




<h2>CHAPTER XXXVII.<br />

<small>HOW TO MAKE ATTRACTIVE BOOTHS AT A
FAIR—A NEW KIND OF GRAB-BAG.</small></h2>


<div>
  <img class="drop-cap" src="images/i_413.jpg" width="323" height="254" alt="D" />
</div>

<p class="drop-capi">DECIDING to have our fair unlike
those which have preceded
it, we must do away with
monotony and introduce not
only variety, but originality as
well. New ideas, something
different from that which has
served us heretofore,
is what we strive for.
Novelties are always
attractive, let them
be decorative also,
and help to make the room or hall as inviting as possible.</p>

<div class="figcenter" style="width: 425px;">
<img src="images/i_414.jpg" width="425" height="600" alt="drawing" />
<div class="caption">The Fair.</div>
</div>

<div class="figleft" style="width: 238px;">
<img src="images/i_415a.jpg" width="238" height="343" alt="diagram" />
<div class="caption">Fig. 336.—Framework for the Canopy of
a Booth at a Fair.</div>
</div>

<div class="figright" style="width: 168px;">
<img src="images/i_415b.jpg" width="168" height="205" alt="diagram" />
<div class="caption">Fig. 337.—Block of
Wood Fastened on
the side of Table.</div>
</div>


<h3><b>The Tables</b></h3>

<p class="unindent">being the most important item, we will give them our first
attention. Have each table or booth canopied in a style differing
from all others, and make the canopy extend up as high
as practicable, in order to avoid the flat, blank appearance so
common in small fairs. If tables are arranged in this fashion,
they will go far toward decorating the hall. Fig. 336 shows
one style in which a framework for the roof or covering may
be constructed. At the four corners of the table, where the
top projects over the sides, fit in blocks of wood according to
Fig. 337; the dotted lines represent the block. Nail the wood<span class="pagenum"><a name="Page_414" id="Page_414">[414]</a><br /><a name="Page_415" id="Page_415">[415]</a></span>
fast to the table, so that the uprights may stand perfectly
straight. Use laths or similar sticks for the four uprights, and
screw or nail them at the corners
of the table according to Fig.
336; then with small screws fasten
a stick across the top of the
laths at each side, and at the top
of the sticks on the front of the
table tie the two ends of a barrel-hoop
to form the arch; also attach
another hoop at the back to
the other two uprights, and connect
the top centre of each by a
wire running across. The hoops
are fastened to the laths by binding
the ends of the hoops to the
ends of the laths with strong
twine, or wire, wound around in
notches which have previously
been cut
in the ends of both sticks and hoops.
Should the barrel-hoops be too short for
the arch, take children’s large-sized toy
wooden hoops, and fasten them up in the
same manner. Fig. 338 is another way
to arrange the framework. The four upright
sticks are attached to the table as described in Fig.
336; then in the top of each is driven a very large-sized
tack, and a strong flexible wire is stretched from
lath to lath and wound around each tack, thus connecting the
four uprights together.<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> Flags, shawls, drapery curtains, sheets,<span class="pagenum"><a name="Page_416" id="Page_416">[416]</a></span>
and inexpensive cheese-cloth make good canopies; undressed
cambric and canton flannel in desirable colors drape nicely,
and can also be used for the purpose.
Where you wish to produce light,
airy effects, tarlatan, in one or more
colors, will be found useful; again,
let some of the tables have only a
suggestion of a roof, made by ornamenting
the framework with flowers,
or whatever is most suitable, according
to the style of table and the place
it is to occupy.</p>

<p>Try and have a variety of shapes
and sizes in the booths, and avoid
sombre dulness and monotony. Let
the room fairly sparkle and shine
with light and color.</p>

<div class="figright" style="width: 211px;">
<img src="images/i_416a.jpg" width="211" height="313" alt="diagram" />
<div class="caption">Fig. 338.—Construction of Framework
for the Canopy of a Table
at a Fair.</div>
</div>

<p>To make a tent-like covering,
firmly bind a large-sized Japanese
umbrella to a pole, and fasten the pole in the centre of the
table. To hold it securely, make a bench of two pieces of
board, with a hole through the centre of each, and join them
together by a block of
wood nailed in each end
(Fig. 339). The bench
can be made fast to
the table by screws put
through from the under
side of the top of the
table</p>

<div class="figleft" style="width: 304px;">
<img src="images/i_416b.jpg" width="304" height="144" alt="diagram" />
<div class="caption">Fig. 339.—Bench for Holding a Pole as a Support for
a Canopy of a Booth.</div>
</div>

<p>In erecting the canopy
place the end of the pole in the bench and it will be steady
and firm. Attach pieces of string to several ribs on each side<span class="pagenum"><a name="Page_417" id="Page_417">[417]</a></span>
of the umbrella, stretch the strings down and fasten the ends
securely to the table; paste over the strings bright-colored
tissue-paper fringe (Fig. 340). Cut the paper four or six thicknesses,
and when pasted on turn the fringe part uppermost, so
it will look fluffy and not hang down in a tame, fringe fashion.
When a red umbrella is used, and the strings are covered with
fringe of the same hue, it looks very pretty. Be extremely careful
that no light comes dangerously near the tissue-paper, or
any other inflammable material; all the decorations must be
arranged with a view to perfect safety from contact with gas,
lamp, or candle.</p>

<p>In decorating the room remember to mass your color so the
effect may
be broad.
If the colors are too much
mingled the effect will be
weakened, and in some cases
lost entirely.</p>

<div class="figcenter" style="width: 413px;">
<img src="images/i_417.jpg" width="413" height="158" alt="drawing" />
<div class="caption">Fig. 340.—Tissue-paper Fringe.</div>
</div>

<p>Paper-flowers and plants
in great abundance will be
needed, and if you can persuade
all your friends, as well as those actively interested in the
fair, to make paper-flowers or plants, they will prove very acceptable,
and after the fair is over the floral decorations can
be safely stored away to do service again on like occasion.
Large, showy flowers, like peonies, dog-wood, and magnolias,
as well as large-leaved plants, are best to use, though the
smaller ones look well in a few places.</p>

<p>In making</p>


<div class="figright" style="width: 178px;">
<img src="images/i_418a.jpg" width="178" height="185" alt="pattern" />
<div class="caption">Fig. 341.—Dog-wood.</div>
</div>

<h3><b>Flowers for Decorations</b></h3>

<p class="unindent">we aim at general effect, with less regard to detail than if the
blossoms were to be used in other ways. Fig. 341 is a pattern<span class="pagenum"><a name="Page_418" id="Page_418">[418]</a></span>
of the dog-wood. Cut the flowers of white writing paper
and make them quite large. Use wire to fasten them to a
natural branch, and imitate nature as
nearly as possible in the arrangement of
the blossoms.</p>

<div class="figleft" style="width: 136px;">
<img src="images/i_418b.jpg" width="136" height="177" alt="drawing" />
<div class="caption">Fig. 342.—Peony Petal
Gathered through the
Centre.</div>
</div>

<p>If you fold the paper a number of
times and then place your pattern over
it, you can cut out six or eight flowers
at once, and save both time and labor.</p>

<div class="figright" style="width: 157px;">
<img src="images/i_418c.jpg" width="157" height="132" alt="diagram" />
<div class="caption">Fig. 343.—Peony Petal
Folded over.</div>
</div>

<p>Peonies are made of white, pink, or
red tissue-paper, cut in squares of about
eight inches each and pinked on the two
opposite edges. Twelve squares are needed
for one flower. With your fingers gather the
squares up in the centre (Fig. 342); then fold
over the pieces, as in Fig. 343; when all are
ready string them on a wire and shape the
bunch to resemble a peony; twist the wire
up tight and fasten the petals together, leaving
a length of wire for a stem.</p>

<div class="figleft" style="width: 67px;">
<img src="images/i_419a1.jpg" width="67" height="65" alt="pattern" />
<div class="caption">Fig. 344.—Cherry
Blossom.</div>
</div>

<div class="figright" style="width: 81px;">
<img src="images/i_419a2.jpg" width="81" height="145" alt="pattern" />
<div class="caption">Fig. 345.—Green
Leaf
of Cherry
Tree.</div>
</div>
<p>Make the cherry-blossoms (Fig. 344) in
clusters of five or seven each, and attach green
leaves (Fig. 345) cut in different sizes. Fig.
346 shows the method of giving the leaf a
pretty, crimped appearance. By holding
the point of the leaf firmly under the head
of the pin with your left hand, and with
the right hand pushing the leaf up toward
the head of the pin, you can crimp the
leaves very rapidly, and they look much
more natural than when left plain.</p>

<p>All the materials necessary for the manufacture of flowers
for fair decorations will be paper, wire, and paste. The buds<span class="pagenum"><a name="Page_419" id="Page_419">[419]</a></span>
of different flowers can be imitated by pinching together the
petals of open blossoms. Figs. 347, 348, 349 are the petals
of the magnolia; the inside petals are five and one-half
inches long, the others in proportion. Cut three
of each size. No. 347 forms the innermost petals,
No. 348 the next, and No. 349 the outermost;
these last should be double; make
the outside of pink tissue-paper and the
inside white, all the other petals are white;
cut three, from Fig. 350, of green paper to
form the calyx.</p>


<div class="figcenter" style="width: 380px;">
<img src="images/i_419b.jpg" width="380" height="79" alt="drawing" />
<div class="caption">Fig. 346.—Method of Crimping Leaf.</div>
</div>

<p>Other ornamental flowers may be manufactured
from these hints. Patterns can
be cut from any natural flowers, and
they may be
made without
the aid of further
directions. When natural blossoms can be obtained, they
are far preferable,
though the paper
plants make splendid
substitutes and
at a little distance
cannot be distinguished
from the
natural ones.</p>

<div class="center">
<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
<tr>
<td align="left"><div class="figcenter" style="width: 115px;">
<img src="images/i_419c1.jpg" width="115" height="224" alt="pattern" />
<div class="caption">Fig. 347.</div>
</div></td>
<td align="left" valign="bottom"><div class="figcenter" style="width: 103px;">
<img src="images/i_419c2.jpg" width="103" height="221" alt="pattern" />
<div class="caption">Fig. 348.</div>
</div></td>
<td align="left" valign="bottom"><div class="figcenter" style="width: 75px;">
<img src="images/i_419c3.jpg" width="75" height="167" alt="pattern" />
<div class="caption">Fig. 349.</div>
</div></td>
<td align="left" valign="bottom"><div class="figcenter" style="width: 42px;">
<img src="images/i_419c4.jpg" width="42" height="95" alt="pattern" />
<div class="caption">Fig.&nbsp;350.</div>
</div></td>
</tr>
</table>
</div>

<p>If the fair comes
off in the season
when the trees are
leafless, bare
branches with green paper leaves wired on will help very much
where foliage is needed.</p>

<p>An excellent scheme in the arrangement of a fair is to divide<span class="pagenum"><a name="Page_420" id="Page_420">[420]</a></span>
the tables into twelve separate booths and let each one represent
one month in the year. They should contain articles appropriate
only to the month represented, and when planned in this
way each month should be of appropriate color. For example:</p>


<h3><b>December</b></h3>

<p class="unindent">can be all white, with tufts of cotton scattered about for snow,
and mica or isinglass sprinkled around and over places to represent
frost and ice. Icicles, varying in size, depending from
the arch or canopy, add to the effect. The icicles are made of
strips of paper first rolled up like paper-lighters, then completely
covered with tallow from the dripping of a lighted
candle; the tallow being allowed to harden on in raised places
makes the twisted paper resemble in form a real icicle; the
tallow icicle is next covered with a wash of mucilage, and
powdered mica or isinglass is sprinkled all over it, so that it
sparkles and shines.</p>

<p>In place of the usual grab-bag at this booth, there should be
a Christmas-tree without lights and burdened with little gifts
tied up in colored tissue-paper. Santa Claus must have charge
of the tree.</p>


<h3><b>July</b></h3>

<p class="unindent">calls for flags and decorations of red, white, and blue, as well as
flowers, fruits, and green foliage; the table should be presided
over by Columbia.</p>


<h3><b>May.</b></h3>

<p>Deck this table in spring blossoms and make the canopy of
a slender May-pole. Pass the pole through the holes in the
bench (Fig. 339) and screw the bench tight on the centre of
the table; fasten a wreath of flowers and the ends of a number
of ribbons at the top of the pole; bring the ribbons down and<span class="pagenum"><a name="Page_421" id="Page_421">[421]</a></span>
tack them to the sides of the table. Give the Queen of May
care of the booth.</p>


<h3><b>November</b></h3>

<p class="unindent">may be gay with late fall leaves and berries, and a very large
pumpkin, which has been previously scraped out and lined
with paper, can serve as a receptacle for odds and ends. A
little Puritan maid should be in charge of the booth.</p>


<h3><b>June</b></h3>

<p class="unindent">is all rose color, with the queen of flowers, the rose, holding the
post of honor. This month is very suitable for the flower-table,
and Flora, the Goddess of Flowers, may preside over it.</p>

<p>We have chosen these few months only as suggestions of
the manner in which the idea can be carried out.</p>

<p>Those in charge of the different booths might wear as a
badge a conspicuous sign of the zodiac appropriate to the
month represented.</p>


<h3><b>The Five Senses</b></h3>

<p class="unindent">can be illustrated by five booths, each one bearing its proper
symbol as a sign. To represent</p>


<h4>HEARING,</h4>

<p class="unindent">make a large pasteboard ear-trumpet and cover it with silver
paper; fasten this on the highest point of the booth and place the
word Hearing in large letters under the trumpet; have these
signs in plain sight, where none can fail to see and read. The
articles on the table should consist of everything pertaining to
the sense of hearing, such as sheet-music, musical instruments,
telephones, and suitable toys.</p>

<p>It would be a great addition if a phonograph could be<span class="pagenum"><a name="Page_422" id="Page_422">[422]</a></span>
rented or borrowed for the occasion, and a certain sum charged
to each one speaking in the instrument and hearing the echo of
his own words and tones ground out to him again.</p>

<p>An oracle would be a capital thing at this table, each person
consulting it paying so much a question.</p>


<h4>SEEING</h4>

<p class="unindent">likewise must be labelled with a sign in the shape of a very large
pair of spectacles cut out of stiff pasteboard and placed over the
lettering.</p>

<p>The goods offered here for sale should pertain to the sense
of sight; and could be such articles as pictures, decorated
candles, kaleidoscopes, and common blue glasses. All things
pleasing to look upon may find place at the Seeing Table.
Any kind of a peep-show can be used, five cents being required
from every curious person wishing for a peep behind the curtain.</p>


<h4>FEELING</h4>

<p class="unindent">is more difficult to portray. Perhaps an ordinary riding-whip
will answer the purpose, with the word Feeling in large type
under it.</p>

<p>Sofa-cushions, quilts, mittens, canes, muffs, fancy toilet
articles, and almost anything adding to our personal comfort,
or pleasant to handle, are suitable for the Feeling booth.</p>


<h4>TASTING.</h4>

<p>As an emblem for this booth make a huge cornucopia for
candy, with the sign “Tasting” beneath, and the booth can be
the candy-table.</p>


<h4>SMELLING</h4>

<p class="unindent">naturally suggests perfumes and sweet-scented flowers. This
sense will most fitly be represented by an immense bouquet<span class="pagenum"><a name="Page_423" id="Page_423">[423]</a></span>
fastened up over the table. The booth, of course, must be the
flower-table.</p>

<p>If you have only a few tables, make four booths of them, and
let each booth represent a season. They should be decorated
in keeping with the time represented, and the idea fully carried
out in all the details.</p>

<p>When the booths stand for different nations there is a great
field for variety and beautiful decoration. But in this, as in all
cases where an attempt is made to carry out an idea, it must be
faithfully adhered to, or the effect will not be that intended.</p>

<p>When it is necessary to decorate the</p>


<h3><b>Walls</b></h3>

<p class="unindent">use flags, bright, soft draping cloth, and large palm leaves;
also branches of leaves, showy flowers, and anything that can
be arranged to look well. As rooms differ so
much in size and style, it is impossible to give
any but general directions, leaving it to the taste
of the decorator to carry out the
details.</p>

<div class="figleft" style="width: 109px;">
<img src="images/i_423a.jpg" width="109" height="177" alt="diagram" />
<div class="caption">Fig. 351.—Grab-bag
of a Sheet
with Holes Cut
for Face and
Arms.</div>
</div>

<div class="figright" style="width: 108px;">
<img src="images/i_423b.jpg" width="108" height="178" alt="diagram" />
<div class="caption">Fig. 352.—Apron
Skirt Sewed on
Sheet.</div>
</div>


<h3><b>Grab-Bags.</b></h3>

<p>On a narrow sheet hung up in
a door-way, and fastened securely
at the sides, or attached to a
frame, cut a hole large enough to
allow of a false face being fitted
in (Fig. 351 A). The flaps of the
cloth are left for pasting inside the face; now
cut two more holes for the arms to pass through
(Fig. 351 B). In these holes sew sleeves of the same material
as the skirt, which is made of bright-colored cambric in the<span class="pagenum"><a name="Page_424" id="Page_424">[424]</a></span>
form of an apron, and
sewed on the sheet
(Fig. 352). The sides
of the skirt are basted
down on the sheet.
When pasting in the
false face, first cover
the flaps, left at the
opening for the face
with stiff paste; then
paste these flaps down
into the inside of the
false face, which will
bring it up close
against the sheet. If
small openings are left,
or the sheet puckers a
little after the face is
fastened on, never
mind, as all defects
can be covered by
sewing on a thin white
frill all
around
the face,
to form a cap, and making a collar of the same
material (Fig. 353).</p>

<div class="figleft" style="width: 325px;">
<img src="images/i_424a.jpg" width="325" height="506" alt="diagram" />
<div class="caption">Fig. 353.—Grab-bag.</div>
</div>

<div class="figright" style="width: 109px;">
<img src="images/i_424b.jpg" width="109" height="180" alt="diagram" />
<div class="caption">Fig. 354.—Inside of
Sheet for Grab-bag.</div>
</div>

<p>Leave an opening, or pocket-hole, through
the sheet at one side of the dress, so that the
hand can be slipped through to get the packages,
which are placed within reach at the back of the
curtain. Fig. 354 shows the inside of the sheet,
and C the opening for the hand. Someone must<span class="pagenum"><a name="Page_425" id="Page_425">[425]</a></span>
stand or be seated behind this curtain, and slip her arms into the
sleeves, then she can look out through the mask and see with
whom she is talking. In one hand she may hold a package,
while she receives the money with the other.</p>

<p>On the sheet print these words: “Five cents for what is in
my pocket.”</p>


<h3><b>The Lady of the Lake.</b></h3>

<p>You will need a tin bath-tub for the lake, the longest one you
can find, and a toy boat which will not easily tip or turn over.
Place tiny flags in the bow and stern, and in one end of the
boat glue a doll dressed like the “Lady of the Lake” in Scott’s
poem. Attach a pulley to each end of the tub, and fasten the
string to the boat, as it must be run back and forth by means of
the pulleys. Fill the tub nearly full of water, then cover the
edges with moss and vines. The bath-tub must be completely
disguised, and surrounded by plants and foliage, with an opening
left at one end for purchasers, and another small one near the
other end for the boat to pass through to those stationed behind
the shrubbery, who have charge of the boat, and where the
parcels are kept. At the store-room end the screen of vines
or leaves should be so arranged that those in charge can see
all that is going on outside without being seen themselves.</p>

<p>The boat should be stationed at the farther end of the lake,
and whoever wishes to make a purchase must give the doll five
cents; then the boat may immediately leave, sail across the
lake, and disappear behind the screen, only to emerge again
laden with a parcel in place of the money, and lightly skimming
over the water arrive at her destination, when the purchaser
can relieve the “Lady of the Lake” of her package.</p>

<p>The Bubble Range described on <a href="#Page_335">page 335</a> can be used in a
fair with advantage. Unless the fair is very small, it is better
to have two Bubble Ranges, to prevent the tiresome waiting<span class="pagenum"><a name="Page_426" id="Page_426">[426]</a></span>
for a turn, and give all who wish to try their skill the opportunity
to enjoy the sport.</p>


<h3><b>Fortune’s Wheel.</b></h3>
<div class="figleft" style="width: 124px;">
<img src="images/i_426a.jpg" width="124" height="142" alt="pattern" />
<div class="caption">Fig. 355.—Circle for
Fortune’s Wheel.</div>
</div>
<div class="figright" style="width: 58px;">
<img src="images/i_426b.jpg" width="58" height="112" alt="diagram" />
<div class="caption">Fig. 356.—Fortune’s Wheel.</div>
</div>
<p>Cut of stiff pasteboard a large circle (Fig. 355) with a point
on the edge at the end of one of the spokes, for the circle must
be painted to resemble a wheel. With a large
round nail fasten the wheel through the centre
to a board, which has previously
had numbers painted
on in a circle somewhat
larger than the circumference
of the wheel (Fig.
356); the wheel should
turn around easily on
the nail. Hang the board up flat
against the wall. The gypsy in
charge of the Fortune’s Wheel
should be stationed by its side,
holding a basket filled with many
envelopes numbered to correspond
to the figures on the board, each
envelope containing some appropriate
fortune-telling lines; and
when the people come to seek
their fortunes the gypsy must allow
each in turn to give the wheel
a twirl, sending it around rapidly,
and then hand to the fortune-seeker
an envelope whose number
corresponds with the figure at which the wheel pointed when it
stopped turning.</p>

<p><span class="pagenum"><a name="Page_427" id="Page_427">[427]</a></span></p>


<h3><b>Rag-Balls.</b></h3>

<p>Prepare a number of carpet-rag balls with a small gift in the
centre of each one. These sell rapidly, and it is very amusing
to see the buyers unwinding their balls to discover the contents,
which may prove to be a thimble, a bundle of jackstraws, a
grotesque Japanese toy, or any little comical conceit which can
be hidden in the odd receptacle.</p>

<p>The same idea might be applied to the always pleasing popcorn
balls; then the knick-knacks must be first wrapped in soft
paper to protect them from the candy used in making the balls.</p>

<p>Pleasant mysteries and surprises are always popular at fairs,
and the more that can be invented the better.</p>

<div class="figcenter" style="width: 468px;">
<img src="images/i_427.jpg" width="468" height="119" alt="fair with tents and Chinese lanterns" />
</div>
<hr class="chap" />
<p><span class="pagenum"><a name="Page_428" id="Page_428">[428]</a></span></p>

<div class="figcenter" style="width: 461px;">
<img src="images/i_428.jpg" width="461" height="600" alt="drawing" />
<div class="caption">Window Decorated with Imitation Stained Glass and Dutch Curtain.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_429" id="Page_429">[429]</a></span></p>




<h2>CHAPTER XXXVIII.<br />

<small>WINDOW DECORATION.</small></h2>


<div>
  <img class="drop-cap" src="images/i_429.jpg" width="178" height="204" alt="N" />
</div>

<p class="drop-capi3">NOW, girls, we must have practicable
ideas in regard to our decorations;
they should consist of something which
we <i>know</i> will be easy to make and at
the same time look well; the materials
employed must be within possible
reach of all, and nothing expensive
or difficult to obtain allowed to enter
into their manufacture. What are commonly
called Dutch curtains are very popular; they are short
curtains of some thin, transparent fabric, fastened with rings to
a slender rod of bamboo, and when drawn, cover the lower part
of the window without intercepting the light. The curtains
are very useful, but, while they do not obstruct the light, they
do obstruct the vision.</p>
<div class="figright" style="width: 140px;">
<img src="images/i_430b.jpg" width="140" height="358" alt="drawing" />
<div class="caption">Fig. 358.—Fringe of
Macaroni and Beads.</div>
</div>
<p>We all know that the front window is just the place to sit
when sewing or doing fancy-work, and although few ladies care
to be seen by every passer-by, yet they all like to see what is
going on outside, and while their deft fingers ply the needle
their bright eyes take in the landscape out of doors and derive
amusement and entertainment from the birds and flowers,
if it be in the country, or the ever-moving throng, if in the
city.</p>

<p>An ornamental screen, therefore, that will shield one and<span class="pagenum"><a name="Page_430" id="Page_430">[430]</a></span>
yet not interfere with the view is desirable. What might be
termed the</p>


<h3><b>Oriental Window-Shade</b></h3>

<p class="unindent">not only comes up to the above requirements, but is inexpensive,
and not difficult to construct.</p>

<div class="figleft" style="width: 242px;">
<img src="images/i_430a.jpg" width="242" height="152" alt="diagram" />
<div class="caption">Fig. 357.—Manner of
Making Fringe for
Oriental Window-shade.</div>
</div>



<p>Make a small lawn-tennis net, long enough to reach across
the width of the window and about eight inches deep; make
loops of the rope on the ends for
hanging the screen to knobs or
hooks screwed in the framework
of the window; spread the net
out and fasten it up on a door,
between two chairs, or any convenient place;
then cut a number of pieces of fine twine, about
four feet long, and attach
them, a quarter of an inch
apart, along the bottom rope
(Fig. 357); A shows a loosened loop and B the
tightened ones. The ends of the twine hang
free. On each double strand string glass beads
and slender pieces of bamboo, reeds, painted
clay pipe-stems, or macaroni broken in pieces of
equal length and used in their natural color, or
painted with oil-paints to any desired tint. Have
the reeds four inches long, and thread them on
alternately with the beads (Fig. 358); or you can
form a design by cutting the reeds into different
lengths; at the end of each strand fasten a large
bead or glass button. A very simple</p>


<h3><b>Ribbon-Curtain</b></h3>

<div class="figleft" style="width: 65px;">
<img src="images/i_431a.jpg" width="65" height="105" alt="diagram" />
<div class="caption">Fig. 359.</div>
</div>

<div class="figright" style="width: 89px;">
<img src="images/i_431b.jpg" width="89" height="162" alt="diagram" />
<div class="caption">Fig. 360.—Beads
on the
Ends of Ribbons</div>
</div>
<p class="unindent">is of red, blue, yellow, and black ribbons all cut
the same length and sewed, a quarter of an inch<span class="pagenum"><a name="Page_431" id="Page_431">[431]</a></span>
apart, on a narrow strip of black cloth long enough to reach
across the window. The strip may be used as a band, or attached
to a slender pole by means of small brass rings.
The ribbons should be silk, and thin enough to admit
of the light shining through; they hang down fringe-like,
with three glass beads fastened on the end of
each ribbon (Fig. 359 or Fig. 360). If you
prefer to have the shade all one color make
it yellow, which gives a pleasant, mellow
light. Any pattern you choose can be made by
taking short pieces of ribbon and joining them together
with glass beads. In this way bits of ribbon
could be utilized, but those used must be semi-transparent,
showing the color when held up to the
light. Even smooth pieces of silk with their edges
neatly hemmed might do service, only be very careful
to join either ribbon or silk with the beads in
such a manner as to prevent its twisting; the beads must be
heavy enough to keep the fringe straight.</p>

<p>Nearly all homes have their bags of silk and worsted pieces,
and from these can be made a handsome</p>


<h3><b>Drapery of Very Small Scraps.</b></h3>

<p>Cut the pieces of silk or worsted into squares about an inch
each way, using any and all colors; then take a piece of twine
of the length you desire your curtain, and with a large needle
string the bright bits on the twine until the whole string is
completely and closely covered; next fasten the twine well to
prevent its slipping, and with a large pair of scissors trim off the
rough edges of the silken strand until the surface is rounded and
even; on one end attach a small brass curtain-ring, and on the
other a heavy bead or button; make as many strands as you<span class="pagenum"><a name="Page_432" id="Page_432">[432]</a></span>
will need to hang across the window and fasten them to a pole
in which small hooks have been screwed.</p>

<p>This drapery resembles chenille; it is rich in color, will wear
well, and is best adapted for full-length curtains.</p>

<p>As a substitute for stained glass we give directions for</p>


<h3><b>Painting Window-Panes.</b></h3>

<p>These are very pretty and satisfactory. If good designs are
chosen the window will surpass in beauty your expectations.</p>

<p>The materials necessary are: some of Winsor &amp; Newton’s
transparent colors, such as rose-madder, Prussian blue, raw
and burnt umber, burnt sienna, ultramarine, gamboge, ivory-black,
viridian green, and orient yellow. Any transparent
color can be used. For purple, mix rose-madder with Prussian
blue.</p>

<p>Prepare the paints to be used by mixing each color separately
with a little oil and siccatif Courtray. Almost any brush
will do to paint with, but one of medium size made for oil-colors
is the best, and another smaller one is necessary for the
outlining, which takes the place of leading in stained glass.
The dabber is a ball of raw cotton tied in a piece of fine cotton-cloth,
and the manner of tinting or grounding is exactly the
same as in china-painting; lac-varnish will be needed as a wash
after the painting has dried.</p>

<p>When you have an opportunity, carefully examine real
stained-glass windows, and you will see that each window is
one complete design. The corners and borders are usually in
rich, dark colors, while the central portion is of lighter tints or
clear glass.</p>

<div class="figcenter" style="width: 510px;">
<img src="images/i_433a.jpg" width="510" height="329" alt="drawing" />
<div class="caption">Fig. 361.—Border Pattern.</div>
</div>

<div class="figleft" style="width: 213px;">
<img src="images/i_433b.jpg" width="213" height="132" alt="diagram" />
<div class="caption">Fig. 362.—Cracked Glass.</div>
</div>

<p>Always make your corners and borders first, and if you desire
a centre-piece, it should be placed in position next, and the
space between it and the border filled in afterward. A Gothic<span class="pagenum"><a name="Page_433" id="Page_433">[433]</a></span>
window may be imitated by painting the corners black, thus
making it arched at the top. Very often good patterns can be
found in the many art and fashion papers. One copy may
serve for an entire border, if it be pasted at the four corners to
one pane of glass, and, when that is outlined, removed and
gummed to the next, and so on until the border is finished.
Fig. 361 is intended as a border.
Fig. 362 is a very simple pattern
of cracked glass, which you can
readily make without any copy.
Place a ruler across the woodwork
of the window-pane, first one way,
then another, and with its aid paint
your straight lines, being careful
not to have any two run parallel. A conventional design is always
to be preferred. Should any mistakes occur during the<span class="pagenum"><a name="Page_434" id="Page_434">[434]</a></span>
progress of the work, remove the paint with a cloth dampened
with turpentine and try again. The painting is not difficult,
and the only delays are in waiting for the colors to dry.</p>

<p>First decide on your design, then trace it, making the outlines
heavy and black; gum the pattern by the four corners to
the outside of the window-pane, which it is essential to have
perfectly clean and dry; close the window, and with a small
brush dipped in black paint follow the outlines of your copy,
keeping the lines of equal thickness throughout; when this is
finished remove the pattern. In the same manner go over all
the outlines you wish to make on the window, then leave the
color to harden and dry, which will probably require hours.
Begin again by laying on flat washes of paint to match the prevailing
colors of the copy, and use the dabber in tinting each
color as it is applied, so the surface may be even and uniform.
While the decoration is drying it is best to protect it from dust
by pinning up a newspaper or a large piece of cloth on the
window-frame. When dry, the painting can be touched up if
necessary.</p>

<p>After the last color has entirely dried apply a wash of white
lac-varnish; when this is dry give the window another coat of
lac-varnish and then it will be finished. Should your copies be
in black and white, use your own taste in coloring the glass.</p>

<p>Another method of imitating stained glass is</p>


<h3><b>Painting on Lawn,</b></h3>

<p class="unindent">batiste, or any kind of sheer white muslin. For this you will
need the same paints that are used for painting on glass; these
are mixed only with turpentine and the color put on as a stain.</p>

<p>Cut a piece of new thin white batiste large enough to cover
a window-sash, with a margin left for turning in, and make
an outline on it of the exact size of the sash; then select<span class="pagenum"><a name="Page_435" id="Page_435">[435]</a></span>
your pattern and place the lawn over it, when the outlines
should show through; trace these carefully with gum-arabic dissolved,
but made <i>very</i> stiff, and when the entire design has been
traced let the gum dry; then go over it with ivory-black unmixed;
this latter makes the leading; be careful to keep the
lines even and of the same size. When the outlines have dried
fill in the spaces with the stains made of paint and turpentine;
the gum prevents the colors from spreading. When the paint
has dried you may add a few touches where they are needed,
and the stained-glass design will be ready to place on the
window. Use stiff mucilage or tiny tacks to keep it in place,
having first turned in the margin left for the purpose.</p>

<p>An attractive window can be made with the upper sash of
imitation stained glass, while the lower one is screened by a
Dutch curtain, as in the illustration.</p>

<p>For the benefit of those who prefer sewing to painting we now
tell how to</p>


<h3><b>Imitate Stained Glass</b></h3>

<div class="figright" style="width: 238px;">
<img src="images/i_436a.jpg" width="238" height="155" alt="diagram" />
<div class="caption">Fig. 363.—Imitation of Ground Glass.</div>
</div>
<p class="unindent">with a piece of stiff white rice-net, such as is commonly used for
bonnet-frames, and some pieces of thin batiste, or lawns, of the
requisite colors. Cut the rice-net the proper size and lay it over
your design; then carefully trace off the pattern; when all the
outlines are finished cut the different-colored lawns of the shape
and size to correspond to the different portions of the design;
baste these on in the places they must occupy; then sew them
on with the Automatic Sewing-machine, following with coarse
black thread the outlines on the wrong side of the foundation, so
that the chain-stitch will appear on the right side to form the
leading; or the stitching may be made by hand, or a very narrow
black braid can be used as leading. When all the batiste is
sewed on, cut out the net back of the design to allow the light
to shine through.</p>

<p><span class="pagenum"><a name="Page_436" id="Page_436">[436]</a></span></p>

<p>We have seen such an imitation of stained glass, and when
placed up against the window it was very good; but care must
be taken to have the colored
lawns thin and of the right
shades; if too heavy they obstruct
the light and the colors do
not look bright.</p>

<p>For full-length window-drapery
of inexpensive material
there may be had at any of the
leading dry-goods stores beautiful
soft fabrics, in yellows and different colors, the designs
of which equal those of much higher-priced goods. These
draperies hang in graceful folds and come as low as ten cents a
yard; some of them are also well adapted for the useful Dutch
curtains.</p>


<div class="figcenter" style="width: 300px;">
<img src="images/i_436b.jpg" width="300" height="55" alt="diagram" />
<div class="caption">Fig. 364.—Folded Paper with Diamond Pattern for
Imitation of Ground Glass.</div>
</div>

<div class="figcenter" style="width: 295px;">
<img src="images/i_436b2.jpg" width="295" height="59" alt="diagram" />
<div class="caption">Fig. 365.—Paper Marked with Design for Imitation
of Ground Glass.</div>
</div>


<h3><b>Windows of Imitation Ground Glass</b></h3>

<p class="unindent">can be made of white tissue-paper, cut in simple patterns and
fastened on the inside of the glass with white lac-varnish.
The window must be
perfectly clean and dry.
If possible have the
pieces of tissue-paper
exactly the same size as
the window-panes, fold and refold the paper lengthwise until it
is an inch or so in width;
then cut from stiff cardboard
your pattern. If it
be a diamond, as in Fig.
363, have it exact, and
cut it in halves; use one-half as a pattern, place this on the
edge of the paper, as in Fig. 364, and with a lead pencil draw a<span class="pagenum"><a name="Page_437" id="Page_437">[437]</a></span>
line around it; remove the pattern and place it lower down
about a quarter of an inch from the first tracing, and again
mark around the edge. Continue in the same way until you
have the pattern marked on the entire length of the tissue-paper.
Make the same pattern on the other edge of the paper
(Fig 365). Cut out the pattern, then unfold the paper and
smooth it free of wrinkles; give the window-pane a thin coating
of white lac-varnish, and apply the paper, being very careful
to have it <i>perfectly</i> smooth when on the glass. Sometimes
it is necessary to join two or more pieces of paper, but if you
are careful to make the edges come <i>exactly</i> together, the joins
will not be noticeable.</p>

<p>Lac-varnish dries very quickly, and it takes only a short time
to decorate a window in this manner.</p>

<p>When all the panes of glass are covered with tissue-paper,
finish by varnishing each one with the white lac-varnish; at
a little distance it is difficult to distinguish a window so covered
from one really formed of ground glass.</p>

<p>For bath-rooms, or where the window is rather out of the
way and the outlook not agreeable, the imitation of ground
glass is suitable and useful.</p>

<div class="figcenter" style="width: 471px;">
<img src="images/i_437.jpg" width="471" height="141" alt="window" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_438" id="Page_438">[438]</a></span></p>




<h2>CHAPTER XXXIX.<br />

<small>FURNITURE OLD AND NEW.</small></h2>


<div>
  <img class="drop-cap" src="images/i_438.jpg" width="155" height="209" alt="O" />
</div>

<p class="drop-capi3">ONLY the other day we were appealed to by
a friend for suggestions on how to furnish
a room prettily, and at the same time inexpensively,
and we know that there are
many girls like this friend who, loving to
surround themselves with beauty and comfort,
have not the means of doing so in the
ordinary way; but must depend largely
upon their own skill and ingenuity for the
gratification of this taste. After all, there
is more real pleasure in planning and contriving the furnishing
of one’s room, even with only a small sum for outlays,
than there is in ordering a set from the furnishers which is
exactly like a hundred others. In the former case we make
our room expressive of our individuality; in the latter we walk
in the beaten track of those who have little or no individuality
to express.</p>

<p>So much for the sentiment of the idea. Now let us turn to
the practical side, and find the best way of carrying it out, and
putting our theories into practice.</p>

<p>In mentioning old furniture in the heading of this chapter,
we do not allude to the antiques in such high favor just now;
they are unique and handsome enough in themselves, requiring
no contriving to beautify them; but there are few families who
do not possess furniture that is out of date, old-fashioned without<span class="pagenum"><a name="Page_439" id="Page_439">[439]</a></span>
being antique; furniture that time and hard usage has reduced
to a state of shabbiness anything but beautiful, yet not worth
sending to the cabinet-makers to be furbished up. It is the
renovation of such furniture that will help much toward making
a room pretty and attractive.</p>

<p>We need not attempt to restore the furniture to its original
state, that would be impracticable. But we can work wonders in
transforming it; in turning a homely article into one that will
be an adornment instead of a blemish.</p>


<h3><b>Bookcase.</b></h3>
<div class="figleft" style="width: 188px;">
<img src="images/i_439.jpg" width="188" height="298" alt="diagram" />
<div class="caption">Fig. 366.—Diagram of Book-shelves.</div>
</div>
<p>Take, for instance, an old bureau
belonging to a cottage set. The mirror,
perhaps, is broken, or if it is not it can
be used to better advantage elsewhere.
Removing that, there is left merely a
chest of drawers, which we will proceed
to convert into a bookcase by the addition
of shelves placed on top. If you
have a brother who is handy with his
tools the matter is simple enough;
without him a carpenter may have to
be employed to make the shelves, or,
by taking the plan and measurements
to a carpenter-shop the materials can be obtained ready for
use, and all you will have to do will be to put them together.
Although there is a saying that “a girl can never drive a nail
straight,” we have reason to believe the contrary, and feel sure
that a little practice will enable most girls to do many bits of
light carpentry work as well as the boys. Three feet is the
height of a bureau belonging to an ordinary set of cottage furniture,
so we will take that as our standard for measurement, and
make our shelves according to it.</p>



<p><span class="pagenum"><a name="Page_440" id="Page_440">[440]</a></span></p>

<p>Fig. 366 is the diagram for the frame of the shelves. The
side pieces are made of boards three feet four inches long and
nine inches wide; the top of each of these boards is sawed
into a point as shown in diagram. Four cleats made of sticks
eight inches long and one inch thick are nailed to the side of
each board, the distance between being nine inches.</p>

<p>The frame at the back is composed of two boards five and
one half feet long and seven inches wide, and two, three feet three
inches long (the width of the bureau) and seven inches wide.
One of these short boards is nailed across the top ends of the
long boards, and the other twenty-four inches below. The side
pieces are nailed to the back as shown in diagram, the nails
being driven through the back board into the edge of the side
piece.</p>

<p>When the frame is made it is placed on the bureau, the sides
resting on the top and the long back boards reaching down behind
where they are nailed or screwed to the bureau. The
shelves are thirty-seven inches long and nine inches wide.
They rest on the cleats and are not nailed to the frame.</p>

<p>Screws may in some places, answer better than nails.</p>

<p>When the shelves have been adjusted, the whole is painted
a dark olive green.</p>

<p>If the knobs are removed from the drawers before the
bureau is painted, and brass handles substituted afterward, it
will add materially to its appearance.</p>

<p>The bookcase shown in our illustration is finished off with
curtains, which hang by brass rings from a slender bamboo pole.
The pole is slipped through brass hooks screwed into the side
pieces near the top.</p>

<p>Curtains of canton-flannel, or any soft material, are suitable
for this bookcase. The colors may be a combination of olive
green with old blue, yellow, cherry, copper color, dark red,
or light brown.</p>

<p><span class="pagenum"><a name="Page_441" id="Page_441">[441]</a></span></p>


<h3><b>The Chair</b></h3>

<p class="unindent">in the same illustration is an ordinary rocking-chair painted
olive green, with cushions at the back and in the seat stuffed
with excelsior, covered with bright cretonne, and tied to the
chair with ribbons.</p>

<div class="figcenter" style="width: 493px;">
<img src="images/i_441.jpg" width="493" height="526" alt="drawing" />
<div class="caption">Bureau Transformed into a Bookcase.</div>
</div>
<div class="figright" style="width: 35px;">
<img src="images/i_442a.jpg" width="35" height="181" alt="diagram" />
<div class="caption">Fig. 367.</div>
</div>
<p><span class="pagenum"><a name="Page_442" id="Page_442">[442]</a></span>Chairs of this kind look well painted almost any color; one
of yellow, with yellow cushions and ribbons, is exceedingly
pretty.</p>

<p>If the chair to be remodelled is bottomless, reseat
it in this way: Cut some strips of strong cotton cloth
about one inch wide and sew them together, lapping
one piece over another, as in Fig. 367; fasten an end
on to the edge of the chair with a tack, and then pass
the cloth back and forth across, each time putting it
under and bringing it over the edge of the chair.</p>

<div class="figleft" style="width: 238px;">
<img src="images/i_442b.jpg" width="238" height="281" alt="diagram" />
<div class="caption">Fig. 368.—How to Reseat a Chair.</div>
</div>
<p>When the seat is filled up with the strips going one
way, cut the cloth and tack the end to the chair; then,
commencing at the side, cross
these strips, passing the cloth
in and out as if darning. Fig.
368 shows just how it is done.
Be sure to draw the strip as
tightly as you can every time
it crosses the chair, for if too
loose it will sag as soon as the
chair is used. The edge of the
chair may be covered with the
cretonne, or a ruffle which is
sewed around the cushion.</p>


<p>Fig. 369 is an old settee fitted
up with cushions, and a sociable,
comfortable seat it is. It offers
plenty of room for two, and ensconced thereon the girls may
rock and talk to their hearts’ content.</p>

<p>These settees are not often seen in the city, but are to be
found in many a farm-house and country town. The one from
which our sketch is taken is painted black, but, like the chair,
it would look well any color.</p>

<p><span class="pagenum"><a name="Page_443" id="Page_443">[443]</a></span></p>

<p>Fresh, dainty prettiness should be the principal feature of a
young girl’s room, and this can be obtained at very little expense,
much less than most persons suppose.</p>

<div class="figcenter" style="width: 510px;">
<img src="images/i_443.jpg" width="510" height="403" alt="drawing of girl on long rocking chair" />
<div class="caption">Fig. 369.—Come and Sit Here.</div>
</div>

<p>Fig. 370 shows what can be done with the commonest
kind of furniture. This can be bought at the manufacturer’s
unpainted, and may be left its natural color and simply
varnished, or, following the present fashion, it can be
painted white, and decorated with slender bands or circles of
gold.</p>

<p><span class="pagenum"><a name="Page_444" id="Page_444">[444]</a></span></p>

<p>As in the illustration,</p>


<h3><b>The Bedstead</b></h3>

<p class="unindent">should have drapery suspended over it. This gives a soft,
pretty effect, and takes away its stiffness. Dotted swiss or
thin cottage drapery answers the purpose nicely.</p>

<p>Ten yards of material cut in two breadths of five yards each
are required for these curtains. The breadths must be sewed
together lengthwise and then passed through a small wooden
hoop which has been gilded or painted white.</p>

<p>When the hoop is directly in the middle of the breadths, the
material must be brought together close to the hoop and two
of the edges sewed or basted together. This seam is to go
at the back and keep the curtain from parting and hanging
in two strips.</p>

<p>A ruffle of the same material, or lace, sewed on the edge
and across the ends of the drapery gives it a soft, lacy effect.
The ribbons which loop the curtains at either side should be of
the prevailing colors of the room. If the furniture is white and
gold, they should be yellow.</p>

<p>The hoop can hang from a brass chain fastened to a hook
in the ceiling.</p>

<p>The bureau belonging to this style of furniture is too clumsy
for our use, although without the mirror it will be convenient
as a chest of drawers. Brass handles in place of knobs will improve
it.</p>

<div class="figcenter" style="width: 511px;">
<img src="images/i_445.jpg" width="511" height="591" alt="drawing of bedroom" />
<div class="caption">Fig. 370.—What can be done with Common Unpainted Furniture.</div>
</div>
<h3><b>A Dressing-table</b></h3>

<p class="unindent">to take its place, like the one shown in Fig. 370, can be made
of a small kitchen-table. The mirror suspended over it should
have a broad flat frame of white pine, varnished or painted to
match the furniture. Almost any cabinet-maker can frame a
mirror in this way. Bracket candlesticks made of brass, which<span class="pagenum"><a name="Page_445" id="Page_445">[445]</a></span>
are very inexpensive, should be fastened to the frame on either
side of the glass with brass nails or brass-headed tacks.</p>

<div class="figright" style="width: 304px;">
<img src="images/i_446.jpg" width="304" height="496" alt="drawing of washstand" />
<div class="caption">Fig. 371.—The Ordinary Unpainted Washstand in a
New Light.</div>
</div>

<p>With a brass handle on the drawer, a pretty scarf of linen
crash, ornamented with drawn work or outline, thrown over the<span class="pagenum"><a name="Page_446" id="Page_446">[446]</a></span>
table and hanging down at each end, and the addition of pin-cushion
and toilet articles, this toilet-table looks very attractive
and readily challenges
admiration.</p>


<h3><b>Washstand.</b></h3>

<p>A piece of white matting
bound at top and
bottom, with yellow cotton
cloth for a splasher,
as in Fig. 371, and a
pretty scarf and toilet-set,
presents this most
ordinary washstand in a
new light.</p>

<p>Three common kitchen-chairs
and one rocker,
when painted white or
varnished, as the case
may be, and cushioned
in pretty light-colored
cretonne, completes this
novel, pretty, and remarkably
inexpensive set
of furniture.</p>

<p>The curtains next to
the windows should be of the same material as that used for
the bed-drapery, with the inner one of cretonne like the chair-cushions.</p>

<p>White matting is suitable for the floor in summer, and during
the cold weather it can be mostly covered with a pretty
ingrain rug or art square, as it is called.</p>

<p><span class="pagenum"><a name="Page_447" id="Page_447">[447]</a></span></p>

<p>Instead of using gilt, the rings and bands on the furniture
may be blue or red, in which case the trimmings of the room
should correspond.</p>

<div class="figcenter" style="width: 510px;">
<img src="images/i_447.jpg" width="510" height="474" alt="drawing of bench" />
<div class="caption">Fig. 372.—Hall Seat Made of a Common Wooden Bench.</div>
</div>


<h3><b>A Hall Seat.</b></h3>

<p>As another illustration of what can be done with the most
ordinary piece of furniture, we have chosen a common wooden
bench, and by painting it black and giving it a dark-red cushion
with tassels at each corner, have transformed it into quite an
elegant hall-seat. Fig. 372 gives the effect.</p>

<p><span class="pagenum"><a name="Page_448" id="Page_448">[448]</a></span></p>

<div class="figcenter" style="width: 507px;">
<img src="images/i_448.jpg" width="507" height="592" alt="drawing" />
<div class="caption">Fig. 373.—Window Seat and Book-shelves Combined, Made of Boxes.</div>
</div>

<p>Fig. 373 shows a</p>


<h3><b>Window Seat and Book-shelves Combined,</b></h3>

<p class="unindent">made of boxes. Eight soap-boxes of the same size are required
for the shelves, and a packing-box about two feet high, two<span class="pagenum"><a name="Page_449" id="Page_449">[449]</a></span>
feet in width, and as long as the window is wide, for the
seat.</p>

<p>Remove the tops and two sides of the soap-boxes, and bore
holes with a red-hot poker in one corner of the bottoms of six
of the boxes, and in two of the tops which have been removed,
making the holes one inch from either edge (Fig. 374). In
the other two boxes bore in the same place, but not entirely
through, making the holes about half an inch deep.</p>

<p>Place these last two on the floor and pile the others on top
of them, three on each, nailing the
bottom of each box to the top edge
of the one beneath it. On the two
upper boxes nail the tops in which
the holes have been made.</p>

<p>Have ready two slender bamboo
rods about four feet long. Insert a
rod in the hole in the top of an
upper box and let it pass down,
slipping it through the holes in the
bottoms of the other boxes and fitting it in the cavity in the
lower box.</p>

<div class="figleft" style="width: 205px;">
<img src="images/i_449.jpg" width="205" height="167" alt="diagram" />
<div class="caption">Fig. 374.—Hole in Corner of Box
for Book-shelves.</div>
</div>

<p>In like manner put the other rod in place through the other
pile of boxes.</p>

<p>If the packing-box has a cover, it should be fastened on
with hinges, so that it may be used for a shoe-box as well as a
seat; if it has not, turn it upside down, place the soap-boxes at
each end and nail them to it.</p>

<p>Paint the shelves black or the color of the wood-work in the
room, and upholster the seat and the boxes on either side of it
with cushions made of strong muslin stuffed with excelsior and
covered with cretonne.</p>

<p>Fasten the edges of the side cushions to the boxes with
gimp braid and tacks. Make a deep plaiting of the cretonne<span class="pagenum"><a name="Page_450" id="Page_450">[450]</a></span>
and tack it across the front of the large box. When there is a
lid a narrow plaiting must be tacked across its front edge, which
will, when the box is closed, lap over the top of the deeper
plaiting.</p>

<p>That this combination of window-seat and shelves is both
comfortable and convenient, one may easily imagine, and that
it adds not a little to the furnishing of a room, we leave to
our illustration to show.</p>

<div class="figcenter" style="width: 471px;">
<img src="images/i_450.jpg" width="471" height="181" alt="man carrying belongings including a chair on back" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_451" id="Page_451">[451]</a></span></p>




<h2>CHAPTER XL.<br />

<small>SOMETHING ABOUT MANTEL-PIECES AND
FIRE-PLACES.</small></h2>


<div>
  <img class="drop-cap" src="images/i_451.jpg" width="159" height="161" alt="T" />
</div>

<p class="drop-capi3">THE spirit of hospitality and comfort presides
over the ruddy blaze of an open
fire; yet, as we gather cosily around and
bask in the delightful warmth and radiance,
its cheerful influence is too often
retarded by its very unattractive surroundings.
This lovely household spirit
should have a more fitting habitation than
the one frequently accorded it. The fire-place should at least
be pleasant to look upon, and not depend wholly upon the
bright fire to make it inviting.</p>

<p>The ordinary marble and marbleized slate or iron mantel-pieces
are the reverse of beautiful, but they may be very much
improved at the expense of a small outlay of money, time, and
trouble.</p>

<p>The examples we give here of the treatment of commonplace
mantel-pieces are simple, and can easily be managed by
the girls themselves, with but trifling aid from a carpenter.</p>

<p>In a room occupied at one time by a young friend of the
writer, there was an old-fashioned white-pine mantel-piece.
It was stiff and plain, with no attempt at ornamentation, and
the border of white marble, about five inches wide around the
fire-place, was apparently inserted to protect the wood from<span class="pagenum"><a name="Page_452" id="Page_452">[452]</a><br /><a name="Page_453" id="Page_453">[453]</a></span>
the heat of the fire, and not for beauty. A hint from the
writer was sufficient to set this girl’s brain and fingers to work.
Soon the white-marble border was transformed into a row of
blue and white tiles, which were not only pretty and appropriate,
but were also the means of dispelling the impressions of
coldness and hardness the marble gave.</p>

<div class="figcenter" style="width: 486px;">
<img src="images/i_452.jpg" width="486" height="600" alt="drawing" />
<div class="caption">Fig. 375.—Shelves over Mantel-Piece.</div>
</div>

<p>The manner of effecting this transformation was simple
enough. First the marble was divided into squares, the lines
being painted black; then conventional patterns were sketched
with a pencil on the squares and painted in blue, oil-paints
being used for the purpose.</p>

<p>How the mantel-piece was otherwise reformed, the writer
never saw, but it might have been greatly improved and altered
by the addition of shelves above, or a suitable lambrequin upon
the mantel-shelf. However that may or might have been, the
tiles were a successful bit of work, and the painting of them
within the capabilities of almost anyone. Then why should we
long in vain for a tiled mantel-piece, when we have it in our
power to gratify the wish?</p>

<p>On a plain white-marble mantel a border around the fire-place
may be marked out, and a set of tiles painted, which will
look just as pretty as any that can be bought.</p>

<p>If the rest of the marble is painted black or brown, the tiles
will look as though they were set in, and the contrast will make
them more effective.</p>

<p>Fig. 375 illustrates our suggestion of putting shelves over
the mantel-piece. The braces can be bought at any hardware-store,
and the shelves may be of black-walnut or pine boards,
stained or painted to match the mantel-piece.</p>

<p>Fig. 376 shows the effect of a mantel-shelf covered with enamel-cloth
made in imitation of leather. The color of the material
used for the one from which our sketch is taken is dark red,
and has a dull, soft finish like Russian leather. It is ornamented<span class="pagenum"><a name="Page_454" id="Page_454">[454]</a></span>
with small brass curtain-rings sewed on in points or pyramids;
a strip of enamel-cloth is also put behind the shelf, and at the
top edge a piece of narrow gilt moulding is tacked.</p>

<div class="figcenter" style="width: 508px;">
<img src="images/i_454.jpg" width="508" height="547" alt="drawing" />
<div class="caption">Fig. 376.—Mantel-Shelf covered with Enamel-Cloth ornamented with Brass Curtain-Rings.</div>
</div>

<p>A mantel-board of pine, two inches longer and two inches
wider than the shelf, is always necessary when there is to be a
lambrequin, for upon this the lambrequin is tacked.</p>

<p><span class="pagenum"><a name="Page_455" id="Page_455">[455]</a></span></p>

<p>First, the board must be neatly covered with the material,
enamel-cloth or whatever is used, the edges of the cloth being
brought over and tacked under the edge of the shelf; then the
strip composing the lambrequin must be turned in at the top
edge and tacked across the front and two ends of the board
with brass-headed tacks. It looks better if the corners of the
board are rounded as
shown in illustration.</p>
<div class="figright" style="width: 345px;">
<img src="images/i_455.jpg" width="345" height="298" alt="diagram" />
<div class="caption">Fig. 377.—Enamel-Cloth ornamented with Brass Rings.</div>
</div>
<p>The piece at the
back of the shelf
should be about
eighteen inches deep
and must be tacked
at top and bottom
with small tacks, the
edge at each end
being turned in and
tacked to the wall
with brass-headed
tacks.</p>

<p>Fig. 377 is the
diagram of enamel-cloth
ornamented with brass rings, and shows a section of the
pattern. The bottom row of rings should be sewed on first,
and the edge of the cloth turned up as the rings are fastened
on. The stitches which hold the rings catch the hem also.
This first row of rings should extend half way below the edge
of the cloth, as shown in Fig. 377. Strong yellow embroidery-silk
or saddlers’ silk is the best to sew them on with.</p>



<p>The gilt moulding can be bought by the foot and small
headless nails are furnished to tack it with.</p>

<p>Another mantel is treated in very much the same manner
as Fig. 376, the difference being that, instead of enamel-cloth,<span class="pagenum"><a name="Page_456" id="Page_456">[456]</a></span>
the covering for the shelf and the piece at the back are dark-red
canton-flannel, and around the edge of the shelf is tacked a
worsted fringe, about six inches deep, matching the canton-flannel
in color. This has a warm, comfortable look and is quite
appropriate for a bedroom, while the other should be used only
in a library or dining-room.</p>

<div class="figcenter" style="width: 450px;">
<img src="images/i_456.jpg" width="450" height="475" alt="diagram" />
<div class="caption">Fig. 378.—Shelves around Projecting Chimney.</div>
</div>

<p>The writer was once invited into a young girl’s room which
was very attractive in its daintiness. It was not pretty in shape,
and an uncompromising chimney, in which there was no fire-place,<span class="pagenum"><a name="Page_457" id="Page_457">[457]</a></span>
projected into the room; but taste had overcome these
difficulties, and the effect produced was decidedly pleasing.</p>

<p>Pretty wall-paper and the arrangement of the furniture helped
very much, but the greatest triumph was in subduing the awkwardness
of that chimney by surrounding it with a set of shelves
for holding pretty bits of bric-à-brac.</p>

<p>In case another girl may have the same difficulty to surmount
in decorating her room, we give an outline drawing of
the shelves (Fig. 378) that she may see and profit thereby.</p>

<div class="figcenter" style="width: 482px;">
<img src="images/i_457.jpg" width="482" height="225" alt="mantle" />
</div>

<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_458" id="Page_458">[458]</a></span></p>




<h2>CHAPTER XLI.<br />

<small>HOME-MADE CANDY.</small></h2>


<div>
  <img class="drop-cap" src="images/i_458.jpg" width="196" height="160" alt="W" />
</div>

<p class="drop-capi2">WE have noticed that in none of the
books we have seen, which were written
especially for the amusement and
entertainment of girls, has there been
any directions or recipes for making
candy. Knowing by experience that
most girls consider candy-making one
of their prime winter enjoyments, we
consider the omission to be quite an important one, and we
will in this chapter endeavor to supply the much-wished-for information.</p>

<p>Though cooking in general may not be regarded with much
favor by the average school-girl, she is always anxious to learn
how to make candy, and hails a new recipe as a boon.</p>

<p>The following recipes for peanut-candy, butter-scotch, and
molasses-candy were obtained from a friend who makes the
best home-made candy it has ever been our good-fortune to
taste, and as she recommends them, we may rely upon their
being excellent. We give them, with her comments, just as she
wrote them.</p>


<div class="blockquot">

<h3><b>Delicious Peanut-Candy.</b></h3>

<p>Shell your peanuts and chop them fine; measure them in a cup, and
take just the same quantity of granulated sugar as you have peanuts. Put
the sugar in a skillet, or spider, on the fire, and keep moving the skillet<span class="pagenum"><a name="Page_459" id="Page_459">[459]</a></span>
around until the sugar is dissolved; then put in the peanuts and pour into
buttered tins.</p>

<p>This is <i>delicious</i>, and <i>so</i> quickly made.</p>


<h3><b>Butter-Scotch.</b></h3>


<ul class="ingredients"><li>2 cups of brown sugar.</li>
<li>½ cup of butter.</li>
<li>4 tablespoonfuls of molasses.</li>
<li>2 tablespoonfuls of water.</li>
<li>2 tablespoonfuls of vinegar.</li></ul>



<p>Boil until it hardens when dropped into cold water, then pour into buttered
tins.</p>


<h3><b>Molasses-Candy.</b></h3>

<ul class="ingredients">
<li>2 cups of brown sugar.</li>
<li>½ cup of New Orleans molasses.</li>
<li>⅔ cup of vinegar and water mixed.</li>
<li>A piece of butter half the size of an egg.</li>
</ul>


<p>When the candy hardens in cold water, pour into shallow buttered tins,
and as soon as it is cool enough to handle, pull it until it is of a straw-color.
<i>Splendid!</i></p></div>

<p>Here are two recipes which another friend has kindly sent
us:</p>


<div class="blockquot">

<h3><b>Chocolate-Creams.</b></h3>

<p>To the white of 1 egg add an equal quantity of cold water. Stir in 1
pound of confectioner’s sugar. Flavor with vanilla. Stir until fine and
smooth; then mould into balls and drop into melted chocolate.</p></div>

<p>To melt the chocolate, scrape and put it in a tin-cup or small
sauce-pan over a kettle where it will steam. Let the chocolate
be melting while the cream is being prepared.</p>


<div class="blockquot">

<h3><b>Walnut-Creams.</b></h3>

<p>Make the cream as for chocolate-drops and mould into larger balls.
Place the half of an English walnut on either side and press them into the
cream.</p></div>

<p><span class="pagenum"><a name="Page_460" id="Page_460">[460]</a></span></p>

<p>The cream prepared in this way, we have found, can be used
for various kinds of candy.</p>

<p>Small pieces of fruit of any kind and nuts can be enclosed in
the cream, making a great variety. Chocolate may be mixed
with it; and if strong, clear coffee is used in place of the water,
the candy will have the coffee flavor and color which some
people like.</p>


<h3><b>Walnut and Fruit Glacé.</b></h3>

<p>Put 1 cup of sugar and ½ cup of water in a sauce-pan and
stir until the sugar is all dissolved; then place it over the fire
and let it boil until it hardens and is quite crisp when dropped
in cold water. Do not stir it after it is put on the fire.</p>

<p>When cooked sufficiently, dip out a spoonful at a time and
drop in buttered tins, leaving a space of an inch or so between
each spoonful. Place on each piece of candy the half of a walnut,
or the fruit which has previously been prepared, and pour
over them enough candy to cover them, always keeping each
piece separate.</p>

<p>Any kind of fruit can be made into glacé. When using
oranges, quarter them and remove the seeds. Strawberries, in
their season, and peaches also make delicious glacé.</p>

<p>The remainder of our recipes have been taken from family
recipe-books, and although we have not tested them ourselves,
we think it may be safely said that they are good ones.</p>


<h3><b>Marsh-mallow Paste.</b></h3>

<p>Dissolve 1 pound of clean white gum-arabic in one quart
of water; strain, add 1 pound of refined sugar, and place over
the fire. Stir continually until the syrup is dissolved and the
mixture has become of the consistency of honey. Next add
gradually the beaten whites of 8 eggs; stir the mixture all<span class="pagenum"><a name="Page_461" id="Page_461">[461]</a></span>
the time until it loses its thickness and does not adhere to the
finger. Flavor with vanilla or rose. Pour into a tin slightly
dusted with powdered starch, and when cool divide into squares
with a sharp knife.</p>


<h3><b>Toasted Marsh-mallows.</b></h3>

<p>Tie a string on the end of a cane or stick, fasten a bent pin
on the end of the string, and stick the pin into a marsh-mallow-drop.
Hold the marsh-mallow suspended over an open fire and
let it gradually toast. When it begins to melt and run down it
is done.</p>

<p>For a small party toasting marsh-mallows will be found quite
a merry pastime, and a great many persons consider the candy
much better for being thus cooked the second time.</p>


<h3><b>Molasses Peanut-Candy.</b></h3>

<ul class="ingredients">
<li>2 cups of molasses.</li>
<li>1 cup of brown sugar.</li>
<li>1 tablespoonful of butter.</li>
<li>1 tablespoonful of vinegar.</li>
</ul>


<p>While the candy is boiling remove the shells and brown
skins from the peanuts, lay the nuts in buttered pans, and when
the candy is done pour it over them. While it is still warm cut
in blocks.</p>


<h3><b>Chocolate-Caramels.</b></h3>

<ul class="ingredients">
<li>2 cups of sugar.</li>
<li>1 cup of molasses.</li>
<li>1 cup of milk.</li>
<li>1 tablespoonful of butter.</li>
<li>1 tablespoonful of flour.</li>
<li>½ pound of Baker’s chocolate.</li>
</ul>


<p>Grease your pot, put in sugar, molasses, and milk; boil fifteen<span class="pagenum"><a name="Page_462" id="Page_462">[462]</a></span>
minutes, and add butter and flour stirred to a cream. Let
it boil five minutes, then add the chocolate, grated, and boil until
quite thick. Grease shallow pans and pour in the candy
half an inch thick, marking it in squares before it becomes
hard.</p>


<h3><b>Pop-Corn Balls.</b></h3>


<ul class="ingredients">
<li>6 quarts of popped corn.</li>
<li>1 pint of molasses.</li>
</ul>

<p>Boil the molasses about fifteen minutes; then put the corn
into a large pan, pour the molasses over it, and stir briskly until
thoroughly mixed. Then, with clean hands, make into balls
of the desired size.</p>

<div class="figcenter" style="width: 475px;">
<img src="images/i_462.jpg" width="475" height="132" alt="children eating enormous candy" />
</div>

<hr class="chap" />
<p><span class="pagenum"><a name="Page_463" id="Page_463">[463]</a></span></p>

<div class="figcenter" style="width: 476px;">
<img src="images/i_463.jpg" width="476" height="600" alt="drawing of someone wearing a fake beard holding a Valentine" />
<div class="caption">Saint Valentine.</div>
</div>

<hr class="chap" />
<div class="chapter"></div>
<p><span class="pagenum"><a name="Page_464" id="Page_464">[464]</a></span></p>


<h2>CHAPTER XLII.<br />

<small>Saint Valentine’s Day.</small></h2>


<div>
  <img class="drop-cap" src="images/i_464.jpg" width="130" height="160" alt="D" />
</div>

<p class="drop-capi3">DID it never occur to any of you to wonder who
Saint Valentine was, and why we should
commemorate his day by sending cards or
letters containing all sorts of nonsense, like
true-lovers’ knots, hearts pierced with arrows,
etc.?</p>

<p>It is easy enough to tell you about the
saint, but what he had to do with the popular
observances of the day dedicated to him is a matter for
conjecture.</p>

<p>Saint Valentine, they say, was a grave and earnest bishop,
who was put to death in Rome on the fourteenth day of February,
about the year 270 <span class="smcap">A.D.</span>, for his too zealous efforts in
converting the heathen. When he was canonized, the day of
the month on which he died was dedicated to him.</p>

<p>The customs of Saint Valentine’s Day are, no doubt, derived
from those practised at some of the Pagan festivals, for
they are of very ancient origin. In olden times, in England, it
was kept as a great gala day, and all the houses were decked
with evergreen in honor of it. Ben Jonson says:</p>

<div class="poetry-container">
  <div class="poetry">
<div class="verse">“Get some fresh hay, then, to lay under foot,</div>
<div class="verse"><span style="margin-left: 0.5em;">Some holly and ivy to make fine the posts;</span></div>
<div class="verse"><span style="margin-left: 0.5em;">Is’t not Saint Valentine’s Day?”</span></div>
</div>
</div>

<p><span class="pagenum"><a name="Page_465" id="Page_465">[465]</a></span></p>

<p>The principal feature of the ceremonies was always the
choice of a valentine for the ensuing year. The cavalier was
expected to wait upon his lady, execute all of her commands,
and act as her escort at all social gatherings.</p>

<p>The choice of a valentine was generally left to chance,
one of the methods being that the first unmarried member of
the opposite sex a person saw on Saint Valentine’s morning
should be his or her valentine.</p>

<p>Of course you have all had some experience in sending and
receiving valentines, and perhaps consider that the only way of
celebrating the day; but don’t you think it would be a good
idea to invite some friends to your house and have a</p>


<h3><b>Valentine-Party?</b></h3>

<p>We will give several suggestions upon what to do at a valentine-party,
that you may have some idea how the affair should
be conducted.</p>

<p>In the first place, let each guest, upon his or her arrival, deposit
a valentine in a large bag placed in the hall for that purpose.
The valentines must be addressed to no particular person,
but the girls should write on theirs, “To my cavalier,”
and the boys address the ones they send, “To my lady.” On
one corner of each valentine (not the envelope) the sender’s
name must be written.</p>

<p>When all the guests have assembled, someone disguised as
Saint Valentine, in a skull-cap, long white beard, made of cotton
or wool, and long cloak, should enter the parlor, carrying on his
back the sack of valentines. He must stand in the centre of
the room and auction off each valentine as he takes it from his
pack.</p>

<p>All sorts of bids can be made, such as the promise of a dance,
a necktie, her share of ice-cream at supper, by a girl. A compliment,<span class="pagenum"><a name="Page_466" id="Page_466">[466]</a></span>
the first favor asked of him, a paper of bonbons, by a
boy. To make fun the bids should be as ridiculous as possible.
Saint Valentine is to be at liberty
to accept whatever bid he
chooses. The payment of the
debt must be rigidly exacted
by the sender of a valentine,
whose identity is revealed when
the valentine is opened.</p>

<div class="figleft" style="width: 249px;">
<img src="images/i_466a.jpg" width="249" height="147" alt="patterns" />
<div class="caption">Fig. 379.—Cupid’s Bow and Arrow.</div>
</div>

<p>If unable to comply immediately
with the demand, the debtor must give the creditor a card
or slip of paper on which is written “I O U a favor,” or whatever
it may be that is owed. This I O U entitles the creditor
to claim payment of the debt at any time during the year.</p>

<p>Another feature of the party should be Cupid’s bow and arrow,
which must be suspended from the chandelier or placed
in some prominent position. The device is to be used for delivering
such valentines as may be addressed to particular persons.
The valentine must be stuck onto the
point of the arrow, and no one may remove it
save the person to whom it is addressed. At
any time during the evening the arrow may be
found to bear a missive, and we would advise
the hostess to provide a valentine, to be delivered
in this way, for each of her guests, that none may
feel neglected. The rest of the party can, to be
sure, send as many valentines as they like.</p>

<div class="figright" style="width: 108px;">
<img src="images/i_466b.jpg" width="108" height="243" alt="patten" />
<div class="caption">Fig. 380.—Notch in
End of Feather.</div>
</div>

<p>Make Cupid’s bow and arrow of heavy pasteboard,
like Fig. 379. Let the bow measure about
sixteen inches from tip to tip. Make the arrow
twelve inches long, with a point or head three
inches, and the feathers two inches, in length on the outside
edge. Cut a notch in the feathered end, as shown in Fig. 380.<span class="pagenum"><a name="Page_467" id="Page_467">[467]</a></span>
Strengthen the arrow by gluing a thin stick of wood along
it to within one inch of the point. Gild both the bow and arrow,
tie a silk cord to the tips of the bow, leaving
it slack, and force the head of a worsted-needle
into the point of the arrow (Fig. 381). Adjust
the arrow by fitting the cord in the notch and
pulling it back until the cord is taut; then fasten
it to the bow by taking a few stitches with yellow
silk through the bow and over the arrow. Fig.
382 shows how it should appear when in place.</p>

<div class="figleft" style="width: 98px;">
<img src="images/i_467a.jpg" width="98" height="244" alt="pattern" />
<div class="caption">Fig. 381.—Manner
of fastening
Needle in
Arrow-head.</div>
</div>

<p>To determine how the guests shall be paired
off for supper, place the names of all the girls,
written on slips of paper, in a bag; then let each
boy in turn take out a slip, and the girl whose
name it bears he shall escort to the supper-room
and serve like a true cavalier.</p>

<div class="figright" style="width: 244px;">
<img src="images/i_467b.jpg" width="244" height="182" alt="diagram" />
<div class="caption">Fig. 382.—Cupid’s Bow with Arrow in
Position.</div>
</div>

<p>At a valentine-party the valentines should, if
possible, all be original, or at least contain appropriate quotations.
The more absurd the rhyme, the more fun it will create,
and when one is unable to make a rhyme a bit of prose
can be made to serve. As
funny as you please let the valentines
be, but remember to
omit anything that is in the
least rude, or calculated to hurt
another’s feelings.</p>

<p>With Saint Valentine’s Day
ends our vacation-calendar and
with it we also bring this book
to a close, for a whole year of
holidays, sports, and entertainments are now contained within
its covers. If we may hope that our work has not been without<span class="pagenum"><a name="Page_468" id="Page_468">[468]</a></span>
profit, as well as entertainment, if we have been successful
in opening any new avenues of enterprise and enjoyment for
you, we are satisfied. If we have done more, and with any of
our suggestions have prompted the thought of adding to the
comfort and happiness of others, we have achieved a success,
and the mission of the <span class="smcap">American Girl’s Handy Book</span> is
accomplished.</p>

<div class="figcenter" style="width: 473px;">
<img src="images/i_468.jpg" width="473" height="107" alt="cherubs and Valentines" />
</div>

<hr class="full" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_469" id="Page_469">[469]</a></span></p>




<h2>INDEX.</h2>


<div class="unindent">
A<br />
<br />
Album, an, <a href="#Page_400">400</a><br />
<br />
All-Hallow-Eve; see <a href="#Halloween">Halloween</a><br />
<br />
Appliqué designs, <a href="#Page_391">391</a><br />
<br />
April, first of, <a href="#Page_3">3</a>;<br />
<span style="margin-left: 1em;">April-fool’s Day party, <a href="#Page_5">5</a>;</span><br />
<span style="margin-left: 1em;">games, <a href="#Page_6">6</a> et seq.</span><br />
<br />
<br />
B<br />
<br />
Back-stitching, <a href="#Page_383">383</a><br />
<br />
Ball, soft, <a href="#Page_327">327</a><br />
<br />
Balls, lawn-tennis, <a href="#Page_69">69</a><br />
<br />
Basket, May, <a href="#Page_74">74</a>;<br />
<span style="margin-left: 1em;">birch-bark, ib.;</span><br />
<span style="margin-left: 1em;">cardboard, ib.;</span><br />
<span style="margin-left: 1em;">crab-net, <a href="#Page_97">97</a></span><br />
<br />
Basting, <a href="#Page_382">382</a><br />
<br />
Bedstead, <a href="#Page_444">444</a><br />
<br />
Beech-nuts, <a href="#Page_220">220</a><br />
<br />
Biographical nonsense, <a href="#Page_339">339</a><br />
<br />
Bladder telephone, <a href="#Page_227">227</a><br />
<br />
Blind, taught modelling, <a href="#Page_257">257</a><br />
<br />
Blind-man’s singing-school, <a href="#Page_155">155</a><br />
<br />
Blind-man’s stocking, <a href="#Page_321">321</a><br />
<br />
Bombs, <a href="#Page_115">115</a><br />
<br />
Bonbon box, <a href="#Page_49">49</a><br />
<br />
Bookcase, <a href="#Page_439">439</a><br />
<br />
Book-covers, home-made, <a href="#Page_401">401</a><br />
<br />
Book-mark, <a href="#Page_324">324</a><br />
<br />
Book-shelves, marine, <a href="#Page_94">94</a><br />
<br />
Booths at a fair, <a href="#Page_413">413</a>;<br />
<span style="margin-left: 1em;">tables for, ib.;</span><br />
<span style="margin-left: 1em;">flowers for, <a href="#Page_417">417</a>;</span><br />
<span style="margin-left: 1em;">arrangement of, <a href="#Page_420">420</a></span><br />
<br />
Botany as applied to art, <a href="#Page_139">139</a>;<br />
<span style="margin-left: 1em;">conventionalizing plant forms, ib.;</span><br />
<span style="margin-left: 1em;">the peony-leaf, <a href="#Page_140">140</a>;</span><br />
<span style="margin-left: 1em;">a bunch of turnips, <a href="#Page_142">142</a>;</span><br />
<span style="margin-left: 1em;">decorative lines, <a href="#Page_143">143</a>;</span><br />
<span style="margin-left: 1em;">cross-section plant designs, <a href="#Page_144">144</a>;</span><br />
<span style="margin-left: 1em;">flower-sprays, <a href="#Page_146">146</a>;</span><br />
<span style="margin-left: 1em;">changing color and form, <a href="#Page_147">147</a>;</span><br />
<span style="margin-left: 1em;">burs, ib.;</span><br />
<span style="margin-left: 1em;">water-lily conventionalized, <a href="#Page_148">148</a>;</span><br />
<span style="margin-left: 1em;">fern-leaf, <a href="#Page_85">85</a></span><br />
<br />
Bouquets, to preserve fresh, <a href="#Page_25">25</a><br />
<br />
Brackets, <a href="#Page_214">214</a><br />
<br />
Bradford, Governor William, <a href="#Page_302">302</a><br />
<br />
Bran pie, <a href="#Page_321">321</a><br />
<br />
Brushes for oil-colors, <a href="#Page_250">250</a>;<br />
<span style="margin-left: 1em;">for china painting, <a href="#Page_270">270</a></span><br />
<br />
Bubble-blowing, <a href="#Page_335">335</a><br />
<br />
Buckeye Portière, <a href="#Page_204">204</a><br />
<br />
“Bunching eggs,” <a href="#Page_37">37</a><br />
<br />
Burgoos, <a href="#Page_132">132</a><br />
<br />
Butter-Scotch, <a href="#Page_459">459</a><br />
<br />
Butter-nuts, <a href="#Page_220">220</a><br />
<br />
Button, how to sew on a, <a href="#Page_386">386</a><br />
<br />
Button-holes, <a href="#Page_383">383</a><br />
<br />
Bureau transformed into a bookcase, <a href="#Page_441">441</a><br />
<br />
<br />
C<br />
<br />
Candlestick, marine, <a href="#Page_103">103</a><br />
<br />
Candy, home-made, <a href="#Page_458">458</a><br />
<br />
Canvas for painting, <a href="#Page_251">251</a><br />
<br />
Cards, Easter, <a href="#Page_50">50</a><br />
<br />
<span class="pagenum"><a name="Page_470" id="Page_470">[470]</a></span>Cards, living Christmas, <a href="#Page_342">342</a><br />
<br />
Chair, <a href="#Page_441">441</a>;<br />
<span style="margin-left: 1em;">how to reseat, <a href="#Page_442">442</a></span><br />
<br />
Chestnuts, <a href="#Page_218">218</a><br />
<br />
China-painting, <a href="#Page_272">272</a>;<br />
<span style="margin-left: 1em;">materials, <a href="#Page_273">273</a>;</span><br />
<span style="margin-left: 1em;">China, <a href="#Page_278">278</a>;</span><br />
<span style="margin-left: 1em;">monochrome painting, ib.;</span><br />
<span style="margin-left: 1em;">tinting, <a href="#Page_273">273</a>;</span><br />
<span style="margin-left: 1em;">new method of decorating china, <a href="#Page_279">279</a>;</span><br />
<span style="margin-left: 1em;">tracing, <a href="#Page_280">280</a>;</span><br />
<span style="margin-left: 1em;">mottled ground, <a href="#Page_281">281</a>;</span><br />
<span style="margin-left: 1em;">snow landscape, ib.;</span><br />
<span style="margin-left: 1em;">head-painting, <a href="#Page_284">284</a>;</span><br />
<span style="margin-left: 1em;">sea-weed, fish, etc., <a href="#Page_287">287</a>;</span><br />
<span style="margin-left: 1em;">mixing colors, <a href="#Page_289">289</a>;</span><br />
<span style="margin-left: 1em;">painting royal Worcester ware, <a href="#Page_290">290</a></span><br />
<br />
Chocolate-caramels, <a href="#Page_461">461</a><br />
<br />
Chocolate-creams, <a href="#Page_459">459</a><br />
<br />
Christmas festivities, <a href="#Page_317">317</a>;<br />
<span style="margin-left: 1em;">customs, <a href="#Page_318">318</a></span><br />
<br />
Clay, for modelling, <a href="#Page_259">259</a>;<br />
<span style="margin-left: 1em;">how to manage, <a href="#Page_261">261</a>;</span><br />
<span style="margin-left: 1em;">how to preserve, <a href="#Page_262">262</a></span><br />
<br />
Clover, four-leaved, <a href="#Page_23">23</a><br />
<br />
Color painting, <a href="#Page_241">241</a>, <a href="#Page_244">244</a>, <a href="#Page_246">246</a><br />
<br />
Conventionalized plant forms, <a href="#Page_141">141</a><br />
<br />
Court, for lawn-tennis, <a href="#Page_62">62</a><br />
<br />
Cross-section plant designs, <a href="#Page_144">144</a><br />
<br />
Crystallizing flowers, <a href="#Page_21">21</a><br />
<br />
Curtain fixtures, marine, <a href="#Page_92">92</a><br />
<br />
<br />
D<br />
<br />
Dancers, fairy, <a href="#Page_330">330</a><br />
<br />
Darning and mending, <a href="#Page_384">384</a><br />
<br />
Declaration of Independence, <a href="#Page_117">117</a><br />
<br />
Decoration, sea-side cottage, <a href="#Page_92">92</a><br />
<br />
Decorations, natural, <a href="#Page_201">201</a>;<br />
<span style="margin-left: 1em;">of autumn wild flowers, <a href="#Page_202">202</a>;</span><br />
<span style="margin-left: 1em;">buckeye portière, <a href="#Page_204">204</a>;</span><br />
<span style="margin-left: 1em;">of horse-chestnuts, ib.;</span><br />
<span style="margin-left: 1em;">of corn, <a href="#Page_209">209</a>;</span><br />
<span style="margin-left: 1em;">ornamental gourds, <a href="#Page_210">210</a></span><br />
<br />
Decorative language, <a href="#Page_365">365</a>;<br />
<span style="margin-left: 1em;">how to make a design in, <a href="#Page_371">371</a></span><br />
<br />
Dolls, corn-husk, <a href="#Page_169">169</a>;<br />
<span style="margin-left: 1em;">with crab-apple heads, <a href="#Page_173">173</a>;</span><br />
<span style="margin-left: 1em;">flower, <a href="#Page_175">175</a></span><br />
<br />
Drapery of small scraps, <a href="#Page_431">431</a><br />
<br />
Draw, how to, <a href="#Page_229">229</a><br />
<br />
Drawing plant forms, <a href="#Page_141">141</a><br />
<br />
Drawn work, <a href="#Page_389">389</a><br />
<br />
Dressing-table, <a href="#Page_444">444</a><br />
<br />
<br />
E<br />
<br />
Easel, <a href="#Page_250">250</a><br />
<br />
Easter, <a href="#Page_33">33</a>;<br />
<span style="margin-left: 1em;">how celebrated in England, ib.;</span><br />
<span style="margin-left: 1em;">in Russia, ib.;</span><br />
<span style="margin-left: 1em;">in Ireland, <a href="#Page_34">34</a>;</span><br />
<span style="margin-left: 1em;">in Germany, <a href="#Page_35">35</a>;</span><br />
<span style="margin-left: 1em;">in Washington, D. C, ib.</span><br />
<br />
Easter cards, <a href="#Page_50">50</a><br />
<br />
Easter eggs, <a href="#Page_33">33</a>;<br />
<span style="margin-left: 1em;">games with, <a href="#Page_36">36</a>;</span><br />
<span style="margin-left: 1em;">dolls made of, <a href="#Page_39">39</a>;</span><br />
<span style="margin-left: 1em;">toys formed of, <a href="#Page_42">42</a>;</span><br />
<span style="margin-left: 1em;">maple wax eggs, <a href="#Page_49">49</a>;</span><br />
<span style="margin-left: 1em;">bonbon box, ib.</span><br />
<br />
Enchanted girl, pantomime of, <a href="#Page_348">348</a><br />
<br />
Exercising, best time for, <a href="#Page_353">353</a>;<br />
<span style="margin-left: 1em;">balancing weights on the head, <a href="#Page_356">356</a>;</span><br />
<span style="margin-left: 1em;">broom-handle exercise, <a href="#Page_357">357</a></span><br />
<br />
<br />
F<br />
<br />
Fairy dancers, <a href="#Page_330">330</a><br />
<br />
Fan, how to make a, <a href="#Page_177">177</a>;<br />
<span style="margin-left: 1em;">butterfly fan, <a href="#Page_178">178</a>;</span><br />
<span style="margin-left: 1em;">Mikado fan, <a href="#Page_180">180</a>;</span><br />
<span style="margin-left: 1em;">daisy fan, <a href="#Page_182">182</a>;</span><br />
<span style="margin-left: 1em;">card-board fan, <a href="#Page_183">183</a></span><br />
<br />
Felling, <a href="#Page_383">383</a><br />
<br />
Ferns for decoration, <a href="#Page_19">19</a><br />
<br />
Fid, <a href="#Page_57">57</a>, <a href="#Page_161">161</a><br />
<br />
Five minutes’ conversation, <a href="#Page_154">154</a><br />
<br />
Fish-painting on china, <a href="#Page_286">286</a><br />
<br />
Floral vocabulary, <a href="#Page_377">377</a><br />
<br />
Flowers, wild, <a href="#Page_14">14</a>;<br />
<span style="margin-left: 1em;">transplanting, ib.;</span><br />
<span style="margin-left: 1em;">how to keep cut, <a href="#Page_15">15</a>;</span><br />
<span style="margin-left: 1em;">sending by mail, <a href="#Page_16">16</a>;</span><br />
<span style="margin-left: 1em;">preserving, in sand, <a href="#Page_16">16</a>;</span><br />
<span style="margin-left: 1em;">pressed, <a href="#Page_18">18</a>;</span><br />
<span style="margin-left: 1em;">herbariums of, <a href="#Page_19">19</a>;</span><br />
<span style="margin-left: 1em;">for decoration, ib.;</span><br />
<span style="margin-left: 1em;">color of, changed, ib.;</span><br />
<span style="margin-left: 1em;">waxed, <a href="#Page_20">20</a>;</span><br />
<span style="margin-left: 1em;">to freshen cut, ib.;</span><br />
<span style="margin-left: 1em;">crystallized, <a href="#Page_21">21</a>;</span><br />
<span style="margin-left: 1em;">frosted, ib.;</span><br />
<span style="margin-left: 1em;">perfume of, preserved, ib.;</span><br />
<span style="margin-left: 1em;">spring flowers in winter, <a href="#Page_23">23</a>;</span><br />
<span style="margin-left: 1em;">preserving, in alcohol, <a href="#Page_24">24</a>;</span><br />
<span style="margin-left: 1em;">in an empty bottle, ib.;</span><br />
<span style="margin-left: 1em;">under glass, ib.;</span><br />
<span class="pagenum"><a name="Page_471" id="Page_471">[471]</a></span><span style="margin-left: 1em;">to keep bouquets fresh, <a href="#Page_25">25</a>;</span><br />
<span style="margin-left: 1em;">to keep flowers or fruit fresh for a year, ib.;</span><br />
<span style="margin-left: 1em;">painting, in water-colors, <a href="#Page_239">239</a></span><br />
<br />
Fortune-telling, by melted lead, <a href="#Page_190">190</a>;<br />
<span style="margin-left: 1em;">by nutshell boats, <a href="#Page_192">192</a>;</span><br />
<span style="margin-left: 1em;">by “three luggies,” <a href="#Page_193">193</a>;</span><br />
<span style="margin-left: 1em;">by roasting nuts, ib.;</span><br />
<span style="margin-left: 1em;">Kaling, <a href="#Page_194">194</a>;</span><br />
<span style="margin-left: 1em;">by the magic mirror, ib.;</span><br />
<span style="margin-left: 1em;">by three tin cups, by the ring cake, <a href="#Page_195">195</a></span><br />
<br />
Fortune’s wheel, <a href="#Page_88">88</a>, <a href="#Page_426">426</a><br />
<br />
“Fore-shortening,” <a href="#Page_231">231</a><br />
<br />
Fourth of July, celebration, interior decoration for, <a href="#Page_107">107</a>;<br />
<span style="margin-left: 1em;">indoor illumination, <a href="#Page_108">108</a>;</span><br />
<span style="margin-left: 1em;">out-door decoration and illumination, <a href="#Page_109">109</a>;</span><br />
<span style="margin-left: 1em;">fireworks for girls, <a href="#Page_111">111</a>;</span><br />
<span style="margin-left: 1em;">parachute, <a href="#Page_112">112</a>;</span><br />
<span style="margin-left: 1em;">thunderbolts, ib.;</span><br />
<span style="margin-left: 1em;">whirls, <a href="#Page_113">113</a>;</span><br />
<span style="margin-left: 1em;">winged fancies, ib.;</span><br />
<span style="margin-left: 1em;">pin-wheels, <a href="#Page_114">114</a>;</span><br />
<span style="margin-left: 1em;">bombs, <a href="#Page_115">115</a>;</span><br />
<span style="margin-left: 1em;">lawn party, <a href="#Page_117">117</a>;</span><br />
<span style="margin-left: 1em;">declaration of independence, ib.;</span><br />
<span style="margin-left: 1em;">game of toss, <a href="#Page_118">118</a>;</span><br />
<span style="margin-left: 1em;">jackstraws, <a href="#Page_119">119</a>;</span><br />
<span style="margin-left: 1em;">progressive mining, ib.</span><br />
<br />
Frames for pictures, <a href="#Page_295">295</a>;<br />
<span style="margin-left: 1em;">designs for, <a href="#Page_296">296</a>;</span><br />
<span style="margin-left: 1em;">decorated, <a href="#Page_297">297</a>;</span><br />
<span style="margin-left: 1em;">cork frame, <a href="#Page_299">299</a></span><br />
<br />
Furniture, old and new, <a href="#Page_438">438</a><br />
<br />
<br />
G<br />
<br />
Game of headless turkey, <a href="#Page_312">312</a><br />
<br />
Game and fish stew, <a href="#Page_133">133</a><br />
<br />
Games, quiet, for hot weather, <a href="#Page_151">151</a>;<br />
<span style="margin-left: 1em;">door-step party, <a href="#Page_152">152</a>;</span><br />
<span style="margin-left: 1em;">five minutes’ conversation, <a href="#Page_153">153</a>;</span><br />
<span style="margin-left: 1em;">blind-man’s singing-school, <a href="#Page_155">155</a>;</span><br />
<span style="margin-left: 1em;">game of noted men, ib.;</span><br />
<span style="margin-left: 1em;">what will you take to the picnic? 156;</span><br />
<span style="margin-left: 1em;">assumed characters, <a href="#Page_157">157</a>;</span><br />
<span style="margin-left: 1em;">shadow verbs, ib.;</span><br />
<span style="margin-left: 1em;">Halloween games, <a href="#Page_196">196</a> et seq.</span><br />
<br />
Games for Christmas holidays, bubble-bowling, <a href="#Page_335">335</a>;<br />
<span style="margin-left: 1em;">biographical nonsense, <a href="#Page_339">339</a>;</span><br />
<span style="margin-left: 1em;">comic historical tableaux, <a href="#Page_341">341</a>;</span><br />
<span style="margin-left: 1em;">living Christmas cards, <a href="#Page_342">342</a></span><br />
<br />
Gathering, <a href="#Page_382">382</a><br />
<br />
Glass, stained, imitated, <a href="#Page_435">435</a><br />
<br />
Glove pen-wiper, <a href="#Page_323">323</a><br />
<br />
Glove, to mend a kid, <a href="#Page_386">386</a><br />
<br />
Gold, mat, <a href="#Page_276">276</a>;<br />
<span style="margin-left: 1em;">pure, ib.</span><br />
<br />
Gourds, ornamental, <a href="#Page_210">210</a><br />
<br />
Grab-bags, <a href="#Page_423">423</a><br />
<br />
Ground glass, imitation of, <a href="#Page_436">436</a><br />
<br />
Gymnasium, home, <a href="#Page_353">353</a><br />
<br />
<br />
H<br />
<br />
Hall seat, <a href="#Page_447">447</a><br />
<br />
<a id="Halloween"></a>Halloween, <a href="#Page_187">187</a>;<br />
<span style="margin-left: 1em;">origin of, ib.;</span><br />
<span style="margin-left: 1em;">party, <a href="#Page_189">189</a>;</span><br />
<span style="margin-left: 1em;">fortune-telling on, <a href="#Page_190">190</a> et seq.;</span><br />
<span style="margin-left: 1em;">games, <a href="#Page_196">196</a> et seq.</span><br />
<br />
Hammock, how to make a, <a href="#Page_159">159</a>;<br />
<span style="margin-left: 1em;">materials required, <a href="#Page_161">161</a>;</span><br />
<span style="margin-left: 1em;">barrel hammock, <a href="#Page_165">165</a></span><br />
<br />
Hat-rack, sea-side, <a href="#Page_98">98</a><br />
<br />
Hazel-nuts, <a href="#Page_220">220</a><br />
<br />
Headless turkey, game of, <a href="#Page_312">312</a><br />
<br />
Hemming, <a href="#Page_381">381</a><br />
<br />
Heraldry, <a href="#Page_366">366</a>;<br />
<span style="margin-left: 1em;">field of, <a href="#Page_266">266</a>;</span><br />
<span style="margin-left: 1em;">the points, ib.;</span><br />
<span style="margin-left: 1em;">divisions, <a href="#Page_267">267</a></span><br />
<br />
Herbariums, <a href="#Page_19">19</a><br />
<br />
Herring-bone stitch, <a href="#Page_384">384</a><br />
<br />
Hickory-nuts, <a href="#Page_219">219</a><br />
<br />
Historical tableaux, <a href="#Page_341">341</a><br />
<br />
Home gymnasium, <a href="#Page_353">353</a><br />
<br />
Home-made candy, <a href="#Page_458">458</a><br />
<br />
Horseshoe crab-bag, <a href="#Page_101">101</a><br />
<br />
“Huli Fool,” <a href="#Page_4">4</a><br />
<br />
<br />
I<br />
<br />
Impression album, how to make an, <a href="#Page_123">123</a>;<br />
<span style="margin-left: 1em;">tools required, <a href="#Page_125">125</a>;</span><br />
<span style="margin-left: 1em;">printing from leaves, <a href="#Page_126">126</a>;</span><br />
<span style="margin-left: 1em;">from flowers, <a href="#Page_127">127</a>;</span><br />
<span style="margin-left: 1em;">landscapes, <a href="#Page_128">128</a>;</span><br />
<span class="pagenum"><a name="Page_472" id="Page_472">[472]</a></span><span style="margin-left: 1em;">other uses for botanical impressions, <a href="#Page_129">129</a></span><br />
<br />
<br />
J<br />
<br />
Jackstraws, Fourth of July, <a href="#Page_119">119</a><br />
<br />
Julklapp, <a href="#Page_319">319</a><br />
<br />
<br />
K<br />
<br />
Kaling, <a href="#Page_194">194</a><br />
<br />
Key-rack, <a href="#Page_412">412</a><br />
<br />
<br />
L<br />
<br />
Lace, <a href="#Page_393">393</a><br />
<br />
Lady of the Lake, <a href="#Page_425">425</a><br />
<br />
Landscape painting in water-colors, <a href="#Page_241">241</a><br />
<br />
Language, a decorative, <a href="#Page_364">364</a><br />
<br />
Lantern, <a href="#Page_408">408</a><br />
<br />
Lawn, painting on, <a href="#Page_434">434</a><br />
<br />
Lawn party, <a href="#Page_117">117</a><br />
<br />
Lawn-tennis, <a href="#Page_55">55</a>;<br />
<span style="margin-left: 1em;">lawn-tennis suits, <a href="#Page_56">56</a>;</span><br />
<span style="margin-left: 1em;">how to make a lawn-tennis net, <a href="#Page_57">57</a>;</span><br />
<span style="margin-left: 1em;">materials for, ib.;</span><br />
<span style="margin-left: 1em;">court, <a href="#Page_62">62</a>;</span><br />
<span style="margin-left: 1em;">rules for the game, <a href="#Page_63">63</a></span><br />
<br />
Leap-year party, <a href="#Page_351">351</a><br />
<br />
Leaves and ferns for decoration, <a href="#Page_19">19</a><br />
<br />
Light, <a href="#Page_252">252</a><br />
<br />
<br />
M<br />
<br />
Mailing parcels, directions for, <a href="#Page_16">16</a><br />
<br />
Mantle-cloth, <a href="#Page_454">454</a><br />
<br />
Mantle-piece, <a href="#Page_451">451</a><br />
<br />
Maple-wax Easter eggs, <a href="#Page_49">49</a><br />
<br />
Marsh-mallow paste, <a href="#Page_460">460</a>;<br />
<span style="margin-left: 1em;">toasted, <a href="#Page_461">461</a></span><br />
<br />
Mat colors, <a href="#Page_277">277</a><br />
<br />
May Day, <a href="#Page_71">71</a>;<br />
<span style="margin-left: 1em;">sports, <a href="#Page_72">72</a>;</span><br />
<span style="margin-left: 1em;">May baskets, <a href="#Page_74">74</a>;</span><br />
<span style="margin-left: 1em;">May-pole, <a href="#Page_77">77</a>;</span><br />
<span style="margin-left: 1em;">May-pole dance, <a href="#Page_79">79</a></span><br />
<br />
Midsummer Eve, <a href="#Page_83">83</a>;<br />
<span style="margin-left: 1em;">the games of, <a href="#Page_85">85</a> et seq.</span><br />
<br />
Mirror tableau, <a href="#Page_6">6</a><br />
<br />
Mirror, the, <a href="#Page_404">404</a><br />
<br />
Model, arrangement of, in water-color painting, <a href="#Page_240">240</a><br />
<br />
Modelling in clay and wax, <a href="#Page_257">257</a>;<br />
<span style="margin-left: 1em;">value of, <a href="#Page_259">259</a>;</span><br />
<span style="margin-left: 1em;">much can be learned without a teacher, ib.;</span><br />
<span style="margin-left: 1em;">materials, ib.;</span><br />
<span style="margin-left: 1em;">clay, <a href="#Page_260">260</a>;</span><br />
<span style="margin-left: 1em;">general directions, <a href="#Page_261">261</a></span><br />
<br />
Modelling wax, <a href="#Page_263">263</a><br />
<br />
Modelling stand, <a href="#Page_260">260</a><br />
<br />
Molasses candy, <a href="#Page_459">459</a><br />
<br />
Monochrome painting, <a href="#Page_278">278</a><br />
<br />
Music-roll, a, <a href="#Page_410">410</a><br />
<br />
<br />
N<br />
<br />
Nancy, Miss, <a href="#Page_326">326</a><br />
<br />
Nature’s types, <a href="#Page_125">125</a><br />
<br />
Needle, hammock, <a href="#Page_58">58</a>; 161<br />
<br />
Needle-work, <a href="#Page_380">380</a><br />
<br />
Net, lawn-tennis, <a href="#Page_57">57</a><br />
<br />
New Year’s Day, <a href="#Page_347">347</a>;<br />
<span style="margin-left: 1em;">New Year’s parties, <a href="#Page_348">348</a></span><br />
<br />
Noah’s ark peep-show, <a href="#Page_8">8</a><br />
<br />
Nutting parties, <a href="#Page_218">218</a>;<br />
<span style="margin-left: 1em;">rules for, <a href="#Page_221">221</a></span><br />
<br />
<br />
O<br />
<br />
Overhanding, <a href="#Page_380">380</a><br />
<br />
Oil-cups, <a href="#Page_251">251</a><br />
<br />
Oils for china-painting, <a href="#Page_275">275</a><br />
<br />
Overcasting, <a href="#Page_380">380</a><br />
<br />
<br />
P<br />
<br />
Paint-box, <a href="#Page_251">251</a><br />
<br />
Painting in water-colors, <a href="#Page_238">238</a>;<br />
<span style="margin-left: 1em;">materials for, ib.;</span><br />
<span style="margin-left: 1em;">flower-painting, <a href="#Page_239">239</a>;</span><br />
<span style="margin-left: 1em;">model, <a href="#Page_240">240</a>;</span><br />
<span style="margin-left: 1em;">landscapes, <a href="#Page_241">241</a>;</span><br />
<span style="margin-left: 1em;">general directions, <a href="#Page_242">242</a>;</span><br />
<span style="margin-left: 1em;">painting from notes, <a href="#Page_244">244</a></span><br />
<br />
Painting in oil-colors, <a href="#Page_249">249</a>;<br />
<span style="margin-left: 1em;">materials, ib.;</span><br />
<span style="margin-left: 1em;">the light, <a href="#Page_252">252</a>;</span><br />
<span style="margin-left: 1em;">setting the palette, <a href="#Page_253">253</a></span><br />
<br />
Painting on lawn, <a href="#Page_434">434</a><br />
<br />
Painting window-panes, <a href="#Page_432">432</a><br />
<br />
Paints, for china-painting, <a href="#Page_274">274</a><br />
<br />
Palette, <a href="#Page_250">250</a>;<br />
<span style="margin-left: 1em;">setting the, <a href="#Page_253">253</a></span><br />
<br />
Palette-knife, <a href="#Page_250">250</a>;<br />
<span class="pagenum"><a name="Page_473" id="Page_473">[473]</a></span><span style="margin-left: 1em;">of horn, <a href="#Page_273">273</a></span><br />
<br />
Panel decorations, <a href="#Page_205">205</a>, <a href="#Page_209">209</a>, <a href="#Page_270">270</a><br />
<br />
Panel of field-corn, <a href="#Page_209">209</a><br />
<br />
Pantomime of an enchanted girl, <a href="#Page_348">348</a><br />
<br />
Paper-weight, <a href="#Page_412">412</a><br />
<br />
Parachute, <a href="#Page_112">112</a><br />
<br />
Party, First of April, <a href="#Page_5">5</a>;<br />
<span style="margin-left: 1em;">Fourth of July, <a href="#Page_117">117</a>;</span><br />
<span style="margin-left: 1em;">door-step, <a href="#Page_151">151</a>;</span><br />
<span style="margin-left: 1em;">Halloween, <a href="#Page_189">189</a>;</span><br />
<span style="margin-left: 1em;">nutting, <a href="#Page_218">218</a></span><br />
<br />
Paste, how to make, <a href="#Page_402">402</a><br />
<br />
Patch, how to, <a href="#Page_386">386</a><br />
<br />
Peanut-candy, <a href="#Page_458">458</a><br />
<br />
Peanuts, <a href="#Page_223">223</a><br />
<br />
Perfumes, to prepare from flowers, <a href="#Page_21">21</a><br />
<br />
Picnics, burgoos and corn-roasts, <a href="#Page_131">131</a>;<br />
<span style="margin-left: 1em;">how to make a burgoo stew, <a href="#Page_133">133</a>;</span><br />
<span style="margin-left: 1em;">a corn-roast, <a href="#Page_134">134</a></span><br />
<br />
Picture-frames, <a href="#Page_295">295</a><br />
<br />
Pilgrims, landing of, tableau, <a href="#Page_305">305</a> et seq.<br />
<br />
Pin-wheels, <a href="#Page_114">114</a><br />
<br />
Plain sewing, <a href="#Page_380">380</a>;<br />
<span style="margin-left: 1em;">overhanding, ib.;</span><br />
<span style="margin-left: 1em;">overcasting, <a href="#Page_381">381</a>;</span><br />
<span style="margin-left: 1em;">hemming, ib.;</span><br />
<span style="margin-left: 1em;">running, <a href="#Page_382">382</a>;</span><br />
<span style="margin-left: 1em;">basting, ib.;</span><br />
<span style="margin-left: 1em;">gathering, ib.;</span><br />
<span style="margin-left: 1em;">stitching, <a href="#Page_383">383</a>;</span><br />
<span style="margin-left: 1em;">back-stitching, ib.;</span><br />
<span style="margin-left: 1em;">felling, ib.;</span><br />
<span style="margin-left: 1em;">button-holes, ib.;</span><br />
<span style="margin-left: 1em;">herringbone, or cat’s-tooth stitch, <a href="#Page_384">384</a></span><br />
<br />
Plantain test, <a href="#Page_86">86</a><br />
<br />
Plaster casts, <a href="#Page_268">268</a>;<br />
<span style="margin-left: 1em;">to harden, <a href="#Page_270">270</a>;</span><br />
<span style="margin-left: 1em;">to color, ib.</span><br />
<br />
“Poisson d’Avril,” <a href="#Page_4">4</a><br />
<br />
Pop-corn balls, <a href="#Page_462">462</a><br />
<br />
Portières, designs for, <a href="#Page_391">391</a>;<br />
<span style="margin-left: 1em;">buckeye, <a href="#Page_204">204</a></span><br />
<br />
Postal regulations for packages, <a href="#Page_16">16</a><br />
<br />
Progressive mining, <a href="#Page_119">119</a><br />
<br />
<br />
R<br />
<br />
Rag-balls, <a href="#Page_427">427</a><br />
<br />
Ribbon embroideries, <a href="#Page_393">393</a><br />
<br />
Ribbon curtain, <a href="#Page_430">430</a><br />
<br />
Rooster, a lively, <a href="#Page_327">327</a><br />
<br />
Rose-water, recipe for, <a href="#Page_26">26</a><br />
<br />
Rubbish, what to do with, <a href="#Page_403">403</a><br />
<br />
Running, <a href="#Page_382">382</a><br />
<br />
<br />
S<br />
<br />
Sachet, <a href="#Page_323">323</a><br />
<br />
Saint Valentine’s Day, <a href="#Page_464">464</a><br />
<br />
Scrap-bag, <a href="#Page_324">324</a><br />
<br />
Scrap drapery, <a href="#Page_431">431</a><br />
<br />
Scrap-book, <a href="#Page_395">395</a><br />
<br />
Screen, marine, <a href="#Page_99">99</a>;<br />
<span style="margin-left: 1em;">Louis Quinze, <a href="#Page_206">206</a></span><br />
<br />
Settee, <a href="#Page_442">442</a><br />
<br />
Shells, how to polish, <a href="#Page_104">104</a><br />
<br />
Shelves around chimney, <a href="#Page_456">456</a><br />
<br />
Siccatif Courtray, <a href="#Page_253">253</a><br />
<br />
“Silly mackerel,” <a href="#Page_4">4</a><br />
<br />
Spring flowers in winter, <a href="#Page_23">23</a><br />
<br />
“Squirrel, little brown,” <a href="#Page_218">218</a>, <a href="#Page_221">221</a>, <a href="#Page_222">222</a><br />
<br />
Stained glass, imitation of, <a href="#Page_435">435</a><br />
<br />
Starfish, candlestick made of, <a href="#Page_102">102</a>;<br />
<span style="margin-left: 1em;">ornaments of, <a href="#Page_103">103</a>;</span><br />
<span style="margin-left: 1em;">how to dry, <a href="#Page_104">104</a></span><br />
<br />
Stitches, fancy, <a href="#Page_387">387</a><br />
<br />
Stitching, <a href="#Page_383">383</a><br />
<br />
<br />
T<br />
<br />
T-square, <a href="#Page_234">234</a><br />
<br />
Table, a bric-à-brac, <a href="#Page_406">406</a>;<br />
<span style="margin-left: 1em;">at a fair, <a href="#Page_413">413</a></span><br />
<br />
Tableau, mirror, <a href="#Page_6">6</a><br />
<br />
Tableaux, burlesque, <a href="#Page_304">304</a>;<br />
<span style="margin-left: 1em;">historical, <a href="#Page_341">341</a></span><br />
<br />
Tar paste, <a href="#Page_275">275</a><br />
<br />
Telephone, how to make a, <a href="#Page_224">224</a><br />
<br />
Tent, illuminated, <a href="#Page_111">111</a><br />
<br />
Thanksgiving, celebration of, <a href="#Page_302">302</a><br />
<br />
Thunderbolts, <a href="#Page_112">112</a><br />
<br />
Tiles, painted on marble mantle, <a href="#Page_453">453</a><br />
<br />
Tin telephone, <a href="#Page_225">225</a><br />
<br />
Tints in water-color painting, <a href="#Page_242">242</a><br />
<br />
Toss, <a href="#Page_118">118</a><br />
<br />
Tracing, <a href="#Page_280">280</a><br />
<br />
<span class="pagenum"><a name="Page_474" id="Page_474">[474]</a></span>Transformation scrap-book, <a href="#Page_398">398</a><br />
<br />
<br />
U<br />
<br />
Urchin, sea, vase made of, <a href="#Page_102">102</a><br />
<br />
<br />
V<br />
<br />
Valentine party, <a href="#Page_465">465</a><br />
<br />
Vase, marine, <a href="#Page_102">102</a><br />
<br />
<br />
W<br />
<br />
Walking Club, the, <a href="#Page_27">27</a>;<br />
<span style="margin-left: 1em;">membership of, <a href="#Page_30">30</a>;</span><br />
<span style="margin-left: 1em;">length of walks, ib.;</span><br />
<span style="margin-left: 1em;">rules to be observed, <a href="#Page_31">31</a></span><br />
<br />
Walnuts, <a href="#Page_220">220</a><br />
<br />
Walnut creams, <a href="#Page_459">459</a>;<br />
<span style="margin-left: 1em;">glacé, <a href="#Page_460">460</a></span><br />
<br />
Walnut-shell turtle, <a href="#Page_325">325</a><br />
<br />
Washstand, <a href="#Page_446">446</a><br />
<br />
Water-colors, <a href="#Page_238">238</a><br />
<br />
Wax-modelling, home-made, <a href="#Page_263">263</a><br />
<br />
Wedding decorations, wild flowers for, <a href="#Page_202">202</a><br />
<br />
Whirls, <a href="#Page_113">113</a><br />
<br />
Wild flowers, <a href="#Page_13">13</a><br />
<br />
Window decorations, <a href="#Page_92">92</a><br />
<br />
Window-panes, decoration of, <a href="#Page_432">432</a><br />
<br />
Window-seat, <a href="#Page_448">448</a><br />
<br />
Winged fancies, <a href="#Page_113">113</a><br />
<br />
Work-basket, crab-net, <a href="#Page_97">97</a><br />
<br />
Work-basket, <a href="#Page_411">411</a><br />
<br />
Worcester, royal, ware, <a href="#Page_290">290</a><br />
</div>


<hr class="full" />

<div class="footnotes"><h3>FOOTNOTES:</h3>

<div class="footnote">

<p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1">[A]</a> <i>Cicada</i>, commonly known among children as the locust.</p></div>

<div class="footnote">

<p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2">[B]</a> Cannel coal is the best to use, for it is hard, will take a high polish
like jet, and can be carved with a pen-knife.</p></div>

<div class="footnote">

<p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3">[C]</a> Dishes.</p></div>

<div class="footnote">

<p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4">[D]</a> For this work the staple-tacks used for tacking down matting will be
found very convenient.</p></div>

<div class="footnote">

<p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5">[E]</a> The material for this chapter is from an article written by Professor
Frank Beard for Harper’s Young People. By permission of Harper &amp;
Brothers.</p></div>

<div class="footnote">

<p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6">[F]</a> Of course we all know that our Pilgrim fathers did not have the daily
papers, but this fact makes it the more absurd.</p></div>

<div class="footnote">

<p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7">[G]</a> If the uprights seem to need it, brace them with cross-sticks in place of wire.</p></div></div>


<hr class="chap" />
<div class="chapter"></div>

<p><span class="pagenum"><a name="Page_475" id="Page_475">[475]</a></span></p>


<div class="adtitle1">CHARLES SCRIBNER’S SONS BOOKS<br />
FOR YOUNG READERS</div>


<div class="adtitle2">A NEW BOOK BY KIRK MUNROE</div>

<p class="center"><b>THE WHITE CONQUERORS OF MEXICO</b></p>

<p class="unindent">By <span class="smcap">Kirk Munroe</span>. With 8 full-page illustrations by <span class="smcap">W. S. Stacey</span>. 12mo, $1.25.</p>

<p class="unindent">A powerful and fascinating historical story, the scene of which is laid in Mexico
when Cortez made his famous conquests. The story possesses a peculiar interest
in that it is related from the stand-point of the native races, the hero, Huetzin, being
not one of the “White Conquerors,” but a native, the son of Tlahuicol, a Toltec,
and a war chief of the Tlascalan race. In warring against Montezuma, King of
the Aztecs, Tlahuicol is captured, and after a long imprisonment, is cruelly put to
death. His son is also ordered to be killed, but effects a miraculous escape, and
makes his way to the army of Cortez, which is advancing against Montezuma.
Animated by a Toltec’s hatred for the Aztecs, who have murdered his father, he
effects an alliance between Cortez and his own race, and the united forces march
against the Aztec King. In the various engagements he distinguishes himself by
his valor, several times narrowly escaping death, and is prominent in the final overthrow
of the Aztecs, and in the triumph that follows. The book is full of the life
and color of a most interesting and romantic period, and the narrative fairly glows
with thrilling battle scenes and incidents of exciting adventure.</p>


<div class="adtitle2">ROBERT GRANT’S<br />

TWO BOOKS FOR BOYS</div>

<p class="center"><b>JACK HALL;</b></p>

<p class="unindent"><span class="smcap">Or, The School Days of an American Boy. By Robert Grant.</span> Illustrated by
<span class="smcap">Frances G. Attwood.</span> 12mo., $1.25.</p>

<p class="unindent">“A better book for boys has never been written. It is pure, clean, and healthy,
and has throughout a vigorous action that holds the reader breathlessly.”—<i>Boston
Herald.</i></p>

<p class="unindent">“A capital story for boys, wholesome and interesting. It reminds one of Tom
Brown.”—<i>Boston Transcript.</i></p>


<p class="center"><b>JACK IN THE BUSH;</b></p>

<p class="unindent"><span class="smcap">Or, A Summer on a Salmon River. By Robert Grant.</span> Illustrated by <span class="smcap">F. T.
Merrill.</span> 12mo., $1.25.</p>

<p class="unindent">“A clever book for boys. It is the story of the camp life of a lot of boys, and is destined
to please every boy reader. It is attractively illustrated .”—<i>Detroit Free
Press.</i></p>

<p class="unindent">“An ideal story of out-door life and genuine experiences.”—<i>Boston Traveller.</i></p>


<h3><span class="pagenum"><a name="Page_476" id="Page_476">[476]</a></span></h3>




<div class="adtitle2">NEW BOOKS BY G. A. HENTY</div>

<p class="unindent">For the season of 1893-94 Mr. Henty adds to his list of fascinating stories of adventure
three new books—<span class="smcap">Through the Sikh War, a Tale of the Conquest Of
The Punjaub; a Jacobite Exile, Being the Adventures of a Young Englishman
In the Service of Charles XII of Sweden</span>; and <span class="smcap">St. Bartholomew’s Eve,
A Tale of the Huguenot Wars</span>.</p>

<p class="unindent"><i>“No country nor epoch of history is there which Mr. Henty does not cover, and
what is really remarkable is that he always writes well and interestingly. Boys
like stirring adventures and Mr. Henty is a master of this method of composition.”</i>—<span class="smcap">New
York Times</span>.</p>

<p class="unindent"><b>THROUGH THE SIKH WAR.</b> <span class="smcap">A Tale of the Conquest of the Punjaub</span>.
By G. A. <span class="smcap">Henty</span>. With 12 full-page illustrations by HAL HURST, and a map. Crown
8vo, handsomely bound, olivine edges, $1.50.</p>

<p class="unindent">Percy Groves, a plucky, high spirited boy, the son of an English officer, loses his
parents at an early age, and joins his uncle residing on his estate in India, situated
in the very center of the troubles that developed later into the Sikh war. The hero
and his uncle become involved in the dangers and intrigues that surround them,
and take active part in the war, passing through many thrilling experiences and
adventures during the two notable campaigns that resulted in the conquest of the
Punjaub. It is one of Mr. Henty’s most interesting and powerful stories.</p>

<p class="unindent"><b>ST. BARTHOLOMEW’S EVE.</b> <span class="smcap">A Tale of the Huguenot Wars</span>. By G. A.
<span class="smcap">Henty</span>. With 12 full-page illustrations by H. J. <span class="smcap">Draper</span>, and a map. Crown 8vo,
handsomely bound, olivine edges, $1.50.</p>

<p class="unindent">A story of a lad of English birth but Huguenot parentage, who visits relatives in
France at the time when the feeling between the Catholics and Huguenots was
bitterest, and the country was disturbed by religious strife and dissension. His
relatives being leaders in the Huguenot party, the hero devotes himself heart and
soul to the Protestant cause, following it faithfully through the varied and exciting
scenes that preceded and led up to the terrible massacre of St. Bartholomew’s day.
No boy could resist the fascination of this strong, vivid narrative. It is intense and
absorbing, while presenting a true picture of the times, full of life and color.</p>

<p class="unindent"><b>A JACOBITE EXILE.</b> Being the Adventures of a young Englishman in the service
of Charles XII of Sweden. By G. A. <span class="smcap">Henty</span>. With 8 full-page illustrations
by <span class="smcap">Paul Hardy</span>, and a map. Crown 8vo, handsomely bound, olivine edges, $1.50.</p>

<p class="unindent">The events of the present story take place during the reign of William of Orange.
The father of the hero is a Jacobite gentleman who, to avoid arrest, is compelled to
flee to Sweden. Here the hero, Charlie Carstairs, and a young companion, engage
in the service of Charles XII, taking part in the wars between Sweden and Poland.
The hero, acting as a scout, falls into the hands of Polish bandits. After numerous
exciting adventures and hair-breadth escapes, he finally secures his release and returns
to Sweden. Then he serves for a time under Marlborough in France, and
distinguishes himself signally. A final return to England, where his father is pardoned,
supplies a satisfactory close to a story remarkable for its thrilling adventures,
its varied scenery, and its interesting historical pictures.</p>

<p><span class="pagenum"><a name="Page_477" id="Page_477">[477]</a></span></p>


<p class="unindent"><b>BERIC THE BRITON:</b> <span class="smcap">A Story of the Roman Invasion.</span> By <span class="smcap">G. A. Henty</span>.
With 12 full-page illustrations by <span class="smcap">W. Parkinson</span>. Crown 8vo, $1.50.</p>

<p class="unindent">“It is a powerful and fascinating romance founded on the Roman invasion of
England, and abounds with the prowess of valiant warriors and the triumphs of
magnanimous victors, with war and war-like scenes, and with women like Boadicea,
as heroic as their brothers.”—<i>Boston Post.</i></p>


<p class="unindent"><b>IN GREEK WATERS:</b> <span class="smcap">A Story of the Grecian War of Independence</span> (1821-1827).
By <span class="smcap">G. A. Henty</span>. With 12 full page illustrations by <span class="smcap">W. S. Stacey</span>, and a
map. Crown 8vo, $1.50.</p>

<p class="unindent">“It reproduces the spirit and describes many of the events of the Greek War, so
that no boy can fail to remember considerable about it which is worth knowing.
Moreover it is a stirring narrative, wholesome and stimulating.”—<i>Congregationalist.</i></p>


<p class="unindent"><b>CONDEMNED AS A NIHILIST:</b> <span class="smcap">A Story of Escape from Siberia </span>. By <span class="smcap">G. A.
Henty</span>. With 8 full-page illustrations by <span class="smcap">Walter Paget</span>. Crown, 8vo, $1.50.</p>

<p class="unindent">“Godfrey Bullen, the young hero, suspected of Nihilism, is sent with convicts to
Siberia. His final escape from prison life, after many exciting adventures, affords
material for a narrative absorbing and thrilling. The scenes of Siberian prison life
give the book a peculiar value.”—<i>Christian Advocate.</i></p>


<p class="unindent"><b>REDSKIN AND COWBOY.</b> <span class="smcap">A Tale of the Western Plains</span>. By <span class="smcap">G. A. Henty</span>.
With 12 full-page illustrations by <span class="smcap">Alfred Pearse</span>. Crown 8vo, $1.50.</p>

<p class="unindent">“This book is said to be founded on the experiences of a young English friend of
the author, and though it is full of hair-breadth escapes none of the incidents are
improbable. It is needless to say that the English lad’s adventures are well told.”—<i>San
Francisco Chronicle.</i></p>


<p class="unindent"><b>THE DASH FOR KHARTOUM.</b> <span class="smcap">A Tale of the Nile Expedition</span>. By <span class="smcap">G. A.
Henty.</span> With 10 full-page illustrations by <span class="smcap">John Schönberg</span> and <span class="smcap">J. Nash</span>, and 4
plans. Crown 8vo, $1.50.</p>

<p class="unindent">“The author has provided a stirring book for young readers, and the episodes of
battle, capture, rescue, deeds of daring, and other exciting features in which boys
delight, are in great abundance.”—<i>Boston Saturday Evening Gazette.</i></p>


<p class="unindent"><b>HELD FAST FOR ENGLAND.</b> <span class="smcap">A Tale of the Siege of Gibraltar.</span> By <span class="smcap">G. A.
Henty</span>. With 8 full-page illustrations by <span class="smcap">Gordon Browne</span>. Crown 8vo, $1.50.</p>

<p class="unindent">“It is an historical novel, the siege of Gibraltar by the combined forces of France
and Spain, in the latter part of the eighteenth century, being the foundation on
which Mr. Henty’s clever fiction rests. It is a story of pluck and adventure on sea
and land.”—<i>Newark Advertiser.</i></p>

<p><b><big>⁂</big></b> <i>The above are Mr. Henty’s latest books. A full descriptive list containing
all of Mr. Henty’s books—now 41 in number—will be sent to any address on application.
They are all attractively illustrated and handsomely bound.</i></p>


<h3><span class="pagenum"><a name="Page_478" id="Page_478">[478]</a></span></h3>




<div class="adtitle2">RECENT STORIES<br />

BY FRANK R. STOCKTON</div>


<p class="unindent"><b>THE CLOCKS OF RONDAINE</b> <span class="smcap">and Other Stories</span>. By <span class="smcap">Frank R. Stockton</span>.
With 24 illustrations by <span class="smcap">E. H. Blashfield, W. A. Rogers, D. C. Beard</span> and
others. Square 8vo, $1.50.</p>

<p class="unindent">“His books for boys and girls are classics. In this one we have seven of the most
delightful tales imaginable.”—<i>Newark Daily Advertiser.</i></p>

<p class="unindent">“Short tales in Mr. Stockton’s usual clever, distinctive style. They are all extremely
entertaining.”—<i>The Churchman.</i></p>

<p class="unindent">“Marked by that attractive originality which is the author’s peculiar possession,
and in which quaint and piquant humor and simple pathos are deftly and fascinatingly
mingled. It is charming reading. It is beautifully printed and illustrated.”—<i>Boston
Saturday Evening Gazette.</i></p>

<p class="unindent"><b>PERSONALLY CONDUCTED.</b> By <span class="smcap">Frank R. Stockton</span>. With 46 illustrations
by <span class="smcap">Joseph Pennell, Alfred Parsons</span> and others. One volume, square 8vo, $2.00.</p>

<p class="unindent">“In Frank Stockton, the boys and girls have a cicerone skilled in the art of conversation,
a traveler conversant with all the curious and characteristic things of the
Old World, and a story teller renowned for the audacity of his stories.”—<i>Critic.</i></p>


<div class="adtitle2">STOCKTON’S OTHER BOOKS</div>


<p class="unindent"><b>The Story of Viteau.</b> With 16 full-page illustrations by R. B. <span class="smcap">Birch</span>. 12mo,
extra cloth, $1.50.</p>

<p class="unindent">“It is as romantic and absorbing as any boy could wish for, full of adventure and
daring, and yet told in excellent spirit and with a true literary instinct.”—<i>Christian
Union.</i></p>


<p class="unindent"><b>A Jolly Fellowship.</b> With 20 illustrations. 12mo, $1.50.</p>

<p class="unindent">“We can think of no book published the present season which will more delight
the wide-awake, adventure-loving boy. It is, to borrow the adjective from the
title, just ‘jolly.’”—<i>Boston Transcript.</i></p>


<p class="unindent"><b>The Floating Prince and Other Fairy Tales.</b> With illustrations. Square 8vo,
$1.50.</p>

<p class="unindent">“These tales are full of the quaintest conceits and the oddest fancies, and the
strange adventures in which the different characters engage are just the kind to
excite the intense interest of children.”—<i>Philadelphia Bulletin.</i></p>


<p class="unindent"><b>The Ting-A-Ling Tales.</b> With numerous illustrations. 12mo, $1.00.</p>

<p class="unindent">“It would be difficult to find anything more dainty, fanciful and humorous than
these tales of magic, fairies, dwarfs and giants. There is a vein of satire in them,
too which adult readers will enjoy.”—<i>N. Y. Herald.</i></p>


<p class="unindent"><b>Roundabout Rambles in Lands of Fact and Fiction.</b> With 200 illustrations.
Square 8vo, $1.50.</p>


<p class="unindent"><b>Tales Out of School.</b> With nearly 200 illustrations. Square 8vo, $1.50.</p>

<p class="unindent">“The volumes are profusely illustrated and contain the most entertaining sketches
in Mr. Stockton’s most entertaining manner.”—<i>Christian Union.</i></p>


<h3><span class="pagenum"><a name="Page_479" id="Page_479">[479]</a></span></h3>




<div class="adtitle2">HENRY M. STANLEY’S<br />

NEW BOOK FOR BOYS, NOW IN PRESS</div>


<p class="unindent">The volume consists of legends and folk-tales communicated to the explorer by his
native followers during his long and perilous journeys through the great forests of
the Dark Continent. They are fascinating stories of strange scenes and incidents
among the tribes of Central Africa, and are narrated in the authors’ well-known,
graphic, picturesque style, and attractively illustrated.</p>


<div class="adtitle2">MY KALULU</div>

<p class="unindent"><span class="smcap">Prince, King and Slave.</span> A story of Central Africa. By <span class="smcap">Henry M. Stanley</span>.
One volume, 12mo., new edition, with many illustrations, $1.50.</p>

<p class="unindent">“A fresh, breezy, stirring story for youths, interesting in itself and full of information
regarding life in the interior of the continent in which its scenes are laid.”—<i>The
New York Times.</i></p>


<div class="adtitle2">HEROES OF THE OLDEN TIME</div>

<p class="unindent">By <span class="smcap">James Baldwin</span>. Three volumes, 12mo., each beautifully illustrated. Singly,
$1.50. The set, $4.00.</p>


<p class="unindent"><b>A STORY OF THE GOLDEN AGE.</b> Illustrated by <span class="smcap">Howard Pyle</span>.</p>

<p class="unindent">“It is redolent with the spirit of the Odyssey, that glorious primitive epic, fresh
with the dew of the morning of time. It is an unalloyed pleasure to read his recital
of the adventures of the wily Odysseus. Howard Pyle’s illustrations render the
spirit of the Homeric age with admirable felicity.”—<span class="smcap">Prof. H. H. Boyesen.</span></p>


<p class="unindent"><b>THE STORY OF ROLAND.</b> Illustrated by <span class="smcap">Reginald B. Birch</span>.</p>

<p class="unindent">“Mr. Baldwin has culled from a wide range of epics, French, Italian and German,
and has once more proved his aptitude as a story teller for the young, while conveying
information for which many of their elders will be thankful.”—<i>The Nation.</i></p>


<p class="unindent"><b>THE STORY OF SIEGFRIED.</b> Illustrated by <span class="smcap">Howard Pyle</span>.</p>

<p class="unindent">“The story of ‘Siegfried’ is charmingly told. The author makes up the story from
the various myths in a fascinating way which cannot fail to interest. It is as enjoyable
as any fairy tale. The writer’s style is simple and very attractive, and the book
is in every way an excellent one for young readers.”—<i>Hartford Courant.</i></p>



<div class="adtitle2">TWO JUVENILES BY EDWARD EGGLESTON</div>


<p class="unindent"><b>THE HOOSIER SCHOOL-BOY.</b> 12mo. With full-page illustrations, $1.00.</p>

<p class="unindent">“‘The Hoosier School-Boy’ depicts some of the characteristics of boy life years
ago on the Ohio. The story presents a vivid and interesting picture of the difficulties
which in those days beset the path of the youth aspiring for an education. These
obstacles, which the hero of the story succeeds by his manliness and force of character
in surmounting, are just such as a majority of the most distinguished Americans,
including Lincoln and Garfield, have had to contend with, and which they
have made the stepping-stone to their future greatness.”—<i>Chicago Inter-Ocean.</i></p>


<p class="unindent"><b>QUEER STORIES FOR BOYS AND GIRLS.</b> 12mo, $1.00.</p>

<p class="unindent">“A very bright and attractive little volume for young readers. The stories are
fresh, breezy and healthy, with a good point to them and a good sound American
view of life and of the road to success. The book abounds in good feeling and good
sense and is written in a style of homely art.”—<i>Independent.</i></p>


<h3><span class="pagenum"><a name="Page_480" id="Page_480">[480]</a></span></h3>




<div class="adtitle2">TWO BOOKS FOR BOYS AND GIRLS</div>


<p class="unindent">Mr. Beard has added sixty new drawings to his “American Boy’s Handy Book,” to
illustrate the new games, sports, and mechanical contrivances which he has
incorporated in this latest edition. The Misses Beard’s companion volume, “The
American Girl’s Handy Book,” is reduced in price, all the features being retained.
Both are profusely illustrated with hundreds of pictures and designs.</p>

<p class="unindent"><b>THE AMERICAN BOY’S HANDY BOOK:</b> <span class="smcap">Or, What To Do and How To
Do It</span>. By <span class="smcap">Daniel C. Beard</span>. With over 360 illustrations by the Author. One
volume, square 8vo, $2.00.</p>

<p class="unindent">“The book has this great advantage over its predecessors, that most of the games,
tricks, and other amusements described in it are new. It treats of sports adapted to
all seasons of the year; it is practical, and it is well illustrated.”—<i>N. Y. Tribune.</i></p>


<p class="unindent"><b>THE AMERICAN GIRL’S HANDY BOOK:</b> <span class="smcap">Or, How To Amuse Yourself
And Others</span>. By <span class="smcap">Lena</span> and <span class="smcap">Adelia B. Beard</span>. With over 500 illustrations by
the Authors. One volume, square 8vo, $2.00.</p>

<p class="unindent"><span class="smcap">Grace Greenwood Wrote</span>:—“It is a treasure which, once possessed, no practical
girl would willingly part with. It is an invaluable aid in making a home attractive,
comfortable, artistic and refined. The book preaches the gospel of cheerfulness,
industry, economy and comfort.”</p>


<div class="adtitle2">JULES VERNE’S GREATEST WORK</div>

<p class="unindent"><b>THE EXPLORATION OF THE WORLD.</b> The three vols. in a set, $7.50;
singly, $2.50.</p>

<p class="unindent">“M. Verne’s scheme in this work is to tell fully how man has made acquaintance
with the world in which he lives, to combine into a single work in three volumes
the wonderful stories of all the great explorers, navigators and travellers who have
sought out, one after another, the once uttermost parts of the earth.”—<i>New York
Evening Post.</i></p>

<p class="unindent"><b>Famous Travels and Travellers.</b> With over 100 full-page illustrations, maps,
etc., 8vo, $2.50.</p>


<p class="unindent"><b>The Great Navigators of the XVIIIth Century.</b> With 96 full-page illustrations
and nineteen maps. 8vo, $2.50.</p>


<p class="unindent"><b>The Great Explorers of the XIXth Century.</b> With over 100 full-page illustrations,
fac-similies, etc. 8vo, $2.50.</p>

<p class="unindent">“The Prince of Story Tellers.”—<i>London Times.</i></p>



<div class="adtitle2">JULES VERNE’S STORIES</div>

<p class="unindent"><i>Uniform Illustrated Edition.</i> 9 vols., 8vo, extra cloth, with over 750 full-page illustrations.
Price, per set, in a box, $17.50. Sold also in separate volumes.</p>


<p class="unindent"><b>Michael Strogoff; or, the Courier of the Czar.</b> $2.00. <b>A Floating City and
the Blockade Runners.</b> $2.00. <b>Hector Servadac.</b> $2.00. <b>A Journey to the
Centre of the Earth.</b> $2.00. <b>From the Earth to the Moon Direct in Ninety-seven
Hours, Twenty Minutes; and a Journey Around it.</b> $2.00. <b>Dick
Sands.</b> $2.00. <b>The Steam House.</b> $2.00. <b>The Giant Raft.</b> $2.00. <b>The Mysterious
Island.</b> $2.50.</p>


<hr class="full" />
<div class="tnote"><div class="center">
<b>Transcriber’s Notes:</b></div>

<p>Obvious punctuation errors repaired. Text spells the more usual macramé as both
Macremé and macrimé.</p>

<p>Page 30, repeated word “for” deleted from text (even for those who)</p>

<p>Page 69, “drop” changed to “drops” (by him drops outside)</p>

<p>Page 157, “proproses” changed to “proposes” (proposes to take salmon)</p>

<p>Page 338, word “the” added to text (to the same party)</p>

<p>Page 406, “Bric-a-brac” changed to “Bric-à-brac” on illustration caption
(Bric-à-brac table)</p></div>

<div>*** END OF THE PROJECT GUTENBERG EBOOK 52051 ***</div>
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